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Funny, I had a guitar student this weekend and I taught him exactly this practice! He was good, so we took it to the next stage by introducing also triad rhythms. And the third stage is to implement the gained rhythm knowledge as up and down strokes with the pick. To teach that I like to ask them to not play a specific note on the guitar, simply pick a muted string and be aware of the rhythm. While following the metronome beat the student shall work on changing his picking frequency: 16ths leading into 8th triads, jumping through maybe just a half bar of 32ds etc etc. The goal is to build up intuitive reflexes to freely morph between these five or six rhythm frequencies. When applying this practice for the flute I work with vocal like tongue phrasing for rhythmatized attack. I always teach that rhythm is way more important to, initially, master than tonality, if striving for expressive and creative playing. per On Wed, Aug 20, 2008 at 7:39 AM, ^|>^m <will.it.go.round@gmail.com> wrote: > One thing I like to do when I teach beginner guitar lessons is play a > recorded beat with a base line, say, in the key of C and then have the > student "solo" using a C and Bb. I emphasize tempo and demonstrate how > there are many variations one can achieve with just two tones. With more > people in the mix you could add a 4th, 5th, maj 3rd. > > Sometimes we put down the guitar and I'll stomp out a 1/4 note tempo >with my > feet and then drum rhythms on my thighs. I have them produce 1/4th, >1/8th, > or 1/16th note variations. > > They naturally start producing patterns that modulate every 4 or 8 >measures, > just like what they hear in popular music. > > They're not even close to mastering a scale on the fretboard, but they >can > keep time with their hands or just two notes, use musical creativity, and > jam out. > > ^|>^m > -- Greetings from Sweden Per Boysen www.boysen.se (Swedish) www.looproom.com (international) www.myspace.com/perboysen www.stockholm-athens.com