Simpedia

Kevin M., California

The secret here is the Rhythm diagram (in the Level 1 SHM), and the paper keypad. Make sure to slap the diagram onto the lap first, slowly saying it out loud. Once you have mastered that, have them play the L.H. on the keypad and say the rhythm aloud, then play the R.H. on the keypad saying the rhythm out loud, slowly. Next have him play two hands together eyes on the diagram playing on the key pad and saying the rhythm out loud. Once you have mastered this then you can go directly to the key board and play and say the rhythm out loud. This will also help set you up for Level 5 “Sho Fly” and the “Gaz” which both use Rhythm diagrams.

Gordon Harvey, Australia

Here’s another approach that’s never failed for me, and is applicable in lots of other situations. I would call it “micro-managing events”, where we get the magnifying glass out on the problem spot.

The specific issue is usually with the RH going from Eb to E – the “ty-Dum” of the phrase. So just have the student play that; just those two notes until they can play them comfortably in correct rhythm. Then add the LH that goes with the RH E, and repeat until comfortable. Then gradually reintroduce more notes from the phrase. I would usually first add the next RH note, C. Repeat until comfortable.

The really important moment is when you introduce the note before the problem spot, in this case the RH D. The student’s body has locked in to a particular rhythmic relationship between the D and the Eb, and we have to break the connection. To use a macabre analogy, it’s like a broken bone that has knitted incorrectly and must be re-broken. Not so painful in music – all we have to do is exaggerate the gap. Have the student play the RH D (and the corresponding LH, and previous event too if you like) and stop them for a moment before proceeding with the next event. They can say it: “Here’s Hump….[wait]….ty-Dump-ty”. After a while the body will disconnect from its old pattern and comfortably slot into the correct one, especially since you’ve already started preparing them by verbalising and clapping it.

It’s interesting that sometimes verbalising and clapping isn’t enough to retrain our playing. I guess that’s because the memory is stored in brain cells associated with the specific muscles that perform the task.

Mark M.. Meritt, New York

I’d add to what Gordon said here about the “wait” by noting something related that I’ve done.

In some cases where people had trouble with this rhythm, even with the idea of waiting, I borrowed from the B&I program by using the word “hickory” instead of “humpty” and made clear that “hick” is the “hum” or “dum” and “o” is a pause with the finger lifting off the keys and “ry” is the “ty.” So the sentence becomes “Here’s hickory dickory” and the performance becomes C D lift-finger-2-off-D Eb E lift-finger-4-off-E C.

That specificity can help, and then it becomes either possible, or sometimes not even necessary, to go back to “humpty dumpty.”

Jo D., Australia

I had an older adult who struggled with this too. I’m not sure how long it took but thank goodness we are over that hurdle now and into book 3 and its now the pipes with humpty again! We laughed about that at the lesson.
A few things we tried:
Play part of the phrase in RH and stop, white white black and say here’s humpty then play with all LH.
Listening to CD and playing along RH only. Also breaking down RH phrase and playing 3rd and 4th notes only with LH and say teedum. We tried everything and eventually it worked. Hope that makes sense and if not I’m happy to talk on the phone about it. Good luck

JoAnn G.

I ask my students who struggle with this to practice with the CD on the piano and on their keypads. Also, the same students usually struggle with swinging the LH in the first Jackson/Bishop St. blues arrangement. I ask them to skip while saying Humpty Dumpty that way they are forced to swing it as they say it. You can’t skip to a straight rhythm.

Unknown

Just to add what has worked for me. I usually explain the second note is “lazy”. We have to play the right hand as if we are dragging our feet a bit. I physically will stand up and show them. Generally once the student knows to play the RH D note lazy it solves the problem.
Another trick I do that gets some good laughs is dancing the rhythm. I do a robot dance and show them how when they play it wrong it sounds like a robot (doing a robot voice helps!). Next I do a really exaggerated hip swing dance (what I call the Jessica rabbit) to the Humpty Dumpty phrase. This gets some serious belly laughs from the parents and the students! It also reinforces that we are giving LIFE to the rhythm!!

Hilary C., Australia

After getting the written rhythm off the page –
One thought I had is for the teacher to tap the rhythm on the back of the RH with the LH, then get student to copy.
Another thought might be to have the student skip and say humpty- dumpty to get the rhythm into the body as we aim to do in the RR programme.
I call it the skipping rhythm.
And if a student just doesn’t get it initially I don’t stop at that point – I know they will be doing the playlist, listening to the CD and……..how long is a piece of string?

Nancy R., Idaho

Kylie’s original post about the Humpty rhythm voices a very common challenge. However, what we assume to be a “rhythm problem” is almost always a physical/technique issue, not a rhythm issue.
The problem occurs in Alma Mater Blues because of:
1. Playing (pushing) with the fingers.
2. ARMS not knowing or not experiencing where they spring “together”.

A more detailed explanation is beyond the scope of this ECL post but will be covered in our upcoming SM Technique Program TTM at length. However, below are steps you can use to help your students achieve an up-to-tempo, both hands performance of Alma Mater Blues within 1 to 2 weeks at the most.

1. Say these words up to tempo in the Humpty rhythm (the “Uh” will represent the 4th LH event of each measure – James Brown style 😉
“I Play Pi-an-o Uh!”

2. While speaking the entire phrase in correct rhythm, play ONLY BH and ONLY on the “an” syllable (RH 4 on E).
Use floating, springing arms and squishy palms. Notice the arms springing together on “an”.

3. While speaking the entire phrase in correct rhythm, play BH ONLY and ONLY on “I” “Play” and “an” using RH fingers 1, 2, 4.
Use floating, springing arms and squishy palms. Notice the arms springing together on these 3 syllables.

4. To Step #3, add the 4th LH event on “Uh”.

5. Still speaking the pattern in rhythm, “Tuck In” the remaining two solitary RH events on “Pi” with F3 and “o” with F1. BE CERTAIN THERE IS A QUICK ARM SPRING on “Pi” F3 AND “an” F4 !