Modular Phonetic Rhythm represents a significant advance in the teaching and application of rhythm. Eliminating many inefficient aspects of rhythm education, Modular Phonetic Rhythm streamlines the traditional educational approach, resulting in a reflexive reaction to rhythm.
Jazz guitarists have never had a way to organize the subject of rhythm in a way that would systematically benefit their solos and their comping. Modular Phonetic Rhythm offers a solution.
The concept of rhythm is simple. It’s the duration of a note, a chord or a pattern. Rhythm is integrated into every facet of music. A melody is a sequence of pitches with rhythm. A chord progression is a sequence of chords with rhythm. Rhythm impacts Melody, Harmony and even Lyrics. It’s also a subject in and of itself. Rhythm is so intuitive, that it’s often overlooked as an independent topic of study.
The difficulty in the study of rhythm has always been its abstract nature – and its mathematical approach. Rhythm has traditionally been taught as a function of math, particularly fractions. Though accurate, this approach has missed one of the most fundamental facts of rhythm. Rhythm is a sonic language and is, as such, phonetic not mathematical in nature. The average student exposed to the math orientation of rhythm has rarely absorbed the essence of rhythm. He or she rarely becomes proficient at sight reading or using rhythm effectively. This often remains a lifetime barrier to the developing musician.
Though rhythm can be explained in mathematical terms, this approach does not give you a practical command of the sounds of the rhythms. Rhythm is a series of sounds! How can these sounds be organized?
“The Modular Phonetic Rhythm represents a fresh and innovative approach that helps bring the abstract into focus, examining the core of the real, linguistically aligned processes actually involved in reading, understanding, interpreting, and executing rhythm.”
- Arthur Bernstein, Head of Music Department, Liverpool Institute for the Performing Arts
This approach to rhythm is based on the concept of Modular Phonetics. Modular refers to the interchangeability of rhythm syllables and Phonetics refers to the sound of the rhythm syllables. Phonics has always been the key to sound in language. Without phonics, we could not pronounce words. We could not hear the sound of the words. Without Modular Phonetics, we can not hear the sound of rhythm. Without the sound of rhythm, it is difficult to use.
There is a strong correlation between the ability to spell and strong fundamentals in phonics. Phonetic skills allow us to “sound out” words, even words that we’ve never seen before! We understand the principle of sound as it applies to phonetic combinations. The “sight” of the letter combination triggers a reflexive “sound” reaction. If rhythm could be broken down into a system of phonetic units similar to the syllables of language, then rhythm would become an easily recognized and applied aural language.
To illustrate, take the word umbrella. This word could be expressed as 8 letters or as 3 syllables. Treating the word as 8 letters is similar to traditional rhythm teaching. A rhythm pattern could be described as a note lasting one half beat followed by a note lasting one beat followed by a note lasting one half beat. The “sound” of the rhythm is not part of this equation. But using the syllable parallel (umbrella has 3 syllables), the rhythm can be grouped into a phonetic syllable that does have a sound. Now, rhythm can be reproduced in the preferable “eye-ear-hand reflex” – the eye sees it – the ear hears it – the hands execute it!
Modular Phonetic Rhythm is based on 24 basic rhythm syllables. These rhythm syllables vary in length from 1 note to 6 notes and from 1 beat to 4 beats. The system is divided into 4 levels based on the subdivision of the beat. Level I does not subdivide the beat. This is the level in which all notes are struck only on the downbeat. Level II divides the beat into 2 parts. Level III divides the beat into 3 parts. Level IV divides the beat into 4 parts. The levels do not express progressive difficulty, just progressive subdivisions of the beat.
As you begin to use this material, you will find an expansive, new vocabulary which you can then apply directly to your jazz guitar improvisation, your composition and to your accompaniment.
How does this differ from Konokol?
Thanks
Jason
Excellent question Jason. There are so many differences that I would have to write another book to document them all. For our purposes, I’ll outline the major issues. Konokol is a more complex “system” of rhythm organization. It is non Western and premised on the complex rhythms of India. Modular Phonetics is geared to the more standardized rhythmic notations of jazz, popular music, bebop, big band etc. Konokol integrates accents into their rhythms where as Modular Phonetics leaves the accents to the discretion of the performer. Konokol uses percussive like sounds such as Ta – Ki – Ta Ta – Ka – Dam – Ka Nam. Modular Phonetics uses 24 very short neutral “syllables” of Rhythm as the basis for its organization. This approach will help improve a player’s sight reading, notation and application to improvisation and accompaniment. For more information, visit http://www.ChuckAndersonJazzGuitar.com. There is also information at http://www.ModularPhoneticRhythm.com
Chuck Anderson’s Modular Phonetic Rhythm system is a comprehensive and a clear presentation of the topic of rhythm. It is similar to the development of language, in that the eye and the hand will learn to recognize and to duplicate the “sound” of each level of rhythm, just as the ear and the voice learn the phonetic units of language. Each rhythmic variation possible within a level is then understood as a variation of an archtype group of sounds, rhythmically speaking. This allows for one to recognize and duplicate many variations of an essential sound. This approach permits one to identify the rhythmic level of any rhythm immediately; it also allows one to avoid viewing many simple (or complex) variations of any level as something new and different; rather it enhances one’s understanding that many variations are just that – a variation of something already known and mastered. This system will develop a natural understanding of rhythmic figures as related and easily understood; this eliminates the need to view every rhythmic event as something new and unknown. Bravo! This approach is a must for both the performer and for the teacher. Thanks Chuck!