ITG 2003 Scott Johnston

Rhythm Blocks are core rhythmic patterns that can be used to simplify rhythm - from the basic to the extremely complex. This discussion will define the blocks, show how they can be located in music, and discuss ways that they can helpful in teaching and in performing. Topics will include simple and compound rhythm, ties, rests, plug-ins, and borrowed rhythms. Additionally, real life musical examples will be explored to show the practical use of the concepts.

Joel Treybig, reporter

When Thomas Stevens told a 27-year-old student years ago that his rhythm needed some work, he had no idea that this criticism would cause the student to mature and bring to fruition a highly developed technique for teaching and learning rhythms! Nevertheless, it was this single experience that prompted today’s lecturer, professor Scott Johnston, to develop his concepts of “Rhythm Blocks.” This concept explores the structure of rhythms and essentially reduces them down into simpler, more understandable “blocks.” When this approach is taken to the unlimited number of rhythmic ideas used by composers, one discovers that there are actually a finite number of rhythms on which all others are actually based and that number is 41.

Johnston quickly and easily got the audience to reassess what they thought about meters, ties and rests by using powerpoint to show some of the preliminary concepts of how the system of rhythm blocks worked. Starting with simple subdivisions, Johnston went on to explain subsets of these blocks that are made up of more complex versions of the blocks by adding one or more ties to the existing rhythms. He also explained his concept of “plug-ins,” which is a complex rhythm that can be “plugged in” to the existing 41-block structure.

Another point that Johnston made was that rests could confuse the player. By recognizing that there are two basic types of rest, one can help to organize their thought process. Duration rests alter the length of the note, and such rests are not as important as downbeat rests because the rhythmic action still occurs in the same place. Conversely, downbeat rests occur on strong beats in music, and move exactly where a note will begin. Johnston again used powerpoint to show how the blocks can be used to clarify both types of rests.

To explain the culmination of these concepts, Johnston explained how blocks can be used in three different and rhythmically complex works: excerpts from Dufresne’s Etude no. 17, Charlier’s Etude No. 20, and Etler’s Brass Quintet. He used blocks and plug-ins to show how to simplify counting in these works that use simple and compound meters. This demonstration drove home the idea that these rhythm blocks will help not only the student, but are of use to professional players at all levels.

The wisdom in using this system in playing and teaching quickly became apparent. To tell a player simply to “subdivide” may not be enough information – this system of blocks helps any player know exactly how to subdivide. Scott Johnston did a wonderful job of getting these ideas across to the audience in a short amount of time, and is to be applauded for his insightful and witty presentation of these ideas.