4 seudying Rhyehen Zhe shythm in thie book, like the shytho of most Western art musi, Reman Meter isthe grouping by accent of normaly regular plus (bers) te ‘Measures beginning with stronger accents. Within the meaty of beats and parts of heats, in that some Just a8 one factor of thythiic pattern, factor, accent, chythinic pattern produce ‘eter is made audible through sounding (tablished will the Listener retain It a8 Patter agree or conflict with it, Mi expremive power, derive from the opulaity, and the performer thoul sudience to enjoy. ‘ation, can produce the oth ‘the meter they are heard against, That a, rhythmic patterns; only after the meter i 8 set of expectations and hear a thythmle luch of the fun of metrical rhythm, and its Interplay of itegular patterns and metrical Md enjoy ths interplay and project it for the may make 4 aote tov conspicuoss, Too much accent breaks a mutial line into Pieces. We must be sensitive to accent if our performance isto be musical Ie speak of russel shythos ax composed of various dace unt: beats, see eaten of ifferent tenuis, But the essutal quality of musta hytong RAG? Most downbeats fonction both as gol ofthe preceding weeny Amat, tating of the new one, Patterns atculste » continuous toe hee ‘Aytha to function as music, it must have this ow. We must whe aiming for Aare Performance of thythmic patterns, stnve alwaya to create the ate tue flow of musical chythmn. Notes mont Porctnstd Mucusion ofthe complexity of suytum, ae Wallace Ber, Soranae tons in Muse (Eraewood Cull, Ni: Preatce Hal Tee PP. Tine cad Wack ah extensive biblogrphy, se Jonathan D, Keusen “ogee ‘Time and Music: A Biblography.” Hutte Theory Spectrum. (1080) Tass oe im # note bs by virtue of being longer than the aurounding notes Sota cinta "Mobic" accont, although this snot the femeeneans meaning. ‘Son tha explantion of “agogic™ inthe Harvard Dictimary oy ce” Studying Rhytim § > Ch, Susanne Langer’s assertion that the exeatial charactersic of any ‘hythmic motion is that the end of one action isthe Beginning of the next, ut Problems of Art (New York: Chatles Seribner's Sons, 1957), pp. 50-51 1. TWO-FOUR METER ‘This chapter is devoted to (wo-four time, with ao notes shorter than eighth notes. The relatively simple material allows vs to concentrate on the techniques Of performing the shythmic studies: conducting the meter while singing ihe fhythm, improvising melodies with the given rhythm, performing in time with metronome, and singing one rhythm while clapping another Conducting duple meter is rather like bouncing an imaginary ball, with the Point of the beat at the point of contact with the ball. On the downbeat, the fauht hand detcends and rebounds away from the body, ivacing 4 backwatds 1 ‘om the upbeat, the hand traces the same figure in reverse We should be aware of the structure of the two-part studies, Study 11 ‘s the firs of many canons; here, the clapped art leads the sung part by one Dest, Study 1H is the est of many where one partisan ostinato, ‘The notation of rests is often governed by different rules from the notation of notes. A note lasting a whole measure in two-four is 4 half note, but «reve lasting a whole measure is a whole rest, as in three-four and four four and other od do - boda - my tIo- | boa - bs a - ea LA) Allegro (J~ 144) Wows Ai Weim e-i WoW i iets is ins iad1B) Allegretto ( J~ 120) WAWIUAWIL AG WIAA WAUIIRAWI UN RIAA 1.C)_ Presto (J~ 168) Wii vehvi- Treyit-ewsis bei i bh sk Sh 1.2) d= 66-160 POIANA - hon na - | Ie Is We me Ime a 1.0) Vw (j= 148) WMI - IN) - uA my WII A Ab mins | 8 AN Ak Ae a E) Allegretto (J - 100) MTT Audis Ww Ai ol PANT Ah vdiamins Wood 3) J-60. 160, TTI idl oa ~ he ide on Stugying Rhyenm 7 We J Idd dae tee dId) da 1.F) Andante (J- 88) GALINA - los eins Iolo dt - I ids ot) ms - 1 dl dtd) DID - C 1 Bin ohh 1.G) Allegretto (J-108) Gol Aids die bh oodles Nim 1 Idd dR rdlds dId) DITTO I) FV Ids dls ds ot Heer) TPL MIP l: ee Eel 1H). Moderto (J - 100) feel ae 7 d ii fn ir oir ¢ 7 | f | ITT] |oi dd spa a) ay 2 ee ea ale eb N8 seatyng Baym LD Allegro ( J= 132) fer ee PL ALIA. | Poet , | 1D Andante (J-72) faa ar soa aretrit er lr er lh ee le ee ee, ST) Perk PEPE Peep 1K) Allegro (J - 100) bh lesa lee Flee te lees gp | BT ee lade BEBE, | ele Ft Flee le | Paarl 3.1) Vivo (J =144) lee cere? e deeele rr volt + beer idee fe PP: | preeer lene cole ro ceer lef ceer Pet ele ceerlt r deer acl G4.0) Alegeto (j= 100) did dd MITTIL dar der vols od a) ITO dn dre dl ATT oi dr drt oodld od OTT dla +E) Allegro (J - 120) PINE SAL dos ono sine 91 [df DNIDL 2 ole coin as Ll Wo SA dr die. GL Oded ole dod 4.7) Allegro (+ 126) tik os Siok mina. oi iim WA AIA as a idl ds rr Did, ITT ios dildo | 43) J- 60.120 he oae ge Lf | Weare dt ie eilik#e [2 fF te dt be loi? at ; 4.G) Andante (J ~ 84) arene Weed Po le | a 4 Re efe rere er baa ee eee Pee | Ieee iraale gy 4.11) Moderto (d= 100) dd 4.3) Allegro (J = 112) Bid ddron fr peee It op 27 dd re d PH ft) 2 [ps heed Vos ater jy ar ro erin ir ep PIPE BeBe 1 Ps op, of 8 chien af tee Vs jos symm Perley |e te br sit erie a F 4.1) Andante(J= 88) i i i773 |e re tie pes lets role att dhe the) it i sli ait ior olteer ip + ie deh Hdd drainuns o rarer ie peer Ir ora here ep yim 49 rere irr erie alee i 2201 MTL oder pore erie bteer ir pp5. SICEIGHT METER In abxeight, ex in all compound meters, the basic division of the beat is by three, Thus, sixight is a duple meter, with two beats to the measure, and the dotwwd-quarter beat is bastaly divided into three cighth-notes. It is important to realize the luck of similanty between the signatures of simple and compound meters, Tworfour means two quarternote beats in 4 measure, whereas sireight means two dotted-quarter beats in a measure, Except in very slow tempi, sv ight thould be conitucted In two, so the triple division of the compound beat 4s felt. This is why tempi are given for the dotted quarter rather than the eighth note 5.) J- 48-116 Lo at $204 - WT od da - oe dd dea lo wh J ood - kas ma S.A) Alla marcia (J ~ 88) BN Ti Mek emis my WoT oma mis. 4 Woe Woh MIM mi kb 5.B) Vivo (J.~ 116) Gd ds di) ST oT re ole 771! WOT dior oI TI bs oF WNT ol 2 omy Old 5.0) Allegro (d.- 104) SDT) 1 dds TI ol imo. | Id) Tol J ole ek im I de LDL TISTIITI Nd dds iad old oll 5.D) Vivace ( J.- 120) $22 led dts 2 ol aI hor ih dW dl dT s OTs oy WIT OT ITT od I Wd) WT i bos Woods imo immis vd sn) GIT dT STITT \WT2d SITIOS Tod las od a 1 lds Ie Dias ds WTI Os 1d ol WT) OTs dls 2 oT OL 1a (d= 84) 5.) Presta (J, 126) $2 te hod dla Pd Woo aT at or id ik dol ad Wk mi WOT aT dlr i TH Idd MT dT 2 ad oT el22 Studying Rhyenn 5.2) J,-48-100 Bl ods oy m.. seerr f orp es en ae ee ae 5.G) Allegretto (J. = 88) S82. 2 : *|; dio ge rir ot ire ne) for olr or Adee ay iy oma or lm or |e oe pip oe |e op Jb dd alee eed lbeed LM lee or Tt er pleere leere lee ole | SI) Andante (J 40) (fs ou 2) ad op amma Maro ter dr eer le ORS Ieee Jol J aids d otaa ocr rocer le ceri RT Rees J dad IF cee f Cee ir 5.1) Allegretto (J- 84) Ha Mi om ro her leere ¢ Loo cere odds [2 oT ok r leer r 2 dMTI os IT Of BIOLf er Studying Rhythm 23, |; | dd) fd ddd i pale -| tere VOF plore fooler rf oleere: 5.3) Andante (J.. 66) fir bide Pee eae aelr or else r cler pp les elt of? lb? le osr ie Ms Pot ele rs oJ TTL ¥ Ja oy |; dod ae le tf of of Ira gir or olor rf pige pe fo 6. SIXTEENTH-NOTES IN SIMPLE METER {In learning sixteanth-note patterns, apeakiog the nani of the notes in fhythm teinforces the cortelation between the sound of patterns and thet FF cight sixteen sixteen eight six eight teen ixteen sixteen ight" and “sixteen” are easier to repeat rapidly than “eighth” and “sixteenth.” TSR" names the frst or acented of two sixteenth-note, “teen names the second, Uurccented one. This system also works for quarters and dotted quarters, although {he single notes must be spoken in two or three syllables as even eighth notr re re quarter eight eight quarter dot cight ‘This approach to chythm deals entiely with sound rather than with numbers Ur Ineldentaly, excellent for teaching thythin to youngaers who do not ike the arithmetic involved in counting,24 serine Roy 6.1) J= 48-100 tT] ama - wrarsa - "i Ala - | ETT ~ aa 4A) Andante (J 52) un ICRA LCAARR ISR i TANI mM CR FRRISR SD | ITA icaR ICR ARISRD I 6.3) Allego(J ~96) DITAN IFA WFAFRAI + | i im TFIFARRIO, 5) ITA \CA Al FA ot 60) Allegro ma non troppo, leasiro (J = 84) im FR ARTA ATR rh | I FA \FTQAG A Tab ! DRT ase) at 6.D) Andante (J ~ 72) hod FAN Si mins J kod FR PIRI son LR Rl AA oh Lo ay MOMAIATAMm i. y 68) Allegeto(J~ 76) WRT T 89) WRIA AG RAT |; Pord] WRIA SAM FFA brs yj WROARAGCR ARS | hod S.F) Presto (J = 108) tO A WMA 01 470 | Wd Qiramaae \TATD WHA TARGA | 4 6.2) J- 40.80 nH REY: eB SPREE Bey 6G) Adagio (J .52) EPP PRs be tails IPP PE P| PEP ed i eas7.) Andante con moto (J - 63) oP FL Bl CRlL oak ol FAI ITB All ol lL ob ol AIG a) ARITA 7 al odd ALL BN - 7.D) Allegro ma non troppo (J = 104) Ml TW MINA AAW a OMAN TMMIAAMi3 01 TIMI TINA AT 2 7.E) Allegretto (J - 80) LANKA ISR ARIA | WA AG AA PRIA |) | FA FAT RIAA 2 | lA. FARA ATR 7.F) Allegro maestoso (J - 92) MINIM IAA MI 31 AANIARM IAA MI sol AA FFA NAD FRA) | OOGIOORIAA MI 14 7.2 j= sh-ws tI TRL? Ceer: 4 in he cfr |: Wd Ceres Cf er CYCeree go FTI 2 TAL ere, ee reas 7.G) Andante (J = 69) i 4 fof of 7-H) Andante (J 66) AAA AAG Cre chic scece inscerer LAT tele pee Ia Cs certs ICSOf of cr tf cr cfr tf or eee eee | ceer Geer If TROGIR IGCGTG Cf cf ier tf 1 OT cree ChE! BLES TRA Cercle sos IQR IGOR SL jee |? cer ceee if d J tf ? y d a 2 ? t cf 2 [> EN: ee | 124 [rae a Cos eeerer ATW 2 Cforeriese |faze er > Leese: 1B al 7.1) Andante (J - 66) fA 1 3 ra AA OTT. Geier cerlor erin oslorerlor +s leer cer GE 222 ERE | 7.4) Allegretto (J = 76) 4 AN |. wR OR 2 weer ise or ler or lor oe i Bra). 3 |A TIN] 2 or or ler po turler pesler or [Soe eens ra COC err ICErcercer leeeree co H AN |. MR TTI) 1a | pr cesler gesler pce|rit a 2 ‘Swudylog Rhythm 31 8. SIXTEENTH-NOTES IN SIX-EIGHT METER ‘There: are twenty-four possible patterns made of sixteenth-notes, elghth- notes, and dotted eighths that will constitute a dotted-quarter beat in compound time. Performing the pattems by speaking the note-values in rhythm is a good ‘way to become familiar with them: 4 d- CT quarter eight eight teen eight eight(dot) teen sixteen eight sixteen eight six eight teen sixteenelght sixteen sixteen ‘The convention of notation that sixteenthsnotes within « beat be beamed together makes it difficult in some patterns to see the hasic three eighth-notes of the dotted-quarter beat J JFY bas to be undessivod as LF P¥, for example, In Exercise 8,2, voice and hands reverse parts within each measur ‘Therefore, the single beats should be practiced until they can be performed easly: only then should whole measures be attempted. 8.1) J.n40-76 870 Ga - eT RAT - ea | - BORRITR - WaT - | WATT - aD Ta B.A) Gratioso (J. = 66) Sid) STH L ITIL i dd Ol STL MIM SH WT Im WET ld dd IN ITIANIT olde32 Seadying Ryn 8.8) Adagio (4. ~ 52) BSIZT I DIET old ds oir 2 ol IEA MITA ITH olr db] WHIT SOT ols ora 8.0) Allepo (J.~ 88) 8) STII amin WWhs IT) INA vim o TT ATi IFAT ATA $.D) Allegretto (J. 66) SATII ITOH. br Al OT) FIT) ORR + CHR AFA AT RAT BIT A ISD STFA I Re 8.8) Atego (4-80) SOIT ITA o> im aR) WW QATAR ATA | TD TD OR RAAT | \TIVITR dO FRITI Wo 8.) Andante (J.- 60) SIN ITV) ol SIT IRR bd + WIRTH NTR odd | WON SAAT TAA + SFA TA TATA 8.2) J.- 40-52 \8 FTF | |: - Pe 8.6) Allegeo (J. ~ $8) ~ PEI Y ~ He | fester | Leer a |< eee il : | Cder| = [EF | tee hoy) oa ra drools Job (S> |[r “4 rooif 6 tee Play Bo d deta os IN os | ee bir of gl Jr od dtd rH p72 |e | Ir or Ip tert34 Studying Rhythm 8.H) Allegretto (d.» 56) ee aera 41) | CRAT ff of oir of pir cee og 4770 FA) | ATH + | SR CEREC eeeriCccere ceeri¢ opp tp 8.1) Andante (4. 48) Hep? |p Akzo [ea Fa a Ol) AD lar Ip pterleercer le eo Ole perp TRIG |) do Ta efrcerir f¢ cere plier 2 SST) {L PER ara tel fT1i1 roorege 1+ Ceeerr a3] rt cesree sir of corr Pp ittereeer LN IT 31. 8.3) Adagio (J. ~ 44) Wh pore lees fae rr OD (eh PCL Iter coer le ere 5 STIFF) 1 oO » pC fr iceer ep cr jeep eerr r wee lear clea | a | » gsr leer Cleerler cere er lee cere Studying Rhythm 95 9. MORE RESTS AND SYNCOPATION IN SIMPLE METER tn performing studies with syncopated pattems involving sixteenth-notes, Mt may be helpful to tap the elghth.note divisions of the beat or to use « metronome fet at the tempo of the eighth.note. tn studies with frequent rests, we should gti sim to understand and project whole phrases. Rests interrupt the sound, but they should not interrupt the flow of the phease 9.1) das6-96 tlavdsda - bol ads oa ~ | WUT - WW BR Mama - | WLR - MLA 9.4) Allepetto (d= 88) WIT ddI ado Shad] DooRTar Trak ale holed 9.B) Vivace (J. 132) Wd dr dldrt eITRADD | Is dD yd aD SH TRAD Adlon vata a oh 9.€) Moderato (J 84) Mowoi. Toa Ly mani WJ Wool bh Ly me Wool A alo ra oyI: AW mo «fl cer cefeee | (00 JB b+ leere« reefer ia | title ges [it #leker terezer | FIFI) leer tf tf] tot ‘$4 mers weer her ebet \°7? 147 ge rete we ore are i aaa tree Cg BIT os reat tres ee eeferlorey te one ceri ieers cheers” teeer beer in tag cere i cer tle cep tlee tage Jo d+) TRF oe ceertefieer] Cote Nee | t id Ce ms: (te-p)onaitouy (66 tge tag rie a (co-p)ortouy 16 IRTL G+ tote ig tet rheeer ter tre (69 -plomspon (H's leet wm met | Jos ak a sled (oot “py onaitany (96 eel eT EE cf tere rd =e or ore ~ PTT Ty - fell dy - pos aoe | deeded < betel w-or-p 6 I< PleeereeerE TT tree aries ceeefl Reefer ieeere « cP treeerber ie « ceer| etre « Ut CCT Ce efenrie «tc cel IEEEFETTICEEA « CIT CPE EAEESIC* tCrieree (ti-p)oneiony (a°6 Wt PRR Cer er + Ceri eerer icerer ieee fi (Tree pe cee priest pa le reTterbericcer ue rei? reiteresere (o-poitomv (a's Poo- tt eeert pr ee peri (eoréee t certeeterbeerigne t 0 -| (cere fer eeeriers ¢ ~| cerec et reeer| Wea Ce te CeTe cee cries terest (08 -p) onaitony (a6 eran furtemis —9¢38 Stutying Rnyehee 10, MORE RESTS AND SYNCOPATION IN SIX-EIGHT METER Because the beats are longe in sixeight than in simple meter, tapping the cighthnote or using a metronome set atthe speed ofthe eighth, unt the sneene ae thoroughly familiar, may be even mote important in’ eosuang sone performance 10.1) deao.72 STL - noma - WT Fa | - RASTER - nat - | WET - RTT 10.4) Vivace (J. = 112) MTL ITT Tem ins 3} WTA) STL ITT baron | NTL ima DSITIIT ibs dre] TTLTITLIT Im Tr jar vil 10.) Vivo (d.~ 108) fore Dre Dio Abn IroY did red Dd dre a dt oo oi es i 10.C) Andante (4. - 52) MN ID oD arn al Wor ED SH oH atmo on Studying Rhythm 39 oo AW MA LLL ol 10.D) Allegretto (d. = 66) © ITH ORD oR ATE WD IT AOFR AATFRIAr:) 4 (THe hh ADD WRATRIARM + VOC SRR ADDR AT YY 10 F) Atego (J. 72) $Aldore Aldor Dlr Ar | - THe WT WTR ATR ~ AR AD WEA fh ATRISRATAL 1 10.8) Adagio (d= 40) SO Gi bh aos) Whe SIT GAT aT TY LT TD QUT LITA AN MTTHUATID 10.2) J.-40-60 {8 Dy - pa m4 - pom my Weed = PF iE re - PEPE > eae =IF 7: nm | ered: (Eee | 10.) Allegretto (J. 56) gee | Im au Jojmun: Bron gir oF blr se ple peg [a | azar Mismu: ir fg Ie fo oir or elr ppg | ary FART) ABA Lr | root ole or ole gtee le y 10H) Andaate (4. - 48) a aaa a olen ay sr pleere Cieere oleereer leeesere ITI It ih cere ’ | eer fy leer ee op lee ee pir 10.1) Moderato (J. 56) ol ds odd [jain LF +] go Ciraerigr pe lEatr tet | ¥ 77a [e ae es o) | TAA corr iy over Cee iceripe pp lee z(t crit | ereerereeritcerce r |p, 10.5) Allegro (d.- 63) (OO mm Th a (OF or 6 iteer cere Cereicericeerr 5 batted EPP EPP) PRP ah By: POP BB PY | 11. NINE-EIGHT AND TWELVE-EIGHT METER Ni Wty de ao-66 Mi Jo - namo - I Wi ATA - WD) ATR {os WATT ILA) Allegro vivo (J. 126) BL dol ds ol STL Lea Idd MTU dT ots OTT. Loe | WT)d od. dT MTU Meda42 Studying Rhythm 11. B) Con moto (4.. 60) $ID OAT. + IT SA lt FA be ALTA oO: FAA \IVRITAAN br il 11,€) Allegretto (4. = 63) RMIT NAH A TH) aT) dh \TIRT RAT TAT AT be Gl TRA ATR ATA A TA TH | joo TAIL ba tl 11.2) d.-56-76 BTL da lo - WAIT - | WORT TL TH 11D) Allegro maestovo (4: 104) ROI Joo Fi Job i IT ol 1d Joe dl OIL de A In dd dL STL de 2 ids doo Idd J dd AIM J ddd J ITI DI Ll 11.) Andante con mato (d= 66) BIT LITI STILT TLR WL CLR FR TL TTT 11.) Andante (J-~56) BLooR NL TT) oT + MNT \) SDI TDL » TEED BT TATA Woy J ODT ASTRAL 11.3) d-=40-60 Bi J ddd | ~ (2 Ee | ~ le sar rol - Weerener - B if - (gba ween [pr oterh ster! ~ WCE CLS Cer Ce 4 11.6) Allegro non troppo (J- = 88) BL ds ds dfd dd 773 |e ror | i rp opr oir or pf bir Cort je di ds fl od ara |e bo | ror of olor of of ir cere TT1d) J d| ITI ds J did dd) dd [de | ror oor ir of oor ior fof blr cere 11.H) Andante (d-~ 56) pom ray. rh dd ar or pleere peerif > cf otf6.8) Andante (d= 60) fh On joie Coe RAR f ker eee WOR f Cercer TARR Cf Cercer WTR cf eer eer WTR cr eer eee ii creer ios 2 cre-er 4 J off 6.1) Allegretto (J = 72) iH tai Ta ter eal rod holr ore Cerer cericerr > QATAR A CRT oe a fF CP eff iterate ter icer 3 TRIV IAM CRT a Cf Cece Ieerecr Cer leere 6.3) Allegro non troppo (J = 76) ia oa aly FFF ldo foece Iterer Ieerer ipsa ERT |FAT |TRAM jor Cf cerleer cerlecr eeer|s 2 TWA AGORA: Cr eer itr ete ler ete ipa torte eee Ee dro eeseer ler reer ler reeer |p a Stdying Rhythen 27 7, DOTTED EIGHTHS IN SIMPLE METER Since 4 dot adds t0 4 note half of its value,» dot adds to an eghth-note the Yalue ofa sixteenth note 3-H A+ In speaking these pattems in the manner ex plained at the beginning of Chapter 6, the dot may be spok fn of the syllable “eight” may be given its extra length ax ioe feminds us ofthe notation, while Just extending “eight” allowa us to spe the pattern in its thythm: iF FA sieht dot teen sik eight dot or eh ten au ept The double dot, introduced in Study 7.C, adds to-a note three quarter of ts ‘value (half plus half of the half); the double dot thus almort doubles the vale of g A271 Gel 7.0 J-s2-100 FARO - WE - waa 1- MOO Aa - waa T.A) Allegretto (J ~ 72) DITEGIAO TAG ican) WHA) TAG. 4 7.B) Allegro (J ~ 100) DRIAL OR or 4 TAIRA CGIGAR I + ol WIV OG FRA SUS GRR HW Oo1L.B) Con moto (J... 60) 83 aa, > RAI) RE or IFAW oo AR oy AA IFAT > i] ILC) Allegretto (J... 63) VT AAT aH | dT) di TTT TATU! dy Bi TET TTD Sa TLL a 11.2) do s6.76 BIT dd ida WRTMMa - | WOT Ry bl a 11D) Allegro maestoso (J. = 104) BAIL J diy 2dL°901, mm di Id Prides. Hl, ds on I dd dd Ti ed VAI J de Idd dds Dds dood y MTS 2 ot 11.E) Andante con moto (d. = 66) BTL am STIR dj Studying Rnytim 43 UTI oa SFI FRY 1) 4 Wn Tm nam | FFT. 2 11.) Andante (J.- 56) BLO. OH sain a NTH! VSO TD» TER SID ATT Ib J SH ALTA TAAL + 11.3) 4-40-60 iste BE]: byrceettietl > EPER SPAR 11.6) Allegro non troppo (J. 88) fee dd * rl os TT], boy | arf Poor Of pir cere dd dd dd fd woe Tle t r | ror of 6 or or Ir cere \JTI 41 J odd dds odd [2 ¥ rl Ir ft por ir or ope itt ot ole cere 11H) Andante (4. = 56) a a) eee |i arr plese peer le 1 Ctr cer44 Studying Rhyne Psat RP Pare 1D. | eereer cerleerecrer slr 11.1) AUegretto(d.~ 60) . fia y ort, et eas oma ar be reer It pare Pee y | 4, aan TTR + ae f eee er were ie Pee ee L PAR, |stRom arn wercer ry ieee eee eet ter bee se Da capo al fine [Pg aa eeereeeertere 5 1.3) Adagio (J. 48) aa dt Al od AP ror om Be |= Yo cerle or ae oe i |e? GLH TR. + + oh Poe PEEP et woo tre TB. oy SR) |. rT ferret tr ee cere | J Pee en eet r t | cerr perereer lee eerer cere: 12. TRIPLETS The division of the beat into thitds is familiar from compound meter. The ‘new problem here is performing in succession duple and triple divisions of the beat ‘A common tendeney, when moving from duplet to triplet eighth-notes, is to make the frst note of a triplet too long. It may help to realize that a thid of a beat 's closer in length to 2 quarter of a beat than to half of a beat, so triplet eights are more like sixteenth-notes than they are lke eighth-notes. When beginning 4 triplet, we must move quickly to its second note, rather than sit on the fist note. When alternating different divisions of the beat, it is helpful to Use ‘metronome enough to ensure thatthe beat stays constant. Successions of iphths, triplets, and aixteentht my be perforined hy rhumbering sloud the notes on euch beut: 2 WM 121231234 12.1) J- 60-100 ooma - whrhna - tO ama - weachrha - wat - WATS 4 12.A) Ag ma on opp (d= 112) Uda Aas AAR haw wrincn A 1 12. B) Moderato ( J~ 88) Wool oN emi emu 11 oO AAW AM Ac WAR a sis Waamoanchimmani 11 ARIA AB iran chi VAATED ain can DAI oo hI ey WAM FRI +1 12,D) Allegro(J 100) WARIRA Dol ocha| FRAO aR RA cos WOMmAmM cA, - 4 12.6) Andante con moto (d= 76) WAAR Ais) Wa08 IncAp Voie ahd sy (AVA, dr (Dr dbas THiths ou tol 12 F) Allegretto (4-92) Mineo mh aw nash oJ Bide maid) W0)4 141 Him ae Wim rahigachocay 2 4 Studying Rhythm 47 12.2) Ja a8. Why - 1 thy hee P12 ee P| > ay bo Pied 2 [ay 12.G) Andante (J. so) ie PP by IP ‘tr P tee Lu? Pe, nya Jo |. jn RBH | Cres ir cerlr cerlcereee |r a 12.4) Andante (4-80) fou 2 bles eeer eRMEN ie de Pe | tog ler dee? mn: LB|: wi Py F beers Ee mare | ba Galata If Cola If12.9) con inn myn Ii, ar ce lr ele rele : ue rane), : | my cr | on J SR caycarhy | tertarleerierlecreerl 1 2.) Adega ma en cope (2112) i dik Bj arysa my @eoleere cr ieerr crieerr ro ire | ol fd amjia mh tere tr lteee “er leer? fot | Fa FREAD Thy omh epreor f cere cere tf tr ib AM |) ARH 3 | egre of leer t 13, TWO AGAINST THREE se ro in Chapter 10, in the di cneigt mr moo seed tighter Oat be gun tne bee peng tthe et ie i | 13.1) d- 40-69 §or of (2 | > PE 13, A) Allegretto (4. = 52) 8 ITI HIT. gCeer ce =o a a cee leer t | ~ PINT ~ [fe “WEES MPS 1 ee ele |13,B) Allegro ( 4 = 66) Warne ror pit pr 6 na erer lore 6 | Ty .|\CRomlamcm mos, Per ler cr ler ee ler er Ire Mi \in oH foor vier top TTT 13.2) Je 52-88 fe hy - pa hererer | -[ 1 4n |i [P22]: focrer ra sy Peery cer “IPBEI: 13.C) Allegro (4 100) fis od 2G Fil? fier cr ercrleres [Bera leg lee Bee pn aia | orieret rel. | 1 ee leer 13.D) Allegretto (4-80) Woods fe di soo ae ererir arerir ee de eres 13.E) Allegro ma non troppo (J 96) {as 2 odd [dl OF 10030 4 f cfrer 13.F) Andante (4-69) (i? Bolror CF nas Pp eeres ir creel ereerl egeeeel f cPer if creerir eee) ip Pet ee 1 a 8 asa eerce cerlere a |+6 cer n r mma os Te cereerler er. tweving Raythm = 1 ay Lp sub cash rey rererle eres Hivds amnammy Prey Beye | 13.3) da 48.96 rl 3) 304 - pacha feregierl = Leetéed = PPS eee | 1 90 7) , 1 9Nyin r pi oon | coerce lr12.1) Con moto(J=72) I TAUYN TUYATWS |! 2 leas om a ocr if effin reir 1 FRSRISRL 2 ame er er fier rer if Pl Mert arleeré Taal | corey frit} 12.5) Allegro ma non troppo (= 112) pany a B) ji arhysa shy ier eae rid | 1 al yor mH tere er legee “er eee ror Hep RE | FREB) 1 iL oe cer et oir er | leer er It am) ARM epee of lterer ft | 13, TWO AGAINST THREE ‘We have already encountered two against three in Chapter 10, in the division of the dotted-quarter beat of sixeight meter into two dotted eighthmnotes that ‘we bear against the basic triple division ofthe best. 13.1) di 40-69 wom) > (ERED EP ty mi - [LP EF | leeerecepl - bo Cf 13.A) Allegretto (#.~ 52) ft nin leat ‘ imi | acer coy tere cer cerr cer m3 Fp.| cet er , joo yrnss | ter cee leer ter ieee oer cere m0. | dade tee [beer ¢amr Lion ER IF | aoa | ar oer sie pr 5 |e ge | (EP EF EP ey Ne oF | Pi EP ER Pt a4 it 52.88 fig needkes ra: [? cece | leetehde | 7 eel: Beg [Fee - > | 13.0) Atego 100 fis od fy BIB i: ni Ger cr ier ce lee ep eres ley 2?| Lae ee re Be Mmyan eres ler ey cre ler ee ley Ee am PTAs | we BE BRGREor: 13.D) Allegretto (4 80) toy } Re oper i tte | i |e de ror lr epee d > |e amp beh ere dre if PEPE | [ dim roercy [Fire epee tr 13.3) da 48.96 Rereriel = [eg] 2 [BPAY 13,E) Allegro ma non troppo (d- 96) 2 drays i rer creel? carter F | [ od [dd ele 27 ter lt py rocrerir epere cerip of 103 / dd 22h | Pooper |p? tt eg |t Cereer le | 13.F) Andante (J 69) fie} PR ts EERE Dhor cerleererterlere ; 78 teres Hae man pray ee 6 corer recercericrers |rgp FFmo chins: | epreerer leper + 13.6) Andantino (j¢= 3 d.~ 69) {i 2 DF) Dd) ONL ad peat ar oe rehearse cer d. do SFI bs Fe ater Per peericerr peeric » cer di 1 oJ) ON anyon pT aries feelers ces tte dpTi sb | por eerle ap redriterect deri 13.H) Allegretto (4 84) fn add | eas Guha char eerie r ceerleprepreercericcerr ef 2 Ase pms ear) fa ceerie ft cererlecerecrege Mmom|hnsi pms: cee eprerir 2 scerir ¢ cereer MHe oinmoes 2! ‘| or sercerler peereeip no des PA ae: lees | 13.1) Allegretto (4~ 88) iu oy crc ior cf ice cer jah | terterler er 13.3) Adagio ( J~ 52) tLecr cr itecr of cereer cf ICereer Cf Or er er ares eer erp of leer eer CF ta SAMO cA) mca im cAm) CAAA | CART| [Fe naa rete e Plepres leeréee Cercer PEE IMD: nn WDbe Cece : cer ? err 3 Sharam) - trl - » oa ererr54 studying Rhythey 14. HALF-NOTE BEAT When no values smaller than eighth-notes are involved, the hslfnote beat Presents no new thythmic difficulties, but simply a reading’ problem: We most see a halfnote as one beat instead of two, and see a whole note a8 only two beats, anda quarternote as half a beat, Sixteenth-noces divide the beat into eight parts ‘The new symbol in this chapter is the breve, which equals two whole notes (see the first measure of study 14. H). The whole rest continues to be used for whole meas even though it is also used for a halfimeasute rest in four.two time. The St is not wed for twa heats in three-two time, just as the half texts Hot we eal three-fo time 141) das 176 7 ne | We did ida - Wed Ji sG a 14.) Allegro (4-132) Bois dk seg et lb Wid Wedded | Wid s ud dug ye | lo Wd Mode da = 14.B) Presto (d= 160) Be LS dMssies ds ti. i DAs dedtuds Lid. 14.2) d- 60-88 aiinimina - hood Dall 14.C) Vivace (d 120) Bo Sdlq Adda Id Jods ald saag 4! lo weds dle ddA Bsddd SI WALL d Jie. oA Ls AST Qs aan WAL Iidiiaids s Miss Al. = 4 14.D) Ategretto (d= 92) Hdl, ddd diaia Aldi ~ Jd) lo AUN AGMA 34 lee = Sig Wodddte de = ee Is Ik ddd DAL ide I 14.9) deseo Ml SSM - TBST SEA 14.) Adagio (d~ 60) Bd i dds tA) a aay Wd ie dd_W_Ta ya Wd WoO Lam 1) le = 14.F) Lago(d= 44)” Mou Lo rT toons a DJ ddd dd dd Ol, dds du J!56 studying Royenm Ibo fl 1 TH 2 AL + FATE 1b) AA) ARTA SAG ll 14.4) d=40-56 fe peed = fe? J di [if Ase | Bere ore peered ~ ke ope cee |: a4 da | = PRR | ree 14.6) Allegro (J- 96) fy prezleee djiss = fd oa gp or Pip FP ff le ree oP didd dfsdd - [bd dr fle l- eer rele rer ie re el- re fe i atdaiis do diiid | eer orip re rele ere 14) tml Meee ete See RET | rhea ee o dysad ep tpits ace | r Stusying Rhyenme $7 14.1) Allegro ma non troppo (d= 104) {ie \é Jd ae dildo JID) ~ JN Siri re eiere orle re rirer oe LUT \ld - fe es pale | re f fie vreeerice for ie ee ele = 14,3) Adagio (d= 40) i) | TTR | ii f f tf ee est ees ae leeert | ? | [FORT rll? a yee ° Cr leeeeereesee [ere ¢ | 15, DOTTED-HALF-NOTE BEAT 15.1) denasr2 Ri ddd dd - Wisi ida - WO dos Tm - hl dd AQ a15.A) Allegro (d+ = 108) io d Jideds Jie do did d- | ddd slides ed ddd Sia ~ | Ind dled sd did ssa. i] 15.8) Adagio (d- = 56) Qidld sd dddld ~ I li Al kom J STITT A A TM > 15.0) Vivace (d- ~ 126) Bo. od d dle 4 Jd dld ddd Saad la om Wd dd dda 2 Udddddde 2d In ddd om le dd dialed od J dl Wo ddd Jd died ddd. = 15.D) Andante (d- = 60) Jods JM Md Medel 2 8 odd Sl Md MN Old Tiss ol ld dd JIL MSS odd dls don 15.8) Allegro (d-~ 72) QIAN dd aad ddd Ds MD Nd) OT el Studying Rhythm 59 PLL MN LTT. Midd ST bom dd 15. F) ‘Allegro (4d. = 116) Rid J seuss dd ddddte ddd bom ddd Jd Leddls ad dyaa dod ddd ld ~ dads dd ages Jdsdddsdis ds ded te ~ t 15.2) d-= 40-60 Riis dd | - fe epee ams aporp fe ro - dere ree 4 ~ | PrP rrr oH ~ ee NMI | rere rerererd - beorer ore e 4 ~ fH did 2A ~ iaaponnbanaad ~ ie pore ta = bP rere 15.6) Andante (J. ~ 60) thd ald dad a dad adda | tere cle ce cle er rie te rip rea Da capo, jadd dlsddd adds pd ddd or rreele er cle rr rie er rit eee| Ral ds day d- 60 stuaying Rhythm 15,H) Moderato (J. = 72) Qeheee ce ref fH adm d dddd ad reeeo= |p ftreee dd do ddd - | reer oe rier re a 15.1) Allegretto (J. $2) Wl sii mmy 24) Tsim di dd 4 dd dd) YL 15.3) Andante (4. ~ 44) gr irr perr ple ep creer roorer or ire of i Jods fds dsr rooree fr sir arr oe Majd das ureter tA dd ~ ddd rorer ~ tro oerr oerre oerlerrr rere rer a. -~ fore err érlere crrorereer fore eer erler or or cere re | RJ fe ded ddd de ys san J4 00d od ANS. He dd cerir J pierre pr of r t fad obi da dy fr ora Jerald Midd oe Pi | rr orar ire perr ole cerere ¢ ir ot 16. EIGHTH-NOTE BEAT ‘There are no new rhythmic problems here, but simply the problem of xecing an eighth note as equal to a beat, a quarterote as equal to two beats, a thirty second-note a5 equal to 4 quarter ofa beat The four syllables of “thity-second” may be spoken evenly $0 as to match the four thiety-econd notes within the time of an eighth-note, Although the aylables become oo tricky to be useful in some dotted and syncopated patterns, speaking the names of the note-values may be helpful in leaning the mote staight forward patterns of eighths, sixteenths, and thirty seconds: sixteen thinyssecond eight thirfy-econd six fecond thirty teen 16.1) Deru IAA - VARS - eA |- RFRA a- bi la 16.A) Allegretto (2-112) AI ISRIA In FRIci: | CARR IBA AR IST)» | IFA 1b WRI We I TRIGA 16.8) Yona 120) PFA FRA IPRA IPRA (PRP FB FB |S FRR AA62 su M dl Ses ey Sidaa} Fh Abo pop xp 2Ab Oy bob FBh sero p dior don 16.D) Largo (= 60) MACTAR IG BAG FA) 1) (OF F8l) FAT BB ho FR \OG FRAT Rat WTRF AD I 16,6) Allegretto (2). 92) aAlL ois Flin, fil WAR AAT ABS. 1 fil ROSA sARIATIG lire Fy Id. AUT RATT STR RR| a) ll '6.F) Allegro moderato (4) 108) ao AA AAA 1. Eid» Po ld FIA) AAP ra i 1d FB. AAA \BAA AN 3 4 16.2) da 44-76 Wedel ZEB poy Stucying Rhythm 63 16.6) Alege (2-12 cee cat FP PEA | | ler EER lec |: EE PR ‘| 16.4) Allegro (- 120) RRR FEB a ler lee [eerie leeee lee, Taira FB | ae (eas ee ecerler rier |» ep PPE Pe | 16.1) - Adagio (2) 56) iz PR mr Faoie it eee Ce her eee leery yey ras PRR PE me >| err Aaa ee aro ep eer ree Tee | eh14 seria Rhy 16D) Allegretto (96) alos |CRCRy 2 1 JIS srearreer lr earreurlyesr rey leer rey UTE 2 FAT CR TOL? eer leepeeey |) cap sey ar d | TOS 7 Gey leare > 17. DOTTED-EIGHTH-NOTE BEAT Agin, the problem here is one of reading, In order to read sixsixteen or inosixteen meter, we must be able to see a dotted quarter as two beste and Furs whole bet 111) date AAG - eA A - oa | ~ BATRA Aa - a ~ 0A ASR - bP a 17.A) Allegreto (2-72) (IGRI IG FAIA GN AAA A EN [FTI ARIA IN AID | 17.B) Adhgio( d.— 48) DID FAIG AAI PR. > 4 ICU ETI RAPA Qn? | STR A PPR 2 \OD ET | A RS) 17, C) Allegro moderato to. =72) BORG AR) | CDFG 7 SG FS A |) ah CG | RRL BI a | FRE A A PL 17.D) Allegretto (2. . 63) e4l FE SLAP + 5 001A) + IAA + | 1 RELA dd + ly BBR edd 5 \L_ SAF FAA Blvd 17. E) Andante con moto ( 2). = 52) BORE TG A) | A WGA) NAGE | Lavo SRA ED JPET | \FRAD 2 Itroppo (d= 8a) TA PO BIA A RR AOA OAR | (2 S09 TA | SAAR i] 17.2) 4-40-60 ja fla | - [ipa a2 oa: we creerer | - Whegrece eee eeze Cer ceereces eee | |: | 17.6) Allegro (2. - 92) jis AGE |e mp ya a (eelccer lever leper leer ie | [Fun as FLFR ALAR) 7 3) crer lever lever lever |p FAIG - A a | - FFA ‘| crer | - ieser | ~ lye ip, 17.4) Vivo (a. = 138) (Wa da jaaa a [2-f Mr Peo le Pre tree gle pp ° 10 | QTRA A A au e | rrr ge rele ge lee ge |e 17.1) Andante (2. - 56) Rd FB Fama | AP tereeris efreee ls tee FRA SH)THA mpm "| Cr eerees le rece cer [2 cage rac PE | 7 CEP ERER ICES cree + ep 17.3) Alflegretta (2. - 62) eae esac ra a 57 2 Ee BOO itgre_ geese |p opp TiC SC stger IP WA TBIFBER a Oe + leer coer cere ips 18. SMALL SUBDIVISIONS18.1) d= 40-60 1D ARR esa ~ NETSTAT ~ | Wo Bpma - bl ADM - | wash aha - bahay 18,4) Largo (d= 48) 1 BION AFAR ATS b37 mn CBA ee I ESR. dH 18.8) Adagio (4~ 52) ‘EBL. BD) FERRI BA) 1 FER TRIES TR PR) P| ldo FERRIER CRATER. ll 18.0) tape (de48) 1) BRD oa a 3 rt inch ava aan LW Bana el ach a LETT AGA DAT) - 18.2) J. 44-0 Lan Sige - ba - | LSU RET PRPS oo ee 18.0) Lento (P= 60) PLATTS TTE) BBE WEES) > > 53 | TE LATETET Steel \iBiaiddaad? 7 DI ET RT EE STs 71 18,3) 280-108 800) A EEE ~ TEV | - ODE - ba 18.£) Lento (d-= 40) aA) ALTRI SBR \O 1 d0 + FRIAR IRR TTA i900 TERS ES ob 1 GR ATER CRTs on ST \CBN IRL dr ott 18.F) Andante (4.~36, = 108) VR TTR RT (Go STR a DD | RERRSE RES |B + SSSI Sly Radda AT TD Bld I70 Studying Royenm 18.4) de 40.52 leer [BE IAB 18.6) Andante (d- 44) IOP PS |e D> Fer Ta ee 2 | grrr eee Pe | CP eg aR en a, ay eerie reer lever le | | 18.) Largo (d. 48) He oeale finger “5 err FFL a | Siesrr ; TLTRIG Sa ad IO POr te wre alte! : LITERS La | 18.1) Adagio (92) MEP tee bbe | aa |. de ? A Carr 5 tee | eee Ceercer p [723 Ten an oe, PT af ee | 18.3) Largo (d=) 1) ON FRNA Fa) Or er rer eee |p o ptees exe | 1m SPR | ate, A | f etree ep ple saree cereese Gaal ATA STARR, Cheese ge eles Cer Csr | 19. CHANGING SIMPLE METER 19.1) Ja 100- 176 HUW Jat woo | | f |12 Studying Rhythm WO. ORL ds at~ eR 2 its. mat b- BEL dL ORL os a 19.4) Vivace (d= 176) AW Ok init WINK OT Wass. kt LOIN. ainm one WT Oi aa mi 19.B) Allegro (J~ 160) Yoo dls its os tk oink Vos lid We os os a eu 8k WORT Dis i oi Ik SITTIRIIIIT is dit ok Qoos SIT ood iso 19.€) Presto (d= 192) Modi es isi seas mie nit tl sais dei omits oats mit tise Ji Ate mw - 4 19.D) Allegra (4-80) IO AG Ait AR. 1 SetymrRyhe 7) CRAG OTN FRA) Ta VARA AAA SN a 30. AGRE BRIS 1 19.£) Allegro (J~100) tl OTT 1d) SITTIMDL s ont ITAL 1d) TT id) oFIs Salt LAR AlAL SARA om LAG SLA AL 1 I DITLLOS ON Itds ARTO) ANI 19. F) Allegro ma non troppo (4 = 88) All SARWAN LARA | il. AAR OLA OA A 10) FAAS) AAR AR LATA AAG RAGA old 19.2) do 72-144 {iu dR. sy - i AA 4 geerke crepe - Me opel 94 19.6) Allegro ( d= 132) Wed |) yo) oR OAR hooerh vperh oper series14 Stuaying Royo Ah weap ene AD a lier! ) het ” ilk? 7g her: iF jp dd: |d11 Dip dp ~ ae pp erates arm a 6 Obra Roepe ly ep Py: ee dR: PRY , perl per |r y 19.) Vivo (d= 144) rf d ii eee bel ari aol atl fi ay td Ate | Be telt Peel i Bart | 2 a ity iH fre Reoerer |g eredltt pee! | 19.3) da 60.96 {ih SNA on: ee ae | Reeser Reser I: li? itor Or zl [: | a ator irre | 19.1) Andante (d= 66) i 1d Flos Pee et APL LE Slr er it cr hr cher li epee ke Lane, ba f if ocr i ir crerie crerk fae: Sey Re are f eer tr cr es lar Critt ores fee rp BOTTA Jo | ir oor |r creer ir > 9.1) Modento (d-72) fae wera a. A ae ir or trp cee Reser SiCreroe pi {iene RA. FRB. Pee | Peer lepers pg ier Serityt crys F4d1 ae he ee: Ala i ‘| r t pceer ereerce ip 3 20. CHANGING COMPOUND METER 20.1) do. 56.76 44 0. a8 - ea SLT a8 $1 sca - 10 TR Be a a ~ BOT Ta a20.A) Presto (J. ~ 120) A dL oi do. som ame MoM ie Oo To a oR Qe sommes AN. oi GF J oy yd) oth os oy) ace DOT + J oles soma Son 8. OT MRT I 20.8) Vivo (d-= 132) B84 Bm omign nt bi od dB. Mi mami on | | ~ iM d dB STLmmi fos 1 - ids os Bay amt IM FIT 1ds od Mi ok |e 20.C) Allegro (d-- 92) 81 Ts ols omy SIR ITI SENSI Tl om SIH ITI oid MAT 8. mM mm, og MATIN IM AM oi ee I ety ten 20,0) Andante (d.« 60) SILT) NATIT. ok a ot 8) RAB oR Wolo STRATA aT | TTR FRARITI 2 od STAT Nh SORTA 1 1 SB Bia 857 GAARA bt 20.) Adagio (4. 56) SAT TRRATI AT TR. > SIGART AT RID La aR VA an aTam >. iA FATA A A AGN TAT | 20.F) Allegretto (J. 66) 80. oa RO ARRON SRR IT a. BATALI STA Ba: STITH TSS FATT | [C7 THR VIR AD S OR 8 i Tamia | TFRAT TA. 2 IL 20.2) J.- 48-60 be J OBL oy ri - [fe SFR L og SeercerReereercer dg - Bro pete g78 studying Rhythm {eras ?| 7 [& Hy Fly Sy ay oy lar peer ~ ae 5 pp Br bor cer de > REE Rep oe 20.G) Allegretto (d. « 0) fBe soe, yoy mm “8 (oer res Beer reps gy! TOfrerrp |g f. oy [22 J oftes dL sd herp TOP Br ers tess dL Ts ony a §JdJ Chrerrg: yer g,s, 6 A J +f th rorB (> PsA as one H | Wor or soy |gp Cefrer tigers, .| 20.) Andante (J. = 52) {e init ot DDL ey SIT Berek errersee lees ey ar erscr sg yi ieee 3 x FRo: 8 Br ery erates |r ep see y. 82 00 gerlg [beam Thy, 8 TTD) a8 RD: re f Sr vpceere cerlge + speeer |g) wersry |g 84 Pee fe dITIIH Loe | $0 tee By Chr er step weer y voug Stuer ing Rhye 79 lear? fl ie mm f peer og SFI pre Ceere op eee pe } Ceercerr pig ss ad IF pu. 2 eae? Cor iceer cose Steer p | 20.3) Andante (J. = 54) ff i oF + ah, a a 20.1) Allegretto (d.— 60) a + SN. om Br leer of scer {is y Tl 1 3H Beer + leeee F i 2TH BL SCC ites op ip PCL? Weeere pp {i ror FRG. ar ale + JAR ror cee lhe cere” “5 le pees Reais | c | Bcserer tere |p, 21. CHANGING BETWEEN SIMPLE AND COMPOUND METER WITH THE DIVISION CONSTANT10 Studying Rhythm iw sit instead of two, and so the tempo i slower. Moving fom sixelght Fe aeecut th tO speed up becuse the bea is thorar. Ihe phen, se ane gt M216, for example, the tempo in iwo-four or thie four ein oe of O8 Mlle the tempo in ixelght or nineeight will be a third of 216 geting the sumber of tights on a beat, whe conducting the meter, {3 good preparation forthe studies: OM oon V2a21 2 1237 9°3 iotmaly, whe, mcr changes between simple and. compound, the Tea ee bod ed > a= mt be shown atthe pot ofan ae ‘Theat wot bec donde idles Beate the hth is eee ee, 2.1) 9 constant, J=72- 120, dh0 48-80, Jo 144-240 MP AN a Ta-Onm aan mae WONA Woy - WIM mk Aa ~ ws os gy oot - | Wi HL oa - a, LU Blot 4 21.A) Allegretto, dcooetaat(J.~ 80, 240, J-120) fom WANA: I SArain sae, WRIA ae: MTR RRA a8 AOA Iman ion oy 21.B) Presto, Deonstant (d= 144) Wie wi ole ok ona) 9 8.0 Ti a did 2 oR hoo oni Wi wane Bs J dln Did dd dd TI Id ll 21.C) Allegretto, constant (J-~ $6) sara om | FRTTRLRRD FBNt iam \TRORITLFA AL 1A RATA a ART LAR ATU ATLL AR I) + ALD) Audaute con moto, Deonstant (J 144) VAI a Od + FR Wawasan SUFRIIG sR Sanam TROPA) BL + BI ina in TRARIIG: FR 80 RT A I bord#2 Studying Rnyehun 21.£) Allegretto, J constant (d= 80) LORRI am Roem a IORATTR A mRE STAD UR ieee ITAA) ULF) Allegro, d constant (d- 72) $1 MN om nian om7! Idd dldd MTT fala ii UT ld oR RUT FRA MT SARA RMT) ole) ou §os Td) dds aT AT IE 1 | 21.2) Deonstant, d.-56-112, Jo 84-168, dhtes-aas er | : | GrerrerRrerg spd - (8) oJ | - lis rrr) erred ~ Weersep yee He oJ ig to cer i i any irr ¢ | 21.6) Presto, constant (J.-96, J~ 144) {82 ds digs AAs oe Dies 2 ig Wars er lire psp lgsgss gs aro e 4 fl ddd Os oo ea i Wreerrer Ryo r orb rere ce lrg is ie ofits J Bl od fg |= f B92 bl bro ler yp rpg! ~ Ig §J od. oi) Tl os one a | Goro r hyo ore ler ser espe 21H) Andante, constant (J 63) 1/0 Baa air hig Pr iceer Stereeriiceerer Reercer cece it \ 11d GRIT ATI freak arr litever Weerreee Reeee cerlg (era era : "| Sierserrereriip fy 21.1) Vince, D constant (J. - 80) ti leer ect aheeg a RETR Beleereer. p ieee > per ero | jena a ehecries P ahin ma iervph spkeercers pigeery 5 imma rp rop terere olor eh Pan ap Pheereer eo: ft Sr cerlie orh +o Beer cer pig ITAA i ioom pr | ‘| Scer: oRerer> p ters for | mt To CF ig |4 seuaying Riven 21.3) Allegro, P constant (d~ 138) fe FAUT |b od ots ss a irrer Wer or ke ertr ler or ole INN WITI ons ood Bl Joi ia a ee fd) dG ds dts si 3 aor re or Ror oo lr ope oly RVI Bs) ots ss gs ‘er irre Wr or ere ree Wor or Ire ‘22. CHANGING BETWEEN SIMPLE AND COMPOUND METER WITH THE BEAT CONSTANT In this chapter, when moving between simple and compound meter, the beat femaiou constant: the dotted quarter In compound meter equals the quarternote in slmple meter, For example, the aighth.note In six-eight ls only two-thirds as Jong as the eighth note in twovfour, The change isthe same as that between duplet ‘and ‘triplet sighths In simple time or betwoen cighths and dotted eighths in ‘sompound time, This ix shown in Exercise 22.1, where the second and fourth ‘sepments, with changes of meter, sound the same as the first and third segments, ‘where only the division of the beat changes, Because they have the same number of beats, six-eight and twofour measures have the same length, as do three-four and ninecight measures, However, a six. sight mearure, with two bests, will be shorter than a three-four meatute, even ‘though measures in the two meters may have identical successions of note-values, sin Study 22.3. 2.1) §J.-j-4-n . ind) im minna-Wonoinna |- Hani acha-Manitmma IT a8 on iar 22.4) Allego, § dee 3d (= 108) _ AW Ae Ge mu a WT Ds dt oi hy A Modioom. A Av Arn POAT 8 Te iy ine. I 22,B) Allegretto, §d.-3J (-72) HAW AWA Tm Wd ID ol Wid ARTF) 8 8d J Ol J oi MNT ITH of LRT PRA RL + 22.C) Andante, §J.- 3 J (~60) STROM RR Ot VBS SR 8 TT eI Oh OPAL + Facaca rhe VOIR Raa ry (0) CEB aR OO RS I88 seueving Rhyein ER EE 2 ot |e | cCrerrigr power leer eter ip» 2.1) Allegro, 3d 3d. -4d (112 Lon OL dd MIN DBL oar i arr Br or or ie Pe ge ey RD ab) or smite oe as i aren Be or or Re or pe ee TOI dB OTT Ths dB: Tr { irre Bron or kee Re Pn BOOB) YT ted oes | ora lr poy lee re re ee 223) Allegretto, 1d § J. (=69) eAR ial a ara a oceer ere tee fetes LeRoy fr ettrir or Re sper ler eee FA. RAR am. i cers | TNL NTR FS Por iir reer ig ror Rr oo ee lge 23, THREE NOTES IN TWO BEATS; TWO NOTES IN THREE BEATS ‘The proportions involved in putting two equal notes in thiee beats and three GERM otes in two beats are faniliar from earlier chapters In Chapter 10, neg dotted clgtuhs were putin a dotted at; n Chapter 12, teiplets wore put tneegtt Rorully divided into duplets in Chapter 13, two notes were put aes thnee motes in Beat, What is new here is changing the division of the meee rather than the division of the beat, Lo Roving from normal quarternotes to triplet quarters, itis helpful to think triplet eights ahead of ume, since two triplet eihths equals tiple sees Mise LT) setmseretone SD. PT] Conducting helps steady the beat against which the cross-rhythms play. When fourmeasures: FJ J | J J Study 23. pretnts the hemioashythm impatterns familiar from the third movement of Schumann's Piano Concerto where, with one beat {0 a thiee-four meatute, we hea the thiee halnnecs inal (wo downbeat 23.1) fd. 9 J. 63-108 . a SMT da eich WT) ews inna -, WAT Ra - ech is 9) WWla-.wTRan Wun yy) 23.A) Allegro moderato (4. 72) SOI OH ATA FN 711 Wadd odd i ae RiTRE NACL ole ST da | WWW sid lao oon \TRATWATRA NO A oT A 23.8) Presto (d= 126) oO AN ran ihn | WIV oo uo en miss i WA oT whist) WIN ATT a i oy WANT Tika 4 23.) Andante con moto (4~ 80) WA) TGR RR AY ch) Ina acish . | F JT FAT n sR, Wha Cahiers RT nai Ten 14 23.D) Allegro (d= 116) RN sh sashimi! Th. 1300 IA onl an iano TUS ASH IDOI. oi thos MST nis vy 23.E) Allegro modernto (J 104) Mi wind. or bd UB AATTIT or 00 1 | (‘Gh Tiga Sinn, Wray WMIGAARITN Ti a 23.2) d, 7 69-120 (Conduct one to.s measure.) Wis isa y dis 4 23.F) Vivace (d--72) (Conduct one toa measure.) Wivso iis on tsa 0 Leu aus on digs ol WAWs AW dusts cue eo] MW cial Wo Wada 4 Yso dso Lua usd 23.3) Je ss.176 , WA iano Nd SO Ld23.6) Allegretto (4112) WAL As i on dT ilral WI WA i os tea | Wes i os ie koi Idrad 23.H) Allegro (4-160) WAM ss ie rildd | WAL i tg Th) FTI los os | Ind 1d Midd ae ty 23.4) fd.-3d-60-n16 fe J I? Lids jae imimy Scercer ror oirop ep |: peachy) Thy LPT Ee | Jz [gest oa ie ~herer le re il- br or dpe ey 33.1) Allegro (d- = 100) i dT 11 pa? pple r | Se rere h perch pepshere p 1272 ys Cf here Voperrh peppy hs Stueyiog Rhythm — 9 ret tee Sette he “Neee | ne | Bi, | 23.9) Alegeto (de 72) he edd dfs dd te Hy 1 4 oP it flere leper ol bss ja Fiid yam rer ele ¢ rore flr ep 200 yi ds ds cere tale rhe rales B.K) Ales (d- 90) in |p eta dad t eerlegregelh Glide, LY OAHSPTIn 2 foaolr rele rl ele 7? Pile Py | } nip py yer oy | ~ or Ieee Cer lr23.L) Allegro (4 = 120) Bee ep ea p 2 aor dr of Ine r jraa leee \4 ‘ile tedele 2 |p eee oer pir arerit aa ip or |p f | MIDI 4: ‘lee | core Irrolr or pleereeeleere ee tee ielt ele ee fe oy repale or dr or ip ror ipod 24, FOUR AGAINST THREE 20304 5 6 7 8 9 w HW Studying Rhytnm 95 and clap three, We think two differeat 24,1) deao.72 tee a il ~ [Free wil teprepricercerd ber tir lege eee, EPP 22] ¢ Thy - pach rh, - weer eer | ~ Tee cerleerecer - | TASH ~ Rh oh, eerecel «Leer eer lees daa eae 24.A) Andante (jd § 4. 60) feererttr[eederbrleerdeee le rer Beercercer leercercerieercererr cerecercer tertereerle serterlereeeek, i | cercercericercercerieercereer ieercereer / certer leertareer eerie Ee +] cereercerieercereerleercer eer leereerr14.B) Allegretto (4 66) td] we |? rOeWAT soe feeerler eeerler coer lecerceer tr pepe! Put leas |B 2.2,| Ch momtitr coor itr coeele er epee 2228 ea eR | Cr eeerlecer cere lege ener |p A.C) Andante(d- 60) ter teres tere Eee PTRL Be | tereerercerler corer ter lepcere PEP PR Pea ee | rere Cf ler er ceerecee|e err H ni TP BP Bin am creerercerir err geerler cere y k ne FR| a oh “ | Creprercerir er terecerle W.D) Allegretto (3.d~ §d.~ 72) fs jn fey 3 ftercerlr ¢ leereer|e t |terere PARR AR J BPP | Cor Weereer ie r leereee le” p na BP? Bae SPER cereer inp leereer leer cer lees cee py | 24.E) Adagio (d= 52) {tes AMAA myn, "| Wier cereeer 8 | cir aes ("> LP cgie he ary "2 | OF Cerecerior cerecer|e es | ¢ lo hyhoay mi > Cf Cereceric ere epegee lt e | Bea eS FB Dhar Bo or leeee ele” leer e's tereer ae 2 | aR HTB SESE LPIESEERA Sere le sleeer er Fleeeee ee |FB 2 DIRT SB) Chr coer ice rp; 7O Cele re pe] eercer iter tee ce ede lie} |25. FOUR NOTES IN THREE BEATS; THREE NOTES IN FOUR BEATS Singing four even notes in the time of thee b three at the level ofthe measure. Each of the fous four meature is theesquates of a beat long: the 25 the equivalent of four dotted ighths butt n Gaa -ITT Sioging three even notes In the time of four beats most easly done in Sra eit time, where each ofthe three notes has the ice four eighth-notes, pe A albnote, When the meterisfourfour, a backernend Of triplet eighths should be imagined: * eats is performing four against ‘quadruplet quarters in three s, the pattern can be notated ‘more commonly notated a8 a TAPRE the note that isthe common denominator (the sinecou fon rour Teta hea he pate EP eighth for ther ote in fous tet nal help us \carn to hear the proportions coreetly. Ax with oma, crosschythms, at fast tempo is a process different from slow Performance, s0 the patterns should be practiced both slowly and quickly, 25.1) da 60-120 (Measure 4is ‘equivalent to measure 3.) WA GAainaas MBOM ANAT a -0ii 3 57) ‘ 25.) Adagio (d~ 63) ory TAF FRR AR | LARA) AR, ! TAL ALAIN | VAAL dod DARA AH AAA RAD vuuvuveeeeuvc.: DO>A DADDY (eeuvuvvuvisuusudeueus >> >A MADD AAADD 25.8) Atego (4-132) Hisisis WITT ayy oad Wii ‘GATIGARINTI yy | LAAN nan \FAT ay Wis uaAninninn Is ag 25.0) Moderato (J 88) DUAR LTR ae Bl ALAA aR a 1 1B! RAAWTT inne), * M731 ALA ITT TUF aot 25.2) Flt doo 120 (Measure 4 is equivalent to measure 3.) IN MMmMi odd od. Id dds oy isdn Wodlioosi yy a. it Mi ibs i Sis gS es SLB a WAAITIITT 4 25.0) Allegro (4. 112) #19 NT oo mum, 2113731 WOT » 1s dots omy dL) oT Idd J ATI 270d. 7 Ay tL) Yo! Mads iy yay Thy ae 1100 studying Rhyihn 25.8) Allegro (d= 126) wor WALA mi miss Woda uiss Nimes ITT WmAnAW Alun WVU JT Tu - 4 ‘25.F) Allegretto (4-88) Bd) J MT 1. MIM oid om om Wissoroomss TT AT dy ddd ol oid si WAL OT Ld Mids vou amiad WADA 2 dea ik a 25.3) 1-56-88 ITT pe pT y pT [exer zerderl - lesedrcel - erereel a ee a ees Be Per [APPEL PE 1239] rn ANnANnAnaAnAHANDH OA euevvvevvvevvovrvveeeeyys. 25.6) Allegretto (J. 72) MII on aos 4. cerceereer Ieereeepeer Cerceer eer A |LA |ra Cerceereer Ieerceererr ic sresereer TATA aA Cereeerecr |cerecer ere LITT IT Cerererrlercrerle pr irr 25.19) conmoto( d= 80) {aya oe bho | arti velcercereer Joo: S| mm TTI cercerceeri¢ ay grlerrervete [P 7 Joo ay NIT eeyersecerip i TOICg er tr re i; / t r é ra re cere cr ITT Hy Cerecererrieger cr] VT asia ba Pio ° an LS Cererer TRA) Tar ff So DBT TI mame Crore espe erlereertele rr? J be pay ef errecer |p 335.4) Bde dda 50-40 lod 4 tf - pe yoy lecercer eercer| - I; ocere | | leet BPR EY ‘ 25.1) Allegretto (4. . 96) ea le 2 od doje dd ds opd sad Bole ¢ ocere pir cercere pir pr or ore jb se | my fot Maa f tor asin fo seere ole ceeeere e © etreete ole Poe Slt Ted? f cercerr ole poor ogi rf seere g 2d doris gg 2 | it tereere ole erp lt ae | 25.3) Allegretto (4 = 100) {i su js a dea). Be ure erlr ere er rroirtrea i lt et tlie Ee, | core inere eel er erie roe ‘ey > je MIT. shia - role rr ee | * of the triplet sounds a fifteenth Studying Rnythm 103 26. QUINTUPLETS, eine th note bps us pu the five notes of «quintuple onto abet ‘specially ina context of other divisions ofthe beat 7 A 12 1235429993598 ‘Tosing Ave equal notes in two beats, we need to think the quintuple bat: GRAS - IIIT The common denominator o ‘Wo, we need think only of the se of the quintuple: five and two is ten, but to perform five against cond note of the duplet dividing the third note 135794 d f r r 1 6 1 The common deaominator of five and thee is fifteen, 10 the second note of a beat before the third note of the quintuple, and the third note ofthe triplet sounds a feenth of a bea after the React es of the quintuplt; 1 cTTT7 r ' 6 n 1 As with other cross eh proceed to slow petformanc composite thythm heard to Patterns are performed and he ythons, learning must bepin with careful counting, © where the subdivisions can be imagined and te bbe accurate, and arrive at the point where the two ard simultaneously and independently1 seg tn 26.1) deas.76 ininsima - eomama - | wld ima - es ina 26.A) Larghetto (dq $2) Hoslimnamismoamisss | Uidigngmiginis asi ini THD TIT INIT ddd Wing iaimamismis i - i 26. BY Aadante (4-76) . . imiiiamisi- smi- sm Wi- bili one cimianon! Wisi - ios isin bt Jisimame Mius- 1 26.2) J- 48.76 io Ama - papa echama | ~ 0 Aa - eee 17 8 Shia ama 26.€) Andante (4~ 63) I ON Qa sRARi hI DRI RID RR QR asec. 1 24.0) tego (d= 00 LA Rain al \CT RRR FARR RRS oy CARLA ARR 26.3) des4-80 temsingsuee - posecina - | Woman - woah - | WOE Ta 26.8) Atego de 74) LE I ion es OTR Rn iin) lo AT FAT Rin he)26.F) Andante ( 4» 60) LBS ih» Ra \GRATIATO: ROB aT WH SETS tes 1 tal Ned BP BALE cecere 26.6) Adagio (= $4) QO| 0 Tea ale SREB) 1 Grote crerle ere ip cee lr ere CRA RAR aR, | Pere er ere ey | [per y | roofer Ira 26.11) Allegretto (d= 63) iJ [a0 FA) | FRL ieeger le 2 weperir cegerlet eeeer ore 4 fm mn fos 1 eee Vecere Veeere” "I> cece creed Fra FRO |b tf eeperlr ceeerle p geger|y + 7 J FRR PP FR eoore ieeere of leeer ef |p 26.1) Moderato (4-72) Win Aycan i ir epee Cprepricerr a leereercer J RNs. sy sing, Cortercer leere a leereer es lepreerg Ju fokgererl | € eereericereereer ira > 26.5) Andante (d= 60) PLA Pee Jos tb erer leeerc yr leegereceer itr DFO May os vere leeeres leerecr ite rPerle FREI Tees leeerey leecereeterley VeeF Bee ee be rarer leeercr lepreer ieee accep >| 27, FIVE-EIGHT METER While wow quintuple meter may be understood as having five beats in a ‘measure, fivesight meter is most often not quintuple meter, but duple meter with {wo unequal beats, one 4 quarternote and the other a dotted quarter, For szample, whan the tempo of the sighth-note ls 240, the quarter note li 130, the otted quarier ts 80, and these slower values ace the effective tempo, Most of these studies should be understood, and conducted, with two unequal beats in 1t is important to conduct the larger unequal beats, not their eighth-note , order to feel the bests phylcaly. After year of striving to keep the beet steady, unequal beats wil seem strange. The other hand ot foot may top the underlying quick pulse to keep the bests in their proper tater, ana the ‘Metronome rary help for this purpose, The grouping of the eighths into 2 + 3 or 3 + 2 is shown in several ways Where the grouping ts consistent, the meter signature wil indicate usin te fist two studies Beams wil usilly make the beats vsible. ) Df) 3+ 2 whereas) JT Jie 2+ 3. As quartercighth ita more normal pattem than eighth quarter, an tighth between two quarters may be assumed to belong to the fare beat — J Dd 3 +2~ if there sno contrary indication. Where there might otherwise be ambiguty, the beginning of a beat wil be marked with an score, brackets will group the notes on a beat 7.1) de 144-208 SOT. a- em sae WRT - a ~ | Be YT) oy a ~ EST RNIATRa ITA) Allegre (in 2) (240, 0, J. dea) BOMIAMINI ons SII +4 IWQITW Td ois ots InT! Wi dil sous oie tn 27.8) Vivace (2) 330) WTA INN sim Ai yo | WOT ds Diss ids os Idd 2 Idi Midd sty Ikod toad 27.€) Allegro (= 280) ITAIMAIN Minami: | dD SINS SIL oi IT | WINN TS sole i mimy | WT bots ia 27D) Adagio (2-80) SAAT AsO iowa VAR. BATT) WV ICRI RIS WROTE TIas APRIL olwy MINOT AAR on PPE Pra WAIT SITAR | WT AT a 4 FY Andate 210) EPP] Daim aia SIAL stir al WI |i OUTRISR AL (BTA aR | RTS (PBA 1) TR | ST oa4 27.2) D-100- 144 PPP Pra ey! on | - | irr lereer | [2°72 ser - | [2B - ao Ty terer inser} - fey er cer | (+ RPE 27.G) Presto (= 264) fis au 2 a! fib } Fj asp 14) rt JJ oT, LAA) mms |e lee rroirerlt cee tater eel? be cork pdr teel | Ald Aim TI) sA)m RE Pe a 27.) Presto (2-300) Wet eet ok deAde Lele PRE I ze Pl de Fee |e Peerie 6 Fake acoder | [te ke etek Ns dur trite pier era eel S| 27.1) Andante (2) 108) ms be ie Pee bel Py PPT 7 an lee fle |. 3) Allegretto ( 2)~ 132) fea 195) oO)on 238 y 7 IR pe Tor pltee eee eee ?|JB |) BRR +e vor erlee tr” erler cieeerltere + Le, PRRIP Bi 8 ror ele cele ec eeeler | CTASU ITAL ORRIGl vereeerle re eer |e Pe bees |e re 28. MORE METERS WITH UNEQUAL BEATS Tue meten in thi chapter combine quarternote and dotted-quarer beats [tas Gvoeight meter does. Here, in each case, the meter algatire makes the sequence of beats explicit. For exarple, J" in], but with three ben, of which the fit two ace quarters and the third isa dotted quarter, Conducting tgin helps econ comfortable with pattems of unequal beats and tapping the underlying ‘ghth-notehelpe ut keep the proportions accurate, 28.1) d= 160-288 OOM - by ales do a 28.A) Allegro (4 138, 4.92) BONTMIAN sinisiiaa ol Wadd dds oi AS ols as oy Wel TUL Ts oleae 28.2) Deteo-208 WL oa - rca a none. *. nanan puwuuvuvuverevvevevevouvvvvveeLeuyYy 28.8) Allegetto (2-192) PPL 1 OO so ONITRIR TF \WARATAL Lo id on Pirrrel| WT FAN FAN | Wd dT WT) SI OIE) oF a 28.3) 2-160. 208 “Pio MD - RO hd 28.€) Allegro (= 208) “POW OT enim nl Wd MUTI oni MTN i Wok Tid sk sled old dds | Wd ol. MIM, MT ATR | \W TRA 28.4) 160-224 PLL Loa ~ noaaoama - WET ORAT 28.) Andante con moto, in 4 (2-160) PSO MIL dl) TA dad AAT! WO dao ana FRBDL Aly AAMIN TIRATA DATA TR» NTA IH | AAT aaa a aLaTs 2 | 28E) Vin e103, 4-108) (Tver Fila Are aap, a Pra) Ser liril TAT AD rood 28 F) wore et Seah TA | RATA AG Ti Rl Fa ) NWA AG T3574 WTI GATUCH SL » oid fo di T5s A (bs AL AlAL 3 IT CASS) in aaAsai ay TOGA 2.9) 120-200 meerierts) Ve vcerl = | aD ns ter ey 2 oy Stercer Stving Rayne 145 28.6) Allegretto (4)« 184) ee en ajo ALN | 1 SPP peer |r pcerr Ir peepee PETE | aaa oR | Speer |p pees “leas! TA ATA maa): f ocerr ir Petre f Sccre [Pe Ray eet b | Scere ir PCL er ir a 28.6) Da 144-224 J Js | > [Peay - | MBB pee rere 4 ee | Wore t pee 28.H) Atego (2=216) R723) SJ yy ve atete te leit 24 PI Wor prp re Do Dyer 1,7) 2), Sam Poady Proretlr erp yp yep tert r I 7a ea 271 Tamm (fr 2 PCr sreripr ep rp see rao IH). my herpel cl Ob per OD Berle ae28.7) Do 120-184 peed dd Iepectaerterterl = | iain an) crr gf per: 28.1) Andante (2)=144) feeoty TJ de OTM dr dod PSB EFC ETICE LER CECE er ICE Aker Cee | 1D) D0 BB) 2B FBG cece perlerr or pp TRIER DOs do Te yer ECericercecereecercer| td) db | corceeere 1h FRET rer h tbl rod dr dod 28.3) Grasioso (d= 116) $8? DIT LAI SBR ST TS) Is CP Oe CTC Cicer Cer |: » TIKIT cero} lor Cero CTROATA|. 32 TFA IA \pete“eere tr coro: ICP er ere Cicero ITRIGVTA|' (Ae SRATHAITA. 2 | cereeeere s Ieerer_cerer sieerr 29. CHANGING METERS WITH UNEQUAL BEAIS The best preparation for these studies is counting the eighths on each heat aloud while conducting the larger beats, thereby becoming fanuliar with the ‘metrical patierns before attempting the actual rhythms, Thus, while condvcting seven-eight in three and five-ight in two, we would count ono om 29.1) De 176-240 BI SL ba - BS Ok 2 30a - WL its na 29A) Allerotto, 2 countant («=176) $50 0 RAISER ORR OR \TREORRI OR 2 BOR ARR) \ FAR ARR Ot VR): ORR MICRA STARLISFAMRI OA on11M Studying Royoha 29.) Allegro («)~ 208) BIO Rima Ay RIT AR A RI lm TN SARITA | AR 8 A) Fh WAT: ARON mia) iF) | WAI AIO OR WFR AAD BO RRL | 22 Viewe tds 96, J bs PPD LoL ds ML OSDIR Lo A) dL dR dd OT oe (2 dd STIG OTL Os oma O08 Mle A Lonlooon WWdl J ddd 18 §dl 2 dd) in a 29.D) Allegro (4.72, J~ 108) SOD TBA mm WITTE $ SAR ion 6.7 TA i CONTAGION ER AT RI iD Rn TATA nis § IWATA RATA SARITA. Madying Rivthm 118 29.8) Allegro mn stopp, 2 (2-224) GNI sb SHON SBALE on iQTAl oom PBA oe iA ARM ANiM FAM og io kaam ROG AAR it TIGATG 1 os os li oon thoi man. SRO TG sy 29.2) Sconstant, 2.176. 300 &FA BD Ali. Ba ~ HD dD TB as G4a- Bed ena aFlooa 29.F) Presto, d constant (4) = 144) $40 AD IFAD so BD RG AFA Bs Ald ssid Ala sD | 18D MBFLTG ID TGR aoe op adi ee nD 2 Ald) hs Gh TGRAD id 5 Ala oh Fo di ISR RSS ah 29.3) d~ 152-208 BoM ds JBL 0 aren ge Bs A008. a) on i Clr ore Be ore Be er29.6) Allegretto (2-208) BL NTIS ni on FR sah ar or or plbr pr lar grr Ie or pr lg 5. » fe aera rae Tmeeeoe aro er or or clr gr lar per erie BDA. oo Rano Boor pcre or itr or pecelgr per tA RE TFB. 2 . ar oerer ar ocer ce le ge fg bef? Pek Pe ar or peer br ptr ae ger ee le BF Ea , | gf rcercr Br » | 5 % 29.4) d= 120-168, Kegrew gare ee BAT RR | Boer coer Wemer or tLe cer c tezr lac ger cor, 29.1) Andante con moto (= 168) BD )) DB os ois DSA SATE Beier gr or ig Rg pe J Ml. J D8s OT Bf coolr per lr pteerlr 5 cele fs ds Bl Pk Pe Cer cee erigr +) |r gee Sr br og 8 8 Wey pee a eels OD Bf oer ltr seer lige vip Rec? tele ie ATA! Peg pfar cane | Seer eer mca Cerigeeer ¢ ceerlge 29.5) Heonstant, B= 184-240 ‘a7 be TT tebe | (ares livceee lay wisi | 29.1) Vice, 240) eG * a: [EL3 o>: | RS eer er se yer leg sey Ayo ster | dd dao ihe Bi aT i Usb sCer lgegeery Sefl> Ser idag> steely fe tt para AGW eral 890 o Wigser laser sag he of 3 8d > jks |r ATG Be "a Greer Bre bs cer ip. (ATS ba deer je Bp Ghote dre | (Goth eerihanspsegels. y 29.6) 2120-186 hel: NEB BY 2 Py oe29.3) Grarimw 12 QDR Bererkwer corer ABS TRA Creep ats cree BIT. SHIT Boer oro aLertr or nIaly WOreres eI Ay ACES s RL TD Bees: BS | fork ler tr \ [heer 30. TEMPO MODULATION In these studies, empo is changed in two different ways, The same note value may have the same speed in meters with different numbers of that value fon the beat, s0 the beat becomes longer or short Chapter 21, when the eighthnote stays the mple, as we saw in 8 from simple to otal ay been these soe. Fo xa hi equated to » pesedng normal sixteenth, the bs le axicenths, becomes fonger The terms meric mod Inadtron ave both been appied 10 these procedves for chaning tempo, ba the later more aerate Each of the peparoy execs oi chapter shuld be performed thee ‘umes in sleceston Denning tthe ft of the indested temp we wil hen ae atthe other trp rng the cou ofthe eerie Ine Tet eetebe 30 Tn Mf the quateote i ly Tod. the ehh 92 turn 10 wont, the tnd the doted uate i td andthe dotted * It will be helpful to figure out the tempo at each point during the exercises and sides where values ae marked as equvalent” As maya, condectg el take vs pyial aware ofthe changes of emp, and the dowed quarter ¢ ning again at 108, the then, we bepin at 72, the speed of the final ec i 4B, which mm W tay d= 162, 108,72, 44 nAtimmy 3 to oth) dean 108. to ded de Mlod Wma AA deal 30. 1c) J- 48,72, 10, te “1 " imiminnn sit 4 as Momus s enon Sinanies a emmitnan sigma i) STUIT 12 Jol do eaminniity somilg TROL oo oman ay 30.8) Beginning Andante (beat - 48,72, 108) §O\ MT Wo ATI’ AL oe? IVEPSINAD NAL iGaAin Aina roll Sida 7! IDAs WAL OTITIS 30.20) d~ 54,72, 96, 128 my be . LR RRR oh30,26) J- 96.7 54, vo cia. im eiianm | 30,C) Beginning Andante (beat ~ 63,84, 112, 84, 63) iAlo) WIA AERO aT io) Us Wal. Acai IADR FRR Al i) ACRIAL ACR ATR 30.D) Beginning Allegro ( d= 128, 96,72, 96, 128) Wilds NAMI NOTA on : 33 Wo IOS RA a | isn vRdIO SITIOS OT A WASTIN TAN oids SIM TRlos Ol Wismimminmi si 30.34) J- 60 5.0.9 Lanai is im ori 30, 3b) d= 100,80, 64, ca. St RRR im. 30. E) Beginning Moderato (J 64, 80, 100, sa, 64) . 1S\TROR SREB SLR (FES FR GR AIR RL |B ARS) Jol i namumaaed ape cm wii 30.F) Beginning Andante (beat = 60,72, 90, 120, 90, 72, 60) 2 § AI TN A RGA bd \ARAFRTR RTARTA RAIA ATRL» sD Hacthil amp om ERT uM80.6) te (2 240,601,905 \eTI | SIN IT) SR feo ip op pie eee =) a i? hee 3A Te iit. OST) | STR F Lys son ror Te eer fore oir ere lar oe “pg |p of \ eins oad FAT: ail ror crro erin ore |g {i 200 TAT pircree! | rn (ae 30.1) Begining Adagio (beat = 50, 60.72) ie i om 779 £773 eras wa Cmannt rige or ste’ o ler alk tate sain oy, i ay ur f oar lere r VR Praia: | Ur or gine ve 1 | 30.1) Beginning Andante (~ 63, 84,112) (ian FT aa OUR ITTI wo. tre erlerr cr ler erlere er yay Tas jeg jeig rrr bree trlere erlere er ale nao Pu aR Th ae Et crroerlorr cr lerr | 30.6) d160, 120,90, 675 ot x te eo RREE oe ee | arr rererlrre er ie Pp 30.3) Beginning AUegro (4~ 120, 90) Ws Oman aanyaAns : Mere ere leer ore lore erege 4 od arn YU jana teeere leer cer lege tere dere a mami T7 ios aphas cere ere bere eee ere err lore crepe ‘Studying Rhythm 127 CULAR TL err crlere erlere ep lr reg22.D) Adagio. 3.4.3 J (52) MEAG) aca | IL TU aan Thao VIA T am aaa R 8 A ORR a TFA I 22-6) Allegro ma non toppe, # J. §J...34 (92) toi SA ROTM m ol oi drole ADB my obs om Ba AMADA mT, dT 6 iT REPL I 22.F) Allegretto, Leet ee eee a bomber AER + ge Abo ea PAD ADRTAR BN 1 a WRSTRITA RRama SOVRATRI boty EHD AR po Hua ale, Alle BON + 4 22.2) §d.-3d252-72 ieee der Rds Ze = ALA Wm zy NLaeer ERE? | pee ee loreal ~ JoFR 8 Fa ‘| wor ory - ®t coer lr 6 Ceep: * 22.6) Andante, 3 J.-J (~s8) RoR ae ARERR oo Broor or BRD SE ST iBr gh EP {} bor iP iP igs ame Pork lr per ge eee ee ee lg BIN INTa. + a [a eae Ber oe or ise ee iPS apg ig ia ER an TRO a) | Por or 22.4) Adagio, J ~§ J.(~52) Crerer. Br ppp gp foien mn fire oa J oe tier cerler cele pr erlepee elt {ie SIR) is on an teererlereslereesigr 9 tee {is | forces ler cer d Pea COP teeriz fT TT ae P| Be ope errors ler ey16 Studying Royinen 3.3) Allegretto (J - 88) tO | Ai ays - o on | te of oerlere fer ere er |= or 6 Midis = (AN os ATs - | cre or plrerre i- Pf crior of er ieeerr er 3.K) Allegro (J ~ 108) tae iP! ) 1? |en re 2 deherra he erere |e rpeeer |) ope ep - tet eee ae fro tere re la pepe TtOrr erlecere 4, DOTTED QUARTERS AND TIED EIGHTHS IN SIMPLE METER A dot extends a note by half the value of the note, 10 a dotted quarter. ‘ote represents a quarter extended by an elghth-note t-Ld.. 0-0 Dots must be wed stad of tet whenever posible, However it «nie of setaton tat only 1 wle woe, + dated haeeee, ae Gx th second bent ny spa the ada of «a ey ern ae ee st te ued when the wrote dotted quarts spe te et ‘err ani the tht and fourth mae hes th dk dloa os LAL Ad ln performing dotted and tied notes, conducting will help us feel the beat, sand s0 help us place correctly « note that follows off the best, Hy ged. 148 WA Woda - bs As oa - Wil Ties doe A od a 4A) Andante com moto (y= 92) WN uA asin | IMAL le oA a sd oi ol Wis ler FIN AINA lh os le tt 4B) Allegro (J = 120) _ Mi ON STIG te Di on) i Ob daha i ob a Wood ldo Wi oA as ot 4.€) Allegro (J = 132) He Alk ole ol Alle i ais Ws iad Word) i dlad (ad $2) 22721 WADA - wane Wo- b QaTTa | - Woon - woama - bol dds do - WW SLIT os oaSTUDYING RHYTHM Anne Carothers Hall Ieeal lor teaching «rythm, Studying Rhythm by Anne Carsiners rina nic studies and preparatory exercises, intended to sds) eekeh: !BDed oF clapped. The abundant material fabout dog tre ban gbalures @ wie range of dilicuty—making thie Book suntabin tor ge Beginner as well as the senior university student In adgiion Studying Rhythm wail benett anyone teaching music theory, sight 8na!Ng. ANA Music skills at all avels of proticiney Among its distinguishing features, the book: (neudes musically coherent studies, in tradtiona, simple musieal forms intended io be sung, or sung with accompanying clapper transtorming dels ito an enjoyable musical experiance * presents studies of sulficient length to afford repetition. reintor learning. and provide practice im maintaining a steady tempe Somais SxerC!5es and studies sutable for dictation improwsation, ang composition PRENTICE HALL. Englewood Cilis, NJ 07632 ISBN O-13-a5Su51-2 aC ===Anne Carothers Hall teas, Hite ett =2e9u0 Foner mon ‘8)19 poomeieg “VE aOLNa¥a suseamuy, sapaney pf, HEH ssqor5 ouuy WHLAHY ONIACNLSAug aomney, 01 pampep sv yong ony outwer 9p ony wa “ASKART veOUE odBuig “ax aig VISY RUISTHOS ® Nora, o4jer "Dx “wwe Jo TH aura "aed #2N “qUUAT] auwateg Vins Jo TY AOULEE OotaWY “Y's “WAVONRIVONSTH TIV}-A>klne 2nv040* an OWA) TY ROM up ‘came “aig vowRsny JO TIVE une opuoy “CUIMT] (yn) WeentvonRtAny THY AD Uemad, 2-t9995e-ET-0 986m ‘uaUy Jo sans pawn aM oy pmo voysignd a way Bum ws vowed youve “sua Ave Kq 40 tuo) Aum poompaa: 24 Aras yoo sna Jo ued on “panes mg Ty 2010 M91 NBN “SD poonaieg pee ans 7 ume mo som YES im 2a fa 6861 Sunmey. dey sakog Suamaoe may, isog oupra -uisap 25.0 ogni a tp sou pee worsens wononpaxdnmam wets eeBE AEH NYBig-nIS ui voNDdoouks pur soy BOW “OL SE sr9yy ayduns wi uonedoouks pun say OW 6 Te 2219) WErg-Mg w sHONTUBINIE “g LZ IEW aiduns w sMYsty ponog -, £7 IAW ardung w ssION-MUIIMIE “5 OF 2212, WYBIY-xIS “g 91 smeW aidang or siny8ry pory pw ssameng PaUOd “+ ZI ss19W aneg-anog “¢ 6 sa snog-oanyy, “7 $ JAW MOs-OmL “1 1 vononponyy SLN3LNODCOL made) 9¢ 8H RIFIg nog ut SON Sank ‘STEW POI UF EON MO “SZ m6 Day IUTEBY mos 4g 68 EN 20m, WESSON omy ‘eveaH Om | Ut ABTON BAN “¢z 8 rwmsveD reg OM MLM, 221218 punodulod por 2idang usomeg Barun “Zz 64 MSO) vorstAIG 20 BIA Bray ponedwog paw ajdans swemiey BUBIRE “12 St sma punodwos Burdon -g2 IL sony oydung Busey “64 49 svorstamang [rem “gt 9 OR orn INYAT-PIMOg “L1 19 wag MONEE “of £5 2A ONE PeMod °s1 Ze1_vonminpow wa) “of : 1S PE MONTH “FT ELL seg genboury yay S21Hy BUMRUPYD “gz Be SON amEBY om “C1 ZN sro Teabouy Wm SEIN BOW “BZ sy aaduy “zh sor 2948 19FE Tp sayy wg 201 pu MG OONTL wat tps okey Skog imflu jo wru09 Aout “apsoe.d Aaxa vey sorpmis 24) 40) vorttdaad se aaas (¢ “ED Jaquau aideys ax Surmoroy siaqunu Aq parynudpt saeiovex2 24) auinbos Keus i ynys yey oy Surqiom “Aiianur ume so Yom SOuN Jo pasdUIND 86 aSmK! 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The ability to repeat a pattem is evidence thar ae ont perform it If we can perform a pattem once, but not three of four ines Recewion, then we have not really conquered it. Spending encuph uae sommes As memerie its good way to ensuce thatthe hythimie pares mak ree gompletely satped. The exectes are not necesarily complete preparation for te studies rather, they serve a8 model. Whee inioiden eater ‘tues seem dificult, they shouldbe extracted and preston In performing the studies, the goal muse the phcase as & whole, Reading music note-by letter-bystetter. Reading a beat at 4 time i i © poetry. A musical phrate, a musical gesture, To break a phrase, by hesitate We must arrive at cadences on Gmbarrasing, to say the least. So stile we should aim for so 7 3F Ta ne Point if we concentrate on the details atthe enpense of shape of the long phrase, The phrase ‘tculated and enlivened by the pattems within in {{Lumainng the phrase i important, sos Breathing between phases Usvally here are notated rests between phrases” Occasional heeeee wr Phrase mark indicates where the pesformer must seeek \enificantly delaying the beat. An unbroken flow of sound, tke Ut be comprehended as 2 whole only & comma "breath: without Het studies, the soles mast be Given thei full ducations (except when Accurate performance does not allow us 7 Fawn & lence {00 200m, oF (9 adda silence, any more than i allows es begin ch note onaats O #0 add a sound. Because we ten t0 concentate on bestey Gagne corey, we often find i dificult to listen to te ul donor Gece we tention 10 its continuation and ening. Howerer we pode st entices beter hee whe of every sound. (Amin, this why sagog «€ studies is better than clapping them.) ‘The tempo indications given for the actice an Allegro study slowly, the given tempo. We do, afte sic. Nothing will make the © studies should be observed. We may Dut we should be able to perform each study all, have to perform both slow music and fast Mewonomes are no: to be scorned at a mesns of checking steadiness ot ‘pe, Metronome indications for precise tempi have been glen for al tre Seudving Royenm 3 Hades. They sre suggestions only, and in some cases may aot be Appropriate reat evel of sil ofa student. In genctl, however, we should oeeat (one Indicated. On the other hand, too much p [Me must lear to keep a steady beat without such mechanical a Shythm is aot as unreeatingly steady 4: « metronome, aa ‘metronomic regularity cannot be ouc ultimate goal Metronome number indicate the number of sks per minute. Thu, longer {aloes are represented by lower number, (In given tom iho ace ewer half. Sey wl a many musica stuavons, be otherwise occupied We shor tere hs Bestest benefit of dictation, once we know how fo write the weal pattems, thong uttlopment of memory. ‘Therefore, one peron should sings pes wg hone taking dictation can sng it hick; only then should they wae i Individuals Working alone can develop skill by reading » phrase until i memorized, then writing i pans jt chapter are aranged to form a logical progression, and within ie ctupies the studies are arranged in order of increasing difccon we ee ggM though the book may not be as helpful a todo some of de sade acta Mupter and then to return to earlier chapter and wah somoof area, sits. Performance of complicated rhythmic pattern, chasing ‘meters, unequal RRS tnd eonechy thre ts not leamed once and then known ener any more ‘han is peeformunce of scales; we have to keep practicing. yuacal performance. Musical shythm is complex and dificult to cescroe toon, 3y sha tumber of factors involv and thelr interdependence + Rhys eae oe ohnen ref sound and sence and by accent. Accant made by many factor, of which loudness, muking a sress accent, is jst one, Dusstion makes ‘ccent, SEGUE ote i emphasized by its length, s0 thee two base factor of tyne {te not separable,2