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COMMON POLYRHYTHMS 2:3 (2-against-3) 3:2 (3-against-2) 3 lib. (poco a poco agcel.) repegt ad 3:4 (3-against-4) POR UPPlUCepericer weenie ter Pere rel eererriegrercrerier te rl (or=p) orempow aifony (a"ez We fPlereeric reeeri¢ resi ere. Of! lerepe offer terieree eel ereerteri lore: flerenre rie ree fie tefl lereecriereefeerie feeri¢ frites Gour-p)oaay (arez Le PiOrereeri tg recererl Ce reer eel \eeeregresereeriecereerenr fiers «eet lif peers eee ue ee He aE eee CU ales ete (er Glee Cal t aac leeracer Tleserecreeereer|ecercrene Pl ecry (08 ~p) c1om wos oxmepay (ex Io oflerteri ee fl pet rien i Ietfleerert ericerie ti eer loerfier rie fl t ree gl lOrepriereericg leer rie te (oci~p)owe (ae Tt rece’ rier re fi teere;rer ie ter tes! (CRPCe Ga Pel n nial tet Caeser LPP ricere rit t TIkee Peet] COBEret ter (eee CER RRC nt tenia tet) LOere ri ceesre rl ceprercer| cer ceri es (cup) omsspom osfony (VET wyphrg Cutpmps “IPH omy Mod ID SB io | FR | |) for (reer eereer eee? Fel CEA CER fea te cof cer ceeres d|CRTITAT all Peet eer cer ptf lager ers leeer cier rach ae |e i per leeer tp mii) tor eeer n cer A er Hh co 24.F) Adagio (d. Pa aR Prin fhe d Rees p ler caer Jord OP be” | PURDUE! | coh tr eee leer Cee [eee Bees HD dad Jae m2 pnerrr inet en cf ceer 24.0) Andante (J~ 60) Ta ard deed le > halts sebrley eazy |pse? bee Studying Rhychm 46 A.B) Allegretto (d= 66) ebb Bh Baa ey oS Ry ni a £4 RB 8a po Go Qu Ge Ey cake Bg BS eee] a Ri-Ey GH Co au Ge. an a3 From 4, Shadying Riyt er Cer ier Cericir coer leer p a tereey naa d TFs od ra IF r leer eer le ele eH : cercerir r leerecerir ff arg 24.D) Allegretto (J ¢= §4-= 72) SCer cer ad od as tte flere (eel eater lee 4 flee eet Glee Geta alta ee | reese ANINWOG 4 crepe rlepreer ¢ ureer rl or reer £3! orp )onatiny (st fle f feor fl at reer Tt eset te J afd JM 4 fief tle “rer tet Gs=-pomiony «5 [4 fe ee de a eeere tt Dee rere earl Tonys. i yaar Prencn einen fice creer ormentaah TTT Baa tA eercereerl fr tpl cercerecrigrs tf CITY ems. cv i st crf fl cereerecslery (08-p) romuoy (Ast cer er ere fat did JL INNES corlcrerenel carr cet ¢ DOM) ART) BAM) BART corer el weer tres AIT IRE BIG) AAT cu flor trerl tres! tf cores DNF) BART AFA Meer eo rh a crericr cresrler cere (ae-p Jonatiny (0°67 Wer rire ee ee ricer ere tl irrreefe rice reer) for rieere Fret ire reere rig et tree ry fe reer i beeftereee tire roore rice rere leere roere rig reercer tie reer f tied (sep) onasiony (asc Wee Ce iene Ga ICEPee ricer rer fi tree ri crercercer! ILEregrl erepr here | Ef fleer reer rier rerio FF (out=p) ony (ast i) Aaron Copland, ~ Twelve Poems of Emily Dickinson, ay No. 4 ("The world feels diisty”) ss H : H * lH from Helly Saudying Rhythen 26.1) da4s-76 iwiniwwina - wonama - wlll ima - eos ima 26.) Larghetto (d~ 52) oui iamamioinamisiss dd Ima st a TTT TT TAT sd add Wind idmomigmis i = 4 26.B) Andante (J=76) : i: MTs igmidt ome sm Wd- biel Tine aiminnani Wiiist - lames ininiTi ~ Nisimome Mis- 26.2) de 48-76 tl amd - papa - pce | FRR - each (7 a 26.C) Andante (J 63) I DO aR aS chi WIR eR hl Oana sel seit THE STUDY OF QUINTUPLETS “36.0) Allegro (4~ 80) LCR OR I (CAAT ARR RT | OR RTA 1 [CAFFRA APRS RR od 6.6) J00-08 (tl AB an “P41 24 (iceeere peeere | ~ | ESERP EES Ekeer pees ee ee | Teter | 26.6) Adagio (4~ 54) ae 2D Rael a ar ir aren ere | crerlr ere |[CRAR RAIA | rote er lererer ir err | pe cba Dl i Cee ae eater yds vel 774 SR (RL lay Uieeceri¢ ceeee|? eecerler cegerle yf i |, FRO Ro | corr lenerr) leeere | Ip eee] FRI SRI jo: RR) fecer |? geder pF beder|g "| 1 ARR. ARR | ecere leeer tor lpeeret Ir Pm Play on Notes for children’s voices and bells — (pubi. 1966) Milton Babbitt ww *eriee= P C0#8279) (diatonic aif-combInatorial ‘Text: Maton Basuert : 4 vd Londen In addition co creating a targe body of compositions, Milton Babbitt has made a major contribu- Hon to twelve-tone theory. The fellowing two pieces both demonstrate extensions of Sel conception of combining different forms of a twelve-tone set (see page 455), “Play on Notes” was written for performance by children It is clear that bars 1-2 form a twelve-tone aggregate expressed as twWo hexachords, What is the relation of these hexachords to each other? Rearrange the pitches of each hexachord to produce two stepwise scales. What is the nature of each seale, and what is the relation between them? Examine the rest of the piece, Would it be ade- quate to view its pitch material entirely in cerms of a siz-tone set? Notlee the nature of the vertical dyads formed by the bell and voice parts, What produces such remarkable consistency? Finally, do not overlook the song's words.#* ae RI; (P) )g oas RT, CP) note dee and note the sound; sound and play the note here, Zs (F) — Here note the play and sound; sound the note, and play here, vel Oey, @. ely (2) Tat) and note the sound; sound and play the note here, __Tq(P) = = 5 . RT. (P) 3 Here note the play and sound; sound the note, and play here. “Play on Notes” by Milton Babbitt, ftom Exploring Musie, Hook 6, edited by Eunice Boardman and Beth Landi Copyright © 1975 by Holt, Rinehart and Winston, Publishers, Repeinced by permission of the publisbers, ‘When the bell paré must le volees only! See ituiert Gauldin’s analysts in “A Pedaoascal Approach to Set Theory,” Theory and Practice (Ithaca Stuste ‘Theary Suciety of New Yorke Ste, September 170). pe I ‘ayed on the plano, doutite ite inher octaves, he not double the voice part. Use —— The Six All-Combinatoriol Hexacherds —— a only inversions tyemateal hevachords af the same type as their comploonents) A z ——— ¢ ¥ (nvomatic) 7 fue [oun)s eee é barat ss Looe} J two Letts? a eer ee Giotonic) F Fue [oatds f soe > = = eeeeees aaa == z + 8 Ggmps J t oe [oinds ... eentming B tritenes Se of 2) E eo = (3 gros es Canfains tare ag. vind of 2) ns weil as many Mj triads Sa ee (whole tone) J puso Lous algo fwe aug, triads contains 2 tritones os well v W sereeeger|eceger cpr ecgerezeeericceri¢ ever el eerie ta FPL e TIRCer coccegeerecencerieegeremeriegr egies Gang, MS Teme Ay S uy LAU Sso47) OISNIAWES ODT dongs pcre STYMVH ® ATSOOE (are og) exvoiq Scrpe9acep 9807 RL) Wa4HINV wis est RE We Titer orl ceresriecere cel 16 PIERS COG reiehs riegrerieer ceri ISGErEAri¢ PeIEReree rig roids titer er) ce | CYeear iemereeer spr ericererig fies 1 leer eeri¢ releer erie ee (sc1 "96°C: rig teieE (ave We fieerer Tietrer reriecrer rey lerles POPieeerEe reser Here reerigrersery Mlecreet cerlerrer Pelee e Priore ree vere ge rericere Clerg Fer ie rere -, = = —= 'P reve = a = = “pie Sonne Kommt" - Luigi Dallapiccola ape TRANSLATION: The sun comes up! ah. ' 1 Sh, splendid sighe! The crescent moon enbraces her What power could such a pair unite? Tne riddle, who can solve ic, who? Sostenuto; declamando(J-5s) —_ ange if oom molto accento SS te ee Canto EimPrachterechei- non! Der Si- chel - Clas, prea? aid) sempre doleciesimo i Wer _xonnte soleh ein Paar,solchein Paar pity tranquillo i-54) ver ei = non? Dies Rat - sel, wie er-klirt, doletes, = (eh bb carne ie here noted in Rink Clapping Music (1472) (b.1836) = 160-184 Repeat each bar 12 times 1 a 2 lap 1 pond, dy cap TTL 5,0 ee ero rear re or et aoa! oy |f po yy im Barer ror ttt hy hy ED pple dy Ey fee eee vl f.J [se tenet kee (eel eee ea set Metric Modulation 3 Cross Rhythms 30.5) 4-72, 96, 128,c4,171 3x oa Medd ae Pog arr le ror ire et 30.1) Beginning Andante (4 63, 84,112) (ORS FAFA Lan: Gerroerlere crlere tr le ee Pal saa TTI jos ere trreocpierr oe rors ire | Previ pare WL err ocr leer ter cr ierr: 30,6) J160, 120, 90, 67.5 - fe ci perdi (itd Hae ur oP (fee Fetes Re etree (acd aice fg 30.3) Beginning Allegro (4-120, 90) Melee | : f . (ie Qn onamnyaas | cer eregel Morr ore ure Dod ass leere cere lore ft |<_ FHS J tere of fe eer i wna | fenere tere ra HALTS: | err | tre ereerl

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