Explore Rhythm and Groove
Aim: How do composers rock using rhythmic phrases, syncopation, and ostinato?
Summary: Students explore rhythmic phrasing, syncopation, and groove in the concert repertoire.
Standards: National 1, 2, 4, 7, 8; NYC 1, 2, 3, 5
Vocabulary: accents, groove, ostinato, rhythm, syncopation
Rhythm can be defined as a pattern of short and long notes. Composers create rhythmic phrases that generate a sense of movement and propulsion, also known as groove. They can also inject an element of surprise into their music using syncopation and accents by altering an established rhythmic phrase or moving the phrase around within the measure. The following activities investigate several ways in which composers play with rhythm to make music rock.
Explore Syncopation in “Come to Play” and “Dance of the Knights”
- Compare and contrast two different parts of “Come to Play.” Establish the steady beat, asking students to pat the pulse on their laps.
- While keeping the beat, ask students to sing or listen to Track 3 “Come to Play” (vocal part 2).
- Notice how your hands strike your lap along with the strong beats in the melody.
- Establish the same steady beat again, and sing or listen to Track 4 “Come to Play” (vocal part 3).
- Notice how your hands are off your laps when the rhythm of the melody changes. This melody is syncopated.
- When more weight is placed on the weaker beats it is called syncopation. The rhythm almost feels as if it is jumping out.
- Compare and contrast two different parts of “Dance of the Knights” from Romeo and Juliet. Establish the steady beat, asking students to march to the pulse.
- While marching to the beat, ask students to hum or listen to Track 13 “Dance of the Knights” from Romeo and Juliet (basic recorder).
- Is the weight of the bassline placed on the strong beat or the weak beat?
- Is the bassline syncopated?
- Establish the same steady beat again, and hum or listen to Track 14 “Dance of the Knights” from Romeo and Juliet (recorder star).
- Notice how the repeated dotted rhythms in the melody create a sense of rocking or groove. This melody is syncopated.
- You can try this same activity with additional pieces of repertoire, including “Johnny B. Goode” and “Go BIG or Go HOME.”
- Once students can successfully clap the rhythm, repeat it several times in a row as an ostinato.
- How did the rhythm feel when we clapped the pattern once compared to when we performed it as an ostinato?
- Ask students to create their own eight-beat ostinato using eighth notes, quarter notes, half notes, and rests. Students can notate their rhythm in the “My Ostinato” chart (PDF).
- For an added challenge, students can add accent marks to emphasize certain beats in their ostinato by drawing a > underneath.
- Which notes do you want to have more weight and why?
- Have students practice clapping their eight-beat ostinato once, then several times in a row.
- Select a few ostinatos to perform as a class to Track 28 “Go BIG or Go HOME” (complete) beginning at 1:55.
Explore Basslines in “La Follia,” “Dance of the Knights,” and “Johnny B. Goode”
A bassline is like an ostinato in the way that it repeats throughout the duration of a piece, forming the rhythmic foundation. Basslines also outline the harmony.
- Using Track 17, play the basic recorder part to the opening theme of “La Follia.”
- Notice that the part you are playing is not the melody. It is the bassline, which is like the foundation of the piece. In Vivaldi’s time, this was called the continuo.
- Using Track 13, play the basic recorder part of “Dance of the Knights.”
- This is the bassline, which is also played by the low brass, low strings, and low woodwinds. The music is marked “allegro pesante,” which means “heavy.”
- In a rock song, the electric bass plays the bassline, combining with the drums to create the rhythmic drive.
- Using Track 31 “Johnny B. Goode” (chords) and the Chords in “Johnny B. Goode” chart (PDF), introduce students to the chords in the song.
- Explain that chords are built from a single note called the root.
- If we take out the notes on top of the root, we are left with a very basic bassline.
- Using Track 33 “Johnny B. Goode” (bassline) and the Basic Bassline in “Johnny B. Goode” chart (PDF), learn the basic bassline for “Johnny B. Goode.” Perform on classroom instruments or by singing.
Go Deeper
- Invite students to create their own basslines.
- Play the basic bassline in the Basic Bassline in “Johnny B. Goode” chart (PDF).
- Add your own rhythm to the basic bassline, using quarter notes and rests using the My “Johnny B. Goode” Bassline chart (PDF).
- For an added challenge, add other notes from the chords to your basic bassline.
- Play your newly composed basslines with Track 32 “Johnny B. Goode” (melody).
Explore Rhythmic Call and Response in “Drumlines”
“Drumlines” by Thomas Cabaniss provides an opportunity for students to engage in a rhythmic call and response with a drumline that joins the orchestra at the culminating concert. Students can evoke the sounds of the drumline by clapping their hands for the snare drumbeats and stomping their feet for the bass drumbeats.
During the concert, the drumline percussionists will shout: “Yo! Challenge: We go, then you go!” The drummers will then initiate a call and response with the audience, playing rhythms that the audience will echo back.
- Practice the call-and-response rhythms in “Drumlines” with Tracks 25–27, using the score as a guide.
- Create your own rhythm challenges in the classroom.
- Invite students to take turns as leaders, initiating the rhythmic call and response.
- Investigate different elements you can add to your rhythms, including syncopation, lengthening and shortening the phrase, or varying the snare and bass drum sounds.
