ASSOCIATION

Ateacher plays a pa ern and the students clap it; student A draws a line through space and student B mirrors it; a class sings in unison while clapping the rhythm of the song they are singing. ese are all examples of association experiences in a class.

Associations provide foundational listening and movement experiences for students; they are building blocks. A er teaching college students for over thirty years, I know that students love demanding physical and musical exercises, but I’ve also learned that simplicity ma ers; associations provide simplicity. I use associations in multiple ways in a class.

To introduce a new topic

When teaching students who are experiencing eurhythmics for the first time, I use association between the piano and their stepping or clapping to introduce the beat in the simplest, most direct way, playing only what students will clap or step. is builds confidence and sets the stage for success while simultaneously teaching students that the piano provides structure and guidance in the class.

I o en use the same technique when introducing a new topic; my goal is for students to experience a series of small successes as we gradually build to the big challenge over the course of a lesson.

Imagine your lesson plan or long-term goal includes using a follow in class. My mo o is “every good follow begins with a follow.” In a typical follow, students step a rhythm or pa ern, and the teacher improvises over it with increasing complexity, using syncopations, hemiola, character changes, and other musical elements. Students need to hang on to the rhythm, stepping accurately and musically throughout the exercise.

I prepare students for successfully executing a follow by playing exactly what the class steps, first in a simple, pure way, gradually adding di erent dynamics, characters, etc., but still playing only the rhythm. is helps hone their listening skills and adjust to changes in tempo and character without added rhythmic complexity.

Sometimes, students need ideas to spur their movement vocabulary, and I use an association exercise to lead them down a new path. Most o en this is as simple as asking students to imitate a gesture I create. (Because the association is with gestures, I refer to this as a physical association rather than an association between a musical element.)

Eventually, I say, “Ok, you’re on your own,” or “Pair with a friend; choose a leader and copy what you see.” I then go back to the piano to improvise as they continue exploring.