A world full of rhythm by Mary Cohen

a world full
of rhythm
by Mary Cohen
Rhythmic! Whacky! Engaging! Can classical music really be like this for beginner string
players? Of course it can! Alongside the fun and games, classical music itself should be an
essential part of the mix at the earliest stages, especially in a culture where it is becoming
sidelined. We live in a world full of vibrant rhythm – it leaks out of earphones everywhere. So
first lessons should be rhythmic – and you can easily introduce open strings using rhythms
that fit with well-known classical tunes. Fragments of pop and jazz rhythms can be found in
Bach, Telemann and Vivaldi!
How to teach rhythm effectively? Simple – just do lots of it. In the earliest stages it’s easy
to use words to reinforce rhythms: a good start to the lesson is inventing ‘News of the Day’
rhythms, using a phrase like ‘I had pizza for lunch today’. Straight or syncopated, begin with
open strings; as skills progress try harmonics or col legno, sul ponticello or even the squeaky
bits of string behind the bridge. As finger patterns are established, move on to half scales,
full scales and arpeggios. (A fun way of sneaking some musical general knowledge into the
lessons is to imagine what Mozart, Beethoven or other classical composers might have had
for their lunch.) Years of observation has convinced me that pupils need to learn to sightsay
the rhythm of new pieces. It doesn’t matter which rhythm-name scheme you use as
long as it is consistent. (All the material in the Superseries is designed to be introduced in
this way.) Pupils who learn rhythm as a language, and can use rhythm names on autopilot,
are brilliant at duets and chamber music from a very early stage. It’s fun to get intermediate
pupils to play some Vivaldi to a beginner class and then for everyone to sit down
together and ‘rhythm sing’ bits of it. You only need about six different
rhythm names to do a big chunk of the A minor double
concerto – a great motivator for pupils. Another
winner is singing rhythm names to part of
Mozart’s Symphony No. 40 – a real
tongue twister if done up
to speed.

Much of my time is spent doing chamber music and accompanying pupils from the piano,
so they are contributing to a ‘greater picture’. But I also give them material that is complete
with just one line. This completeness is an important ingredient of the Bags of… series
(eight books of fun solo pieces for violin, viola and cello that range from beginner to grade
4). As well as strong tunes, the pieces are full of patterns designed to encourage rhythmic
playing and confident reading skills from the beginning – and they also work really well
with late starters and timid adult re-starters.
we live in a world full of vibrant rhythm
Rhythmic confidence produces fluent musical playing that gives pleasure to performer and
listener alike. And the wonderful bonus is that when pupils focus on getting the rhythm
right they often play better in tune!
Mary Cohen
studied violin, piano, chamber music
and composition at the Royal College of Music, then spent several
years in the City of Birmingham Symphony Orchestra before
setting up a full-time teaching practice. Mary has an international
reputation as an educational composer, with over 60 titles in
print. Many of her publications centre around the technical
requirements specific to particular stages of string playing, but
always in the context of a ‘real’ musical experience.
Mary enjoys writing news blogs for the Faber Music website, and
also posts photos and tips on her Mary’s Music Cupboard Facebook
page.