There are many ways the exercises on the FLASHTRAX  DVD can be used to improve students ability to read rhythmically. This system is not a substitute for teaching students the basics of reading rhythms. However, as soon as they understand the concepts of whole-, half- and quarter-notes, they can start using FLASHTRAX  to reinforce the patterns they have learned – just like a teacher in the primary grades uses flashcards to help students learn to recognize at sight the words they have learned. That’s exactly what music teachers can do with FLASHTRAX , but instead of just reinforcing the pattern, this system reinforces reading the patterns consecutively in time – the way musicians have to read. As students become more proficient, it becomes necessary to explain more complex combinations of notes before asking the students to perform them in a FLASHTRAX exercise.

FLASHTRAX Teaching Strategies

1.      Counting – whatever system of counting you use – one-and-two-and-three-and-four-ee-and-uh, down-up-down-up, ta-tee-tee-tah-tah – any of these can be used to read the FLASHTRAX  exercises.

2.      Singing on a neutral syllable checks the understanding of longer notes, and, for wind instruments, can be used to reinforce the teacher’s preferred method of articulation; for example, when I do this in class, we use the syllable “DAH.”

NOTE: Adding simple “hand percussion” to either of the above techniques can help emphasize both the pulse and duple subdivision. For instance, using a shaker played in eighth-notes (down on the beat, up on the “and”) helps students maintain a steady pulse, gives them an audible reference point for “and” (unlike patting the foot) and helps them accurately place eighth- and sixteenth-notes, especially in syncopated patterns. Moreover, adding a physical motion has been shown to reinforce and improve retention of a mental concept. Shaker eggs can be purchased in bulk very inexpensively and are an excellent way to implement this strategy.

3.      Clapping or tapping the rhythms will quickly reveal the natural tendency of younger students to rush the tempo – of course, the rhythms will advance only in time with the recorded metronome and students will immediately see that they are completing the measure too quickly.

4.      Having brass or woodwind students perform the rhythms on a single pitch (vocalists are already doing this in no. 2) increases the level of mental activity, in that now they are not only reading the rhythms but are also required to focus on articulation style, tone production, and ensemble intonation.

5.      Play or sing on a major or minor scale, changing pitch every measure. Each exercise is sixteen measures; if students repeat the top note (or bottom note if starting at the top of the scale) this returns to the tonic for the final measure. This technique can even be used with younger students that might not know a full scale yet; once they know enough notes to play a diatonic tetrachord (the first four or last four notes of a major scale) they can change pitches every measure, not repeat any notes, and will create the pattern sol-la-ti-do-ti-la-sol-la-ti-do-ti-la-sol-la-ti-do. Vocalists can sing on a neutral syllable or use solfege.

6.      Using a major or minor scale, any easily-remembered pattern of notes (such as do-re-mi, sol-la-ti-do, do-re-mi-fa-sol), or a chromatic pattern of any length, have students change pitches with each note. It should be noted that most of the time the exercise won’t “come out even” but when it does there is usually a cheer from the students. 
NOTE:  This is a very challenging technique and one that can quickly get a rehearsal bogged down if it doesn’t go well. On the other hand, students react positively to being challenged and progress is more easily achieved when they enjoy working on fundamental exercises – and they enjoy FLASHTRAX  exercises when you vary the techniques.

7.      Assign a different scale tone or pitch to a particular note value or combination, such as:
whole – do, half – re, quarter – mi, two eighths – fa, etc. This requires a little more set-up time and, like no. 7, is very challenging. This is not a technique to use until students are very comfortable with working with FLASHTRAX ; this one and no. 7 can be used to occasionally “spice-up” a rhythmic reading session in rehearsal.

A basic starting point in using FLASHTRAX, after students are familiar with the system, takes about five minutes in the average rehearsal. One exercise using techniques 1,2 or 3, then one using technique 4 in instrumental groups, then one with technique 5. Use a different base exercise for each of these to keep students from “learning” the exercise; after all the object is for them to learn to recognize and read patterns at sight. Choose different tempos for each exercise as well. Note that shakers at the fast tempo can present difficulties, and are not effective in 6/8 exercises. Use the pause and reverse or forward buttons on the DVD player remote to display measures that are missed. Then return to the menu to restart the exercise.

Good teachers will find many more ways to incorporate these exercises into their rehearsal. Most importantly, keep it fun and interesting – rhythmic reading becomes a game when students are challenged to do more than just count individual measures aloud. If you find a way to use FLASHTRAX  that you would like to share with other users, post it as a comment to this article