Introduction to rhythmic studies

The core of the Rhythmic Studies is drawn from this work:

George A. Wedge, Advanced Ear-Training and Sight-Singing As Applied to the Study of Harmony: A Continuation of the Practical and Coordinated Course for Schools and Private Study (New York: G. Schirmer, Inc. 1922).

Wedge was an outstanding pedagogue who included in his text several interesting methods of mastering rhythms. One of the primary methods was to sing major scales descending and ascending to the given rhythmic patterns. Figures 1 and 2 supply examples in the text (Wedge, p. 10):

Occasionally in the studies Wedge supplies designations for pitches. Take for example the following (Wedge, p. 90):

The “6, 7, and 8” in line 2 indicate pitches La, Ti, Do. Line 3 reads “5, 3” indicating Sol, Mi.

Additionally the Wedge studies could be performed in ensemble exercises by combining select lines of the study. For instance, students could each tap or clap simultaneously these two parts (Wedge, p. 108):

Students should be encouraged to subdivide all rhythmic studies in order to better develop rhythmic precision.