Rhythm of Modern Music

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THE RHYTHM OF MODERN MUSIC
MACMILLAN AND
LONDON
CO., Limited
BOMBAY CALCUTTA
MELBOURNE
THE MACMILLAN COMPANY

NEW YORK
ATLANTA
THE MACMILLAN
BOSTON CHICAGO
SAN FRANCISCO
CO. OF
TORONTO
CANADA,
Ltd.
ML
THE RHYTHM OF
MODERN MUSIC
BY
C.
F.
ABDY WILLIAMS
MACMILLAN AND
ST.
CO.
LIMITED
MARTIN'S STREET LONDON

T
9]9
8WGHAM
ubrarY
PROVO, utah
GLASGOW PRINTED AT THE UNIVERSITY PRESS

BY ROBERT MACLEHCSE AND CO. LTD.
:
PREFACE
In this book
have endeavoured to deal with the
Rhythm of Modern Music
in
its
aspect,
aesthetic
rather than as an element of formal construction.
In the present highly developed condition of musical

art,
the power of influencing the
of rhythmical devices
infinite variety
with melody
and the
mind through an
is
to composers,
are
of Rhythm, although well

not invariably
made
by performers, except by those of the

those
who have
combination
perhaps generally recognised,
not
capabilities
in
known
full
first
use of
rank, or
paid special attention to this element
of music.
Musicians, professional and amateur, as well as
listeners,
the
are
melody of
apt to pay considerable attention

a piece
and
little
the latter happens to be in
melody, however,
is
to
some
not
its
Rhythm,
to
unless
self-evident form.
merely an arbitrary
distribution of intervals over a portion of the scale,
but a distribution of intervals regulated by some
kind of rhythmical arrangement, through which
becomes
a living organism, capable
it
of moving the
PREFACE
vi
The
emotions.
is
not entirely in the hands of the composer,
however
is
rhythmical arrangement, moreover,
down his ideas,

have them made ineffective
carefully he
quite possible to
may
for,
write
it
in
performance by faulty accentuation or phrasing.
Rhythm
that
has been so
studied as
little
has not yet arrived at a generally recognised
it
nomenclature of
its
German
own.
theorists
gone a good way towards the invention of
names
we cannot conveniently use
of
their
language
while
English does not lend
the technical terms
writing
own.
our
in
to the coinage
itself easily
compounded out of
Hence we, perhaps more
driven back upon that
of new words being
allows
materials already at hand.
most
nations,
are
wonderful Hellenic language which

to express
To
School,
so well able
is
whole ideas by single words.
those
discipline
who have undergone
of
" Compulsory
wholesome
the
Greek "
at
Greek rhythmical terms would
difficulty.
to
special
terms, for this requires a language which
scientific
than
have
for the various parts of a rhythmical whole,
but
of
science
But
wish
the general reader
use of Greek
technical
my book
hence
to
Public
offer
little
be acceptable
have avoided the
terms as far as possible,
though some few, for which
have been unable to
find satisfactory equivalents, have been introduced.
But
hope that they
will
become
sufficiently familiar,
PREFACE
in
process
of
reading,
obliged
to
them
prevent
to
For the
proving repellant.
vii
rest, I
from
have been often
use combinations of words to
express
what one Greek technical term would have expressed
more
conveniently.
meanings
I
the
effort
Whether
must leave
to
make my
without the intervention of Greek,
have made rather a free use of
letters.
I
clear
In
to the
have succeeded
judgment of
C.
F.
Milford-on-Sea, 'November, 1909.
my
capital
initial
my
effort
in
readers.
ABDY WILLIAMS.
CONTENTS
CHAPTER
Introductory
CHAPTER
pp. 1-18
II
Measurement of Time
The Measure and the Poetic Foot The Period
a Period Phrasing
Functions of the two Rhythms
Instrumental Music The Caesura
Song Phrasing
Tempo Duple and Triple Rhythm-species Masculine
and Feminine Endings Time Signatures The Bar
Accent
Prose, Poetry and
Music
in
in
in
Diaeresis
------CHAPTER
pp. 19-44
III
Preliminary Measures The Overlap

Rhythmless Music The Four-bar Phrase Accents, struck
omitted Rhythmical Accentuation The Material of
formed Different Rhythmical Schemes
which Rhythm
used simultaneously The three Kinds of Accentuation
and Melismatic Song Rhythms within Rhythms
The
Anacrusis
or
is
Syllabic
pp.
45-78

CONTENTS
^CHAPTER
of
Effect
and
longer
IV
Notes on Accentuation
shorter
Ancient Theory and Modern Practice
Well-marked
Combined Rhythm-
Influence of Note-values
on the Êsthetic Character of Music Repetition of Definite
species
Rhythmical Figures
Syncopation
Species
Time
of a given
Time
Triple
against
Signatures
Melody
tuple and Septuple
pp.
79-104
CHAPTER V
Duple
Rhythm
Temporary
Change
Brahms'
Time
Changes of
Accentuation
of the
Mastery of Rhythm
Quin-
pp.
105-132
CHAPTER
VI
Schubert's
Rhythms Beethoven's Rhythms Half-Rhythms Threemeasure Rhythms Five-measure Rhythms Rhythms of
Importance
of
the
Seven Measures
Four-measure
Times
of
Haydn's
Strauss'
"Tod und
The
humorous
Verklarung"
Grieg
Unbarred
^S-^S
and
Empty
VII
Pause
use
PP-
of
Rests
Rests
Rests
Examples of
--------
Brahms and
106
Tempo
CHAPTER
Variations
Rhythm
Music
in
R.
Diaeresis in
Beethoven,
Op.
pp. 159-181
CONTENTS
CHAPTER
Staccato
Forte,
Piano,
Organ and Accent
The
VIII
Diminuendo
and
Crescendo,
Mechanical
xi
The
Instruments and Accent
Rhythmical Scheme of a Complete Composition
illustrated
by Brahms' Rhapsody, Op. 117
CHAPTER
Brahms' Symphony
phonic pathetique, Op. 74
Tschai'kowsky,
182-209
pp.
IX
D, Op. 73
in
pp.
Sym-
210-255
CHAPTER X
Vincent D'Indy, Sonata in
Masques
Op. 45
Hommage
Elgar,
for Piano,
Rameau
Op. 63
Stanford,
Symphony, Op. 55
Debussy,
Quartet No.
-
pp.
2,
256-307
APPENDIX
The Agogic Accent
Index
p.
308
~P-3
MUSICAL ILLUSTRATIONS
Beethoven,
Ex.
Sonata in D, op. 10, No.
Rondo,
3,
Anglican Chant taken from Sonata Patetique, op.

Sonata, op.
14,
in
in
D,
3,
46
l68
12
52
No.
1,
App. 311
No.
2,
App. 312
flat,
op.
26, Andante,
op.
28, First
3,
Sonata in B
flat,
Quartet, op.
132, First movement,
106, Largo,
op.
38
60
I40
41
149
5i
13
56
57
16
movement,
Overture, Leonore, op. 72, No.
Page
Second movement,
Piu allegro,
78
33
33
45
156
47
29
Brahms,
Ballade,
"Edward,"
op.
10,
Intermezzo, op. 10, No.

Serenade, op.
Variations on
1 1
First
No.
3,
movement,
Menuetto I.,
Hungarian Air,
Pianoforte Quartet in
1,
170
10
21
94
2,
36
130
minor, op. 25, Rondo,
43
153
42
35
129
24
Quintet, op. 34, Scherzo,
Song, "Agnes,"
op. 59, -
Symphony, No.
2, op.
73,
op.
21,
No.
movement,
First
>>
25
99
100
?J
T>
57
210
11
>>
58
212
T>
">)
59
213
XIV
Brahms (continued),
Symphony, No. 2,
>">
Ex.
Page
60
214
6l
215
62
2l6
movement,
op. 73, First

>?
?>
I")
>>
J?
>>
79
>>
63
217
>>
?*
Adagio,
>>
??
">y
>y
>
??
>)
>>
77
>>
>>
?>
>J
7)
>>
?>
?>
Klavierstiicke, op.
>?
>?
Fantasien, op.
76,
No.
69
225
70
227
7i
228
72
22
229
2,
23
98
73
23O
74
232
75
232
76
234
77
235
42
122
No.
?>
?>
>?
116, No.
34
27
I I I
1,
10
46
2,
9
17
43
3,
Drei Intermezzi, op. 117, No.
1,
No.
2,
Klavierstiicke, op.
7,
No.
3,
118, No. 2,
No.
4,
72
5o
33
18
19
Intermezzo, op.
IO7
30
>>
116,
movement,
Andante,
>>
98
op. 90, First
3,
No.
Capriccio, op.
224
77
>>
223
68
Finale,
Symphony, No.
67
>'
>?
?>
5?
66
219
221
?>
?>
>>
65
>>
Allegretto,
>
218
?>
9f
64
120
75
76
20
76
41
34
!?Q
32
Brahms
xv
(continued),
No.
op. 119, No.
Rhapsody, op. 119, No. 4,
118,
Klavierstiicke, op.
Ex.
Page
5,
49
175
2,
38
52
194
55
55
55
53
198
55
55
55
54
203
55
55
55
55
204
56
208
39
144
Clarinet Sonata, op. 120, No. 2, Second
movement,
______
Chopin, op. 24, No.
55
>>
104
34
267
268
55
55
105
268
5'
106
269
55
107
269
108
270
55
109
271
55
10
271
in
272
12
272
113
273
6 3) First movement,
95
257
96
259
260
2,
Debussy, Masques,
55
17
55
He>m
Hommage
55
55
Rameau,
103
55
yy
55
D'Indy
Sonata, op
55
55
55
55
55
55
'5
55
55
97
98
55
55
55
99
262
55
55
263
55
55
5}
99 A
100
55
'5
Finale,
IOI
265
102
266
40
148
127
289
128
290
129
292
Second movement,
Dvorak, Slavische Tanze,
261
264
Elgar,
Symphony,
op.
55,
First
movement,
XVI
Elgar
(continued).
Symphony,
Ex.
movement,
Pag
130
293
131
293
132
294
133
295
134
296
>
135
297
?>
J?
136
298
?5
298
>?
137
I38
>
Third
139
299
300
>?
140
302
302
op.
55,
First
Second movement,
it
if
19
?>
141
>?
142
303
H3
34
I44
3o5
145
305
50A
176
48
173
37
131
26
59
102
114
276
115
277
116
279
117
118
279
280
119
281
120
281
121
282
122
284
123
285
124
286
125
287
Finale,
5?
Grieg, Violin Sonata in F, op.
8, Finale,
Haydn, Quartet in E flat, Finale,

Kuhac,
Slanca from "Chansons Nationales des
Mozart, Sonata
in
Slavs
du
Sud,'
minor, First movement,
Schumann, Pianoforte Concerto,
Finale,
Stanford,
Quartet, op. 45, First movement,
Second movement,
Third movement,
Finale,
Stanford
(continued),
Quartet, op. 45,
Finale,
xvn
Ex.
Page
126
288
28
IO9
44
155
42
152
Strauss, R.,
Violin Sonata, op.
18, First
movement,
Ein Heldenleben, op. 40,

Symphony, Aus Italien, Third movement,
TsCHAIKOWSKY,
Romance
F minor,
in
Symphonie
Patetique, op. 74, First

>
55
55
55
55
55
movement,
78
236
55
79
2 37
55
80
238
240
55
55
55
55
81
55
55
55
55
82
241
55
55
55
55
83
244
55
55
5>
84
244
55
55
>
55
55
55
55
Second
55
55
55
))
55
Third
5>
5)
>J
55
85
m ovem
86
245
246
5>
37
247
mo veme
88
248
55
55
89
J)
55
'5
90
249
250
>
J>
55
55
91
250
55
55
55
55
92
251
55
55
Finale,
93
253
55
it
94
254
CHAPTER
INTRODUCTORY
The power
of expression that has been reached

the power of the composer,
in instrumental music,
or, as the
tone-poet,
Germans more happily

to
move
the
express
it,
of the
and appeal to
emotions,
the intellect through the agency of
mere sound,
one of the greatest achievements of modern
is
civilisa-
tion.
The poet, the painter, the architect appeal to

much the same faculty as the musician, namely, that
which is vaguely known as the artistic sense
but
:
they
work with more
or less concrete material, and
everyone has some
they treat of things of which

experience.
The
which we can
which we can
is
poet's
see, or
feel
work
imagine we
or emotions
art-material
ways that appeal to
our sense of beauty and order
The
see,
His
and describe.
speech, arranged in certain
itself is
to idealise objects
is
but the material
one of everyday use.

painter cannot use his art without depicting
some concrete
object
however
ideal
may
be his
RHYTHM OF MODERN
MUSIC
conception or however lofty that ideal, he can only

express himself through representations of something
definite
The
and
which most nearly approaches to that
art
of music in
thing that
is
tangible.
power of moving us through some-
its
not a representation of natural objects,
is
architecture
for the feelings that are experienced
when we contemplate
moved by any
but by
some
material itself
for
it
association
reason
is
condition
appeal
tangible object,
to
this case also
in
dug out of
is
with a
arrangement of hewn stone
the
for
that
a beautiful cathedral are not
forms
in
Yet
us.
found
the
nature,
in
the earth, and brought
to a
use in art through the chisel of the
for
workman.
Instrumental music differs
we have mentioned.
the three arts
all
or
represent
art-material
not found in nature.
natural approach to
removed from
instinct
it
the
as is
of animals
and
The
the song of birds,
it,
from
cannot
It
any natural object
idealise
is
in certain respects
its
nearest
is
as far
mind of man from
the
and even the sound produced
by the wind, though
it
present a musical tone,
may sometimes
is
actually re-
not like the sound that
is
used by the musician.

Instead
speech,
can
be
of taking any natural material, such
or stone, and working
of service in
art,
it
as
into a form that
the musician combines a
INTRODUCTORY
number of
produced sounds
entirely artificially
in
such a way that not only are they pleasant to listen
number of bright colours representing

nothing in nature may be pleasing to the eye, but
that they shall go further, and appeal to the mind
to, just as a
through the
strumental
music
charming
it
has
expresses noble
For
and the emotions.
intellect
no longer merely
is
point
arrived at a
thoughts,
and
acts
incentive to nobility of character.
And
or
pretty,
in
as
in-
which
it
powerful
this
has to
be done, not with a lasting material, such as canvas
and
paint, or stone, but with a material that vanishes
immediately the vibrations of string or pipe which
produce
it
cease.
musical sound
we
say
to
whether
that its
it
is
" tone "

pleases
and
pleasant or unpleasant,
is
good or bad, according
us or not.
combination
of satisfactory sounds sustained in harmony

pleasant to the civilised ear than
single
is
more
sound
but the pleasure such a combination gives, or even

a succession of such combinations,
is
only superficial,
and may be compared to the delight of a child

the
kaleidoscope.
made
Before pleasant sounds can
to appeal to the mind,
in
be
and not the ear only,
another element must enter, namely, time.

Pleasant sounds must not merely be drawn out
to an indefinite length, but
must be regulated and
brought under control through the agency of time
RHYTHM OF MODERN
MUSIC
made to appeal to a
feeling that exists in the human mind, and in no
other part of nature, namely, the sense of Rhythm.
The art of music consists, therefore, of combining
pleasant sounds in a way that appeals to the ear,
and regulating them through Rhythm in a way that
makes them appeal to the intellect. The pleasure
we derive from mere musical sound is elementary
sensation only.
it is a
The satisand external
faction that is given us when musical sound is
allied to Rhythm is intellectual.
Hence these two
and by
means they
this
are
elements
in
music are always combined
convenient term " Melos "

while
itself,
It
Rhythm
through
is
Rhythm
the
and the
applicable to the
is
applies to
its
combination
sound
time divisions.
of
Melos
that purely instrumental music
is
with
possible
and Rhythm, from being merely an element of Form,

has become, in these latter days, a very powerful
means of expression.
be charming for a
if
it
is
Melos without Rhythm may
moment
to have strength
The
capacity
for
but
and
it
requires
Rhythm
solidarity.
appreciating
an
abstract
idea
without some kind of concrete presentment of

in
words,
other
images"
the
ability
to
for ideas, implies a very high
of a particular faculty, and on
music
discard
will
always
make
this
it,
" graven
development
account vocal
a wider appeal than purely
instrumental music, for, like poetry,
it
deals with
INTRODUCTORY
The
concrete ideas.
Sonata and the Symphony, on
do with something
the other hand, have to
that
is
and can only speak to those
entirely
impalpable,
who by
association or training have been initiated
into
has
their
The body of
mysteries.
grown very
rapidly
of
late
the
years
initiated
but
abstract idea has always been too difficult for
who would
minds,
from the
profit
art
something
definite
when they
like a
apt
give
to
it
the
many
yet fain obtain enjoyment and
of music.
Such minds require
on which they can
fasten,
and
composition very much, they are
name, such
" Moonlight " Sonata.
Many
as,
example, the
for
invent for
will also
themselves some " programme " in connection with

their favourite compositions,
and by
this
means
will
obtain a pleasure which they might not otherwise

experience.
Composers themselves have recognised

culty,
and have often
instance,
in his
Kuhnau
in
provided
his
" Bible
for
it
this diffias,
Sonatas "
for
Bach
"Capriccio iiber die Abreise eines Freundes"
Beethoven in his " Pastoral " Symphony, and his

"
" Lebewohl " Sonata
Brahms in his " Edvard
:
Thus has arisen what is now known

u Programme music," and, owing to the desire
Ballade.
as
to
hear
orchestral
music
having
spread
of
late
years to so wide a circle of the public, and to the

fact that
many of
the general public
still
have the
RHYTHM OF MODERN MUSIC
difficulty
which we
to
Programme music
allude,
has increased to an extent that almost threatens tem-
overwhelm purely
porarily to
it
would be contrary to experience
not
eventually
revert
to
the
has in the past, of an
a concession to the
mankind did
if
higher
Programme music may be expected

it
But
abstract music.
while
ideal,
to take the place
occasional appearance,
as
weaker brethren.
In the days of purely vocal music, in what

the " Polyphonic " era,
Rhythm was
adjunct to Melos, though
it
is
called
not a necessary
The
was often used.
voices
moved about and intermingled
with one another
in a "
concord of sweet sounds," as
it
Shakespeare
the
human element of
was called by
the voice, and
the ideas expressed by the words, could appeal to
the highest emotions, without necessarily utilising the
element of Rhythm.
In the church,
looked upon with disfavour, owing to
Rhythm was
its
association
with worldly pleasures, especially with the dance

the want of
we
yet
constantly read of
people
felt
edicts
forbidding the playing of dance music on the
organ.
it,
for
But instrumental music,
did not yet exist.
as
If music was played
these instruments merely performed
of madrigals, and the pleasure

chiefly that
in playing
opera.
an
art for
itself,
on the
viols,
the voice parts
in the
music was
of association, just as we derive pleasure
on the piano what we have heard
The
in the
solo instruments, such as the organ
and
INTRODUCTORY
harpsichord, occupied themselves to a great extent
who
with arrangements of vocal music, and he
of
excite the admiration
his listeners
could
by playing the
voice parts of a madrigal or motet with the greatest
amount of " colour/*
that
is,
ornamentation, was con-
If a keyed instrument was
sidered the best musician.
required to play other than the voice parts of vocal
music,
performer would
the
strive
admiration of the audience by his

point, or his dexterity of finger,
of the
Toccata,
or
thought
of,
counter-
in
through the agency
Fantasia.
the
we understand
instrumental music, as
as yet
skill
the
excite
to
Expression
in
was hardly
it,
and the instrumentalist was an

composer.
executant rather than a
Thus we
find
long sets of variations on such dull material as the
six
Rhythm
or
notes of the Hexachord played without
measure, as in the "Fantasia" quoted by Kircher, as
one of the best examples of the

or
we
find intricate
time, as in
Even
some
skill
of Froberger
and impossible complications of
some of John
in these early
Bull's harpsichord works.
days there was a yearning for
sort of expression
musicians were not satisfied
with mere meaningless ornaments and vapid scale

passages,
and with Frescobaldi, and some of the
English composers, a certain amount of real expression
is
arrived
Rhythm had
the
at.
a long
But
way
power of being used
not
through
to travel before
Rhythm
it
reached
for emotional effects.
RHYTHM OF MODERN
MUSIC
In the sixteenth and seventeenth centuries instru-
ments were
in
They
an early stage of development.
were weak of tone, and for the most part
accentless.
Musicians had discovered that to make people dance

their tunes
must
fall
some kind of
into
contrast of
the nature of accented and unaccented notes, and

the triple measure, with
natural alternations
its
of
long and short notes, was the simplest means of

giving the required contrast on the accentless organ
and harpsichord.
Measure, they
and
short
When
found that alternations of long
still
notes
were
useful,
rather
Moreover,
successions of even notes.
ning to be
it
between poetry and music,

began to bring
their
corresponding
with
long
than
was begin-
there was something in
felt that
Even
they wanted to use
common
and the madrigalists
music into short regular phrases,

the
verses
of
poetry
they
discovered that these short passages might be conveniently distinguished by clausulas, or closes.
The
instrumentalists were not behindhand in this matter,

at
any rate for dance music, and about the beginning
of the seventeenth century they began to construct

phrases in something like verse form, and to find
out the
importance
harmonies
It
was
in consolidating the
a great gain
their instrumental
it
of the
tonic
and
dominant
rhythmical phrases.
when musicians began
music
in
to cast
forms that could make
independent alike of vocal music and of mere
"
INTRODUCTORY
For
exhibition.
self
and
justify
it
could
now
begin to speak for
it-
existence as an independent art.
its
" thing sounded,

which was not a dance or a "fantasia sopra un soggetto "
Then
the
the " sonata, " the
arose
work was
and had no necessary
self-contained,
had gone before
association with anything that
it.
In the early days of purely instrumental music
Rhythm was of just

it
was only used
in the
same manner
dance or march of to-day, to
The
regularity.
the
Melos
as a
idea of using
now,
it is
as in the
with
accents
in conjunction with
as
not yet thought
an appeal to
All ex-
of.
was made through harmony, melody and
pression
counterpoint,
which began to be
For Rhythm
rhythmical forms.
in
cast
itself
definite
was as yet
an early stage, and continued to be so for another
With
century.
the
eighteenth
He
great Sebastian Bach.
on the labours of
the
to the
possible in
not
and
makes
more or
put the crowning point
in a
and inaugurated
days.
way
contrapuntal
that
was im-
With him Rhythm
framework on
less
the
which instruments are made
emotions
harmonic
it
in
their earlier
merely
century came
his predecessors
modern school
to appeal
is
it
mark
means of expression,
the imagination, was
in
as
shape and comprehensibility to melody
as giving
but
much importance
as
which
combinations,
a living thing,
to
build
but
he
and greatly
adds thereby to the power of instrumental music.
:;
io
Thus, he
it
off,
starts a
fugue subject, and suddenly breaks
and the audience has to carry on the
Rhythm
in
imagination through a silence of several beats of the

bar, as, for instance, in the great
major
and
some
in
of
Organ fugue
Clavichord
his
Buxtehude and others had done

before him, but he enlarges and
accent and
rhythm
Rhythm
with him
are driven
fugues.
kind of thing
this
makes more use of
way
In his violin music he writes in such a
it.
in
home
that
to the hearers
begins to be a greater force than
before and to appeal to the intellect as well as the

sense of order
his
instrumental music speaks to
the sense of mystery and romance, in
nature,
Chromatic Fantasia, or the Prelude
as in the
flat
human
minor of the
work was with
book of the " Forty-eight."
came Mozart and Haydn.
Bach
After
first
in
courts,
and
the formality of courtly
life.
their
Their
music
reflects
Their Rhythms are
straightforward and well balanced.
Yet every now
and then they make daring excursions into unac-
customed
territory, as, for instance, in the
of Mozart's
the accentuation
Haydn,
Major Quartet, where he upsets

by alternate loud and
soft
notes.
indeed, sometimes plays rhythmical pranks
with his audience

it
Minuetto
must have
its
life
is
not
humorous
to
side,
be
all
even
serious
in
such
solemn music as the quartet and symphony.
Then came Beethoven, who brought
with
him
INTRODUCTORY
human
con-
gone before.
In
music that was to strike deeper into

than
sciousness
any
had
that
Mozart and
place of the well-polished periods of
Haydn, he indulges
upsets
discords,
unexpected
in
smashing and astonishing
by
sforzandos,
Bach had used the
of things
order
regular
the
unlooked-for
silences.
measures, but he
silent
by
could
not use sforzandos, because on the organ and harpsi-
chord
they were impossible, and in
the orchestra
they would not have been understood by his players.
Moreover, to Bach Music was an innocent recreation

to
Beethoven
it
was bound up with
Revolution
With
in the
French
the point of view had changed.
the desire for greater powers of expression
there went a gradual
response to the
In
the passions
all
and energies that found their outlet
improvement
demand
for a
instruments.
in
more
expressive
keyed instrument, the pianoforte came into existence

during the eighteenth
light
and shade, and more
capability
of accent,
The
harpsichord.
and
century,
their
intonation,
frets
perhaps
supersede
to
viol tribe, with their
which
interfered
with
violins.
its
the
weak tone
perfect
had been gradually ousted by the
far
The clumsy
cornet and shawm, with their faulty and un-
certain tuning, disappeared

is
it
power of
its
especially
caused
more capable and vigorous

old
and
practically
and the
coeval with the
clarinet,
pianoforte,
which
added a
12
new
voice
the
to
of great
orchestra,
Improvements went on
value.
in
the
expressive
remaining
instruments, and by the beginning of the nineteenth
century the increase of capacity for expression made

possible the music of a Beethoven and a Schubert.
With
the
improvements
an advance
in the instruments
in the intelligence
came
also
of their players, and,
what was of more importance, the outlook on music
Music
began to change.
in
its
highest sense, was
no longer to be a pleasant pastime for the

with
newly
its
diminuendo
more
and
power
acquired
way
of accent,
it
stirring the soul in a
had never been possible before.
that
and
of crescendo
particularly
became a powerful means of
rich
Only the
organ remained accentless, and must ever remain so
and
for this reason the great
favour of the pianoforte. 1
in
it
composers neglected
The new
style,
that of
making music appeal
was
a great art, as an expression of noble thoughts,
shown by Beethoven and Schubert
The composers
and
as
ideals
1
To
them were
before
art
overcome
in
their
times
certain
sees
this difficulty a double-bass
extent
the
double-bass
want
in
stringed instruments can give

others.
as lofty
minded
but the
day were not so advanced.
with the organ in French churches.

to
to be possible.
devoted to ideals as they were,
of
as
Wind
of accent
a
English
is
sometimes used
instruments share
hence
some-
Band,
for
attack than
any
Military
more accent and
one
"
INTRODUCTORY
To
Bach, as
to
creation,
for
courtly
best
and that they gave
circles,
Beethoven took
existed.
of
is
To him
music.
it
view of the
no
was
their
kind that
its
different
of their
evidence that
desired the best thing of
audiences
art
we have said, it was a pleasant reMozart and Haydn it was a luxury
supply this luxury
to
13
longer
pleasant recreation only, but a living force, a thing
by
that
penetrating
will stir in
like
what
on
the
it
is
" entertainment "
noble
am
hoped
tried to do, aye,
by wedding
fine
hoven succeeded
and
it
in
soul
Handel, on being congratulated
Dublin had enjoyed
them
the
into
noble thoughts, and help us to dis-
evil.
the answer, "
down
deep
to
in
people
the
" Messiah," gave back
his
sorry if
have only entertained
What Handel
do them good."
and has done, with
his "
music to an inspiring
in
of
Messiah,
text,
Beet-
doing through instruments alone
so doing he raised music to a height that
had never before attained
in the world's history.
For never have instruments, however pleasing they

were
in the past,
feeling
as
been capable of stirring the inmost
they have done since the
beginning of
the nineteenth century.
very large part of
due
to
creates
is
Rhythm.
desire
to
this
From
newly acquired power
being an element which
dance or to march, and from
being a mere means of formal construction,
Rhythm
RHYTHM OF MODERN
now been brought
has
on the moral
to bear
of our nature, and has taken
MUSIC
side
place as the equal
its
of Melody and Harmony, in expressive power.
Rhythm
obvious,
the
that in which
is
The
sides.
the interest
This
been in use, and
is
of
Rhythm
in a
more or
side
found
in
figure,
of energy, or pleasure
in us feelings
excitement.
centred on
is
some rhythmical
noticeable manner, in
which awakens
and most
first,
which follow one another
individual notes,
some
or
two
has
has always
less
marked
degree in some part of every composition, for instance,
in
Rhythm
the
expression
Symphony.
Seventh
Beethoven's
this
opening of the slow movement of
the
case
like
more important element of
is
In
than the Melos.
movement
In the
to
which we
refer,
reiteration
of a single note with various harmonies
below
it
passage
The
lectual,
it
its
Melos
the
consists
largely of the
the rhythmical figure that gives the
is
powerful expression.
other
side
of
Rhythm
the less obvious
that
is
it
the
is
more
in
intel-
which the
phrases are of unexpected lengths, or are divided in
some
particular way, so that
effort
on the part of the
the composer
has
is
been made,
aiming
the
music has become

finds
delight
in
requires
it
listener to
at.
the
understand what
But when the
difficulty
familiar,
some mental
overcome, and
the
artistic
effort
listener
structure
not
the
only
of such
INTRODUCTORY
but his intellect has been braced up and
passages,
refreshed by the effort that
No
make.
to
it
upon
has been called
music that aims
merely being a
at
make much use of this

only those who are in earnest can
pleasant easy pastime can
Rhythm
side of
or appreciate
use
up
the present
to
The
it.
the
We
arrived
side
believe that Brahms,
begun by Beethoven, and
direction
Schubert, has advanced

intellectual
Rhythm on
the art of
beyond the point

and
in this he
its
which they
at
that he has, in fact, continued
in its natural course,
more
our examples rather
for
than on other composers.

following
it
Brahms, and hence we have
is
drawn upon him
greatest exponent of
work
their
being followed
is
by some of the younger composers.
At
present, and
phrase,
in its
it
may
many
"
be always, the " four-bar
varieties,
must continue
the normal rhythmical structure, since

that requires the least
the
allows
composer
mental
effort,
appeal
to
to
through the
Melos, and through
of Rhythm,
the
expect music
to
what
bars
is
:
fall
practically
and when
this
thing,
structure
is
his
audience
other
We
side
always
" four-bar " phrases, or,
the same
the uncultured listener

is
into
and therefore
the
note-arrangement.
the one
is
it
to be
is
into
pairs
departed
of
from
puzzled, and the cultivated
pleased with the novel effect.
The
painter has the advantage over the musician
that
in
work
his
self-contained,
is
and needs no
collaboration with another artist to introduce
This
the public.
When
it
not the case with the musician.
is
he has conceived a work of
down on
paper,
of a second
it
and written
of several others,
The
to be represented.
art
has to pass through the hands
or
artist,
to
it
in
order
painter speaks for himself
through himself, the musician has to speak through

the agency of other minds.
Is
possible for any executant or conductor to
it
an
give
exact reproduction of a composition as
was conceived
a
well-known
The
It is
no two persons can describe
of which
have both
they
no two persons see
witnesses, for
describes
the brain of a composer
fact that
any event
alike
tant
in
it
it
alike,
been
and each
according to his personal experience.
it
personal element of the conductor or execu-
must
to
some extent
influence his interpretation
of what he conceives to be the composer's ideal

indeed he can sometimes even improve upon
violin
sonata,
or
concerto,
much improved
in
skilled violinist,
who
his
for
phrasing
its
example,
if
it.
may be
submitted to a
brings expert knowledge of
instrument to bear on the composer's work, and
conversely, a performer
who
has not the power of
putting himself into sympathy with the composer's

ideas,
may
composer
is
ruin the effect of the
always more or
work
less at the
thus the
mercy of
his
INTRODUCTORY
Many
interpreters.
own music
composers cannot interpret their
We
satisfactorily.
were once present
at
new and important work, which
the rehearsal of a
Things went
was to be conducted by the composer.
the orchestra and the composer, with
very badly:
the best intentions in the world, could not under-
At
stand one another.
last a
was amongst those invited

to take the baton,
famous conductor, who
to the rehearsal, offered
whereupon
all difficulty
vanished
and
everyone was pleased with the performance,
most of
by
all
the composer himself, as one could see
his smiling face.
The
interpretation of a composition
sequel to the
work of composing
it,
is
the necessary
and
genuine
understanding of the principles of rhythm, whether

natural or acquired,
of the greatest importance to
is
How
a conductor or executant.
often do
we
executants of the highest degree of technical
who
hear
skill,
play every note and every shade of expression
but
correctly,
something
touch
is
who
yet leave us with the feeling that
wanting?
is
We
say perhaps that the
hard or unsympathetic, or there
in the playing.
The
fault
is
is
often that the delicate
expression which a sensitive feeling for
bring out,
sufficiently
evidence
is
wanting.
marked
in
no character
rhythm
will
Perhaps the accents are not
perhaps they are too
much
in
either case the performance will not
give us quite the amount of pleasure that the com-
RHYTHM OF MODERN
position
is
MUSIC
Perhaps the phrasing
capable of giving.
not sufficiently observed, or perhaps
is
Here
done.
again,
the one case,
in
other.
The
tivated
is
drum,
musician
we
shall feel a certain
so
why
that
delicate
this
monotony
banging of
amateur
cultured
highly
the
every
feels
it
though probably not one amateur

exactly
over-
when uncul-
pleased with the reiterated

in
is
or an oversentimentalism in the
sense of rhythm, which
is
it
nuance,
ten can
in
or
say
conductor or this player pleases him
and that one does not.
The great interpreters of instrumental music are

those who can most nearly enter into the composer's
ideals, or can even improve upon them, and who
are able to give a delicacy or force of accentuation
and phrasing, which
it
notation to express.
This
a " reading "
outside the possibility of
is
is
what
of a composition.
is
meant by giving
The
days of cold
" classical " performances of great works are practically over.

stir
executant or conductor
must pay homage
work by
to the artist
interpreting
warmth, tempered by an
its
now
the deeper emotions of the audience
so he
the
The
rhythmical as well as
it
who
seeks to
and
to
do
conceived
with enthusiasm and
intellectual appreciation of
its
melodic
possibilities.
CHAPTER
II
Measurement of TimeThe
Foot The Period Functions of
Measure and
Song Phrasing
Period Phrasing
two Rhythms
Tempo Duple and
Instrumental Music The
Triple Rhythm-species Masculine and Feminine endings
Accent
Prose, Poetry
and Music
the Poetic
the
in
in a
Caesura
in
The
Bar
Music,
in
Time-Signatures
Speech and
must be subjected
through
arises
Diaeresis
order
to the contrast
the
be
intelligible,
which
Accent.
to
of
alternation
unaccented factors, and these must,
and
accented
in
their turn,
be disposed in short, easily recognisable groups, in

order that the mind
it
is
may understand
each
idea as
presented.
In spoken language the individual words are

intelligible
certain
by the
syllables
stress or accent
from the
rest,
made
which singles out
and ideas are ex-
pressed by groups of words, called Sentences.
Prose sentence becomes unintelligible
if
long, and the competent speaker or writer
knows how
to
group
his
clearly express his ideas,
due
another.
sense
of
it
is
is
too
he
who
words into sentences which

and
balance
at the
and
same time have
proportion
one
to
20
grouping of the units by
well-proportioned
which ideas are expressed and connected
Prose, Poetry,
and Music
together in a whole,
the foundation of
is
the Rhythmical Art, and Prose
much
is
influenced
by a feeling for Rhythm on the part of the speaker

or
is
The proportion between
writer.
made by
not
rule, but lies
vidual sentences.
with
prose
depends
by
its
sentences
are
relations
is
more nearly
neighbours than
and
theoretically
the
time to the indi-
In Poetry, on the contrary, the
time occupied by each Verse

to that occupied
who
with the author,
an approximately relative
allots
sentences
its
intelligibility
in
Music
of a
the case
time-
the
upon
for
exact,
is
related
this
of sounds
series
which are uttered independently of ideas conveyed
So subtle
by words.
is
the Art of Music, that the
undue lengthening or shortening of a

sometimes
Time,
alter the
nto measure of
be
defined
occupied
Fine Arts
Art-material
our
the
in
as
concerned
artistic
some kind
and Rhythm
measuring of
performance
such
in
the
manner
of
the
to
Time
of
the
render
the
certain
as
intelligible
becomes
when brought
of Time.
to
only
Distance,
appreciable to our senses
Measurement
may
whole character of a phrase.
Space and
like
single note will
and interesting
sense.
Our powers of measuring Time without mechanical assistance are
exceedingly limited.
No
one, for
MEASUREMENT OF TIME
21
example, by single taps on a table could measure off

intervals of so short a duration as three seconds each,
were to mentally divide up the space
unless he
between the taps by counting, or by imagining

taps
between those that are heard.
limitation of our sense of time
lesser
Out of
measurement
this
arises
the need for the alternation of accented and un-
accented
whether produced by voices or
sounds,
instruments.
The
accented sounds serve to divide
by the Art-material into
the time occupied

portions,
definite
but the accented sounds themselves are
only rendered appreciable by being alternated with

the contrasting unaccented sounds.
unbroken succession of
And
since an
alternately accented
and un-
accented sounds in music would quickly become as

unintelligible as a lengthy prose
punctuation,
it
is
sentence without
necessary to arrange the divisions
of time formed by the combinations of accented and
unaccented sounds in groups, corresponding to the

Sentences of Prose, and the Verses of Poetry.
such groups, called Rhythms, or Phrases,
all
Into
Music
and the words Rhythm and Phrase mean

exactly the same thing.
For the sake of avoiding
is
divided
constant repetition
of either word,
we
use them
indifferently in this book.
Our
is
ability to recognise the
measurement of time
not only limited in the direction of length.
regard to brevity
we
With
are equally limited, and, as the
22
unaided eye cannot perceive the details in microscopic objects, so there
is
a limit to the capacity of
the ear to distinguish the accentual details of notes
one
succeeding
Hence,
extreme
rapidity.
the individual notes of the shake, the
in
of the violin or pianoforte,
tremolo
and
with
another
in
acciacature^
in extremely rapid scale or arpeggio passages of
an ornamental nature, the ear perceives no relation

of accent and non-accent, and such passages are, as
rhythm
far as
sustained
concerned, in no
is
notes.
with them, as
perceptible
it
If
rhythm
way
exists
different
in
almost invariably does,
by something
from
connection
it
is
made
exterior, such as changes
of harmony, accompanying melodies, accents intentionally given to single notes, or
and the rhythmical
effect
remain precisely the same
if
by other means
of such passages would
we
played them without
the ornaments.
Hence
it
will
be seen that the
art
of rhythm
has to do with marking off short portions of time
"Rhythms," and we divide
into
into units
the
"Rhythm"
by alternations of accented and unaccented
notes.
The
with
unit formed by a single accented note together
its
called a
accompanying unaccented note or notes,
is
Measure.
The Unit of
Poetry, formed by the combination
of a single accented with one or more unaccented
THE MEASURE AND POETIC FOOT

syllables,
consists
is
The Verse
Foot or Measure.
called a
union of several Feet, ,
of the
which are generally printed as a single and
Two
line.
combined
Verses
Couplet, and
When
ideas
the Poetic
form
combinations
larger
or Stanza. 1
make
23
Strophe
are expressed
in
Verses
they are said to be brought into Metre.
The Foot
syllables,
of Poetry
is
limited to two or three
but the Measure of Music
may be
sub-
divided by notes of small time-value to an almost
unlimited extent, and with an infinite variety of
arrangement.
for subdivision
The
capacity of the Musical
Measure
makes the study of Rhythm more
complicated than that of Metre, and at the same time
opens up for the composer an unlimited source of
Harmony,
expression, apart from the resources of
Counterpoint, and other technical
Music has
a construction
and
like
analogous in
two or more Verses, form a Period,
The Period
consists normally of an even
balance of two Rhythms, but

fined to this
the
1
is
is
more
form
by no means conin large
works
variety, perhaps, in the Periods than in
Hymnology, both
usually
it is
on the contrary,
Rhythms of which they

In
Period.
complete composition consists of a number of
Periods.
there
many ways
Thus, two or more The
to that of Poetry.
Rhythms,
details.
wrongly called
in
are composed,
and
it
is
England and Germany, the Strophe
" Verse."
24
sometimes almost impossible to say that a Period
much do
ends here, or here, so
they melt into one
another by ways that will be duly explained.
Attempts have been made

further,
to carry the analogy
by dividing compositions
into Strophes, like
we do
those of Poetry, but with this view
The
not agree.
construction of Rhythms, and, to a lesser extent,
that of the Periods
all
is
that
aims of the com-
intelligent understanding of the
poser,
required for an
is
and further analogy with the
more complicated
Poetry only renders

already
sufficiently
intricate.
It
art
sister
will
of
subject
be our en-
deavour to explain the theory of modern Rhythm

in as simple a
manner
as possible, avoiding the use
of special technical terms except in so

are absolutely necessary.
senses, first to the
the
to
Verse,
be applied in two
to
group of Measures corresponding
and
secondly
in
general
corresponding to the term Metre of the
The
context will generally
use
the word, but
wherever
they
have been noticed
It will
word Rhythm has
the
that
far as
to
show
avoid
in
sense,
sister art.
which sense we
ambiguity,
we
group
Rhythm,
possible, refer to the
as a
shall,
with a capital R, and use the word in the other

sense without the capital letter.
The
Period
to
function of the
is
first
to enunciate an idea
complete,
to
confirm,
to
Rhythm of
;
normal
that of the second,
enlarge
upon, or to
TWO RHYTHMS
comment
on
expressed
idea
the
A PERIOD
IN
This fundamental form of Period,

is
known.
The whole of Hebrew
well as
that
and grammarians have
it
as
Hence
fundamental
the
in
form
for
and
is it
first.
Functions of
rÎis
in
a Period.
founded on
is
ages
recognised
Prose
sentences.
all
modern Musical Period, of two equal
portions, satisfies a feeling that
seated in
two
Poetry,
of the Egyptians,
it,
the
in
one of the oldest art-forms
portions,
as
in
25
the
human mind, and
definitely
is
it
to understand,
evidently deeply
is
more simply
the
constructed,
the
more easy
and the more "popular"
is
the
music likely to be.
Though
two-rhythm Period, and the four-
the
measure Rhythm, must ever be the prevailing form,

a composer of a high degree of cultivation often
more
requires to express his ideas in
both of Period and
Rhythm
subtle forms,
and the more music
advances, and the higher the intellectual capacity of
more complicated
the audiences, the
forms.
It
is
more
especially with
will
be these
the elaboration
of the Period and Rhythm, as practised by modern

musicians, that
we
shall
course of our work, and

these elaborations
a desire to
are the
endeavour to deal in the
we
shall
hope
to
show
that
and complications are not due to
do something out of the common, but
genuine
art expressions in a highly civilised
and complicated condition of
society.
RHYTHM OF MODERN
26
singer
Thrash?
is
compelled by the necessity of taking
breath, to break
in
SonS-
MUSIC
up
his
melody
into shorter
or longer sections, and in this matter he
assisted
by certain rules that have arisen
The
of experience.
upon
as the
recited or
is
as the result
single verse of poetry
is
looked
normal amount that can be comfortably
sung
in a single breath,
and
has been
it
thought that the need for renewing the breath
first
suggested the arrangement of words in verse form.

In the simplest form of song the Verses coincide with
the
Rhythms of
the melody, and
therefore be taken
the breath will
between the Rhythms.
If for
any reason breath must be taken within the Verse or
Rhythm,
the singer will avoid doing
of a word, for that would

likewise avoid doing
it
in the
it
make nonsense
at the
reasons. 1
He
will
he will
beginning of a bar,
according to an empirical rule, having

aesthetic
middle
choose,
origin in
its
if
possible,
punctuation sign in the text as a place for renewing

his breath,
and
will, if
he
is
intelligent,
make
a virtue
of the necessity imposed on him by nature, by using

as a very powerful
it
interesting
and
means of rendering
attractive.
And
all this
his
song
applies not
only to the singer of high-class music, but also to

the performer of the most trivial of songs
in order
to attract the attention of his audience, the music1
Because of the weakness associated with the extreme form
of the Feminine Ending.
PHRASING
hall singer finds
of
classical
it
equally necessary with the singer
music to study the most effective arrange-
ment of
his breathing-places.
To
instrumentalist
the
off of the melody,

t
renewal
27
i
r 1
or breath
or
Caesura,
the
equivalent to the
is
A
the
to
.1
singer,
and,
equally with the singer, he can render

his
music
or
intelligible
Phrasing in
Instrumental
Muslc
The Casura.
artistic
unintelligible,
or inartistic, feeble or vigorous,
manner
cutting
according to the
Not
which he manages his Caesuras.
in
that a brilliant
and correct execution, or a beautiful
touch, or a sympathetic expression of the notes, will
not attract
but
if to
intellectual phrasing,
all
these there
is
added an
the performance will gain in
expression to an extent that can hardly be realised
by those who have not thought of the matter.
What
that
is
that compels us to listen to
it
makes
his
performance go through us,
one
as
it
artist,
were,
while another, playing the same composition, with
perhaps better mechanical

us,
or will
skill,
The
even weary us?
chiefly in the
power of giving
through the phrasing
and
will scarcely
difference
effect to the
this
move
power
lies
rhythm
arises either
from the innate rhythmical feeling of the performer,

or from a carefully cultivated insight into the secrets
of
how rhythmical
What we have
effects are
said
brought about.
refers
more
performers on keyed instruments.
especially
to
Nature imposes
RHYTHM OF MODERN
28
on them no necessity
music up into
for cutting their
can play a piece from beginning to
They
phrases.
MUSIC
end without a break
they are so disposed, and
if
finding no
their listeners,
''resting places
the
for
mind," as a quaint old German writer expresses
it,
are wearied with the strain, or cease to be interested.
With
violinists,
and with the whole
tribe of
wind
the same as with the voice
instruments, the case
is
the limitations of the
bow
force the violinist to adopt
some kind of phrasing, and when we speak of
"bowing" we
his
Wind
really refer to his phrasing.
players are, of course, under the
same necessity
renewing their breath as
and the conductor
vocalists,
of an orchestra sees that they
make
for
the best use of
this necessity.
Musical
%.
Tempo.
being
But,
in
Rhythm is founded on the division of

Time into groups of Measures, there
may
it
the pace
at
Measures
four
generally
be
said,
music
varies
that
is
six or eight
taken
prestissimo
much
very
which these Measures are taken
group of four such units played
may occupy
group.
each
in
to
example,
times the amount of time
perform
movement.
largo, for
similar
How
can
group
both
in
equally
satisfy the rhythmical sense?

It is
undoubtedly possible to perform a properly
constructed melody so slowly as to eliminate the

sense of rhythm, or,
even
if
it
is
maintained, to
TEMPO
29
Now
produce insupportable weariness.

observed
that
movements
slow
very
in
there
always one or both of two things present
Rhythms
the normal four-measure

or
Caesuras,
groups
of
by
their
two,
or
small
into
even
Measure,
Fourth
Beethoven's
melody
is
many
little
sub-
these
cases
rhythmical figures
Symphony.
movement
Here the
in very slow notes, which, taken
by them-
be almost impossible to play in equal lengths

the accompaniment
made up of
is
interest
The
but
a characteristic
rhythmical figure, by which not only
demand
ness,
or
and without mentally dividing them, would
selves,
little
by
some way divided
of their own, as for instance in the slow

of
either
are broken
one
of
In
notes.
form interesting
divisions
is
harmonic construction, into
the Measures themselves are in
up
be
will
it
is
our
for small time-dimensions satisfied, but the
of the music
is
very greatly increased.
opposite extreme, rapidity in place of slow-
by shortening the time occupied
in arriving at
the end of the rhythm, produces the same kind of
mental exhilaration as
ground
for
at a
we
feel
when
passing over the
very rapid pace, as on a galloping horse,
example.
Music makes
only,
namely,
use
1.
That
time occupied by the
of the Measure
is
of two
in
species
which
of Measure
the
accented portion
equal to that occupied
Duple and
-Jl
species.
RHYTHM OF MODERN
30
This
by the unaccented portion.
by any pair of notes of equal value,
sented
either the
first
&
That
ill
to one,
&
d;
d:
J;
etc
which the relation of the accented to
'
of the Measure
called Triple, or
is
third,
be
two
as
is
e.g.,
'
may
accent
it
or the second.
the unaccented portion
This
may
understood that the accented note
being
Duple
called
is
Measure, and may be repre-
Measure, or Even
2.
MUSIC
when
occur on the
the
Measure
!.
J.
I.
!
Uneven Measure, and
the
or second, or on the
first
is
etc
divided into three equal
parts.
For convenience we have here used the word

note,"
to
describe
portions of Measures
the
:
accented and
but
unaccented
must be understood
it
that
any portion of a Measure may be represented
by a
rest,
or by a
one here given.
number of
It will also
notes, in place of the
sometimes be convenient
to allude to the Measure-portions as
"Times," or
"Values" instead of "Notes."

It is
of the utmost importance to be able to refer
in general terms to the
fundamental
"Time"
which
name Duple or Triple respectively to

Measure, and from now onwards we shall
gives the
the
dis-
DUPLE AND TRIPLE

or Notes, or Values.
Measure
to
is
make up
Measure
Times,
The Primary Time
of any
the value of that note of which two go
and three
a Duple,
respectively
if
to
make up
be the crotchet
will
tains that of three crotchets, its
likewise be the crotchet
its
Primary
Triple Measure con-
if a
a Triple
Duple Measure contains
the value, for example, of two crotchets,
Time
31
Subsidiary
Primary and
between
tinguish
SPECIES
Primary Time
will
and the same applies
to
every other note-value, so that the minim, quaver,

etc.,
can equally be Primary Times.
Where
Times of a Measure
the Primary
into smaller values of any kind
values the general
name of
we
are divided
shall give these
Subsidiary notes, or Sub-
For we base our Phrasing on the
sidiary values.
Primary values of the Measures, while the Subsidiary

notes have a function of their own, which will be ex-
As
plained in due course.
J
Our
are Primary Notes.
J
m
m 9 m m
!
'
an example in Duple Time.
are Subsidiary Notes.

'.
statement that there are only two kinds of
Rhythm-species
Theorists
is
usually
Three-time,
not,
we know,
distinguish
Four-time,
rhythm, explaining each

scientific
the orthodox view.
Five-time
in
Two-time,
between
and
their turn.
Six-time
For purely
purposes this classification undoubtedly has
many advantages
but by going so
much
into detail
RHYTHM OF MODERN
32
it
seems to us that there
MUSIC
a danger not only of
is
wearying the reader, but of to some extent losing

sight of the aesthetic value of the various
We
Rhythm.
hope, by reducing
its
forms of
theory to two
and by looking on Four, Five and Six-
classes only,
time Rhythms as modifications of these two
more on the
to keep the attention
classes,
on
aesthetic than
the mathematical side of the question.
Measures are distinguishable by
Rhythms
are in the
their
harmonic
and
in
instance
first
made evident by
second place by Caesuras,
closes, in the
some
the third by
accents.
their
feature
of melodic or
harmonic construction.
The
affected
,.
and Feminine or
of
is
one
is
or
by the
the
heard
the
or Period
of
nature
is
the
much
Closes
Cadences which mark the conclusion
phrase.
which
in
cadence
final
Rhythm
character of a
Masculine
concluding
the
Close
chord of
the
on the accented portion of the
penultimate
Measure of the phrase.
This chord may be repeated or extended into the
makes no
weaker part of the Measure, but
it
ence
the
in
the
aesthetic
Masculine ending
on the
accent,
probably
it
is
it
or Masculine Ending.
is
of
is
struck
repeated or not.
Such
and strength
why
essence
that the final chord
whether
a Close gives force

this is
is
effect
differ-
to the phrase,
called a
and
Masculine Close,
MASCULINE AND FEMININE ENDINGS

Ex.
1.
Second Movement).
Beethoven (Quartet Op. 132

Allegro. ,.
fe*
^
0L
ILjLjr
33
-*.
-PL
p4=?2I
?=c
?="-
Masc. ending.
^
M#=*a
P
u^^-J^_p
-s
?=:
Masc. ending.
Masc. ending extended.

"N
Ar^P
f^H-
f-
ipiji
v_
'
<r-
-p-/i
1-
/"
0-
=-+-
-1
etc.
t:
Feminine Close or Ending
is
concluding chord of the cadence
one
until after the accent, as in

Ex.
Ex.
which the
delayed by a
is
suspension or other means, so that
in
it
is
not heard
2.
2.
Beethoven (Op. 132).

Piu
allegro.
Feminine ending.
RHYTHM OF MODERN
34
It
is
supposed to give an
sentiment,
Ending
and the difference
of tenderness or
effect
or of less vigour
MUSIC
than
Masculine
the
in ethos in the
two forms
of ending holds good of every kind of cadence,
whether
perfect, half, deceptive, etc.

Ex.
Brahms (Op. 118, No.
3.
2).
Andante teneramente.
Wm
-Gh-
y.
y3*=j:
^r:p_
Ft
5^
:r
Caesura.
life
Mr n
tPFt
The movement from which Ex.

the Feminine
Ending
<&/.
&M
Feminine ending.
Masculine ending.
headed Andante teneramente
and
after the
is
quoted
is
frequent use of
its
Masculine produces a
particularly tender effect.

Ex.
Chopin (Op. 24, No.
4.
2).
Allegro non troppo.
3;
EÊ
r *
-^ j
T-=
Feminine
nn
*J
close.
MASCULINE AND FEMININE ENDINGS
form of Feminine Close, producing,
rarer
a rule, a special effect of languor,
the concluding chord
is first
of a Triple bar, as in Ex.

is
35
that in which
is
heard on the
Here
4.
as
final
beat
Rhythm
the
divided into two portions by the incomplete Full
Close in Bar
2,
and ends with a Full Close
but in both cases the concluding chord

final
Chopin uses
beat of a bar.
this
in
falls
Bar 4
on the
form of cadence
in all the repetitions of the phrase quoted,
but in
the other phrases of the composition he employs

the
more usual forms, though he concludes the whole
with the extreme Feminine Ending.
form
peculiarity of the Polonaise
that its
is
Periods for the most part end with the extreme form
of feminine cadence.
Polonaise
not, as a rule,
is
a languorous yearning kind of composition,
may
how
well be asked
can
it
make use of
extreme form of Feminine Close, which
and which
associated with this effect,
forbidden
Music
to
young
delights
as a
composer
that
seem
of what
in
composers
occasional
is
for
proper, so
we
is
it
the
usually
frequently
is
this
paradoxes
will often please us
to contravene all
and
reason.
and
just
by dissonances
our preconceived ideas
shall find that
rhythmical
forms are often effective in proportion as they are

unexpected.
The
question
fundamentally
in
of whether
piece
of music
is
Duple or Triple Measure must
RHYTHM OF MODERN
36
MUSIC
Time
not be entirely decided by the
Signature, but
Time
rather by the position of the Closes which
Signatures.
m ark
the ends of Phrases and Periods
on the construction of the Phrase and Period
for
The normal Phrase
based the art of Rhythm.

that
however, contain three, or
The number of
cases,
six
made
definite
up such
extended
the
Rhythm
there
is
long
the
effect
of breaking
But the normal four-measure
frequently divided by a Caesura or a Close
is
two equal portions
important place in most
we
it
occurs
as
Half-rhythms.
We
is
of phrase into small and easily
understood portions.
Phrase
isolated
in
of a very short motive,
has
figure
a length
or
indefinite,
succession of repetitions
whose
or
proportions,
Measures.
six
only exceeded
is
ordinary
its
purposely
into
or
five,
is
Phrase may,
where, for instance, a Cadence
beyond
is
which contains four Measures.
is
this division takes a

classical
shall allude to the
very
music, and where
two-measure groups
must then base our conception of Duple or
Triple Rhythm-species on the Phrase, without re-
number of
Measure, or the manner
tributed.
The relation of
garding
the
Signatures
The
may
notes
in
in
the
which they are
the Species to the
be explained as follows
Signatures
C,
-|,
individual
--,
are
connection with Duple Measure.
dis-
Time
always
used
in
'
TIME SIGNATURES
A
37
Bar may contain the value of one such Measure,

Rhythm
of 4 Measures.
Measure.
Ijjjl'j
m m m
m
'J
1
1
el
Close
marking end of Rhythm.
we
In this case
call
the Bars Simple.
we
observed that in numbering the Measures,

the
number over
place
the accented note of the individual
whether
Measure,
be
will
It
Measure begins with an
the
accented or unaccented note.
Bar
may
1st
contain two
Duple Measures,
as
2nd Rhythm.
Rhythm.
Measure.
2
,11
,'J m
3
,ii
mm
|,
m\
4
,11
mm
,1
J!
3
,1
m m
hi
ml
mi
mm
i
i'
Close.
End
we
In this case
End
Rhythm.
of
call it
Compound
Close.
of Period.
Bar.
Or more rarely the single Bar may contain as

many as four Measures, as in the Andante of
Beethoven's Quartet in B flat, Op. 130, in which all
the Full Closes occur on the fourth crotchet of the
bar.
1st
1
Rhythm.
~^
2nd Rhythm.
Close.
i
i
Close.
End
of Period.
38
The
Signatures having 3 as their Numerator are
Measure
generally used in connection with Triple
but occasionally, as in Ex.
5,
Ex.
with Duple.
5.
2).
12345
**&
Andantino un poco
-m-m
agitato.
1st
sost.
* r F "y-f
I
m m m m g
^
g f^*jjr ff*y^f * *%* fen, K*
J0#0 zw
r~d
^-
-I
2nd Rhythm.
Rhythm.
'
u.
'
'
dfc/ig.
*/
@jggjg;5^:9=|feil|f3^^=^^
-
Half
close.
Signatures having 6 as their Numerator are used
Duple and Triple Measure.
equally for
2nd Rhythm.
Rhythm.
1st
123
Measure.
I
rnn
li
ft
'r>
12
||
II
Thus
m4
II
1
1
3
i!
II
rn
End
Close.
Eirid of Period.
Close.
of Rhythi n.
shows two Rhythms of Triple Measure, the Bars

being compound.
But
Rhythm.
Iit
*I.
I
1
J.
'
1.*
rrn
\mm00mmm'
i
i.
j.*
Close.
TIME SIGNATURES
39
shows one Rhythm of Duple Measure,
which
in
the accented and unaccented halves of the measures
sub-divided into three portions, and the
are each
Such a rhythmical scheme
Bars are simple.
indicated by the signature

is
then written as a
often
and each half measure

See Ex. 32, page 120.
triplet.
when we come to the

of Primary and Subsidiary Rhythm.
This will appear more

explanation
-|,
is
clear
Signatures with 9 as their Numerator are always
connected with Triple, and those having 12, will

indicate
Duple or
Triple, according to the position
of the Closes.
It is
customary to look upon the Bar as the unit
of Rhythm, as the equivalent of the Foot
of Poetry
Bar
two
is
but this
is
The Bar.
misleading, for although the
often of the same value as the Measure, the
things
criminate
rarely
reference
to
the
An
coincide.
actually
Bar
as
if
indis-
were a
it
Measure, an unit of Rhythm, leads to certain misunderstandings.
Thus, owing
print of the Bar-line,
it is
to the
prominence
often convenient to refer
to a short section of a composition as
ending with such and such

or Phrase, rarely begins and
at a Bar-line,
in
bars.
still
beginning or
But a Rhythm,
more
rarely ends
and unless a young musician
is
gifted
with a strong rhythmical instinct, or has been well

trained in the art of Phrasing^, a constant reference
to the
Bar rather than the Phrase
may
lead
him
to
RHYTHM OF MODERN
4o
MUSIC
look upon groups of Bars as rhythmical sections, to
That music
the detriment of intelligent phrasing.
gains enormously in significance by recognition of

its
Phrases as distinguished from groups of Bars,
we
shall
It
hope
to
show
possible that
is
in the course of this
much
of the misunderstanding
new and
that leads to hostility towards
works of great merit,
is
work.
in
unfamiliar
no small degree due
to
an inadequate appreciation of the unconventional

rhythmical forms frequently
On
composers.
this
we
direction
few generations
much
the
development
believe
is
made use of by modern
advance, quite
to
on the development of
as
in
music of the next
the
destined
rhythm
of
its
other
as
artistic
resources.
''The Bar
is
a short section of music contained
between two Bar-lines^

lines is to
The
show where the
function of the Bar-
accents are to be placed,
not to mark rhythmical units.

slurs,
also
rests,
harmonic or melodic construction, and
by Closes.
in the matter,
is
These are shown by
shown by
A well-trained
ear finds
no
difficulty
and the intelligence of a performer
his treatment of the ''phrasing."
these latter days composers are far
more
In
careful than
their predecessors to indicate as exactly as is possible
in print,
The
how
they wish their music to be phrased.
older composers
to the
left
their
music more or
less
mercy of editors and performers, with some-
THE BAR
almost
times
ludicrous
41
hands
the
in
results
of
inexperienced amateurs.
The Bar
ways
its
from the Measure
Measure may begin with
several
in
While the Bar must begin with
portion, the
or
differs
its
accented
accented,
its
unaccented portion, or with any part of either
portion.
Ex.
6.
3).
Measure.
molto
e sotto
Measure.
Bar.
Bar.
voce sempre.
In Ex. 6 the composer has carefully slurred the

single
Measures
come before
quarter of each
quarters
after
The
it.
way
such a
in
as
to
make one
the Bar-line, and three
quarter
Bar-line forms the Anacrusis (a
that
precedes
word which
the
will be
presently explained), and the Measures, though equal

to the Bars as to their Time-value,
do not coincide
with them, since each Measure occupies portions of
two successive Bars.
2/ The Measure, though commencing with the

accent,
may
be,
as
we have
value than the Bar.M
already seen, of less
RHYTHM OF MODERN
42
Ex.
Brahms (Op.
j6,
No.
II
fc^^Lfc
p f
-t==t
Bar.
Measure.
the Feminine
shows the end of the
na
II
n-Tra,-
; r'f r
v.
7,
Measure.
Measure.
II
In Ex.
7.
2).
Measure.
*
=**
MUSIC
Bar.
Ending
im
w
-*
I
Feminine Ending.
in the second
Bar
Rhythm, whose four
first
Measures only occupy two Bars.
3.
single
Measure may be of greater value
than the single Bar, though this

Ex.
Brahms (Quintet Op.
Measure.
*. .^^0. *- *-
Bzgn*-
8.
34).
Measure.
:fe
rarely the case.
is
Measure.
Measure.
-S-
BE^
ss
TV
ttH*-
^4*
Measure.
!l
-Q.
7f
fm "K
f,
h
p
^"tfii
J * J
In Ex.
the
8,
a Period
-|
its
^
-*
"1
4fof
of
J
1
_,
by a Period
sake of
writes
'
VT
ceeded
f-|
_^^q_,_ p
J
J *
time Measures
Measures,
is
though
sucfor
proper accentuation the composer
time Bars.
The
therefore of the value of
The Measures may
single
Measure
is
here
two Bars of \ time.
absolutely coincide with the
THE BAR
bars in every respect, but this
is
It
9.
and
closes,
and
rare,
only used for specially languid
rule,
Ex.
43
as a
is,
effects,
as in
generally involves the use of feminine

this
kind of
Ex.
9.
2).
Andante.
AzlEl z
it
tEi
*^m
=t
&-
WW
-*f3St
:
a
-GK-
4st
iMeasure
coincidence of Bar and
which the expression
to
'
'
'
is
Four-bar
Three-bar Rhythm," and so on,
is
the only case
Rhythm "
or
strictly appli-
cable.
2^> '''The idea that the Bar and the Measure are the
same thing
is,
however, very prevalent
of the Bar having
made
since its introduction

Staff
the
is
itself felt
the tyranny
more or
ever
from the Tablatures into the
Notation some three centuries ago.
word Anacrusis,
less
Hence
to be treated in the next chapter,
convenient in connection with the construction of
the Measure.
In
is
(or f) time, the accentuation of the notes
sometimes temporarily changed, so that
Diuresis.
44
RHYTHM OF MODERN
instead of J J J J
J
'"
'"
we have
MUSIC
J"j J~j Jj
for a
time, followed by a return to the normal accentua-
This most useful device, which
tion.
applied
in
modern
music,
may be
is
conveniently
alluded to as a " Change of Diaeresis, "

Diaeresis
the
word
meaning the distribution of notes according
to their accentuation, the

in a
constantly
arrangement of the notes,
given passage of melody or harmony.
CHAPTER
III
Preliminary Measures The Overlap Rhythmomitted

Music The Four-bar Phrase Accents,
Rhythmical Accentuation The Material of which Rhythm
Rhythmical Schemes used simultaneously
formed
and Melismatic
The Three Kinds of Accentuation
Song Rhythms within Rhythms
The
Anacrusis
struck or
less
is
Different
Syllabic
A Rhythm
may commence,
as
we have
an accented note, or with an unaccented

or
note,
with
When
notes.
group
a
it
of
unaccented
seen, with
7^
Anacrusis.
commences with an unaccented, or
with a group of unaccented notes, the note or group

precedes the
that
first
accent has been given the
name of Anacrusis by modern Rhythmicists, from

avaicpovo-is,
and
as
this
term used
in
The
ancient
very useful word
familiar to students of
tation
in
using
it
Anacrusis
rapidly
from
it.
hesi-
work.
to
the
Measure what has
been called a " Rising Accentuation "

say, the material rises to
becoming
Rhythm, we have no
in this
gives
is
Greek poetry
its
that
is
to
accent, instead of falling
Such an arrangement helps
to
make
the
phrase vigorous, and compels the attention of the
RHYTHM OF MODERN
46
auditor.
rarely
It
of great
is
aesthetic
found absent
be
in
MUSIC
and
value,
will
compositions,
classical
unless they are distinctly intended to be of a very
soothing,
reposeful,
not necessarily
opening of the
measure
first
bar
the
being
note
part
and
the
in
form
commences,
first
measure
of
the
first
which joins the
slur
bar to the
of the
the
no Anacrusis, but
by the
indicated
note of the
last
has
this
Anacrusis does
make its first appearance with

movement
thus, in Ex. 10
anacrusic
of
The
nature.
of the
first
last
The
next.
bar therefore forms an integral
second measure, being
its
Anacrusis,
of the measures continues to
this construction
the last bar of the period.
It
recommences with
the second measure of the second period, and will
be found to predominate throughout the piece

in
some
places
the composer impresses
it
and
forcibly
by the sforzando.
Ex. 10.
i).
1st
Presto
m
|
energico.
Rhythm.
-a.
-I
-I
Anac.
z&twi
Anac.
m-
w .teE
f
Anac.
Anac.
^
t-
"
THE ANACRUSIS
47
2nd Rhythm.
The second
the Intermezzo in
quoted,
has
measures
of a
is
are
collection (Op.
16),
minor, from which Ex. 9
no Anacrusis
The movement
its
same
piece in the
throughout
reposeful
accordingly
of
its
course.
and
character,
the
is
" Falling
order.
A
is
of
due appreciation of the value of the Anacrusis
of the greatest importance for a good rendering

music.
classical
By
its
means not only do many
well-known passages gain very greatly

others that
and
may seem
obscure
will often
in effect,
become
but
clear
interesting, if they can be played with an obser-
vance of the Anacrusis.

stance,
how few
of the
first
March
Sonata.
as if
it
But the
pianists
It
is
remarkable, for
in-
understand the significance
half-bar of the
Finale of the Funeral
The passage is nearly always played

commenced with an accent, thus
:
first
half-bar
is
an Anacrusis, which gives
48
rising
accentuation
phrase
of
instead
w=p
W
i
fc
Anacrusis.
the closes will
fall
u
in
r
their right
places,
Rhythms of
special care to
In the same
in the other
become
is
effective.
movement
r#^
the phrase
3-
^
m
-1-
nearly always accented wrongly, as above
Anacrusis should be made
on the second
it
three measures each, which require
is
and the
sounds meaningless, more especially as
it
the
Measure.
passage will sound rhythmically correct
in
if
played thus
is
Measure.
case
and
falling,
effective
natural, thus
&*
2=3:
*e
the
by an accent
%
*
=*
Anacrusis.
so that rising, instead of falling accentuation
parted to the passage.
In
is
im-
other words, the chief
accent should
not be on the highest note of the
melody,
more
first
as
is
usually
the
case,
but on the
note of the measure, which must be brought
PRELIMINARY MEASURES
owing
into special prominence
49
to the shape of the
melody.
must
It
not
supposed
be
commences with
or that
Anacrusis
the
with the
contrary,
many
in
will
two
bars, or
are
merely introductory,
were,
to
They
are
be
the
cases
when
measures
a full bar its
necessarily coincide
will
that
Preliminary
Measures.
bars,
On
the
or the
first
wanting.
bar,
first
even the accent only of the
Rhythms
the
outside
to
are about
that
Rhythm
the
first
attention
call
piece
to
bar,
as
it
follow.
and are
proper,
equivalent to the few words that precede a speech,
such as "Ladies and Gentlemen, " which have no

connection
with what follows further than to
attention to the fact that something
There
said.
Notes
the
is
or
difference,
this
Measures
opening of a speech,
that
the introductory material
the end of the
at
movement,
clamation,
make
since,
it
is
we
is
in
however,
the
though
at
between
of and
case
the
of music
often repeated, either
Rhythm, or
first
about to be
is
speak
call
first
in
the
used as an
ex-
later
frequently of sufficient interest to
part of the tone material of the
piece later
on.
When
there
is
an Introductory
Measure, such
Rhythm
proper com-
mences with the second Measure (or
third, as the
as
we
case
are contemplating, the
may
be),
and
is
usually
provided
with
the
RHYTHM OF MODERN
50
MUSIC
The matter depends on
Anacrusis.
position
the
of the Closes or Caesuras.
His
Let us examine an example from Brahms.
116, No. 3, opens with a complete
Capriccio Op.
Bar,
and looks
with
its
as
if
But
Bars.
Measures must coincide
its
this is far
Ex.
from being the
case.
11.
Capriccio.
3).
Allegro appassionato.
Half-measure.
Measure.
Measure.
4--id^jr|j
*
^*^
__
Anacrusis.
Half-rhythm.
End
s
I
of Half-
rhythm.
The
is
first
half-bar
extraneous to the rhythm
is
it
development of the idea of an introductory chord
or note, as a kind of exclamation, to call attention.
Brahms here
In place of the introductory chord,

anticipates
end
the
whose
last
half-measure only
introduction to what
as
shown
portions,
in
is
going to
and presupposes an imaginary
his half-rhythms,
phrase,
with which he
figure
to
is
is
heard, as an
come, and the Measures,
Ex. 11, commence on their unaccented
therefore,
turbulent character
with
is
the
Anacrusis,
while
given by the sforzandos on
the unaccented portions.
McCDNE SCHOOL OF MUSIC & ART

PRELIMINARY MEASURES
51
major
The" same device
Symphony, where
is
used by him in his
will
it
by the basses alone, recurs
bar, played
in
bar
the device
and
it
have to allude to
will
freely
is
1 1
similar
which movements commence with a
cases
:
frequently
shall
at the close
See Ex. 5 7 5 8 pp. 2 1 0-2
of each of the Rhythms.
We
be noticed that the opening
full
used by every composer,
be convenient to refer to the introductory
note or notes as the "Preliminary Measure."
The
chaining together, as
Periods by causing their
were, of
it
Rhythms and
accent to
final
pie
Overlap.
coincide with, or in other words, to overlap, the first accent,
of the succeeding phrase
of the resources
known
the
to
older
but more in evidence with the moderns.
when
the
accent of a
the final
of
accent
first
the
phrase
the
up of
mechanical
his
at the
too long.
with
It
is
command of
a
music into sections, whereby
would
be
would make the melodies easy

to
It arises
definite
precision
would be apt
composers,
phrase.
composer for the avoidance of too
cutting
another
coincides
succeeding
one of the most useful devices
is
produced,
to
which
understand, but
produce monotony
if
continued
By means of
the Overlap a continuity of
Melos
can be carried on while the regularity of the rhythmical phrases
is
maintained, without the too frequent
use of the Deceptive Cadence.
To
us English one
RHYTHM OF MODERN
52
MUSIC
of the most familiar of Overlaps, though

recognise
such,
as
it
is
that
we do
which occurs
in
not
the
middle of the Anglican Chant, and which eliminates

the
monotony which would ensue
the Psalms
if
were sung to constant repetitions of a pair of equal
Rhythms.
It
this
is
Overlap that results
in
the
seven-measure Period, which has sometimes puzzled

foreign
observers of our Chant.
may be
It
ex-
emplified by a comparison of a well-known chant,
borrowed from
original
melody by Beethoven, with
its
form, the two examples being quoted in
the same key for easier comparison.

Ex. 12.
Beethoven Sonata Pathetique.

Adagio.
1st
Transposed.
Rhythm.
:2=a
2nd Rhythm.
2
25
Chant.
;e
-&-
-&
-&i
&~
-<s>-
-<s>-
Overlap.
1st
I
Rhythm.
3~~
2nd Rhythm.
4
~i
i
-o-
22:
-cÔh
ZZ **-
-e>-
Overlap.
-&- -&-
-&-
THE OVERLAP
will
It
be seen that the eight measures of the
Period
Beethoven
reduced
are
Chant, by causing the
final
seven
to
note of the
coincide with, or overlap the
to
53
first
the
in
Rhythm
note of the
first
second Rhythm.
This
stalls
is
is
Rhythm the more usual form

which the first Rhythm is extended to
the end of the
that in
five
an instance in which the Overlap fore:
Measures, so that
Rhythm
fall
Measure, and the
fourth, but in the fifth
of the next
Close does not
its
enters thus within
in the
first
note
the con-
cluding Rhythm.
In such a case
it
often results in producing a
Period of, say eight Measures, without any perceptible break between
not often
its
two Rhythms
used within a Period in
Far more frequently
it
this
but
it
is
manner.
occurs at the end of the
Period, so as to join the Period to the next Period,
Rhythm to its companion. When

Rhythm of a Period is extended to five
rather than the
the second
Measures or
six
Measures
in such a
the final note to coincide with the
next Rhythm, the object
is
When, on
without a break.
way
first
to carry
as to cause
note of the
on the Melos
the contrary, the second
Period anticipates the close of the
we have
first,
entering
too soon, as
it
Rhythms of
the Anglican Chant, the object
arouse
were, as
attention.
The
apparent
seen in the two

is
to
seven-measure
54
Rhythms of
Waltz
the
in
Act
Scene 5 of the
III.
Meistersinger are the result of overlapping on the
same principle
as that of the
The
Anglican Chant.
Periods are of eight bars in length, but each Period

after the first enters a bar sooner than
The
effect
wonderfully
is
expected.
it is
and bright,
sprightly
but that the Periods are really normally of eight

Bars can easily be proved by playing the figure
i
twice
over each
time
orthodox "four-bar"
it
occurs,
Rhythm
The seven-measure Period

sense of a want of balance, for
master of his
effect,
but
if
craft
to
when
will result.
here
us
causes
Wagner
no
is sufficiently
be able to employ
an unskilful or
regular
it
inexperienced
with
com-
poser endeavours to use an Overlap in this way,
without
having
previously
fundamental rhythmical
harmonic
basis,
well
basis, or
established
without a suitable
he will be apt to produce an un-
we
comfortable feeling of want of balance, and

feel that
his
the music
is
somehow weak
in its
shall
Rhythm.
Overlaps can be very effective in the orchestra,
where a new
set
of instruments can be made to
enter unexpectedly,
or in a double chorus, where
the second chorus can enter as the

phrase.
first
But the chief use of the Overlap
finishes its
in
modern
THE OVERLAP
music
to
is
produce that continuity of Melos of
which Richard Wagner was the

in
great exponent
first
For by delaying the end of a phrase
our days.
that
55
would naturally be of four Measures, but
is
extended to
five so as to overlap its successor, the
periods are
made
melt imperceptibly into one
to
mind ever onwards
another, and thus to carry the
on the stream of musical sound, without an apparent

break.
To compare
the older
method with the new,
let
us imagine a traveller, advancing through beautiful
country on a road provided with prominent milestones, which, while
do not
progress,
they
the
in
enjoyment of the scenery.

listens
make him aware of
his
with
his
least
So
interfere
is
with
the older classical music,
to
And
punctuated Rhythms and Periods.

traveller,
in
who
with him
it
its
well-
the
same
walking through equally beautiful scenery,
which the milestones are
also
concealed under luxuriant foliage,

listens to the
continuous Melos of
modern music.
To
artistically
concealed,
is
much
demands
its
are
him who
like
of the best
construct music that
mentally rhythmical, and yet has
but
there,
is
funda-
"milestones"
technical
ability
of
the highest order.
Another kind of Overlap, made familiar

Bach,
is
to us
by
exemplified in the following quotation from
Beethoven's Quartet in
minor, Op. 132
$6
Ex.
13.
Beethoven (Quartet Op. 132).

1st
Rhythm.
2nd Rhythm.
Allegro.\
1st.
Vn.
T5
l
'
2i
bJ-
Anac.
Overlap.
Cello.
2nd Vn.
Anac.
fl^l
t=
Viola.
pgp
@
4=5-
*^t
.Q.
221
Here
triplet leads
fs
rhythmical
the
violoncello,
note
S3.
is
movement begun by
completed by the
first
violin,
the
and the
us to expect the phrase to end with the
on the
first
But the
beat of the bar.
is
delayed by suspension to form a feminine ending,
and
this causes
the
second
it
to coincide with the Anacrusis of
Rhythm.
Thus
the
Rhythm
first
extended half a Measure beyond what
is
due
to
is
it,
and overlaps the second Rhythm, the same note

serving to end one and begin the other.
Yet another form of Overlap

Ex.
the
14,
and
this is
Fugue form.
is
exemplified in
even more familiar to us through
^
THE OVERLAP
57
Ex. 14.
Beethoven (Quartet Op. 132).

1st
Rhythm.
Overlap.
W *==
j
<s>
If
1
2nd Rhythm.
J.
"T
figures,
Fî
here contains two dis-
one founded on crotchets, the other
on quavers, and the phrase
is
caused to overlap
such a manner that the contrasting figures
itself in
are heard at the

case of
NÊf
The four-measure Rhythm

tinct
*LJ-J-
same time.
This
is
merely another
one rhythmical figure supplementing another,
a device
which gives so much delight
to
all,
whether
learned or unlearned.
Music
that
harmony, but
structure,
is
is
is
apt
composed
in
devoid of
to
modern
tonality
intelligible
be characterless
and
rhythmical
and
insipid,
58
unless the composer
strong enough to
is
and consciously,
Rhythmless
deliberately
Music,
mystery by Melos alone.
composers
church
Wagner
had
this
express,
a feeling
of
The Polyphonic
ability,
and Richard
has pointed out that the mystical beauty
of the music of Palestrina and his contemporaries

is
due to the absence of
The modern
rhythm therefrom.
definite
great masters are beginning to recog-
nise that an occasional absence of rhythmical

is
form
Richard
capable of being intensely emotional.
Strauss has seen this, and has used the device in
Symphony, with mar-
several places in his Italian
vellous
"On
effect.
the
In
the
first
movement,
entitled
Campagna," the opening passage, with
massive pianissimo
occasional
change
chords,
of
in
which
harmony,
there
but
no
is
its
an
apparent
rhythmical form, reflects the feelings that must arise

in
most persons when they
aspects of the vast, silent,
And when
they
come
first
gaze upon certain
and mysterious Campagna.
rhythmical figures begin to be heard,

at first spasmodically, as if the
thoughts
only gradually began to collect themselves and take
shape
eventually
the
form
rhythmical
becomes
definite.
And
again, in the
same work, the dazzling maze
of pianissimo sound with which the third movement

opens,
"On
the shore at Sorrento,"
recognisable rhythmical form.
It
is
quite without
seems to
reflect
RHYTHMLESS MUSIC
59
the almost unbearable brilliance of the rippling sea
under the influence of an
Such passages
Italian sun.
of rhythmless music are very daring, but they are

justified
result, for they appeal intensely to the
by the
emotions in connection with the "programme" to
which they are joined.
Owing
Phrase "
to
(with
and two),
the
one
predominance,
its
its
divisions
it
we
not the right view,
The Four-bar
Phrase.
as
form of Rhythm,
That
hope
shall
show
to
to caprice, or seeking after novelty,
growing
however,
this,
" four-bar " phrases
the use of other than
due
Four-bar
being attributed to caprice
on the part of the composer.

is
upon
and only practicable
any departures from
'
two
into
generally looked
is
'
the
of
appreciation
the
aesthetic
for
is
not
but to a
of
value
various forms of phrase other than the normal.
The ordinary
Rhythm is shown
construction
in
Duple time
Ex.
Mozart
of
in
Four-measure
Ex.
15.
15.
Sonata.
Allegro molto.
1st
Rhythm.
tr.
p== p r^g
'XL
FjPK
m m m
3=S
P4=-
VH
J.
m
3I
z
Cses.
Cses.
Half-close.
f^
RHYTHM OF MODERN
6o
MUSIC
2nd Rhythm.
mm & W+
tr.
"-=):
^5
fc
Here we have
?=?=--
3E
Full close.
Caesura.
im
4s
a Period of
two Rhythms, each
divided into half-rhythms by a Caesura.
Rhythm ends
The
first
with the orthodox half-close in the
masculine form, the second with the (incomplete)

full
close,
also
in
The
the masculine form.
bars,
each containing one Measure, are simple.

Ex.
Beethoven (Op.
6.
26).
Rhythm.
B^##M
1st
Andante.
jl^
n**=*
gggya
dgnOT
e
H"
Half-close.
2nd Rhythm.
Z=*
m^
fcfc
j
^
lw
q-l
^r<?j-.
ttg- jjg-
Half-close.
THE FOUR-BAR PHRASE

Exs
shows a Period
Triple Measure.
but
in
Here, again, the bars are simple,
with an unaccented note, that
As
two Rhythms
of
be observed that the passage commences
will
it
61
the signature
is
is,
with the Anacrusis.
the measures
must
consist
of three quavers each, and since this unaccented

note
is
an integral portion of the melody,
that each
Measure commences with an unaccented
and overlaps
note,
follows
it
its
bar-line, as
shown by the
This
perpendicular lines in our example.
we mean when we
short
what
is
Measure and the
say that the
and
Bar, although they are frequently,
modern
in
music nearly always, equal in time-value, do not
On
often coincide with each other.
the recognition
of this principle depends to a large extent an intelligent
The
a rule,
method of phrasing.
filled
with sound, except for the
may
Caesuras that
occur in
j
melody
may ube more
i
rhythmical
its
more
Rhythm
space of time occupied by a
it
and
its
î_
prominent than
or
structure,
the
is,
as
struck or
omitted.
rhythm may be
noticeable than the melody, or,
what
is
more
two
usual, both are of equal importance, as in the
examples quoted here.
When
the
accentuation
attracts attention
made prominent,
more than
that
it
feel
a pleasant exhilaration,
the
accents
acting
is
which
on the mind
the melody,
is
in
so
we
the result of
such
way
62
than the emotional
physical rather
to stir the
as
faculties.
on the contrary, melody and harmony are used
If,
without the support of an adequate rhythmical

the
music
But
it
apt
is
to
be weakly and sentimental.
must not be considered
without
varied
Human
value.
its
that
materials to express
perhaps adapt
of
more than any other
of
human temperament.
But Rhythms, and more
Though
may be
nor are
a hard
all
the
and
accents
said in a general
filled
necessarily
with
heard.
cannot be drawn,
line
fast
art to the
especially those of four
Measures, are not necessarily completely

sound,
different
and music can
itself
infinite varieties
is
so infinitely
is
infinity
emotions
its
music
that such
nature
an
requires
it
basis,
way
that
it
when Rhythms
begin to omit any of their accents, they begin to

appeal to
than to
the
the
imagination and the intellect more
physical
For
faculties.
it
requires a
higher degree of culture to recognise a thing that

is
only hinted at than a thing that
The omission
before one.
sarily
for
made by means of
instance,
sustained over the fourth.
Rhythm
is
filled
be imagined.
of accents
rests
on the third
is
is
plainly set
not neces-
a cadence can occur,
accent,
and
its
chord
In this case, though the
with sound, the
last
accent has to
But here again may be a difference
for the closing chord
on the third accent
is
often
ACCENTS
62
repeated in some
way on
case the appeal
to the physical side of us,
is
the
is
more pleasing
the fourth
in that
and
in this
and
it
unexpected.
is
it
But with our power of using two or more rhyth-
we do
mical schemes at once

final
accent entirely unheard
not often leave the
though
for
omitted in the Primary accentuation,

heard in the Subsidiary
react
it
may be
it
generally
is
and thus the two rhythms
on one another, the Subsidiary supporting and
supplementing the Primary, and making

understand
the imagination
it
easier to
appealed to by the
is
Primary, the physical nature by the Subsidiary.
Some Rhythms have

strongly
accented
feature,
which
Rhythms,
contested
each alternate Measure
than
the
not
is
present
so delicate that
is
by some
This
rest.
its
in
Rhythmical
dccentuatten,
all
existence has been
yet
theorists,
we
have,
due consideration, come to believe that

light
some composers,
that
it,
on many passages
and that
this
is
at
in
classical
any
more
rate,
it
throws
music,
are
after
and
aware of
what leads them to express
compound rather than simple bars.

For the essence of the compound bar is that the
first of its two measures is more strongly accented
their
ideas
in
than the second, in however slight a degree.
opponents of the view
we
The
take can point to the fact
that composers, especially Bach, will frequently place
the
first
note of a given subject in the
first
or second
RHYTHM OF MODERN
64
compound
half of a
MUSIC
bar indiscriminately, but there
no evidence that they do not do
is
with the
this
express intention of altering the order of accentuation

in the pairs of
Be
this as
Measures.
it
may, we propose to allude
to this
and weaker Measures, where

Rhythmical Accentuation "
as
alternation of stronger
we
believe
'
it
to exist,
to distinguish
Measures
it
from the accentuation of the single
and we
'
shall
speak of
Accentuation " as being of the
ing"
according
order,
Measure comes
In
Ex.
'
'
Rising " or
whether
to
" Rhythmical
stronger
the
after or before the weaker.

it
be
will
noticed
that
there
on each alternate accented note,
discords
Measures
Fall-
' *
and 4
inclination will be
2
in each
to
Rhythm, and
strike
i.e.
are
in
that our
these discords rather
more strongly than the concords on the intervening

accents.
In addition to
three places
discords,
It
marked
this,
the composer has in
a crescendo to lead
one of which
up
to these
has, in addition, the sign
sf.
seems to us then that he has distinctly singled
out the alternate measures for special accentuation,

and that the example gives an instance of " Rising
Rhythmical Accentuation."
more
phony,
in
striking case occurs in the Fifth
the
passage
Sym-
quoted below, where the
composer has indicated nothing, but conductors are

beginning to find out the value of giving
it
Rising
RHYTHMICAL ACCENTUATION
Accentuation.
this subject
let
gains
it
$m F
the reader try
an
to
on the piano,
it
x
:
:je
more does
1=
a certain passage in the Scherzo
of the same symphony gain by
we have
But by
effect
in
without special accent, then as follows
Still
to play
with equal accent on each bar.
incredible degree
first
was formerly the custom
Accentuation
Rising
It
65
and
this treatment,
seen a conductor, in order to intensify the
Rising Accentuation, beat thus

down
up
&
The
and
it
was
is
fire
electrical
Ft
the passage
that
would have
Other cases
to time in the course of
energetic,
is
taken, but the above beat gave
the composer.
We
&
effect
however
force
3^5
I
-&
ff
down
up
it
rejoiced the heart of
will
appear from time
our work.
must now speak of the material out of which
Periods, with their
two or more Rhythms,
The Material
are constructed.
As an
let
j>j*ZJ*
us tap on the table a series of crotchets,
firmed.
experiment,
giving an accent to each alternate tap, thus

1
It
must be remembered that the orchestra
gives far
to such nuances than the piano can possibly give.
more
effect
RHYTHM OF MODERN
66
While tapping,
J
let
J. J
MUSIC
J
J.
us mentally form a melody of
sixteen notes, one to each crotchet, with a Caesura
We shall then have imagined
after the fourth accent.
two Rhythms
a Period of
Duple Measure, com-
in
mencing with the Anacrusis, and ending with
Masculine Close.
But
to a listener the taps will represent nothing
more than
a meaningless series of sounds, akin to
the ticking of a clock.
Now
let
make
us
a second series of sixteen taps,
but instead of their being

the series (one in the
a quaver, thus
it
91. 9 9
equal, let
and one
first
Rhythm) be longer than

shorter, so as to
all
two out of
second
in the
the rest, and
its
successor
form a dotted crotchet followed by
J
9
J
9
J
&> 9
J.
9 9 9
'l
'l
>
The listener will now immediately perceive that

is Rhythm we are tapping, for the greater relative
value of the dotted crotchets singles them out from

their neighbours,
or
special
and gives them a
importance,
which
clearly
special accent,
indicates
the
rhythmical form of the whole series of taps.

In the
first
instance
Primary values of a
The
fact
of
all
we tapped
series
the fundamental or
of eight Duple Measures.
the taps being of equal duration,
THE MATERIAL OF RHYTHM

though we accented each
mind could
point on which his
we
instance
intelligible
gave the
pair,
rest.
caused our sixteen
67
no
listener
In the second
taps
form an
to
rhythmical whole merely by making two
out of the series more prominent than the
and
rest,
thereby giving the listener a point in each set of
mind could
eight on which his
To
rest.
Let us write out
continue our experiment.
and harmonise a simple melody of sixteen crotchets,
We
using no other kind of note.
make
shall
be able to
the form of the Period quite clear now, by
placing harmonic cadences at the eighth and
Thus we
teenth crotchets.
closes will give the
Let us
the
alter
notes in the
its
series
mind
more
clear, for the
on which
places
harmonic
it
can
manner suggested
we
striking
shall
find
and
for
The
that
at
it
distances,
number of
count them from
melody
one another
pins in an unbroken
distance.
we have made
This can
assistance.
short
is
incapable of enumerating a
similar articles placed close to
without external
by placing
is
rest,
once
This
vigorous.
prominence than the
eye, equally with the ear,
number of
rest.
our second
because, by bringing two of the notes of the

into greater
to
melody by lengthening two of
of taps, and
becomes
Harmony
shall call
our aid in making our rhythm
six-
Unless
easily
row and
the
at equal
be proved
trying to
eye
can
find
definite resting places, such as objects near the pins, or the person
counting
find
it
is
near
enough
to
impossible to count
point
at
individual
more than four or
pins,
five.
he will
RHYTHM OF MODERN
68
rhythm speak
the
assistance
has
it
for
itself,
MUSIC
addition
in
to
the
from the harmonic construction.
We
have made a contrast
the
notes.
in the relative values of
This kind of contrast
is
one of the
most valuable elements that the composer has
hand
in the material out of
which he constructs
at
his
Periods and Rhythms, and the elementary principle

of varying the relative values of notes
of
infinite
variety
in
extension,
the
so
treatment
that
of
the
is
capable
ordinary
the
of
possibilities
eight-
measure Period are inexhaustible.
On
this principle is
founded the sub-division of
the Primary value of the
smaller value
Measure
into
and such sub-divisions
notes of
group
will
themselves naturally into accented and unaccented

notes, just as
Thus,
is
the case with the Primary values.
for example, the time value of
two minims
forming a single Duple Measure, might be subdivided in some such
way
rm'm
as this,
44
in
which case the upper notes
will
Measure, while the smaller notes

time group themselves in pairs or
each of which has
its
own proper
still
form a single
will at the
triplets, as
same
shown,
accentuation.
distinguish the accentuation of the
minims
in
To
the
THE MATERIAL OF RHYTHM
69
above example from that of the smaller notes, we

refer to
Primary Accentuation, and the other
as
it
as Subsidiary Accentuation.
The composer
at
He
disposal.
his
Measures
and
has yet another rhythmical resource
in
can
divide
one manner for
in a totally different
accompaniment, so
his
manner
two
that
his
Different
melody,
Rhythmical
Schemes
for the
used simul-
or
taneously.
more
arrangements of the rhythmical material are heard

the same time.
at
or
more
istics
Metre
of music.
music
to
yet
it is
differing
is
Poetry what
to
and yet
The
effects are
different
due
in
Rhythm
impossible to conceive of two
from one another
of their accents.
though
most remarkable character-
two metrical schemes
reciters uttering simultaneously
sense
use of two
different rhythmical motives, familiar
to us, is, one of the
it is
is
The simultaneous
in all except the position
result
would be
utter non-
Music some of the sublimest

simultaneous use of several
to the
rhythmical arrangements,
produce senseless confusion
if
such as would
applied
to
spoken
Poetry.
Rhythmical
have their
at
the
the
however ingenious, can never
full aesthetic
value apart from melody of
drummer were to beat a given

and another drummer played another figure
same time on a second drum tuned to
some kind.
figure,
figures,
If a
same note
as
the
first,
the effect of the two
RHYTHM OF MODERN
yo
drums would be
to
drum.
=1
2nd drum.
Resultant.
But
'
ji
two simul-
Thus
rs.n
JJ J J
not
the listener,
taneous figures, but one only.
ist
MUSIC
J"l
v j"^rj
.taje
JJ J JJ J73j"j3
c)
one of the above rhythmical schemes were
if
played on a drum, and the other in a melody on a

fife,
for example, the resultant, instead of a
mono-
tonous succession of similar Measures, would be

a spirited march.
Hence
that combination of
follows that to produce
it
rhythms which
is
so essential
modern music, we require two contrasting
a part of
voices or
melodies or instruments
without melody does not
mere rhythm
suffice.
Different rhythmical schemes must generally agree

in
having their chief accents
bar, or
rule
is
at the
of a chief portion of a bar.
This unwritten
sometimes broken, however, by modern com-
posers, with excellent effect, as in
and the
this
beginning of a
art
of
Rhythm seems
Ex. 28, page 109,
likely to develop in
and other directions hitherto unthought
Putting exceptions aside,
modern music
of.
most of the charm of
consists of the combination of
two
rhythmical schemes, one of which enhances or completes the other, as
two drums.
One
we saw
in the
example of the
of the simplest applications of
COMBINED RHYTHMICAL SCHEMES

the principle
is
when
a song containing, for example,
a succession of crotchets in its melody,
The
panied on the piano by quavers.
schemes of
all
71
accom-
is
rhythmical
polyphonic music are a more or
less
highly developed application of the principle here

exemplified.
From what
of
each
r
kinds
three
are
there
has been said,
which
fulfils
of
be seen that
will
it
accentuation,
own
its
Kinds of
special
Accentuation.
function.
The
the Primary accentuation, which affects
first is
one note of the two or the three that go to make
up
Duple or Triple Primary
the
Measure.
It
forms the foundation of rhythm in general, in the

sense
rhythm
that
primarily
of
out
arises
the
arrangement of alternately accented and unaccented

factors.
But a single Measure, although
it is
unit, cannot
be recognised as such by
measures
least
we
can
at
a rhythmical
itself.
Two
are required to be heard before
know what
species
is
And
intended.
as
one
of the two Measures that are required to satisfy our

sense of rhythm
is
than
there
the
other,
accentuation, which
Accentuation.
together
order,
in
so as
frequently of
arises
the
to
second
we have named
Its function is to
pairs,
more importance
in
kind of
the Rhythmical
group the Measures
" Rising"
or
" Falling"
produce energy or tranquillity, as
RHYTHM OF MODERN
72
But
required by the composer.
it
MUSIC
is
only present
in certain cases.
The
third, or Subsidiary Accentuation, has as its
common means
melody
of
enforcing
the
office,
is
to
repetition,
or
the
two.
very
of enhancing the interest of a given
add Subsidiary rhythm

increase
to
been present with
Ex. 17 with Ex.
it
on
its
shown by a comparison of
as
it,
to
which has already
that
9.
Ex.
Brahms (Op.
other
17.
116, No. 2).
4-4
gztJ^J^PJj
V?
3
?= r- 1-*-
-0-
Ex.
9,
page 43, shows

of measures
portions
Accentuation,
while
are
the
Rhythm whose
marked
unaccented
by
accented
Subsidiary
are
not
thus
divided.
In Ex.
an
17,
increase
shown
in
from the same composition, there
of Subsidiary
Ex.
ment, by which
rhythmical
in
9,
all
form
Accentuation
is
over that
both melody and accompani-
chance of the somewhat unusual
of
the
opening
wearisome through repetition

interest
is
increased.
is
bars
avoided,
becoming
and the
ACCENTUATION
73
Subsidiary rhythm plays a large part in vocal as

well as in instrumental music.
when
alluded to
is
upon
only
the
'
piece
is
four-measure
it is
often looked
having nothing to do with rhythm, and
as
when measures
are sub-divided in
manner does the ordinary

is
normal
so taken for granted that
is
generally what
It is
rhythm " of
The
mentioned.
specially
phrase
'
some
special
listener notice that there
anything remarkable about the " rhythm."
Verse can be
music
set to
two ways, but
in
The
usually
set in a mixture of both.
J
first
way
is
what the Gregorianists
call
"Syllabic," in which each syllable has a

single
note,
Poetry.
the
matic,"
in
more than
closely
less
The
second
which
single
one
note,
out, so that they extend
accented
The
first
or
with
manner
is
is
'
they
beyond the
equivalent
to
Verses
given
even
are
corre-
of
the " Melis-
are
syllables
or unaccented, of the
way
the
and
Melismatic
Rhythms of music
so that the
more or
spond
p *, ,.
syllabic
is
to
spread
single portion,
musical
Measure.
Primary, the
the
Subsidiary rhythm of instrumental
second to the
music.
In
purely
syllabic
melody the musical rhythm
corresponds to the metre of the words, each syllable

1
We
noticed lately an article in which the writer advocated
the disuse of the
word Rhythm
four-measure phrase
altogether
as
applied
to
the
RHYTHM OF MODERN
74
having
melody,
Primary
single
note. 1
Melismatic
In
rhythm plays
subsidiary
MUSIC
Melis-
part.
matic song seems to belong to an earlier stage in

the development of any particular style of music
than
we
the
for
Syllabic,
melodies
and the ancient Greek and Armenian
possess,
church music are extremely

times they became
more
" Proses
the
the
Gregorian
earliest
of
"
whereas in
florid,
example,
syllabic, as, for
Roman
and only
an
to
florid character
in recent years
older
of
its
in
Another
Church.
instance occurs to us in Italian opera, which
remarkable for the
later
became
melodies,
have the fioriture so familiar

of
generation
opera-goers
begun
to
disappear under a more highly developed condition
of the
art.
human
The reason for

The average man
can appreciate
more
the expression of deep emotion
easily than
seems
this
hence his attention
is
to lie in
more
skill in
attracted
nature.
performance
by
brilliance
As
of execution than by earnestness of expression.

the
vocal
advances
art
the
cultivated,
its
externals
auditors
are
become more
toned down,
and
deeper expression becomes possible to the composer
without fear of being misunderstood.
If
we com-
Wagner and his successors with

pre- Wagner composers we shall be
pare the Melos of

that
1
As,
of
for
the
instance,
church hymns.
in
"
God
save
the
King," and
in
most
AND MELISMATIC SONG
SYLLABIC
struck with
more
its
syllabic character
Mozart, for example, find no place
in
75
the fioriture of
Wagner's music.
But while vocal melodies become more simple

and expressive in the matter of rhythm, the accompaniments
more
become
music has developed
later
than vocal, and becomes
more and more important and

power
Instrumental
elaborate.
The
expressive.
been added to instrumental music
that has
by the development of Subsidiary rhythm is very

It can form an outward and non-essential
great.
ornamentation
can be a means of display
it
it
can increase the attraction of a melody which has
been previously heard in a simpler form, and

it
finally
can be a means of intense emotional expression.

In
the
way
last
Intermezzo,
Op.
is
it
117,
used by Brahms in his
No.
2,
of which
Ex.
18
shows the opening four-measure Rhythm, whose

phrasing, as given by the composer,
in its dignity
Andante
Col Ped.
No.
117,
tion troppo,
quite Greek
and mastery of rhythmical

Ex. 18.
Brahms (Op.
is
2).
con molto espressione.
-4-
***
^*
effect.
RHYTHM OF MODERN
76
MUSIC
Sfe=F=S
H^
In Ex.
its
19
we give
Subsidiary
the
melody
rhythm.
It
Ex.
is
alone, deprived of
severe
in
19.
2,S
-N-
-E3=-5
-r
like the Scherzo of
light "
Sonata,
and
>
3f>
-h
"P"
composer
the
last
4i\
4:
P"
Beethoven's so-called
phrasing by causing the
Iambics,
"Moon-
intensifies
the
beat of each bar to be
connected to the succeeding bar as an Anacrusis.

Ex. 20.
as3
^=&A^
^grsM
3H
&$&&
,_
*jife^^^^fe=
w-#-
:&:
r^tzzN:
'
^k^^
SYLLABIC
AND MELISMATIC SONG
77
Ex. 20 shows that the Subsidiary rhythm naturally

divides
of
phrases
four
into
itself
Duple
three
Measures each, and these Subsidiary
(Subsidiary)
Measures are further divided into Subsidiary AccenMoreover, each Subsidiary
tuation of their own.
Measure has
its
own
Anacrusis, so that in Ex.
Anacrusis of each bar
We
Anacrusis.
combination of
which
gives
expression,
Rhythm
within
wonderful
They would have

to
make
Rhythm,
to the Greeks,
and
found
piece,
this
for
in
~,
within
their
We are able
a subordinate
to
'
theory.
perforce been content with
pure Iambics of Ex. 19.
and
in
resource
laws
the
by a Subsidiary
intensified
have, therefore,
unknown
following
yet
is
8 the
go
the
further,
rhythm accompany the
Iambics, on principles that the Greeks themselves
would have acknowledged
to
be in accordance with
their artistic theory.

It
will
sidiary
be noticed that in setting out the Sub-
rhythm
Rhythms
in
Ex. 20 we give the complete
as of three
usual four.
important
Measures each, instead of the
This brings us to one of the most

of
modern
rhythmical
developments,
namely, the grouping of Measures by threes, or

fives,
or in
some other number than
four.
Such
groupings were occasionally employed in isolated

Periods by Mozart and Haydn, and by Beethoven
in
his
Ninth
Symphony,
in
the
Funeral
March
78
Sonata
Op.
(last
movement),
Quartet
as well as in his
But the older composers seemed
101.
to
look upon this as a departure from the rule, that
might be misunderstood, so they

the
matter very
struction,
evident
by
their
made
carefully
harmonic con-
while Beethoven sometimes labelled the
passage in the score.
Modern composers have
arrived at a fuller mastery
over these Rhythms, or perhaps

to
say
that
modern audiences
it
is
are
more
more
correct
able
to
assimilate them,
and instead of a tentative Period
here and there,
we now
whole compositions,
measure rhythm
in
find
which
prevails,
whole
sections,
nay
the three- or five-
and the four-measure
is
the exception, and a peculiar piquancy and charm

is
thus produced.
We
shall
question in another chapter.
go further
into
this
CHAPTER
Effect of
IV
Longer and Shorter Notes on Accentuation
Ancient
Combined Rhythm-species
Well-marked Rhythm Influence of Note-values on the
Character of Music Repetition of Definite Rhythmical Figures Syncopation
Theory and Modern
Practice
Êsthetic
In any melodic figure containing notes of unequal

value there will be a tendency
the longer
notes as having
&
more
if
we
accent,
shall
notes
Thus,
on
&
<3
G
J
<J
the
that
feel
jCcentua-
tton '
Ill
I
I
that of the last three
that of the first
<3
natural accentuation of the
'l
minims being
two Measures
rhythmical figure or scheme has
even
Shorter Notes
,,
shorter.
is
mind
of
Longer and
Effect
more weight,
the
feel
write without bars
O
we
than
to
for
made
established
when once
by
a
itself felt, the
desires its accents to continue in their course,

if
the note- values change.
80
The above
division of the
Duple Measure
into
one long, followed by two short notes produces the
form known
If
we
we
as the Dactyl.
two shorter notes before the accented
place the
long note
Greek musicians
to the
obtain the Anapaest,
which, owing to
its
character than
Anacrusis,
the Dactyl.
J
of a more exciting
is
The Greek
frequently used Anapaestic rhythm at
dramatists
the end
of
their choruses as a climax.
The
transition
from the Dactyl to J J J J and
from the Anapaest to J J J J

is
merely the
division
instead of one, into
of the Dactyl
it
strong
it is
in
when
of both
very simple
lessens the accent

its
value.
the Anapaest,
it
In the case
on the
first
The same
whose accent
the accented note
measure-portions,
two equal notes.
by taking away from

obtained
is
is
is
note
result
is
not so
divided, as
when
undivided.
The
other forms of four-note Measure are both
J J J J and J J J J ; so that it will be

seen that out of all the above forms of a four-note
anacrusic,
Measure, three
have
Rising,
and only one has
Falling Accentuation.
The
division
of the Duple Measure into four
NOTE-VALUES AND ACCENT

notes
is
one of the commonest forms
and ancient music, and

Measure.
If
it
is
known
desired to
is
in
81
both modern
as the four-time
divide both portions
of the Measure into two notes each, and yet retain

the strength of the accent,
II
or
J\in
we
can use the figure
which
the
longer
note
obtains the feeling of a stronger accent on account
of
its
greater prominence.
In Triple
that
Time
the most natural form, the one
we most quickly
Greeks
as the
Trochee,
feel,
is
<J
J,
that
or
known
its
to the
inversion the
Iambus, J J, in which the accented note is in the

So
proportion of two to one of the unaccented.
strongly
is
this felt
by us that when we divide the
long into two equal short notes differing in pitch,
we
not infrequently join them by a slur, so as to
strengthen the impression of accent, thus
w^?=*
When
effect
is
all
three notes are joined
produced
the accented note
by a
and the opposite

is
is
slur a
smooth
the result
when
detached, and the other two
are slurred, for in this case a disturbance of accent
takes place which will be discussed under

pation.
Synco-
RHYTHM OF MODERN
82
By
Measure
is
the
dividing
accented
and thus give
first,
of a Triple
portion
two unequal notes, of which the
into
greater than the second,
the
MUSIC
we enhance
first
the weight of
additional accent, as
it
we
have already shown with regard to Duple Measure,

thus
the
I
s
If we give two subsidiary notes to
J j J
second half of the accented portion, thus
:
fl
we
000
and
in
we wish to retain the

accented note, we must make
sforzando on
accent
relative
a slight
it.
can give subsidiary notes to the unaccented
portion, thus
JH and
<J
the accented note will
more strongly than
out
stand
if
this case,
force of the
We
some extent weaken the
to
the
if
unaccented
portion were undivided.
We
can divide the accented and unaccented por-
tions into
equal
and
notes,
thus:
smooth and flowing
This gives a
music,
subsidiary
is
much used
in
J JJ jjj
effect
to
accompaniments
the
to
Primary-note melodies to produce movement without
Thus,
emphasis.
special
for
example,
the
accompaniment of the opening trochaic subject of

the Eroica
the
Symphony
Andante
Quartet in
con
is
mo to
in equal subsidiary notes
of
Brahms'
Pianoforte
minor, and the passage from his
major Symphony quoted
in
Ex. 6o show similar
NOTE- VALUES AND ACCENT
83
treatment, and other instances will easily occur to

the reader.
When
used
in
slow tempo, the division of the

is
often
Rhythms of two Measures
each,
Triple Measure into six subsidiary notes
connected with
and the Periods are of four, not eight Measures.
We
form of Period
shall discuss this
In
all
we have
that
later.
referred only to the accentuation that
is felt
of long and short notes alluded
instinc-
arrangements
tively in connection with the various
What we may
to.
the natural accentuation of a given passage can
call
be,
we have
said in this chapter,
and very frequently

for
sforzandos,
effects
is,
emotional
specially
dramatic
or
unexpected plays a
for the element of the
through
entirely reversed
very large part in musical composition.
We
have alluded to the Greeks.
seem
sight
first
as
if
modern music can have
It
viin
little
common
if
Ancient
Theory and
Modern
Practice.
and
this ancient people,
at
rhythm of
the
with the dactyls and spondees and iambics
of
might
we expect
to find compositions entirely written in these simple
forms
we
Hymn
shall
tunes
have to confine our attention to the

of
'Proses " of the
Roman
of the ancient forms

passages
of
Anglican,
the
is
classical
Beethoven's Seventh
or
Church.
met with
thus
Symphony
mediaeval
But the simplicity
occasionally
music
the
is
the
in short
allegretto
of
founded on an
RHYTHM OF MODERN
84
alternation of dactyls
and spondees
the same composer's so-called "

is
Moonlight" Sonata
dation of the melody of the slow
the minuet of
Schubert uses dactyls as the foun-
in Iambuses.
posthumous
MUSIC
minor
movement of
quartet, and anapaestic
his
rhythm
occurs (accompanied by subsidiary accentuation) in

the finale of
finale
Schumann's piano quintet, and
of Beethoven's
Our
sonata.
first
rhythmical structures are, as a rule,
complicated,
and
in
in the
this
more
they
reflect
life
but funda-
respect
complicated conditions of modern
far
the
mentally they follow the same principles as those
of the Greeks,
of
Rhythm
who developed
the art and science
to the furthest point
it
could attain so
long as only unison melody existed.
In rhythmical
theory they were in advance of us, and there
much
in
aesthetic
their teaching that can
value
if
applied to
be of the highest
modern
power, peculiar to modern European
combining various melodies
in
is
But the
art.
civilisation,
counterpoint,
of
and
of using independent accompaniments to a given
melody, has resulted

resources
unknown
in
command of
rhythmical
to unison melody.
Since about the year
1880 much attention has
been given on the continent to ancient Greek rhythmical theory in
its
modern musical
art,
have been issued
in
application to the conditions of
and editions of
classical
which the phrasing
is
works
arranged
ANCIENT THEORY
think,
is
But
theory.
we
this,
The performer is, after all,

and however much he may admire
going too
an individual,
far.
he should only use
a given theory,
and
Greek
with
accordance
in
85
train his individuality, not to
Greek theory
application of
print, involves the use of
bidding-looking
to
swamp
The
it.
works, in
classical
sundry strange and
and
signs,
to develop
it
is
it
for-
the
for
better
student to use his judgment (after duly studying

theory) than to slavishly follow a stereotyped edition,
which may or may not be
own
feeling
familiar
every
in
in accordance with his
and cherished work,
novel signs,
is
An
respect.
full
The more
more
indicated, the
is
the
is
performer of small experience likely to overdo
and
to
acquire
Theory cannot do everything
The human element

tions,
to
all,
if
to
existing
used
with
are sufficient for nearly
move
the
can only guide.
knowledge
all
phrasing
imperfec-
its
the emotions.
which
signs,
are
and
discretion,
may be
who
so,
however
indicated
by new
will
do
The
familiar
purposes, and he
plays without understanding,
strongly
it
of feeling, with
must be present
conventional
it,
method.
unsympathetic
hard
of strange and
apt to prove repellent.
strongly the phrasing
of
edition
signs.
This applies more particularly to the older
classical
music, to which the composers have, as a rule, given
86
Brahms and most of
few indications of phrasing.

the moderns are careful to
wish
and
for,
it
show the renderings they
will generally
be found that
aesthetic
reasons for their indications can be deduced to a
from Greek theory
large extent
our composers instinctively
much
in
same way
the
described them.
other
words,
rhythmical effects
feel
the
as
in
Greeks
and
felt
has been observed also that our
It
great executants feel the rhythmical structure of the

older classics in very
much
power of expressing
degree to
do
make
of
those
it
the
Greek way, and
contributes
in
their performances appeal
the
musician
who
no
their
small
more than
solely
on
listen to
two
relies
brilliance of technique.
The
our being able to
possibility of
j.
or
more melodies
Combined
Rhythm-
possible, as
tion
once makes equally

n
'
s
'
simultaneously.
other,
at
we have shown, the appreciaof two or more rhythmical forms

As a rule one supplements the
we have
as
accompaniment
explained
to a song,
in
which
reference
is
the
the simplest of
the rhythmical combinations as a rule.

plicated,
to
More com-
and non-supplementary, are combinations
of triplets against duplets, or against quadruplets
and so on.
further development of this kind of
opposition of species
triple
is
where one part has Primary
and the other has Primary duple time, so that
the whole
Measure
is
involved, rather than a portion
"
COMBINED RHYTHM-SPECIES
of
as in
it,
the Soldiers'
Damnation de Faust."
/V Another
well-known
rhythms
where the confusion
of
instance
Don
'
La
conflicting
Giovanni,
the minds of Zerlina and
in
shown by
graphically
is
Berlioz'
in
that of the passage in "
is
Masetto
Chorus
87
confusion
of
rhythms, combined into a homogeneous whole, in
ân
artistic
highest
manner only
order
to
possible for a genius of the
and
conceive
minuet forms the rhythmical

time,
triple
its
carry
basis.
It
out\
The
in
slow
is
Primary accents being marked by
relatively longer notes.
Masetto divides the indi-
vidual beats of the Measures into three-time Subsidiary
rhythm
in other words,
he sings in
rhythm would not appear unusual
and so
far the
were
not for the notation employed.
it
^But Don Giovanni
way
as
to
sings in duple time in such a
bring his Primary accents on
beats of the
minuet bar
in turn,
the confusion of the lovers. vv

is
triplets,
The
all
three
and thus adds to

principle involved
the same as that of the passage in R.
Strauss'
Violin Sonata, quoted in Ex. 28, page 109.
Great ingenuity was exhibited in complications

such as this in the sixteenth century.
The
between them and modern examples

were usually puzzles or jokes of no
while our composers use
or emotional purposes.
them
is
difference
that
they
artistic value,
for highly dramatic
RHYTHM OF MODERN
88
When we
Well-marked
Rhythm.
its
say of a composition that
marked"
mean,
Measures
" striking"
arranged
has
'
'
well
rhythm,
we
within
produce
to
as
The word rhythm is here used

for if we wish to call attention
of
punctuation
well-defined
it
the notes
that
rule,
so
are
in its general sense,
or
as
strong accentuation.
to
MUSIC
individual
the
Rhythms, we should probably use some expression

indicative of clearness of phrasing
it is
not generally
recognised as yet that Phrasing and rhythmical con-
same thing.
struction are the
Let us imagine a Period
of
4+4
Measures
containing only notes of Primary value, and having
no accentuation beyond that given by the position

of the notes in the bars.
If
it
slow tempo
in
is
the effect will be solemn, dignified, stately, or tranquil, reposeful, languishing,
employed.
itself will
these
may
dynamic
If
In
any case the rhythmical form of
not produce energy and emotion, though

arise
from the employment of
force, or special orchestration
we add
special
and harmony.
a second Period, likewise only in notes
of Primary value,
ness
according to the harmony
we
shall
be apt to produce heavi-
and monotony, unless we can invent some
specially striking
If our Period
or Allegro^
character,
it
will
harmony.
is
in
still
faster
tempo
as
be of a more or
Allegretto
less tranquil
though with more movement
and the
WELL-MARKED RHYTHM
of a second similarly constructed Period
addition
would
be apt to produce monotony.
still
tempo
the
If
89
is
very
example,
for
presto,
fast,
there will be a feeling of pleasant exhilaration, with-
out excitement, such as one would experience in a

ship sailing with the tide and
smooth
sea
wind on an absolutely
movement
but even a presto
consisting
only of Primary notes would soon become mono-
tonous
continued long.
if
Such a Period would become modified

effect if
we were
more, by making
The "Rhythm"
Marked "
the
than in
The
notes
its
it
energetic,
special
neighbours.
more
become
that
its
to
is
or
stress,
or
say,
less
would
and make more impression
original condition.
application of the principle of singling out

for
special
accentuation,
or,
what amounts
the
same thing,
for
special
to
practically
length, impresses a phrase
harmonic variety
its
by
longer than
passage,
become more
either
would
'
'
its
to single out for stronger accen-
tuation any one note,

still
in
relation to
on us more
for the function of
Rhythm
is
relative
forcibly than
harmony
in
to define the boundaries
of the phrases rather than to influence their internal
rhythmical
certain of
tuation
a
effect.
If
the
notes
are
them can be singled out
by
Rhythm
sforzando.
Even
made
shorter
is
if
or
all
Primary,
for special accen-
only one note in

longer
than
the
9o
Primary note the ethos of the passage
differs
from
that of a similar passage containing only Primary notes.
For contrast
measure
tion
produced, and contrast within the
is
affects accentuation,
and
this attracts atten-
by breaking the monotony of a succession of
equal notes.
But though
it
rare to find a Period containing
is
only equal notes of Primary value,

rare
The two
lengthened as described.
Measure
almost as
is
a Period in which only one note
find
to
it
is
portions of a
are capable of an infinite variety of treat-
ment, by being broken
into
subsidiary
by
notes,
being joined together, and by being given special

accentuation,
to
of which means the composer uses
all
produce variety and
a specially
marked
'
'
sense, he constructs a
interest.
rhythm "
If he wishes for
in the usually accepted
Measure, or a pair of Measures,
with a certain definite distribution of longer and

shorter
notes,
certain
"motive," and repeats
Measures
mind.
until
it
rhythmical
more
the fact that
its
becomes well impressed on the
readily than duple,
itself to this
owing perhaps
to
natural arrangement of long and short
notes gives a foundation for well
Hence
or
this distribution in successive
Triple measure seems to lend
treatment
" figure "
marked accentuation.
the frequent use of a repetition of a definite
figure of one or
two bars
in length, in scherzos
other three-time movements of rapid tempo.
and
WELL-MARKED RHYTHM
Some kinds of
Subsidiary
figures
91
seem
be
to
associated to a certain extent with particular musical
Thus, what
forms, though not confined to them.
we may
which there
in
frequent repetition of dotted
is
notes alternating
with relatively shorter notes,
March form, and
often a feature of the
met with
is
it
also
of solemnity or
dignity
is
required.
have already noticed that a longer note will
give
greater
of
sense
by contrast with
accent
an adjacent shorter note than would be
whether the longer note
by a
rest
it is
is
in
felt
This holds good
of two equal notes.
succession
sustained, or
is
cut off
the division of time that here gives
the sense of accent, and hence of rhythm.

the
is
slow movements, in which a strong
in
impression
We
Dotted-note rhythm,"
for convenience call
drum, which cannot sustain
note,
Thus,
and the
organ, which has no power of stress, can produce

" Dotted-note
rhythm"
just as forcibly as
any other
instrument.
The
March form is that it should

have some strongly marked Subsidiary Accentuation
applied to Rhythms in well-defined four-measure
form.
essence of the
We
require
to
through the ear to a

the muscles, as the
One of
the
marking
Subsidiary
appeal
real or
drums
in
certain
sense
imaginary exercise of
excite soldiers to march.
most convenient
ways
Accentuation
is
of
strongly
through
the
"
RHYTHM OF MODERN
92
MUSIC
and short notes, and Marches

that are entirely without " Dotted-note rhythm
Handel's " Dead March form the exception.
alternation of long
in
"Saul"
one of the exceptions: the rhythm of
is
Primary Time,
the slow solemn major chords, in

is
here punctuated by the equally slow beats of the
In Schubert's well-known pianoforte march
drum.
in
major, the rhythm
is
made prominent, not by
dotted notes, but by dactyls, both in the Primary
and Subsidiary notes

the principle
notes, for
it
dactyls within dactyls.
practically the
is
same
as that
But
of dotted
the alternation of long and short
is
notes in the dactyl that gives
it
rhythmical force.
But here again we meet with another paradox.

For while "Dotted-note rhythm" can "mark the
time"
in a
March, and can impress us with dignity
and solemnity
in
slow
movement
(the
opening
passages of the Sonata Pathetique, for example),
it is
also capable of expressing light-hearted jollity, as in
the Finale of Schubert's Sonata in

in
that
of
although in
his
|-
great
D, Op.
and
Minor Quartet, which,
time, has exactly the
"Dotted-note rhythm."
53,
same
effect as
This kind of accentuation
can also be capable of irritating frivolity and emptiness if carelessly used.
Are these
alone
We
differences of ethos
to the
rhythm
we believe they are due to

composer who knows how to fit the
think not
the insight of the
due
WELL-MARKED RHYTHM
and melodies
right harmonies
what he requires.
press
different feelings
And
to the
93
rhythms
to ex-
in its ability to express
by the similar
figures,
not differ from tonality, for the
Rhythm
Minor
does
key, usually
supposed to be associated with melancholy feelings,

can, equally with the major, be used for brightness
No
and pleasure.
one could
Schubert quartet a
call
the Finale of the
melancholy movement
is
it
more suggestive of the fun of the pantomime than

anything
When
else.
there are successions of even
notes whose
normal accentuation
is
Subsidiary
not
influence of
interfered with
by external means, such
as Note-va/ues
e
sforzando or syncopation, in place of the
^L
excitement or energy that
Character of
by
is
suggested
unequal arrangement of notes,
the
the even distribution gives a character of tranquillity
and repose, or of languor.

case
pace
to
when the tempo

is
is
fast there will
mark
Especially
moderate or slow
is
:
this
the
when
the
almost always be a tendency
the natural accents strongly, and thus to
give an energetic character to the music.
The
tranquil character that arises
sidiary notes
is
Op. 118, No.

No.
from even Sub-
exemplified in Brahms' Intermezzo,

2.
of the same
See Ex.
set,
3.
In the Romance,
there are Subsidiary crotchets,
quavers, and semiquavers,
all
of which in their turn
contribute to the quietly flowing character of the
RHYTHM OF MODERN
94
This does not, however, hold good when
piece.
way
equal notes are phrased in such a

the
MUSIC
accents
prominence
into
n,
Scherzo of the Serenade, Op.
accompaniment
example,
for
as to bring
the
has crotchets as the
to the melody, but their phrasing,
jC
SdlbzdS
'Ml
~-P~-
iz*fc
produces an accentuation equivalent to
Ml
d
and the movement
in contrast
is
c3
of a vigorous character.
Menuettos,
to both
which the even
in
flow of the quaver accompaniment
by any
Ex. 2
Brahms (Serenade Op. n.
* S?
:**
is
not disturbed
produced by phrasing,
special accents
It is
e.g.,
1.
Menuetto
I.).
mm &
Sd^ffl^dd
U 3S
^
39:
T=f*r
m^mmm
V?
f&
tt
Pizz.
ff~~
^j-r^'*^-
OS
S
F qg=gm
AL
*i-35
=S5ff
d J
:h
ill
INFLUENCE OF NOTE-VALUES
With
95
Subsidiary rhythm of equal notes
general effect
is
the
frequently modified, or even entirely
reversed by a strong Primary accentuation, as in
Ex.
11.
music,
In cases like
whether
the
this
appassionato,
agitato,
of the
character
etc.,
is
given
by the more strongly marked rhythm, whether
it
occurs as Primary or Subsidiary, and the equal notes
form a background which welds the whole together.
What we
say about the reposeful
of
character
even Subsidiary rhythm applies more especially to
movements
rapidity
of
and with
moderate
With
tempo.
special accent
on the
great
note of
first
each group, equal notes can be given great energy,

as, for instance, in
Schumann's Toccata
in C.
Rhythm
In the majority of cases the notes of a

are distributed unequally, so that variety
is
to the various parts of the Period and
aroused.
interest
melody which would be of no
with equal notes
may be made
imparted
interest
is
particular
beautiful
by
an unequal distribution, whereby the longer notes
form a contrast
to the shorter
and we have already
alluded to the importance of a Subsidiary accentuation in the accompaniment,

a
whereby the charm of
melody of Primary notes may be greatly
very favourite device in the construction of a
Rhythm
first
increased.
is
to
form some
Measure, repeat
it
definite
figure
in
the
(rhythmically, not necessarily
melodically), in the second and then introduce
new
RHYTHM OF MODERN
96
figures for
"Definite
Rhythmical
and fourth Measures
the third
form
Repetition of
....
rhythmical
species
of
lished,
for
or to
measures and repeat
pair of
MUSIC
its
'
By
figure.
rhythm
means the
this
once
at
is
estab-
Figures.
grasp
when
it
the
two Measures or the
first
when they
pairs are alike than
more
the listener can
be found that this construction
is
every composition, especially in
met with
its
two
first
Hence
differ.
easily
will
it
in almost
opening subject. 1
Beethoven sometimes constructed Periods
in
which
nearly every measure differed from every other, a
form of composition, but one which, when
difficult
deep thought
successful, generally gives a feeling of
Thus
and introspection.
is
constructed, for example,
the opening Period of the slow
movement of
Sonata Pathetique, whose rhythmical scheme

follows
12
00
1
2nd.
3rd.
3 4
&
I
!
J
\S
00
P! II
\0
'
.
'
4th.
3
IS
as
is
Rhythm.
1st
the
jj
\0
>'0
iti
g
e>
a m
1
The
bars
marked
and B are
but since they
alike,
occur in different parts of their respective Rhythms,
they give no feeling of a repetition.
temporary disturbance of the regular flow of

accents
Syncopation,
is
1
There
is
no
an important and
It
is
much used
produced either by a
necessity to give an
alluded to will be found in the greater
example
the construction
number of our
quotations.
SYNCOPATION
by which
sforzando,
made prominent,
note
unaccented
single
97
so that the attention
is
attracted
is
away from the normal accent, or by what is known as

Syncopation, a word which means "a cutting off."
Syncopation can occur in both Primary and Subsidiary
accentuation.
An
It is
accented note
brought about
in the following
cut short, or
is
is
way.
represented by
a short rest, and the succeeding note, entering before

its
expected time,
made longer than
is
accented note or rest
by
its
relative
measure.
It
equal value to
is
not by
value,
may be
receives an accent
it
its
position
in
the
followed by other notes, of
so that the disturbance of accent
itself,
continued,
hence
the shortened
sometimes through many Measures
(Primary or Subsidiary) in succession.

a continuous syncopation the notes
To
produce
must be struck
on the weaker, and sustained into the stronger portions of measures,
must be
and
tion,
If
it is
it
necessary
on any strong portion of the measure,
and yet to continue the
starts
an Anacrusis occurs,
tied to its accented note.
to strike a note
must be
if
effect
of Syncopation, there
a fresh cutting off,
and the Syncopation
anew.
When
applied to Primary accentua-
Syncopation can be a means of kindling the
strongest emotion, as in a well-known passage in
Symphony, where the accented portion

of the Measure is represented by a rest and the full
the Eroica
orchestra bursts in with a tremendous chord
on
its
RHYTHM OF MODERN
98
weaker
Everyone has
portion.
MUSIC
felt
the
of this passage.
effect
Another way of producing Syncopation

a cutting off, but
not by
is
by tying an unaccented note
The long
succeeding accented note.
would
receives the accent that

if
intense
the two notes were not
fall
bound
on
to the
note thus arising
its
second portion
into one.
Ex. 22.
Brahms (Symphony No.

Presto ma non assai.
Op.
2,
73).
W^^^^M w
i-t.
:jv
If
m
V?
h-i
>*
SEi
iV
/I
tt
/I
r
Ex. 22 shows syncopation in the Primary rhythm
the
first
note of each measure
is
cut off, and the
succeeding note, being of double
its
being brought
portion
the
into
accented
length,
and
of
the
measure, causes a fresh accent to occur within the

measure.
Ex. 23.
2).
Allegro largamente.
I.
JrM.
-s
mi
fe
d^m
r
r-r
tfrr
jj rJ
w ,UC
122
I2
-.0-
ft
I
31
"*s
SYNCOPATION
The melody
of Ex. 23 shows the same treatment
duple measure.
in
99
The
bass
is
syncopated in the
second way described above, namely, not by a cutting

off,
but by tying the unaccented note to the succeed-
ing accented note.
It therefore receives
an accent,
not by position, but by value.
Ex. 24.
2).
Tranquillo.
:|
=5fc
&
m
=^=^
-<s>-
S^^g
f
: 4
18^3=1=1
Ex.
shows
24
rhythm.
The
syncopation
of
the
Subsidiary
disturbance of the regular accentua-
tion here produces an undercurrent of
movement
in
the accompaniment, in contrast to the regularity of
the
Primary rhythm
therefore,
in
in
the
melody.
We
have,
simultaneous rhythmical figures differing
ethos, a
most expressive device.
ioo
Ex. 25.
2).
=Jk
n^fn
K=VH
% % J* *-***
i
/W0 y &
marc.
^S3
JaBE*
3
II
In Ex.
25,
aMwrf
it
its
accompaniment
dactyl, as
of its
we have
own on
is
more
probable that Brahms was the
is
to use syncopation
melody continues
the
disturbance of accent
the
pronounced, and
first
:p:
in
exactly this way.
even course
is
in
Primary notes
Subsidiary dactyls.
in
The
;
The
seen, has an accentual significance
its first
note; but Brahms here, with a
wonderful fineness of rhythmical perception, disturbs

its
natural order, and places an accent on the last note
Other composers
of each dactyl by syncopation.
have doubtless done the same kind of thing, but as

as
we know,
notes, while
sidiary
their dactyls
have been
Brahms syncopates them
rhythm
Flat,
to
the Primary
in
the Sub-
Primary rhythm.
against a Sustained
Syncopation can give to music a

character.
in
far
far
away, dreamy
In the Adagio of Beethoven's Sonata in
Op. 106,
major,
the
five bars after the
melody,
first
in
change of key
the' bass
then
repeated in the treble, contains for about sixteen
measures, only the three notes of the tonic triad,
SYNCOPATION
while
accompaniment
the
101
merely in tonic and
is
dominant harmonies, with the addition of a few
There
ornamental notes.
the accompaniment,
duple to
in a
is
movement from
increasing in
the Primary
triple,
Subsidiary rhythm in
rhythm of three quavers
measure being represented by the melody.
To
the three notes of the tonic triad
reiterate
through sixteen bars, and accompany them by simple
and dominant harmony, would seem to be
tonic
commonplace
how
by altering
could,
it
of
to absurdity
it,
could
etherial, far
so delicate
instantly
away
is
Beethoven's handling
of filigree work, a rough
destroy
effect of the
Rhythm, together with the
The
it.
melody
by the syncopation of the
entirely
We
very slightly, reduce
this passage
that, like a fine piece
hand
depends on
all
used in connection with rhythm.
is
it
therefore
effect
its
first
beautiful,
is
produced
note of each
contrast effected
by the
composer's resisting the temptation to repeat the

syncopation in the corresponding place on the note A.
Such a passage
wanting,
as this
how much
would prove,
the
greatest
if
proof were
masterpieces
of
music depend on an extreme delicacy of handling

in regard to
rhythm, to which the executant,
wishes to realise them in their

give at least as
much
full
recognised,
he
grandeur, must
attention as to the correctness
and tone quality of the actual notes.

always
if
even
by
some
This
eminent
is
not
per-
io2
formers, and
is
it
not infrequent to hear a perform-
ance in which brilliancy of technique
is
relied
evoke applause, rather than careful and
on
to
intelligent
accentuation and phrasing.
Where
a lengthy syncopated
normal accent
passage occurs the
generally heard, either in the syn-
is
copated passage
some other
or in
itself,
carried
is
on without
support, so that the hearer, unless he

the passage,
is
apt to
lose sight of the
case he
no longer
but
Schumann's music,
there are cases, especially in
which the syncopation
part
is
in
this
familiar with
become bewildered, and
to
normal accent altogether, in which

feels the
syncopation as such.
In
the well-known passage in his Pianoforte Concerto,
Schumann omits every
12
fag
alternate
normal accent, thus
Ex. 26.
34
Schumann, Pianoforte Concerto.
EÊSE
:&
PP
^SW^feeisi^
^Ê^MfElrf
1/
:&
51
'
SYNCOPATION
The
easily
listener
'
six
is
Duple, and the phrase
Measures, thus,
J r Jr U-i Jilr IJ r J-J* lir-Jr-
until
he
may
does not see the conductor,
imagine that the time
one of
who
103
is
undeceived by
passage, in which
all
the
-i/J r Jr ji
I
repetition
of
the
the normal accents are heard.
The rhythmical scheme is that of the so-called

Deuxtemps Valse " in which Falling accentuation
takes place, and the steps of the dancers are guided
by the accents on each alternate
by
bar, rather than
those of the single bars.
Hungarian and Bohemian music

its
well-defined rhythms.
stant use of Syncopation,
This
is
is
noticeable by
due
to the con-
which involves a strong
of accentuation on the naturally accented
increase
notes of the individual Measures or portions thereof.
The kind
music
of Syncopation specially peculiar to this
differs
from that usually found
in
classical
music, in that the lengthened note completes the
Measure or Half-measure, and

is
begun
after each
long note.
a fresh Syncopation
Our meaning
be made clear by the following comparison

Characteristic
Hungarian Syncopation ^Pj
Ordinary Classical Syncopation
The
makes
result
is
that
a strong stress
the
\J\F*
performer
will
JH"1
^^
\
instinctively
on the short note, and through
RHYTHM OF MODERN
io 4
this
means the music becomes
and
exciting.
Syncopation in
peculiarly to suit the
and
abounds
it
guishes
is
is
the rule
forms seems
its
all
melodies as well as in the

this peculiarity that distin-
is
music from ours, for their use of
their
harmony
It
vigorous
intensely
temperament of these peoples,
in their
accompaniments.
MUSIC
simple enough.
with us
it is
vigour of the music
itself,
fervour with which
formers gives
it
the
it
With them Syncopation

The natural
exception.
and
still
more, the intense
executed by native per-
is
a peculiar
charm
to us
there
spontaneity, an enthusiasm that carries us away.

is
good
for
it
accent
accent
In
when
for us to play
it
and
to hear
it
is
a
It
sometimes,
kindles in us a feeling for the importance of
more
perhaps, any other music
than,
and
of great importance in most music.
is
the
early
as yet
part
of
the
seventeenth
century,
Folk-music was looked upon
as
un-
worthy of the attention of serious musicians, the

attraction
of syncopation was
would sometimes
"Lombardic"
felt,
deliberately use
style
it
and composers
and
of composition.
posed to have been invented by Vivaldi.
êe
Spitta's
"Bach," English Edition, Vol.
It
call it
was sup-
I.,
the
p.
414.
CHAPTER V
Duple
Time
Signatures
Melody
Temporary
Change
Brahms'
Accentuation of a given
of the
Mastery
Changes of Species
Rhythm
of
Quintuple
and
Time
Septuple
The
Time
Triple
against
make simultaneous use of Duple
to
ability
and Triple Measure introduces an element
j) upie against
of contrast and variety which especially Tripk
Time.
appeals to the intellectual side of our artistic feeling.
Bach employs
more use of
and Beethoven
it,
composers apply
form of
time
so-called
These
in the familiar
accompaniment frequently
the
form
Alberti
more.
still
most part
some simple arpeggio
repetition of
this
Mozart makes
accompaniment against an even-
and
consists of the
In
for the
it
triplet
melody,
figure.
device rarely
this
Bass,
it
is
which
development of the
consists
of keeping
up an undercurrent of Subsidiary rhythm by means

of broken chords.
It
goes without saying that modern composers
have not neglected the
possibilities of a
of so intellectual a character
and
in
combination
place of the
106
occasional triplet arpeggios of Beethoven,
whole
by Brahms,
pieces,
melody
for example, in
we
find
which the
Duple and the accompaniment Triple
is
throughout
and the triple-measure, whether Primary
or Subsidiary,
not confined to simple arpeggios,
is
but often forms a definite and beautiful figure, as
melody
interesting as the
The
use of two opposing species of rhythm at
the same time

delights.
is
one of the paradoxes in which music
It is also
another instance of the remarkable
stage of development
who
fail
to
tries to
life
do two things
No
in each.
which the musical brain
to
In ordinary
has advanced.
he
itself.
it
at
is
supposed that
once
is
liable to
two things- could be more opposed
one another than the division of a given space
of time into two equal parts and into three equal

parts
yet musicians are able to do the one with
their right
hand and the other with the
left,
and not
only to find intellectual pleasure in the task, but to

give pleasure to their listeners through the refinement
of
artistic
The
sense that such
feature
we
have to do with
said,
very
work demands.
allude to
classical
is
familiar to all
music.
much more used now
It is, as
who
we have
than formerly, and
in place of the triplets being merely an accompani-
ment
as
to the
melody, they sometimes take their place
double
counterpoint
beautiful example
is
that in
to
it.
Brahms'
particularly
F Major Sym-
DUPLE AGAINST TRIPLE TIME

phony which we quote
in
The
Ex. 27.
107
triplets are
here syncopated into one another as are the dactyls

in his
the
Major Symphony, quoted

form
triplets
double
Ex. 25
in
counterpoint
to
but
the
melody, while the dactyls are merely an accompaniment.

Ex. 27.
Op.
F.
3,
90).
Andante.
x^
^^P
EteS
rpgf
EB3
r^r
*i
In this Andante the chief melody

simply, without Subsidiary rhythm.
of a particular passage
is
is at first
heard
Since the effect
mostly due to
its
con-
nection with what has gone before the composer

will, as a rule,
seek to enhance the interest,
he repeats a melody, by some change
when
and one of
RHYTHM OF MODERN
108
the most potent

to
it
at his disposal is the addition
of subsidiary rhythm which has not previously

In the present case Brahms adds orna-
been heard.
mental
of
passages
semiquavers
At
means
MUSIC
the
at
Subsidiary
first
triplets
of Ex. 27
in
even
repetition of the melody.
second repetition he gives
its
rhythm
it
the syncopated
and whether our readers agree
or not with our contention that the use of triple

against duple subsidiary measures
lectual
is
of more intel-
than emotional significance, those
familiar with this
symphony
who
are
will probably feel with
us that the slow triplets above the melody
make
strong appeal to the intellect, and that the passage

is
of deeper import than
its
predecessor with duple
ornamentation.
In the
Sonata,
first
Op.
movement of Richard
18,
Strauss 5 Violin
the intermingling of duple with
The
measures
is
used in a striking manner.
normal rhythm
is
duple, and each bar contains two
triple
Primary Measures.
The
first
chord of Ex. 28
preceding Rhythm.
with the D, which

its
is
the final note of the
The new Rhythm commences

is
an Anacrusis, and
accented note, receiving something of
is
tied to
its
accent,
the second and third Measures being contracted into
one
with
triple
the
Measure.
At
this point the violin enters
Anacrusis of the third
Measure of
Rhythm, whose two previous Measures
its
are repre-

DUPLE AGAINST TRIPLE TIME
sented by rests.
But
109
since the piano has contracted
second and third Measures into one, and has
its
Ex. 28.
R. Strauss (Violin Sonata Op. 18
First Movement).
1
Violin
^g=^j^^gj
if:
End
of
Piano. J
Rhythm
2 and 3
W i H s**
fc=t
Anacrusis.
Anacrusis.
fefarftoM
2 and 3
3^
e:
te
wj
iN
fct*
L b,
last
its
the
ra
-4
=t=t
"#
-#
""IF
rhythm-species from duple to
note of the violin's
the piano's
*T
Anacrusis.
"#*
changed
Rhythm
falls
triple,
on the
new Rhythm, forming on Overlap.
Overlap occurs
both
with
the
two
first
the
of
And
instru-

no RHYTHM OF MODERN MUSIC
ments together, and with the piano alone
three-time
latter's
together
of
bar
is
Rhythms,
two
numerals in our example.

results
in
duple with
kind
as
of
indicated
by
the
This seeming confusion
novel and delightful combination of
triple
it
for the
telescoping
rhythm, which gives both players
and audience a pleasurable exercise of the
Moreover,
intelligence.
by no means a dry experiment
is
it
has an aesthetic significance in the tumultuous feeling
with which
it
introduces the succeeding appassionato
melody.
temporary change from duple to
Temtorar
Changes of
or vice versa >
much used
in
triple species,
tne principal melody,
modern music, and
is
often
produces a delightfully fresh and unexpected
effect.
The change
Primary values,
as
in
can
Ex. 29,
take place in
but
it
more
the
fre-
quently affects the Subsidiary Measures, as shown in

Ex. 29.
Brahms (Serenade Op.
1 1
First Movement).
1st
Rhythm.
t*
Pei
-o-*
^
espress.
nips
-<s>-
d:
r<SH
-s
TEMPORARY CHANGES OF
SPECIES
Ill
2nd Rhythm.
r-
m
$
^r-
-&
iGt
&
m
&m.
a.
L&UdA
I
FH^
-
:z2
r r
P-P|
=ft 1
t=
Ex. 30, where the fourth bar leads the mind to

expect a series of triplets, and a surprise
is
experi-
Ex. 30.
3,
Op. 90).
Andante.
JBJ - J U
SEE
espress.
&EE
zScg a:
_
r
enced on the
f
last
22:
P" -rjr
i ô:
rr
f
beat of that bar by the sudden
return to the duplet form of Subsidiary Measure.
RHYTHM OF MODERN
ii2
The
various combinations of five notes
four, seven against six,
the
MUSIC
of
principle
against
and so on, are extensions of
duple against
They
triple.
rarely used as yet for lengthy passages,
are
and are most
frequently found where a scale or arpeggio requires
one or two extra notes to arrive
at
destination,
its
while the accompanying passage can get there with
normal number of notes.
its
Sometimes, however,
such mixtures of notes can be used to

highly agitated
effect, as
produce a
the " Storm " in Beet-
in
hoven's Pastoral Symphony, where the disturbance
of nature
is
expressed by the violoncellos and double
playing quadruplets and quintuplets
basses
taneously
and
for such
simul-
purposes they are coming
now than formerly.

In Chapter II. we referred to the relations between
the Time Signatures and the Measure and
Tjme
Signatures.
The reader will by this time
t ie j>ar.
more
into use
have become well accustomed

expressed, and
further.
It
we must now
will
be
30, that although the

each,
Ex.
we give
29,
discuss
noticed in
Time
the
to
and two crotchets
to
in
the
there
subject
Exs. 27, 29, and
Signature
two minims
idea
is
the
Exs.
the
same
Measure
27
in
in
and 30.
In other words, the Measure equals the Bar in the

first
instance,
and the half-bar
The methods of
in the
indicating the
other two cases.
Time
or
Rhythm
species in our system of Notation have been allowed
TIME SIGNATURES
grow up more or
to
always been, and
random, and much has
less at
still
This
experience of the performer.
insight
and
only natural,
is
no system of notation can possibly be devised
for
meet
that will
music
art as
the requirements of so subtle an
all
and unless there
composer and performer,

its
the
to
left
is,
113
due
effect,
by notation
even
is
if
sympathy between
is
composition must
fail
of
everything that can be intimated
conscientiously observed to the letter.
The performer must
feel
what he plays
no amount
of printed signs can supply the want of understanding

the composer's intention.
We
do not
mean
by
this
imply that an
to
absolutely correct performance will be entirely with-
out value
directly
such an idea would be dispelled at once
we think of
the delight given to thousands
by the many mechanical musical instruments that

have for the
last
three centuries been playing music
with an exactness that
We
mean
performance may be,
fingers.
is
unapproachable by
good
that,
it
as a
human
purely correct
can never represent the spirit
of the music in the sense of mind speaking to mind

hence
it is
that a piece played
understands what he
tion,
same
even
if it is
piece
is
about
by
human
will give
more
who
satisfac-
mechanically less perfect than the
played
without
understanding
machine, or a mechanically perfect
As
being
human
a guide to the construction of the
by
being.
Rhythms
Time
the
Signatures are
vague and undecided,
still
though with the rapid increase

the
means of expression
that
taking place in
is
this difficulty
gradually dis-
is
appearing, and composers are becoming
by
to indicate their rhythmical wishes
The
Common-time Bar
so-called
In the
first,
the bar
more
careful
their signatures.
of two kinds.
is
equal to the value of two
is
minims, the minim being the Primary value, and the
Rhythm and Period occupy

Bars as Measures.
is
the
case,
Properly
though the perpendicular

frequently omitted, yet
more
their
signature
line
no.
must discover
Measure
in
be
found
himself that
for
are of equal value
In Exs.
The
known
signature
and 23
(p
in
matter than
this
bar with
Ex.
i i
as Alia breve time.
the
the
page
Bar and the
all
fact
by
ambiguity
what
is
his
is
Primary,
and
legato
obviated.
technically
It signifies that
the breve
two minims instead of four
crotchets, or, according to our theory, that the
value.
still
but the careful modern
indicates
to be divided into
the
is
In such cases as these, the performer
signs.
is
and
Exs. 15, page 59, and
in
composer usually indicates the
is
(f
this
modern composers show
50, and with the signature
29, page
be
to
through the
careful
will
when
speaking,
The two-minim
predecessors.
proper
same number of
ought
Signature
the
tendency to be
the
the
The conductor
is
crotchet
at
the
liberty to
minim
Subsidiary
make
four
TIME SIGNATURES
ii5
beats in the bar if he wishes, in what
ought to be
Alia breve time, whether
marked by or by
but
he will be counting the Subsidiary and
in that case
not the Primary rhythm
he
require
will
sixteen
instead of eight beats for the four-measure phrase,
and
at a
he
as a result
probably take the
will
slower pace than the composer intended.
In the second kind of

the signature
pound, since
The
is
it
crotchet
is
-J
Common
Time,
properly C, the bar
is
which
in
com-
really
contains the value of two Measures.
here the Primary note, and
composers now indicate

ture
movement
many
by using the signa-
this fact
instead of C.
Ex. 31.
TSCHAIKOWSKY ROMANCE.
Andante Cantabile.
**
EffiE
=3:
SWee
Rhythm.
1st
êra
:btt:
dolce.
f-^&-
rv
H-
3,
-4-
-dfLJk
*
2nd Rhythm.
.**
4-4
* * ;*
zber
End
m^>
*^^+zXj&
of Period.
=jat=z<fcp
RHYTHM OF MODERN
n6
Ex.
In
bar
2,
the
first
the
first
first
bar
being occupied by two
The
at bar
The
each
at
Pre-
on the sub-
Full Close
end of the
3 clearly indicates the
Rhythm, and the
at bar
commences
Period
31
liminary Measures.
dominant
MUSIC
full close in the principal
shows the completion of the
first
key
Period.
Bars are evidently therefore of two Measures

:
Primary note
the
the
is
crotchet,
and the
quavers give Subsidiary rhythm.
The use of the C signature, as

compound bars, that is, in its right
to the question of Rising
whose existence
is
it is
sense, gives rise
and Falling Accentuation,
When
denied by some theorists.
a bar contains what
time,
Ex. 31, for
in
known
usually
is
generally accepted that the
as
Quadruple
first
and third
crotchets are accented, and the second and fourth are
and
unaccented,
that
accented than the third.
the
first
We
is
are
slightly
more
ready to admit
that
the difference of accentuation
most
cases as to be almost imperceptible, but that
is
so slight in
does exist will hardly be denied, even
if in
degree as to be ignored
Assuming
it
in practice.
it
so small a
that
exists, the phrase, if its first accent occurs at the
Bar-line, will
which the
the second.
fall
first
into pairs of measures, in each of
will
Hence
tion will take place.
be slightly more accented than

a Falling
If,
Rhythmical Accentua-
on the other hand, the
accent occurs on the third crotchet of the
first
first
bar,
TIME SIGNATURES
117
Rising Rhythmical Accentuation will occur.

are isolated cases in
which a composer seems to wish

the Rising Accentuation by
to specially point out
writing in
Common
time instead off, and beginning
For
with a half bar.
in this
to bring the closes
on the
first
according
or
he
to
rule,
in
Did he arrange
way.
movement of
minor com-
it
thus in order
instance, the last
Mendelssohn's Pianoforte Trio
mences
did
note of their bars

feel
the
difference
between Rising and Falling Accentuation
Where
there are
two measures
cluding chord of a Period will

or
second
the
Accentuation
accent,
is
There
Rising
fall
according
or
in a bar, the
on the
first
whether
the
Ex.
33,
either
to
con-
In
Falling.
page 120, the Period ends on the secondary accent
Ex.
in
7,
Feminine
Ex. 3
page
Close
the closes
the
42,
suspension
comes on the
fall
same
in
the
place.
In
on the third measure, and are
sustained into the fourth to complete the
Rhythm,
which has Falling Accentuation.

All that
and
is
we have
said regarding the Signatures (p
applicable to the other
the only difference
being that
Even-time signatures,
the others have no
means of distinguishing whether there are
to be
one
or two measures in the bar, so that the performer
must
rely
on the Closes and Caesuras.
page 41, the phrasing
is
distinctly
In Ex.
6,
shown by the
composer to consist of one measure to a
bar.
In
n8
Ex.
page 42,
7,
ring as
clearly
it
shows
Ex.
In
does
Feminine Cadence,
the
at the
second half of the bar, equally
two measures
that there are
page 194,
52,
occur-
the
in the bar.
form of the
dactylic
bars leaves no doubt that they contain one measure

each.
The
Signatures
bars
indicate
^ and
one
containing
Primary Time of which

quaver
respectively.
the majority of cases
in
-|
measure
the
is
The
This
measures.
form
are
and
the
simple,
and
number of
shown
is
the
crotchet
bars
the Periods will contain the same
each,
bars as
many of our
in
examples.
But the Signature \

with
compound
case
the
Rhythms
bar
(or
can sometimes be used
-|)
bars for duple measures, in which
contains
consist
of three,
and
measures,
three
six,
or
the
nine measures.
It will
Ex. 5 page 38, shows an instance of this.
be seen that the first Rhythm, here quoted, contains
j
six
duple measures in the form of anapaests.
succeeding
measures.
Rhythm (not quoted) contains nine such

The duple give way to triple measures in
the form of triplets at bar 13.
In the second section
of the piece, where the key changes to
signature
The
is
major, the
repeated, but the bars are simple, as
indicated by the legato signs.
Thus
a short composition the signature
compound and simple
bars.
in the
is
course of
used both for
TIME SIGNATURES
No
doubt the idea that
for duple measures will
who
bar
be used
this signature can
come
as a surprise to those
are accustomed to the orthodox view that the
But
equivalent to a measure.
is
such
from which Ex.
in the piece
if
is
we take
it
as
quoted, the
unmanageable length, and
result will be a phrase of
we
119
not only ignore the composer's intention, as
shall
distinctly indicated
by the
legato signs, as well as
the half-closes in bars 2 and 5 (showing that the
two Rhythms are
by
first
two and
to consist respectively of
three bars), but shall leave unnoticed the fact that
the succession of anapaests gives the impression of
duple rather than
With
measure.
triple
the Signature
or
the Primary Measures
When
are either duple or triple.
they are duple the
two portions of each measure are divided into Subsidiary
Measures of the
species, as in
triple
Ex.
8,
This arrangement of time is more convenient for quick than for slow movements, and the
page 42.
bar
is
In
simple.
his
Intermezzo, Op.
Brahms shows
-|,
this
118, No.
4,
kind of barring not by
with quaver triplets as
f would probably have been
the
Ex.
-|,
32,
but by
Subsidiary rhythm.
the signature here with
the majority of composers, but
Brahms seems
to
have
chosen f to enforce the fact that the Primary duple

is
divided into triple Subsidiary, and the four
measures of the complete
Rhythm occupy
the space
120
of four bars, not two,
as
might be inferred by the use
f signature. The most general use off in slow

movements is with bars containing the value of two
of
Ex. 32.
Brahms (Intermezzo Op. 118, No.

Allegretto
un poco
measures each,
4).
agitato.
as
in
The mind
Ex. 33.
appreciate large intervals of time, and

to
it
is
cannot
necessary
keep the groups of measures which constitute
complete
Rhythm
within a measurable space of time
hence arises the different use of
-|
in
slow and quick
movements.
Ex. 33.
Brahms (Three Intermezzi Op.

Andante moderate.
P
-T=fc=fi
fefc=ifc
1st
117, No.
1).
Rhythm.
dolce.
f^f
T=F^
TIME SIGNATURES
End
2nd Rhythm.
of 1st Period.
121
si
^==j:
*-h*
*"ii^
Masculine ending.
But there
for
'
I
more
another and
is
Ex.
difference.
this
r .
might
33
have
written with bars of three quavers each,
the signature
case
but
mercy of
at the
Measures
to the bar
first
we
of
accentuation,
given
by
falls
with
in
that
giving two
the full close at
on the weaker of the
hence
keeping
in
character of the
is
i.e.
obtain a stronger accent on
and
measures,
By
the player.
of each pair of measures
the end of the period

pairs
lost
been
rhythm-accentuation, or this feature would
its
have been
the
would have
it
reason
subtle
we
with
have
the
Falling
cradle-song
movement, while an inward strength

the
Anacrusis
and
the
masculine
closes.
The
f time are either equivalent to

three Primary Measures each, or to one Primary
bars in
Measure.
In
-|
or
both
Primary or Subsidiary,
cases
is
the
rhythm,
whether
of the Triple species.
Ex.
34 shows a peculiarly beautiful use of -| bars for sixmeasure Rhythms. The first accent is Preliminary,
RHYTHM OF MODERN
122
MUSIC
Ex. 34.
3,
Op. 90).
1st
Rhythm.
Grazioso.
P-
7>
i^
mezza voce
Caesura.
32
32
3d
=d=
3
3=t
:
2nd Rhythm.
&#
i
Feminine
End
close.
~=
=t
of Period.
2*
at
32t
3d:
and the rhythm proper begins with the Anacrusis E,
Since
sharp.
each
Rhythm and
half
Rhythm
begins on the unaccented portions of bars, and ends
with the bar-accent, the accentuation

order.
the
The
word
grazioso, to
end of the
second
character of the music
first
complete
Rhythm
the Period
full close.
of the rising
is
indicated by
which the feminine close

gives
effect,
Rhythm commences without
The end of
is
is
decisively
at the
while
the
the Anacrusis.
shown by the
CHANGE OF ACCENTUATION
A
charm
peculiar
given to the second
is
123
Rhythm
by a device made familiar by Beethoven,

.
Change of the
consisting of the repetition of a few notes
Accentuation
of melody and harmony with a new dis-
-L
on them
tribution of the accents

first
four notes of the
A,
sharp,
not only
is
first
Rhythm, E, F
are repeated in the second
the accent here on
sharp, but the
cut off
is
P,
the
i.e.
ven
sharp,
Rhythm, but
sharp instead of
by the bowing, and
given to the preceding Rhythm.
This nuance
may
be conveniently called " Diaeresis of Melody."
may seem
but
details,
unnecessary
such
into
minute
these details which, in their collective
it is
make up
whole, go to
go
to
It
the character of a composi-
tion.
An
example of
simple, will be
in
Signature, in which the Bar
found
in
Brahms' Pianoforte quartet
minor, Op. 23, in which the
Intermezzo, ending with a

nant,
each
contains
Rhythm
Whether
to
full
first
close
four-measure
three
is
Period of the
on the domi-
Rhythms, and
occupies four bars.
the bars of any particular signature are
be considered as
we
compound
have
decided,
as
cassuras,
and the tempo
or simple
must be
shown, by the closes

will
also
and
have to be con-
when no indications are given for it must

always be remembered that too long a phrase without
sidered,
a break
conduces to a sense of weariness, owing to
RHYTHM OF MODERN
i2 4
want of
MUSIC
It is
grasped rhythmical divisions.
probable that the " dryness " formerly associated in
its
the public
easily
mind with Bach's wonderful organ fugues,
so full of rhythmical interest, was chiefly
due
idea which seems to have prevailed in the
many
organists
one long wearisome
in
minds of
must be played
these works
that
to the
from beginning to
legato
end.
we cannot refrain from

one more of the many cases in
Before leaving this subject
noticing
which Brahms shows his peculiar grasp
Mastery of
"
'
of the science of rhythm and
effective
method of
most
its
In his Second Rhap-
notation.
sody, Op. 79, Molto passionato,
ma
non troppo allegro ,
the Subsidiary Measures are triple throughout, and

are
written
would
have
nature here;
him
to
contain
two
Many
triplets.
tempted
use
to
composers
-ig2-
the
sig-
but Brahms' unerring instinct caused
signature,
Primary
Rhythm
same general
J 2g
been
use the
Subsidiary
the
quaver
as
effect
and make each bar
Measures,
that
is
triple.
while
No
it
is
the
doubt the
could have been obtained by
signature and the avoidance of triplets, but
the notation would in this case have suggested triple
Primary instead of Subsidiary Measures, whereas

the
C makes
it
clear
that
the
Primary Measures
are duple.
We
have now to speak of a method of combining
QUINTUPLE AND SEPTUPLE

two
the
Rhythm which
of
species
125
gradually
is
being more and more used, as composers
are beginning to realise
and Septuple
what
We allude
for fresh
to
opportunities
its
is
called Five-time
\ or by
the signature f
Rhythm, represented by
and
alternate bars of triple
duple time.
Quintuple
was much
time
ancient Greeks, and
found
is
in
favour with
the
in
the
folk-songs of
the Finns, Turks, Negroes, Basques, and in Bavarian
and Bohemian dances.

said to be
can therefore hardly be
It
an unnatural kind of rhythm
much connected with

favour when our classical
in fact
it
was, perhaps, too
the people's
music to find
instrumental
music began to
rhythm
tuple
Whatever the
rise.
so
is
rare
with
us
cause,
that
Quinnot
is
it
familiar to the musical public, or even to musicians,
and
it
is
therefore
something of an
There
is
apt
to
be
looked
nothing unnatural
:
Brahms has shown us
If the
of
in a succession
our English poetry makes use of verses of

blank verse.
as
eccentricity.
measure Rhythms
in
upon
mind can
this,
five-
and
five feet
easily appreciate a
Rhythm or a verse of five measures, there seems no

reason why it should not grasp a bar of five portions
it
is
only because such rhythm has fallen into disuse
that
while
our appreciation of
we
can enjoy the far
it
has become atrophied,
more complicated
triplets
126
against duplets, with which the great masters have
made us
We
familiar.
have explained in Chapter
that the
II.
mind
does not accept a group of more than three notes
without imagining a secondary accent
we have
notes
equal
four
accent on the third.
same
succession,
in
on the
stinctively place an accent
that directly
first
and
we
in-
secondary
In the bar of five beats the
instinct leads us to place
an accent on the
first,
and a secondary accent on the third or fourth beat

if
we attempt
and
accent,
imagine the bar with only one
to
the
of
rest
the
beats
we
unaccented, as some have suggested,
rhythm
five-time
impossible.
is
The
and
repulsive
only question
is
Triple
and
in the
in
as to
equally
shall
peculiar,
if
find
not
which beat
whether the bar
to receive the secondary accent,
to be divided
all
is
order Triple-Duple, or Duple-
many
cases the
composer arranges
the matter for us, either by placing a dotted barline
before the secondary accent, or by writing Triple and
Duple
ways,
bars alternately.
we must be guided by
tion, or
no
If he adopts neither of these
clue,
the harmonic construc-
by the phrase-indications
we
shall
have to
distinction in whichever
trust
way we
and
an
to
feel
Moreover, the order of the grouping
if these
it
give
arbitrary
to be best.
will
be some-
times changed, either by the composer or by our

feeling.
That
group of
five
equal notes with only

one accent
possible,
is
attempted
is
it
vagueness of
we do not
believe
and
if it
can only lead to an unsatisfactory
effect.
Five-time rhythm
used
is
mind
intense agitation of
for the
of
portrayal
second scene of the
in the
Wagner's " Tristan," and
third act of
127
in
Handel's
opera " Orlando," of which passage Burney, steeped

as
he was in
Italian
methods, remarks that
it
"a
is
division of time which can only be borne in such a

situation."
Chopin uses ^ rhythm
his sonata in
minor.
crotchets, the third
in the
The
slow
first
it is
is
two bars are
in
and fourth of which are joined by
a legato sign, the rest being staccato
third crotchet
movement of
moreover, the
a chord of the diminished seventh
thus singled out from the other crotchets, which
are tonic triads
hence everything combines to place
the secondary accent on the third crotchet, and the
bar therefore consists
Triple Measure.
Since
of a Duple followed
we maintain
that a
by
composer
nearly always indicates his general rhythmical idea in
the
first
two or three measures, we must take
this as
the prevailing accentuation of the succeeding bars.
Paderewski makes use of J time in the second

section of his " Chants des Voyageurs," No. 4. The
movement
is
headed Andantino
further direction,
1
misterioso^
in
mistico,
the
Burney, History, Vol. IV.,
p.
and there
first
364.
bar.
is
The
RHYTHM OF MODERN
128
MUSIC
character thus indicated in the heading
by the rhythmical scheme, the accents

section (in
supported
is
in
the
first
time) being displaced by various means,
and the accentuation of the beautiful chord-successions

of the second section,
a
time, being arranged in
in
of orderly disorder,
sort
The whole of
mystifying the hearer.

consists
of repetitions
Period
of
four
accentuation
The
mind.
first
two
section
this
various keys of a single
in
bars
becomes
the intention of
with
in
length,
impressed
gradually
bars,
whose
owing
unusual
on the
to the construction
of their melody, give the impression of being divided

into Triple-Duple
Measures; and by the same means
the second pair of bars give the opposite impression,

viz.
|,
Hence we
of Duple-Triple.
and
The
J, f, within a single Period.
phrasing
others, generally
of
Quintuple
for
time
is,
like
all
by four-measure Rhythms, the four
Measures consisting of
Thus,
get a mixture of ,
example,
alternate three
and two-times.
the passage of " Tristan f
in
referred to, the orthodox
form
is
retained, in spite of
the agitato character of the music.
The harmonic
structure, in which the closes are artfully concealed,
so as not to check the
onward flow of the music,
makes Rhythms of four Measures
each, the measures
being alternately triple and duple, and the five-time

bars contain two measures each.
In
the
Paderewski
example
exactly
the
same

relations
obtain
Rhythms
Paderewski
between the Bars, Measures, and
but here there
the
first
Rhythms, ends with

hence each
The
no attempt
is
The Chopin movement
the closes.
of
like that
a full close in the fourth bar,
second Period, of 4
bar
is
to conceal
Period, of two four-measure
Primary Measures.
two
contains
bar
full close in
129
Measures, ends with a
9.
song "Agnes," Ex. 35, which is fundamentally in J time, Brahms shows how expressive
In
his
Ex. 35.
Brahms ("Agnes" Op.
59).
1st
Con moto.
poco
Half-Rhythm.
fczfe
s=& 3
-H5
Je:z1E-;l
Ro-senzeit,
wie schnell vorbei, schnell vorbei
2nd Half- Rhythm.

I
poco
*=t=
IF
bist
du doch
music can be
alone.
trives
to
By
ge
made
gan
gen.
through
phrase-construction
an exquisite delicacy of touch, he con-
throughout the song to give intense pathos
certain
salient
ideas
repetition of the second
Rhythm, while
retaining
second Half-Rhythm.
by echoing
them
measure of the
the
first
normal form
in
Halfin
the
RHYTHM OF MODERN
130
Tschaikowsky uses rhythm
phony
in the
accent on
its
in
MUSIC
Sym-
his Sixth
order ^, J, each bar having
its
third crotchet throughout
secondary
the
move-
ment.
Seven-time rhythm
triple
is
either a combination of a
with a measure of four Primary values, or
it
forms a seven-measure Period.
The
first is
exemplified in Brahms' Variations on a
Hungarian Song, Ex. 36,
which the crotchet
in
is
Ex. 36.
Brahms Variations on
Hungarian Song (Op.

1st
21,
No.
2).
Rhythm.
feiigSfE
f
2nd Rhythm.
00-
*S
J.
the
PS
rF
Primary note and the measures succeed one
another in the order f ^.

The
Period of eight Measures, and
,
divided by the
Theme
its
first
consists
of a
Rhythm
is
harmonic construction into Half-
shown by our analysis. In the first

Rhythm each group of seven Primary notes forms a
Rhythms,
as

Half-Rhythm,
closes.
are
clearly defined
and
continuous,
by the half and
Rhythm
In the second
the
131
full
the four measures
of
result
whole
the
is
delightful.
Ex. 37.
Slanca
F.
from " Chansons

Z. Kuhac.
Nationales
Rhythm.
1st
^fl
j*P
ft*
Ne-coj
i
I
bo
^fe
pa
slanca
2nd Rhythm.
ist
na-ze-
:;,:,!
t~
j-t
Rhythm.
234^
7 ||i
rags
5-+vT*#-5
13^ S
le-ne travnike
End
pad -la
mmnmi4m
234567M1
du Sud."
Slavs
des
bo za
*BB5
gvisno
po-mo-ri
- la
vsete
of 1st Period.
L
2nd Rhythm.
^sîpi
drobne
ro
rP-
End
-
zi
ce.
^f
of 2nd Period.
RHYTHM OF MODERN
132
The
method
other
words are
happens
The
37.
in vocal music, the single feet
words do not
the
Ex.
in
in ordinary verses of four feet each, but,
as frequently
of
shown
is
MUSIC
correspond
measures of the music.
In the
to
the
single
present case
the
verse of four feet covers seven Measures, and the
ends of the Rhythms are carefully defined by
closes.
The result is that the four verses are applied to four

Rhythms of seven Measures each, making two
Periods.
Saint-Saens, in his Etude, Op. 52,
No.
4,
changes
the Diaeresis 1 of two sets of notes having exactly the
same appearance on paper, by

from f to
In
the
crotchet
a
is
duplet,
and a
--,
is
the Primary
divided into a
In
triple
making
f SJ2S2 Decomes Jjjjj
thus,
crotchet
-|
altering the signature
the
quaver
time measure
compound
J
triplet,
is
is
note
the
first
the second into
the Primary
note,
succeeded by a duple,
time bar.
See page 43.
CHAPTER
VI
Schubert's Rhythms
Beethoven's Rhythms Half- Rhythms Three Measure
Rhythms Five-Measure Rhythms Rhythms of Seven
Importance of the Four- Measure
Rhythm
Measures
Up
to the present
four-measure
the
to
we have confined our
....
occasional allusion
Half-rhythms.
Rhythm, with an
,.
to
its
Upon
r
this
built,
form of phrase
to the bar or the
rhythmical
all
Rhythm
structure
Measure
Rhythm.
built,
for
by
far
music, whether classical or
+ 2, whether
applied
undoubtedly the
easiest
For the balance of
otherwise.
Importance of
t^ e pour_
and must always be
the largest portion of
into
division
is
attention
is
the
mind
to
grasp,
and
therefore the one that gives the satisfaction to the

greatest
number.
Moreover,
rhythm leaves the mind

ties
rhythm
is
easily
grasped
free to appreciate the subtle-
of the Melos with which
essence of
an
it
is
clothed.
The
balance and due proportion,
and by dividing time into four equal parts we obtain

the most satisfactory balance.
Our
readers will have noticed that in
examples the close which ends a phrase
some of our
falls
on the
134
third
measure instead of the fourth, but that by
extension or repetition of the final chord or note, the
due proportion of four measures of time
The same
result
would obtain
were represented by
would
still
be entirely
the
of time
a rest, for the balance
with sound
substance
essential
preserved.
the final measure
if
Rhythm would
be kept, though the

filled
is
and time,
after
all, is
rhythm
of which
out
not
is
made.
composer
will
sometimes, however, place his
concluding chord on the third measure, and cut off
and the Rhythm
the fourth altogether;
consist of three measures only.
This brings us to
the important subject of the divisions of the

into other than four measures,
uneven numbers, such

divisions,
which are
music, were
posers,
as
occasionally
more
three
used
Rhythm
especially into
These
and ve.
known
well
in
by the older comin
present day, because audiences are becoming
and
enjoy
departures
where we find
in
with
folk
certain
but are becoming more in evidence
cultivated;
then
will
increasing
cultivation
from the beaten
more
they
Thus,
track.
Mozart or Beethoven an
the
occasional
Period with two or more three-measure Rhythms,
Brahms and
compositions
measures.
his
on
And
successors base whole
Rhythms
these
of
other
composers,
sections of
than
greatly
four
daring,
often obscure the endings of such phrases, so that
it
IMPORTANCE OF FOUR-MEASURE
to say
is difficult
and a keen
135
where one ends and the next begins,
intellectual pleasure
experienced.
is
In the classical music of the eighteenth century

(apart
from that of Bach) the Rhythms are very
precisely
shown
by cadences, so
that
unlearned or careless listener cannot

them.
fail
the
to perceive
Into the formal moulds which resulted, the
composers poured the inspirations of
great
most
their
genius, giving expression to the highest aspirations
of their time with marvellous

grace,
the
formal
in the
courtly
and manners of the
etiquettes
century are reflected
The
skill.
music of Handel, Mozart,
and Haydn, and their contemporaries, who used

well-defined forms for their
own
duced through them music
Greek drama,
will
purposes, and prothe
that,
like
to
make
continue
ancient
appeal
to
generations yet unborn, in spite of a simplicity of

construction that
spirit
is
no longer
keeping with the
of the age.
The human
feeling that
efforts of artistic genius
for
in
human
is
expressed in the highest
makes
its
nature never changes
appeal to
all
ages,
only the methods
of expression vary with the different generations, and

for a
his
be
a
modern composer
to try and give expression to
emotions with the formality of a Mozart, would
much
the same as if he were to appear in public in
powdered wig and knee breeches.

But Mozart and Haydn sometimes
tried experi-
RHYTHM OF MODERN
136
ments with new forms of Period.
would
construct
MUSIC
For
instance, they
one of three-measure Rhythms,
or they would extend the orthodox form by one or
more measures
clearly
but they never
Thus
what they intended.
indicate
to
failed
they
obtained
variety in their rhythmical schemes, without offend-
ing the tastes of their day.
Towards
the end of the eighteenth century
man-
kind was beginning to weary of formality, and the

courtly order of things began
freedom of
to
change for more
and a greater
manners,
Democracy commenced
outlook.
liberality
of
ascendancy
that
which has been growing ever since, and of which the

first
great external evidence was seen in the French
The
Revolution.
flected in art
for art
began to be re-
feeling naturally
is
the expression of the emotions
of those for
whom
Democracy
not concerned with forms, and
and
is
etiquettes.
sion to
its
and by
What
feelings,
it
whom
requires
is
it
is
produced.
styles,
to give free expres-
and under the older regime the
enjoyment of art was a privilege of the upper
classes,
so that artists expressed the promptings of their genius

in a style that
was congenial to the only audiences
that they had.
When
new
begun to obtain.
ideas had
Beethoven came to the fore
Though he was
one of the people, the new power that was making

itself felt
had advanced to such a point that he could
dare to set at nought the etiquettes and formalities of
IMPORTANCE OF FOUR-MEASURE
the aristocracy
on
whom
he depended for
137
his living,
own way with impunity. While

adhering to the four-measure Rhythm more closely
than his predecessors, he made it less evident by
and
go
to
his
rounding off
its
edges, and thus he laid the founda-
Melos which takes so
tions of the continuous
modern music.
place in
The
large a
formality which
is
so
marked
music of Mozart and Haydn,
Beethoven
and with him came
who
Schubert,
is
a feature in the
tempered down by
modern
forestalled
man
that remarkable
another way, to be shortly referred
methods
in
After them
to.
came Mendelssohn and Schumann, both of whom,

especially the former, returned to
some of the ancient
formality in phrase construction.
The influence of
many years, and
Mendelssohn was paramount

while this was the case
for
critics,
while admiring the
wonderful melodies of Schubert, found
him because
his phrases
was
in
advance of
irregularity, far
stitutes
music.
his age;
from being
had
as
and
his
Schubert
Rhythms.
a fault, conhis
delightful
keen a sense of rhythm
the great composers, and well
knew how
to
But Schu-
and the
one of the chief charms of
He
with
do not always conform
the orthodox four-measure construction.

bert
fault
as
any of
to use
it
unexpected phrases, startling as they must
have been before they became familiar, were, like

Beethoven's novel use of discords, merely a com-
138

demand
pliance with the

for
freedom from the
was making
that
itself felt
formality of a previous
strict
generation.
Thus, for example,
Op.
Sonata,
42,
in the
we
find
of
numbers,
which are evidently not
though
chance,
listeners.
and
must
they
measures
seven
large
in
the
result
puzzled
have
In the Sonata in
minor
constructed
carefully
Rhythms
five
Scherzo of his
major. Op.
of
early
147, a
large portion of the Allegro giusto consists of delightfully fresh six-measure
Rhythms.
ment of
are
the Sonata in
intermingled
with
In the
first
Rhythms
five-measure
flat,
of
those
move-
and
four
three
measures in a way that gives a contemplative and
Other instances might
mystical feeling to the music.
be found of Schubert's intentional departure from

the
four-measure phrase,
not
in
the
formal
and
conscious manner of his predecessors, or from want
of mastery of his materials, but with a

excite the imagination
scheme
design to
by not allowing the rhythmical
to be too obvious.
Beethoven's strong and novel
more by
telling
effects are
produced
harmonies and syncopations than by
variations in the length of his
Rhythms, and when he
departs from the four-measure construction he some-
times labels the passage, so that the performer
make no mistake
as to
what he means.
Thus,
Scherzo of the Ninth Symphony, a passage
is
may
in the
marked,
SCHUBERTS RHYTHMS
"
Ritmo
and
di tre battute,"
when he
later,
marks
"
i.e.
Rhythm of three
Rhythms without marking them by

most
conductor
the
delicate
municate
seems
to
of
expected
is
to his audience,
it
closes
to
have
intensify
com-
to
of
advent
the
who have
musicians
a
this
and the composer here
anticipated
conducting to
his
on the
feel
nuance of accentuation, and
famous modern
art
To
movement, he shortens
the excitement of the
contrary,
bars,"
returns to the four-measure, he
" Ritmo di quattro battute."
it
139
special
those
the
raised
branch
of their
profession.
Beethoven began the modern practice of trusting

to
the
of
intelligence
his
audience
in
131, he constantly uses the expressions,

battute,"
" Ritmo
" Ritmo di due battute "

conductor's
beat
Rhythms.
In his Quartet, Op.
rhythmical matters.
quattro
Beethoven's
to
assist
tre
di
in
"Ritmo
and
battute,"
this case
there
the audience.
di
no
is
But the
appeal to the intelligence of the listeners began far

before this late
28, the
first
work
for in the Piano Sonata,
Op.
Period of the opening subject contains
ten bars undivided by anything equivalent to a close,
and the sound
is
carried
on
at the
end of the Period
without a break, by the repetition of the bass notes

in bar 10.
tion
it
1
This Period
is
of an unusual construc-
demands Falling Accentuation
Battuta, literally a beat,
means
a bar
to produce
in music.
its
RHYTHM OF MODERN
4o
quiet pastoral effect

fall
on the
must be
first
the
Rhythmical accent
first
will
and the alternate bars
in the bass,
more accented than
slightly
MUSIC
the rest.
It
is
one of the few exceptions from the four-measure
The com-
structure found in Beethoven's works.
poser himself indicates Falling Accentuation later on
by the sforzandos
thus, Ex. 38.
Ex. 38.
First Movement).
Beethoven (Op. 28
-&>-
:t
Us:
^:
^g^
25fc
-<S>-
-j
sfp
21-
-S-.
f
The
If
fc&
H|
practice of obscuring the ends of the
Rhythms,
instead of sharply defining them, has been developed

in
our
By
its
own
time by Wagner, Brahms, and others.
means the
intelligence
is
called into play,
the imagination of the audience

effort required
stirred,
and the
forms no small portion of the pleasure
of listening to music.
The more
public becomes, the greater

to the
is
and
composer
is
intelligent
the freedom available
to express himself in a
manner
would have seemed abstruse and impossible

earlier generation.
But
the
that
to an
in this matter the nineteenth
HALF-RHYTHMS
141
century composers were anticipated by Bach, whose
Rhythms and Periods
are not so sharply defined as
Mozart and Haydn.
those of
Let us now examine how composers use Rhythms

of other than
normal number of
the
measures,
commencing with the two-measure, or Half-rhythm,

since this, next to the four-measure,
in evidence.
may
It
rhythm takes
A
to
four-measure
a place equal to the
sort of division into 2
+2
Rhythm of instrumental music
is
measures.
the equivalent
is
Halfrhythms.
fundamentally such a sentence as can be

comfortably uttered in a single breath.
the Verses of poetry and
than
in
number of Rhythms
the single verse of poetry, which
may
most
be said, indeed, that the Half-
importance, since the greater
show some
the one
is
the
But both
Rhythms of music
be for dramatic purposes divided into shorter

the
normal
two
verses of
lengths,
so
feet, for instance,
they
that
or
become
Rhythms of two
measures.
succession of verses of two feet
in the "
Midsummer
Night's Dream,"
2
On
the ground
2
Sleep sound,
1
I'll
apply
To
is
your eye
possible
e.g.
42
23
Gentle lover remedy
When
Thou
True
thou wakst
takst
delight
In the sight
Of
thy former lady's eye.
Short phrases analogous to these are
By some
frequent in music than in Poetry.
they
are
The nomen-
Half-rhythms, or Portions of rhythms.

clature
is
importance
is
importance
of great
not
by the performer whether we

rhythms or half-rhythms.
when
what
of
is
must be made evident
are rhythmical sections, which
except
understand that such short phrases
to
convenient way
theorists
Rhythms, by others
two-measure
called
much more
to
is
them two-measure
call
view the most
In our
look upon them as half-rhythms,
the complete Period
instead of eight measures, as
is
of four
consists
often the
case
in
slow movements.
If
we
write Shakespeare's lines as four-feet verses
the rhymes will divide

effect
I'll
Two
or
the same as before
apply to your eye,

lover,
remedy. 1
Greek rhythmical theory
" Colon. "
is
and the
the ground, Sleep sound,
Gentle
tn
into half-verses,
when reading them aloud
On
them
a verse or a
more colons form
Rhythm
" Period."
is
called a
Half-verses
or half-rhythms, such as the above lines, are called Semicolons,
and any portion of
verse or
rhythm smaller than
this
is
HALF-RHYTHMS
It
be noticed
will
stanza
143
the final verse of each
that
not divided into half-verses, but contains
is
number of four
the normal
feet.
known anything
on which so much
Shakespeare could scarcely have
of the Greek rhythmical theory

light has
been thrown of
late years
but he, like
all
great poets and musicians, instinctively constructed
forms that can be best explained by
his periods in
reference
that
when
The Greeks noticed

of poetry, or the Rhythms of
Greek theory.
to
the verses
music (which with them were

into
or
half-verses
seems
instinct
Rhythm of
half-rhythms,
demand
to
Period
the
identical), are divided
rhythmical
the
the final verse
that
complete
be
shall
or
and
This instinct led Shakespeare to give
unbroken.
the full
number of four
period,
and
it
feet to the last verse
how
remarkable
is
of each
frequently instinct
leads our musicians to treat such periods as begin
with half-rhythms
in
Many
the same way.
instances
might be adduced but for considerations of space
we
illustrate
by
it
from Brahms' Clarinet
a passage
Sonata, Ex. 39.

"
The grammarians
Comma."
these divisions
by certain
signs,
Roman Empire marked
of the
and
were transferred from the divisions of poetry
marked these
as
is
poetry.
as
yet
notation.
divisions,
They
are
nothing
and the
signs
now known
exactly
names
in course of time the
were used
as
to
the signs that
for prose as well
punctuation signs
equivalent
to
them
in
there
Musical
RHYTHM OF MODERN
44
MUSIC
Ex. 39.
Brahms (Clarinet Sonata Op.
120, No.
Second Movement).
Clarinet.
S^ J
^~
Z2I
t=
<s-
10
1-
-&-
'\\
Caesura.
1^:
Caesura.
zp*:
m&3h=%
I
y^y aîj
-q-
r r
|S>".
In this example there are two well-defined Half-
rhythms of two measures each, followed by

plete
Rhythm
in
com-
of four undivided measures, which
concludes the Period.
found
further
example
will
be
the Andante con moto of the same sonata.
The Rhythms
are in the latter case divided by the
phrasing signs into single Measures, each bar containing two Measures.
the fourth bar with
one knows
common
that
The
Period concludes
first
two undivided measures.

similar
in all classical
short
music
phrases
but
it
is
are
at
Every
very
perhaps not
HALF-RHYTHMS
145
generally noticed that a succession of such phrases
is
almost always succeeded by an unbroken phrase of
double
of the
length
the
shorter
phrases.
It
probably
our sense of balance that demands
treatment
the rhythmical
faculty
not
is
is
this
satisfied
with small doles of accents, but requires a complete
rhythm
1
For
and counterbalance them. 1
to succeed
of what
confirmation
here adduced a volume of
is
We
Beethoven's Sonatas forms an easy means of reference.
opening Periods
only to the
movements
further course of
Sonata No.
by
divided
concluding rhythm of the period
ending with the
the
of four unbroken measures,
is
close at bar 8.
full
The melody
Menuetto.
the
four measures are definitely
first
half-rhythms at bars 2 and 4
into
half-closes
investigate
for himself.
The
Adagio.
I.
reader can
the
refer
opens with
measures, followed by
an unbroken phrase of two measures.
The melody
Prestissimo.
1
+ + +
I
measures
of the
first
rhythm
broken into
is
the two succeeding rhythms are of four
connected measures.
Sonata No.
2
first
period consists of
measures followed by four undivided measures.
Scherzo.
Sonata No.
followed by
Allegro con brio.
3.
The
2.
by
2 followed
4.
compound, and the fundamental Phrases

here two- not four-measure Rhythms.
In bar 7 there are two
Adagio.
are
The
Largo appassionato.
2.
half-rhythms,
bars are
followed
measure rhythm.
(In
immediately
by the fundamental two-
E minor
the
portion there
change of rhythmical construction into which
is
radical
we cannot
enter
here.)
Sonata No.
Sonata No.
bar
is
4.
5
in
Largo.
introductory.
minor.
+ + +
1
followed by
Allegro molto con brio.
The rhythm
K
4.
The opening
proper commences with an
RHYTHM OF MODERN
146
The
may
principle
MUSIC
be briefly stated thus
when
Period commences with a series of short detached

phrases,
usually conclude with an unbroken
will
it
phrase of double the length of the single detached

phrases with which
commenced. 1
it
Anacrusis of three notes in this bar, and
second
The
bar.
first
is
its
be 2
commence with
period should
struction
should
first
+ +
2
accent
in the
is
down
the
to
which the concluding four-measure rhythm of
thirteenth bar, in
the
phrasing
But
Anacrusis.
The
not shown in the ordinary editions.
this con-
in bars
and 13 should form the end, not the beginning of the

phrases, and the F, E flat, of these bars should form the Anacrusis.
11,
9,
Let the reader play the passage thus, and he will probably agree
with us that
gains greatly in brilliance and energy, in keeping
it
with the "con brio" of the composer.

Adagio
Finale.
Sonata
molto.
1
No.
followed by 4.
followed by
2.
Allegro.
6.
+ + +
1
followed
seems superfluous to pursue the references further
we
the later sonatas
2,
minor.
Sonata No. 29, Op. 106, in B
bar does the

1
movement.
flat.
In the scherzo of
Allegro.
till
may
hymn which
a Caesura.
poetry.)
rests.
by
measure
the eighteenth
enter.
contains four equal verses to each stanza,
let
momentary break
in
making
the continuity of equal bars, a Caesura, at the end of the

;
think the following experiment worth trying.
there be a slight pause for breath,
the second verses
2 followed
this sonata the single
an unusual time, and not
for
complementary four-measure rhythm
Choirmasters
In any
First
followed by a phrase of eight measures unbroken by
4 without rests.
phrases continue
It
4.
find
Sonata No. 27, Op. 90,

2
by
but amongst
then
let
first
and
third and fourth verses be sung without
(By verse we mean, of course, the
single line of the
This will be in accordance with the Greek
law that two detached phrases should be followed by
aesthetic
single
HALF-RHYTHMS
147
In symphonies long successions of Half-rhythms
more
are often found,
working out
especially in the
have the
section, for such passages
of carrying
effect
on an unbroken Melos, while the Half-rhythms are

not indicated by any Caesuras or closes, but by the
melodic construction.
two-measure figure repeats
over and over again before
itself
than ordinary length
is
mind cannot grasp
we
quickly
seize
melody, and
number
in
such
unbroken
passages
only.
section
fully to the
are
much
of
it
Let
the
symphony,
into
falls
and
he
Any
course.
to
be
met
in
the
" working
reader
middle part of the
any
almost
but
our rhythmical sense, while
symphonies, and not always
out "
of time
two-measure nature of the
the
this satisfies
of
on page 21 that
a large section
Melos continues an
the
any
to
This would seem
produced.
to militate against our contention
the
comes
unbroken phrase of more
an
that
so
conclusion,
it
listen
with
care-
movement of
will notice how
first
two-measure fractions of the
Melos.
unbroken phrase equal to the two previous ones combined
we think
that the choirmaster will
treatment will give
will be
more
and
probably find that such a
vigour and significance to the
will quickly be seized
which
rhythm which
and appreciated by the congregation, and
satisfactory
than
mechanically
strict
adhesion
to the value of the notes "as written," producing a breathless

effect,
or a pause after each line,
wearisome
result.
which
is
apt to give a heavy and
RHYTHM
48
OF MODERN MUSIC
40 we quote the
In Ex.
two Rhythms of
first
composition in which the two-measure phrasing
a
is
carried out through a whole section.

Ex. 40.
Dvorak (Slavische Tanze).

1st
Preliminary.
^
A
*Lk
beSe
-4^*
Rhythm.
11
IeeI
-e=
ff
0-
-et-
si
Pi
2nd Rhythm.
This
is
rare.
It
is
folk-music, and the perpetual
flow of well-marked half-rhythms gives the effect of

restless activity.
Such
a construction
effective for a short composition,
weary us by
constructs
Rhythms,
To
its restlessness.
his
as
Trio
of
but
the
it
would soon
give repose, Dvorak
unbroken
contrast to
can be very
four-measure
half-rhythms
that
'
HALF-RHYTHMS
precede and succeed
them.
It
is
149
remarkable that
the Anacrusis does not occur throughout this dance.
movements of Triple time
In very slow
is
it
not
rare to find Periods
whose Rhythms are complete
two Measures
in this case the
and
phrase
is
in
really a
two-measure Rhythm, while the half-rhythms consist
The
of one measure only.

limitation of our
lies in
the
power of time measurement, which,
of the book,
at the outset
reason of this
we have shown
to be the
fundamental cause which necessitates the division of

music into short phrases.
Ex. 41.
Beethoven (Overture Leonore No.

1st
%=*^>
*&
3).
Rhythm.
=sm
-4-,
l*q^
w^=\^=*
m^-
sf Anac.
(Anacrusis.
i&^fcfcp:
~N
~^-
fSE
2nd Rhythm.
Jr r>
r*-i
\>t
dim:
-*-
70
etc.
Full Close.
r
-
-*-
my End*-*
ft
of Period.
150
It will
be seen that
Ex. 41 the Period
in
made up of two Rhythms,
the
first
with a half-close, the second with a

tonic
nothing
Rhythms
two Measures only
strictly
of which ends
full close in
be more definite.
could
are of
is
But the
Such
in length.
passages often contain quavers, which
the
make an even
Subsidiary accentuation, so that the long-drawn notes
do not weary
and the \ bar in this form is alluded

to by the Greeks under the name of a Six-time
;
Measure, of which the quaver

Following Greek
is
the Primary value.
some modern
rule,
have
theorists
explained that in music having six Primary Times in

a
measure
(with
the
Diasresis
JJ
J~2 J"j)
the
normal phrases are always of two and the normal

Periods of four
it
to
But we do not think
measures.
necessary to complicate our theory by reference

a
six-time
difficulty
measure
we
think
three Primary values, each of which
rhythmical
Rhythms
purposes
a
in
composer
slow
is
no
divided for
two Subsidiary values.
into
can, if he wishes,
Triple
time
of four
construct
measures,
by the repetition of some striking subsidiary

as in the
is
accepting such measures as containing
in
Moreover,
there
slow
movement of
the Fourth
figure,
Symphony
of Beethoven already alluded to on page 29, and

in so
doing he applies the principle of making
lengthy phrase intelligible by repetitions of a short
HALF-RHYTHMS
The
figure.
Measure
in
Rhythms,
is
slow
slow time, the

for the
more
is
this
kind of movement
is
modern music than

perhaps
modern
in
of using
life,
is
for contrast
the
which
is
found
less often
that
in
to
less necessity
measure
triple
perhaps worthy of remark that
variety.
owing
+2
while solemnity and
same purpose gives opportunities

It
of
usually expressed in even
possibility
and
have
for
three-time
the
Periods
with
tempo
very great
depth of feeling
of
value
aesthetic
151
in
very
of the older masters,
greater
reflected
strenuousness
of
our music
we
in
than our forefathers for variety
slow movements.
The Rhythm of
ways.
that
by the cutting off of
measures, usually the
its
succeeding
the
used in several
is
normal Period may be unex-
pectedly curtailed
one of
three Measures
entering before
its
effect occurs at the
Op. 55.
See Ex.
Period
due time.
last,
so
T T
*
Measure
^
by
compels attention
An
example of
this
very outset of Elgar's Symphony,

127, page 289.
This example,
however, shows a somewhat novel use of the three-
measure Rhythm
to
curtail
the Period,
combined with an apparent Overlap,
for
it
as explained
is
on
page 290.
more usual use of
Rhythm
is
found
in
the isolated three-measure
Ex. 42.
152
Ex. 42.
Third
Strauss "Italy" Symphony
Clarinet.
M=
#
F
i
^r
r-
Movement.
An
pp
E flJ TS
J-
ml>
t_jL
^gpp
~^~
n^
IV U-I
g_^zzg1
Feminine ending
of 4 Measure
Rhythm.
^
Feminine ending of
3 Measure Rhythm.
3
I
IS
:fr"M
g
TT\L
W
-/v
t
w g
J.
-^F-===
P
glflg
w- -#i
-j
1-
**
The three-measure Rhythm
here occurs
in
the
midst of a Period, between two normal Rhythms.
THREE-MEASURE RHYTHMS
The
clarinet
ends
enters with a
its
new
phrase on the B, and the violin
whose commencing chord
phrase,
shows that here there
no kind of Overlap.
is
modern music, and we
shall
value
in
meet with them when we
to the analysis of compositions.
but more
in the older music,
Isolated
common
three-measure phrases like this are very
come
153
They
are found
Their
rarely.
aesthetic
movement going with unno monotony is possible with an
that they keep the
is
flagging energy, for
intermingling of three- and four-measure Phrases.
We
have noticed that Mozart, Haydn, and Beet-
hoven occasionally employ short successions of three-
Brahms goes more boldly
measure Rhythms.
the matter, and
makes the three-measure the funda-
Rhythm
mental
of a whole section of a movement,
example, in his
as, for
into
minor Pianoforte Quartet,
of which Ex. 43 shows the opening bars

Ex. 43.
Brahms Pianoforte Quartet
in
Minor (Op.
25)
Rondo
ALLA ZlNGARESE.
Rhythm.
1st
IS/
9
2nd Rhythm.
^g
E
SE?
*-+-T-^
*t
^-*-m+
Pt
Half-close
"
Rondo alia Zingarese," and its

three-measure Rhythms are suggestive of wild gipsy
It
life.
is
headed
contrast
is
produced by the
strictly
four-
measure structure of the second section, and of part
RHYTHM OF MODERN
154
of
meno
the
throughout
but
presto,
MUSIC
Rhythm
prevailing
the
that of three measures.
is
*
" Most potent, grave, and reverent Signiors,
-
Masc. ending.
2
My
very noble and approved good masters,

Fern.
2
That
have ta'en away
this old
man's daughter,
4.5
Fern.
-J
_
It
most true
is
12
The
true, I
have married her
Masc.
Caes.
very head and front of
my
offending
Fern,
Hath
no more."
this extent,
Caes.
The above
_,.
T/
analogy
ture
Measure
*
from u Othello
lines
on
masters, so far as
an
we
The Rhythm of
recognised, and
is
will serve as
rhythmical struc-
extended
scale
amongst
has
the
gives
that
it
it
been
great
are aware.
five
measures has always been
described by
H.
C.
Koch
" Anleitung zur musikalische Composition, "
He
an
are about to describe, the use of
Brahms alone
by
attempted
in verse for the
we
which
'
1S
in
his
1787.
the technical term of " Fiinfer," and says
can arise in several ways.
It
can be an exten-
sion of the " Vierer " (four-measure), by a repetition
of
its
final
Or one of
repeated
is
not
chord, with or without ornamentation.

the internal measures of a Vierer can be
but
in
both these cases he considers that
a true Fiinfer,
it
but merely an extended Vierer.
RHYTHMS
FIVE-MEASURE
The
real Fiinfer,
which there
feminine, on
its
The above
found
in
is
is
repetition,
natural ending,
its
fifth
he says,
rare,
no extension or
is
comes to
phrase
which
SS
one
in
but the
masculine or
measure.
kinds of five-measure phrases can be
almost any
classical
work,
but they are
used as a rule in such a manner that they do not

disturb the even flow of four or
Rhythm,
they overlap the succeeding

last
accent coincides with the
Hence
+4
the 5
two measures,
since
so that their
of the next phrase.
first
measures only make a Period of
eight measures between them.

Ex. 44.
R. Strauss, Ein Heldenleben (Op. 40).
^pqc^pzizpi
:
fc-i#-L-i L
rr J
^S
U- -m-m
4-r
1-
E&*
+m
-!-
F** -s-r
hr
i-
-\-
&-
-ff
-ww
fete
Overlap.
l%gif"~^jp
RHYTHM OF MODERN
156
This construction
carrying on an unbroken
further into
common
so
is
MUSIC
Melos
that
means of
as a
we need not go
But Brahms, ever expressing himself
it.
by means of new rhythmical forms,
utilises
the five-
measure Rhythms without Overlaps as the
of
basis
whole sections of compositions, so that a musical

equivalent to the lines of Shakespeare quoted above
results.
Thus
the piquant effect of the Trio in the
minor Pianoforte Quartet
two introductory
that, after the
built
on Rhythms of
Trio
to the
largely
is
five
due to the
triplets,
it
measures each.
fact
is
entirely
contrast
formed by the Intermezzo, which
is
in
saw the value of five-measure rhythms early
in
is
very regular four-measure Rhythms.
He
In Ex. 45, from his Ballade, Op.
his career.
No.
1,
"
Nach der
the five-measure
and
falling accentuation,
of the story,
Ballade Edward,"
schottischen
Rhythms, with
their alternately rising
seem to
reflect the
which a son murders
in
10,
horror
his father at his
mother's instigation.
Ex. 45.
"Edward"
Brahms, Ballade
tf-
it&t
:fc
1,
the five
five-measure
10,
No
1).
Rising ace.
"Am
feet
is :Ei3
Falling ace.
In his song,
No.
(Op.
VJttZ
"*"
*=3*L
Falling ace.
Sonntag Morgen," Op. 49,

of the verses are wedded to
Rhythms with charming
effect.
SIX-MEASURE RHYTHMS
Next
Rhythms of
to
four and of two measures
As
those of six are the most used.
they are
made by adding
a rule
Rhythm
follows
we
so that
it,
without
+ 3,
fourth measure.
of
Caesura,
Six-measure
the
as in
first
Rhythms
Six-measure
such
as
Ex. 34, page 122;
in
beautiful.
into 3
its
cases
perceptible
of the two
very
are
the whole
can speak of the six-measure
as having a Caesura at
But there
this
from the half which
distinctly divided
is
Measure
such a way that
frequently done in
Th
Half-rhythm to
an ordinary four-measure phrase, and

is
157
can
second
the
and they are
also
divided
be
of Ex. 34, or 2
+ 2 + 2,
by Caesuras.
very
common
use of the Six-measure
Rhythm
is
shown
in
Ex. 52, page 194, from Brahms' Rhapsody,
Op.
9,
No.
in
the
in
it
overlaps the next Period,
connection with
the
six-measure
this
Rhapsody
with overlap
measures, the result
is
we
five-measure
on
the overlap
the flow of five-measures
composer builds
as
same reason
for the
In this example
page 155.
where
same way, and
described
disturb
4,
in
does not
upon which the
but where there
is
the midst of four-
a Period
of nine measures
instead of eight, and an intentional slight disturbance
of the regular flow of normal phrases.

In Ex.
5,
page 38, we have shown six-measure
Rhythms produced by Duple
Subsidiary, in combina-
RHYTHM OF MODERN
158
Primary Measure
tion with Triple
MUSIC
but such cases
are rare.
Rhythms of seven measures

,
isolated cases, their

at the
Seven
end of
are only
met with
in
most usual place being
a series
of Periods, where
they are formed by several repetitions of

the concluding chord of the full close.
They
are,
however, sometimes used with an Overlap, so that

the
impression
given
of several six-measure Phrases
is
but a Phrase of so considerable a length as
seven Measures almost always repeats some definite

short figure, which, as
satisfies
we have
our sense of rhythm.
already explained,
CHAPTER
VII
The Pause
Haydn's humorous
of
und Verklarung" Examples of

Beethoven,
Grieg Unbarred Music
Variations of
Tempo
and Empty Times
Rests
"Tod
Rests in R. Strauss'
Rests
use
Diaeresis
Brahms and
in
Op. 106.
Since the fundamental element of rhythm consists

in the division
of accents,
the
more
it
of time by definite groups
would seem
precisely
to follow that Tempo.
we can measure
of time, the more satisfactory
But
this
performer
is
plays
precision of time
Our
off these intervals
will the
by no means always the
who
artistic
is
Variations of
with
absolutely
rhythm
be.
and
case,
mechanical
apt to weary his listeners.
feeling resents
the
presentation of
anything connected with the emotions

mathematical exactness
of detail
and
with
in
rigid
all
per-
formances in which the feelings as well as the fingers

take part, there will inevitably be slight variations of
tempo y
almost
imperceptible
perhaps,
" personal equation " of the player.
due
to
Such variations
from mechanical precision give a performance a
human
expression, which
is
the
absent from the
living,
most
RHYTHM OF MODERN
160
MUSIC
perfect of mechanical efforts, whether carried out

the fingers
on
by
keyboard or by the revolutions of a
wheel.
The
principle involved in the slight variations of
tempo
due
player
is
effect
the varying emotions of the artistic
to
enlarged upon by composers to enhance the
of certain passages by a deliberate and gradual
quickening or retarding of the general speed of the

music.
time
In an
accellerando
passage
the
between the successive accents
reduced
vivacity
more
The
of
gradually
is
and an increase of
effort is called for,
the result.
is
interval
accellerando
of music may
perhaps be compared to the action of two persons
walking together, and engaged
a friendly argu-
in
ment, or an exciting conversation.

that the pace of the
be found
It will
walk increases
in rapidity with
the increasing heat of the argument, or the greater
excitement of the conversation.

excitement
an
produces
motion, an increase of
excitement and effort
accellerando of the
The
is
increase
effort,
and
of
of
rapidity
of
music the
purposely augmented by the
composer or performer.
ritardando, the gradual increase of the intervals
more weighty utterance

is
to the
effect
rhythm,
of giving
if
the force
sustained, or, as frequently with Beethoven,
augmented.
more
increase
in the
of time between the accents, has the
of tone
The
If the ritardando is
accompanied, as
often the case, with a diminuendo,
it
is
results in a
VARIATIONS OF TEMPO
161
relaxation ot effort, to prepare for a fresh start,
renewal of effort when the original tempo

taken up
or
it
To
again
is
impresses the passage more forcibly
by calling attention to
languorous
it
or
has a contemplative,
it
effect.
produce a true accellerando or ritardando de-
mands
Those who have
a certain artistic capacity.
whether instinctive or acquired,
not
this
will
be apt, instead of making a gradual increase or
capacity,
decrease of pace, to suddenly change the tempo from,
and
say, andante to allegro^ or vice versa,
away with the intended

alters
For
effect.
will
thus do
sudden change
the character of the music, while a gradual
only
change
impress
slightly
given
modifies
passage
and
it,
more
serves
forcibly
on
to
the
hearer.
In dramatic music great use
is
made of
and ritardando for expressions of joy,

emotions
feelings
the
music,
following
accellerando
grief,
the
and other
ever-varying
of the actor, quickens or slows down
in
accordance with the sentiment to be expressed.
Beethoven, ever alive to the importance of moving

the
mind
rather than merely pleasing the ear,
great use of the accellerando and ritardando.

in his
sonata in
flat,
Op. 31, No.
3,
the
established by the pair of measures which
shown
sense
to be the smallest
of rhythm.
The
number
made
Thus,
rhythm
is
we have
that can produce a
accentuation of these two
62
measures
we
meant to
are
feel the
And no
other.
home
driven
is
sooner
rhythm
is it
the
composer
relaxes
rttardando
combined
with
than
by strong discords
to us
and no
to be this,
established in our brain
movement by
the
a
crescendo
paradox
(a
which seems to have been invented by him), leading

us,
we do not know
we suddenly
whither, in key or rhythm, until
find ourselves happily launched into the
with the
principal key,
tempo of the two
original
opening measures re-established.
when
It is said that
playing his
hoven sometimes adopted

ever-varying
nuance^
moods had
own works
a tempo rubato, in
free
Beet-
which
his
This delicate
play.
which consists of here and there
slightly
measures, while
the
relative time,
is
un-
doubtedly a powerful means of expression
in
the
altering the tempo within
Rhythms
retain
their
the
normal
hands of a competent executant.

absolutely
division
opposed
to
mechanically
perhaps more into evidence by
possible
On
:
the
yet
orchestra
such
is
the
it
it
exact
would
time-
growing
scarcely
discipline
and
it
and
take
quite possible that the tempo rubato
is
be attained,
Rhythmical
seem
their conductors,
we never know what developments may
place,
will
of course
than by most other
sympathy between orchestras and

that
is
and the personality of the player comes
means.
It
if it
has not been already.
movement may,
for
dramatic and
THE PAUSE
expressive
be
effects,
or rest
The
Fermate^ or
by sustaining
interrupted
beyond
note
163
value.
relative
its
us
Pause, causes
Tie Pause.
concentrate
to
our attention on the single note, or on the passage

that immediately preceded
on
rest,
that
mind
we
ceases
the
The
which follows.
which
time-intervals
is
last
attracts
of a Rhythm, and
Beethoven,
has
shown
in
his
still
more
more
if
if it is
if it is
of
succession
what
our attention
note of a Period
of a
in
deliberately broken,
are compelled to take notice of
The Pause
case
been established
has
rhythm
in the
or,
it,
our
and
happening.
is
occupies the
it
on the
last
note
Rhythm.
within a
Symphony, and elsewhere,
Fifth
that pauses can be effectively
employed
before the establishment of the rhythm, with very
dramatic
results.
opens with
In
our Ex.
the
however,
This,
pause.
40
movement
is
not for
dramatic effect, but merely to strengthen the impression of the preliminary or exclamation note.
The
can
Pause, like the ritardando
be made to
fail
of
its
due
and
accellerando,
The conchoirmaster, who
effect.
scientious unimaginative player, or
carefully gives a pause a definite value with relation
to the preceding rhythm, entirely misunderstands the
nature and object of the pause.
proceeding
which
it
is
merely to
result
of
this
Rhythm in
four-measure Rhythm
prolong the
occurs, so that, say, a
becomes one of four and
The
a half, or five measures, as
64
may
the case
Ex. 53 shows two Rhythms, in
be.
each of which a single note
dwelt on for the space
is
The
of two definite measures.
dwelling on these
notes does not constitute a Pause, for there
is
break in the continuity of the rhythmical flow
no
the
sustained notes have a definite relation to what has
gone before, and we
the accents though
feel
they
are not yet expressed.
Pause
consists,
tional rupture in the
on the other hand, of an inteneven flow of accents.
very nature indefinite, and, whether
its
nature,
so long as the time
to
allotted
affect
Pause
is
in
its
has no
it
definite relation to the preceding measures.
is
held for
is
it
does not
a longer or shorter period, this
It
sometimes introduced by unintelligent
or uncultured singers on the penultimate note of a

full
1
close,
especially
at
the conclusion of a song.
Modern composers sometimes, however, add
the end of a
of the
Rhythm,
indefinite
so as to
extension
make
a definite
a half-measure at
extension in place
by the
indicated
Pause,
as,
for
example, Brahms' Trio for Horn, Violin, and Piano, Op. 40, in
the Adagio,
fe
-m
*-*
*-0
*-P=
*-m-
-l
=t
4
i'
A
I
J.
'
lo
I
IS
1
$$=*
v
1
igîliilgSi
it
it
*^
=t
THE PAUSE
This note
frequently a high one, and the final
is
cadence, as
name
its
There
tonic.
the contrary, there
is
is
rhythm here; on
usually every reason against
it.
introduction of an unwritten pause in this place
due entirely to the vanity of the
who
audience,
uncritical
ridiculous
it is
and
with
pleased
are
mere sound of the powerful

noticing that
singer,
it
amount of applause from
generally results in a large
an
the
to
it
no dramatic or ex-
rule,
as
is,
from
implies, falls
pressional reason for breaking the
The
165
high
the
without
note,
from every point of view
other than the personal display of the performer.
make nonsense of his

an indefinite time on some
If a public speaker were to
sentences by dwelling for

single syllable of a
that
it
suited
applauds
the
his
word merely because he found

mouth, the same audience that
senseless
laugh at him.
Pause of the singer would
In the older display pieces, in bravura
songs, in instrumental concertos, and similar

positions, there
usually a Pause, indicated by the
is
composer, on the antepenultimate note of the

cadence, that
dominant.
is,
on the f chord
This pause
is
nature from that to which

is
comfinal
that precedes the
of an
entirely
we have
alluded,
different
though
it
introduced for the express purpose of giving an
opportunity
for
caprice or vanity
display.
:
structed as to lead
It
is
not
the
the preceding Period
up
to
it,
result
is
of
so con-
and the audience expects
66
rhythm
a break in the
The
at this point.
display
does not take the form of a senseless prolongation of

a
single high
On
the
note as long as the breath will
embellish
Pause with
the
own
exhibits his
performer
the
contrary,
passages
individuality,
the hand of a first-rate
is
last.
expected
to
which
he
in
and these passages,
in
frequently take the
artist,
form of a masterly development of the themes of

the composition.
The composer,
in fact, here gives
do
his subject justice,
place to the performer,
who,
must be more or
on the same
the composer
less
whose work he
Mendelssohn
opens
Dream Overture with

in
which
Rhythm.
to
there
the
interpreting.
Midsummer
attempt
These Pauses are on
at
establishing
series
liminary chords, and serve to keep the

alert
with expectation
Night's
a series of long held Pauses,
no
is
is
artistic level as
of Pre-
mind on
the
they are an extension of the
principle involved in the Preliminary
Pause seen
in
our Ex. 40.
That the whole of

and
Empty Times,
Rests
Rhythm, whatever
f Measures,
occupied
numerous
occurred
in
rests
ancient
number
not necessarily entirely
sound needs not
with
mentioned, for everyone
which
is
its
is
to
be
familiar with passages in
occur.
Such
rests
Greek music, under the
turesque name of " Empty, times."

the places where a melody ceases for
also
pic-
They are not

a moment and
RESTS
accompaniment
the
"
AND EMPTY TIMES
Empty
continues
course
its
of which we have to
times "
167
the
speak are
those in which sound entirely ceases, and the rhythm
continues to
though
exist,
it
no longer heard.
is
After a rhythmical form has been established, rests,

or cessations of sound, on the unaccented portions of
measures, whether primary or subsidiary, are natural
enough
we
hear the accents, and
that
is
we
all
require in order to appreciate the rhythm, and such

rests are, as a rule,
cessations of
siderable
more
But
of the nature of Caesuras.
sound on accented places make
demand on
the
and
intelligence,
a conthis
is
especially the case if they occur early in the
piece, before
the
rhythm has had time
to
become
established.
To
the cultured musician they give
his musical faculties are trained to seize
every rhythmical
But
feature without
a fairly high degree
little
effort
on and enjoy
conscious
effort.
of intelligence in an audience
must be presumed before
composer would venture
to write such a passage as the
Rondo of Beethoven's
opening bars of the
Sonata,
Op.
10,
No.
3,
Ex. 46 (see next page).
Were
it
bewildering
and
The
not
if
so
familiar
we heard
it
to us
Period
would prove
without seeing the notes,
this is evidently the intention

first
it
ends with a
of the composer.
full
close
in
the
dominant, the two chords forming the close being
68
RHYTHM OF MODERN
MUSIC
both paused upon, and embellished with ad libitum

grace notes, so that the rhythm
as
soon as
it is
established.
is
broken up almost
It is in
the beginning of
the Period that the strange cessations of sound occur.

Ex. 46.
Beethoven Sonata
in
(Op. 10, No.
1st
Rhythm.
Rondo.
3)
2nd Rhythm.
lfeft4
End
first
of
Period.
S7\
pHr
The
bars contain
from the
f
two measures each
full close,
this
ending the Period
is
in the
evident
fourth
The second and fourth

measures of the first Rhythm are left entirely to the
They exist, for the perimagination of the listener.
instead of the eighth bar.
former carefully counts them, but they are unheard.
AND EMPTY TIMES
RESTS
To
appreciate the existence of a thing that
presence yet
call
on our
mind.
enough
our
a great
and presupposes a cultivated
faculties,
the music before us
passage
this
in
is
unheard and unseen makes
we had
If
hearing
is
169
matter
the
but Beethoven
would
not
could
when
be
first
plain
have supplied
copies to his audience.
The strain on the imagination is relieved, or, we

may perhaps say, the puzzle is solved for us, with
Rhythm, which
the second
is
startling silences occur in this
full
Other
of notes.
well-known movement,
and similar instances of the use of
rests in place
of
accents will occur to the reader. 1
In the Adagio of the
Waldstein sonata the im-
pressive effect caused by the silence on the
of the second and fourth bars

bars contain
not at
is
on the
last
uncommon, but a
Rhythm is rare, and
profound
silence
all
accent of a
effect
The
measure of a Period
silence
on the third
in this case
produces
rhythmical device must be treated
So
delicate a
An
amusing example of the
difficulty
the ordinary listener
Cambridge many
years ago.
undergraduate orchestra played Beethoven's First Symphony,
and the
last
all.
of earnestness.
has in appreciating rests occurred at
An
familiar to
beat
two measures each, the Rhythms four
measures.
is
first
local reporter, hearing the
movement
appreciate the
for the
rests,
in starting the last
first
curious introduction to the
time, and being entirely unable to
remarked that " the band had some
movement "
difficulty
170
very carefully
if
it
could easily become commonplace
repeated too often.
same phrase
peats the
silence
filled
is
re-
movement,
the
later
up, and to
attention
deliberate,
Hence, when Beethoven

the
in
make
somewhat elaborate Anacrusis
the
to
called
is
clear that this
it
the
of
principle
by the
fact
in the bass.
In the Intermezzo, Op. 10, No.

carries
Ex. 47, Brahms
3,
Empty Times "
"
is
to
an
Ex. 47.
Brahms Intermezzo (Op.
10,
No.
3).
1st
1st
Allegro.
introductory 2nd introductory

measure.
measure.
Rhythm.
R>
fizza
-
:&
it
/
3j=(3
fi
IP*
/fc*.
!sl==^lE=]s:-
Jt
^tr
fr
-3
:3=3s
-*-y-P-
^
z^zzg^
etc.
*&-
jjEg
extreme point, for he allows only the Anacrusis of

the two Preliminary Measures to be heard without
the accents that would
make them
intelligible.
It
is
impossible for a person listening to this piece for the
RESTS
first
time,
the
first
AND EMPTY TIMES
171
and not seeing the music, to know that
two chords
two
of
Anacrusis
the
are
The
make
measures whose accented notes are omitted.

player cannot, short of visibly beating the time,
them sound otherwise than
For
as accented notes.
the whole of our experience leads us to expect single
introductory
chords
to
not on the
certainly
last
on the
occur
first,
note of a bar
hoven's " Eroica," Mozart's " Jupiter,"

till
the unexpected entry of the
bar are
we aware
unaccented
rhythm thus
and
(e.g.
Beet-
etc.).
Not
sharp in the third
that the introductory chords are
and the sudden apparent change of

early in the
movement
and astonishment, and has
all
and alertness of which
Brahms
causes a shock
the elements of energy
gives
so
many
examples.
At
the end of the
first
section of this piece, after
the orthodox full close in the dominant, the Intro-
ductory Measures are repeated in rhythmically the
same form
as at first,
significance,
molivo
is
but
we
are
now aware of
and are not taken by
developed
at
surprise.
the
is
but here,
no longer any rhythmical novelty about
composer takes advantage of the
pianissimo chords
fact to
it,
introduce
on each accent, which are sustained
until the Anacrusis
And
Their
the end of the second section,
before the return of the principal subject

as there
their
is
heard low
down
since the peculiar rhythmical
in the bass.
structure of the
RHYTHM OF MODERN
172
Preliminary Measures
listener, the
it
it.
composer
many times,
The thing
is
is
as if he
now
able to linger
capable
it,
repeating
consummate
feeling as only
is
art
Brahms
of.
favourite orchestral device with the older
posers
in
on
was particularly pleased with
and such inward delicacy of

is
quite apparent to the
treated with such
is
MUSIC
com-
more measures known
the silence for one or
Germany under the name of the " Generalpause."

movement is suddenly interrupted by a total
of sound just where the
cessation
would
listener
expect the rhythmical figure to be carried on.

generally occurs at the end of a
Rhythm, and
It
usually,
though not always, towards the end of the movement

itself.
Mozart makes use of
great symphonies, and

,
Haydn.
not infrequent
it is
The
humorous use of
of Rests.
Q uartetj
it
of
in those
composer makes
latter
Humorous Use
flat
this device in his three
in the finale
No# 38) hy
of
his
eav i n g not
only the end of a rhythm, but the beginning of the

next entirely to the imagination, after having, however,
prepared
Pauses"
his
in the
The humour
already occurred
wrong
audience
by several
Ex. 48.
preceding periods.
consists
several
in
this
times,
" General
full
close
and always
place, namely, at the first half
in
has
the
of a rhythm,
the second half being occupied by a half-close.
few bars of adagio have followed one of the
A
full

HUMOROUS USE OF
RESTS
and subsequent repetitions of both
closes,
have been followed
half-closes
The joke
173
full
and
by general pauses.
complete when three whole measures are
is
Ex. 48.
Haydn, Quartet
K
fefe
&
in
Presto.
v jj
'
Finale (Last
j,
End
-3-
of Period.
=SzE=3:
fctt
Eight Bars).
3=3:
J,
=fi
E Flat
-gg r
4"i- -ig h-
^4===^
-
^1
"i
F^F
PP
s
4
given
-3-
in
silence,
appears in
its
after
which the
full
-n
close at
-^fl
last
proper place, namely, at the end of a
Rhythm.
But,
most
bars
in contrast to this,
tragic
of
The opening
expression.
Richard
Verklarung"
Rests can be used for the
of
Rests in
d
-Tod und una
'Tr
"J
y erkla-
Strauss'
consist
The
S
the
repetition of a single chord
pianissimo rung."
on the unaccented parts
of each measure, the accented parts being represented
174
by
"Empty
Times," or by
The
notes.
soft reiteration
which
in a rhythmical figure
owing to the absence of
rests
against sustained
of a single minor chord,

impossible to seize
is
it
accents, depicts in a vivid
and ghastly manner the scene described

stanza of the
poem
prefixed to the
in the first
The
symphony.
unearthly Death motive, rhythmical and yet without

accent, the rare changes
of harmony, the occasional
intervention of a melody of four measures in length,
of whose
only one
help
is
struck, the
two-measure phrase
sigh of the
all
normal accents
complete
to
the
weird
Then,
picture.
again, in the Allegro molto agitato, the tragic tone of
the fortissimo opening
phrases
altogether produced, by the

place of accent
is
same
enhanced,
by
and although the
again,
Alia breve^
accents
sound.
syncopation
if
if
not
device, the Rest in
work, yet the normal accent
at
obscured
yet
is
not
full
is
by
orchestra
everywhere
rests.
And
stormy motive that starts at

there are " Empty times " in place of
in
for
the
silence
is
often
more expressive than
EXAMPLES OF DIURESIS
175
with
Brahms,
change of
favourite
Diaeresis
already alluded to on page 123,
is
Examples of
that of
Diuresis in
which Ex. 49 shows the construction.
Brahms and
Grieg.
Ex. 49.
Brahms Romance (Op. 118, No.

2
5).
rit.
End
^3
E
g^=rH?
Although not written

to
The
Syncopation.
latter
zi
so, the
change
bar
is
is
of Period.
really
equivalent
due
to
Ex. 50.
- atet m
=#
â
P
p *
-O-
o
ms.o 22
lES zi:
z
-<s>-
fThe
effect
can only be introduced at or near the
end of a Rhythm,
in
in F,
Op.
the accentuation has been
Grieg makes use of
established.
notes
after
the last
8.
movement of
it
his
in Subsidiary
Violin
Sonata
RHYTHM OF MODERN
176
Ex. 50
Grieg (Violin Sonata
#.
Last Movement).
Op. 8
F,
in
MUSIC
m?
*-
4=it
?r
ft*
Equivalent to
The
it
passage looks difficult to read at sight, but if
imagined
is
Primary to
all
The Largo of
Unbarred
Music;
106,
j
Beethoven,
difficulty vanishes.
Beethoven's Sonata in
is
unbarred.
It
is
flat.
Op.
preceded by a
Adagio,
of a character
Q contemplative
r
e>
>
so noble, so elevated, so dignified, that
Op. 106.
-f
Subsidiary accentuation, as shown in
our example,
change of Diaeresis from
as
could only have been written by a composer
was completely out
of
touch
with
the
it
who
everyday
world, whose thoughts were entirely occupied with

the highest expression that music
That such
this sonata
movement
is
capable of.
as the adagio sostenuto
could ever have been produced, even by
the genius of Beethoven,
if
the composer had not
been cut off by his deafness from the

life, is
soul,
of
inconceivable.
communing with
of sound that existed
It is
trivialities
of
the expression of a lofty
itself,
wandering
in his brain,
in a region
and made acces-
UNBARRED MUSIC
sible to
177
ordinary mortals by a genius so transcendent,
so grand, as occurs only once in
many
centuries.
The Largo is the logical outcome of the Adagio.

The rhythm of the Adagio is continuous throughout.
In spite of
its
length, there
of rhythm-species
flow,
no change of tempo or
is
there are no pauses to break the
and only two
ritardandos.
The
massive wealth
of sound pours forth in a never-failing stream, and

of
in a continual regularity
triple
rhythm.
great
tension has been placed on the faculties in sustaining

so lofty a height
there must be a temporary break
new rhythmical movement.

movement as the Largo to the
before encountering a
To
subject such a
Yet we
dissecting knife seems almost like sacrilege.
venture to do
it,
in the
hope that our readers, when once
they have followed our analysis, will forget

it,
and give themselves up to enjoying the emotional
effect
of the music, without thinking too
technical skill exhibited in
it,
conta
Largo
nel
^fe^^fe^."
sempre
"For
the
much of the
great though
Beethoven gives the direction, " Per

quattro
bars
in
it is.
la
misura
semicrome^
the
semiquavers must always be counted."
audience, but not in regular rhythm.
He
make
Recitative.
contrast
to
si
four
The movetalks
is
cio
Largo,
The composer
ment
to
about
all
to
his
wishes
the long-sustained rhythm
of the previous movement.
He
keeps to
only enharmonically changing the notation.
his key,
178
The
-^
signature
not in use: hence, for the
is
purpose of analysis, we have
Ex. 51 changed the
in
semiquavers to crotchets.
Ex. 51.
Beethoven Sonata (Op. 106).

Largo.
ST\
=f
Largo.
{Con moto).
ES
2
TX
@ê
H#n=H*-
t:
fc^z
:
Preliminary
Measure. Anac.
Anac.
Rhythm.
1st
Anacrusis.
/T\
^=JS
=&
=t
1*
=^=
SE
r-
:fc
Ô
/T\
-\
/-
.8
*
:a
^=^F
Anacrusis.
Anacrusis.
zr=
JEEEE
=r
>
3-
Anacrusis.
3=e
-*-
2nd Rhythm.
1
ifczd:
TJ-TLMi LEX iLLU
Beethoven's
Barline.
sê
^CT*^
J:

UNBARRED MUSIC
179
Additional Half-rhythm.
*&-*
-p
=*
p-
-f
p 1
-1
etc.
fw;
/T\
*=
L i>
:E
Beethoven himself gives a barline
There
have indicated.
of
flat
end of
is
Rhythm.
key
a full close here in the
major, which shows that
we
in the place
this, at least, is
the
In order to get at the underlying
rhythmical scheme,
we must work backwards from
the barline in measures of four semiquavers (in our
example they
will
obtain the following results.
movement occurs on
is
We
be four crotchets).
The
shall
then
accent in the
first
the pause on the high F.
the accent of a Preliminary Measure, and to
This
it
is
joined an Anacrusis of three-quarters of a measure,

divided into
triplets,
whose
accented preliminary note

accent
is
not
struck,
final
:
but
note
tied to the
is
hence the Preliminary

imagined,
since
it
is
incorporated into the Anacrusis.
The Pause on
this
unstruck Preliminary accented
note breaks up the expected phrase.
new Ana-
crusis
opens the four-measure Rhythm, but instead
of
first
its
accent being heard, or even tied to the
Anacrusis, the sound ceases altogether,
being represented by a
rest.
This
is
the accent
the case with
RHYTHM OF MODERN
MUSIC
the remaining measures, and the
Rhythm
180
all
ends with
composer makes
He
allows us
on the high
pause
the
itself
The
flat.
a strong appeal to the imagination.
to
no rhythmical accent
perceive
nothing but the unaccented portions of the measures
and even these are made more incom-
are heard,
prehensible by the pauses
we
are in
realm of
mystery.
In the second
Rhythm he
is
more
mencing with an Anacrusis, almost

in
he
length,
lets
each
whole measure
be heard, and
accent
Period of two Rhythms ends with the
flat,
already alluded
additional
first
Half-rhythm, which
Rhythm and
and
Pause,
It
to.
the
Com-
explicit.
is
the
full close in
succeeded by an
ends, like the
also
the Preliminary Measure, with a
movement
then
goes,
by
easily
understood rhythmical phrases into the key of
sharp major.
We
are led
to the conclusion that the first three triplets
on the
To
note
return to the opening Anacrusis.
are Anacrusis notes,
does not commence with
and
that the
an accent,
backwards from Beethoven's barline

confirmed when
later
by working
and
this
is
on the same passage occurs
in
another key, preceded by an additional

triplet
movement
note
and
which undoubtedly form the accented portion
of the measure of which the three
commencement form
triplets
on F
at the
the unaccented three-quarters.
UNBARRED MUSIC
181
This contemplative and intensely suggestive move-
ment
is
divided into two portions by a short fugato
passage, which suddenly breaks off in the midst of

its
course, and
leads back
to a
repetition
opening Anacrusis in a new key.

of the subsidiary rhythm
after the final pause
is
between
The
distribution
the two
very striking
of the
it
hands
gradually
quickens to a prestissimo^ and leads into a vigorous

fugue.
CHAPTER
Staccato
and
Piano,
Forte,
Accent
and
Crescendo,
Mechanical
VIII
Diminuendo
The
and
Instruments
Organ
Accent
Rhythmical Scheme of a Complete Composition
The
Illustrated
by Brahms' Rhapsody, Op. 117
of sounds
series
or,
as
styles
The
be
closely
connected
together in a legato style, or they
Staccato.
played
may
staccato,
every other
with
may
musical feature, the two
be intermixed.
principle of detachment
indicated by
is
the same, whether
between the notes, or dots over
rests
them, or a combination of dots or slurs
To
a question of degree.
explain what
it
we
is
only
believe
to be the principle involved in the staccato style,

will
be
from one another
detached
i.e.
may
we
again have recourse to poetry.
Except for certain dramatic

poetry
is
punctuation
Single
music
sign,
the verse
Caesura,
words may be
others, but
we
can
each verse of
what may be compared to the
recited in
legato style in
effects,
is
only broken
occurs
occasionally
in
its
detached
if a
midst.
from
hardly imagine single syllables
STACCATO
183
being separated by a distinct break in

unless, perhaps, for a
humorous
the sound,
object.
But instrumental music, on the contrary, obtains
some of
of
its
its
most striking
by the detachment
effects
we have
notes in the staccato, and, again,
feature in which poetry
and music, so
like
the
in
fundamental principles of their rhythm, are very far

apart in
But
its
details.
a verse can be divided
into half-verses, just as a
by rhymes or Caesuras
Rhythm
can be divided into
half-rhythms and single measures, by
and
closes.
our view,
In
rests, Caesuras,
staccato
is
of
simply the principle
division carried a step further, and applied to single
This separation of
notes instead of single measures.
musical sounds, whether of the measures composing

the
Rhythm
effect
or of notes forming the measure, has no
on the fundamental rhythmical structure, and
whether we play a passage
staccato
or
legato,
the
grouping of the music into Rhythms and Periods

will
not necessarily be obscured.
But
staccato
rendering will produce a totally
different aesthetic effect
from the
legato.
If a
melody
which has been conceived and constructed to be

played in the legato manner
will
is
performed
staccato, it
sound either ridiculous or meaningless; and
on the other hand, what was intended

played
legato, it will
for staccato
have a heavy and dull
if,
is
effect, or,
RHYTHM OF MODERN
84
any
at
rate, will lose the vivacity
which the composer
In either case the aesthetic character of
intended.
damaged
the passage would be
much
just as
as if
we
omitted Rests where they are written, or
arbitrarily
made
MUSIC
Caesuras where they were not intended to be.
Let us take, for example, one of the most beautiful
movements, the well-known
of Beethoven's early
Andante with Variations
Op.
in the Sonata,
14,
No.
2,
whose whole ethos depends on the contrasting
inter-
change of
legato
staccato
with legato passages
throughout, but with
strict
and what do we get?
Or
play
staccato
it
play
observance of
mere study
throughout
we
its
in
it
phrases,
harmony.
get a tiresome
succession of detached chords.
No
doubt
appear a mere platitude to the
this will
enthusiastic
pieces, for
by
amateurs
between
completely
and
ruining
master-
legato
by
their cutting a legato
to pieces with unwritten Caesuras, or joining
what ought to be played
mixture of both
staccato has, in
seen (page 81)
or
instrumental music, as impor-
how
We
have already
the slurring of two notes at the
beginning of a measure
a similar
staccato^
styles.
tant an aesthetic value as legato.
and
do we hear
which they have the greatest admiration,
staccato
together
The
often
want of insight into the important difference
their
melody
how
but
experienced musician,
intensifies their accentuation,
treatment of two notes, the
first
of
STACCATO
which
is
an unaccented place, will produce the
in
The
of syncopation.
effect
185
detaching of the notes
either side of the slurred notes adds additional
on
force to the passage
is
When
the
more
notes
the
all
e.g.
forcible than "7k j
are
performer
intelligent
proper accentuation just
played
be
to
does
he
staccato,
the
gives
instinctively
as
-iH
legato
in
phrase.
It
makes
phrase
is
little
rhythm whether
difference in the
played loudly or softly, as long
as the passage in question
is
Forte
sustained at
good
deal of influence
power we
of the
force
on rhythm.
at the
decessor,
and hence we get
slightly
carried through
accentuation
mendous
successive
than
its
pre-
several measures, instead of being
We
is
gradually
a Rising Accentuation
confined to pairs of measures, as

it.
Each
more accented
is
By
same time increase
accentuation.
measure
explained
Diminuendo.
But the Crescendo and Diminuendo have
increasing the
the
and
^Tescendo and
an equal degree of force from beginning

to end.
believe that
due
emotional
in
we have
to the
hitherto
increase
no small degree the
tre-
many well-known
and the conductor who
of
effect
passages in orchestral music
of
has his band well under control can utilise this
means
86
RHYTHM OF MODERN
MUSIC
of expression more powerfully than can be done on
any solo instrument.
The Diminuendo
of the Crescendo.
has,
of course, the reverse
It consists
effect
of a lessening of the
successive accents, of a gradual relaxation of effort

a Falling Accentuation
is
produced on a large
and from energy we are brought to
scale,
tranquillity, or
to a less demonstrative expression.
Crescendo usually leads to a Forte or Fortissimo.
As long
affected
as
this
sustained,
its
available for
long and short notes,
And
accents, etc.
exactly the
the
enforcing
Pianissimo passage, so that
give
rhythm
the
is
not
by the loudness of the music, but by the
arrangements of
and
is
same
rhythm
in
sforzandos
effects are
a Piano
or
mere loudness does not
nor softness weakness.
strength,
its
Power of
expression in both depends on whether the rhyth-
mical construction
way
the
is
conceived and carried out in a
The tremendous effect of

movement of the Fifth Symphony is due
that appeals to us.

first
more
to the intensity
harmony or
its
of
loudness
its
accentuation than to
its
frequently several measures
consist of the repetition of a single chord, which, if
played without a vigorous accent would be more or

less
meaningless.
A certain pianissimo passage towards

rhythm
the end of the Scherzo consists of
with
unchanging harmony.
the contrary,
its
It
is
emotional effect
not weak
is
alone,
;
on
just as great
FORTE AND PIANO

as
of the forte parts.
that
performance
first
of
this
It
the conductor failed to
work
Opera
in
to
the
as
upon
look
highest
Can
it
If
all
fine
shades
form of musical
fire in
much upon
so
etc.,
deny
spite
Italian
art,
the
were
human
Accent, with
Falling,
how
that
of
which
instruments,
placing a stress
in
of
can
it
7^
Organ
and 4ccen&
on the Organ, and on the whole
mechanical
will
importance
sweets
the
of Rising,
Syncopation,
sforzando,
exist
be that
it
rhythm depends
its
the
that the audience,
unprepared for " music that strikes

breast "
London
appreciate the
of accent and rhythm, or was

accustomed
that at the
said
is
gradually melted away.
audience
187
are
on individual notes
rhythm can
exist
tribe
of
incapable
of
For no one
on these instruments,
this limitation.
In this matter there comes to our aid one of the
most subtle and mysterious
parts of our
nature,
namely, the faculty for imagining that we feel or

hear a thing which does not exist, and yet which
wish to
exist.
The organ and
the
we
machine-made
music have the same means of making their phrases

intelligible
by harmonic structure, and by Caesuras,
as are available elsewhere

this is
accent only
supplied by our imagination.
structure,
is
absent,
and
The harmonic
and the combination of longer with shorter
notes leads us to expect and desire accent, and
we
88
instinctively feel that
not
what we want
is
there,
though
tangible form.
in
And
the organist
who
the accents, but
feels
who
has not the power of expressing them through his

instrument,
exact
very careful to give
is
value,
and
especially
to
every note
advantage of
take
every longer note in " Dotted-note " rhythm.

will
its
He
never yield to the temptation of breaking up the
time by holding on a note beyond
due length
its
in
order to change his stops, and he never indulges in a

trick of holding a meaningless, rhythmless note at
the beginning and end of his piece.

that,
owing
to
its
For he knows
accentless nature, the organ punishes
any defects of time and note value more than does
any other instrument.

time
is
On
other instruments, if the
accidentally lost, the
rhythm can be quickly
recovered by marking the accents; on the organ

cannot.
The
organist
knows
that a rhythmless
it
and
undecided manner of playing produces insupportable

weariness in the listeners,
this
who
are at his
respect if they are in a church.
mercy
in
In a concert
room they have at any rate the opportunity of

getting up and leaving, as we once saw done in
Germany during a rhythmless performance of some
very fine music on a
first-rate
organ.
In this case
the technique was faultless, the tone of the organ

irreproachable.
Only the rhythm was wanting, and
the performance was ruined thereby.
MECHANICAL INSTRUMENTS
Everyone who has
the Piano-organ,
b
as
listened to the
machine known
must have noticed
'
that,
when
Waltz,
it
plays a properly constructed
entirely satisfies
in
feeling,
One
it
of
spite
Mechanical
Instruments
our rhythmical
to produce accent.
its inability
reason seems to be that the single bass note at
the beginning of each bar
the
189
rest,
for
bass
is
more prominent than

has
string
more
powerful
vibrations than strings of the higher pitches.
This
prominence of the single bass note, coming
in the
expected places,
in addition to
of the tune, acts to
on
stroke
single
demand
all
the harmonic structure
intents
and purposes
drum, and thus
for an accent.
like a
our
satisfies
And what we
have said of
the waltz applies also to other music in which the
construction
be,
on
But
is
very simple, and the accents would
a musical instrument,
if
the music
construction, or
not very simple in
if it is
We
many
remember hearing
times over, but
making out where

from being
at
first
its
modern complayed on a
we never succeeded
accents
should
meaningless
repetition an irritation
While
harmonic
not already familiar to us,
position which was unfamiliar to us
pianola
its
by mechanical means may be incompre-
a piece played
hensible.
is
somewhat marked.
it
in
come, and
became
with
to us.
investigating the
question of rhythm
connection with mechanical instruments,
in
we had an
RHYTHM OF MODERN
190
opportunity of visiting the

instruments at
wissenschaft
organs
the
were
set
in
at
Museum
Munich.
motion for
We
ments had been prepared
us,
coincidence,
mechanical
one being an
all
the most
found that both
to
Weber's Overture
namely,
der Natur-
Two
ancient specimen, the other containing
modern improvements.
of musical
fine collection
Deutsches
und Technik
MUSIC
play the same piece,
" Oberon."
to
we remembered
instru-
that
some
As
thirty years
ago a gentleman, wishing to exhibit the powers of

his
newly-acquired
same
piece as the
the Overture to
Orchestrion,
first
on
Oberon
his
had selected
Why
programme.
reason struck us at once, on hearing
The
Munich.
is
by
so especially favoured
the owners of mechanical instruments
The
the
it
at
frequent repetition of the figure
TTTj
in various
melodic shapes, gives
marked accentuation
found to
suit
from
apart
the
on
stress, so that
it
is
mechanical instruments particularly well.
In England and France
marches
this piece a specially
it
is
the custom to play
organ, in spite of the
the
march requires
fact
to be specially accented,
organ has no accent of
its
own.
that
and the
Here, again, the
simple harmonic form of the march, and the juxtaposition of longs
The
and shorts come to our
ease with which an
"
Organ March
assistance.
"
can be
MECHANICAL INSTRUMENTS
composed and executed has
hands of
incompetent
led to
organists,
development
sufficient intellectual
cold calm accentless organ
is
191
abuse
its
in the
who have
not
to discern that the
relentless in its exposure
of anything approaching poverty of invention or
want of
player.
effective
The " Organ March " can only be

when written by a composer of high
really
intel-
and played by an executant of con-
lectual power,
siderable intelligence
trivial
on the part of composer or
intelligence
otherwise
it
will
sound either
or vulgar, both of which qualities are parti-
on so noble an instrument.
cularly out of place
Space forbids us to enter into a discussion of the

rhythmical structure of contrapuntal and other music
more
Our only
closely associated with the organ.
reason for alluding to the instrument at
show how
large a
place
all
is
to
our imagination takes in
listening to or performing instrumental music.
All compositions that are conceived and carried
out
at a
reasonably high level of art will
be found more or
.
rhythmical
point
less interesting
r
or
'
view;
for,
from a
i-i
while
^
Rhythmical
Scheme of a
Complete
melody and harmony produce grace and
Composition:
beauty, rhythm gives force and dignity to
Rhapsody,
the music.
P- IJ
From
the big
drum of
dignified accents of a
cry.
the Salvation
Army
Beethoven or Brahms
7-
to the
is
a far
Yet the big drum, which drives the accent home
RHYTHM OF MODERN
92
whom
into the heads of those for
same function
the
classical
The
hammering
give
to
difference
the
that
is
the
to
drum,
big
at the accents incessantly, leaves
more
of
features
character
to the imagination, while the classical
suggests
intended, has
is
rhythmical
the
namely,
music,
melody.
as
it
MUSIC
nothing
composer often
ideas than he allows to be heard, as,
for instance,
when frequent
drum makes
its
rests
big
appeal to those that cannot think
The rhythm of
for themselves.
The
occur.
classical
music
is
intended for cultured and sensitive brains, and the
more
the rhythmical sense
pleasure does an
cultivated, the greater
imaginative
rhythmical
Both methods of appeal have
give.
the world
if
offered
not intended.
is
structure
their place in
but each method would annoy rather
than stimulate
it
is
rhythm, which
in its
We
to an audience for
which
propose to examine
most elementary form
is
how
repre-
sented by the Salvationist's drum, affects the ethos
of
artistic
compositions
when
used
in
its
most
highly developed form.
To
this
analyse a
work
to
number of compositions would

too
large
dimensions.
We
swell
must
therefore be content with a few only, leaving to the
reader the fascinating task of examining others, and
he
will find that there is
enormous
music that
the
is
it
is
no lack of material.
So
mass of rhythmically interesting

embarrassing to have to make a
SCHEME OF A COMPOSITION
E
flat.
we
but
selection,
will
Op. 119, No.
combined with
strength,
Rhapsody
take Brahms'
4, as
193
in
an example of dignity and
a delicacy
and an imaginative
rhythmical structure of the highest order.
is
The tempo is Allegro risoluto. The general form

a modern development of the old Rondo, in which
a chief subject recurs several times, with contrasting
between
subjects
The
its
recurrences.
subject
principal
is
subject in the dominant, after which
Then comes
by a second
followed
it
is
repeated.
a third subject, in the relative minor, a
the subdominant, and a return through
fourth, in
the second to the
first.
The
piece ends with a coda,
of fresh material.
The Rhythms
Measures each,
of the principal subject are of
form of which Brahms makes con-
use in his shorter pianoforte works.
siderable
appeal to the imagination,

tion,
and
its
its
is
Its
freedom from conven-
broad outline, give such pieces as
occurs in a peculiar charm, which, while
them
five
it
it
makes
particularly attractive to the cultured musician,
found
a little difficult, perhaps,
only accustomed to simpler forms.

alluded to
it
by those who are
We
have already
on page 154, where we compared
it
to
the " Heroic Verse " of English Poetry.
Opening with strong masculine

the
accented
sforzandos,
the
notes
first
dactyls, in
which
made more forcible by

Rhythm ends with a solemn
are
3
i
94
spondee, whose two notes are likewise impressed on
us by sforzandoSy and, as
strengthen the effect of
if to
the spondee, the unaccented note which precedes

is
it
also given a sfoi%ando.
Ex. 52.
Brahms Rhapsody (Op. 119, No.
4).
Allegro Risoluto.
Period
1.
isp?
=t
sfc^ 8
Period
1?'
it
3=
2.
pp
rnTTjriisf ggE
,p
-t=J
g ^
to*
iEEtefr
it
-ff
Period
3.
First
Rhythm.
1
I
BE
t=t
Overlap.
195
Overlap.
Third Rhythm.
Overlap.
Period
4.
Fourth Rhythm.
4
-ML
W U
-*-:
I-
Overlap.
In the dactyls, the contrast between the sustained

crotchet
sforzando
staccato
and the quavers shortened
enhances the accents, which in the
first
measures are marked as strongly as possible.

there
a lessening of accent, the
is
having on
its
on
its
crotchet
strong
weak
by
three
Then
fourth measure
portion two quavers, and a
place.
This change of accentua-
tion has the effect of keeping the attention
on the
alert.
The
full
fourth measure leads us to expect a feminine
close
instead
and
an
a four-measure
unexpected
Rhythm
chord,
we
get
form
of
but
fresh
accentuation, and an additional unexpected measure

in
the
Rhythm.
RHYTHM OF MODERN
196
The same
MUSIC
features are found in the second
Rhythm,
except that here the fourth measure ends with no
chord
the
at all,
air,
as
it
We
only the bare octave.

were, and the
first
are left in
Period ends with
nothing approaching a close of any kind.
For we have a big work before
must be kept
expectation
which the
us, in
and not checked by
alive,
conventional formality.
The second Period opens with a repetition of the

But in the fourth measure
first Rhythm of the piece.
there
on
is
second
its
no
an important change.
half,
showing plainly that there
full close, there
again
is
is
to be
We
again a bare octave.
are
moment, and an unex-
in suspense for a
left
Instead of the chord
pected modulation occurs, leading to the dominant
of the principal key.
The second Rhythm of

sures,
is
this
and ends on the low B
an Overlap here, for with
new
Period.
The
Period has
marked
flat
this
The
at the
fourth
having
its
refers to the Period
which has
new Period which
measure of
this
Rhythm,
instead
of
natural accent weakened, as in the preit
strengthened by a sforzando
and the weight of the spondee, which

is
There
same moment on the same note.
ceding Rhythms, has
bass,
mea-
note commences the
just concluded, and the p to the
commences
fp.
six
lightened
by
the
is
heard in the
subsidiary
semiquaver
accompaniment of the right hand.
Let us play the
second Period apart from
find that
it
its
197
we
context, and
shall
seems to demand a masculine close on
the fp note, thus producing a six-measure instead of
harmony and melody

this
we
demand, and
is
it
of
structure
are sufficient to
the
account for
strengthened by the fact that
are here completing an important section of the
and embarking on
piece,
responding passage,
crotchet^ on the
the
Rhythm.
The
new
See
In
a cor-
so arranged that
is
leads
it
not the sixth measure of
fifth,
Ex.
key.
movement, the entry
later in the
of the semiquaver motive

to a
The
Rhythm.
five-measure
This
55.
is
absolutely
entrance of the dominant key
is
an
important event, and the previous
Rhythm seems
to
demand
would not get
if
logical.
first
a masculine close,
we adhered
which
it
rigidly to the five-measure form.
In the
seventeenth period, Ex. 55, a masculine close
is
pro-
duced without altering the flow of the five-measure
rhythms
The
which
the modulation there
Period
third
are
alike,
has
four
is
merely transient.
Rhythms, three of
of solemn spondees,
consisting
followed by two more in the bass, which are, however, lightened
by an accompaniment of semiquavers
in the right hand.
In the fourth
Rhythm of
Period the spondees are continued to the end

right hand, the semiquaver
three
is
in the bass,
reiteration
of
a single
in the
accompaniment of the
and there
chord
is
in
a crescendo to
ff.
this
last
The
the last two measures
198
RHYTHM OF MODERN
Rhythm
of each
single note,
here gives
way
to a reiteration
of a
accompanied by various harmonies which
lead back to the original key of
look upon
MUSIC
this
Rhythm
the last overlapping the
flat
and we may
as containing six measures,

first
of Period No.
4.
Period Nos. 4 and 5 are rhythmically a repetition
of Nos.
and
2.
No.
5 leads to a deceptive cadence
which introduces an independent single
Rhythm of
four measures, Ex. 53, forming no part of a Period,

Ex. 53.
Period
6.
Independent Rhythm.
-,
fcfc
-o
X -G>
Ufct
*-^S>
Biâ
Period
7.
fe
HH33=^*=
^^g
0-m
t-b=fa*fm
r r
3-
*t
.S^g
ffftj r
m
*
t:
Period
l&E
8.
199
ft.
1
13===^
JgL;_L
3
/
i
p
?2I
t:
Period
9.
E&
*"i~r
fa
/*
^fc-,=
EEEp
V,
* *lv
C2I
grazioso.
Period
^-
!--
iS
1_
1
-*-*-
y=#^=
n
*#*=
==
as
-01
|3î=j
Period
b*
fc*
10.
#^=*Jti =i=^3z
E^
zpz^zp:
11.
krF-=\
* IT
^=fc
'-J*
-s>-
E
-
*-
RHYTHM OF MODERN
200
MUSIC
but serving as a kind of bridge by which we pass
over to the new subject in

is
This "bridge
minor.
made use of again later on.

The five-measure Rhythms are now given
C minor
the
section
contains two Periods only, the
first
general character
is
by the sforzando on
while
dignity,
it
still
each
the
to a
life
long,
This
half-bar.
of
division
form of rhythm which,
would be apt
to
Rhythms.
spondaic, as indicated
if
gives
accented
the
half of each spondee into a triplet gives
and
It
of which (Period
6) has two, and the second (Period 7) three
The
up, and
orthodox four-measure.
in
is
"
movement
continued too
become heavy.
Since the frequent repetition of the single triplet,
combined with the spondaic character of the music,
would make
Rhythm of
a
it is
varied in the second
each Period by two successive triplets in
spondee,
single
Period
monotony,
for
three
while
in
successive
Rhythm of
measures are made up
the
final
entirely of triplets.
The whole of
this
section
simple tonic and dominant

portion
simple
practically built
the
extreme
yet
so
The melody
carefully
in
is
the
is
rhythmical scheme thought out that the result
movement
on
harmonies, the greater
on a tonic pedal.
being
in
is
is
which dignity and vigour combine
a
in
an appeal to the highest imagination and the noblest

musical emotions.
Did Brahms argue
work
set to
the matter out in any such
which we have indicated
as that
201
Did he
way
deliberately
to put a few simple chords together
and
then clothe them with a rhythm that should satisfy

the conditions
We
think not.
instinct
we have described
prefer
We
believe that
to
prefer to
it
was the
of his great genius, combined with a highly
cultivated brain,
that
prompted him
to
write this
passage without seeking for aesthetic reasons
The work of
should be thus or thus.

create
it is
work of the
the
can, the aesthetic reasons

his
work
in
its
genius
is
analyst to find out, if
why
it
to
h.4.
the genius constructed
such a way and no other.
Our C minor
close in
why
section ends with an orthodox full
tonic, in the feminine form, perhaps in
order that the transition to the next passage should
What
not be too abrupt.

called a
"bridge" now
Rhythm
we, for convenience, have
recurs, but this time
its
single
followed by a complementary Rhythm, the
is
The comsecond Rhythm here
two together forming the eighth Period.

poser
is
not content to
make
On
exactly like the
first.
the interest by
making the
twice
as
of the
quickly
previous
expectation
as
the
the
the contrary, he increases

first
corresponding
Rhythm, and
by dwelling
two measures move
for
then
rouses
our
two whole measures
on a f chord of the new key that

enter.
measures
is
about to
202
The
rhythmical scheme of the section in
Periods 9 and 10,
Brahms, whose
peculiarly delightful, even for
is
so
abounds
If
we count
music
rhythmical expression.
number of
when we examine
delightful
in
the
bars,
we
and tenth Periods contain
shall find that the ninth
the orthodox
flat,
eight measures each.
It
is
the arrangement, the Diaeresis, of
the Period, that the fascination begins.
by the
to the effect produced
delicate
form of the accompaniment, we
In addition
and original
find that there
is
an
equally delicate and carefully thought out rhythmical
scheme.
we have
First
Rhythm of three
But the six-measure
then one of six measures.
Rhythm
is
by means of the
divided
measures,
slurs into a
phrase of two followed by one of four-measures, which

overlaps and sounds like a three-measure
Hence our eight-measure Periods

unusual form of 3
+ 4.
This melody
Diaeresis,
the
novel Diaeresis,
The
its
two
is
of the orthodox
Greek
in its rhythmical
attached great
in
and
which
is
orthodox.
importance to
any rhythmical
Brahms has
own,
his
eleventh Period
Diaeresis
into
all
are arranged in the
in place
quite
way
was divided
section
+ 3,
is
The Greeks
charm.
the
4-
also
Rhythm.
to this
applied
melody.
of eight measures, but
Its first
pairs of measures, while
Rhythm
its
is
divided
second, accord-
ing to the principle explained on page 146, contains
four undivided measures.
The
twelfth Period
is
203
rhythmically a repetition of
the ninth.
The
thirteenth Period, Ex. 54, consists entirely of
two-measure phrases, which, contrary to the general

not followed in the same Period by a four-
rule, are
measure Rhythm.
The
however, injured, since
feeling for the rule
this
Period
not,
is
succeeded by a
is
Ex. 54.
Period 13.
>=$
SÊi
p
series
=F
**
dim.
of unbroken four-measure
fourteenth and fifteenth Periods.
Rhythms,
Being
in
the
a repetition
of the scheme of the sixth and seventh (enhanced
by additional
special
We
triplets) these
two Periods require no
comment.
now
return to five-measure Rhythms.
The
sixteenth and seventeenth Periods are an elaboration
of the
first
and second.
forms are retained
The
dactyl
and spondee
in the bass, while the right
hand
divides the longer notes of these forms so that there

are
four
quavers
in
each
bar.
In
the
sixteenth
Period the principal melody, uttered with the extra
2o 4
RHYTHM OF MODERN
notes,
combined with the
and pianissimo pro-
staccato
duces a mysterious and agitated

seventeenth this
the
The
legato.
strict
the
five-measure form
of
legato
and
in
the
heard again, but in
is
the
The Rhythms
fascinating.
is
effect,
between the
contrast
and
sixteenth
periods
new motive
MUSIC
staccato
of
seventeenth
adhere to the
the music continues pianissimo
Ex. 55
Period
16.
3 w M& JM--*PF
fct
fe
WA
ry-fW^
=p
*=*
ê
Period
17.
ay
1-
l! >
" r r -f- -H^P:
-*=?.--
8
m&
Efc
m
1
QP
-P-
8.
ItZIjZJL r^r
IS-
If
g^
r*
^S^^^
tete
Id
:p:
Îgl
Period
205
:p=*
ia
18.
ip=M
fM
Overlap.
Overlap.
=t
3=N
1*
Spa ^fe
H?rt
Overlap.
Se
J
4 u
^rv
^r-f
&!
206

Period
mm
19.
b.-
Pt=:
Anacrusis.
-^
fet
HE Sg=
tq
as
:
Anacrusis.
Anacrusis.
gglfc^g
^gEJ=Ejg=@E^g
jj
fete^
Anacrusis.
*MM
S3
^s
each
effect
l*
ftt
The
brings the motivo at a higher pitch
known to the Germans

which we have no technical
which
fc=J^K
:p=zrpi
producing a delicate example of that
last,
rung," for
fi
Overlap.
new Rhythm
than the
is
seventeenth
Period
ends
with
as " Steige-
equivalent.
the
same
melodic figure as the second, but with the difference

already
third
explained on page
Rhythms
composer
in
are
here
such a way
197.
The second and
carefully
slurred
by the
as to enforce the fact that
they are of five measures, while the
last
Rhythm
is
207
by the
same
divided
two-measure
into
phrases
means.
The
new "
eighteenth Period forms a
Steigerung."
has four Rhythms, of which the last has four
It
measures, and makes a crescendo from pp to
The movement now becomes

mendous chords
The rhythm
a time
Tre-
very stormy.
alternate with the great arpeggios.
Attention
changes.
is
to be centred for
on the grandeur of the harmonies rather than
The
on rhythmical refinements.
the
f.
nineteenth
period
divided into pairs, or
Half-rhythms
anacrusic.
measures.
followed
the
measures,
and each rhythm
The Half-rhythms
closes,
eight
of
say that there are four
succession,
in
by masculine
breathless
contains
we may
Rhythm
first
final
are
is
sharply defined
one increasing the
excitement by being cut into two single
The
series
of two-measure phrases
by an undivided
is
Rhythm
four-measure
which completes the Period, and leads to the
reprise
of the chief subject in Periods 20 and 21.
With
the
twenty-second Period, Ex. $6, com-
mences the coda.

anacrusic.
It
It
introduces a
new
figure,
is
begins with a five-measure Rhythm,
but the second
Rhythm
is
broken into three single
measures, succeeded by a group of four.

less
and
excitement
is
increased
The
rest-
by sforzandos on the
unaccented detached semiquavers of the right hand,
and fresh ardour
is
aroused
in the twenty-third,
the
2o8
Ex. 56.
Coda.
Period 22.
2
r"3
M-
Yfe
?ESEi;
3-^
fe
S^=*Mfcri
E]Ei
J^ Anacrusis.
4
*==&
EfcS
i==
Anacrusis.
Period 23.
-(ft)|
-P
j>
j^
-^ m-J
Overlap.
I-
toi-#
SE
'~Tmm*-^
T.r.
se^
-a*--
Jr
?*-,-
tf
*f
One Rhythm
Period 24.
only.
S
j
J ^
,*
-P-
Jtf.
last
-pf="
Period, for the semiquavers here give
staccato
piano
triplets,
works up
way
to
and the Period, which commences

to
fortissimo,
while
the
melody
gradually rises
octaves.
The
in
final
pitch
through a space of two
cadence
rhythm of four measures
209
in
occupied by a single
is
ponderous chords, com-
mencing with an Anacrusis.

This composition
only one amongst the
is
examples Brahms has given us of

rhythmical
possibilities.
modern development of
directions
his
but
we
He
pushed
mastery over
forward
the art of music in
the
many
believe that in no direction was
work more important than
in
gave to the cultivation of a high,
and
his
many
intellectual sense
of rhythm.
the impetus he
artistic,
emotional,
CHAPTER
Brahms,
Symphony
D, Op. 73 Tschaikowsky, Symphonie

Pathetique, Op. 74
in
Allegro non troppo, Key
The
D, Time Signature
bars are simple, hence the
conductor
Rhythmical
Analysis of
Brahms'
Symphony
No
IX
2 in
marks
Measure,
and
occurs,
easy
is
the
down
the
beat of the
of
accent
to
liminary Measure, which
is
Rhythm
is
allotted to the horns
the second to the clarinets
The
and bassoons,
and bassoons.
Ex. 57.
Brahms' Symphony (Op. 73).

1st
Rhythm.
H
rn
'
=t
*ePreliminary
Measure.
#:
its*
3>
v..
r-
-G>-
rJ-
mÊE
Pre-
succeeded by a dignified
Period containing only Primary accentuation.

first
it
distinguish.
The Primary note is the crotchet.

The movement opens with
D,
op. 73.
each
when
Anacrusis,
enough
'3-
-Gfr
bZBt
BRAHMS' SYMPHONY
21
2nd Rhythm.
-0-
A.
&-
-&-
E|r
/>
aW.
"~N
fiStl!
-s
fr
t:
M-
second Period, while rhythmically the counter-
part of the
first,
and
A, and the close
measures.
is
more
melodically, for
prolonged
audible,
first,
and
of
sets
it
closes
through
seven
strings
enter,
During the cadence the
almost imperceptibly at
ally
it
same
to the
allotted
instruments, differs from

in
-Gh
-ei-
T*
r
The
*^
then becoming graduafter the
finally,
wind has
ceased to be heard, they carry on an arpeggio figure

alone, always in
nine bars.
give
way
Primary notes, through the space of
Rhythmical phrasing seems to

to a
vague wandering up and down
unison on a triad and dominant seventh.
vagueness
from the
is
only apparent
triad to the
really
skill
in
that, while
in
this
the change
reality
it
of the passage with
seems to be formless,
conventional form, and
cultivated hearer to discover
it
is
passage ceases.
left
it
to
The
roll
is
is
the
and appreciate the
with which the underlying convention
The unison
But
in
chord of the seventh marks
the four-measure construction
such
and
cease,
art
hidden.
of the
drum
2i2
is
heard on the tonic for a whole measure pianissimo,
We
unaccompanied.
the
is
drum-measure
completed
is
must
the
listen carefully here, for
first
of a new Rhythm, which
by the trombones
three
in
bars
of
harmony.
Ex. 58.
4
Fl.
Ob.
i%-
Tt=-
Trombones.
PP
tr.
m-%
pp
The
final
flutes
1p=
measure of
and oboes,
%?o-
this
Rhythm
is
:&z
taken up by the
of the Preliminary
in a reminiscence
movement opens. The fourmeasure Rhythm allotted to the drum and trombones
and then, with a
is repeated with new harmonies
Measure with which
the
single tap of the
drum,
it
enters again for the third
time, with modifications, and leads to the

in the
key of D, shown
Down
to this
new
subject
Ex. 59.
point we have heard nothing but
in
Primary Rhythm, and there has been an
effect
of solemn
dignity and grandeur, of solidity and earnestness of
purpose befitting a great and important work of
We now experience a lighter vein

enters,
and
for the rest of the
important part.
It is,
Subsidiary
movement
it
art.
Rhythm
plays an
of course, a commonplace of
BRAHMS SYMPHONY
1
213
musical composition that the interest can be enhanced
by the gradual introduction of notes quicker than

those of the opening subject, and
known
only using an effect well
But there are two ways of using
Brahms
here
is
to every composer.
The
it.
increase of
movement may be introduced in such a way as to

make the listener feel that it is only there because
the composer has come to the end of his resources
Ex. 59.
^m
I,
'
Wind
'
Hi be
_C2_.
-*-
-J
=r
etc.
sustain.
+H* J*
F
f*
K*
II
II
Overlap.
Primary
in
introduce
it
The
Rhythm.
in
other
way
to
is
such a manner that the listener
The
is
surprised and pleased at
its
method
of the highly trained work-
man
is
due to the
the second
is
skill
of the
first
subject
we
for an increase of
are not given a repeti-
enhanced
Rhythm, though we perhaps
come
first
that of the great artist.
In the present instance

tion
appearance.
feel
by Subsidiary
that the time has
movement.
Brahms
the opportunity of introducing an entirely
new
seizes
subject
RHYTHM OF MODERN
2i 4
at
MUSIC
Rhythm
the point where the Subsidiary
enters,
thus attracting our attention away from the formal
of construction, and charming us with new and
detail
beautiful melody.
This melody, beginning with subsidiary notes, and

accompanied by them,
and then descends.
rises to a
It
sustained high note
contains a Period of 5
measures with an Overlap, which makes the Period

nine measures in length.
It
is
followed by several
of measures, ending, according to
pairs
We
unbroken Rhythm of four measures.

a succession of
a
legato
with an
rule,
now have
two-measure phrases, which end with
four-measure
Rhythm
on
and
strings
bassoons.
new and
dignified subject,
commencing
thus,
Ex. 60.
1
1.
Cello, f
Viola. _<A_
Mt
is
in
tim
T
well
denned
rr
rr
four-measure
Rhythms
occasional Half-rhythms) throughout

its
tFizz.
etc.
"I
Bass.
-111
closes are for the
its
most part feminine.
tando" " singing;" the chief melody
is
(with
course, and
It is
"can-
allotted to the
BRAHMS' SYMPHONY
string of the violoncellos,
first
particularly fitting in the
and melody seem to

violas play
mark
basses
suit
and there
215
is
something
way with which tone-colour
The
one another absolutely.
below the violoncellos, and the double

the
rhythm by
their pizzicato notes
on
the accents.
It is succeeded by a contrasting
u dotted-note " rhythm, Ex. 61.
new
subject in
Ex. 61.
1
^S^S
*F=S
gps^gâ
f "rJ -.
^3.
P^:
IS
4^
a
:
marc.
IE 3
-J,
:
W*t^$
*=3f
j/" <fe?z
I <i
-4f=M
*gf
quasi ritenente.
i^^
j^=ât
SeI
#3fe2t:
Overlap.
nine-measure Period,
vigorous character
is
+5
with Overlap, whose
due equally
the large melodic intervals,
4 + 6 of strong
is
to the
rhythm and
succeeded by a Period
staccato Subsidiary dactyls,
which give
RHYTHM OF MODERN
216
way
MUSIC
remarkable syncopated dactyls shown in
to the
Ex. 25, page 100.
The
syncopated Subsidiary dactyls are the accom-
paniment to a sustained anacrusic melody

notes, distributed between the basses
is
in
Primary
violins.
It
Half-rhythms, defined by the bowing.
The motive of Ex. 60
and
in
Major, and the
ment
to
it
re-enters, with Anacrusis, in
flute plays a beautiful
in Subsidiary triplets,
thus
accompani-
Ex. 62.
jjM^ÂJUl -On
Flute.
The
triplets
occur again beneath the melody in
double counterpoint.
Rhythms, which, owing

disturb
the
series
to
of four five-measure
their
Overlaps, do not
four-measure form, conclude the
first
portion of the movement, leading to a double bar
and
Da
The
Capo.
" working out " section commences with the
first five
notes,
bars of Ex. 57, embellished with Subsidiary
and arranged
at
four-measure phrases.
some length
in
very definite
The second Rhythm of
this
BRAHMS' SYMPHONY
subject (Ex. 57, last four bars)
new
217
provided with two
is
Subsidiary motives, giving a fine example of
triple counterpoint.
Ex. 63.
marc.
=&-
JM^^g F?^^ft*
'
/ ff rr rf
Trt v
f-
We
quote the subject with
two counterpoints
its
only, omitting the filling-in parts.
adhered to in
The
its last
It is
counterpoint, on the violas, starts with
first
up an unbroken flow of
the
made
is
its
This counterpoint keeps
staccato
Subsidiary notes.
sforzando to enforce the Anacrusis of
accents
Its eccentric
felt,
occupies a whole
Primary note of the measure,
last
new motive.
throws
it
second counterpoint, on the second violins,
begins on
the
is
the inversions of the counterpoints.
all
measure except the accent.
which
cut short by
measure, an alteration which
the longest possible Anacrusis, for
The
Ûfepfe-fe*:
e
the omission of
tr
^=&
as!
ff
This motive,
anywhere but
conduct
Some of
the
in the
in this respect
and adds much
will
it
wind instruments
fill
normal
makes
to the interest
be noticed,
its
places.
presence
of the passage.
in the
harmonies,
218
and
at the
marking
has had
same time
its
aid the second counterpoint in
When
accents.
the triple counterpoint
Measure of Ex. 57
heard on the trombones, and is now worked up
pairs
its
say, the Preliminary
of measures with Diaeresis of melody, and
is
in
in
diminution, by various wind instruments, to a tremolo
accompaniment on the
strings,
till
gives
it
way
to a
favourite device with Brahms, of changing the Diaeresis
of the \ bar to that of the bar
see page 43.
After a fortissimo in which, amongst other things,

,
change of Diaeresis of the
measure of the
first
opening subject occurs, Ex. 64,

Ex. 64.
fc=fe=
ff
fez
% zx.
Change
(Full orchestra.)
^Plpj^
*e
*--
\?
of Diaeresis.
3
~ -JÂ *
l
the orchestra softens to piano and Ex. 57 re-enters,
accompanied by Ex. 59 as Subsidiary work, and the

third section of the movement runs its normal
course.
naturally
From
rhythmical
more or
less
point
of view
repetition
section, with slight differences of detail.
of the
The
measure Rhythm preponderates, and where

measure occurs,
it is
it
is
first
four-
a five-
usually concealed by an Overlap,
BRAHMS' SYMPHONY
so that the general effect
is
that of easily
219
understood
four-measure groups.
Key B.
Adagio non troppo.

It is
Signature C.
impossible to describe the rhythmical subtleties
of the opening passage of

without a
full
this beautiful
movement
Ex. 65 shows the
quotation.
first
two Periods, with the composer's phrasing.
In order
that the underlying rhythmical construction
may
we have omitted some of
be obscured,
not
the wind parts
which merely double those given.

Ex. 65.

Adagio non
2).
troppo.
1st
Rhythm.
2nd Rhythm.
^* rSfS
m
sra
I
I
7="
ngsf i
--
~er
jtt*
f^r
i^zz*:
iz
B
r>
-t-~PC
it=
J
-ML
220
End

of 1st Period.
u*
I
^MMi
re*
Rhythm.
1st
MJ44 n~n
u"
i'TJ
S!
=^
-}-
=*
3rd Rhythm.
2nd Rhythm.
"I!
0m^m
*
mg.
fc
-ei-
/->
h^= h=-t
!-
atzM
ifcH
V?
aa
fe^ ipZ
si
End
-P-
*? r
of 2nd Period.
-fe**
^M-
afcafc
etc.
H
^14
li$E?
1-
r
The
bars
are
Measures, and
compound, each containing
the crotchet
is
the
two
Primary note.
The melody is given to the violoncellos. The first

Rhythm consists of four Measures, whose melody is
carefully divided
by the bowing into two similarly
constructed Half-rhythms, each of which begins with

the Anacrusis.
BRAHMS' SYMPHONY
The horns and double
basses
221
sound
solemn
syncopation in notes of the value of one Measure

each,
on the dominant pedal.
of the violoncello
the bassoon has
attention
calls
accompanied by
is
no dotted note
to
and
itself,
general rhythm, by the rapid
in its
Ana-
a dotted
Anacrusis, but
slightly modifies
little
the effect of which
semiquavers,
Anacrusis
first
In the second Half-rhythm
on the bassoon.
crusis
The
is
of demi-
scale
to
the
bring into
prominence the unaccented note on which the
scale
ends.
The
but
it
first
is
Rhythm
concludes with a Full Close,
obscured by the dominant pedal below the
tonic triad,
by which the composer rounds off the
edge of the phrase.
So
we have had
far
rhythms
the following combination of
Ex. 66.
Melody
!l
Accompaniment
72 J
Pedal
The second Rhythm

Like the
first
it
is
it
lead to
is
material.
unexpectedly repeated with
This
an altered melody.
will
new
divided into pairs of Measures
but the second pair
what
introduces
at
once attracts attention
Naturally a
full close
on the
222
tonic triad
expected, after the dominant seventh
is
been twice so
has
Rhythm.
triad
is
prominently heard
falls
single
The
But we are again surprised.
hinted at: the seventh, E,
in
to
tonic
orthodox
its
note, D#, but instead of the other parts of the chord
leading to their regular resolution, they pause for a
and then enter on an entirely unexpected
single beat,
chord, so that the end of the Period, like the end
of the
Rhythm,
first
of what, in
is
concealed by the avoidance
and orthodox
the conventional
style,
should occur here.
By this
to
the
deceptive cadence the
we
second, and
are
first
Period
is
welded
on without
carried
strongly defined punctuation to the next sentence.
The
to
thing probably seems formless and meaningless
many,
especially to those
who
have every-
like to
thing clearly marked and easily understood.

those
who
marked
can appreciate
closes,
this
it,
quartet,
is
as
to
avoidance of well-
subtle concealment
which underlies the whole
Haydn
this
But
as
strictly
of a form
that
of a
particularly refreshing and attrac-
tive.
The second
which the
similar
first
pairs
Period contains three Rhythms, of

is
divided by the bowing into two
of Measures, each beginning with
Rhythm
quaver as Anacrusis.
In
the
second
phrase of two Measures divided into
by a phrase of three Measures.
The
i, is
followed
third
Rhythm
BRAHMS' SYMPHONY
has four Measures,
223
commencing with the Anacrusis
of three quavers, the largest Anacrusis we have yet
had
into 2
+2
Here
the
movement.
in this
first,
It is
divided by the bowing
Measures.
the second Period ends.
It contains,
like
several unexpected harmonies which conceal
the ends of phrases, and
of the
intelligence
welded together
make
listener,
so
demand on
that
the whole
the
is
continuous Melos.
in a
After a curtailed repetition of these two Periods,
making
the horn enters in a solo passage,
melody
plative
as follows
contem-
Ex. 67.
Oboe 1
r~
-Q
%k
'
I-
-G>-
:&
-&
"P-
^-
HORN.
JiliHJ
i
m*#ry
n
ii'u,1f;t
This motive
is
taken up in turn by other wind
instruments and the strings.

it
is
It will
be noticed that
anacrusic and has Rising accentuation, but
second accent
to the accent
is
omitted, and this gives
on the
final
Measure.
more
its
force
RHYTHM OF MODERN
224
There
is
MUSIC
change of signature to
-^-,
the
new
" L'istesso tempo."
material being indicated as
In
other words, the Primary rhythm continues to be

duple, while each
The
triplets.
Measure
J 2- bars
g
divided into Subsidiary
is
contain two Measures each
hence we must look upon this part of the movement,

for rhythmical purposes, as if
Time.
with the
In
fact, later
signature.
it
were
on, the
is
in
still
actually
Common
combined
Ex. 68.
Uistesso tempo
Wood
ma
wind..
j!|p^p^S
J*l
Cello.
The
N \A
l;
grazioso.
3:
12
Pizz.
first
32
-Hf-^- -33=3
ff
two Rhythms,
-#^
3-=
=rhEz=1zp=i1z^==1
allotted to the
instruments, are of four measures each.
wood-wind
Both begin
with Anacrusis, and conclude with a feminine close.
We
notice that the obscurity of
the
syncopations and
instruments
is
made
sustained
clear
rhythm involved
in
notes of the wind
by the pizzicato Primary
notes of the violoncellos.
Another melody, Anacrusic, and with Rising Accentuation, appears, being preceded by an
"
Empty
BRAHMS' SYMPHONY
Time
on
" on
an
accent.
re-appearance
its
occurs
It
is
it
shown
simply
first
accompanied by a double
whose commencement
counterpoint in semiquavers,
is
at
225
Ex. 69.
in
Ex. 69.
i &2
IS
-I
t^
^*^
ijaki
Anacrusis.
It
afterwards accompanied by
is
which add very

Its chief
the
much
motive
1^
demisemiquavers,
to the increasing excitement.
then used as a counterpoint to
is
opening melody, Ex. 65, with a combination
of the
developed
and
at
signatures.
This arrangement
some length, and the Rhythms
is
are
easily recognised.
The
final
Period of the
movement
is
observing, as containing an effect of which
makes use
in
The drum
beats soft triplets on the
his
worth
Brahms
Requiem, and perhaps elsewhere.
of measures, being
silent
In this final Period
use
weak portions
on the accented portions.

is
also
made of
semiquaver figure of bar two, Ex. 65

tent recurrence here
is
very effective.
the demiits
persis-
RHYTHM OF MODERN
226
Allegretto
grazioso {Quasi
MUSIC
Signature &.
Andantino).
the Adagio a mysterious effect
If in
been
has
produced by carefully obscuring the divisions be-
tween Rhythms and Periods,

exact opposite
and clean cut
clear
instead
as
of a movement
in
full
profound sentiment, we have

not
aspects,
whit
of deep
its
the
thought and
a Scherzo which, while
behind the Adagio
charms us with
Allegretto
Here everything is as
a Mozart Sonata, and
the case.
is
in the
in
lightness
intellectual
its
and delicacy of
touch.
Its bars are simple,
note.
One of
its
the crotchet being the Primary
characteristics
is
the
persistent
flow of Subsidiary rhythm, chiefly in the accompani-
ment, which
in
quavers
played on the violoncellos pizzicato
is
and where the quavers cease on the

motion
violoncellos, the
is
maintained by syncopa-
tion in other instruments, so that there
no break
This refers to the principal sub-
in its continuity.
ject,
is
but in the other subjects the same features will
be found, and the Subsidiary rhythm rarely ceases.
The melody
Primary notes
of the principal subject consists of

for
mencing with the

Played
simply
its
first
two measures, com-
accent.
and
without
expression,
there
would be nothing remarkable about the rhythm of

these two bars, merely three ordinary cotchets in a
BRAHMS' SYMPHONY
But by
bar.
little
nuance
Brahms
character of the tune, and gives

that
make
the
last
it
irresistible.
crotchet
of
He
each
it
227
alters the
whole
and
a spring
life
on
places a sforzando
bar
accompanies
he
Ex. 70.
Allegretto grazioso.
this
by an
crotchet
further
marks
that the note
it
unexpected
by an
acciacatura.
triplet,
the
last
which
result
is
melody.
crotchet of the fourth bar there
forms the
still
this gives a
Anacrusis
of the
rhythm, though joined to the end of the

slur.
and
The
becomes an Anacrusis, and
special character to the simple
On
chord,
is
second
first
by
This connects the two Rhythms together with
excellent effect.
228
The second Rhythm

by
is
two repetitions of
of four measures, extended
measure to
closing
its
six
measures.
The second
Period
measures followed by one of

a
Half-rhythm
Rhythm of
contains a
and ending with
six,
and here there
four
is
slight
pause,
Ex. 71.
Half-rhythm.
i
-*Wt
/>N
A.
^1:
shown
this
in
_*_
rf>
4.
Pizz,
call
attention to
half-rhythm, while at the same time
half-rhythms in unexpected
movement, and they
places
are
it
The
opening theme.
the re-entry of the
this
c^
tP
Ex. 71, which seems to
gd
is
marks
use of
feature of
introduced, like the
other rhythmical divisions, so clearly and decidedly,

that there can be no mistake as to
poser
means.
We
shall
what the com-
have more to say about
the kind of pause here used, in Chapter X.

third Period
for
no
is
of 4
arranged in a way that
calls
special description.
This ends the

is
+ 6,
The
first
section of the
followed by a change from
to
movement.
It
f rhythm,
the

BRAHMS' SYMPHONY
rhythm running more or
subsidiary
229
less
through
The
the parts, and not only in the accompaniment.
melody
is
opening subject reduced from
that of the
duple measure.
triple to
are easily recognisable,

after the
new
Its
till
it
four-measure Rhythms
comes
to a half-rhythm
second period, which prepares the way for
most
in-
consists of
two
subject in dotted rhythm, with
The Period
teresting construction.
complete
order 4
and two half-rhythms, arranged
+ 2,
4+
marked by the
2.
The
division
is
in
very
difference in the internal structure of
Ex. 72.
feSd=aSi
Eta
*f
ft*
the
clearly
the whole and half-rhythms.
all
r
4
J=l s
1
3
j_rj
to
RHYTHM OF MODERN
230
MUSIC
This ingenious device makes for great brilliancy
and energy, and,
as
there
Primary Time, the energy

After this
pitch.
pursues
its
way
is
increased to the highest
is
passage
exciting
movement
the
and leads to
pianissimo^
on each
a sforzando
of
a return
Ex. 70.
Six measures
of our
last
page 98,
for
of Presto
example
The
the most
part
rest
quoted on
it is
of the movement
is
development of the subjects
whose opening bars we have given.

broken by
motive
introduce the
in syncopation
Ex. 22.
in
-|
The time
pause on the Anacrusis of the
is
final
Rhythm.
Allegro con Spirito.
The
bars
Primary
are
note.
Major.
The
movement
peculiarly Brahms-like phrase.

in octaves,
minim
the
simple,
Signature C.
accompanied by
fifths
being
starts
single
on the
the
with
is
struck
strings
and
Ex. 73.
Allegro con spirito.
iiiU
m-mEi3S m
P
Sotto voce,
-4
i^
gpE^
mmmmWf
I
BRAHMS' SYMPHONY
brass, sotto
by
voce,
quaver
strings
on the
rest,
alone,
and then a melody
D, with
naturally expect the single
proper to
on the
starts off
We
special orches-
its
Preliminary note, and the melody
commence with
But the
the Anacrusis.
composer does not intend anything of
He
anything so obvious.
first
followed
It is
unison, with an Anacrusis.
in
tration, to be a
accent.
first
23
the
sort,
has placed a slur over the
four bars, and included the opening
in
it,
showing that these four bars are to constitute the

first
Rhythm, and the
but part of the
first
not a Preliminary note,
is
Rhythm, separated from
its
com-
panion measures by a Caesura.
The second Rhythm

five-measure Rhythm
ing
the
last
measure
Brahms here does

first
and not
contains Hve measures, and
made by
just the contrary
measure.
his last
repeat-
of a four-measure phrase.
opening of the movement

voce,
often
is
by the unison of the
is
he repeats his
The mystery of
enhanced by the
Rhythm ends
sotto
two measures, by three-
first
part writing doubled through several octaves.

first
the
with a feminine close
there
Anacrusis to the second, and the whole of the
The
is
no
first
Period, except where interrupted by the rest after

the quasi-preliminary
ceptible division into
note,
flows
on without per-
Rhythms.
The second Period opens
with a
succession
of
two-measure phrases, each of which has an Anacrusis
RHYTHM OF MODERN
232
The whole of
of three crotchets.
this Period,
ends with a six-measure Rhythm,
down
part writing
to
its
four-part enters for the
To
Then
full
point
this
there
is
last three
first
is
which
only two-
in
measures,
when
time.
everything
on the
a rest
MUSIC
has
been
first
accent,
sotto
voce.
and the
orchestra bursts in with an Anacrusis of seven

repetition
of
period in a simplified form, with
full
quavers,
leading
counterpoint,
to
the
opening
harmony and
and with quaver rhythm throughout
every measure.
Ex. 74.
Anacrusis.
The Rhythms now continue for some time to be

four-measure, until we come to a brilliant passage
Ex. 75.
r-^
-J""j*T"i
uk
n
"
1=1
etc.
ff
t-
BRAHMS' SYMPHONY
ending
with
are
in
fully
Ex. 75,
crusic figure
um
All
now
is
the
j
#
and
fire
m
r
life
are
clarinets
in
heard
quaver movement that
i-
ana-
in the
closes,
full
there
the
comes
on
midst of the busy
the
perpetually going on in
is
wind.
way
the other strings give
great arpeggios
syncopated notes of
The
violoncellos begin
time with crotchets
the
Then
Two
in
um
'
four-measure Rhythms,
sustained
against
primary value
mark
following
j
*
a diminuendo to pianissimo.
to
and
whole orchestra being employed.
the strings,
wind
the
quavers,
which are strongly punctuated by
the
is
while the strings
accents with
the
mr
with
This
tonic.
commencement
very telling
is
occupied
drums mark
the
in
Rhythm, whose
seven -measure
shown
close
full
233
the second subject enters
the quavers of
to crotchets,
it
is
quoted
and
in
finally
Ex. 23,
page 98.
It
begins with a
five-measure
Rhythm of
Rhythm, but
by Overlap on the
fifth
as the
+ 2,
followed by a
new Period
measure of
this last
enters
rhythm,
Throughout the
4 + 4 is maintained.
movement, wherever a five-measure Rhythm occurs,
the
balance
it
almost invariably overlaps the succeeding period,
as
it
does here.
The
second subject
is
a strong
one owing
to the
234
syncopation in
its
most part accompanied by quavers
for the
accented portion, and

portion of
its
heard
on the
triplets
made
material
the
to
its
in unison, forte,
a sforzando
The
It is
with quaver
in
grows out of what has gone
the
triplets,
is
measure.
and
is
fresh
before.
the following, in
up
wind instruments keep
quavers and the strings punctuate
and
return
quavers,
particularly attractive effect
which
rhythm, until
subsidiary
do not continue long

quadruplets
in each
repeated several times
crotchet of the
final
is
the unaccented
finally also in
measures.
with modifications of
it is
The melody
measure.
first
it
flow
of
with pizzicato
crotchets.
Ex. 76.
u
It is
makes
fff rrn
\
one of those many passages in which rhythm

its
appeal in the simplest possible
manner,
by notes which are evenly distributed throughout the

Period.
in
The charm of
this particular
example
lies
the contrasting tone-quality of the instruments
which carry out the two rhythmical schemes.
BRAHMS' SYMPHONY
*3S
During the course of the development the following tumultuous syncopation occurs
Ex. yy.
4
$#==
% fc
-*-
iSh-
^PÊ?
-m-
pe
fc
-e>-
?2Z
f5>-
32^=13:
HE*?
y J
ms:>
_a
J*Ll
p
t-
-_
^r
-kS>-
tt
-e*-
-o-
t-
t-
-r;
f=
Overlap.
The
form
first
four
contain the
bars
of syncopation, that
represented
by
In
silence.
second subject (Ex. 23)
through
rhythm
Beethoven
sidiary
and
alone
is
in
which the accent
the last two bars
is
the
represented by the bass
is
most powerful
favourite
device
with
accompanied by syncopated Sub-
work.
The whole movement is a masterpiece of strength

and energy. The Rhythms are straightforward and
easily understood
no special demand is made by
;
236
them on the
intellectual
No
faculties.
pauses or
course, which
ritardandos occur to break
its
on with an earnest and
dignified
is
carried
impetus that
is
irresistible.
Tschaikowsky.
Symphonie Pathetique.
Op. 74.
While many of Brahms' works appeal
to
rhythmical faculties through the grouping of

sures in
Phrases
Mea-
of various kinds, Tschaikowsky
more on
generally relies
the
grouping of the notes
within the Measures than on variety of Phrase.
other words,
our
Brahms makes more use of
In
the Primary
and Tschaikowsky of the Subsidiary Rhythms.
In
Brahms' music we more often meet with unexpected

Overlaps and Deceptive Cadences, which influence
the lengths of Phrases, or mystify us by obscuring
limits,
their
while
with
Tschaikowsky the four-
measure and the Half-rhythm

and they are generally
The
introduction
are the
more
prevalent,
clearly defined.
of
this
Symphony opens with
the following Period, the crotchet being the Primary
note
Ex. 78.
Tschaikowsky (Op.
Adagio.
Prel.
|
74).
Bassoon.
T>'Y<&V^
cres.
f*
TSCHAIKOWSKY
Feminine
237
close."
The Motive is anacrusic, and two measures in

length.
The accent of the second measure is disby Syncopation.
placed
and diminuendo
But, through
crescendo
each measure, through slurs and
in
through changes of harmony, the normal accent
we
enforced in such a manner that
is
are confronted
with a phrase of great emotional significance, which

at
once gives the symphony the right to
its title
of
Pathetic.
At
end of the Period there
the
a slight
is
climax;
the accented note occupies a whole measure, and
reinforced by the telling
moreover, the
paused
final
take
to
harmony and
measure
breath
is silent,
the sforzando
as if the
continuing
before
is
music
its
sad
message.
After a repetition of the opening passage,
slight alterations,
Recitative,
mences.
the
It
and
Allegro
with
a few bars of very expressive
non
troppo,
(Ex. 79), com-
has the same motive as the introduction,
but with a different treatment.
Here
is
the second accent of each pair of measures
represented by a
and
rest, in place
change of harmony we
of the syncopation
heard
in
the intro-
RHYTHM OF MODERN
238
duction.
succeeding
The
MUSIC
compels attention, and the
silence
four-measure
Phrase, with
slurred
its
Ex. 79.
Allegro non troppo.
mm
*H*-
A-F-
toE
-f
OEM
QE
p
^^gEEb^^ll^;
Ij^l
J=
F
as;!
*)-
-m
^:
=3:
"?mm +*
-
if*
î1=3:
=t
^d
-
-0
1=3:
* -f=3t
<?
*!
iz
3:
Anacrusis.
3EES
Ft
semiquavers on the accent, answered by the notes on

the
half
measures
and energetic
in
the
bass,
has
an
agitated
effect.
Soon afterwards there comes
a five-measure Phrase,
TSCHAIKOWSKY
which
of
brought about by the interposition of a bar
is
time,
i.e.
if
is
means
this
maintained, which
it
would
the five-measure Phrase were ended within
a bar of Common
No.
By
of a single measure.
the falling accentuation
not be,
239
Time.
Compare Brahms, Op.
10,
Ex. 45, page 156.

After the \ bar, the opening motive recommences,
1,
with
additional
figure
actual
(Ex.
An
rhythm.
Subsidiary
anapaestic
announced loudly on the horns, but
is
motive
pianissimo
enters
accompanied
80),
by
on
the
descending
its
strings,
scale
in
double counterpoint.
Ex. 80.
(Outer parts only.)
S3
'tzgz==a^@^5
v?
&
-J=2=f5^
Pt
Anacrusis.
This passage
Anacrusis.
is
Anacrusis.
extremely expressive
poser insists on the Anacrusis being
by the bowing,
parts.
the
pianissimo^
the
anapaests,
while
the
the
com-
made evident
every measure, and in
The combination of
staccato
cance.
in
smooth
whole
all
the
scales with
is
played
has an emotional effect of deep signifi-
RHYTHM OF MODERN
2 4o
We
come now
explained
that
by the
drums beating
two
rhythmical figures
In Chapter
Ex. 81.
to
MUSIC
two
simultaneously would
one figure
listener as only
III.
we
different
be heard
but that when
Ex. 81.
Flute.
Violin.
jM-
10
V-'grnG
**
P=*
Horn.
rfe=fc
Cello.
/-
tl
#.
F-
3fe=
etc.
*=
i=F
different instruments or voices
took part
rhythmical figures simultaneously, the
in different
effect
of both
could be heard, not as a single figure necessarily,

but
as
scheme
in
combined with each

It is
here
of
which
other,
two or more
and yet were
this invaluable resource that
avails
himself,
and
the
figures
distinct.
Tschaikowsky
movement
under
TSCHAIKOWSKY
241
number of
consideration contains a
com-
beautiful
binations of Subsidiary figures.
In Ex.
the different figures are allotted to in-
struments of contrasting tone, and are easily distin-
The
guished.
and
bassoon
the
violin
marks
flute
its
accents by the slurs,
have a noticeable
arpeggio, the horn stands out through
note " figure.

is
will
It
worked up
with changes of detail too

Subsidiary
figures
the wind
in
motive
semiquaver
is
length in Half-rhythms,
at considerable
forms the
" Dotted -
be noticed that the phrasing
The
Half-rhythms.
in
its
crescendo
numerous
material
several
to
and
to quote,
striking
Then comes
instruments.
it
diminuendo and ritardando, in which the rhythm dies
down,
until
it
ceases altogether in a pause
on
preparatory to the entrance of the second
a rest,
subject,
Ex. 82.
Ex. 82.
Andante.
Prelim.
1st
i *=m
I;
atdz*
Con
sordino.
Rhythm.
:*=*
WW
Teneramente^ molto cantabile, con espansione.
2nd Rhythm.
2
1^^^^
!
-I*
1-
I.
^-i
'/
a-
RHYTHM OF MODERN
242
The pause
MUSIC
not the only thing that breaks the
is
rhythmical flow.
The new subject is preceded by an
" Empty Time " of two measures, expectation is on
the
during
alert
re-enters
crescendo
this
from
an
with
softly,
first
its
long
to
silence,
Anacrusis.
its
effect
fall
The Masculine endings
in
is
of the
sustained
is
accompanied by
both places,
but in the
Rhythm
expected.
The
has a crescendo^ and the succeeding
it
enters by
crescendo,
long note
syncopation
pianissimo
second
The
rise
of the Rhythms
on the third accent, and the melody
to the fourth.
of a Rising
Accentuation, which coincides with the
melody.
makes
It
second accent, and by
means the composer gets the
this
and the music
an Overlap before
it
is
combined with the Overlap, has
emotional
a strongly
effect.
The decrease of movement at the ends of these two

Rhythms enhances the melancholy effect of the
harmony and melody.
Decrease of movement.
The Andante
gives
way
anapaestic
is
only a few bars in length.
to a moderate mosso, in
rhythm
in the strings
measure triplet-rhythm
phrase,
It
which a continuous
accompanies a fourthe
various
wind
instruments imitating and overlapping one another

in
very
effective
manner.
Together with
the
TSCHAIKOWSKY
anapaests
one
in
and
triplets,
crotchets, the
243
two other figures are heard,

other in syncopation, so that
there are the following four figures in combination,
each of which can be distinguished, owing to the

orchestration.
UfU
The
LffLT C-CTLT LCTCJ
substratum of anapaests against an entirely
different superstructure
The Andante
is
very beautiful.
recurs, with triplet
with powerful crescendos and

the music here
pause an
figure,
allegro
Ex.
83,
is
accompaniment,
much change of
exceedingly emotional.
vivo sets
in, fortissimo ,
tempo
After a
with a
new
whose six-measure Phrase, broken
RHYTHM
244
by Caesuras,
on the
OF MODERN MUSIC
very expressive.
is
It
leads to a fugato
two motives of the movement,
first
notes, uttered with terrific force,
quaver countersubject
in staccato
and a furious semi-
added, each entry being
is
Ex. 83.
Allegro brio.
Prelim.
3l: :3=:
3==3:
^=r^^-
S^
^f-r-
feroce
and
ff.
M-r^
sf
sf
sf
marked
j>i
iW
The wind instruments
in anacrusic interjections,
bring
which add strongly to the
accentuation, and then they join in the semiquaver

passage,
whilst
the
against them, Ex. 84.
trumpets
The
thunder
vigour of
in
this
octaves
motive
is
Ex. 84.
2
-&-
* G>-
I2I
=t
~-V*-
H9-
fff
-o-
-4
l
e*-
W4
=t=t
*&
1
ct=5ah-5
i>
F J
r^j*
fT*31
TSCHAIKOWSKY
by the addition of crotchets
increased at the end
where there were minims
new motive
fortissimo,
and
in the beginning.
way
Tlie fortissimo gives
and
to a diminuendo
enters,
which
down
as quickly dies
quickly to
to pianissimo in a
on the horns, while the
into one another and played

violins hint at the
in
rises
and piano
mixture of triplets and duplets, syncopated
gentle
it
245
again.
working
opening subject, before bringing
In a short time the
up
this subject
full orchestra
to fortissimo in an interchange
of Half-rhythms, with a particularly grand
effect.
After a stormy interchange of triplets and
Minim becomes
the
rests,
the Primary note in the follow-
ing motive, with a solemn effect
Ex. 85.
3v
jfezt
\v.O &-
otjgF"
#P
t"'
ft
-<s>-
ff
-<s>-
Z22I
Iez
ffzl
"5~
22t
**
*
jdL
1-
l&-
-&-
-Q.
31
W2^
r7
is
3T
246
The
re-entry of the Andante, with an undercurrent
of Subsidiary rhythm played

the
crotchet
the Primary
as
whether played
back
tremolo, pp, brings
This subject,
note.
fortissimo or pianissimo, with or with-
out subsidiary rhythm, always has a plaintive feeling,
owing
to the long notes at the
The movement ends
end of the phrase.
with a fresh reading of the
opening subject (Ex. 78), punctuated by Primary

notes played pizzicato on the strings.
Second Movement.
The
con grazia.
Allegro
Primary note
is
Signature
is
the crotchet.
movement
well-known and very graceful
This
takes the place of the Minuet, and accordingly

a Trio,
The
f.
followed
by a repetition of the
it
has
opening
section.
The compound f
Duple-Triple.
order
the
in
Bars contain two measures each,
The
Rhythms
are
throughout of four-measure form.

Ex. 86.
Allegro con grazia.
^w
tfV* '
l
-rnT
fl
K m
II
1
1
mf
There
is
can
1
1
1
1
-1
Masculine half-close.
a swing and ease that fully accounts for
the popularity of the
Time
movement, and
produce so
facile
and
that
Quintuple
readily-grasped
TSCHAIKOWSKY
247
music, supports our contention on page 125, that

there
nothing unnatural in
is
The
of time.
this division
measure
occasional intervention of a single
" Dotted-note "
form gives
feeling to the "
dancing
Minuet/' as also does, though to a
lesser extent, the single triplet seen in
The Trio forms

minor mode each
Ex. 86.
strong contrast.
pair of
It is in the
Measures has Rising
its
each second accent coincides with a
Accentuation,
discord and
and
light
in
long note.
Underneath
constant reiteration of the note
lies
all
as a pedal- point.
Ex. 87.
-J-d:
et
&
-&#<sF-.-^
j.
^=}
The
effect
Pi
of this combination, the persistence of
the bass note, the dwelling on
each
is
Rhythm,
only
the discord twice in
one of deep melancholy, which
is
dispelled
by
the
gradual
return
of the
" Minuet."
Third Movement.
Allegro
tween
molto
C and
vivace.
J^-.
The
Signature varies be-
The Primary
note
is
the crotchet
RHYTHM OF MODERN
248
MUSIC
or the dotted crotchet, according to the signature.
There
are
two Measures
The movement,
course,
rhythm
sidiary
is
is
for
in the Bar.
part of
considerable
its
of the nature of a March, whose Primary

constantly accompanied by a busy Sub-
rhythm of
staccato
There
triplets.
are eight
bars of Introduction in triplets, which continue their
course in the strings, while the
movement
regular
begins with the following motive
Ex. 88.
^s
V
-3:
*-*
:*=3=
~&- ]-*
g=rs=gfe
3=
3-
In the midst of the accompanying triplets we hear

occasional duplets, which are played pizzicato, so that
they stand out amongst the restless

strings
here
divide
into
giving another instance
no
less
triplets.
than
ten
The
parts,
of the composer's use of
orchestration to serve the purpose of his rhythmical

effects.
The
march-like figure in Ex. 88
times in different keys and with
is
various
It practically
work on which
whole movement
development of
this
many
modifica-
forms the ground-
tions of melody.
the
repeated
is
built.
After
motive a new figure enters.
TSCHAIKOWSKY
249
Ex. 89.
Fizz.
*W^-i^=^=^
-m-
--A-
:iz3==3zzr3:
P
Jf*-F- F
r^-l-^
:
i
ftIT-
"^F4-*
*-*i
*a=r
It
is
accompanied, like the
also
triplets.
The
ample the
left to
and
final
first,
reader will observe that in this
Ex-
accents are struck, instead of being
the imagination, as in Ex. 88.
melodic
by unceasing
structure
of the
The harmonic
Rhythm-endings
give a kind of arch assertiveness, such as
we meet
with in hornpipe tunes, and in some of Bach's dance

music.
250
Ex.
89
which
immediately
is
accompanied
also
is
by
followed
by
Ex.
staccato
90,
triplets.
Ex. 90.
4-4
^b^=
Marcato.
EE
rep
1
etc.
t
Ex. 88 now re-enters, and
is
developed, and after-
wards a new complex of figures

Tscha'ikowsky loves
is
heard, such as
Ex. 91.
m
m
JA=^3
1
3m
etc.
niS
It
is
=fc
:E:
*H
3pp
Masculine
followed by a fanfare in
triplets,
close.
which ends
in a full close.
A
Its
new subject
first Rhythm
second
is
soft,
semiquavers
enters,
which we need not quote.
has sustained fortissimo chords,
and
consists
of
moving downwards
light
against
its
groups of
a
rising
TSCHAIKOWSKY
chromatic scale
the
251
the bass, played pizzicato.
in
new Period of
eight
Measures has been repeated
several times, the original subject, Ex.
and
is
worked
again
The
now
is
which Ex. 88
note
the
and the whole
as
worked up with
in
semiquavers,
two Measures, and
this
tremendous whirlwind, Ex.
the
full
lude,
orchestra,
while
the
also
fff,
drums
and
we
are
fff,
interlude
occurs.
repeated
in
Ex. 92.
of
preceded by an
is
88
After
re-appears in
the
scale inter-
instruments
staccato chords,
drum
and
join in the
till
whose dotted notes
succession
phrases.
on
Each
excitement continues for a long time,
get a repetition of Ex. 91,
now
a climax, in
to
brass
the side drums, cymbals, and bass
The
first
full orchestra
like
punctuate the Primary notes by
fray.
the
demisemiquavers.
of
Anacrusis
ascending
of
An
pedal-point.
descending scales
scale occupies
and leads
repeated,
is
88, returns,
out.
Introduction
section
After
of one-measure
RHYTHM OF MODERN
252
The
climax of this passage
is
MUSIC
here reached, in a
figure of four quavers to the Measure, punctuated by-
dotted
crotchets
the
in
the
bass,
whole
being
marked fffff
Ex. 88 re-enters
worked out again
What
its
is
to the
movement
the significance of this
In
seem to buzz round
work round
the march-like figure like bees hard at
hive on a bright summer's day.
pleasant sunny atmosphere about
it
There
but
is
its
undoubtedly
becomes to
haps
this
all
intents
but a march does not
we miss
its
palls,
very strongly marked
and
the
and purposes
stir
movement
march.
what the composer intended
is
its
variety of orchestration, the figure
represented by Ex. 88, with
rhythm,
we soon
begin to find that in spite of the boldness of

treatment, and
is
end of the movement.
early part the staccato triplets
their
and
softly, rises to a fortissimo,
it
Perto be
the deeper emotions, and
the stimulus of the
first
and second move-
For this constant reiteration of a " dottedments.

note " figure makes no call on the imagination ; it
stamps
fine
as
appeal
the
itself
it
is
upon
us, forces
its
way
into us, and,
we cannot call it great music. Its

more to the physical, the muscular, than
is,
spiritual
side
of our
nature,
and
the
varia-
power from pp to fffff do not make up

But, on
the want of appeal to the imagination.
tions of
for
the other hand, there
is
no doubt about
its
popularity
TSCHAIKOWSKY
with an audience, and
if its
its
253
would be
existence
justified
chief function were to act as an attraction that
could draw people
to
hear
more imaginative
the
music of the other movements.

Finale.
Adagio lamentoso.
The
being the Primary note.

at first
Signature
is
the crotchet
The normal Rhythms
are
of two-measures, well divided by Caesuras.
In the opening subject use

decrease
of
Rhythm,
to
This time
movement
is
again
towards
the
made of
the
end of the
which we have referred on page 242.
it is
connected with the minor mode, and
has an almost tragic efFect.

Ex. 93.
Adagio lamentoso.
Decrease of movement.
Largamente.
The
play
of emotion
is
changes of tempo and power.
n
which, with
its
enhanced by constant
The
figure
descending melody and
its
Caesura, gives
so pathetic a feeling, constantly recurs in the adagio
254
and though the Caesura
frequently
is
instruments which take no part
filled
up by
motive,
in the chief
they are of contrasting tone, so that the effect of the
melody
is
enhanced by
The Adagio
company.
leads to the Andante, in which synco-
pated pianissimo
on the horns usher
triplets
Primary-note melody
accompany
tinue to
their
major mode, and con-
in the
The new melody works up
it.
to a fortissimo, with frequent change of tempo
each pair of Measures
in a
is
broken off by a
finally,
rest with a
pause, and then an important Anacrusis brings in a
resumption of Ex. 93.
It is
worked
out,
and
rises
Ex. 94.
Anacrusis.
to a climax in the moderato assai, in which

are given
two
figures
simultaneously to the wind and strings.
down to piano. There is an episode in

syncopated minim chords on the trombone, which
The andante
begins ppp and dies away to ppppp.
Then
it
sinks
melody
is
resumed, with
mendously reinforced
pedal
the
in
triplets,
movement.
it
its
is
Primary accents
tre-
accompanied by a tonic
which continues to the end of
The
last
Measures
die
away
in
pianissimo chords
on the lowest
parts of the violon-
and double
basses, the last
dying accents being
cellos
TSCHA'l'KOWSKY
by sforzando discords.
uttered
movement
is
The whole of
and the rhythmical features we
have noticed contribute quite as

;
and
this
intensely emotional, an effect to which
the frequent Caesuras
monies
255
it
forms a
" Pathetic Symphony."
much
as the har-
fitting conclusion to a great

It is said that the
kind of epitome of the composer's
life,
work
is
which, on
account of his excessive sensitiveness, was a sad one.
CHAPTER X
Vincent D'Indy,
Masques
Op. 45
Sonata
Hommage
Elgar
in
Rameau
Piano,
for
Stanford,
Movement
are
Sonata in
for Piano,
de
I.
cutant
2,
in
E.
ModSre
-J.
The
se fie
a V intelligence de Texi-
pour comprendre
et interpreter sans
combinations de rythmes binaires et tern aires
ces trois pieces
The second
note says
" Le signe ~\
portant que
signifie
un leger point
Measures, the
last
moins im-
with a
Rhythm of
five
duple
of which forms a feminine ending
the phrase, and
single
d 'arret
le /tn."
The movement opens

to
No
" L' auteur
les
Quartet
important bearing on the rhythm.
Vincent
heurts
Debussy,
three foot-notes, two of which have an
first is
T> lndy.
63
Symphony, Op. 55
D'Indy, Sonata
There
Op.
is
succeeded by a pause on a
Primary " Empty Time."
The
triple
the pause
measure
makes an
is
only apparent, not
real, for
indefinite break in the rhythmi-
SONATA
D'INDY,
cal flow.
IN E
257
pause on a minim would have been too
long: the composer wishes to renew the rhythmical

Ex. 95.
Vincent D'Indy (Sonata, Op.
63).
Modtri (J=80).
4 en retenant.
pEE
=:
"
if
tnergique.
'
,".
JS
it
off,
na
rp+'W
/T\
E^
&~fyLf*aaFg
|^
Half measure.
fe^t
^3 fe^
C*S3
/T\
:<fefe
movement
as soon as possible after breaking
of the passage demands only a short
for the feeling
pause here.
The
the
The
is
phrase
first
itself
accent
third
begins with a vigorous triplet on
the second accent
Measure
is
anacrusic, the
struck in the bass only, and the
anacrusic,
give
way
like
to
the
third.
The
the
pace
duplets,
is
not struck.
fourth accent
fifth
Measure
energetic
is
is
triplets
slackened
and
the phrase ends softly with a gentle feminine close.

R
RHYTHM OF MODERN
258
a very striking passage
It is
It
second
Rhythm, and extended
everything
is
with modifications, for the
repeated,
At
instead of five.
silent
its
opening of a
for the
work.
is
MUSIC
end
is
to
Measures,
six
a short pause in
which
except the bass note, which
is
sustained through the pause, and thus carries on the
sound into the next phrase.
pair
of new Periods now occurs.
divided from one another by the sign
lengthening of the
note, not
final
They
are
a slight
|T|,
amounting to
pause, and not sufficient to break the regular flow of
rhythmical accents.
great pianists.
it
The
This
late
effect
is
not
unknown
to
Hans von Bulow employed
Beethoven's sonatas, and he would sometimes
in
make
a similar slight delay

into prominence.
bring
it
that
this
kind
on an accented note
It is interesting to notice
of pause
is
very ancient.
much detail by the Greek

under the name of " Chronos alogos,"
portional Time," that is, a " Time " that
described
to
It
is
theorists
in
"
is
Unproout of
proportion to the other " Times," and yet does not
extend to the value of two " Times."
have been chiefly used by the
It
Greeks
seems to
as
D'Indy
mark the end of a Rhythm.

sometimes used by Brahms in the form
uses
it
It is
here, namely, to
/T\
See Appendix.
D'INDY,
SONATA
It
IN E
259
occurs also in Brahms*
Pianoforte Intermezzo, Op. 116, No.
6.
R. Strauss
uses the sign
for the
We
same purpose
figures,
The
Verklarung."
which
triplets.
the
is
very
fine
of the bass
determination
solid
;
and the " Chronos alogos
on the feminine ending of the Period makes

of climax before the
on a
totally
some
first
unexpected chord.
similar
sign,
"
a kind
motive (Ex. 95) re-enters,
comes
have to be invented for
If the sign
general
into
appears likely to be the case,

will
it
of the somewhat agitated right-hand
effect
progression,
in
here an interesting combination
is
accompanied by
against
part,
Tod und
quote the second of the Periods
occurs, for there
of
"
in
jTj,
use,
or
as
some convenient term
it.
Ex. 96.
1
IsJ-
JL
ts
Ty
fe
$^#=1^
taa
;
0Br.
&*-rii
RHYTHM OF MODERN
260
I:
en animant. 2
t:
MUSIC
S^S
atipmenfant.
Ftr*44-
if-'
fe=d!=i|
ff
i'
Ip^ps^
a
fgf
ffl
-!
-|
T~
t)*
HSSfeg^p
fcr
tj
is*
*/
p
S
i t?tjt*r
j
^-
The
Introduction leads to a "
four-measure
Rhythms.
Ex.
Theme"
97
in regular
shows
its
first
Period.
Ex. 97.
Thema.
'rffflB:
IPie
-<s>-
=t
1-*^--
-<s>-
Simplement.
J-
!-
cr
Anacrusis.
Half- close.
-s>-

SONATA
D'INDY,
Ê
*N
fc
S-
1
*Fr*r*V&
Full close.
^tiLnd:
*r
It
full
will
close
is
be seen
that
melody ends with a
the
on the third Measure, the fourth being
repeated in
Theme
52=H
-GH
is
of which
etc.
#=p
by subsidiary matter, and
filled in
261
f~
-N
IN
this construction
The
some of the succeeding Periods.
followed by a set of variations, the fourth

introduces
Accentuation.
new melody, with Rising
opens thus
It
Ex. 98.
^=100.
Prelim,
f.
t$=w-
fe
_$l.
bien he et soutenu.
vv
3=^4*=E3^
3
Me^==H-
SfaM
E
#F
Anacrusis.
m^
'
+*?$$&&+
.-
etc.
262
RHYTHM OF MODERN
and afterwards changes

Later on this motive
Falling
to
MUSIC
Accentuation.
used as a counterpoint to the
is
Theme, accompanied by
subsidiary work.
Ex. 99.
:
doux mats
intense.
:=f:
ft
doit fore en dehors^ le reste, tres estompi.
Falling Accentuation
to
which
subordinate, as
tion.
The
is
the
is
counter-subject
indicated
effect
here established
Melos.
very
is
by the
entirely
by the composer's
direc-
of the three rhythmical schemes
together has here nothing novel about

nevertheless
==-
>
Le Thhme seul
Theme,
^^
azt
-_#
pleasantly
connected
it,
but
with
it is
the
SONATA IN E
D'INDY,
Movement
The
signature
most part
in
several daring
from
this
is
II.
.
I'res
anime.
The Measures
changes
movement
of
(the
Diaeresis.
work
with quintuple Measure, and

as
it
in the
following example of freedom

Ex. 990.
Tres anime.
1
for the
is
It
is
evident
dated 1907) that
that
more
familiar
composers are
more freely than

movement we find the
were, to play with
Quite early
formerly.
are
the order triple-duple, but there are
musicians and audiences are becoming
able,
263
it,
264
RHYTHM OF MODERN
The
metrical Diaeresis triple-duple has already been
well established,
fourth and
is
is
it
apparently broken at the
Measures by
change of melodic
This
common enough in modern classical

we do not know of any other case in
music,
device
it
fifth
when
of the nature alluded to on page 123.
Diaeresis,
but
MUSIC
is
used
in
which
In most of the
quintuple measure.
examples of this species of rhythm that we have

hitherto
met with
the composer has seemed
more
anxious to impress the five-fold nature of the bars
on the audience, than

of the sign
There
double
[7] is
is
mystify them.
The
is
use
here very bold and effective.
a highly suggestive change at the
bar.
tained, but
to
first
The triple-duple Diaeresis is mainmade mysterious by the omission of
the fourth accents of the
Rhythms
Ex. 100.
Un peu
moins
vite.
and a truly " inward "
Expressif.
feeling results.
The movement is of considerable length, and

contains many effective changes of Diaeresis, both
D'INDY,
SONATA IN E
metrical and melodic, and
it
265
probably the boldest
is
piece of quintuple music that has yet been composed.
Movement
Modere.
III.
This movement opens with a repetition of the

introductory Rhythm, Ex. 95.
triple
Measure,
It
then changes to
which a new theme
in
first
is
given out,
of which the following example shows the opening
Rhythm.
Ex.
101.
n
I
doux
*t
et tres express.
-^ *~
^=S=A=r
SUi 3b^=db
It is
is
worked up
diminished
extended,
Rhythms.
in
|-
in various ways.
bring
Later on,
great
as
In one place
time, but certain of

to
so
tt
3:
it
use
into
is
its
it
notes are
four-measure
made of
the
266
following somewhat noticeable subsidiary rhythmical

figure
which obtains
joined.
melodic notes enter
in a
which
is
it
from the Melos to
importance
its
new theme
occurs,
whose
syncopated form, thus
Ex. 102.
^T'^d
^^2j
Jar "^
** &c * ia
CESS
t^^^r^^n
gMgO'iM-PJ
^2^SS
fcs
It
somewhat
has a
to the
-|
agitated effect
it
soon gives way
form of Ex. ioi.
After a working out of these and other themes,

the
theme of the
first
movement, Ex.
97,
is
recapitu-
various changes of time, and the piece
lated, with
ends.
The
sonata
design, and
tion
is
thoroughly modern
in its
rhythmical
presumes an advanced stage of cultiva-
on the part of the audience.

Debussy
',
This
value
is
-|
presto
Masques.
movement,
the dotted crotchet,
in
is
which the Primary
of striking rhythmical
DEBUSSY, MASQUES
Much
significance.
of the
267
been
has
effect
duced by distributing the materials
as if
pro-
Debussy,
Mas? ues
f Measures, and accenting them as
The player must mark the proper accentu-.
-
for
for
ation very decidedly,
when he
will
and enjoy
feel
the "fantasque" character indicated by the composer.
The
following
the opening
is
Rhythm
Ex. 103.
Debussy, Masques.
Tres vif et fantasque.
2
LI
-m
\0
dB-Mfc
ditachi et ryihmS.
In
the
and fourth
third
quavers must
accentuation
This
kind
especially
be
combination
French
figures, its attraction

itself,
syncopation, the
being maintained
of
in
as
felt
Measures the left-hand
music.
is
in
is
normal
the right
not
Like
uncommon,
all
rhythmical
not due to the accentuation
but to the manner in which the Melos
tributed
over the accents.
from
its
Melos,
ij
is
hand.
is dis-
For the scheme, apart
the very ordinary figure
J7iu jvtjU
$rn\mrn\
French composers have a peculiar
facility in
com-
bining simple rhythmical figures with simple Melos,

in a
spontaneous and original manner.
RHYTHM OF MODERN
268
We
soon get a passage
in
apparently changes to that of

Ex.
MUSIC
which the Diaeresis
104.
aft
?
P
expressif
S34
^
=fc
ft
R?
p-p-
but the accentuation

established,
|-
has been by this time firmly
and must continue to be
Hence
the notation employed.

tion arises
left
it
in the right
affects the
must be
hand
of
double syncopa-
it is
felt in spite
continuous, in the
second half of the Measures, which
felt as if
written thus
Ex. 105.
Nr^
gi-SizH^
But
there
if
the composer had written
would have been
delicacy
thus,
?v
fcS*
*
to
of the
some
it
in
this
way,
danger of the extreme
accentuation
being overdone, and
marred.
extent,
k=;
The
passage
is
highly imaginative, and must be handled with the
utmost gentleness.
its
effect
cate
on
this
accentuation
The whole
piece
depends for
and similar combinations of

with
very
suggestive
deli-
Melos.
DEBUSSY, MASQUES
Amongst other
devices the unexpected omission of
an accent here and there
very
is
Ex.
Ce"dez
269
telling, e.g.
106.
un pen.
1
^N
m
sp^S
o fcrl-
"m.
&0~-~
%&$
k"
23t
5-^-
-f
Accent
omitted.
flP
^ tep
TZ-
"l^
as
is
also the
effect
of repeating four
Measures without change of Melos, so
successive
that the
Beethovenish
Rhythm
alone
made very prominent
is
heard,
its
accents
Ex.
107.
with
-Pm
r*
f-
sempre pp
The movement
is
long, and there
is
no change of
rhythm-species throughout, yet so attractive

that the constant reiteration of the
figure
never
increasing
give
way
palls,
interest.
to
is
it,
same rhythmical
but carries us along with ever-
Towards the end
sustained pianissimo
tempo, but on the final chord
is
the figures
chords
in
strict
reiterated, for the last
time, the opening rhythmical figure, Ex. 103.
RHYTHM OF MODERN
270
Hommage
Debussy,
This interesting movement

great use
it
Hommage a
which
largely
effect
it
a Rameau.
on
the Anacrusis,
depends
and although
remarkable for the
is
makes of
Debussy
MUSIC
for
many
in
due
its
cases the
slurs fail to indicate the Anacrusis, yet in playing the
piece
we
spite
of the printed phrasing.
the
can hardly help feeling that
minim being the Primary
after the first
few
Measure
duration.
in
It
is
value,
bars, are, for the
it
in
is
there, in
slow tempo,
and the phrases,
most
part,
of one
opens with a Period of
It
two Rhythms, of two Measures each,
entirely
in
unison.
Ex. 108.
Hommage
Debussy,
Lent
et
a Rameau.
grave {dans
le style
m* ##3
d'une Sarabande mats sans rigueur).
ki
=t
~3Zt
jEfc
TV
Expressif
Unisono.
u.
et
doucement soutenu.
t-
The
is
so
division of the
vague
definite
that
we
notes in the
can
rhythmical figure
mystify us.
scarcely
first
Rhythm
perceive
any
the composer wishes to
The second Rhythm, by
repeating the
DEBUSSY,
HOMMAGE A RAMEAU
D
and the
triplets
sharp in the same part of two
more
successive Measures, gives a
and
sion,
the
this
is
in
very delicate nuance occurs
single
Rhythm
definite impres-
confirmed by the construction of
succeeding Period
opening
271
-f
Primary Time, thus
Measures.
in the repetition
phrase
the
+3
extended
is
of the
by
Ex. 109.
Additional
Primary
Time.
This additional Primary Time
end of the phrase
as
not placed at the
usual, but in
is
has a delightfully fresh
we have an important
effect.
its
midst, and
it
Shortly afterwards
Anacrusis, brought about by
the interpolation of a bar of

tional
is
Primary Time, thus

Ex.
time,
i.e.
of an addi-
no.
Anacrusis.
=t
2*
Anacrusis.
3=3
RHYTHM OF MODERN
272
We
give the slurring as
is
it
MUSIC
printed, but surely
the three last crotchets of each bar are, in reality,
the Anacrusis of the succeeding bar

less
hesitation
in
making
this
We
suggestion,
have the
since,
few bars further on, the slurring of a similar passage

agrees with our contention.
Later in the movement, the bass takes an anacrusic
form
in three crotchets.
Ex.
in.
^ iPi
*J|E|
t-
-G>-
Anacrusis.
Afterwards the same figure occurs in another part of

the Measure, not as an Anacrusis, but as an inde-
pendent subsidiary motive
Ex. 112.
nigs
vwnfr up
and a new Anacrusis occurs
in
v&-
both hands together,
STANFORD, QUARTET
273
Ex. 113.
which
tempo
i.
here indicated by the printed slur.
is
The opening Rhythm
recurs, with
harmony, and
with a Subsidiary punctuation in the bass.
Towards
the end, the independent Subsidiary motive of Ex.
in
recurs in the right hand, and
The movement
heard.
its
rhythmical form
is
is
is
the last figure
highly imaginative, and
well adapted to
its
strange
Melos.
Stanford,
British
Qjuartet
composers of the
first
No.
2.
rank are not behind
their Continental brethren in rhythmical
Stanford,
developments.
Uuartet
to be
All nations, in fact, seem
working together
in raising instru-
Op. 45.
mental music to ever higher degrees of emotional

significance,
and our native musicians are taking
their place in this
movement,
as they did
during the
famous Elizabethan period.
great
British
change, moreover, has
the
public during the last quarter of a century.
Formerly orchestral concerts were

carried
come over
on
at
loss,
unless
for the
so-called
most part
" popular
music," consisting of waltzes and well-worn Italian
RHYTHM OF MODERN
274
overtures, formed
a large
Chamber music was heard

only, St. James's Hall
demanded
constant
so
favourites,"
for
part of the
regularly
programme.
one place
at
and even there the audiences

of
repetitions
that
MUSIC
was
there
new composer of
foreign
heard, and practically none at
all
their
opportunity
little
nationality
for
" old
to
be
one of British
birth.
now
Conditions have
can support several
chamber
ready
are
of
music
to
classical
" Popular "
audiences
first-class
societies.
listen
art,
orchestras,
London
and many
entirely altered.
to
where
and
applaud
masterpieces
formerly
they
demanded
waltzes, played
by " combined massed bands and the
grand organ "
and our composers now get a hearing,
where twenty-five years ago they could get none.
A
to
great
those
deal
of this change
undoubtedly due
is
conductors amongst
excellent
us,
both
foreign and native, who, by the exercise of a highly

cultivated imagination, have raised
the art of per-
forming orchestral music from a correct and
spiritless
playing of the printed notes and expression signs to

a
performance
The
of
full
cold " classical "
and
life
fire
manner of beating
and emotion.
time, while a
band played the notes with mechanical correctness,

a thing of the past,
and with
it
is
has passed away the
indifference of British audiences to high-class music.
For music, to move the
great
public,
must be
STANFORD, QUARTET
emotional
rises
(if it
275
above the level of that which
appeals to the muscular rather than the intellectual

faculties),
to
the
and by boldly giving emotional significance
great
appeal to the "

it
should be
of musical
nation
man
it
have made
This
the street."
in
is
them
all
as
the elevating and refining influence
can be of
art
when
musicians
classics,
is
value to the
real
thus spread over a larger area of
when
receptivity than
more
is
it
confined to the cultured
few.
As
to
Concerts " were the chief element
Monday Popular
in
music, the famous " Saturday and
Chamber
training audiences in this branch
and although
from the nature of things Chamber music can never
make
its
appeal to so large a public as orchestral
music, yet,
owing
the beneficent effect of the
to
above-mentioned undertaking, there are now

found audiences who can
fully appreciate the intellectual
performance of chamber music by our

as
well as
to be
by foreigners.
Our
own
musicians,
native performers
have given up the coldly correct and unsympathetic

style
now
of playing
hence the British composer has
better opportunities of exercising his art than at
any former time, and he
is
hold his own.
beginning to be recognised
This
is
showing that he can well
abroad, for the names of British composers, as well

as
executants,
occur
more frequently
programmes than they formerly
did.
in
foreign
RHYTHM OF MODERN
276
The
we propose
quartet
MUSIC
analyse opens with a
to
freefugato introduction, as follows

Ex.
1 1
4.
Stanford, Quartet (Op. 45)

1ST
Violin.
PP
2nd Violin.
fe
1
_fr
>
v.
Overlap.
^^
pp
It will
case
in
be noticed that the theme, as
Hence
it
has
it
Falling
enters one
gives
omitted in the
often the
it is
Rhythm,
feeling of mystery, but
are
when
heard
its first
second.
followed
by
results:
and secondly, the theme

expected, by
The second and
accents
its
This device has two
contrast,
first
at
Accentuation
Measure before
of an Overlap.
the
half bar
the
Rising Accentuation.
firstly,
is
fugues, enters with the full bar at
appearance, and with
all
etc.
means
third accents are
so that there
is
a slight
the second violin enters,

in
the
counter-subject.
STANFORD, QUARTET
The
277
short fugato introduction leads to a Piu moto
subject,
whose melody
sidiary
figures,
schemes
so
is
accompanied by two sub-
that there are three
rhythmical
combination, each of which has
in
its
own
particular character.
Ex. 115.
Pik
moto.
Preliminary.
IS
rnp
"fa
=:
,
Q3j3
E
3:
J~m~p
Pizz.
'
Marcato.
1st
Rhythm.
f
ii
X
-s
J^=w
n Jrm JTO -CTj
i=
r
2nd Rhythm.
-f**
mgni.i
*
=t
-j
p^^
Xf J
-*-
a=
278
3s
1
P5 Jill
J.
Feminine Close.
STLnns
accompanies
with dactyls, leads, in two
high note, whose accent
to a
through the
relative length
in
is
of the note.
prominent
The
viola
flowing semiquavers, and the violon-
punctuates the whole by
The Melos of
the
:r.
The melody, beginning
cello
;J:
8=*
places,
P2
the passage
is
its
pizzicato quavers.
very attractive, and
rhythm has plenty of energy.
It will
be observed that the Period begins with a
four-measure Rhythm, and, contrary to the general

rule, the
melody of the second Rhythm
half-rhythms.
The
next
falls
motive opens
into
with
two
the
rhythmical reiteration ot a single chord, accompanied
by a subsidiary figure
'
STANFORD, QUARTET
Ex.
/#/<?
6.
i 9
Tr f
The
279
ES^tE^*
âg
p
returns,
and leads
to a fine combination
of four different rhythmical figures

Ex. 117.
Tl
r
r
The
the
'
first
inner
triplets,
violin has
parts
'
r r
even notes, four
have each
and the whole
is
their
in a
Measure
own scheme of
supported by the
bold
Primary notes of the violoncello. The

passage is an example of the complicated rhythms
anacrusic
through which the cultivated modern audience finds

its art
aspirations satisfied.
Three Measures,
in
two of which the accents
are
represented by rests, introduce an appassionato motive

with Rising Accentuation, and an important Anacrusis.
RHYTHM OF MODERN
280
Ex.
1 1
MUSIC
8.
Preliminary.
L
^4W=W+^g= F
Appassionato.
*T
:=:*:
[J
jT Anacrusis.
if
4W-
==#a
3=3-I
tifcr
SiiiCa
r
*c
at*
=E
3f
3J3
Mi^sE^ F=^
:
=f!=^
The
F=
Preliminary figure of this example
is
almost
immediately used again, extended to four Measures,

as an introduction to an appassionato re-entry
1
5 in the
key of
minor, with the semiquavers in
double counterpoint above the melody.

it
does not reappear.
place without
its
Ex.
1 1
rather than reduced,

to
augment the
here with
is
After this
repeated in one
Subsidiary matter, reversing the
usual order, in which Subsidiary
but
of Ex.
on
rhythm
is
increased
the repetition of a motive
the motive
interest,
is
used
Rising Accentuation instead of Falling,
as at its first appearance, thus

STANFORD, QUARTET
281
Ex. 119.
_t
etc.
--
-jt=:
&-
r
It will
first
be seen that
r
it is
here anacrusic
in fact,
three crotchets give the impression of being
an Anacrusis on a large
expect
33E
3s:
m*t
the
0^
-^
-.0-
find
to
of
difference
more
and one could hardly
scale,
striking
between
effect
example
of
and
Rising
the
Falling
Accentuation.
Second Movement.
The movement opens

measure Rhythms, the
half-close, the
there
be
can
intentions
Prestissimo.
with a Period of two six-
first
ending with the orthodox
second with a tonic
no
mistake
to
as
full close, so that
composer's
the
Ex. 120.
Prestissimo.
uW=\
St
Stacc.
4
I
3E
:ex
G>---
'
RHYTHM OF MODERN
282
The six-measure Rhythms

groups of two
harmonic
their
melodically
fall
Measures, and
construction,
MUSIC
demand
Accentuation, such as would result
if
from
seem,
these
to
into
Rising
the signature
was f and the movement opened with a half bar.

This impression, moreover, is confirmed after the
,
double bar, for here each
measure Rhythms has

accent, which gives
The Trio opens

bination
figure,
of
a sforzando
has
runs
four-
on the second
a Rising Accentuation.
with
very
rhythms.
which
Prestissimo^
it
of the two- or
been
through
interesting
characteristic
already
hinted
com-
anacrusic
in
at
the
whole of the Trio,
the
without ceasing for a moment.
It
is
given out by
an introductory four-measure Rhythm, preceded by

a
Preliminary
begins thus
melodic
material
Ex.
Cantabile.
The
Measure.
121.
1st
Rhythm.
s>-
r^^=rrrr
i
<~
4
-m
m-

STANFORD, QUARTET
283
2nd Rhythm.
4
tr.
-&
J-
#=**
##-*
'#f
LLP t_r
jf
:
'#
ifF
fac
g
m
U
^RPI
EZ
Jl
<s>-
-g:
-f
U fcr
3rd Rhythm.
The
construction
Rhythm, beginning
on
in the tonic, rises to a
second accent, and
its
half-close
Rhythm
making
ends with
on the dominant seventh.
the high note of the
bound on the
first
melody
a subtle Diaeresis of
first
Rhythm
construction in
the second
first
high note
an orthodox
is
reached in one
on the second,
melody, of a kind we
for the melodic construction
leads us to expect an analogous
the second.
Rhythm
The
In the second
accent, instead of
have not yet met with

of the
very noticeable.
is
is
The melody
carried
note of
over into the third

284
welded together.
The Period ends
concluding chord.
similarly
succeeds the one here quoted.
of the Trio the melody
with a
melody being
the key of E, the
in
Rhythms
these two
without a break, so that
is
are
full close
on the
silent
constructed Period
In the second part
taken up by the violoncello,
with considerable use of duple measure against the
accompanying
triple
figure,
and the duple measure
work,
being
mostly on the
telling,
owing
to the clear
the tone
employed
'Third
The
first
for
and penetrating quality of
is
Andante
espressivo.
of seven Measures, not the
of overlapping, but of a
result
very
is
it.
Movement.
Period
string,
first
distinct cutting off,
Ex. 122.
Andante
espressivo.
mp,
1
9
*=f
r
Si
**
St
-iS>-
rate
Cello, v^
Viola.
-<s>-
-"-
(S>-
iS>
*f
:i
J__:fr
9
t--
-^
h-H
t
ft.
Ym
fT
:3:
-<s>-
Csesura.
<S>-
+G>\-
:c2:
STANFORD, QUARTET
through the feminine
half-close,
285
from the succeeding
Period.
" General-pause " introduces a
figure, which, with slight
new rhythmical
modifications,
becomes an
important feature in the course of the movement,

being combined both with new motives, and with
the motives that have been already heard.
alone,
on the
viola
enters
It
Ex.
123.
Viola.
The new motive
in this
example begins with
" Dotted-note " rhythm, and suddenly softens

in
its
notes.
down
second Measure to a piano passage in even

Space does not allow us to quote
examples from
many
forte
this interesting
further
movement, which has
other effective rhythmical features.
RHYTHM OF MODERN
286
Finale.
This movement
Allegro molto.
distinguished by the constant
is
recurrence of three-measure Rhythms,
both
MUSIC
by the melodic and
The opening Period shows
made evident
harmonic construction.
the fundamental principle
on which the rhythmical scheme of the whole

founded
but there are
many
is
contrasting mixtures
of two-, four-, and five-measure phrases with those of

three.
Ex.
124.
Allegro molto.
-firm
*3
1
1
r
It
'
M-n-
=f
^4-IP
*i
:3r
EEj
-3-
K*aS
^-P-srl
3:
i^=-1
*= *f
j-
S^z-p
ST
It will
-3-
"P"
be noticed that the accompaniment marks
the unaccented portions of the
measures strongly
STANFORD, QUARTET
this has
287
the effect of imparting great vigour to the
material.
The
phrasing
very
is
end of the
half-close at the
There
distinct.
and
third,
is
a full close
end of the sixth Measure, but the concluding
at the
coming
chord,
on the weak
in each case
on the flow of the Melos without
beat, carries
a break
in
its
continuity.
The
next Period consists of 2
and the third Period returns

construction,
which
+2+4
Measures,
to the three-measure
throughout
predominates
the
movement.
marked
strongly
two Measures,
and
motive occupies
anacrusic
its
Rhythm
is
marked
by
Ex. I2C.
PP (Cello and Viola
throwing the accent on

Measure,
the
in octaves below.)
quaver of the
third
by means of the longer
note
in
this
Ex.
126
place.
Two Rhythms
are
by the bowing of the

final
note of the
often
met with
first
in
run
first
into
violin,
to the second
modern music.
one
in
which joins the
Rhythm,
a device
288
Ex. 126.
Cantabile.
1st
Rhythm.
4
^ It"
rtJ.
J3
Tsr dirW ttrr fir

flK/l
fUi
:,
3=
/Yzs.
The
close
Rhythm
first
on
its
concludes with the tonic
fourth accent
but the composer has, by
bowing, indicated that there
his
here,
will
full
is
to be
no Caesura
and the Melos runs on without a break.

Accentuation
be noticed that the
accented quavers, which

Period,
is
carried
is
The motive of Ex. 124

in a sort
moderate,
and
it
of the un-
a feature in the opening
on here by the
measure
is
violoncello.
brought into four-
of quasi-recitative passage,
leads to a
It
molto
momentary resumption of
the opening passage of the quartet, Ex. 114.
Coda, Presto
assai,
begins
with
an anacrusic
dotted-note figure, accompanied by subsidiary matter.
The motive of Ex. 124 is hinted at in triple measure,

and the movement ends with a plagal close, extended
to seven Measures.
SYMPHONY
ELGAR,
289
Elgar, Symphony Op. 55.
This
is
many
another of the
origin,
Elgar,
modern
in feeling,
It
boldly
is
and shows an emotional power
fully
on
class
produced on the continent.
a level with the best latter-day
first
British
possible through the influences to
which we have alluded.
Op. 55.
The
works of
whose reception by the public has
become
'ÂlPt
fine
movement
works of
its
has an introductory Andante,
which opens with two Preliminary Measures, uttered

pianissimo
on the drums and
basses.
Ex. 127 shows
Ex. 127.
Elgar, Symphony (Op. 55).

Andante.
Nobilimente
e semplice.
1st
m^
Rhythm.
V-
-"N
:p:
=t
fJ
-&-*-
-1
Half-close.
dolce.
0i~ir
4 j *
Wtt
mzr^-:^
2nd Rhythm.
-N
m*$=*
*=j
55 =p:
Cses.
PPP
g^^fe
^fc
-m
2E
5}
E
Dominant
7th.
Resolution.
RHYTHM OF MODERN
290
the opening Period.

to
Its
Measures, and
three
second
MUSIC
Rhythm
is
curtailed
combined with an ap-
is
parent Overlap, for the dominant seventh, with

resolution,
would
conclusion
of a four-measure
lapping
the
the ordinary course form the
in
next
its
Rhythm
But
Period.
here, over-
the
composer
evidently intends that this phrase shall sound like
one of three Measures,

for
he
in spite
has placed a decided
dominant chord and

heard the
its
symphony
will
just
as
it
the
its
harmonic form,
Caesura
resolution.
with this feature (even

occurring, as
of
between the
Those who have
probably have been struck

if
they cannot analyse
it),
does, at the beginning of the work,
rhythmical
scheme
of four-measure
phrases seems to have become well established.
The Period
here quoted
is
repeated several times
with varying orchestration, and leads to the Allegro,
whose
first
Period
is
given in Ex. 128.

Ex. 128.
Andante.
!E
' *~
SYMPHONY
ELGAR,
W=^^^:
&GL
WP
291
*=*
r^r
fS>-
4
3
:p:
m2
P3
-4-
ipd
In this passage, which begins with a very short
melody of the
anacrusis, the
Measure
first
the secondary accent, and, by dwelling on

it
The
into prominence.
with a crescendo, and
on
and
discord,
of
elements
imparted to
phrase
the
brings
a sforzando
thus
has
energy,
it,
approached
is
sounded with
is
rhythmical
it
high note
rises to
while
the
all
dignity
is
by the harmony and instrumentation
employed.
In six out of the eight Measures the arrangement
of the material
is
the same
most prominent note

results
It
the third crotchet
will
be
melodically
Rhythm
is
noticed
into
that
+2
the
Measure, and vigour
in the
from the repetition of
is
this figure.
the
first
Measures,
Rhythm
falls
and the second
undivided, according to the rule so often
referred to.
It will also
be noticed that the various
portions of the Period are welded together by the
sturdy
march of the
Primary accentuation
the
melody
is
divided.
bass,
in
bars
which
keeps
two and
up
four,
the
where
292
The
next
passage
we quote
with
has dactyls,
ever-increasing vigour of accent.

Ex. 129.
*n
U^-A4
E33 i
=t
Sfe=#==E
fe&:
^^
Jfe
-uL
ta
fetlF
<rm".
*==*=*
-fc
:
:
f-
In the
first
two bars the accentuation
alone
dactyls
fe
in
second,
the
is
made by
powerful
the
chords
punctuate the weak portions of the Measure, bringing
all
four crotchets into equal prominence.
next bar the accentuation of the dactyls
is
In the
further
increased by the slurred quavers and sforzandos.
There
is
change to \ signature, the dotted minim
being here the Primary note, and
this
introduces a
syncopated passage of as deep a pathos as can be
found
in
length,
is
helps
to
modern music.
It
is
one Measure
in
repeated several times, and the repetition

give
it
its
pathetic
impression.
The
ELGAR,
scheme
rhythmical
SYMPHONY
of
merely
consists
293
strong
Primary accent, followed by a syncopation
melody and
bass, while the
in subsidiary
work
secondary accent
in
the
heard
is
in the inner parts.

Ex. 130.
*=#
S
The
-o-
syncopation
emotion.
in
-s>-
is
an element of intense
here
In the next example, syncopation
is
used,
combination with the anacrusis, for the contrary
effect,
namely, of energy.
Ex. 131.
A
%m
#
e*h
-P-
in
-oetc.
sf
The
f:
J:
is
passage culminates in a broad
which the accentuation
and the smaller notes have

rhythm, though
their
little
fM
measure
J
phrase,
predominates,
or no effect on the
position, high
up on the
first
string of the double basses, intensifies the emotional

feeling of the
whole by their penetrating tone.
RHYTHM OF MODERN
294
Ex.
132.
-?
-I-
s-
MUSIC
:z2
[-.&
Tutta lafarza.
^jgjj
J.
Si
HB
*22
This Rhythm
IZ
opening
pianissimo
subject,
basses
pianissimo
triplets
is
it
Ex.
It
is
page 289,
127,
tempo
the
passage
is
played
violas in unison
accompanied by
staccato
notes
There follows
and violoncellos.
teneramente
triplets,
leads to a repetition of
on muted horns, with the
and tremolando.
on the
-<s>-
repeated with subsidiary
is
and then, softening down,

the
<S>-<s>-
duplets
in
and
quickened,
against
intensity
given by the accentuation of the duple, against
syncopation
the
in
triple
material.
The
triplets
conquer, and Ex. 130 again enters, pianissimo.

In
which
contrast,
and
permeates
the
as
relief
movement
to
as
gentle melodic passage recurs from
the
a
intensity
whole,
time to time,
SYMPHONY
ELGAR,
its
It
is
shown
Ex.
in
Ex.
little
'
espress.
-&-*-
-&!
#
--P&
Fiat.
graceful
/"""
this
130.
133.
-s
7
P
Wherever
133.
Ex.
been after
having
appearance
first
295
PP
melody appears,
rhythm
its
is
gently marked
by the pianissimo pizzicato Primary notes on the

double basses.
The movement
of great length, and
is
its
many
rhythmical beauties will become more apparent as the
work grows more

a
familiar.
We
have pointed out
few that have occurred to us from a study of the
score
to
go
into greater detail
would involve longer
quotations.
Second Movement.
The
signature
is
unusual arrangement
beats
one stroke
i.e.
^,
;
Allegro molto.
one minim
in a bar, a
very
for although a conductor often
in a bar, a
Measure cannot
exist
without an unaccented as well as an accented portion.

In
the
present
value, and the
case
the
crotchet
Measures are duple.
is
the
Primary
The movement
RHYTHM OF MODERN
296
opens with a Preliminary and
MUSIC
introductory
four
Measures, in which the basses have a striking anafigure
figure
afterwards
becomes
certain parts of the

in
Measure
of one
crusic
movement.
length.
in
basso
ostinato
The
first
This
during
subject
is
busy pianissimo semiquavers, accompanied by the
basso ostinato.
Ex.
Allegro molto.
134.
cJ=6g.
Introductory Rhythm.
^Preliminary.
3g5SE
Pizz.
J
V
Anacrusis.
Overlap.
After a passage in
quavers, a
figure occurs, which, however,

rapidity of the
tempo^
new and
owing
striking
to the extreme
seems to consist of accents
ELGAR, SYMPHONY
only, the notes between
to the ear,
them being
though the eye
The
lightning speed.
sees the
figure
is
297
practically
lost
bows moving with
Ex. 135.
sf
1
1
P==*:
&i
+%
&^&^
Ul
<m^ %*=^=d=:
-ff
*fcJ
IL-UJ
l-LlJ
^gf
3^ U-Zfi
t-
J~j:
if
'j^gEElS^g^
r r
1
j
J q H^R*bJ^|*-*i **^sa
A very
clarinets,
thus,
sprightly
melody follows on the
accompanied by detached chords
violas
;
it
and
begins
298
Ex.
mf
136.
marcato.
fe#
eeieee
~^&&
mt-
J#3=
J:
-H-
pp
Several Overlaps occur, by which
made
to enter a bar sooner than
rhythmical effects
variety
motive
in
the
is
is
The
expected.
movement
this
amongst them
it is
motive
the
of great
are
following
exciting
Ex. 137.
isM
$- *=^W-
%m-
j-.
p *
fc
etc.
Cymbal
pife
*^=t
b* y-fr
TlMP.
[Imp.
This example
orchestra
^:
^n#
t e r^
iK
*#y
is
^ jJ.
is
is
5^
'/
Cymbal.
=*=
^-^
TlMP.
only given in outline
engaged
in
it,
]/
the full
the basses marking the

SYMPHONY
ELGAR,
299
Primary Times with the drums and cymbals and

triangle.
melodious middle
thus with Anacrusis
commences
section, or Trio,
Ex. 138.
2
Flutes.
-O
te
PP
m-
v^1
^f
wi
Anacrusis.
t=db
rfcfe SK
-ef
etc.
-ei
-^- v-
=a^c
ei -
-<s
-3:
Oboe and English Horn.
The
of
rapidity
alternation of dotted
This subject,
is
it
and even notes
will be seen,
in absolute contrast to
before.
When
it
is
never
tempo
the
relaxes.
is
although
The
very effective.
full
of energy,
everything that has gone
finished,
the opening motive,
Ex.
134 (page 296), re-enters, accompanied by a

counterpoint, which has been previously heard as
one of the chief motives.
fresh orchestration,
and then the

beneath
legato
The Trio
is
repeated with
and with new rhythmical
basso
ostinato
returns,
Primary-note
and
melodic
is
effects,
heard
passages.
Rhythmical energy gradually dies away against a

long pianissimo holding note, which leads without a
break into the slow movement.
300

Adagio.
This beautiful movement opens with the following

classically-constructed Periods
Ex. 139.
Adagio.
Period
I.
1st
2nd Rhythm.
Rhythm.
^^mmmm
mmmmmmmmm
11
Anacrusis.
cres.
i^^
a^T2
Jh_T
Wl
u:
i
tste
? !
Pizz.
2nd Rhythm.
d *
3rd Rhythm.
SYMPHONY
ELGAR,
The
first
301
Period ends at the six-four chord in the
middle of the fourth bar, but
is
it
welded into the

Notice
next by an unexpected change of harmony.
Under
the
effect
accompaniment
in the
of the two inverted dactyls
end of the second Rhythm,
the
at
thus
^n
51 mmm
mmm
I
I
which give an unexpected turn to the rhythm.
The
second Period commences with the three-note
of the gentle inverted dactyls.
Anacrusis, in place
Its
two measures are marked by the pizzicato
first
Primary notes on the
Rhythm
third
is
is
double
The
basses.
first
The
here divided into two half-rhythms.
anacrusic,
and
ending melts into the
its
succeeding Period by similar harmonic progression to
which joins the
that
Hence
a continuous
seen in the slow
first
Period
Melos
results,
second.
such as
we have
movement of the Brahms Symphony.
very attractive passage,
I..
the
to
in
which the figure
delicate
alternates
with JT1, leads to a novel and
form of syncopation, akin
page 100.
subsidiary
As
in the
dactyls,
sidiary triplets
former
so
is
the same, the effect
The Brahms
movement, and
syncopates sub-
principle.
But though the principle

a quick
of Ex. 25,
Brahms syncopates
here Elgar
on the same
entirely different.
case,
to that
it is
quotation
played forte
is
;
it
is
part of
is
full

302
of energy and
and belongs
The present example is pianissimo

slow movement
it gives a gentle
fire.
to a
Ex. 140.
Overlap.
dim.
PPP3
I.
at
undulation
=t
*fk
^=-*
^=^
which
is
# m
y=M
\-jk-i
hardly
heard,
and only just
supports the longer notes of the melody.

the difference in the rhythm-species
Moreover,
makes
ence of ethos, for a succession of dactyls
a differis
more
vigorous than a succession of trochees.

Ex. 141.
Cantabile.
Flutes..
'.
"'.
T
Violas.
Ex.
141
shows
of strings and wind.

the strings
the
legato
somewhat novel combination
As
would play
a rule, in such a passage,
the
accompaniment
triplets,
and the wind
to the melody.
But the
composer, by reversing the usual order, makes the
SYMPHONY
ELGAR,
staccato
of
triplets
minently, as
an
the two
The same
scheme.
passage
strings also in triplets

legato
in this
of
rhythmical
the
with the
repeated,
is
they are to be played very
mark
while the flutes
and are aided
stand out pro-
flutes
part
essential
303
by the
the triplets
as before,
harps.
The last feature to which we

the movement is the Pause
can draw attention in
Ex. 142.
S7\
3
-m-
h
-HU-
&
I%
PP
&
-5^Hi
w
"0
b.
which
occurs
on the
arousing expectation by
first
its
The movement ends

last
note
of an
unwonted
Anacrusis,
position.
pianissimo as
it
began, the
phrase containing some triplets at the ends of
Measures,
in the
manner alluded
to
on page 225.
Finale.
The
Finale
commences with
a slow introduction,
which, by referring to the opening theme of the work

(Ex. 127), and anticipating the most striking theme
of the
last
movement, forms an important connecting
RHYTHM OF MODERN
3o 4
link binding the
work
The
is
introduction
into a
for the
ends with a pause on a

starts off
with a
full
MUSIC
homogeneous whole.
most part pianissimo
rest,
and then the
it
allegro
Anacrusis, as follows
Ex. 143.
Allegro.
ElE#E
risohtto.
84.
S
y
PP
j=^
Anacrusis.
tl
r?
- n
>
EaESÊfees^ÊEli
Here two rhythmical
figures
are
-3-
at
n i-^k
sf
555
work, one
The Primary value is the

Primary Time is very strongly
completing the other.
minim
each
accented by the relative length of

the sforzandos
is
notes and by
and the lower parts equally strongly
accentuate the subsidiary rhythm.
whole
its
The Melos
therefore accented thus

Anacrusis.
:r==a
^
=
:;>:>
SRJTR\rmrm
as a
ELGAR, SYMPHONY
making
a powerful impression
between
distributed
reality
but the accents are
outer
the
two separate rhythmical
more gentle melody
of which
sets in,
that
so
parts,
in
figures are distinctly
After this vigorous opening has run
heard.
a
305
its
course,
the inward strength
maintained by the steady march of the
is
notes
staccato bass
Ex. 144.
a*Eyg& i
Wa
+*fc
Cantabile.
<**= e
9frU3E-l
!
The motive
that will probably always
impression, however,
is
that
Ex.
shown
ir
make most
in Ex. 145.
145.
Horn,
ff
tr.
~~N /""
:q^:
"*"
TT
as
:=T
4
SEEH
Ji^'-J- J-- v.
"St
^JFr^j
S^
22:
P5
zazjfc
rqoM
It
is
simple in the extreme, and this gives
attraction
in
contrast
to
its
TT
surroundings.
it
If
its
it
RHYTHM OF MODERN
3 o6
were played
ficance
sion
legato
would have no
it
but the punctuation
of even
MUSIC
in staccato
by appealing
notes,
special signi-
of the succesto our
directly
rhythmical sense, gives us satisfaction without mental
At
effort.
more by the
still
intellectual
side
is
by the sustained pianissimo of the horn,
interested
and
same time the
the
so that the passage
persistency of the bass figure,
is
redeemed from any suspicion
of being commonplace,
spite
in
of the simplicity of
rhythm.
its
This motive recurs again continually
two
the
dynamic
of
degree
force,
others
which
these
three
and
in
is
we quoted
in
every
in
contrast
Ex.
to
143
and 144.
Besides
examples there
other
are
important motives in the movement, and a return

is
is
made to the opening subject, Ex. 127, which

worked up with various subsidiary rhythms
;
symphony,
of
fine
rhythmical
months
old,
this
way
that
no
similar
production of an Englishman has yet done.
It is
the
in
fact,
is
full
effects.
Though not
yet twelve
has leaped into popularity in a
evident,
therefore,
art-feeling.
classic,
that
Whether
it
it
is
time only can show.
with audiences of the past,
and marches
as
expresses
destined
If
its
work
contemporary
to
become
popularity were
who demanded
waltzes
an aid to swallowing a symphony, we
ELGAR, SYMPHONY
should
consider
place.
But
demand
the symphonies of Beethoven
its
well as the best
so
that
wrong
it
in
is
that
had taken
it
attraction
is
for
307
no permanent
who
audiences
and Brahms,
as
works of contemporary composers,
not unlikely that public taste
applauding the
latest
as a masterpiece.
is
not
British composition
APPENDIX
THE AGOGIC ACCENT
The
slight delay
by which the
Hans von Balow
late
gave prominence to accented notes, as mentioned
on page 258,
is
by Dr.
called
Hugo Riemann
the
" Agogic Accent " {ayooy^ movement, hence tempo).
The
effect has
always been known, and
in tempo rubato.
For the most part
fined to " dotted-note
impressive effect
to
it
in
his
is
Violinschule
be paraphrased as follows
m'
a weighty or
Leopold Mozart alludes

that
may
" In a group such as
this,
in
(1756)
:
an element
has been con-
it
rhythm " when
desired.
way
mm' m
to be played with detached bows,

sive style, the dotted notes
their relative length,
is
and
in an impres-
must be given more than
and the short notes
less."
Lengthening the dotted notes gives them

emphasis.
this
Von
nuance,
Billow
made
special
fuller
feature
of
not only in Dotted-note rhythm but
elsewhere, and was adversely criticised for his playing
of Beethoven's sonatas,
the
critics
attacking
this
THE AGOGIC ACCENT

But though he gave
particular point.
it
309
prominence,
he was not the only performer of his day to employ

it
we read
vol.
page
i.
Joachim, and
Grove's Dictionary
in
the
that
18,
many
late
New
Charles Halle,
Sir
others used
it.
Edition,
Perhaps they
make so marked a feature of it as did von

At any rate, it seems to have been he who
did not
Bttlow.
importance in
brought about the recognition of
its
other than dotted notes, for Dr.
Riemann informs
us that von Billow's readings of Beethoven's Sonatas
him
inspired
to
develop
the
remarkable theory
1
brought forward
in
Dynamik una
his
Agogik, pub-
lished at Leipsic in 1884.
According to
built
up of short Motives^ which
Triple,
according
to
Motive corresponds
called
the
or diminishes
what we represent thus
in
The
in
in this
power
Dynamik und
playing, as well as in that of
very prominent in the
first
{Ivvaixii)^
so
it
that
J
Agogik, thus
present writer distinctly remembers
light" Sonata.
book, have
J
represented
and the
and unaccented portions,
divided into accented
is
Duple or
are
time-signature,
what we,
to
is
But instead of the Motive being
Measure.
increases
phrase
theory, the musical
this
von Bulow.
it
in Sir Charles Halle's
In the latter
movement of the
so-called
it
was
" Moon-
"
RHYTHM OF MODERN
310
This explains the

refers to
Motive or Phrase
distinction
from
occupied by
its
Agogik,
the
Dynamik
is
the
expressed, in
relative
time
portions.
must be borne
represent
of the book
title
the degree of force, crescendo, diminuendo,
with which
It
MUSIC
what
in
in
mind
that the crotchets here
book we have
this
called
the
Primary Time, and a motive may be formed of

smaller notes than
Primary Times, or several
its
Primary Times may be joined
Duple Motive
in
one note.
of two kinds
is
===
" Anbetont "
" Ab-betont "
J
(equivalent to our
Ana-
crusic form).
The
Triple Motive has three forms
" Anbetont
" Ab-betont "
" Inbetont "
Of
the above
J J J
forms
Inbetont are recognised,

all
(anacrusic).
(anacrusic).
only
or,
Motives are anacrusic.
doubtedly begin with a
the
in
In
full
Ab-betont
and
our nomenclature,
phrases
bar,
in
which un-
other words,
with the An-betonung, such as the opening subjects
of innumerable sonata and symphony movements, the

first
note
is
merely a fixed starting point for the
THE AGOGIC ACCENT

Immediately after
rhythmical feeling.
311
has been
it
struck the Ab-betont form of Motive must commence.
Accent, in the usually accepted sense, the author
does not recognise, and he adduces long arguments

to
show
its
rhythm
be made evident,
to
is
The
impossibility for artistic purposes.
not by alterations
of accented and unaccented notes, but by Dynamic

variation, that
When
perform,
crescendo
is
especially
we
call
Primary
said to be untergetheilt,
and
more easy
variations are
on the pianoforte, where
not possible on a single note.
untergetheilt or not,
moves
in
Schwerpunkt (our accent), and then
crescendo to its
diminishes
is
dynamic
Motive, whether
by the
and diminuendo.
crescendo
Motive
case the
in this
by
notes smaller than what
are used, the
to
is,
the Schwerpunkt being generally
Bar-line.
shown
In other words, the Bar-line does
not show accent, but the culminating point of the
Motive, thus:
Ex.
Beethoven (Op.
(
Vide Riemann,
No. 2).
Dynamik und
1.
14,
i=?
rise
and
degree to the Phrase, which

or more Motives
p.
244.
g iX P=PP
i
The dynamic
Agogik,
so
fall
is
applies
in
a larger
a combination of
that unless
two
composer, by
RHYTHM OF MODERN
3i2
MUSIC
special signs, indicates the contrary, all Phrases
gradually increase in force
dynamic
and
point,
they reach their central
till
then
The
diminish.
dynamic point of the Phrase

those of the
must
central
distinguished from
is
Motives by an almost imperceptible
dwelling upon
it,
namely, by the application of the
Agogic Accent.
To
carry the theory out to a practical conclusion,
Riemann
Dr.
many
has
published
He
and modern works.
classical
of two new notation
'
of
makes use
signs, the Lesezeichen
minute upright stroke
tion sign), a
editions
special
(Punctua-
(or the same,
doubled, ") to indicate the ends of Motives, and

a
flattened
which
circumflex
to
Agogic Accent
the
a passage (Dyn.
occur
/\
und Ag.,
is
show the note

to
fall.
We
both
Ex.
Beethoven (Op.
14,
No.
2.
1).
y\
#*==f=r
:::*:
dim.
m
fa,
In
quote
258), in which
p.
on
this
non dim.
y\
; ;
sf
Example
tt
&
the
harmony
is
pp
omitted, and
it
looks strange that the motives should end with the

quavers.
The
reason
is,
however, that the Dynamic
THE AGOGIC ACCENT
313
centres occur on discords which cannot be separated
from
resolutions
and the
resolutions,
their
would have more
second and fourth

there
and
first
a crescendo
force than the
Dynamic theory
the
in
from the
diminuendo
is
crotchet,
the
but
with
In the Accent theory
the second half of the bar.

the third crotchet
the
are
new motive begins
hence the
quavers
first
the
to
second
from the third crotchet
to
of the next bar.
Phrases are shown by the
and second Phrases
in
two Motives
the last
each,
first
the above quotation contain
example shows a Period of

Lesezeichen
The
legato strokes.
has four, so that the
+2+4
The
Motives.
of course, unnecessary at the end of
is,
the Phrase, since
its
place
taken by the end of
is
the legato stroke.
The above
explanation gives only the barest out-
of the theory
line
for
its
details
we must
our
refer
readers to the book.
In
his
melodic
first
succession
of
in
time,
repeating
of
how
is
two
of
to
in
it
quavers
in
writes
time,
be
|-,
or
explains that
it
Agogic Accent
on the organ, which

of
crescendo
can be
on
the
and,
in
the
from that of two and
distinguished
the
he discusses the question
grouping of three and three
the
accent,
Riemann
Dr.
chapter
and
made
first
clear
of
is
incapable
diminuendo.
He
by placing the
each
group
of
3H RHYTHM OF MODERN MUSIC

three quavers
of each pair
in
in
the
1n
is
in a
Can
it
bring
it
way
and on the
# ^H
* * m*M
m
'H
m m
no doubt that organists who
feel
strongly are able to

it
case,
that
first
the other, thus
#8 'Vri
m m m m m m
There
one
is
and
make
rhythm
their audiences appreciate
denied to
many of
their fellows.
be that they instinctively and unconsciously
out by means of the Agogic Accent, applied
in so small a degree that neither they
nor their audi-
ences are aware of any alteration in the tempo
INDEX
Bach,
AccellerandOy 160-163.
Accent, 18-21.
Omission
and note
of,
4.5
Fall-
ing, 47-
and Melody,
The
kinds
êmploys
Time,
Organ Fugues, 124.

Anticipates modern methods,
141.
Bar, Compound, 38.
61.
three
rarely
S.,
against Triple
105.
62, 63.
value, 79.
Accentuation, Rising,
J.
Duple
of, 71, 72.
Acciacatura, 22.
Agogic Accent, 308.
and Measure,
Simple, 39.
and Poetic
37, 39, 41,42.
foot, 39.
Alberti Bass, 105.

Alia breve, 1 1 4.
Function
Anacrusis, 41-47.
Subsidiary, Example
Beethoven, Pastoral Symphony,
Brahms,
Brahms'
116, No.
80.
Bar-line, 39.
in
of,
77.
in
3,
Capriccio,
op.
50.
Anapaestic
of,
in
rhythm,
Examples
84.
Symphony, 239.
Bach, J. S., Capriccio tiber die
Abreise eines Freundes, 5.
Inaugurated
the
modern
school, 9.
and Rhythm,
Measures,
Attitude towards music,
10.
13-
Sonata,
5.
Influence on music,
Slow movement of
10, II.
7 th
Symphony, 14; Slow movement of 4th Symphony, 29.

Barring of Andante in op.
13,
Anacrusis
37-.
Tschaikowsky's Pathetic
Silent
40.
5-
Lebewohl
effect of,
Anapaest, 80.
of,
82,
1,
March
Symphony, 64, 65.

Various kinds
of Period, 77.
Eroica Symphony, 171.
10, 11.
in Funeral
Sonata, 47, 48.

Sonata Pathetique, 52, 96.
Quartet, op. 132, 55-57.
Rising Accentuation in 5 th
Allegretto of 7 th
Symphony,
83.
Moonlight Sonata,
84.
INDEX
316
Beethoven, His Periods, 96.
Duple against Triple Time,

105.
" Storm " Pastoral Symphony, 112.
His use of Three-Measure
Rhythms, 134.
His novel
138.
9th Symphony, 138, 139.
Quartet, op. 131, 139.
Sonata, 28, 139, 140.
Overture Leonora,
No.
in
effects,
op.
3,
Brahms,
Serenade,
Scherzo, 94.
op.
11,
Duple
Triple Time,
106.
Intermezzo,
No.
120.
Intermezzo, 117, No.
120, 121.
Symphony
122.
Rhapsody,
No.
124.
"Agnes," 129.
against
op.
18,
4,
op.
1,
in F,
op.
2,
79,
Variations on Hungarian
Song, 130, 131.
Rhythms of other than four
measures, 134.
Clarinet Sonata, op. 120,
a
149.
Sonata
in
flat,
op.
31,
161.
Sonata,
No.
167,
3".
Waldstein Sonata, 169.
No.
Sonata, op. 106, 176.
" Am 144.
Sonntag
Morgen,"
Sonata,
No.
156.
184,
Rhapsody,
119, No.
Intensity of accentuation
157, 193-209.
Intermezzo,
5th Symphony, 186, 187.
No.
op.
10,
3,
1,
op.
14,
2,
op.
4,
in
op.
Bowing of stringed
instruments,
two Rhythms
joins
to-
gether in Stanford's Quartet,

op. 45, 287.
Berlioz,
3,
and audiences,
273-275.
Bull's, John, harpsichord works,
British composers
28.
Bowing
10,
170.
" La
7-
Damnation
de
Faust," 87.
Brahms, Ballade, op. 10, No.
~ and Rhythm,
Biilow,
Hans von, 258, 308,
391,
Buxtehude,
10.
Cadences, 32.
15.
Symphony D,
and Rhythms,
210-236.
Pianoforte Quartet
Temporary,
G Change of
no,
minor,
123, 153, 156.
Careful
Chopin Sonata
C minor,
129.
Romance, 118, No.
Chronos
258.
conducting,
of
175 Intermezzo, 118, No.
274.
in
51,
82,
Caesura, 27, 29, 167.
32.
in
Species,
III.
82,
to indicate phrasing,
in
86.
op.
Classical
93,
op.
93-
alogos,
5,
style
2,
Clausulas, 8.
27,
INDEX
3i7
Elgar Symphony, op. 55,
Closes, 32.
Combination
rhythms
of
Symphony
Brahms'
in
D,
in
221.
Combined rhythm-species,
86.
Common
time, 114, 115.

Composers and phrase-indications, 40, 41.
151,
289-307.
Empty Times, 166, 167, 174.
in Brahms' Symphony in D,
^
224, 225.
Equal subsidiary notes, 82.

Even Measure, 8, 30.
Executants and conductors,
16.
Couplet, 23.
Crescendo, effect of,
on rhythm,
185, 186.
Falling Accentuation, 64.

Fantasia, 7.
Feminine
Dactyl, 80.
Dactyls, syncopated in Brahms'
Symphony No.
Dance music, 8.
2,
100.
Debussy, Masques, 266-269.

Rameau, 270273Influence
note,
Reasons of disappearance of, 74, 75.

Five notes against four, etc.,
112.
Five-measure Rhythms, 154-
Fioriture,
Hommagea
Democracy,
26
Ending,
33-35Fermate, 163.
of,
on
156.
Foot in Poetry, 23.

Forte and rhythm, 185, 186.
music, 136.
Diaeresis,
43, 44.
of Melody,
Four-bar phrase,
123, 175.
Debussy, Masques, 268. Ordinary construction
Quintuple D'Indy's Sonata
59-61.
15.
in
of,
in
in E, 263, 264.
Diminuendo, 160.
Effect
of,
on rhythm, 18
c,
186.
D'Indy, Sonata in E, 256-266.

Dotted-note rhythm, 91, 92.
in Tschaikowsky's Pathetic
Symphony, 241.
and Leopold Mozart, 308.
Duple Measure, 29-31.

Duple against Triple Time, 105108.
Dvorak, Slavische Tanze, 148.
Dynamik
und
Agogik
Four-measure Rhythm, Importance of, 133.

Four-time Measure, 81.
Frescobaldi, 7.
Froberger Fantasia,
7.
Fiinfer, 154, 155.
General Pause, 172.

in Stanford's Quartet, op. 45,
285.
Greek rhythmical theory, 83-86.
terms, 142 note.
Grieg Violin Sonata in F, op. 8,
(Rie-
175, 176.
mann's), 309-314.
Eighteenth Century, Music

135-
of,
Half-rhythms, 141-151.
in Beethoven's Sonata, 145
note.
INDEX
3*8
Half-measure, Lengthening of a
Rhythm
164
by,
note.
species
and
Bar, 41-43, 61.

81.
Four-time,
Measurement and
13.
Dead March,
only,.
29.
Halle, Sir Charles, 309.

Handel, attitude towards music,
Mechanical
92.
Orlando, 127.
Haydn,
accent, 21.
instruments
and
accent, 189.
10.
Various
Two
Measure,
13.
kinds of period in,
Meistersinger, Waltz
Melismatic, see Song.
Melos, 4, 6, 133.
in, 54.
and Rhythm,
and Three-measure Rhy- continuous, 55 Brahms'
thms, 135, 136.
Symphony, No.
223
Quartet E
No.
Symphony, 301.
of Wagner and
172, 173.
77-
9, 15,
in
2,
in
flat,
in
Elgar's
38,
his successors,
Hebrew
Poetry,
Rhythm
of, 25.
Iambus, 81.
Instruments, Improvements in,
1
74' 75-
Mendelssohn, Pianoforte Trio

in D minor, 1 17.
Phrase-construction, 137.
Metre, 23.
1, 12.
Interpretation of Compositions,
Midsummer
Half
17.
Introductory Measures,
liminary Measures.
Italian Opera, 74.
see
Pre-
Night's
Dream,
verses in Shakespeare's,
141-143.
Overture, 166.
Mozart,
Various kinds of period
Conflicting Rhythmical
10.
13.
Joachim, 309.
Koch,
in,
H. C, Anleitung zur
Composition,
musikalische
154.
Kuhnau
Bible Sonatas,
schemes in
"Don
Giovanni,"
Duple
Triple Time,
and Three-measure Rhyagainst
5.
105.
Legato, 182-185.
Lesezeichen
Riemann's
in
Dynamik und Agogik

Lombardic
style,
312.
thms, 134-136.
Jupiter Symphony,
171.
104
Madrigals, 6, 7.
March form, 91.
Masculine Ending, 32.

Mechanical music, 113.
Measure, 22, 23.
Note-values and Êsthetic Character of Music, 93-95.
One-measure phrases
in Tschai-
kowsky's Pathetic Symphony,

'
251.
INDEX
Organ, 12.
and accent, 187, 188.
Marches on the, 190, 191.
Overlap, 51-57.
in R. Strauss' Violin Sonata,
109,
no.
3J9
Rhythm, and the Church,
and Expression,
Two
Definition
equivalent
6.
13, 14.
sides of, 14.
20.
of,
The
to Phrase, 21-25.
word
used
in
two
senses, 24.
Paderewski, Chants des Voyageurs,
No.
4,
127-129.
an
unstruck
accent,
179.
Period, 23-25.
of eight Measures, 53.
Piano and Rhythm, 185, 186.
Polonaise form, 35.
Phrasing in Song, 26.
" Popular"
audiences, 274.
Introductory
Preliminary or
Measures, 49-51.
Measures in Brahms, op. 10,
No. 3, 171, 172.

Primary Times, Notes, Values,
Rhythm,
Accentuation,
39.
Rhythm
in
Function
Brahms'
phony in D, 212.
Programme music, 5,
Prose, Poetry
32.
of,
Pause, 163-166.
on
and Accent,
Construction 44.
Experiments with
of,
Sym-
6.
and Music, 20.
Quintuple Rhythm, 125-130.

in Tschaikowsky's Pathetic
Symphony, 246.
of,
65-67.
within Rhythm,
Sonata in E, 263, 264.

a
composition,
Rhythmical figures in accompaniment, 29.
Accentuation, 63, 64, 65.

Function
71.
Schemes combination, 69,
70,7i-.
Complications Sixteenth
of,
in
in
Century, 87.
Rhythmless Music, 58, 59.
Riemann, Dr. Hugo, 308.
Rising Accentuation, 45, 64,
185.
in Beethoven's
Rests, 166-174.
Rhythm, and Melos,
and Form,
4.
4, 9.
Fifth
Sym-
phony, 65.
Rising and Falling Accentuation,
116, 117.
Ritardando, 160-163.
Saint-Saens
No.
Etude,
op.
52,
4, 132.
classical
Army drum and

rhythm, 191, 192.
Schubert, 12.
Sonata D,
92.
D minor, Quartet, 84,
March
D,
Phrase-construction, 137,
op. 53,
92.
Pianoforte,
18.
(see also
Half-rhythms).
in
" Reading " of
77.
of two Measures, 83
Salvation
Quintuple Diaeresis in D'Indy's
material
in
92.
138.
Schumann Piano
quintet, 84.
INDEX
320
Schumann Toccata
in C, 95.
Phrase-construction,
and
137-
Syllabic, see Song.
Syncopated dactyls in Brahms'

Symphony in D, 100.
Schwerpunkt (Accent), 311.
Triplets
Sentences of Prose, 20.

Septuple Rhythm, 130-132.
phony, 301.
Syncopation, 66-104.
Seven-Measure
Rhythms,
54,
158.
Sforzando, 83, 89.
in
D,
Kuhac,
Beethoven's Sonata, op.

106, 100, 101.
in Schumann's Concerto,
in
131,
Song, Phrasing in, 27.

Song, Syllabic and Melismatic,
73-75.
Speech and Music, 19.
Staccato 182-185.
Stanford, Quartet No. 2, op. 45,
273-288.
,
Stanza, 23.
Italy "
Symphony,
58, 152.
102.
in
Hungarian and Bohemian
music, 103.
in Elgar's
Tempo,
Symphony, 293.
28, 29.
Variations 159.
162, 308.
of,
Rubato,
Three-measure Rhythms, 151-
Steigerung, 206, 207.
R, "
Sym-
98-100.
132.
Sonata, 9.
Strauss,
in
97.
Six-time Measure, 150.

Six-measure Rhythms, 157.
from
Beethoven's Eroica
phony,
Brahms' Symphony
in
Signatures, 39.
Slanca,
Sym-
Elgar's
in
1.53-
in
9th
Sym-
" Italy "
Sym-
Beethoven's
phony, 139.
in
Strauss'
Duple
Triple Time,
phony, 152.
Brahms' Piano Quartet
108, 109.
Violin Sonata,
G minor, 153.
109,
Quartet,
no.
45,
Ein Heldenleben, 155.
286.
Tod und Verklarung, 173, Time, Measurement 20-22,
against
in
in
op. 18,
in Stanford's
op.
of,
259.
Time-signatures,
122.
Toccata, 7.
Stress, 19.
Strophe, 23, 24.

Subsidiary Rhythm, 39.
Times, Notes, Values,
Accentuation, Function
Rhythm exemplified
31,
2,
Dominant
112-
Har-
8.
of,
Tremolo, 22.
by
Triple Measure, 29, 30.

Triplets, syncopated in Elgar's
72.
7 6 > 77-
and
monies,
82.
Brahms, op. 117, No.
Tonic
36-38,
75,
Symphony, 301.
Trochee, 81.
INDEX
321
Tschai'kowsky Romance, 115.

Pathetic
Symphony, 130,
236-255.
Verse, 20, 23
Vierer, 1 54.
Uneven Measure, 30.

Unproportional Time, 258.
Wagner, Tristan, 127, 128.

Weber, Overture to " Oberon,"
Values, 30.
"Well-marked"
note.
Vivaldi, 104.
190.
and Accent,
GLASGOW
79.
Rhythm, 88,
89.
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Rhythm of Modern Music

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Digitized by the Internet Archive

2012 with funding from

Brigham Young University

THE RHYTHM OF MODERN MUSIC

THE MACMILLAN COMPANY

MARTIN'S STREET LONDON

GLASGOW PRINTED AT THE UNIVERSITY PRESS

have endeavoured to deal with the

Rhythm of Modern Music

rather than as an element of formal construction.

In the present highly developed condition of musical

the power of influencing the

of Rhythm, although well

by performers, except by those of the

perhaps generally recognised,

paid special attention to this element

apt to pay considerable attention

the latter happens to be in

distribution of intervals over a portion of the scale,

but a distribution of intervals regulated by some

kind of rhythmical arrangement, through which

a living organism, capable

not entirely in the hands of the composer,

rhythmical arrangement, moreover,

down his ideas,

performance by faulty accentuation or phrasing.

has not yet arrived at a generally recognised

gone a good way towards the invention of

we cannot conveniently use

English does not lend

the technical terms

of new words being

materials already at hand.

wonderful Hellenic language which

whole ideas by single words.

who have undergone

Greek rhythmical terms would

terms, for this requires a language which

for the various parts of a rhythmical whole,

the general reader

have avoided the

terms as far as possible,

though some few, for which

have been unable to

find satisfactory equivalents, have been introduced.

hope that they

have been often

use combinations of words to

what one Greek technical term would have expressed

without the intervention of Greek,

have made rather a free use of

Milford-on-Sea, 'November, 1909.

Prose, Poetry and

Preliminary Measures The Overlap

Ancient Theory and Modern Practice

tuple and Septuple

Organ and Accent

Instruments and Accent

Rhythmical Scheme of a Complete Composition

by Brahms' Rhapsody, Op. 117

phonic pathetique, Op. 74

Sonata in D, op. 10, No.

Anglican Chant taken from Sonata Patetique, op.