A movement employing steps and heel drops in specific patterns. The most common pattern is a leap forward to the right foot, which is followed by a step forward on the left foot. It is then followed by a dropping of the right and left heels respectively. (p. 1)
Therefore, the Change Over Cramproll entailed changing which foot began the step each time a new group of sixteenth notes was begun. The difference between this rhythm pattern (Figure 3.29) and that of the previous lesson was the substitution of a quarter rest following the four sixteenth note group. The importance of studying this rhythm pattern was for feeling the silence that followed the sixteenth note group, which was initially difficult for my ensembles to sing. The beat of rest for the Change Over Cramproll allowed time the students to pause and change their starting foot and, therefore, also to become more aware of the value of rest.
Figure 3.29. Four sixteenth notes followed by a quarter rest.
Cycle 2 Lesson 5 – Jumper
“Sing Ye to the Lord” (Figure 3.30) from Handel’s Israel in Egypt for soloist and double chorus and the “Sanctus” (Figure 3.31) from Mozart’s Coronation Mass shared the common rhythm of an eighth- and sixteenth-note combination followed by a quarter note, which was used for investigation in the final lesson of this cycle. The rationale for the inclusion of this rhythm pattern was for the students to gain a clearer perception of
and to be able to distinguish this pattern from the pattern of two sixteenth notes followed by an eighth note, which was presented in lesson two of this cycle.
Figure 3.30. Handel's "Sing Ye to the Lord" from Israel in Egypt.
Figure 3.31. Mozart's "Sanctus" from Coronation Mass.
The jumper was the tap combination, which best corresponded to the fifth lesson in this cycle and is commonly used a traveling step to the side; however, due to space constraints, I used it as a stationary step. Howell (2011) explains the jumper as, “A jump on both feet, hop on the right foot, heel on the right foot and step the left foot behind. It does travel to the side.” (p. 2). The repetition of the rhythm pattern (Figure 3.32) shows the combination executed twice.
Figure 3.32. Eighth and sixteenth note group ending with a quarter note repeated.
Cycle 3 Lesson 1 – Flap
My focus in the lessons over the course of the third cycle was a study of various dotted eighth note rhythms. The rhythm pattern for the opening lesson arose from rhythmic challenges when my choruses were preparing the “Soldiers’ Chorus” (Figure 3.33) from Verdi’s opera, Il Trovatore, as well as de Cormier’s arrangement of the work song, “Pick a Bale of Cotton” (Figure 3.34). The steady and percussive, repeated figure of the dotted eighth note followed by a sixteenth note pattern would, at times, dissolve into a jumbled and muddied blur of eighth notes. It was crucial that I included this
rhythm in the study to identify any methods that may improve the students’ perception of this pattern.
Figure 3.33. Verdi's "Soldiers' Chorus" from Il Trovatore.
The flap is a fundamental step using in tap dancing, which works perfectly for feeling a sense of the repeated dotted eighth and sixteenth note combination. This step can also be performed in a stationary position or can be used as a traveling step. Due to the space limitations in my classroom, I, again, requested that the students execute the step in place. The flap required the addition of an eighth note anacrusis to the measure and the pattern ending in a quarter note on beat four (Figure 3.35). This was of minor concern regarding the students’ rhythmic perception for when the pattern was repeated
more than one measure, the quarter became the same dotted figure on beat four as was originally intended. The meter was a particular focus in this lesson because it would be contrasted in the subsequent lesson, in simple, triple meter.
Figure 3.34. de Cormier's "Pick A Bale of Cotton."
Figure 3.35. Dotted eighth and sixteenth note pattern repeated.
Cycle 3 Lesson 2 – Waltz Clog
The “Domine Fili Unigenite” movement (Figure 3.36) from Vivaldi’s Gloria and Britten’s Rejoice in the Lamb (Figure 3.37) serve as the sources for the rhythm pattern examined in the second lesson. Similar to the dotted rhythmic figure looked at in the prior lesson, the cause for going over the pattern in this instance was to understand how this slightly modified rhythm is internalized in a triple versus quadruple meter.
Figure 3.36. Vivaldi's "Domine Fili Unigenite" from Gloria.
The tap step, waltz clog, used to teach this rhythm pattern may potentially aid the student in feeling the strong weight on the downbeat of the measure. Howell (2011) explains the waltz clog as, “A step on the right foot, followed by a shuffle on the left foot, which is completed with a ball change moving from the left foot to the right foot.” This tap combination was intended to help the student feel his body weight shift from one side to the other as the repeat of the pattern was begun. The pattern, shown in Figure 3.38, reflects the rhythm of the waltz clog. This rhythm pattern, like the rhythm in lesson one of this cycle, sounds like a continuously, repeating dotted eighth- and sixteenth-note pattern when the measure is performed in multiple successions. The objective of this lesson was to compare the sensation of the ongoing dotted figure between the contrasting triple and quadruple meters.
Figure 3.37. Britten's Rejoice in the Lamb.
Figure 3.38. Dotted eighth and sixteenth note group in simple, triple meter.
Cycle 3 Lesson 3 – Step Heel Flap Hop
The principal rhythm for the lesson three was based on two comparable models from the choral repertoire. The first is demonstrated in Mozart’s “Credo” (Figure 3.39) from the Coronation Mass featuring the rhythm pattern ending with an additional quarter note on beat four while Handel’s “Coronation Anthem No. 1,” subtitled “Zadok the Priest” (Figure 3.40), presents the rhythm pattern; however, in these instance, featuring a quarter rest on the fourth beat of the measure.
Figure 3.39. Mozart's "Credo" from Coronation Mass.
I selected the tap combination, Step Heel Flap Hop, because it accurately corresponded with the central rhythm pattern I anticipated including the study. The title of the tap combination suggests what steps are involved and the order in which they
Figure 3.40. Handel's "Zadok the Priest."
appear. The combination begins with a step on the right foot and is followed by placing the right heel on the floor. The step is then followed by a flap on the left foot and the combination is completed with a hop on the same foot. While both rhythm patterns (Figures 3.39 & 3.40) are represented in the choral repertoire and they share primarily the same rhythmic structure, I opted to teach the rhythm pattern for which there was a
matching tap combination. Therefore, the rhythm pattern (Figure 3.41) included in lesson three featured a quarter note followed by a dotted eighth and sixteenth note combination on beat two and ending with two quarter notes.
Figure 3.41. Step Heel Flap Hop rhythm pattern notated.
Cycle 3 Lesson 4 – Stomp Buck Time Step
The opening measures of “Domine Fili Unigenite” (Figure 3.42) from Vivaldi’s Gloria and the chorus, “But the Waters Overwhelmed Their Enemies” (Figure 3.43), from Handel’s Israel in Egypt provided prime, musical examples for including the next rhythm pattern in the study. It was my objective to use this lesson as a means of
improving the students’ perception of the value of the quarter notes, which framed the dotted eighth- and sixteenth-note combinations. In rehearsing these works with my choirs in earlier years, I found that the singers would shorten the values of the quarter notes to almost the length of an eighth note. Therefore, my aim was to help them lengthen their perception of the quarter notes.
Figure 3.42. Vivaldi's "Domine Fili Unigenite" from Gloria.
Figure 3.43. Handel's "But the Waters Overwhelmed Their Enemies" from Israel in Egypt.
The Stomp Buck Time Step was the tap combination that best complimented the rhythm pattern incorporated in this lesson. This particular tap combination, which is common among tap dancers, was not included in Rod Howell’s tap dance dictionary, therefore, I selected the definition provided by another tap dance expert and online tap dance instructor, Emily Larew. Larew (2008) explains the combination as, “A hop on the left foot, then a step on the right with a flap forward on the left because you just stepped forward on the right foot, next stepping on the left foot and a stomp on the right” (p. 1).
The tap combination traditionally begins on the offbeat of beat four with the stomp picking up to the first measure; however, I did not want to confuse the students with the eighth note anacrusis Therefore, I explained to the students how the combination
customarily is begun and that we would be omitting the initial anacrusis beat. Thus, the rhythm pattern (Figure 3.44) examined, consisting of two dotted eighth and sixteenth note combinations placed between two quarter notes, was intended to assist in the perception of heavier weight falling on the first and final quarter notes of the rhythm pattern. This, in turn, would potentially remind them to hold the quarter notes for their full values.
Figure 3.44. Notated rhythm pattern for the Stomp Buck Time Step.
Cycle 3 Lesson 5 – Flap Scoot
The rhythm pattern for the final lesson in this cycle was based on the opening measures of Handel’s “Lift Up Your Heads, O Ye Gates” (Figure 3.45) from the Messiah and Wagner’s “Bridal Chorus” (Figure 3.46) from the opera, Lohengrin. While
rehearsing both of these works, my former choir members would have a tendency to shorten the values of the quarter and dotted eighth notes. The purpose of this lesson to stretch the students’ perception of these note values and allow the sixteenth note to remain the quick figure in the rhythm pattern.
Figure 3.45. Handel's "Lift Up Your Heads, O Ye Gates" from Messiah.
Figure 3.46. Wagner's "Bridal Chorus" from Lohengrin.
The tap combination that most closely resembled this rhythm was the flap scoot;
This tap combination features the flap taught in the first lesson of this cycle and is followed by a scoot. The flap is executed on the right foot while the scoot is performed by dragging the left foot up behind the right foot and dropping the heel. I envisioned by moving the students’ body weight forward on the front step of the flap, as well as prolonging the drag portion of the scoot that the students would have a sharper
attentiveness to the extended sensation of the dotted eighth and quarter note values. The notation of the flap scoot (Figure 3.47); however, is slightly different than the concise rhythm of the quarter note and dotted eighth- and sixteenth note combination I had first pictured in the study. The rhythmic divergence added a sixteenth note anacrusis to the two measure pattern, repeated the rhythm pattern a second time and ended with a second quarter note on beat two of the subsequent measure.
Figure 3.47. Notated rhythm pattern of the flap scoot.
Cycle 4 Lesson 1 – Penguin
Cycle four encompassed an examination of triplets in various configurations.
Vaughan Williams’ “Blow! Bugles! Blow!” (Figure 3.48) from Dona Nobis Pacem, as well as the third movement, “We Join with the Earth” (Figure 3.49), from Brunner’s Earthsongs served as the starting points from which the opening lesson of cycle four was designed. I felt it would be beneficial to have the students study and experience how the main quarter note beats were subdivided into a repeated eighth note triplet pattern. Thus,
by learning to perceive the beat by way of subdividing the beat into continuous triplets, I believed my students would be more adept at maintaining the evenness of the triplets, as well as anticipating the entrance of the triplet figure when the first beat of the triplet was a rest value.
Figure 3.48. Vaughan Williams' "Blow! Bugles! Blow!" from Dona Nobis Pacem.
Figure 3.49. Brunner's "We Join with the Earth" from Earthsongs.
The Penguin was the nickname given to the tap combination accompanying this rhythm pattern in lesson one and is explained by Howell (2011) as, “Shuffle right (foot), dig right (heel), then shuffle left (foot), dig left (heel)” (p. 3). The foot pattern is
alternated twice on the right foot and twice on the left foot to complete the entire measure. The shift of weight from right to left side could potentially enable the student to feel the start of each beat of the measure. The rhythm pattern (Figure 3.50) depicts the continuous eighth note triplet studied with the Penguin combination.
Figure 3.50. Repeating eighth note triplet pattern.
Cycle 4 Lesson 2 – Buffalo
The study of triplets continued in lesson two with a concentration on the eighth note triplet followed by a quarter note based on Rutter’s “Agnus Dei” (Figure 3.51) from his Requiem and Britten’s Rejoice in the Lamb (Figure 3.52).
Figure 3.51. Rutter's "Agnus Dei" from Requiem.
I selected the Buffalo combination to teach this lesson because it precisely imitated the rhythm pattern in the lesson and provided an opportunity for the students to practice it continuously. This step combination may be used a traveling step to the side; however, I had the students initially execute the tap steps in place. Howell (2011) defines the Buffalo as, “A brush with the left foot forward, followed by a leap forward to the left foot. It is then followed by a shuffle forward on the right foot and ending with a leap back onto the right foot. This is a movement normally traveling to the side, but may
Figure 3.52. Britten's Rejoice in the Lamb.
be executed in place” (p. 1). The rhythm pattern (Figure 3.53) appears twice in order to correspond with the Buffalo combination used in teaching the pattern.
Figure 3.53. Eighth note triplet and quarter note rhythm pattern.
Cycle 4 Lesson 3 – Flap Heel
The choral music of Randall Thompson was the impetus for the study of the rhythm pattern in lesson three. The combination of three eighth note triplets followed by a quarter is a frequently appearing rhythm in Thompson’s music, which is represented in the following choral works: “A Girl’s Garden,” (Figure 3.54) from Frostiana and, “God is Gone Up with a Shout,” the third movement from A Feast of Praise (Figure 3.55).
Figure 3.54. Thompson's "A Girl's Garden" from Frostiana.
The tap step used to instruct this lesson was the flap heel. This foot combination enables the performer to change his weight on each triplet and stop the momentum on count four.
Howell (2011) explained the order of steps in the combinations as, “First, you brush forward on the ball (of the right foot), heel doesn’t hit, step on the ball of the foot (right) and drop the heel” (p. 1). This is then repeated with the left foot and the combination is executed again on the right foot with a final step forward on the right foot to complete the final beat of the measure. The rhythm pattern (Figure 3.56), which is the notated
Figure 3.55. Thompson's "God is Gone Up with a Shout" from A Feast of Praise.
rhythm that the students studied, adds an eighth note anacrusis to accommodate for the flap heel combination.
Figure 3.56. Rhythm featuring three eighth note triplets followed by a quarter note.
Cycle 4 Lesson 4 – Over the Top
I drew upon my experience as both a teacher and singer using Thompson’s “The Last Words of David” (Figure 3.57), as well as in the fourth movement, “Dirge for Two Veterans” (Figure 3.58), of Vaughan Williams’ Dona Nobis Pacem as the foundation for creating the fourth lesson in cycle four. While possessing a clear understanding of continuous eighth note triplets is advantageous, I found that singers, whether they be my
students or peers, experienced difficulty when confronted with the single instance of an eighth note triplet that appeared at the end of a measure. It was, therefore, my goal in this lesson to improve the students’ understanding and perception of the eighth note triplet without having this subdivision earlier in the measure.
Figure 3.57. Thompson's "The Last Words of David."
The closest tap combination, which features this solitary triplet figure on beat four and is preceded by steady quarter note values, was the Over the Top. The Over the Top is described by Larew (2008) as, “Front (right foot), (left foot) together, back (right foot), together (left foot), brush (right foot), heel (right heel digs into the floor), toe (tip of right toe digs into the floor), Next, you’re going to jump your left foot over the top of your right foot” (p. 1). The audible tap steps accentuate the quarter note beats while, in this instance, the three subdivisions of the eighth note triplet are internalized during the jumping or Over the Top section of the tap combination. In this lesson, the students were using both the audible and silent portions of the movement to embody the rhythm pattern.
Figure 3.58. Vaughan Williams' "Dirge for Two Veterans" from Dona Nobis Pacem.
The Over the Top combination included an additional rhythmic figure ahead of the focal pattern, as well as an additional a quarter note which followed the triplet. Therefore, the complete rhythm, which the students examined, is illustrated in Figure 3.59.
Figure 3.59. Over the Top rhythm notated, featuring the triplet figure on beat four.
Cycle 4 Lesson 5 – Stomple
When preparing the second movement of Vaughan Williams’ Dona Nobis Pacem (Figure 3.60) and Thompson’s “Say Ye to the Righteous” (Figure 3.61) from The
Peaceable Kingdom, I noticed difficulty for the singers when executing quarter note triplets. This rhythm pattern is used recurrently in choral repertoire from the 20th Century through that of the present day and it is inevitable that my ensembles will encounter this rhythm pattern frequently in their continued singing pursuits. Therefore, I felt it necessary that the final lesson in the cycle focusing on triplets should include a study of the quarter note triplet.
Figure 3.60. Second movement of Vaughan Williams' Dona Nobis Pacem.
Figure 3.61. Thompson's "Say Ye to the Righteous" from The Peaceable Kingdom.
The stomple, described by Howell (2011) as, “A stomp, spank, and step on one foot” (p. 4), is a tap combination that alternates the starting foot each time the step is executed. Therefore, in order to execute the rhythm pattern (Figure 3.62) studied, the students were required to perform the tap combination once on their right foot and then again on the left foot. The changing of feet could potentially benefit the students provided
they could more clearly comprehend when the second quarter note triplet had commenced because the starting foot had changed.
Figure 3.62. Quarter note triplet pattern.
Cycle 5 Lesson 1 – 3 Tap Riff Turn
The final cycle of the study examined rhythmic values from lessons two through four and reconfigured the patterns into new rhythmic combinations, pairing eighth-note and dotted eighth-note rhythms with triplets and sixteenth-note groups. The challenges faced by my choristers when learning the final, fugal movement, “Cum Sancto Spiritu,”
(Figure 3.63) of Vivaldi’s Gloria and the fourth movement, “Omnes generationes,” (Fig.
3.64) of Bach’s Magnificat provided a common rhythm pattern to begin the final study cycle.
Figure 3.63. Vivaldi's "Cum Sancto Spiritu" from Gloria.
Figure 3.64. Bach's "Omnes generationes" from Magnificat.
The 3 Tap Riff Turn most closely resembled the rhythm pattern being examined and is performed, as Larew (2008) explains it as, “A (step) right, (step) left, brush right, right heel (dig), left heel (dig)” (p. 1). The first two steps are performed while turning the body 180 degrees on each step, which completes the full turn portion of the combination.
This portion of the combination was, at the beginning of each lesson, executed stepping
This portion of the combination was, at the beginning of each lesson, executed stepping