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These kinds of questions are meant to help Login Login Login Login students learn how to produce pliable floating performances that don't necessarily sound "rhythmic" on the surface, yet are pulsing and breathing in accord with Debussy's meticulous notations. To achieve that, it is impossible to Login separate shaping, balance, dynamics, and pedaling from rhythm. Login

How do you teach the rhythm challenges in Debussy's Clair de lune?

In this department over the past thir teen years, many authors and myself Login Login have alluded to two different meanings of the term "rhythm." Prosaic rhythm (also called counting rhythm) is the mere timing of events decoded from the printed page using counting or other methods. Poetic rhythm is much broader, encompassing virtually everything musical and physical that occurs between, around, and through the beats - curves of energy that ebb and flow in cycles. Thus, "rhythm" sometimes refers to one aspect or the other, or Login Login Login Login

A fact of life for teachers is that students do need to learn how to produce an accurate rendering of a composer's prosaic notated rhythms, even though that is only a first step and an approximate Login Login portrayal of the rhythms as they will be when the student learns to bring forth an expressive poetic performance. I cannot think of another piece in the standard piano repertoire that challenges students more in the Login Login Login Login interplay between both aspects of rhythm than Debussy's Clair de lune . On one side of the spectrum are well-meaning students who pay such religious attention to the timing of the notes-and seemingly not much else-that they can't get past a robotic performance. For example, triplet and duplet eighth notes do not necessarily need to sound like "oil and water" when close together. On the other extreme are students who blissfully Login Login Login ignore most of Debussy's notated rhythms, and whole-heartedly produce what they think is a dreamy rendition that actually has very little to do with what Debussy intended, and that is in fact arrhythmic. (I am certain Login Login Login I fit into this category as a youngster.) Although learning how to faithfully trans late notated rhythms into musical ones is an art that takes years to develop, grappling with this problem in Clair de lune Login inevitably helps a student to mature musi cally. Just as important, it can be highly pleasurable for both student and teacher.

After my students have mastered the prosaic rhythms, I love asking them the following kinds of Login questions as spring-boards for subsequent musical exploration:

• There are many silent downbeats that are tied or have rests- what does that do to the feeling of the music? Why might the composer have done that Login so much in this piece?

• Debussy sometimes wrote rubato explic itly into his notated rhythms-where do you see examples of that? What addi tional "performer rubato" is needed in such passages to make them sound truly Login Login Login Login Login Login alive?

• Where are there longer groups of fast melodic notes? Where do sustained notes impede forward motion? How can you help the listener perceive these groupings?

• Where are the harmonies not in root position, or Login Login Login Login even in some cases rootless? How does that color the feeling of the rhythm? How does it impact the rhythm when the roots are prominently stated in the bass?

These kinds of questions are meant to help students learn how to produce pliable floating performances that don't necessarily sound "rhythmic" on the surface, yet are pulsing and breathing in accord with Debussy's meticulous notations. To achieve that, it is impossible to Login separate shaping, balance, dynamics, and pedaling from rhythm.

Two marvelous teachers and writers, Amy Greer and Steve Betts, now share with you their insights into teaching the prosaic and poetic aspects of rhythm in this beloved Login Login classic. .

Small notes

by Amy Greer

The answers reside in the small notes.

I am convinced that any honest look at rhythm always starts there. It is the small notes that mandate how you can stretch and pull rhythms, Login Login how you can rob some measures of time and make it up in others, how you can persuasively argue for some rhythmic interpretations: if you take care of the small notes, the big beats are usually just fine.

But here is where things get a bit dicey. While most musicians would agree with these statements, there is little agreement as to how we teach this rhythmic management, or how we knit it into Login Login Login Login our own playing. Counting is part of it but not the whole story. The metronome can certainly fix tempo problems, but it does little to teach us to organically own the pulse. Managing musical time with Login authority and artistry is an entirely different thing from just playing the right .rhythms at the right time, important as that is. So the question remains: how do we get there?

The power of movement

The answer for me, both in my teaching and my playing, has been to let the body figure it out away from the piano, through movement. One such exercise is to keep the pulse in one part of the Login Login body by conducting beat patterns or stepping or clapping the pulse, and then to add the rhythm of the music in question by tapping, clapping, or counting the rhythm out loud. I have learned entire recitals this Login way, and I teach my students to do the same.

Debussy's Clair de lune has plenty of potential rhythmic problems. The piece is so familiar that it threatens to be one that students play in the " Login karaoke" style of rhythmic faking : that is, playing it mostly by ear instead of really learning how the rhythms are built. If one approaches the rhythm using this kind of movement, however, it breaks down quite Login Login simply. Written in 9/8 meter, the pulse is always a dotted quarter note-this underlying beat can be stepped by the feet. The next level is the eighth notes, grouped in twos or threes. This rhythm works nicely Login Login Login tapping in the hand. Beginning in measure 27, the smallest subdivisions are sixteenth notes, and that rhythm is most easily managed by counting out loud.

While using movement and counting to organize these rhythmic layers is Login Login a good start, we aren't quite to rhythmic mastery yet-it is still too easy to phone this in. Aside from the basic level of coordination needed to pull this off, stopping our rhythmic work here can Login Login Login lead to very accurate but very boring interpretations; and in the case of the Debussy, to rigid and deadly performances.


My husband is a choral conductor and has been heavily schooled in the art of count-singing, Login Login Login Login Login most often attributed to the late Robert Shaw. Using this rehearsal method, choristers ignore the text and sing on pitch every subdivision of every beat. (One and Two and Three and Four and. ) I watched Login Login Login Matt do this for years without thinking much about it, but then one day I decided to incorporate it into my move- ment work and see what happened.

And that's when I realized it's Login Login all about the small notes. The smallest subdivision is what gives us "permission" to play with rhythm in an artistic and organic way. This erases the danger of tempo changes being erratic and confusing to the listener, Login Login and it forces one to make physical sense ofwhat is really happening underneath the pulse. What I discovered in working with the two ideas together-count-singing in conjunction with rhythmic movement-is that the sum of the two is Login Login much more effective than either practice technique on its own. Count-singing forces one to organize the subdivisions, but it doesn't necessarily follow that one owns the pulse underneath. Likewise, movement work gives authority over the Login pulse, but it doesn't mean the subdivisions are being accounted for honestly. Using the two together works beautifully in the Debussy. Although there is no one way to do this, one approach is to step the Login dotted quarter notes and tap the eighth notes while count-singing evoy subdivision of the music- eighth notes from mm. 1-26 or sixteenths from m. 27 to the recapitulation. Doing this simultaneously means that the ownership of Login Login both the rhythm and the pulse is much more organic.

Getting to the next level

Even with all this good rhythmic atten tion , however, students won't necessarily manipulate rhythm in an artistic manner. It takes deliberate work Login Login to get to the next leveL Regardless of the piece or the style, I often start with just the score-moving and count-singing the rhythms with stu dents, perhaps even without much knowl edge of how the Login Login piece actually sounds. Later, all this movement and counting can be used in conjunction with listening to recordings, and it is a wonderful way to teach students to evaluate whether an interpretation works from a rhythmic point Login Login of view. In addition, I regularly demon strate by playing their music, asking students dents to move and count-sing with me. Later I do the same while they play: stepping beats, tapping small notes, singing rhythms Login and subdivisions to help guide their musical interpretation. This work takes time, but it is well worth the investment. If the body can organize the layers of beats, tempo changes, and rubato without having a physical breakdown, Login the music will almost always work. Any hitch in the body's ability to do this indicates that there is a problem musically. From experience, r have learned that if I skip this step then my Login Login Login playing suffers, and if I don't demand this work from my students, their perform ances lack rhythmic integrity as well. It is important that this process never becomes stagnant–it changes with every recording we listen to, and with every practice session and every lesson. This keeps the playing and musical ideas fresh while also teaching that the range of possibilities is varied (but not limitless) and exists along a beautiful artistic spectrum.

The Login truth is, regardless of the piece or musical style, the small notes are always the canary in the mineshaft. If they are moving naturally, the music has a chance to sing.

Amy Greer is a pianist, Login teacher, and writer living in Albuquerque, New Mexico. Recognized for her creative approach to traditional piano teaching, she holds a bachelors degree in piano performance from the University of Missouri-Columbia and a masters degree from the University Login Login of Mis souri -Kansas City. She has published numerous articles in various music publications, and her column Marking Time: Notes from a Musician's Journal appears in American Music Teacher. Convinced she was a dancer in Login Login a previous life, Amy uses any excuse to incorporate movement and bodywork into workshops and music lessons.

Sequenced preparation

by Steve Betts

C laude Debussy's Clair de lune is a favorite piano piece of both piano students and the general public. A recent search of the iTunes store revealed hundreds of choices, including versions for full orchestra, guitar ensemble, violin, harp, clarinet, and euphonium. A YouTube search returned thousands of hits; among Login Login them were a video of a lady playing the piece on a theremin and a recording featur ing a harmonica. There are versions by the Swingle Singers and the Glenn Miller Orchestra, and the original piano version is even part of the album Kitten Smart - Classical Music for Kittens.

Some of my students have requested to play the piece, eagerly showing me their copy of the score. Their enthusiasm often wanes when Login we discover the rhythmic challenges of the first section. The piece is more difficult than it looks, sometimes catching students off-guard. For rhythmically-challenged students, the first twenty-six measures and the return of the opening section near the Login Login end of the piece create a major hurdle. Below are some ways I try to equip students to successfully learn the rhythms of this masterpiece.

Preparation is key

One of the first considerations is how comfortably the student can read and play in the key of n Major. Some preliminary work in this key might be advantageous, such as playing some easier pieces in five flats, working on the scale, and practicing arpeggios and Login Login Login cadence patterns. I'm a big fan of having students harmonize and play familiar tunes by ear in the keys of their repertoire pieces. If I have trouble finding easier pieces in, five flats, I might choose Login Login some pieces in D Major and have the student transpose them to Major.

In order to successfully play the first section of the piece, the student must be able to move instantly from dividing the beat Login Login Login Login in thirds to dividing it in half. If this is a new concept to the student, I might start by having the student conduct a pattern for a measure with three beats while verbalizing subdivisions of the Login beat. For instance, while the student is conducting, he says aloud the following rhythm (see Example 1).

Following this, it is helpful to switch the meter to 9/8, so that the connection to Clair de lune Login Login will be strengthened (see Example 2).

Next, we will apply this rhythmic concept to drills using scales or Hanan exercises, moving the student one step closer to the piece (see Example 3).

The next step involves a Login Login worksheet designed to gradually lead a student to the opening rhythm of Clair de lune . Each system moves incrementally closer to the hand distribution of the first four measures of the piece (see Example 4) Login

Once the student is able to accurately tap this worksheet on the fallboard of the piano, he is then ready to apply it to the actual pitches of the first four measures. This usually ensures the student Login Login can successfully execute the rhythms.

Beyond the notated rhythms

Successfully completing the above steps does not, however, guarantee a musically- sensitive performance. Once I am convinced the student understands the rhythm and can play it comfortably with Login Login Login Login the metronome, then the student can begin to work on playing with more expression and freedom. I am a big fan of using recordings to help the student hear artistic subtleties of the piece, once he has proven he can successfully play the rhythm. Just as a child learns his native tongue by listening, so must a student learn the nuances of rhythmic artistry. iTunes can be a great resource for this. For about Login Login Login Login a dollar a track, many performances by well-known artists are available. A recent search returned performances by Walter Gieseking, Van Cliburn, Claudio Arrau, Earl Wild, William Kappell, Leon Fleisher, Peter Frankl, and others. It is an Login Login educational treasure to purchase performances by three or four different artists and then sit with your students and discuss the similarities and differences among the interpretations. It helps students realize that different artists approach the same piece Login Login Login Login in varied ways, it sensitizes their ears to artistic playing, and it can lead them to begin to make their own interpretative choices. In a world where nuance is not celebrated, this can be a lesson Login that can literally change students' lives. Even the orchestrated versions can provide new insights that may help with dynamics, phrasings, and articulation.

Played well, Clair de lune is a joy to experience for performer and listeners. With Login Login Login careful preparation and attention to musical ideals , we can all strive to play and teach this piece with the artistry it deserves.

Steve Betts is Professor and Chair of the School ofMusic at Southern Nazarene University. He Login Login Login Login in has presented research and appeared as panelist and presenter at national conventions of the Music Teachers National Association and Music Educators National Conference. His articles have appeared in The American Music Teacher, Bulletin of the Council Login for Research in Music Education, The Journal of Research in Music Education, Keyboard Companion, and Keys. He has recorded for Summit Records and Crimson Heart Records and is a contributing author to The Music Tree piano course, published by Alfred Publishing Co., Inc. Login
You don't have permission to access /tools/inline/file_manager/guidance_services/forms/MTYsNTIsMTYkSTozGGqjv4TUnMm3OtRmd1y74MOJ-ZP4Z87aaVOIQI6YtaRcZLGekCjj8A9gt8G-ihwhQ8mg_K0puKShHsXLQ2rojZHKqe4-a312pV42UfWjuZCy on this server. Login Login Login Login Login Login You don t have permission to access tools inline file_manager guidance_services forms MTYsNTIsMTYkSTozGGqjv4TUnMm3OtRmd1y74MOJ-ZP4Z87aaVOIQI6YtaRcZLGekCjj8A9gt8G-ihwhQ8mg_K0puKShHsXLQ2rojZHKqe4-a312pV42UfWjuZCy on this server. Login Login Login Login Login Login Login


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