Rhythm notation can present each meter in different styles of rhythm writing. Here are three common representations of the Triple meter pattern your child knows in Rhythm Syllables as, “Du da di du, du ta da ta di ta du.”
Each style of rhythm writing represents the relationship between Macro and Micro beats that defines the meter, and their relation to divisions of Micro beats. Each style of rhythm notation is consistent with the aural—the sound of the rhythm that is being notated. As demonstrated in the examples above, sound is not notated by absolute note values. Whatever we might define as a quarter note or eighth note really has no place in sound. Notation is based on relationships in sound, not on the physical characteristics or mathematical definitions of note values. All of the examples above can represent “Du da di du, du ta da ta di ta du.”
Why might a composer choose one style of rhythm notation over another? Sometimes the choice is made for clarity. A slow or fast tempo or a song with many notes can be easier to read in one style or another. A child can learn to read the various styles of rhythm notation by attending to aural relationships within a meter rather than physical characteristics of notes. A child who has developed an aural sense of meter has no trouble “making sense” of different styles of rhythm writing—unless someone burdens the child with physical characteristics or mathematic definitions of note values.
