Rhythm and Tonal Syllables mirror the musical mind, compelling audiation to reflect on itself.  The more the musical mind engages with its reflection, the more aware it becomes of its own knowing and behavioral patterns.  The greater the awareness, the greater command the musical mind has of its own rhythm and tonal understanding.

The narcissistic musical mind, with its inordinate fascination with its own reflection, grasps the nature of meter and of tonality and the idiosyncrasies within each meter and each tonality, and then begins to generalize, apprehending the sameness in relationships across meters and across tonalities.  It is then ready to apply its powerful knowing to music reading.  

Facilitating growth of the musical mind through this journey with syllables is a two-fold process.  The first is through Immersion and Interactivity in the various meters and tonalities with syllables.  The second provides opportunities for the musical mind to compare meters or tonalities, so it can discover that the various meters are different from each other and that the various tonalities are different from each other; and then opportunities for the musical mind to become aware of rhythmic functions within a meter and melodic functions within a tonality, ultimately discovering the sameness across meters and across tonalities.

The musical mind engages in the process of discrimination between and among meters and tonalities through sound, not through the thinking mind’s well-meaning theoretical explanations.  The more skilled we become in setting up opportunities for the musical mind to compare and contrast sound, without the encumbrance of language, the more the musical mind grows in competence.