Second Edition STUDYING RHYTHM ANNE CAROTHERS HALL Wifrid Laurier University & Prentice Hall, Upper Saddle River, New Jersey 07458‘This book is dedicated to the memory of Wallace Berry Acaushons Bator: Bud Theven ‘Asia Bator: Mation Gotlieb tral sistant Ginna Carndonna Eitriapredaction supervision: Barbara Chisteaberry CCovor Designer: Bruce Kenselar Manufactring Buyer: Bob Anderson ‘This book was set in 10/12 Times Roman by NK Graphics, In. and Music Publications ‘Technologies and was printed and bound by Courier Westford, The cover was printed by Phoenix Color Corp, 1998, 1989 by Prentice-Hall, In. Upper Saddle River, New Jersey 07458 All sights reserved, No part of his book may be reproduced in any form or by ny means, ‘without pereson in writing fom th pblishe. Printed inthe United Stats of America wos ISBN O-23-b14520-5 Prentice-Hall International (UO) Limite, London Prentie-Hall of Ansa Prentice Hall of Canad, Protice Hall Hispanoamercana, S.A, Meco Prentice Hall of India Private Limited, New Del Prentice Hal of Japan, Ine, Tokyo Prentice-Hall Asia Pte Lid, Singapore Bditora Prentice-Hall do Brasil La, Rio de Janeiro CONTENTS: Introduction 7 1. Two-FourMeter 7 2. Three-Four Meter 12 3. Four-Four Meter 16 4, Dotted Quarters and Tied Eighths in Simple Meter 20 5. Six-Eight Meter 23 . 6. Sixteenth-Notes in Simple Meter 27 7. Dotted Eighths in Simple Meter 31 8. Sixteenth-Notes in Six-Eight Meter 35 9. More Rests and Syncopation in Simple Meter 40 10, More Rests and Syncopation in Six-Eight Meter 43 11, Nine-Bight and Twelve-Eight Meter 48 12, Triplets 57 13, Two Against Three 56 14, Half-Note Beat 62 15. Dotted-Half-Note Beat 66hy Contents 16. Eighth-Note Beat 70 17. Dotted-Bighth-Note Beat 74 18, Small Subdivisions 77 19. Changing Simple Meter 87 20. Changing Compound Meter 85 21. Changing Between Simple and Compound Meter With the Division Constant 88 22, Changing Between Simple and Compound Meter With the Beat Constant 93 23. Three Notes in Two Beats; Two Notes in Three Beats 97 24, Four Against Three 102 25, Four Notes in Three Beats; Three Notes in Four Beats 107 26. Quintuplets 1/2 27, Five-Bight Meter 117 28. More Meters With Unequal Beats 12/ 29. Changing Meters With Unequal Beats 125 30. More Cross-Rhythms 130 31. Tempo Modulation 135 INTRODUCTION ‘This book contains extended rhythmic studies and preparatory exercises. They a intended to help students learn to perform the rhythmic pattems most frequently encountered in Western art music. Familiarity with rhythmic patterns, along with @ habit of understanding rhythm in phrase-length structures, should facilitate actual ma. sical performance, in which we must be concemed with all the parameters of music, ‘The modest aim of this book explains why there are no studies involving pitch and only a few with dynamic indications ‘The exercises and studies are meant to be sung; where there isa second pat, i may be tapped or clapped. Singing is best because, unlike speaking, it promotes the ‘conviction that we are engaged in a musical activity, and, unlike clapping, it allows us {o give the notes their full durations, rather than to perform only the pattern of attacks, ‘The exercises, identified by numbers following the chapter number (1.1, 3.2), serve as preparation for the sues that follow them. They consist of single measures, of paits of measures, separated by whole-measure rests. Metronome markings for an ‘exercise suggest a range of tempi possible for the performance of al its segments, but individual segments may be performed faster. Bach segment of an exercise should be repeated several times, until itis easy, before we proceed to the next segment. The ability to epeat a pattem is evidence that we camperform it; unless we can perform a pattem three or four times in succession, we have not conquered it. Spending enough time on a segment to memorize itis a good way to ensure thatthe rhythmic pattern has been completely grasped. These patterns are the equivalent of words in a hythmic vo. ness is just one. Duration makes accent, as longer note is emphasized by its length, 0 these two basie factors of rhythm are not separable, ‘The rhythm in this book, like the rhythm of most Wester art music, is metrical ‘Meter is the grouping by accent of normally regular pulses (beats) into measures be- inning with stronger accents. Within the measure, there is a hierarchy of beats and parts of beats, in that some beats are stronger than others, and beats are stronger than. half-beats, which are in turn stronger than quarter-beats, etc. When rhythm is metrical, the rhythmic patterns are heard against a background of regularly recurring pulses and accents. When other kinds of accent, especially stress and duration, do not coincide with metrical accents, the result is syneopation. Just as one factor of rhythmic patter, duration, can produce the other factor, ae- ‘cent, rhythmic patterns produce the meter they are heard against. That is, meter is ‘made audible through sounding rhythmic patterns; only after the meter is established will the listener retain it as a set of expectations and hear a rhythmic pattern agree or ‘conflict with it. Much of the fun of metrical rythm, and its expressive power, derive from the interplay of irregular patterns and metrical regularity, and the performer should enjoy this interplay and project it forthe audience to enjoy. {Lis common in performance to stress the downbeat slightly. The stress seems especially necessary in performing music where there is no change of pitch. (In much ‘music, the downbeat accent is made by harmonic change, and no additional stress is necessary ot desirable.) However, once the meter is established, the listener hears a ‘metrical accent on the downbeat, and the performer must consider the musical context to determine how much dynamic accent, if any, should be added to the metrical ac- cent. A long note has its own accent, and an added dynamic accent may make the note too conspicuous, Too much accent breaks a musical line into pieces, We must be sen- sitive to accent if our performance is to be musical. ‘We speak of musical rhythm as composed of various discrete units: beats, mea- sures, patterns of different lengths. But the essential quality of musical rhythm is its “ongoingness. ‘The conductor's baton must never stop moving. Most downbeats func- tion both as goal of the preceding measure and as beginning of the new one. Patterns articulate @ continuous flow. For rhythm to be music, it must have this flow. We must, While aiming for a correct performance of rhythmic pattems, strive always to create the articulated flow of musical rhythm. NOTES "Lois Choksy, The Kody Contest: Creating an Environment for Musical Learning (En- slewood Cliffs, NJ: Prentice-Hall, Inc, 1981),"p. 190. On the next page of the book Choksy tives a different system developed by Pitre Perron, 2For an extended discussion of the complexity of rhythm, see Wallace Berry, Structural ‘Functions in Music (Englewood Clifs, NJ Presice-Hall, 1976), pp. 301-424, Gf Susanne Langer’s assertion that the essential characteristic of any rhythmic mation is that the end of one action i the beginning of tha next, in Problems of Art (New York: Charles Scribner's Sons, 1957), pp. S0-S1 ‘TWO-FOUR METER ‘This chapter is devoted to two-four time, with no notes shorter than eighth- notes. The relatively simple material allows us to concentrate on the techniques of per- forming the rhythmic studies: counting aloud while clapping the rhythm, conducting the meter while singing the rhythm, improvising melodies with the shythm, and so on, as outlined in the Introduction. Conducting duple meter is rather like bouncing an imaginary ball, withthe point of the beat at the point of contact with the ball. On the downbeat, the right hand de- scends and rebounds away from the body, tracing a backwards J; on the upbeat, the hhand moves slightly down and then rebounds up to the original position. To establish the tempo, we conduct just one beat before the first sounding beat. When a piece be- ‘gins on the downbeat, we begin by conducting an upbeat, and vice versa Tn performing the two-part studies, we should notice the relation between the two parts, Study 1.H is the first of many where one partis an ostinato. Study ILL the first of many canons; here the clapped part leads the sung part by one beat. ‘The notation of rests is often governed by different rules from the notation of notes. A note lasting @ whole measure in two-four is @ half-note, but a rest lasting a whole measure is @ whole rest, as in three-four and four-four and other meters.1.1) J =60- 160 alojd- led - tk Jae Io SOM = WED Ld ~ Ra L.A) Allegro (¢ = 144) QWs Ole WIA 1 21 FU De ld (I el 1,B) Allegretto (d = 120) aL Ale Pa ON | 3 fils JIT I WAI I «1. C) Presto (d = 168) wilde diel di-isie i hJRJl-WJushohdl eae aedee TT | 1.2) d = 66-160 eee nee es fe Oi - hh oaal +1.D) Vivo (/ = 144) WNMi-WMli-i ny ni IWsinh AW Oh Wi | +A Oh mss ‘A.E) Allegretto (d = 100) MINOT Al MAL W Ald WAIT Oh MITT I ll 11.3) d= 60-160 RITTI IDL de Wel SOL De - bl J id die Ie dtd) de I.E) Andante (¢ = 88) tI We a - ibd oT NJ dl - Ws oN I - bl DIAL SII - 1 1.6) Allegretto (d = 108) adil Dd Neh dll NIT IDL die vo MdL Sd) MITT rd I) FOIdL dd dN oll le 2-148 ae fr] “UF eed [F777] = | LA els brio. i} H) Moderato (¢ = 100) a era d foie pre 1.1 Allegro (4 = 132) a Oh Oh Nye ithe co a nreeees ‘| (ay i tte ; : 1.5) Andante (J =72) ee ir or Fe fla et sy lerep eee lee Al dad eee dé Dal alg ae Pier hele hr ceo rf Jd ee ee pee TTa|Fts | dt Perle ele EF ree tr lF crip: 1K) Allegro (¢ = 100) Re ee ee - WA ipier olor +p ee 1 Fil os at nd ee vilesss Bisa Es Aya voles Al moa) YBa eagle As) Presta (= 132) ee - (00 |b at 7 trcptortceert 2) TITTA ad ddd a aac, ari : pr plpr oir CF (16M) William Shakespeare (1564-1616), from Romeo and Juliet, Act, Seene 5 iW wae He | 22s 2 Tu! In gb pay IAB | WI we ol n WoO | isda2, THREE-FOUR METER ‘Three-four meter is more complex than two-four not only because it has another beat, but because, although the downbeat remains strongest, the relative strengths of the second and third beats may shift. In conducting, the right hand may hook slightly to the left on the downbeat in order to move out tothe right on the second beat and di agonally back up (othe starting point onthe third beat. Although half-notes are used for two beats in three-four meter, half rests are not used in this meter. Two beats of silence require two quarter rests, 21) J = 84-184 22 dN - bs Jd - bed | Wo ded- de JJM - le dal 2..A) Allegretto (@ = 112) tl dilidid ald Js dtld le) Wide le didels ddd da 2. B) Allegro (# = 168) ail dis side de FI aT Medes Ji dali) dhl Widdha J J Jide ha sia 2.) Vivace (@ = 192) Blldll ie Widl- Wis dis ld We Jide tek ddl i Id Ju dele Wl dle Wd te) Widted td io Jied tod Fry 2.2) d = 60-160 tl d-dh |- kT he 2.D) Allegro (d = 152) Ws a ei aT IJ SITTIN iy st a THs Bis MN STs, | 2.B) Andante (J = 96) tli DNL) Alle Hs WJ AN BOs Ae Aa eee sole ee) ea) a 2.3) ¢ = 60-160 2). Me RDI Ma ~ EOD OM TUT MISO N Olde 1d STL Wd) Moe Dd STUN MDDS od ol 2.G) Allegro (d = 138) LIM IIDTUIM MN Dd dl I) ATT I I AseIDI JITTI Ids ddI de | Wd ddd dd dd MITT el 2.4) J = 60-160 / beri bebo. 74 oa anaes ee ae Oe | 2.H) Allegro (¢ = 168) erlterleckerhrrhe F| ddd JiJlid Peele eleth re leee fielie ee elerelter ferltreltreh Fell 2.1) Allegro (J = PATH eee HPPA Yc Atte 21771 Nerds WPL " vi eevee 2 fe tele r Elf trerlt e erlt Pee hirer tril | 2.K) Allegro (¢ = 120) it Peer reel tele F? 211 JAI ANN) 2 eda i ore. Perce tele | tle) iii PPR I qd ees smilie rome ire a deere ‘| Po lenira 2.M) Paul Dur a 08 1906), Compensation ae @s= tid LI diddy Ade dl at Wor Qi suger Wy Bde gid g eg Gard h dee rasep Lagidge grade gue a53. FOUR-FOUR METER In some compositions in four-four meter, the first and third quarters are clearly the main strong and weak beats, like the two quarters in two-four, Other times, the four-four measure is more like two two-four measures, and the first and third beats are about equally strong, In conducting four, the right hand bounces straight up on the downbeat, and moves to the left on the second beat. On the third beat, which is the second strong boat, the hand moves out to the right, and on the last beat, as always, it returns up to the starting point. In Study 3.E, as in comparable situations, the accent marks indicate just enough impulse to make the downbeat clear when the second beat is accented by a longer note. 3.1) d =76-176 tl Jd edi iid - bl odd - | WJ J - Id dl B.A) Allegretto (d = 108) tls iid Wid lee i dil dd lb = ld dlls d id did - ld Jdldd Ji sd di - 0 3.B) Allegro (¢ = 120) tds sled dda gil didi WJdd dia gidd sidd lt da didsodisd Jie dots al 3.) Vivace (d = 144) Fille i) - 1 odl- dle dT - | aS ee eee eee | a6 2) d = 60-160 1 LF - bd a - WITS J = ed DD = TTS Dal 3.D) Andante (¢ = 80) tl iiid Jf is - 1s ee i 11 TTI 1S - iy Lita Wd Jd pimy a 1 3.B) Presto (d = 160) ells i dd Lid ALadisln Idd Did NOI AT AN | DITA pdidd Digs Dsl ITIL al 3.F) Allegro moderato (¢ = 120) RI) STI) OTS 2 Dd) TT) WJ JIITI DS DJ 1d 2 DD dL IT Ine DL LITT DITTI DL Dd did ll 3.3) J =66- 168 ried tered = Reel | rie dc vv3.G) Allegretto (o ite ? a tf yy ror d r dd ; f tJ Behe Ji |- a ee ie tek r eeer| ait eee Pe eel bet 100) yd |g dd reer e iid fi - [J J | pial i lre te lee r d-|id did Hepat =| ee eerie. +2} ae | asia fe EGgeigee ee rid dd 2+] ir ed ddd) arr Itrer ‘ile I let leet Hd 0, eel corr f oF ff coer: ee crore P| 3.1) Vivo (¢ = 144) dd aS fr ceerir er +p PPP I7T+ per Cher! dtd Pod betrlt e Pog 3.J) Allegretto (d 88) alae) Vs A ays d1 db) Add =| tre pr ple errr 3.1K) Allegro (¢ = 108) fea rAd rR Offs ke CPO iF ST) \d J 21d) 00) 1 fre TCCere be opere 3.L) Edgar Allegro (d = 152) Wigs ls as area RS: on criere forir ore le JAD) D)J OND! fs Pee See eke ITTV: vb > peter Alllan Poe (1809-1849), from “The Bells” dM dd 6 JI0d2 Lor ef a aallaete veer cr lecere4, DOTTED QUARTERS AND TIED EIGHTHS IN SIMPLE METER A dot extends 4 note by half the value of the note, so a dotted quarter-note rep- resents a quarter extended by an eighth-note: dedd 1 d2L0 Dots must be used instead of ties whenever possible, However, itis a rule of notation that only @ whole note, a dotted half-note, or a half-note beginning on the second beat ‘may span the middle of a four-four measure. In any more complicated pattern where a rote sounds across the beginning of the third beat, that beat must be shown by a note tied tothe preceding note. Forexample, LSI dus: te writen with atic So the midle of te measures visible, because writing the third note a8 dod note—d 2d. J. —makes the patter more dificult to read In performing doted notes, counting the divisions ofthe beat (ere, 1 & 2 &, ct) heips us gt the 31 rai of the lengths correc, and conducting helps us fs the beat and place comely a note tha fllows ofthe beat. 4.1) d= 144 QDI Mie OL Da = | Wo) FD de 0d 4.4) Andante con moto (d = 92) RN DIN Mile IN| IAIN ba Jd aT dT] Wilda TIN MAN dl dl 4.B) Allegro (4 = 120) QOL OL dee ee ALT fb dot Je hea FL dl ie Id Do Ide FL SIL dd dd 4.0) Allegro (d = 132) AJ TIL dL oi Oa id a | FUL OL We lg AL olds foi a 4.2) J =72-144 tO - bh UA - hs oma ~ bs Td da = RTT = | Fol AdL Da - RA SUTTU dd 4.D) Allegretto (¢ = 100) Edi dL MITT Dldrdre ML dL dd Pave leash hi Moma eh el day NN Neal Ne i I 4.E) Allegro (J = 120) ENDL NIL Md Dd dL OI MATIN J as oO MAT DIMMU de DLL MSIL DAL DLL J oll 4.3) d= 60-120 Rr Ped 2 Te Ged = | Jd. |: ~ [} dd | ade J a rer 4 | ~ fp. ‘| - hor or407) anding! ies) 4.D) William Shakespeare (1564-1616), from The Merchant of Venice, QL DD DM] dL D]dae dd. eee) Me atts Pieler iPr le gud Ta bl du i Rit ee ae fant rere lr err it rer irae Ib dW LI oe ob 4,G) Moderato ( = 100) ee ~ pean : fie a)e 2), Bide ae id boPldd WTA eB! are dere lore |r erie eel ep ind ol olde bh oI Bi iy Aus YIN ay 3 le Id de gtd pr olt tele ples Ire ; Ibe lb dig bh J le ol dl dda dM) ATTILa a Perea artes ere pil ob fled! oe le pi ol 4.H) Andante Mi °° NOTE, fi): nae Pee? ‘| dadad "dake region under the earth before the entrance to Hades Ua nh FG ro te dueflé iflf 2h Peerle ielfe Por b d Lf fe-tions 5. SIX-EIGHT METER i Palht 5 Six-cight is a compound meter, which means thatthe main division ofthe beat is by three. A meter is compound when the numerator of the signature is a multiple of three. To find the number of beats in a measure of a compound meter, we divide the b A di dd deep ae HF glee. or pIpr plpr PICLEr numerator by three. As 6 + 3 = 2, six-eight is a duple meter, with two beats in a mea sure. The denominator of the signature names the triple division of the beat, so in six- sight thar are thor eighth notes toa beat and the bets ade -quarte, 4.1) Allegro (d= a Sree Wie fdas tees Ge eal cout aa/eleta etait hea Hoe cla th divisions ofthe beat, We il ually cout in two: 1&2 et opt {te fod ALi ed die LL in very slow temp, sx eight is conducted in two, This 8 why tempi are given fre eReeer ir or fr pre Rarer dotted-quarter rather than the eighth-note ‘When the tempo is so slow that the measure is conducted in six, one of the com- ‘mon beat patterns is a modification of the four-beat pattern, with the right hand mov- ing to the left for oth the second and third beats, and out (0 the right for both the Fourth and fifth beats: down-lef-lef-right-right-up. Dd dd dO]) DL MTL dea ropere Iter + leecerer Ir’ steer I or |5.1) J. =48- 116 ti TT ~ bd - od Me bod 5.A) Alla marcia (J. = 88) QI) Old Se dod TI LA We Te 2 Ladle. Mmm. bd 5.B) Vivo (e. = 116) EMI M N. OSTIE STIS vd DTI LOTUS ddoe MTU OO TUT L re ML ITA STOTT ad 5.C) Allegro (¢. = 104) ADIN DN 100 DL 9 LIN STI J old Di. Liga ~ tendo Id Pd Idd + Pigs sy TT Ms vl 5.D) Vivace (J. = 120) Bi dd J ML OTIS TI doe ld d ld dd MITIS SITIO! TTVITV Le ld SITIO MITUITI DS | FTISIITTIITI Le ld ld dd JDM WTI NS WTI ITU 5.B) Allegretto (d: = 84) SQITIL STIL STII Led ITAL METI NTTI ON | ML dL dle a {0s dL VITI OL IL tb TTad MITM dads NTI dL del 5.F) Presto (#. =126) gid | dod DIL a todd FTV ITI ITI 1d doridd dois J di dil IT] PMT OTIS 2 ldo e Wd ITD ddd DTI STILL dN) SIT eld doll td a Idd d d d 5.2) d. =48-100 eae aa | | beefed: BrP Peal5.G) Allegretto (d- = 88) tre J dil dd dL arr irr oir fr 6 ob ‘te ols r |J7] at f pr oir ee J ddd Lua ff core leer if fire 5.H) Andante (J. = 69) He dd 3 ar tel bef lr lf? tet ddl lo 2 IP OEE It J ddd ; Lodo pir or | e id ia Td | | fr ICE JTi ist | ; oe ee i dI71|L | f tert J ddd f Cor 5.1) Allegretto («. = 84) Boe ITI) DIT. HL IT arltpr lterr plterr lear 6 dor dl dds fl ddd [J TI. corr oR pr olor f plier fp 5D re (. =66) ty 1 JT cerer cert | lee elt SPP 1 Jd sf pf ope F order ol era Ms eo ji de je de or rp lpr or ror plerr 6 dd STI |. : seal aaa | | (Ore DRE Te OI oh 5.1K) Oscar Wilde (1856-1900), from “A Harmony” Andante @.=72) a PTs STI LWT Tdd ITI | hands on the i-vo-ry keys Stayed ina fitful fan-ta-sy Like the IQ dT TAIS dd Tad MTT 0) Swretam vee pp Termes Rusted oes He Pd TW TT I WWD) didall cr DER LP, J r Cerclerice oer eer ite ¢ 6.8) Presto (¢ = 108) tll 2. TTI Dt IN) THT6.1) Allegretto (d =72) ajol 7 eoip corr ICerer EAE FIT) TT) FT bt ele f Creer \Cererr cer TAT FM Cf Cercr 4 a "| 2 cert | t Perr t s Cerecr COP 6.) Allegro non troppo (4 = 76) He d 24292 spear cee le Cero iDoree tere or lp oa TAD FAT |FAM Pee CY Ceplerr Cerierr ceeripy: \eeee tee? ST YITTI | b+ Cr ofr O1 TI TRI CAO |b: er perr lef Perr lef SEeer ip yt 6.1K) William Shakespeare (1564-1616), from The Taming of the Shrew, Act ITI, Scene 1 Hortensio: Madam, before you touch the instrument ‘To lear the order of my fingeri [must begin with the rudiments of at, ‘To teach you gamut in a briefer sort, 1 panaanting =m) Vnnismhoims' ne a cometh A ot erheder neds di ois aR “B mi" Bianca, take him for thy lord, “Cao ut” that loves with all afe-tion, Fi diss TDs ipa Die ae be conte be or ow py. bh AMI Oh b, Rk ST aba Il Side Caryonsin pemcrT Tie sou Nore 'Hortesio is here courting Bianca, His gamut, or seal, that Bianca reads was given an claborate explanation by Henry Collin Miller in “A Shakespearean Music Lesson” (Notes and ‘Queries, 165 [1933]: 255-87). As with “Do, a dees” there is a series of puns of which the least ‘obscure 19 modem ears, if mi i pronounced as “my.” ae "B mi Bianca” and “E la mi show pity;" which can be heard respectively as “Be my Bianea” and “Il am I, show pity.” 7. DOTTED EIGHTHS IN SIMPLE METER Since a dot adds to a note half of its value, a dot adds to an eighth-note the value bi) did mut dd. = Sag {In speaking these patterns in the manner explained at the beginning of Chapter 6, the dot may be spoken or the syllable “eight” may be given its extra length: saying “dot” reminds us of the notation but the extra syllable requires an extra note: cight dot een sx eight dot issungas eight dot teen sx eight dot ‘Simply extending “eight” by the value of the dot allows us to speak the pattern in its rhythm: sight won sx eight ‘Counting aloud, articulating the subdivisions, while clapping the rhythm is use- ful in Teaming the relative lengths of the notes in dotted rhythms, While clapping IS first count “1 ¢ & e 2¢ & ¢," then “I & 2 &" and finally just the beats. am‘The double dot, introduced in Study 7.C, adds to a note three quarters of its value (half plus half of the half); the double dot thus almost doubles the value of a 2 102 Lad TA) d =52-100 III - IN - TIT |= bh = I T.A) Allegretto (d = 72) EMINENT ELSA + INTE \SNTR 1 MINIT RT oll 7.B) Allegro (d = 100) DANO al MIU + MITT + LEPTIN ST SOIT I ETT! + ll 7.€) Andante con moto (d = 63) tl OT Ti. AL Al. SSM (I IST. Al do A SRI: Wm) Pn + 5 WDA ML MARIO: - T 7.D) Allegro ma non troppo (d = 104) Ri IM TNA Al IDTV TVD AID 2) Fl STU S. ITIET A Te 7.8) Allegretto (d =80) LOA TAN AAR 3 VAT IA STUTIM 2 (TU TUT YT. 1d | $2 SFI STRI5TN 0. 0. TIT TTL 2 i ioe |:|22 || zCeeree|er:| - POPC | - CUP oer “|FBI ILS ~ beceeer | - beer 7.8) Andante (¢ = 69) ae lane ieee a|J IOP OF ICP CS er eerie IMI YITAL A! eal: ee ey ee ee eee |: Z|: ee aa | ICMP ere ie Pe io y p a ee alee Cr Cf |Geereeer|r + ou1. 7.3) d=48-84 Ti: i} 1G) Andante (¢ = 66) CANIM) eae ile 1D he ICPOrer Ice IC Oerer Ieee CYCe tr io ecere jo Scere 12 HNN), : corre eeren eater Crer of | terior = Nectar bere] f. Bl |= Les dr -H) Andante (J = 60) EN OM. | RO ICPCerierce FATA | Lad) I0. 20. | i010) 00 ZI. ree ECE IPP ICSE +p PCeriorcer iP J. 2. cro dh frp fad Chip 8. ercer 7.1) Allegretto (d = 76) ) 1 ADL 0 J pin) v7 Re ea 0 ee 6 Ol 2 AD4. Scena a A De Oi qe eae Ver Ue COPcerecr iCercecr |LOCerCe | ccere oS AT |. ATA. aa 4. . pr pcr pcwip fr Pp Corre? 7.4) Elizabeth Barrett Browning (1806-1861), from “A Musical Instrument” Allegretto (4 = 72) * P ~ P. ap as ea 2 ‘bleak steel a che patent reed, Til Pep barerleeterrtericer) Lila aa gaol 8, SIXTEENTH-NOTES IN SIX-EIGHT METER lS y : ' TIOGA. | SL, | TAT | At‘When learning six-eight pattems, we may first count the eighths and articulate the sixteenth, while clapping the rhythm, but we then proceed to count the beats and articulate the eighths, and finally we just count the beats: ow, SITE TIT TTT TTA | Tadeiatasaoa 18 ‘The convention of notation that sixteenth-notes within a beat be beamed 10- ‘gether makes it difficult in some patterns to see the basic three eighth-notes of the donod-quarer beat. J FO) hs tobe undertaod es a dad torexample, In Exercise 8.3, voice and hands reverse parts within each measure. Therefore, the single beats should be practiced until they can be performed easily; only then should whole measures be altempted. 8&1) J. = 40-76) 8 ITI STII - STITT ST ITD |= ROTI = TIS = | KATIA - bo TT 8.) Grazioso (¢. = 66) 84 ol ET. DITIIT I bd AI (EH MEN ETL & (STdd eae | ET | TETAS od el 8.) Adagio (d. = 82) SHIT MIT Dd dd rte a Od] [IT] DTI IT eT) | vie Al ST ITN SLTIITI IT ve 8.C) Allegro (d. = 88) gs MDI Wimam Wi MIDI TI» UT I Tn Te 8.D) Allegretto (d. = 66) GALEN S| OORT be LON On I WAST de [OD STR TA ol 8.E) Allegro (J. = 80) 1 Sl bs TL lida Paver sae iid \STT9 1 SD | IT) TINTS | TTT) STI IT WTI ITH dy SST) yall 8.F) Andante (d. = 60) SITTIN dD MIT IT bd ol ITA IT STITT ITA dd \IW STG ITT TIT T y LIT BITT STATI TINT TT ll 37a t [: err cece 8.G) Allegro (¢. = 88) #04 nT] pasa. de Med EM) |s , dad en, aaligtarelpea tena e ‘ dd pyle ?: r Ir of plterr oir 8.1) Andante (4. = TER) TUR) ss BCR 81 gf rpcerlecercerit rire ff-7 |? JTL Pelee cere lice Be | ener SAPD At Tee Jot Joo | aad E 74 corer aa = WeePEee [APE ae AE [EP Ee | 8.1) Alley ane de 8 ITD. 0 iiPe J777 J gr pr olf ih gr mele eo Pb ee Pact Postel F oT mee 8&.J) Adagio (d. =44) sie eno 1a ah pce leant oer tee + | 07) ITT FO et lee en ice | . Cheerr oy donk > Pfr |\Lerr erste In Tn) aan PErEEe eer 2 Ber eee? 8.19 Tomes Harty | ares from “A Musical Incident” Andantino We | gdldvr im it 2 om eshe 13 pre (tm: i: dy Ti Mart 2) dist lad 1 muse eased. Pea judge of Fld d |£T) 9, MORE RESTS AND SYNCOPATION IN SIMPLE METER In performing a phrase thet contains rests, we should sil sim to understand and project the whole phrase. Rests interrupt the sound, but they shoud not nteupt the Mow ofthe phrase. Tn this chapterand again in Chapter 1, three o he studies ar writen with fags instead of beams This notation is sometimes encountered in veal music, where notes sung to different slables may not be connected wih beams, Theft stp in reading toch notation so broke he noes of beats where the eas ere nt evo. 9.1) ¢ =80-144 Berd Dl 9,A) Allegretto (¢ = 88) BND Md MTT dide7 Slr dy didnt | hk vdldes SD dk rdle leo Moll 9.B) Vivace (d= 132) _ EMdre ar didve ad edi dre | jaar DMD det GT Si (FFA Fr Nove er DT dya a all 40 9.C) Moderato (¢ = 84) a id ald Mel Jun Ji tal ANT La om Jald AWA J Tal | 9,2) J =56-96 Sd) desea oe) ope | Se eee cn te IAT RAL dD DD DT LSD aD NOT ed DASAD ALD AAD gd MDMA dHASSD! - Idd dd dR dS DSSADSAUAD ASSIS D 1 2 Uh 9.) Allegro (J = 96) _ TAABANDOIDU DUD dle JANN OD SNM Ubd died ly BAAD ALL Jol ARDADI a dled ALD ADD DAs ADD Sy ADDS Dads AMAALASANL 29.B) Allegretto (¢ = 72) QTD + MTT SL Tie MTT hr Th MTV + MI ALOT LTR + MYT ARAT oll Red: Leeds fda e) | 72224 TT IT_LF | I IRE Allegretto (2 = 1 TDs a vl7PP IPE BIpy » rd dr Dh 5 Che leppritre 9.1) Moderato (¢ = 69) aise yd ah oT d dL MOM JD *PLETOS plore d) MITTAL + vrocrlpr plore P FRaLan Poorer iy rf of ra [IO TI): a | 7 POMC OP I Peeler ores Jt o2 | STL TRE + rpecfeerlsf or lyr per irae 9.1) Allegro (d Per sph driohh: I wd ST J wpe pre pe pee Ore ler erp + oe a : in y@Faldre - | trp ore: PCS prt = 9.3) Allegretto (J = COE JT) p CACEPTESH» ASAM) 7d) peer Cf icefeer ey 1h) eee pt Jy fa lee +p COP Co TAIT 7 pce mcr 9. K) Ralph Waldo Emerson (1803-1882), from “Musi Andante (¢ =63) ty 2 dad dd ald vddalo 33) |10,1) J. =40-72 Se TQ 1 DM - WIT SPLITS |= WATT TTA - WITT = | WITS = RTT Tl 10.A) Vivo (#. = 108) three Were dre Db eS [ee a) Nee ee a) ly de Do} le ye FTdv ae 10. B) Allegretto (4. = 66) Se dDD AAS Dd AD DDD DIN Lad SSae lr SAD SAD: Sd DDSI le SADA, MAS AD 2 SALAD Jd le SAAD Sa LAD ADAAAD DALAADAD | ln ddd MDS dd SAS DDD DDI ISD SSDADAAD I 10.) Allegro (d. = 72) BD de re Sdidr re Mad ade AD = | [DDD AR Lydd dN LADD ADA AST = | lp ADAD ADs oly ADD NAY 7 Ly ADD Day ADS [DAS SAAD SAIL +H “ 10.D) Adagio (. = 40) Oy OUTh Ay LT A Py DUI TUT UT Ty J7Td1 TALI + SITTIN oan 10.2) J. = 54-96 sg - koma - koa - ks 10. E) Allegretto (4. = 60) ‘mI Th | LN TAD de (SIN ITT | Dy | TROWIM OITA el 10.8) Allegro (4. = BIST SITLL DI CADRES To ITN IWIN STM 0.3) J. = 40-60 ee | La SL APE | EA] T | DPoP| : fe cr eof cere Cet: 4s10.G) Allegretto i. He aa mal 7 mm 1 |ITL f oof my Dela ot p 0 eg t of lr of SREP ERE of pit p Cer it: ae le 10. H) Andante (6. =: if i tt dor fT) | JT) ID Creer a ‘il TILT | IT cerlpr pf ieee cece ETT d) | TINT Ee vCf [Coerceeripr ope TS 1 |r aml) at se Btieade bearer ts | 10.3) me id. =63) J73008 | Noy TT cere op ICErr 6 pet ies 10.1) Moderato (d. = 56) een d one r J] ae UD 77 be Bebe Bede Pd eek teer tg 46 ae ard ca ce re Crete if ve IIT ID. |e 7. eel Cele eee eo eclel PLB Bl | tec cece |e co it es oy ITN) S77 Cr Cf 10.1) Langston phd (oma, Sport! ae inte (d. = sy dirk od did : dd al DDD dy ibe nh Dv dod +111, NINE-EIGHT AND TWELVE-EIGHT METER Nine-eight and twelve-cight meter combine the compound beat patterns of six- ceight with the three and four beats of three-four and four-four meter; hence there are no new problems here. In Exercise 11.3 especially, single beats should be repeated until they seem easy before whole measures are attempted. 11.1) J. =40-66 BL J ddM = TIT ITT - | kIT) STITT = SITS ll |= WIT TTT 11. A) Allegro vivo (d. = 120) BL od lb 2 TOL del Id ds DITO ITIL DI NTT de | \IT)S ds SITS MTU ITT did d el 11. B) Con moto (4. = 60) SINT TITEL + SII Prrrrrip! r PITA. dr 2 OTT IL dy PATE LTR TT 4 rorll 11.€) Allegretto (¢. = 63) 8 DSI TI TI SI) SIS STII DITO: I | TIF STIFI TIN | STINT INTIS | ITS de £2) | STTISTTI ITI | STINT TST IN | JIT) STS) TH | dod MT etl 11,2) d. =56-76 BMI DM Ld = WITT = | WITT I - bd SL TD ll 11.D) Allegro maestoso (J: = 104) epi Jar fle ds fail JIT) I” Jogi dd “fll dls vfdi Id dd dd Tala dd “Dla Jd ‘nl Id) J dd fal dL J Ma J MIT mH 11, B) Andante con moto (¢. = 66) BNWT STL STL ot lL LITT ST ST | ETSI IT ATI | TY ITI J. tI 11. F) Andante (¢. = 56) BLOT IT MTD & ITI ITT! [LdSTI ET LID | da STS | TT TIT | lhe J DDT AITNITD TIAL & l 11,3) d. = 40-60 {te J dd | iL - a ef J dd J a: Te erocere Pcor1 BL dl dL dd ar of 1 1 50 lhe FP oe 11.G) Allegro non troppo (d- = a of yf 55 2 , Haan | ror of pier oF pF Ir [ FN PD A Al fd f per ir f per lpr F OF PIF 1. H) Andante (6. M1 dee - dod care Peele ts + Der Ltr TNs DMT) SII | JT Off ctr aera corer of FUININ |. OL Jd | J. * | Corer ee if et rp 1.1) Allegretto (J. = 60) lJ DTI dle ITV dl TL er or fF per ret por re | LL PLP |) + LR reer crocer r ercer 1 RD. + (STR TT Mercer he eer eererc cer cece 7 Tm. Caper eeereerr p Da cp at fine 11.) Adagio (d. = ae NM ae + m gro |= Ler lh pr err pf er em HEP + IW] eo Bert artes bebe TH. + NIM + Mm wee 2 eee cece Jos IT oa ‘| corr peor Coke [eter eceere 11K) Perey Bysshe Shelly (1792-182), fig "With a Guitar, to Jane” ‘Adagio . = 52) Wi nT AT! le) Aig + eel Roem WaT fl es Offilhing nil, "The melodies ot birds ld FIAT + I ror | The mermuing of sum ~ mer 12, TRIPLETS ‘The division of the beat into thirds is familiar from compound meter, and suc- cessive performance of duple and triple divisions of the beat was encountered in ‘Chapter 10, The new problems here are dividing into thirds a beat normally divided in half, and performing in succession triple and quadruple divisions of the beat. Succes- sions of cighths, triplets, and sixteenths may be performed by numbering aloud the notes on each beat: _ 19204231234‘When alternating different divisions of the bea, itis helpful to use a metronome ‘enough to ensure that the beat stays constant. ‘A common tendency, when moving from duplet to triplet eighth-notes, is to ‘make the first note ofa triplet t00 long. It may help to realize that a third of a beat is ‘loser in length to a quarter of a beat than to half a beat, so triplet eighths are more like sixteenth-notes in length than they are like eighth-notes. When beginning a triplet after a duplet, we must move quickly to its second note, rather than sit on the first note. ‘When the basic division of the quarter-note beat is duple, then a sextuplet of six- tenths (as in Study 12.G) is performed as two triplets of sixteenths: 12,1) d = 60-120 LA D- hom - boa | - bed eM 12. A) Alllegro (J = 120) A Ge Old fd 2 AWA DI Ae DI [JSD Jee DD) I sal 12. B) Allegro ma non troppo (¢ = 112) UAAMIAD Amami AAW ainsi 12.C) Moderato (d = 88) ti di SOL MT A oI Won Annan ol WARN Je A i et alia elie 12. D) Andante con moto (¢ = 76) << > = innimam yo ibe rv fi (ral abide bd aad } Thee Aly oy oT NI 12.2) 4 = 60-100 : , 1) OST - Wo - Ia - Wann ms 12, E) Andante Ge 66) ' Wi Aa inal Nha a wiachoin hen leer am DiI ER I 12. Algo = 100) HOM My aman | SITIT SFDbe | TIT | SIT Ts WOM: = | 12,3) J =50-80 ETT - ST 12.6) Allegretto (J =72) LNAI mo: | MTT TTCAS) | [OT - Cam [STRUTT 4 de eZ] c beef? EPI Piel: Wega || 12. H) Andante (4 = 80) tL AA ie Phe torr lore Ir lere> cy ee a ae lf? | Oe eel 12,1) Andante = = 60) fto]) 3 Pa PB 2 | te ceeelr rir lea TBO rE a fl lone cA chepiheey oe 1 ia A: BY = ; nee coer p 7 12. J) Con moto (¢ = ee: omyjmo FE | Pele oe Pasa A mya ri ee BP BBN 1 a Allegro ma non troppo or 112) {ba dd |: AA a ir Fert “ler f iter f073| 4. a | rier cr icorr " | ARAL mae, opr corer Ieee cf f of d A ABM. | corr of oIChPer ripe12, L) Gerald Manley Hopkins (1844-1889), from “Spring” Allegretto (J = 80) bs AGL dir alk 2! og Sea Wel mMTih Tittle low heav-ens, nnononApr nes | does $0 rinse and wring The cr, it strikes tke Hight ings to bear him sing. rou TMI | thrash Through the echoing im-ber 15. TWO AGAINST THREE ‘We encountered two against three in Chapter 10, in the division of the dotted ‘quarter beat of six-eight meter into two dotted eighth-notes that are heard against the basic triple division of the beat. Review of Exercises 10.2 and 10.3 and Studies 10.8, F and J provides good preparation for the material in this chapter. ‘To perform cross-thythms we must understand the numerical relations of the note-values. When triplet eighths sound against duplet eighths, each note of the triplet is two sixths of a beat, so the triplet eighths begin on the first, third, and fifth sixths of the beat, while the duplet eighths, each three sixths of a beat, begin on the first and fourth sixths of the beat. Grasping the patterns may be facilitated by speaking verbal phrases that we naturally speak in these rhythms: ‘Thre against wor 12345 6 1 “Two against thee 2345 6 Nice cup of tea Pass the butter It is relatively easy to hear and perform the composite pattern made by wo gains tee ath thythm ofthe pate — J 490 —is amin, However itis me Selly moran obese wo ear the duplet and ipl a independent content patos, For tis reason we need t practice agaist the slowly eo 45 (0 hear hat the compost aterm is comect and ikl 0 that we i a wo an hee the same ie bit inependet of each oer 13.1) . =40-69 Nisei sores ee ae 13, A) Allegretto dt paper ap cer cor 13.) Allegro (d= er eee or I7N4 f or 13.2) d 252-88 {Ee J7I7) ioreror [Lee ‘eprepreer -/ma = |EPEP . =52) Netenenielaee Odea gas SCOPE iter cer iceer eer mows CO COP ico eer iter ces a} |: corr r = 66) {hire ah ar Ima, 3 fy |JT0d +) CRN | ror pir pr ep pif or a ro in en || \:[ r cgcer d= mam | Cr eercy FEI: - pa I: [B28 ’ ITI or or cere cre ° 713.6) Alero =100) yk od Jad dad dd gy es bles EP le# eile tert ee ae ; 1 | ailpe eg J ddd on : | Pel oe LELRE ; i tf terlr cereer et inim nie 13.F) Andante (4 = 69) grr lercys bib fa al | ti) OM), wh a iuoae a vor Cf! corer ceriere vp tree APE Pa Ale ePegl | GUMS Ae Pe el Pr Pe BBB #3 rt a “i; oa egedl t rl ch esis halle see gett + tet tl Lf: iy Pe [PBB] lea ae eva eae ie ea ele tee) ierestier cOrcereer for 6 (ieee lie te elelel de (ieldigl( ete (ade mann us eee dee (et oy aceon rer s+ ter aod SidJ Ss ASS SID ‘| 12.8) Ategroma nm copped =90) , | IP recerit er pecr Preeti? {te 3 dd {d. are ees ; | ar ir crorir crcerir coreorir13.H) — a bn 4 titel P ere Pelee 1d fs ae iJ : TPP, fee corer ir ctf THIN dca a or percerler peererie erie || [EE EI 13.1) Allegretto (J = 88) an icorenr 13.4) ¢ =50-80 ion Be ee epreerice | fig iP iol ne |: beter fc on nm ams creereeretr ceerr cf mann COPCr iC tir cor eer iT J f* cpregr ‘| [ere Ayan cere eet PEt AD ree CC cece Tidy 13.) aa d= 52) | | IT)I IH ibe? Cf icercy mommim cram Corer Cf iC eroer Cf leer Imma) - eRe crerer! ~ Itfer er Paani pany cr eer CL leer cr CS 13.K) Langston Hu ae 1967), from “The Weary Blue | Andante ( mmamadoom a Nesreren (toe ep terete di I — my Cs ices t r t r t t g t tee : arr la a Blues! ih opr ies teri eee Pai £ ile Pr Cees [caine eo14, HALF-NOTE BEAT When no values smaller than eighth-notes are involved, the half-note beat pre- sents no new thythmic difficulties, but simply a problem of reading: we must see a half-note as one beat, a whole note as only two beats, and a quarter-note as half a beat. “The first two exercises below (14.1 and 14.2) are given first in four-four meter and. then in fourtwo; the performance of the (wo versions should be identical. Likewise, the first study (14.4) is given frst in two-four, then in «wo-two meter, and the two ver- sions should sound the same, Rewriting the next three studies may help make the sim- plicty of the rhythm obvious. ‘Sixteenth-notes, which appear in Exercise 14.3 and the following studies, divide the half-note beat into eight parts. Saying the names of the note-values in rhythm may bbe helpful in learning to feel this division: ight eight eight eight sixteen sixteen sixteen sixteen ‘The division of the beat into eight will be encountered again when thirty-second-notes appear in quarter-note beats in Chapter 18. ‘The new symbol appearing at the beginning of Study 14.H is the breve, which equals two whole notes. Originally a square note, its now written as a whole note be- tween two vertical lines. The breve rest is less often used than the whole rest for a ‘whole measure of silence, even when the measure is longer than a whole note, and even thotigh the whole rest is also used for a half-measure rest in four-two time, as in ‘Study 14,C. The whole rest is not used for two beats in three-two time, just as the half rest is not used for two beats in three-four time, 14.1.1) J = 88-176 i i-th it ess - hal SDA 14,12) J = 88-176 §lJioi- ke fells Jiddd dHets did Ja 14, Al) Allegro (d= 132) tou di Fill File | Ib Wl W Fa et moe srr CL Id (Fad id 14,A2 Allegro (J = 132) a id J TIldbs dla dl ddl Jd = || Ibe Weed a a oe | Ilhd Ji J Wee di sd ted le Idd d Id 14,B) Presto (d = 160) Bo od Jd ddd. J) ddd dss Us Jd. tl 14.2.1) J = 60-88 EITM - bo ood Aa 14,22) J = 60-88 alli NIT Aid - be Ji Dl 14.€) Vivace (J = 120) Bo Jdlod ddd Jed) old ddd J lem decd Jl dd dl gilli JdWDddd Jl. = WIJ 21011) 070 | 14.4) J =40-56 lq =p: 0nd J Wide d asl da. -t | ae it ler: ; Pete | 14,D) Allegretto (d = 92) | |: le je I era ae QiJle Jdld Jddld Addis = Jal feerSerasereteer| le Ml. ANITA - 101 14.6) Ateyn (aoe Pogedg dd ddd ois ddd lene be ee Ld le ee opie ore |b We Jd die. oe eee 1 iy J) Jd) = ll J uo I. Jl Jods Ob I rleotred= re cle rr t idan, ‘, Ae 14.3) d = 48-60 a Pre 7 | § J LIST Md STII 14. H) Presto (d = 14.) Adagio (d = 60) fhe m _ q Bee die ald le JJ JD Jom a $= at) a sls LTR fd) dsl dee (bd LI LT Se = rrefl -fitt-bh* ff o -dWsddid- 14.8) Largo (d = 44) -f~ re fle - HW ddd LoL yd 14) anguomanontape e100 IM dd dS TUM ML ddd dd a J al iillla 1 j4B|2 2 op Wo Al Tm 2 a Tl he Clete eee tea eta [DJ 8 AST) + BIT Jd TD] Jid = le IL LD) l- ° Si re etree ee le ogee ie 114. J) Adagio (d = 40) \ J | ITAA gir f Of IIT TITTIT I | J Bela f r Of eect tect TIT ITTT | J 4 :| cf beer arte eit fester ¢ 14. K) Chaistina Rossetti (1830-1894, from "Summer etree (2 =92) Cee el fhe CELE lee fi 177 rid d ad a Dade ld dele = Pad Mo J 72) ld ATTA \4. did dite FAP ie. pals Wrdsid- iQ dl ine sng ede, singing, | -ver te won ee ld Tid doe le Td Ll | ies ide, And the pen-dv-tim spi-der Swings from ld Jid all side fide 15, DOTTED-HALF-NOTE BEAT Reading six-four and nine-four meter, we quickly appreciate the clarity with which beams show beats in six-eight and nine-eight meter. Here, we have to lear to see nine consecutive quarter-notes as constituting three beats. Exercise 15.1 is written first in nine-eight; the nine-four version should sound the same. | 15.1.1) J. =48-72 81 LSJ dd - RIT ITE - WITT IT ITT - Wd) Al 15.1.2) J. = 48-72 tl lds dM ~ Bil) 2 ada ~ WL Mi - Wl) oad 15.4) Allegro (2. = 108) th Jullddi ld cdi de Wid) didddd Wale dia lh J didi d sid led 1 15.B) Adagio (4. =56) RU Jd i. = DU Qa ie! J AMT As As Frm ~ 15. C) Vivace (d. = 126) fe dddle dS di ddd diss oe Ta delTiiie ds In J dom ied lil lp ddd ddd Sd le = 15.D) Andante (. =60) Ql dd aM Mi dddssts dal dd JI IL aod “oIo dd JI MIT dls od all 15.) Allegro TIJTL AIL MIL DD LMIdJS 12d | |id oer fae rl r rrr. WLI MILL DLL MIT 22 [LJ d STI DIS LITT DD LI s 2 LT Pe | isis 4 | 2 [FRPP Y ar rr ore cd = Meer ree |: Jl Ald ie | = [4 dd. dd #0 re tre rere er rorer oer a | : kd Ld ddd] = feo ND DTM a a AW. J aed lee Peed: [; 17h te Fr eer oltrererr plarr or ft 15.8) Andante (d= | |id OAL dad J Ma tbe tele tee ele tee ada ror oor itt or perir paar [ q iid d[ddddd Jldddd . | Porte elt ieee oltre peer 44 = rocer plrer re orlrr prec | ete rR FE ret rl re rl Mik unit 37 rroprarlrr lr eererr r |r al 15,6) Moderato (J: =72) Heal? te eee dm ddl J ise Qreherre re rirere ra leeeee fren = free 15.H) Allegretto (d. tr oof ro otff ddan J ddlis J sili = add =52) Hache cee J JTT)| J JJ) ITT J 7 did) J dd He an | rf otff trlor or or vere ee rorrrrere ir pre = err erie. Mi - = err tflerrorroreerer15.) Jolin Greenleaf Whittier (1807-1892) from “Laus Deo! On Hearing the Bells Ring on the Passage of the Constitutional Amendment Abolishing Slavery" a Gd. = 54) wl -~ Id dd leeds did Joss i4) [are Tass Jo) fale rade Jf Id Jd die = ld dd late dad Jd! {oy from own 10 town! Every stroke ex-s-ting Pp Bis oe ~ Wad ITS = | tells Ofte ong, that all may her Ide Ali re Td redid = Il ing — for ev-ery lien ing ear sind Tine! 16, EIGHTH-NOTE BEAT ‘There are no new rhythmic problems here, but simply the problem of secing a uarter-note as equal to two beats, an eighth-note as equal to a beat, a sixteenth-note equal to half a beat, and so on. Exercise 16.1 is written first in four-four time to show how much easier the rhythm looks in the more familiar meter. ‘The four syllables of “thirty-second” may be spoken evenly so as to match the four thirty-second notes within the time of an eighth-note. Although the syllables be- come 100 tricky to be useful in some dotted and syncopated patterns, speaking the names of the note-values may be helpful in learning the mote straightforward patterns of eighths, sixteenths, and thiry-seconds: sixteen thirty second eight thirty second six see-ond thy teen 16.1.1) J =72-112 tL ITT = OT A - SL Dl | - RAAT - te od al 70 Tel ir de tdr ale Slr dled Teds Fl fore = le Da de T dell 16.1.2) 2 272-112 STRAT - hOGA G l - b - IFA - od al 16.4) Allegretto (D = 112 iy Ileal IFFT PTT ART TT TET Dy Fa Id Ths Pade ld lds fmin naa | 16.B) Vivace (2 = 120) RPT FART 7 TA STG SII 9 9 | SID ST | TS Py FAM all 16.€) Presto (@) = 184) ahldrvl= he Dr drl = Sada - f 16,D) Largo (2 = 60) EST ST I by AS OLS T RST ht 8 OUTST16.E) Allegretto (2 = 92) aAll Sl AICAFARIO: Al FRY J UST STE SS Aly 7 A Coe el Dee eee 16.2) 2 =44-76 ae AP PE | 16.F) Allegretto (2) = 112) hi a Ee Bebe? eer Ecter” cere leer » EPR EEDED > PEED 16.6) Saaitey PAP ee TP Pe Pal PLP enlace la | i ala | Se a 16.H) Adagio (2 = 56) GATT | TTI bb 49 (OOS? Oe eee er) vor FRSA |FRPB ITI)» 5 CLEC Oelenrecsog ler p or STATI | TAT 08 | TST IS |) v4 Crores ler oe er lp 2 a Peariearltarea? searteayl teapot | Per Egy Feipi eer q Lacey PH aes | 16, J) William Shakespeare (1564-1616), from King Richard Il, Act V, Scene 517. DOTTED-EIGHTH-NOTE BEAT ‘Again, the problem here is one of reading. In order to read six-sixteen or nine- sixteen meter, we must beable to sea dted quater a two bets and Jd asa ‘complete beat. Exercise 17.1 is presented first in the more familiar nine-eight meter ITAA) d= 44-76 STN dba bl - TROT - bh TIT - | kd TT - bID 17,12) d. = 44-76 SON - VIIa - bd - TESST - tT ~ FD POA - bP ITA) Allegretto (2. = 72) SAO A AAA ODA (ASU IAA A IS 17.8) Adagio @. =48) SMOPAIIPAIPA IH) sh eee ee Cll SUIT | STI STIS | SS | Ty Ss OS PT PRR ITTS ITI) > ™ | 17.C) Allegro moderato (#. = 72) ENONM OI TID D7 dM | QUST | IIIT | SSIES IIIT bbe | SUNITA SIS LISS SIS | SISTA bbs 3 | SUT IISD | SITS IIS | ETSI ISad |) vl 17.D) Allegretto (2. = 63) afi - A ADIHL +i TAT by LAT + | | ELIE) SES JPR orl 17.B) Allegro ma non troppo (@. = 88) BMI AAT A MyM [TUT Dy FRI ffetTI Dy | Py Sn FFA | 17.2) d. =40-60 BAD Fy - -LNINININ | - eo LOOorer | ~ [Perey - | CGC OO ecor Gooceneeees TT 17.F) Allegro (d. = 92) ieee ta nA mM fe iCrer laren Ler ITLIT | IVT | LT Cyrer “eo =* i719 Co ef LER eer Ertl eee 17.6) Vivo (o. = 138) Bl odd JD D|L_ I) |J_ FAI) | Bre Pr Ole Or ole oo Plroe Pv ior ld, DSI IITI | LIA IIST| J. e | THT Ole oP lee oo Ie 17.H) Andante (©. = 56) ae doom gad eed eo | ar Gifcerls Garces ir core’ I) FRM) FEM, | ° eT eter + } Cor MINH 7 CP PEF tee oe Da capo al fine 17.1) John Dryden (1631-1700), from “A Song for St. Cecilia's Day” Aterretto (0. =88) ain ain Zalde ly jp ina cannot Music rise nd Jubal strck the corded 78 eth cn thei faces fel ASF Z3 FD ld (ETT TT fil DOT BI Dna sd Feeeelie lel an 18. SMALL SUBDIVISIONS \ We encountered thirty-second-notes in two-eight and three-cight meter, we en- ‘countered division of the beat into eight when sixteenth-notes appeared in a half-note beat. Only sixty-fourth-notes, dividing the quarter-note beat into sixteen, are new here, [9 Falds der aleA i | Such small subdivisions occur in slow tempi and are often ornamental; they should be sung lightly and easily. ‘The more complicated single-beat patterns should be learned before whole mea- sures of the exercises are attempted. If we want to count divisions of the beat while clapping the rhythm, ot to tap divisions while singing the rhythm, we must figure out ‘what division will be useful. In the fifth segment of Exercise 18.1, for example, sixteenth-note sextuplets will ft the patterns on all three beats, but in the sixth seg ‘ment of the same exercise, where the eighth-note is divided into both duplets and triplets, the smallest practical common division of the beat is the eighth-note, 18.1) J =40-60 8D ISIE ll - i SBT Ts | I. FR - ib AD - IO an - aa 18. A) Largo (J = 48) 1) OS NT TTA. dds | SRS | TTT | 700. Pd. ”18, B) Adagio (J = 52) tL. Bd: SBT Od) [TTBS TTT ok) SS | SDT dy STs | SSS LSS |W. J8 18.) Largo ee =48) £1 DSTI FTI TTT QL | [i URI RT| [SATE RTT =I 18,2) b =44-60 a Soa eased - CTT - | LIST PS PSs dl 18,D) Lento (& = 60) BM IBSTIT HE |S > BT | |JTidy BT EL ASS | [Sled ) SI STR Eas |S 18,3) d =80- 108 8S TOOL TITTLTT |=: SSSI ~ 1 SOT SS cy 18.8) Lento (d. =40) SST. ATES non Oa [CBs 17 STEERS [srg 2 veoh eee veried ty = oo nelees AS OTS | non ITS te hm 18, F) Andante (d- = 36, = 108) \ min a ae [ley END: SD [SRDS | ATS TET | STF STAT TTT TD) ol 18.4) J =40-52 RPP eee EE 18,G) Andante se =44) ae FTTH | FTES | IT iLf ser Csr 70f ILzgoecr LDRETIN | TT IIIS | ITTF Cory ef IC gery Ger itv preer Par Parraee caer |18. H) Adagio ( =92) ete d. 2 b | er pf Of PICS Cr eee JT) STN I |) ode cere 6 Cf? IC Ge Cee core 5 ITH) ITED SN ae r 9 Gere erence ‘ : | 18.1) Largo (/ =44) {te OAR O WR 2 ey epee eee Cee 1m ns f cerecr tty r cof oprbece eee tet PE EE 18. J) Henry Wadsworth Longfellow (1807-1882), from “Walter von der Vogelweid” Adagio (4 "Thus the bard tve de-par-cdy \ETTI STS TH. Soom tom the birds wore east dy te eildcen ofthe choi, Day by dy, lertower snd Day by dy. ° t ob, eed te fo ot the ae nn Tidldo 7 ETT ign ey cca Sang tc ds ry ate War FELT ell ced | Ware nine Vor-el-vi NOTE ‘German Minnesinger, ca. 1170-ca, 1230 19. CHANGING SIMPLE METER |, When changing meter, we must know what the new meter is well before begin- ning the measure. Even though it may seem difficult, conducting is particularly help- ful in these studies because it forces us to be aware of the meter before we make the gesture of the downbeat, since that gesture is different in different meters. Good prep- aration for these studies is conducting the measures and simply counting the beats aloud, so we become familiar with the succession of meters before tackling the actual rhythms. 19.1) 4 = 100-176 tlltllJ@- ROTI -| hi 28, SL ~H das 1 eR We Wel dL DRL dda 19.A) Vivace (¢ = 176) Al JI8) 2030) Flea it | ll FURR Ia a ek aTT eesssssesss ecsscesecessecesusscsesssssseeseseseseeseeeseeescessseeseseseess as DINAN bl Oe RAR Al SOMA mt i pppoe) a ee a TTI + SR SLT I SLT S| 19.B) Allegro (d = 160) I DTT DS DID STIS) Je AL dass RL dd aL oa t] JR Ry alia de ft, date WA A i TIT) aad TI lit Crier or ere [3 ber ae 5 LOTT als ay OL 10.0 Atego =89 AL JRL ITAL | ete ee aya : 19.C) Presto (J = 192) h bok reer : vere oper ore Ql dis Jil Jill Jel Di Dit lie! a Pay hap Ta c ae eee adds | dee dle de MED de dy | Ae] Rodis Ji. ks OT - 0 bo ep PP als paapePAl aca 19.D) Allegretto (= 80 vad + Pra man vrata aoargen cl) gee le PRR |, yt LAB) lt wom dee tO ASI ARG | ft ! te J ft Dy SU. SOULE AL Beep Rie ere cre crite cet kt ens i HPLY of BE ut! EOD. DITTUD MITT J Dit ey 7 AL aaa uae |e ee Asecrerlty er seer oper e |ele 60 - 96 imam [Maen men op peppy ere ROL 19.1) Andante (¢ = 66) |r Bl 2 teri cr le er ae ere lh rere ty at TY : BR ARE EF ete ty AEE, a AE artrartrtr ae er ae ee ere ies DURA LATE | | ar er lr Cree Cree Ip 19.1) Moderato (J = 72) Ream Pal, Bbovl ar or RP PCO erat tO RU an aPC Cry Ry P Cray Py D Ph MAG PRIA Bo ror kr ep Cee Rerceree ir 19.) Anne Bradstreet (1612-1672), from “Contemplations” ae (2 = 84) il EG TU TTH Mer dls La 08 T heard the merry grasshopper, then sing, The black clad cricket beara second Ried TI TUT L ale STMLTD PITS ‘art, They Kept one te and played on the sa Seeming fo glo-ry in their ttle RedtT JM Ta NTS | ‘a Shall oes spect thos their Vokes raise And in thie kind fe-sobnd thei Id Bld nL STIRS IIL praise, Whilst 1 ble forth no high-er lays? 20. CHANGING COMPOUND METER As in changing simple mete, it is helpful to count the beats while conducting the meter before tackling the actual rhythm of each study. Condueting while perform- ing the studies helps us feel physically the succession of meters. 20,1) d. = 88-108 81 JT 1.1 TA- “WT SE dT 8) J ‘tL didi STL 1 | leila del ITIL ITT od | low Id J dB SLI SITU DIT ITI 8 Bhl i | - Idd dS) Bl OST IMUITI ITI dL dd ITU dL 1 = 20.8) Allegro (¢. =92) 81 ITI di dT SITTIN BIN IIB L ITI) 11d NTI MITT 8 BINT II. TIS AIT oe BIT ITUITI IT RIT TI de20,2) d. = 56-76 SIT) TIM RT OTT ITIP 20.) Andante (J. = 60) SHINS MITT SN ITITIL da 8 8 IT) FTI 8 IT) ST TT | Id dd SUITINITIN ITI 8 STINT [STITT 8 ITI 2 DI SGD) DIT STB 8 SUID ST J bie S18 STI | STITT 8 BIT ITNT bt ll 20.D) Allegretto (d. = 66) BN IIIT TIT SS ITNT D1 dl [STITT IIIT 8 STITT 8 Tee DM \IVNITI III 8 STITT Tt dl | TI IT ISL ITS 8 STITT | STITT |. 20.3) d. = 44-72 (ted pms d Jody gocroe? Rotroer ee? ead ce 20. E) Allegretto cd. = 80) He Jobb L od J ds TQ Chr pre ChyCh ope lop oP yp BB Jd} ee ae ede) erie terart Terr try ps dJ SJTI1. D8 b 1Jd 1 SB ‘tf? Piste TOE Pry lpf 167k Br) a Re b | Bor of *PrIpe COr+ Cf Die 28.8) Andante (d: = 52) | Mache? CT) J. + C38 SoC Ol Oh Oh OP Oh ere Br er eer 78 BITTE |. + ob BIT) 7 B Rr thr Oe vir triers Wet spoore BW yt gS TID y NB Ty 1 8 CS eee gt speeerr ig 8) dD ‘| Boch sect och +e sent 20.6) Andi 7 = Nea eee ele r mee acer Inecre 6 IP occ re ie wie dor r SHB yan r £78 fpr COP oper op ir poor ie Herre er ra ? | BC Corer cere er if20, H) Stephen Crane (1871-1900), from The Black Riders and Other Lines Allegretto (¢. = 80) QTTI ML de me dd de 8 "Tee lit-te binds in @ sow sit mus-ing. Aman passed near that place BIITI 1 Me ddr Ph Dol "Then dd he t-te bids nudge each Other. They sd, “He thinks fe can le MI) Bled LIT sing.” They threw back tei heads {© laugh. With qusint coun-e-nan-ces they re-gard-ed loro dos MIT: MIT HL el him, They were ve - ry Gu ous, those thre little bids in a row, 21, CHANGING BETWEEN SIMPLE AND COMPOUND METER WITH THE DIVISION CONSTANT ‘When changin between simple and compound meer, as between two-four and sixcight time, theres normally an equivalence elther between the beats or between the divisions ofthe beats. Tn this chapter, the division of the bent emns constant then moving between tw-four and sieht, the eighth-note remains the same. This rears that th beats longer in compound meer, where it has thee eights instead of two and 30th tempos slower, Moving ftom sx-eight to two-fou, the lempo speeds up bocnus the beats short. Ifthe eghthnoe Is constant st 216, for example the tempo in two-for or tre-four wll be al ofthat, d = 18, while the tempo in six eight of nine-eight willbe a third of 216, or 4: = 72, Te tempi ofthe tree note Values are given oly fo the ist exercise and study for theres hose no given ean be derived from those that ae Tapping the ighth-note toughouta tidy, o using the metronome athe speed of th eight, helps ensure the steadnes ofthe eighth asthe meter changes, Counting the numberof eights on abet, while conducting the meter, is a good. preparation forthe studies al Tiel | T2729 12573 Normally, when meter changes between simple and compound, the equiva- Jence—2 =2 or J. =d_must be shown at the point of the change. This has not been done in these studies because the eighth is always constant. 21.1) 2 constant, d =72- 120, J. = 48 - 80, ) = 144 - 240 EON TIT WII it TT ll ~ WS ITIL ll = Wal dd 8 BL en Qs al 21.A) Andante, .) constant (¢. = 64,d = 192, d = 96) SL MTU ATI DT lt RID IMIS STD STII TIT De 8 8 TD At a 8 ID) STII) J 0 | IT ATI ITN wll 21.B) Presto, d constant (J = 144) uy Ih DDI MIL STL DIL : ig Wl JUL ITU did dd 1d Da RL DTI DSL AL ATI: SB BT a de eld dT 21.C) Allegretto, constant (d. = 56) 8 SIT) SIT STITT SITITI by Jk RITE ITT) + Fs 8 D5) LIND | STIS ST ITI | STITT 3k ST LETTI IT ALITT IT ILETTLITT IJ oll 2921, D) Andante con moto, ) constant (2 = 144) 8 TILT TI LDL Nt ALVITITN TS LATS ik 8 STITT TRIE |) Bd.» ih ARI TT TN TI): SA 8 IT) STG) STI | TT) STITT de oll 21.E) Adagio, & constant (¢ = 58) QIN 8 I) TT) at ITAA 8 BITNITIRSTI AT ENITUTA B LITT ST i LASTITTN8 LITT IIIT lt RIT TUATT I 2 ell 21.F) Allegro, 2) constant (J. = 72) SHI DITTO NTRS FU) dT Idina Dd) TTT aL 8 RIT lve De TS TIN fh TTB BRITT STI a TTT TTI Midd J dd dL TUB DL dO) AEITI TI IL e l Be ee Ac Bel fe. na lz eee dd a aeeae Phe e| 21.G) Presto, d constant (J. = 96,d = a) ie i rPrrpr ihr prfy vale r1py Bl dd) hl ies onl a Ck Se popRochrer hope & Hep lze rp 8 fe a wae ‘| crepe tolttetolbty sp. Rs SJ jfe AN Brpryprkrprprp 21.H) Andante, constant (J = 63) 1D DET oR am ar iceree Weer eer Reece cp FRR peaea ty a wT Reever Cer ae B corr Reerer Weeerccr kt eT pana et ‘| ROLErCerceerkr py21.1) Vivace, 2 constant (d- = 80) gh FEST BE wy sTO RS a aR Spieercer: pieces: PROP Cr pk RID; de MINA soa ace vpl *PRCLr cer: peer: pe ROIS IM AIIM cde MI Ror cr 7p pho rph CF ge babe cc ah Br corm cel peer ocr: sm tI Serf sikrers pte alr 21. J) Langston Hughes (1902-1967), Fantasy in Purple! Grave,d constant (¢ = 56) i Osmo ae hedems ot ta-gedy and ld Bia bods i dd Al death. And let thechoie sing stor-my song To drown FIT Jd. ld vt FANSTTI be | rate of my Jy - ing Brea ‘Beat he drums of tegesdy for me, bh sa Tl Fas de 8. SUMTI NET, iy Pole Aiinuendo blow one blaring trumpet note of sun To go with me to the datkness where T go JST) + | NOTE "From COLLECTED POEMS by Langston Hughes. Copyright © 1994 by the Estate of Langston Hughes. Reprinted by permission of Alited A. Knopf Inc. 22. CHANGING BETWEEN SIMPLE AND COMPOUND METER WITH THE BEAT CONSTANT In this chapter the beat remains constant when the meter changes between sim- ple and compound: the dotted quarter in compound meter equals the quarter-note in simple meter. Therefore, the speed of the eighth-note changes. The eighth-note in six- eight meter is only two-thirds as long as the eighth-note in two-four, for example. The change is the same as that between triplet and duplet eighths in simple meter or be- ‘ween eighths and dotted eighths in compound meter, This is shown in Exercise 22.1, ‘where the second segment, with change of meter, Sounds the same as the first segment, where only the division of the beat changes; the same relation obtains between the third and fourth segments of this exercise. ‘When the beat remains constant, six-eight and two-four measures have the same Tength, as do three-four and nine-eight meagures, because they have the same number Of beats, In contrast, a six-eight measure, with two beats, will ake less time than a three-four measure, even though the note-values in the two measures may be identical, as inthe first wo measures of each phrase of Study 22.H. ‘The challenge here is to keep the beat Constant. To this end, using metronomes, beating time, and walking with a steady pace while singing the rhythm are helpful 22.1) 84. = id =44-72 8 ITN TINT. 1-H TD dl |- aA - nasimm | [WS SIT 00 Walks STI i ST 22,A) Allegro, $4. =% 4 (= 104) TAP Th Ag. TL TI TTT) Fd i SF Thy Alle MTL Fl nie WOT NBL Tle Te STI22.B) Allegretto, 84. = %d (= 72) 4 01 DIT, TL 7 IL ddI) hy I) OT me By J dL J dETL TL oT ok it TIT SOIT THIEN PTT | I 22,C) Andante, $4. = $4 (= 60) 8 STILT LIST STITT Ld ST it SRST | STI Je TD 8 STII COM: Oamame RIMINI ROAR + (ITI STLTITI A SS TLITTS 18 SLIT Nl 22.) Allegro ma non troppo, 84. =8 4. =¥4 (= 92) td. MBIT TT ds DT Jodi AMBIT de) LTR RD) A LR TI Te STL BARU ol 22,E) Allegretto, 8d. = $4. =24 =%4 © 72) a SD dona DA Re by STL + Wy lobe AR 96 A: Aly A+ ATL + B 8 TOTTI it STITT ST 8 STW + Br A, ae Wy Bay Oe MTA + | ~laccertt Iecer cect 22.F) Andante, 24. = 4 (=58) unten ar caer Ble Os Og Weenie ee ee aaa fore If por pf Reerer cr BIT T Il te (TI apr or of lor re if por OF Rk RIA TIT 8 TIT. be | Roser of er per PF iP ee 22,2) Ad. = Ed = 52-72 fe i ffl J) B08 IIT) SCOPCer mcr cr f @r er ier ~ POLITE ~ Wer oF be ph Pere ?| CS coorisr 6 CEer! 8 ST) IT ST Bi te ne 0 RCS Cf22.6) Adagio, id =8 4. (=52) eae FIT BIT |) DI Oe as dL) LIT 8 IN| J DT) RCOCE IOP CS ICP OL Rl dT BINT ‘Ne = eOPcricr corer of Oey cerier os LITT B IT SIT) |) DTD Cf ELS isr op Cer be PETE Coor 22H) Allegretto, £4 =§ J. (<69) Pearce caer roca aes Ce rane alee ca 8 In TL Oe er cer ir or kr ptr er ter fay MRT TTA | PUR RR TPES oe | 22.1), Thomas Dekker (15702-16412), “Golden Slumbers.." ‘Andantino (ie = 8d. = 69) nin ionins. Gol - den shum-bers Kiss youreyes, Smiles wake you when you rise WoT dds d pd gd oe ‘Sleep pretty. wan-tons, 1 ing Tota by: ari! Th - ing | Rock them, rock then Care is hea-vy, therefore sleep you, i | E dad fa : | ITT] nite must keep you, diay ht Idd J T will sing Ial-la-by: 23. THREE NOTES IN TWO BEATS; ‘TWO NOTES IN THREE BEATS ‘The proportions involved in putting two equal notes in three beats and three equal notes in two beats are familiar from earlier chapters. In Chapter 10, two dotted eighths were put ina dotted-quarter beat; in Chapter 12, triplets were put in beats nor- ‘mally divided into duplets; in Chapter 13, two notes were put against three notes in a beat. What is new here is changing the division of the measure rather than the division of the beat. In moving from normal quarter-notes to triplet quarters, itis helpful to think triplet eighths ahead of time, since two triplet eighths equal a triplet quarter: Thinking, = SEIIT eeattesyatening (P2549. Jd) I Natio i steady the beat against which the erossahythns play. When we perform pet quarter ples, we must move quickly tothe second noe; when a rplat s performed unevenly, almost lays itis the ist ote thai too long, “The hemo pattern is most often tee hal-ntes in the tne of two three-four measures: Bd dI.d dl. study 231 present the nemiola rhythm in patterns fa ilar from the thitd movement of Schumann's Piano Concerto where, with one best toathree-our measure, we hear the thee hal-noes against two downbeat, 23.1) Bd. =8d 63-108 7. . ETD Li agua| iJa-hosiosiiama -1 ION am - ko da - bs Ta (-syhi yy) 9723.4) Allegro moderato (4. = 72) NOON) A a Jidila oss Xion TRI SII. ¢ dd MTV J LQTWU JJ ids ide oom CU ATUSTI bl 23.B) Presto (d = 126) ilo ou HT imaninn Tidia oo mirsds Tani asda ims THU HTD a ioe (ee eevee tee 22.0) Andante con moto (d = 80) : LID, ROAR UTIs, Bo Ami amin - Join ASI h sRTTI Didi al Mani quae Mm nam a 23D) Allegro (¢ = 116) WILL NL san Th ode Tran on Wan ns: MARTIN aT = Ir dOITS sos TTI ot 23.E) Allegro moderato (¢ = 104) rDid MITT iid dr ht me Noman) SH oe | (fe Tiamat) vd gn dunn mn Ti dids oJ 23,2) d. = 60-120 (Conduct one to a measure.) lids die vidal 23.F) Vivace (2. = 72) (Conduct one to a measure) Rl Jd di JW i di JW rs | Id Jd dedi Ld dels ddd ald J) Wd dd dels dd dl Id JI LI STOUT dad du ld did Jd dd JW Ts dd 23,3) d = 88-176 RID Lad Dold La WD dL ol 23.6) Allegretto (d = 112) RINT ld ddd eley eee eee eae d 4 ta ror OTpr tebe ete eG Wi die dd ibaa | Ada tert lett Blt bea role Ts vee scercerit a Bl 23) Agree = - ppeaehyy iy - yu let Nae ee eae ee EPAPER PPIPEP APA PA bP Ppa nel 23.) Allegro (¢. = 100) i . f a ct eres ares ace tre 6 aaa ae 4 | | PREPS PEP bobs bert t : : 23.K) Alles bist [ede | AeTeA | TH Pe te | DrolrOt Orel orp r yl ore riper tras dre | F wa |J aaa |i Jo jie | ,: fleet PP | t t be F | by de di POyU TA yd dd | gis bod Bld a PET erterltert ee lteet ot te eee ple geo otbe t Lee re alee ly 7 treed cle rl re eae 10023.1.) Walt Whitman (1819-1892), from Leaves of Grass lero (d = 138) tid dd oder de Deed With music stong 1 iy Se yo Wi ominnaws Ts 1s play not marches for ae-cepted victors only, play marches for con quer‘ and sain Iter Di TWh. die Ta persons. Hive you beard hat was good to gain the day? al-ao Idd de do Be Wad ea aes a orescence Weed ero aE eed Sede St ot end frde ea°Tow sg ySnstis y WliTi)iue a Yood-est and gayest for them 24, FOUR AGAINST THREE As twelve is the common denominator of four and three, the rhythm of four sixteenth-notes against triplet eighths is measured in twelfths of a beat. The sixteenths are attacked on the first, fourth, seventh, and tenth parts of the beat, and the triplets are attacked on the first, fifth, and ninth parts of the beat. As with the performance of two against three, we may be aided by verbal phrases that we speak naturally in these rhythms: Four against three: 123456789012 Hed ee) When —willhe come gui? ‘To make a cross-rhythm of the four verbal accents sounding against three metrical ac- cents, we write this as ar rT i. wb)? ie fr f if r of Similarly, three against four may be heard as 2od\ed for Rf Wash the car and wax it As a cross-rhythm of three accented syllables against four metrical accents, this is written i od) 1 dL #1 Wash the cir nd wax i! or one d3 222 ar rr Te fetta?! or i 2 err rr fies tole eee apr re ‘The above pattemns appear in Chapter 25 as a way of thinking four notes against three beats and vice versa, but practicing them quickly may help us learn to put four notes against three in a single beat, It is important to practice the cross-rhythms slowly so as to ensure accuracy and quickly so as to artive at the point where we hear not just the composite rhythm but each part independently. Finally, we should feel that we are performing two conflict ing patterns at the same time and that, although they fit together correctly, neither one is based on the other, We don’t think sixteenths and fit a triplet against them, of vice versa; we simply sing four sixteenths and clap three, or sing a triplet and clap sixteenth notes, atthe same time, We think two different thoughts simultancously.TT oo - 7 | 24.C) Andante (¢ = 60) (23 72 ana | - | ae en aaa | ft) 22) PU aRaR | ticrtgrlegrees Iter ce leereer | etree plertgrer eg leriget | |= [ee mom | [22 Dibadadomame) ~ Wer Cr eder ede - eekr beer PPR Pee | BAIN rai | i. min Mo) nam ceoreoerd - PO Coricer eee - Creerereerdr or coorlercerr (HEE NBR BE | Lomanamnomy - | tercer leereer I~ Ieer cer leeerceer beget ee er eel = | 24,4) Andante (td = 60) A.D) Allegretto (Hd = $d. = By cdertitlberberde ter tivee eercertrr i fertertprlege eer Corl terterceritereprer lbs deee perder ee Ce PEee leereere | 1 On| 00 ans | | Tay | ! ede ecco | EPP RPE PI DAR) Adio (d= 52), ._. Oe epee de feo |e 7S] [tf terepericercerceerle rr +p d 2) A A» ft ) (DDN 4 jon 7 eerie PP leereerle Seer ter PR RRRR | ae ror ee cet re deer ce lee 24.1) Allegretio (J = 6) 4 Bree ele teal ae | fooorice ceericy eoorleeerceerior poor =e = | \ ly sj dR »d| ler ceerle eoerle eoer ior eeer! Int cerecerier cerecerles f+ 5 Th fim alm mn mmmminy. | Ee techs Re de 7 | PP Lee eee coer peer Ip 10524.8) Adagio (d = 50) i) oI rly OCS I TT) coor be ih mm Les cal IAT | 7? Cf IROef ene Dds y MOAT f yp Cor Tam cam A ee ee ele erate fatale Sea |Cer mam ret mm (eat? ch PC er ? 24, G)_ ohn Dryden (1631-1700), from “A Song for St. Cecilia’s Day” Allegro moderato (. =69) ads dele iF Id DITA Is OT grit P tot it pCLr ir pote ey 2 MoT Eke Sa iro ceric Cerirpecrice? Cer 3154. Wr : es discovers The woes : hope less cor TT 25. FOUR NOTES IN THREE BEATS; THREE NOTES IN FOUR BEATS: ‘Singing four even notes in the time of three beats is performing four against three at the level of the measure. Each of the four quadruplet quarters in a three-four ‘measure is three-quarters ofa beat long; thus, the pattern can be notated as the equiv alent of four dotted eighths, but itis more commonly notated as quadruple: ma. J] txta When ic arses fom bocistead ota eglind seine eee 3 3. ‘ 3 enone 2 ey Taises eet Ge omen teks neat ct Grestons Guin agin te tesa etarvons Gees poise mesh’ Asin dies aor tigtain pasion oe ese Soe Gia! Guar vey pment ua tees ames pec ieee 25.1) ¢ = 60-120 (Measure 4 is equivalent to measure 3.) LNONIONAAIAAAN a - | ANT Ad-b sa 25.A) Adagio (# = 63) tO) TRI | ll LTT) ABI ee | [J SA TUTTI | TAN TUAM ATI a 10725. B) Allegro (¢ = 120) iJ JIMS TITUTST IL 1 del JST a TIT TD AAI AAM) Dcyyn a Wi anv am a 25.C) Moderato (J = 88) ENR SR TUTTI L 2 [FURRY 7 ILA an > Xm TUB STL ol 25,2) ¥4. =4d = 60-132 (Measure 4 is equivalent to measure 3.) @ TIT MIDI DL d dd [=I od lodsi J sae it ii Mo NTA da = | ave een 25.D) Allegro (# = 126) a tod WO Ga hy 1) 1 Node di nu me sirsuTy AA Asa We TTI) Wid di -4 25.) Allegretto (. = 112) PHL LMT dL ITT Md dITI bI721 Wd dda Ml MT J 11 ITT) WITH dL ddd oe ML SIT J | VDL DTT J J edd de MI DTI Idd MTU J J ld Jd ddl ell id i 74 | 25.3) J =56-88 ws) bshateier | Cl tetzrtr ICL Pa ERTEA = fete | l-berererd = er ep d= Fae 25.F) Allegretto (d = 72) {i ee ee el i COPcoorecr ICereeererr |Cereeerecr Ceres ce LITT A. | IIIA, | FITTS. | J Coresererr Icercssrece corcerecr aT | LT. TIF 4 corcesresr |e. cerceerere 117] bedelesee dee ieee CErerecricrororir rer irr er iree JJ) | COP enrecs: an eft aga |: ara - cee el 8 Rob toe25.G) Con moto (¢ = 80) tA)maAM Td fy ik 2 a See A/a 1d tercerceeri i 7 ef ete leereesrceer lf“: |IOd07 | I) TI ler orer Ite oe cerenrete ler terteeelt 2 | 28.4) Bo. = hd =50-80 Fees [+ pete 7 eH 25.H) Allegretto (4. a By le Pecerr lr Cercer |. Te it mm rh or ole recess cerenretr PP TTI (nA ricertr cel ale dl J dd ald t oir le edeeed 2 1 ee tf ihe oe creche’ 5? 25.1) Allegretto (o = 100) {te yy r 235 2 1: trl he fl Cr sae 2 id bio poet f EP Bold Ae | Leds Bae -rerle Pe ert 25. J) Anne Bradstreet (1612-1672), from “Mirth and Melancholy” Andante (4 = 80) of Bia Al |. Idd Fa ae +0 As crak ing lente 7 fale : v NT ol frogs, whose dwelling en's hoarse, WA Wor Da oan, And shek-ing owl, which ly boar Dil a ad wi oe26. QUINTUPLETS Counting the notes helps us put the five notes of a quintuplet onto a beat, espe cially ina context of other divisions of the beat 2 WIT PP 2 eee as ‘To sing five equal notes in two beats, we need to think the quintuplet beat: ‘The common denominator of five and two is ten, but to perform five against two ‘we need think only of the second note of the duplet dividing the third note of the quin- tuplet: “The common denominator of five and thre is fifteen, so the second note of the triplet sounds a fiftcenth of a beat before the third not ofthe quintuple, and the third note ofthe triplet sounds a fifteenth of a bea after the fourth note ofthe quintupet AAs with other cross-rhythms, learning must begin with careful counting, pro- ‘ceed to slow performance where the subdivisions can be imagined and the composite rhythm heard to be accurate, and arrive at the point where the two patterns are per- formed and heard simultaneously and independently. 26,1) d =48-76 mI Wij az kIT = | i J Tima 26.A) Larghetto (J = 52) al Jian amiss sel JIT OMIT A dd 10 TTI TTT TTT dt Jd ddd Tam aT - BIT Vim fani- fm Jyeleddu sin\~ in gam DoE eee Wai) - yiligmam- Pilws- 26.2) J =48-76 STH = TT - bd - OS - MA -Oianam 26.C) Andante (¢ = 63) 10 0 2am oom 0 shania cum Advan dumusin sings as26.D) Allegro (¢ = 80) LATA AUST sree Bieri Pererd eB errrrbrrri Leer) CAAT AAR) dl 26,3) d = 54-80 t SETTLE ll - hd oTd70 4 - KITT ~ TT = | IT) ITAA 26.E) Allegretto (d = 76) 7 . ’ i imino Imo oom Tins Ida MINN TMI IN| TIT Wa TT wT) sin ium NID: SBT ATT ol 26. F) Andante (4 = 60) Loans, ain Wana: Tash [STDdo | TTTIN ITS | STITT bt 26.4) 4 = 40-69 Me: ee Pe Bee | cceore cceeree 26.G) Allegretto (J = 63) id J S|) san leeerr leeere tll : as J JT coerr coer 26.H) Moderato (d =72) Pee he J OR Os) IN) | Eeceerir ceeerir \ ceeeri¢ p cecer Cereerter crn ieercer py [sect ot J7 dJun by mm eeere om “eel dt f d by am duel) nw corr Iefretrepr J | ST COrcerp. 1 On smn tl P teregrlerrcer tier f26.1) Andante (d ERD) MM TTT dy etter ter mm yf bet mn 118 c ore rere leeercy’ It noma rere ieee lee \N ano am Ter lteerce Ieerces 26. J) Langston Hughes (1902-1967), from “Daybreak in Alabama” 1 Andante (¢ = 60) Uo) imams When T get to be comspo-ser I'm gonna write me some mu-siea-bout ferprrrria fam mim | Day break in AL-8-ba-ma Mim gonna put the pur-ti-est songsin. it Ron oi + Moms Rising out of the ground like swamp mist ing out of heav-en tke MITT a ‘aft dow. Pm gon-na putsome all wees int And the scent of Th BIS Aid) ALO pine needles And the smell of ed clay after rain Tn that dawn of music when T fT 1FT comin: 1 Getto be A composer And write bout day-break in Al ceeer beads |? | NOTE "From COLLECTED POEMS by Langston Hughes. Copyright © 1994 by the Estate of ‘Langston Hughes. Reprinted by permission of Alfred A. Knopf In, us 27. FIVE-EIGHT METER Five-eight measures may usually be understood as consisting of 2+ 3 or 3 +2 ceighths. Where the grouping is consistent, the meter signature will indicate it, asin the first two studies, Where the grouping is not consistent, as in the next three studies, beams will make the groups visible: 1 2d is 3.4.2, whereas d Td is 23 Because quartereighth sa more normal patem than eght-quartet an eighth between two quarters may be assumed to belong to the ist group—d dd is 35+ 2—when thre sno contrary nda (One standard pater for eonditing five Beal isa modification of te pate for condetng fur, with next motion fo the ight (a in condatng sx before he upbeat when he pater s2+-3, and an extra motion tothe let when the pate s 3+ 2: When approaching the hth in this cape, wil be simpler to beat 3 followed by asmaller patter for 2, of vce vers, depending onthe situ ofthe measur Whilesow guinuple meter (asin Study 27.6) may be understood shaving ve beats ina mesure, five-eght meter is most often not quintuple mete, ut duple meter with to unequal beats, one a quarter noe ghd the other adoted quater. When the tempo of the eighth-note is 240 (asin Study 27.4), the quarter Is 120 and the doted «quarter is 80, and these slower values are the effective tempo. Most ofthese studies should be understood, and conducted, not with five, but with two unequal beats in a measre. After svg to keep the eat steady, conducting unequal beats may seem strange, but we need to feel these beats physically. The other hand ora foot or metronome may mak the undedying quick pulse to Keep te basin thet proper r- tos 27.1) d = 144-208 BM ld - bla WIT) LD SD = WS Il = | Who STIS D0 = ITT 27.) Allegro (in 2) (2) =240, J = 120, J. =80, J. J = 48) DIT ITN TI. NFL MAL +1 IETS FTAs LT ML (iT) IDL did de dail27.B) Vivace (2 = 330) WITT STL SUIT dds LOFTS a Fa Fd oe ee) ee ial 27.C) Adagio (d = 80) 83 SOTTNSTS | STA THOTT A | SOGTIEA| J. 9 | TDITINS | STB SDy S| STVITT | TTT MIBITUS TI Tidy SI STIIT | TI S| TTI. ol 27.D) Allegro (2) = 192) Sales ielle Beltete-sl DEPP pete] TGA. +) ST | STUNT Dy 3 STIS | TITS TI 27.E) Andante (2 = 160) BL SITIO dd da TATU TR STI STII | TASTIT | STITT | SEM NJ TI ATI TY ddl 27.2) 2 = 100-144 BIT J dy - gr ff trter| [2 °F ie ee] 2 | PIP perl - , ee Ered LPP | = [PRE | 27.F) Presto (o =264) COP of Iter cy Wea e ee eee ae ha groirr ir Pir rire ir rire | ig fee eee es prod re eR Ir el cer lef alt gt ld od Id erie adele feelt 2° rrolrer it et lf terit perir eerie PLP ed ania rele er ie or re dre ire eit 27.G) Andante (@) = 108) ie MIN ima | spor cr ior cr lpr Cr lpr orl | FR ed PO Pa : pr oer lpr cr lpr Cr lpr cr {LITT |T Ta | TT 3 ro er lpr Of ler Oo ip mm Tn iT | pr cr lpr tr lpr tor ir a | f of27.H) Allegretto (d) = 132) {es |? HF \d fal letae tr erly Of DICK PICr Coor 102 An vor Sire of er 22 ria PPP EeE toe? ’ d) ITI |ITAST |Jo17 vor OIF CPO Ceeriorr + | IIIT S| LITT | STITT) ry ly PC SEP OSC fer ie Pee ir 27.1) Emily Dickinson (1830-1886), “Heart, not so heavy as mine” Andante i) = 108) ads FISTS 1 FTI lds IG not $0 heavy a5 mine, ending late home As it passed my SAT Ptah window Whistled tscif tne ‘Accorotess snitch, bald, rer 4 Bo-odik stn ing Ldr yg dF. Ir IA yd STTS paused, "and eusolled— Then bub-iedsiow @-way! Te was as if |FTT Perrin id fede 3 ATI ching brook U-pon 8 mes Without the knowing 7 OO ee 28, MORE METERS WITH UNEQUAL BEATS ‘The meters in this chapter combine quarter-note and dotted-quarter beats just a five-cight meter does. Here, in each case, the meter signature makes the sequence of beats explicit. For example, #9 is J, but with three beats, of which the frst two are ‘quarters and the third isa dotted quarter. Conducting again helps us become comfort- able with patterns of unequal beats, and tapping the underlying eighth-note helps us keep the proportions accurate. 28,1) 2 = 160 - 288 “STII ITTIW - Wd dss al 28.A) Allegro (J = 138, J. =92) eNO MINN MOI WL IML SAF Sd dN ol Wed STOUT TUS dd el 28.2) d = 160-208 eel) DTU - WAIT 28.B) Allegretto (2) = 192 ape d dol J STU IISTIT TAI |\FRAOIT I ol 2 DI J IN STI SIT ITD STS J 1 WL DIDI MSI DTS ell 28.3) 2 = 160-208 SH) DL DD = ITI = ded. J. dl aa28.C) Allegro (2 = 208) se TTI DTI DIT IN It MISTI DSI DID I TIT) | ee ee ny Il J DTI L 2 DITTO DID TAT ITT STAT Ide ll 28.4) d= 160-228 mae, Ji dd - IFO - WITT) TAT ill 28.D) Andante con moto, in 4 (2) = 160) asap ds Sd Toa FHI DDL ADIT We dQ Ib SIS | SIS IFN J 2 Jl) STD TIS TS | FIST) JD SIT TIT Js STI | FL JI) ITD ITTF SII SIT IIT tl 28.8) Vivo (d = 162,42). = 108) mgs Te TI DTD bat D1 ST Th MT MAN Ay A (Did FUT Dy Dl NA FI Th MTU STAT el 28,5) d = 120-200 |i aigee err renters Ler 28.) Allegretto (d = 184) beret aigie ? Ae IF beet IPP EPP IF pet 28,6) d = 144-224 MEO OT ODT | [; ae pr ttop28.6) Allegro (¢) =216) Nea aly dl iii d meng 595 py pet 2 04 IH TOD OCS > Dr dLT |» tft 2 off dit JT : 7 ORtroOs iid iT. redo *PrPyP CE IyPCEe te als voor Tae PrP Po tL ls PrP pot JEN JT) a el ed 28.H) Grazioso (2 = 116) fsa INIA meee ICP a cs ae re T3573 | SHIT COOL Cerner ce Wie iy |; 2 TTI Co er cee TINT FT| IG Peter le Fal CiePit lect” |eierebeerce Sherr 28.1) Samuel Taylor Coleridge (1772-1834), from Rime of the Ancient Mariner lear (d. =80,4 = 120) oP, de DLAI Oo La Te ee nd, few each sweet sotmd, Then darted to the Stn Mma Ot fale eo! . Slow-ly the sounds came back gai, ety one, J Corr ler eeere Ie Jil ATG 124 (Tei? Me ee eee lee ee | Siresion ong tombe ay heed te atk ID JL dood NOT Sone simes all ite birds dhat are, How they seemed to fill the ea and air With thir sweet Terk ds dT TR jar gong! [And now “ts ike all in-struments, Now like sloe-Iy ld J DT bs OTT re Do ‘ite; And now fn g's song, That makes the hea-vens 29. CHANGING METERS WITH UNEQUAL BEATS ‘The best preparation for these studies is counting the eighths on each beat aloud while conducting the larger beats, thereby becoming familiar with the metrical pat- tems before attempting the actual rhythms. Thus, while conducting seven-eight in three and five-eight in two, we would count: Urea DET a tai | ‘Tapping the eighth while singing the rhythm is especially important for studies such as 29,C where there are many notes longer than eighths. ‘Studies 29.E and 29.G, and the exercises that immediately precede them, in- clude three-sixteen and five-sixteen measures, The sixteenth-note rather than the ccighth-note is the basic division of the beat, and beats are eighths and dotted eighths. Tn these studies, therefore, two-cight and five-sixteen measures have two beats, three ccight and seven-sixteen measures have three beats, and a three-sixteen measure is a single dotted-eighth beat. 29.1) 2 =176-240 IT DET MM - B Bid da la29,A) Allegretto, 2 constant (2) = 176) BIT TAIT STITT SFA) STITTITIR ITI 2 BIT IITI T| FD STITT ITI STITT TTS ETT) TTA RIT 2 BITTE b BIT TINT RON 2 ll 29.) Allegro (2 = 208) MINOLTA MiOnN mms 8 TI Id 8 SR | ST 8 ST ST | ST ARS yA + Mr AN ORAM STN AT TT IT. el 29.C) Vivace (¢. = 96, ¢ = 144) HP DIL dM dB BL JI LOL dTBs d) STUBS OBL Di Jd) dS) OTB. dL STIL OB Ble DU J MIM LB J dd BB gold DAD. Ae 29.D) Allegro (d. =72, ¢ = 108) EMM RIN OR OMB ROL +s cms mms 8 CD TAB STS OTs Is 8 LITT | ITS STS | STITT |» 78 (8 COTTIIS STILTS 18 TITIES STINT 8 8 TIRITTLL ol 29.2) J constant, =176-300 ASTID DTU - I) Mb) la BH -KRsbm ana 29.8) Presto, & constant (0) = 144) GND Al) MAO ABDI) lb BFFIBS Aldy dd Ald MIDS | dd MATS TBD dy Si (ID Fld Sd Aly dd iy ADB BIB ADs Md Ald My Ty) dibs SAR oI ABN ID ES ja 29,3) ) = 152-208 ae jeon ern | Se (rete tele errr Bre29.8) Allegretto () (ALO on trina aror or purer Br pr oF Ble ITB JT) STI 8 prorkror if aro ar Per cris J) cana I ah gf iF “ter arora? of oterler ocr & LIN ITST IB Bane ree: 2 8 ar por cer er pcerer ot at Heer Br PCr Br TEE TTT IITIB &. ‘| sf peor tr ler 74s 3 constant, 4 = 184-240 aE ee ee By tf ly COO? iy eb: 29.6) Vivace, J constant) = 240) ATR ad TIAL ALTE 7 pO fo ly py Orly pr or Bapycer do ae a eee H Py Gel lie epyet ly cer bags cere +7 |b AST Aan be bpp) My Py Of ly pyar inphowe Bd > Bel + MAT ByCoribyor ey oorary Bier lesgser Mo Pe pr) EEC |do 7 | Celle f xf QOrlp yx | PAL: a Pei Ey fir fr | 29.1) Grazioso (2) = 1 (oer mon a eo a ININ corer 1 TUB FL ITS CIor BOmror cf 29.1) Loe Bro ortuguese, feel = LEP 2? giery | BJ I BCL: Bo. TRL BCeerer cr let +: ing (1806-1861), from Sonnets from the 8 pt 6 LIT mt oe ried aya aT a endee! obs a ld. la. Fab sd db 30.A) Allegro (d. = 76) ow ‘ tis 4 BL SITU) dL0+|2 dT Bl dd ind a oe, dal 2 de Brrr ler ro irr ¢ Aled Me PBL a dd dun Pe PPE oo 12h) Lamm. we lee J DST) 1 weer ITI» oft past | 71 TTT ree 30. MORE CROSS-RHYTHMS ‘The sis inthis chapter are based on rhythmic pates, combinations of = i aa scemmncaencctmmmmmmmnrs || ERT | LR| LRM pi ie, these shythns involve different divisions of the measure inthe to pars. The sores ie fr3 groupsof 4 G0.E). Two studies OF and 30.6) involve cros-meters in ways that 30.1) Allegro (. = 88) ‘urconvenonal notation obseures, beaut, in order to show he equivalence of note- a a 877 FT) 1 dd aa values in the two parts, one of them is notated with a d fa pattern, The nota- gt rr cer eee ton that of compound meter, but we her the patter In simple meter ‘As witha eros-ythns, we fis focus on the way the (Wo parts it together and then proceed to perform the wo pats independetly atthe same Gime lie dd jl td Crier crit dot Fray Cf cericy cor NOTE, scneonmvmromr tn nensem enn — [i deleededdetelerceles | (crags Sid London Unter af Cheng Prese1979); AN Jones, Stes Ape Cf Cornice cOricr cer cf i “Music (London: Oxford ae Press, ee and J. H, Kwabena Nketia, Aj ® : 30.1) 4. 356-92 ane = 40-60 ee YUN30.€) Allegretto (J. = 52) Wee gJTT4 |: TTT | ITT § CLOPCcer icrerceer iecerceer |JT3TT3 1h Of dy ITT a dry JTTI eee ag "| vfhfy Oil: of: Oir fr 30.4) d. = 50-96 . eicttés ‘4 2 ty Wecersteterter |< Vechgtestegerd = | ne fe [ectePe dete? | | leeteed deter = |; tr | 30.D) Allegro (e. = Me dd Nd | DJ DD Nd iii eter cercerter ir rte sefetebeete? [2 Jdid+ Fereeerenertlre eet | Irororop ieeroercercerir ro oror Hf aa aaa dagdagdagddg oe irre ee el i peer 0.5) J =44-80 . en Part Pa: [er be ee ol = LP 224 2 BY =e La oe A - LF 30.E) Adagio (d = 54, 4. = 72) ii Ta Srarcrole roe aaa TH 144 [242.44 |=! - itr or rrp = Pee |S gla In) ain: rolrr oe re pl PIT TaD pr rf oir ef iF te p Te Pare ralttar er alttarvel 30.F) Allegro (d =72, d. =96) lei ITN Tins, dy aaa Poorer orl yaa Ml lidji i defi i dd cr PEPE cee er Pete ee aa 1D) TS dae | crir ofr er Mertrlte |30.6) d= a “ teaebeel Peeeacer bd db DY rr ore loll 30.) Moderato (J = 96) th Hdl DL NAL de lt Serebecertir COLecerceriCercercercer dddL MAL bs cer erir err of STI | | dod dd fore crit |? oP ere 30, H) Arthur William Edgar O'Shaughnessy (1844-1881), from “Ode” Allegretto (d- = 76) el yess miosis We sre the mu - sic makers, And we ste the dreamers of deams, errr fr irr r fl Id FQ OJ J JTS: dT) 1 ol Wan dering, Sy Ione, sen trekets, And sting by. dente seis Ir (a "|| Tb. dds ids dls ad eee Wd DTD DS MTD J DoD Md yee ‘| Wie ate the movers ond shakers Of the world forever, Ht seams. [ler Pb ieee er ier re 31, TEMPO MODULATION In these studies, tempo is changed in two different ways. The same note-value ‘may have the same speed in meters with different numbers of that value on the beat, so the beat becomes longer or shorter. For example, as we saw in Chapter 21, when the cighth-note stays the same in moving from simple to compound meter, the beat be- ‘comes longer and the tempo slower. Alternatively, different note-values may be given the same speed. For example, when a quintuplet sixteenth is equated to a preceding normal sixteenth, the beat, now consisting of five sixteenths, becomes longer. The terms metric modulation and tempo modulation have both been applied to these pro- ‘cedures for changing tempo, but the latter is more accurate Each of the preparatory exercises in this chapter should be performed three times in succession, beginning atthe first of the indicated tempi; we will arive at the other tempi during the course of the exercise. In the first exercise, 30.1, if the quarter- note is initially 162, the eighth is 324, and jhe dotted quarter is 108; atthe return to ‘wo-four, the 108 beat is kept; beginning again at 108, the eighth is 216, and the dot- ‘ed quarter is 72; the third time we begin at 72, the eighth ig 144, and the dotted quar- ter is 48, which isthe speed of the final quarier-note, twill be helpful to figure out the tempo at each point during the exercises and studies where values are marked as equivalent. As always, conducting will make us physically aware of the changes of tempo, 31. 1a) d = 162, 108, 72, 48 ded RIVA TT 31.1b) 4 = 48,72, 108, 162 ea mimiinani J df dad ox al doll 31. te) J = 48, 72, 108, 162 wmiminnus 31. A) Beginning Vivace (6 = 144, 96, 64) ad dais dd We E01 dl nant aR oN Sit mals so a 135 ded. ax J ovLida aaiaiby oii ADMD NL ITI od 31. B) Beginning Andante (beat = 48,72, 108) AMT eS MTU Lome tI ld SL oT LSTA STUNT T 31. 2a) 6 = 54,72, 96, 128, imp mimm yi ooi 31. 2b) « = 128, 96, 72, 54 i Db. immimmi 31. C) Beginning Andante (beat = 63, 84, 112, 84, 63) PAIN TRIAL IDI IAA EUBA RN MIN J ARB lOs SO La Ip mami amma. rz Pl | SIRI) ABIL ATRL ol 156 31.D) Beginning Allegro (d = 128, 96,72, 96, 2p abd) MONI NAT. som! Ido ddd Sasi DTA dds ND. dunn TIA Add) MIT OI IMAM ol 3i.3a) meas TN miininstiiim mim. ‘ 31.3b) d= 1 64,3 ions Aime 31. E) Beginning Moderato (¢ = 64, 80, 100, 80, 64) § JD |TTRITS | STINT | Toa eTaa ld Ed | TDD ETIAA| Reorder Dee ee TP Be Peeler Boccdcccol 2.3; : : | STIS STIS | TIT IIT dW ITI I5T | STITT LIST) oll 13731.F) Beginning Lento (¢. = 40, 60, 90) Wn ore ae a) al ar |r role ctor ir rir cork sma Filey herr trl ert er ded Jaa RI Hi eee RL Bi sin PRs | BrP RR RE fg eons eee mera fea fanima Pomeechearcl aperborcrcl | it f ere eee a TT \J Simi 2 ae rr ce ltr wer ade ddd AIT J. 2 | prof plpr fe Ir 31. H) Beginning Andante (¢ = 63, 84, 112) tT | III IT Merete ip lleete ay ot a f fer Pepe [eeanaacay rr crlorr cr nami tis J eae To oirerirrerierreriere ord STINT | TIT TA | corr crore 31.1) Lewis Carroll (1832-1898), from Alice in Wonderland Repnning Allegro (d = 108) bio dim cain. 7 you kiew Time a8 id the Hitter, PA eE P| eran? =) e216 Wiad pay dad a Emad did mai arsd sim in fain Sl ie a ernet ven poke 10 ld tin qd Rion), ererrr| Sint Ale ae ee ce Ider vena J Angas | ‘beat time “Aly ‘That ae-counts for it” "sad \Fl A lJ» n't stand eating”thus et Aries nao Qube : 75, telat De Masami Et SECOND EDITION | Mentsiqubearasce — 405 | Studying Rhythm ANNE CAROTHERS HALL Learning to understand the basic processes andcomplexities of ‘musical rhythm is an essential part of musical education, and being able to perform all kinds of rhythmic patterns accurately at sight is a necessary skill for performers. Studying Rhythm con- tains extended rhythmic studies with short preparatory exercises, to be sung or spoken, tapped or clapped. The 31 carefully graded chapters—containing over 300 studies—begin with the simplest patterns in short measures and progréss to cross-rhythms and. metric modulation, Studying Rhythm is useful for the beginner as well as the upper-level student of music theory and skills. stinguishing features: musically coherent studies, in traditional simple musical forms; studies of sufficient length to afford repetition, reinforce learning, ard give practice in maintaining a steady tempo; ‘many two-part studies (130) to be sung and clapped, providing practice in erforming different rhythms and, in later chapters, conflicting rhythms at the same time; ‘materials suitable not only for reading, but for dictation, ‘improvisation, and composition. New to this edition: the rhythme setting of a passage of poetry or prose about music as the last study in each chapter; ‘more explanation of various ways of studying and performing rhythms; a chapter of cross-rhythms based on patterns found in African music. ISBN O-43-bL4se0-5 90000 PRENTICE HALL i | | iil Upper Saddle River, NJO7458 yyy H } http://www prenhall.com Wh iH . 32002 5009 9