PAGE 1: Overview OVERVIEW ======== Rhythm is a pattern of long and short sounds and silences. In this sub-strand you will clap and say the crotchet and a pair of quavers, using the French rhythm names taa and ta-te, and you will keep their rests silent. You will write those names in free hand lettering, draw the note symbols on a monotone, and compose a pattern that varies, repeats and ends on a long note. ## Strand 1.0: Creating and Executing Sub-strand 1.4: Rhythm Suggested lessons: 15 ## What this sub-strand covers • Note values: crotchet, pair of quavers and their rests • French rhythm names: taa, ta-te • Note symbols: crochet, a pair of quavers and their rests • Qualities: Variation of note values, repetition of patterns, ending on a long note • Free hand lettering (ascenders and descenders) ## Source • KICD Grade 4 Creative Arts Curriculum Design (Revised 2024) — Strand 1.0 Creating and Executing, Sub-strand 1.4 Rhythm ## Learning outcomes By the end of the sub-strand, the learner should be able to: a) interpret rhythmic patterns involving the crotchet, pair of quaver and their rests b) write the French rhythm taa and ta-te, names using free hand lettering c) describe the qualities of a good rhythmic pattern d) compose a rhythmic pattern involving a crochet, a pair of quavers and their rests e) enjoy creating rhythmic patterns ## Key inquiry questions 1. How can a rhythm be created? PAGE 2: How we will learn ## Learning experiences • listen to/sing familiar topical songs and identify the music notes and their rests using their French rhythm names • clap the rhythm of the songs while reciting their rhythms using French rhythm names • write letters of the alphabet in lowercase using free hand lettering- ascenders and descenders • use free hand lettering to write French rhythm names taa and ta-te • relate the French rhythm names taa, and ta-te to music note symbols for crotchet and a pair of quavers • practice writing the note symbols; crotchet, a pair of quavers and their rests on monotone • discuss the techniques used in composing rhythmic patterns • write rhythmic patterns from dictation using either French rhythm names or note symbols and their rests • compose original rhythmic patterns and write them using French rhythm names and note symbols and their rests • critique rhythms created by self and peers respecting each other’s views ## Core competencies • Communication and Collaboration: The learner works with others in groups and speaks clearly during critique of own and others’ rhythms. • Creativity and Imagination: The learner composes original rhythmic patterns and writes them using French rhythm names, note symbols and their rests. ## Values • Respect: The learner accommodates others’ views during critique of own and others’ original rhythmic compositions. • Integrity: The learner creates own original rhythmic patterns. ## Pertinent and contemporary issues • Social Cohesion: The learner acquires the skill of working with others during group composition of rhythmic patterns. • Social Justice: The learner fairly critiques rhythms created by others and self. ## Links to other learning areas • English: The learner applies the concept of syllabic division in reciting French rhythm names of words and writing letters of the alphabet in lowercase using free hand. • Mathematics: The learner uses the concept of numbers when relating the value of the quaver in relation to the crotchet. PAGE 3: Lesson 1: The crotchet, taa, and the crotchet rest — The French rhythm name LESSON 1: THE CROTCHET, TAA, AND THE CROTCHET REST ================================================== ## What you will learn • Say taa and clap one sound for each crotchet. • Keep silent for one beat when you meet a crotchet rest. • Keep a steady beat while you perform a pattern of crotchets and rests. Curriculum outcomes: a) interpret rhythmic patterns involving the crotchet, pair of quaver and their rests ## Introduction Before a pattern can be interesting, it needs a steady beat. The crotchet is the note that lasts for one of those beats, and its French rhythm name is taa. ## Notes The **beat** is the steady pulse you can tap with your foot. In these lessons, a **crotchet** lasts for one beat. Some curriculum lines spell this same note **crochet**. The music note you are learning is the crotchet: one sound, one beat. ### The French rhythm name When you read a crotchet, you say **taa**. Say it for the whole beat. Do not rush to the next sound. One clap goes with one taa. Try four crotchets in a row: - taa taa taa taa - clap clap clap clap Count silently 1, 2, 3, 4 so the sounds stay even. If you hurry, the rhythm falls apart even though every note is a crotchet. PAGE 4: Lesson 1: The crotchet, taa, and the crotchet rest — The crotchet rest ### The note symbol A crotchet has a filled-in note head and a stem. On its own it means one beat. You will practise drawing it carefully in a later lesson. For now, connect the word taa with one clap and with that symbol. ### The crotchet rest A **rest** is a silence. A crotchet rest lasts for the same time as a crotchet: one beat. You do not clap and you do not say taa. You can open your hands to show the silence, and you keep counting. A pattern with a rest: - taa, taa, (rest), taa That is still four beats. The third beat is silent. Leaving the silence out would make the pattern too short. ### Interpreting To interpret a rhythm means to perform it the way it is written. Look ahead, keep the beat steady, say taa for each crotchet, and stay quiet for each crotchet rest. Listen to a familiar class song and tap only the crotchet beats before you try to find any quicker notes. ## Key words • crotchet — a note lasting one beat; also spelled crochet in some curriculum lines • taa — the French rhythm name for a crotchet • crotchet rest — one beat of silence • beat — the steady pulse of the music ## Worked examples ### Example 1 How many claps do you make for the pattern taa taa (rest) taa? Working: 1. Each taa gets one clap. 2. A rest is silent, so it gets no clap. 3. There are three taa sounds. Answer: Three claps, with a silence where the rest is. ## Worked examples ### Example 2 A group says taa taa taa for a pattern that has four crotchets, and they finish early. What is wrong? Working: 1. Four crotchets need four beats. 2. They have performed only three. Answer: They left out one taa. The pattern needs four steady sounds. PAGE 5: Lesson 1: The crotchet, taa, and the crotchet rest — Answers to practice ## Activity: Say taa and mark the rest You will need: A steady clap or a drum to keep the beat, The pattern written on the board: taa taa taa taa and taa taa (rest) taa 1. Tap a steady beat in fours while the class listens. 2. Say taa and clap once for each crotchet in taa taa taa taa. 3. Perform taa taa (rest) taa, opening the hands on the rest. 4. One group keeps the beat while the other group performs the pattern. 5. Swap, and listen for anyone who fills the rest with a clap. ## Practice 1. How long is a crotchet, and what is its French rhythm name? 2. What do you do on a crotchet rest? 3. How many beats are in the pattern taa (rest) taa taa? ## Answers to practice 1. A crotchet lasts one beat. Its French rhythm name is taa. 2. Stay silent for one beat. Do not clap or say taa. 3. Four beats: sound, silence, sound, sound. ## Summary • A crotchet lasts one beat and is called taa. • A crotchet rest is one beat of silence. • Interpret the pattern by keeping the beat steady. PAGE 6: Lesson 2: A pair of quavers and ta-te LESSON 2: A PAIR OF QUAVERS AND TA-TE ===================================== ## What you will learn • Explain that two quavers together last as long as one crotchet. • Say ta-te and clap two even sounds inside one beat. • Show a quaver rest as a shorter silence. Curriculum outcomes: a) interpret rhythmic patterns involving the crotchet, pair of quaver and their rests ## Introduction Some beats hold one sound. Some beats hold two quicker sounds. A pair of quavers is those two quicker sounds, and their French rhythm name is ta-te. ## Notes A **quaver** is a shorter note. It lasts for half a beat. Two quavers joined together are called a **pair of quavers**. The pair lasts for one beat, the same length as one crotchet. You can check that with numbers. If a crotchet is one whole beat, each quaver is half of that beat. A half plus a half makes one. So one pair of quavers fills the same time as one taa. ### The French rhythm name Say **ta-te** for a pair of quavers. The word has two parts, ta and te, and they share one beat equally. Clap twice, evenly, while you say ta-te once. Do not let te become longer than ta. Compare: - taa — one clap in the beat - ta-te — two equal claps in the beat A four-beat pattern can mix them: - taa, ta-te, taa, ta-te Count 1, 2, 3, 4. On beats 2 and 4 your hands clap twice. ### The symbol A pair of quavers is drawn as two filled note heads. Their stems are joined by a beam. The beam shows that the two notes belong together in one beat. A single quaver would have a flag instead of a shared beam. At this level you will read and write the pair. PAGE 7: Lesson 2: A pair of quavers and ta-te — Key words ### The quaver rest A **quaver rest** is a silence that lasts half a beat, the length of one quaver. Two quaver rests would fill one beat. When you are reading a pair of quavers, you will usually sing or clap both sounds. When a rest replaces a short sound, leave that half of the beat empty. In the patterns you compose later, a full crotchet rest is the silence you will use most. Know the quaver rest so you can name it when you see it: it is the shorter silence. Listen to a familiar song and find a place where the words move quickly, two syllables in one beat. Those syllables often fit ta-te. ## Key words • quaver — a note lasting half a beat • pair of quavers — two quavers joined together, lasting one beat in total • ta-te — the French rhythm name for a pair of quavers • quaver rest — a silence lasting half a beat ## Worked examples ### Example 1 How many crotchet beats do four pairs of quavers last? Working: 1. One pair of quavers lasts one beat. 2. Four pairs last four beats. Answer: Four beats. ## Worked examples ### Example 2 A learner claps ta-te as a long sound and a very short snap. What should be corrected? Working: 1. Ta and te share the beat equally. 2. One part must not steal time from the other. Answer: The two claps should be even, each taking half a beat. PAGE 8: Lesson 2: A pair of quavers and ta-te — Answers to practice ## Activity: Clap taa and ta-te You will need: Board with the pattern taa ta-te taa ta-te, Hands or a desk to tap 1. Clap and say four beats of taa. 2. Clap and say four beats of ta-te, two even sounds in each beat. 3. Combine them as taa ta-te taa ta-te while one learner taps the beat. 4. Sing a short familiar song and point to any word-pair that fits ta-te. 5. Leave one beat silent and name that silence as a crotchet rest. ## Practice 1. How long is one quaver, and how long is a pair of quavers? 2. What French rhythm name do you say for a pair of quavers? 3. How is a quaver rest different from a crotchet rest? ## Answers to practice 1. One quaver is half a beat. A pair of quavers lasts one beat, the same as a crotchet. 2. ta-te 3. A quaver rest is silent for half a beat. A crotchet rest is silent for a whole beat. ## Summary • Two quavers make a pair and last one beat. • Say ta-te and clap two even sounds. • A quaver rest is a half-beat silence. LESSON 3: INTERPRETING RHYTHMIC PATTERNS ======================================== ## What you will learn • Perform a written pattern of crotchets, pairs of quavers and rests. • Write a pattern you hear using French rhythm names. • Keep the beat when you perform with a group. Curriculum outcomes: a) interpret rhythmic patterns involving the crotchet, pair of quaver and their rests ## Introduction Reading a rhythm is like reading a sentence. Each symbol tells you whether to make one sound, two sounds or no sound, and the beat tells you when. ## Notes A rhythmic pattern becomes clear when you can move from the written signs to the sound, and from the sound back to the signs. PAGE 9: Lesson 3: Interpreting rhythmic patterns — From writing to sound ### From writing to sound 1. Look through the whole pattern before you start. 2. Mark the beats. Each taa is one beat. Each ta-te is one beat. Each crotchet rest is one beat. 3. Count a steady 1, 2, 3, 4. 4. Clap and say the French names. Open your hands on a rest. 5. Repeat until the group starts and stops together. Example: - taa | ta-te | taa | (rest) Beat 1 is one clap. Beat 2 is two claps. Beat 3 is one clap. Beat 4 is silence. Another example: - ta-te | ta-te | taa | taa The first two beats are quick pairs. The last two beats are longer single sounds. ### From sound to writing This is dictation. Someone claps a four-beat pattern. You listen once without writing. The second time, you write French rhythm names. - One sound in the beat: write taa - Two even sounds in the beat: write ta-te - A silent beat: write (rest) If you are unsure, ask for the pattern again. Guessing a rest as a note, or a ta-te as two separate taa notes, changes the length. Two taa notes would be two beats, but ta-te is only one. ### Performing together Choose a leader to count in. Watch the leader's hands. If you lose the place, listen for the rest, because the silence is easy to hear, and come in on the next sound. Do not speed up when the notes get quicker. Ta-te must still fit inside the same beat as taa. ## Key words • interpret — to perform a written rhythm correctly • dictation — writing down a rhythm you hear ## Worked examples ### Example 1 Write the French rhythm names for this performance: one clap, two quick claps, one clap, silence. Working: 1. One clap in a beat is taa. 2. Two quick equal claps in a beat are ta-te. 3. Silence for a beat is a rest. Answer: taa ta-te taa (rest) PAGE 10: Lesson 4: Free hand lettering: ascenders and descenders ## Worked examples ### Example 2 A learner writes taa taa for a beat that had two quick sounds. Why is that wrong? Working: 1. taa taa would last two beats. 2. Two quick sounds inside one beat are ta-te. Answer: The two sounds share one beat, so they should be written ta-te, not as two crotchets. ## Activity: Read and take dictation You will need: Four-beat patterns on the board, Exercise books 1. Clap and say a pattern from the board, including at least one rest. 2. In pairs, one learner claps a four-beat pattern using taa, ta-te and a rest. 3. The partner writes the French rhythm names, then claps them back. 4. Swap roles. 5. Perform one correct pattern together for the class. ## Practice 1. How many beats are in ta-te taa ta-te (rest)? 2. Write the French names for: two quick sounds, one sound, one sound, silence. 3. Why must ta-te not be played faster than the beat allows? ## Answers to practice 1. Four beats. 2. ta-te taa taa (rest) 3. The two sounds of ta-te have to fit inside one beat, the same length as one taa. ## Summary • Count the beats first, then clap and say the names. • Write taa for one sound, ta-te for two even sounds, and rest for a silent beat. • Two taa notes take longer than one ta-te. LESSON 4: FREE HAND LETTERING: ASCENDERS AND DESCENDERS ======================================================= ## What you will learn • Explain what ascenders and descenders are. • Write the lowercase alphabet in free hand between guidelines. • Sort letters into ascenders, descenders and middle letters. Curriculum outcomes: b) write the French rhythm taa and ta-te, names using free hand lettering ## Introduction Rhythm names have to be written clearly or a classmate will clap the wrong pattern. Free hand lettering means you form the letters yourself, with tall letters going up and descending letters going down. ## Notes **Free hand lettering** means writing letters by hand without tracing. The letters should be even, readable and formed in the right direction. ### Four lines Imagine four lines: - The **ascender line** at the top - The **x-height line** in the upper middle - The **baseline**, where most letters sit - The **descender line** at the bottom You can draw the baseline and the x-height line darker, and the other two lighter. ### Three families of lowercase letters - **Ascenders** rise above the x-height line towards the top line: b, d, f, h, k, l, t. - **Descenders** drop below the baseline: g, j, p, q, y. The letter f also drops below the baseline in many handwritings, so f can have both an ascender and a descender. - **Middle letters** stay between the baseline and the x-height line: a, c, e, i, m, n, o, r, s, u, v, w, x, z. The dot of i sits just above the x-height, but the body of i stays in the middle. PAGE 11: Lesson 4: Free hand lettering: ascenders and descenders — How to practise ### How to practise 1. Draw the guidelines lightly in pencil. 2. Write the alphabet in lowercase, not capitals. Capitals are all tall, so they do not show ascenders and descenders. 3. Keep middle letters the same height. A word looks uneven if one a is taller than the next. 4. Do not let descenders crash into the line of writing below. Leave space. 5. Write slowly. Free hand does not mean careless. This skill comes from English handwriting, and you will use it next for the rhythm names taa and ta-te. Those words need a clear t, a clear a and a clear e. ## Key words • free hand lettering — writing letters yourself without tracing • ascender — the part of a lowercase letter that rises above the x-height, as in b, d, h, k, l and t • descender — the part of a lowercase letter that goes below the baseline, as in g, j, p, q and y • baseline — the line on which the letters sit ## Worked examples ### Example 1 Which of these letters have ascenders: a, t, e, h, o? Working: 1. Ascenders go up: b, d, f, h, k, l, t. 2. a, e and o stay in the middle. Answer: t and h. ## Worked examples ### Example 2 A learner writes the word 'play' with the y sitting on the baseline like a v. What should change? Working: 1. y is a descender letter. 2. Its tail must go below the baseline. Answer: The tail of y should descend below the baseline. ## Activity: Write the lowercase alphabet You will need: Exercise book, Pencil, Ruler for guidelines 1. Draw guidelines: ascender line, x-height line, baseline and descender line. 2. Write the lowercase alphabet in free hand. 3. Underline every ascender letter. 4. Circle every descender letter. 5. Rewrite any letter a partner cannot read. PAGE 12: Lesson 4: Free hand lettering: ascenders and descenders — Answers to practice ## Practice 1. What is an ascender? 2. Name four letters with descenders. 3. Why do we write rhythm names in lowercase free hand rather than in capitals? ## Answers to practice 1. The part of a lowercase letter that rises above the x-height, as in b, d, h, k, l or t. 2. Any four of: f, g, j, p, q, y. 3. Lowercase letters show ascenders and descenders. Capitals are all tall, so that difference disappears. ## Summary • Free hand lettering is formed by you, between guidelines. • Ascenders go up; descenders go down; middle letters stay between the baseline and the x-height. • Even letters make rhythm names easy to read. LESSON 5: WRITING TAA AND TA-TE IN FREE HAND ============================================ ## What you will learn • Form the letters in taa and ta-te with the correct ascenders. • Space the hyphen in ta-te so the two parts stay one name. • Write a four-beat pattern neatly enough for a partner to clap. Curriculum outcomes: b) write the French rhythm taa and ta-te, names using free hand lettering ## Introduction The names taa and ta-te look simple, but a careless t can look like an l, and a missing hyphen can make ta-te look like two words. Clear lettering is part of writing rhythm. ## Notes Look at the letters you actually need. ### taa - **t** is an ascender. The stem rises through the x-height line. Cross the t on the x-height line, not up at the top and not down on the baseline. - **a** is a middle letter. Both a letters in taa should be the same height and sit on the baseline. - Leave a small, even gap between the letters. Do not join them so tightly that taa looks like a scribble. Say the word as you write it, so the three letters stay together as one sound-name: taa. ### ta-te - Again the **t** ascends and is crossed. - **a** and **e** are middle letters. The **e** needs its small opening so it does not look like a c or an o. - The **hyphen** sits in the middle of the x-height, between ta and te. It should be short and level. It shows that the two parts belong to one beat. - Do not write ta te as two separate words with a wide space. A reader might clap them as two crotchets. PAGE 13: Lesson 5: Writing taa and ta-te in free hand — Check with a partner ### A pattern on the page Write one four-beat pattern on a line, for example: taa ta-te taa taa Leave a wider space between beats than between the letters inside a word. That wider space helps the reader see four beats. If the pattern has a rest, write the word rest in the same free hand, or draw a small empty bracket, and still give it a beat of space. ### Check with a partner Pass your book to a partner. If the partner can clap what you wrote without asking you to explain, the lettering has done its work. If they hesitate, rewrite the unclear letter rather than blaming the reader. ## Key words • hyphen — the short level line in ta-te that joins the two parts of the name • x-height — the height of a middle letter such as a or e ## Worked examples ### Example 1 A learner writes 'taa' with the t the same height as the a. Which guideline has been missed? Working: 1. t is an ascender. 2. It must rise above the x-height line, while a stays on the middle height. Answer: The ascender line. The stem of t should rise above the height of a. ## Worked examples ### Example 2 Why can a missing hyphen in ta-te cause a wrong rhythm? Working: 1. The hyphen shows that ta and te are one name for one beat. 2. Without it, a reader may see two separate sounds and give them too much time. Answer: The reader may clap two separate notes instead of one pair of quavers in a single beat. ## Activity: Letter the rhythm names You will need: Exercise book, Pencil, Guidelines 1. Write the lowercase alphabet row again, then circle t, a and e. 2. Write taa five times, keeping both a letters the same height and the t tall. 3. Write ta-te five times, with a short hyphen in the middle. 4. Write the pattern taa ta-te taa ta-te with wider spaces between the beats. 5. Ask a partner to clap your line. Rewrite any word they cannot read. ## Practice 1. Which letter in taa has an ascender? 2. Where should the hyphen in ta-te sit? 3. Why is the space between beats wider than the space between letters inside taa? ## Answers to practice 1. t 2. In the middle of the x-height, between ta and te, short and level. 3. So the reader can see where each beat starts and can clap the pattern correctly. ## Summary • In taa and ta-te, t is tall and a and e stay in the middle. • The hyphen keeps ta-te as one name for one beat. • A partner should be able to clap what you have written. PAGE 14: Lesson 6: Note symbols on a monotone — Symbols to draw LESSON 6: NOTE SYMBOLS ON A MONOTONE ==================================== ## What you will learn • Draw a crotchet, a pair of quavers, a crotchet rest and a quaver rest. • Match taa to the crotchet and ta-te to the pair of quavers. • Write a short pattern on a single line. Curriculum outcomes: a) interpret rhythmic patterns involving the crotchet, pair of quaver and their rests ## Introduction French names tell a reader what to say. Note symbols tell a musician the same rhythm in pictures. On a monotone, those symbols sit on one line because the pitch is not changing. ## Notes A **monotone** here means a single line used for rhythm. Melody would need a staff of five lines to show high and low notes. Rhythm in this sub-strand can sit on one line, because every note is about length, not about a new pitch. ### Symbols to draw - **Crotchet:** a filled oval note head on the line, with a stem going up on the right side. French name: taa. One beat. - **Pair of quavers:** two filled note heads on the line, stems up, joined at the top by a beam. French name: ta-te. One beat altogether. - **Crotchet rest:** a symbol that sits in the beat but has no note head. It looks like a short vertical zigzag. One beat of silence. - **Quaver rest:** a shorter-rest symbol, like a slanted stem with a small hook, similar to a figure 7. Half a beat of silence. Draw the note heads the same size. Stems should be straight and about the same length. The beam on the quavers should be level so the two notes clearly belong together. ### Matching names and symbols Write the French name under the symbol: - under a crotchet, write taa - under a pair of quavers, write ta-te - under a crotchet rest, write rest Reading either row should produce the same claps. If the names and the symbols disagree, the pattern is not ready. PAGE 15: Lesson 6: Note symbols on a monotone — A four-beat line ### A four-beat line Draw the monotone across the page. Place four symbols on it, one for each beat. For example: crotchet, pair of quavers, crotchet, crotchet rest. Clap it. Then write taa ta-te taa (rest) underneath in free hand. Both ways of writing are useful. Dictation can use either one. [DIAGRAM] TYPE: svg ALT: Crotchet, pair of quavers, crotchet rest and quaver rest PAYLOAD: CAPTION: Crotchet, pair of quavers, crotchet rest and quaver rest [/DIAGRAM] PAGE 16: Lesson 6: Note symbols on a monotone — Symbols and names together ## Key words • monotone — a single line on which rhythm symbols are written when pitch is not being shown • note head — the oval part of a note • stem — the vertical line attached to a note head • beam — the line that joins the stems of a pair of quavers ## Worked examples ### Example 1 Which symbol matches the French name ta-te? Working: 1. taa matches one crotchet. 2. ta-te matches two quavers joined by a beam. Answer: A pair of quavers. ## Worked examples ### Example 2 A learner draws two crotchets for one beat of ta-te. What is the mistake in time? Working: 1. Each crotchet lasts one beat, so two crotchets last two beats. 2. ta-te must last only one beat. Answer: The two sounds have been given too much time. They should be a pair of quavers on one beat. ## Activity: Symbols and names together You will need: Exercise book, Pencil, Ruler 1. Draw a monotone and practise one crotchet, one pair of quavers, one crotchet rest and one quaver rest. 2. Label each symbol with taa, ta-te or rest. 3. Write a four-beat pattern in symbols and again in French names. 4. Swap books and clap your partner's symbols. 5. Correct any note head, stem or beam that your partner could not read. ## Practice 1. What is a monotone used for in this lesson? 2. Describe how a pair of quavers is drawn. 3. Which French name is written under a crotchet? ## Answers to practice 1. A single line on which rhythm symbols are written, because pitch is not being shown. 2. Two filled note heads with stems joined by a beam. 3. taa ## Summary • On a monotone, rhythm sits on one line. • taa is a crotchet; ta-te is a pair of quavers joined by a beam. • Rests have their own symbols and last for a silence, not a clap. LESSON 7: QUALITIES OF A GOOD RHYTHMIC PATTERN ============================================== ## What you will learn • State the three qualities of a good rhythmic pattern used in this sub-strand. • Explain variation, repetition and ending on a long note. • Judge a pattern against those qualities. Curriculum outcomes: c) describe the qualities of a good rhythmic pattern ## Introduction Not every string of notes makes a satisfying rhythm. A good pattern has variety, a part you can remember because it comes back, and a long note at the end so it feels finished. PAGE 17: Lesson 7: Qualities of a good rhythmic pattern — 3. Ending on a long note ## Notes When you compose, you choose notes on purpose. In this sub-strand a good rhythmic pattern has three qualities. ### 1. Variation of note values Variation means the pattern is not the same note again and again. Mix crotchets and pairs of quavers. A line of only taa taa taa taa is correct, but it has no variety. A line that uses taa and ta-te has short and long sounds. You may also include a rest, which varies sound with silence. Too much variation can be confusing. You do not need a new idea on every beat. Change enough for interest, and keep enough sameness for the ear to follow. ### 2. Repetition of patterns Repetition means a group of sounds happens more than once. The ear remembers a pattern that returns. For example, taa ta-te can be the idea, and the next beats can use taa ta-te again. Repetition is not the same as having no variation. You repeat a mixed idea, not only one note. ### 3. Ending on a long note End on a crotchet, the longer note, rather than on a quaver. Taa feels more finished than the quick te in the middle of ta-te. A rest can follow the final long note, but the last sound itself should be long. Think of the way a sentence ends with a full stop, not in the middle of a word. PAGE 18: Lesson 7: Qualities of a good rhythmic pattern — Comparing two patterns ### Comparing two patterns - Pattern A: taa taa taa taa. Easy, but no variation. - Pattern B: ta-te taa ta-te taa. It varies, it repeats ta-te taa, and it ends on a long note. This matches the three qualities. - Pattern C: taa ta-te taa ta-te. It varies and nearly repeats, but it ends on a short pair, so the ending is weaker. Use this checklist before you say a rhythm is finished. ## Key words • variation — using different note values, such as crotchets and pairs of quavers, in one pattern • repetition — using a group of sounds more than once so the pattern can be remembered • long note — in this sub-strand, a crotchet, which lasts longer than a quaver ## Worked examples ### Example 1 Does the pattern ta-te taa ta-te taa meet all three qualities? Explain. Working: 1. It uses both ta-te and taa, so the note values vary. 2. ta-te taa happens twice, so there is repetition. 3. The last sound is taa, a crotchet, which is a long note. Answer: Yes. It has variation, repetition and a long-note ending. ## Worked examples ### Example 2 The pattern taa ta-te ta-te ta-te ends on ta-te. Which quality is missing? Working: 1. The last sound should be a long note. 2. ta-te ends on a short quaver. Answer: It does not end on a long note. ## Activity: Use the checklist You will need: Three patterns written on the board, Exercise books 1. Discuss what variation, repetition and ending on a long note mean. 2. In groups, test each board pattern against the three qualities. 3. Decide which pattern is the strongest and give reasons. 4. Rewrite the weakest ending so that the pattern finishes on taa. 5. Clap the improved pattern together. ## Practice 1. Name the three qualities of a good rhythmic pattern in this sub-strand. 2. Why is taa taa taa taa a weak pattern even though it is easy to clap? 3. Why should a pattern end on a crotchet rather than on a pair of quavers? ## Answers to practice 1. Variation of note values, repetition of patterns, and ending on a long note. 2. It has no variation of note values. Every beat is the same. 3. A crotchet is the long note and makes the pattern feel finished. ## Summary • Vary crotchets and pairs of quavers. • Repeat an idea so it can be remembered. • End on a crotchet, the long note. PAGE 19: Lesson 8: Composing and enjoying rhythmic patterns LESSON 8: COMPOSING AND ENJOYING RHYTHMIC PATTERNS ================================================== ## What you will learn • Compose an original four-beat or eight-beat pattern using crotchets, pairs of quavers and rests. • Write it in French rhythm names and in note symbols. • Perform it and respond to others' patterns with respect. Curriculum outcomes: d) compose a rhythmic pattern involving a crochet, a pair of quavers and their rests; e) enjoy creating rhythmic patterns ## Introduction You now have the notes, the names, the symbols and a checklist. Composing means choosing your own order, writing it down and performing it so someone else can enjoy it too. ## Notes An original pattern is your own. You may learn from the examples in class, but do not copy a classmate's line and pretend it is yours. Integrity means the rhythm really comes from you. ### A way to compose 1. Decide on four beats first. You can add another four once the first bar works. 2. Use at least one taa and one ta-te, so the note values vary. 3. Repeat one pair of beats if you can, so the ear has something to remember. 4. Put a crotchet on the last sound. You may place a crotchet rest after it if you still have a beat to fill, but do not let the last sound be a quaver. 5. Include a rest only if you can still keep the pattern interesting. A rest counts as a full beat of silence. One pattern that follows the checklist is: - ta-te taa | ta-te taa It varies, it repeats, and it ends on taa. Your pattern should be different from this model. PAGE 20: Lesson 8: Composing and enjoying rhythmic patterns — Compose, write and share ### Write it twice Write the French names in free hand, with clear ascenders and hyphens. Then draw the same rhythm on a monotone: a crotchet for taa, a pair of quavers for ta-te, and a crotchet rest for a silent beat. Clap from the symbols to check that both versions match. ### Critique Perform for a small group. The listeners use the checklist: - Is there variation? - Is something repeated? - Does it end on a long note? - Are the names and symbols readable? Say what works before you suggest a change. Accept useful comments and correct your own writing if a symbol was unclear. You do not have to change a rhythm you like if it already meets the three qualities. Enjoy the sound. Clap, use a drum or a desk, and smile when the group stays together. Creating a rhythm is something you can do again with any song you know. ## Key words • compose — to create and write your own musical pattern • original — coming from you, not copied from someone else • critique — a fair comment that helps a composer improve ## Worked examples ### Example 1 Rewrite the ending of taa ta-te taa ta-te so that the pattern ends on a long note and still uses both note values. Working: 1. The final ta-te should become a long note, taa. 2. The earlier ta-te can stay so the variation remains. 3. One possible line is taa ta-te ta-te taa, which also repeats ta-te. Answer: taa ta-te ta-te taa ## Worked examples ### Example 2 A learner's symbols show four crotchets, but the French names say ta-te taa ta-te taa. What must be fixed? Working: 1. The two ways of writing must match. 2. ta-te has to be a pair of quavers, not a crotchet. Answer: The symbols should be changed to a pair of quavers, a crotchet, a pair of quavers and a crotchet. ## Activity: Compose, write and share You will need: Exercise book, Pencil, A drum or desk for performance 1. Compose your own four-beat pattern using taa, ta-te and, if you wish, a crotchet rest. 2. Check variation, repetition and a long-note ending. 3. Write the French names in free hand and the symbols on a monotone. 4. Perform for your group. 5. Give one respectful comment on someone else's rhythm and listen to the comment on yours. PAGE 21: Revision quiz ## Practice 1. Which notes and rests may you use in your composition? 2. Why must the French names and the note symbols match? 3. What should you say first when you critique a classmate's rhythm? ## Answers to practice 1. The crotchet, a pair of quavers, and their rests. 2. They are two ways of writing the same rhythm. If they disagree, a performer will not know which pattern you meant. 3. Something that works, before you suggest one respectful improvement. ## Summary • Compose with crotchets, pairs of quavers and rests. • Write the pattern as French names and as symbols. • Perform it, enjoy it and critique it fairly. REVISION QUIZ ============= Answer all the questions, then mark yourself on the Answers tab. 1. What is the French rhythm name for a crotchet? A. ta-te B. taa C. doh D. rest 2. How many claps are in taa ta-te (rest)? A. Two B. Three C. Four D. One 3. A pair of quavers lasts as long as which note? A. Two crotchets B. One crotchet C. A quaver rest only D. Four beats 4. What do you do when you see a crotchet rest? 5. Which letter in the word taa has an ascender? A. a B. t C. Both letters D. Neither letter 6. Why does ta-te need a hyphen? 7. Which letters are descenders? A. a, e, o B. b, d, t C. g, j, p, q, y D. m, n, s 8. Which symbol is ta-te? 9. Name the three qualities of a good rhythmic pattern. 10. Which pattern ends on a long note and uses variation? A. taa taa taa taa B. ta-te ta-te ta-te ta-te C. ta-te taa ta-te taa D. taa ta-te taa ta-te 11. A composition uses only the notes of this sub-strand and is the learner's own work. Which statement fits? A. It may use crotchets, pairs of quavers and their rests B. It must be copied from the board C. It must avoid rests D. It must end on ta-te 12. What makes creating rhythms enjoyable to share? PAGE 22: Quiz answers ANSWERS ======= 1. B. taa A crotchet lasts one beat and is called taa. 2. B. Three taa is one clap, ta-te is two claps, and the rest is silent: 1 + 2 + 0 = 3 claps. 3. B. One crotchet Each quaver is half a beat, so the pair lasts one beat, the same as a crotchet. 4. Stay silent for one whole beat. A rest is silence. A crotchet rest matches the length of taa. 5. B. t t rises above the x-height. The letter a is a middle letter. 6. The hyphen shows that ta and te are one name for one beat, not two separate words. Without the hyphen, a reader may clap two crotchets instead of a pair of quavers. 7. C. g, j, p, q, y Descenders go below the baseline. g, j, p, q and y do this. 8. A pair of quavers: two filled note heads joined by a beam. taa is a single crotchet. ta-te is the beamed pair. 9. Variation of note values, repetition of patterns, and ending on a long note. These are the composition techniques given for this sub-strand. 10. C. ta-te taa ta-te taa It mixes ta-te and taa, repeats that idea, and finishes on taa, a crotchet. 11. A. It may use crotchets, pairs of quavers and their rests The composition uses a crotchet, a pair of quavers and their rests, and it should be original. 12. You perform your own pattern, listen to others and give fair comments. Enjoyment grows when the class creates, claps and critiques with respect.