Mok INTRODUCTION > Although many volumes can be found on the history, theory and appreciation of music, relatively few authors have attempted to set down in black and white any detailed rules or instructions for its execution of perfarmance. The reasons for this anomaly are difficult to find. From earliest times great performers of music have been looked upon as geniuses by both 1 usicians-ana-Mo-Mmusicians alike, and their ability to stir audiences wittrthetr playing or singing has too often been attributed to their musical gilt or Tatemt, rather than to their mastery of-tire-priticiples or techniques of artistic performance. The true secrets of expressive playing’ have been jealously guarded by the artists themselves and seldom passed on except to their most talented pupils—and then in most cases for a fee. Fear of competition has no doubt made many reluctant to part with their knowledge, while others, knowing that they have to teach for a living, have considered these secrets their stock-in-trade. All too 1, The words “playing’’ and ‘‘instrument,” as used herein are of course synonymous with “singing” and “voice.”” All musical performance must necessarily be artistic and expressive to be worthy of being called art, and be governed by the same concepts and principles. ' 1 7 =a *d “(py6) ‘siotpoag pue s9dsey MON) uo SIE] Sosy JO/NPUOD ay! “Ul “T WENA /E oym sueporsnur -sapuadua KraBeut jwawasou dtp asvasout flim Ajsodoud pos JEyatym (ONTENOUD ALON Paites) worssaaons sisoyp-sisze ue ur sojou Suidnos® Jo wiayscs e quasasd (¢) fofsnur UL UD -of9 8upAysnres atp st uontow: Jo Aurenb aun wet pue snowxuow -AS a4 UOTOW puk sisre TEI MOYS () :padojanap (eaqUMOP 40) sisay) a4) Jo douENOduHT ayy MOY PU “100§ 21N2W xp pue wYAYs Jo UONNJoAs ay} A[Ja!sq 29BN (1) 0} Aessa09U St i ydaouos sry) Sunuasaid uy ‘apAis puke uo!ssaidxa “wuawaA0W Jo so1f9p yBiy v Butaatyoe Jo suedUE e se UONNIaxa [eDISNU ut ydaou0o sysay)-sisso ay) Jo asn pue siskjeue ay) Woy swsays 10J0194) YOO SIU} UI papusuIUODa Yowosdde Oy, TST o/s ATL,, :2101 ay uayaStysuonesas sty Jo WeztUgos sem 6 uopyonpoiy * ‘At -d *(1€61 "0D pu ojfoxoN ‘iopuory) worssasdz JDD4snyy “ASSW"] SERN “Z ‘sxoyst40yD rs1INed at Jo 1OVa4EP “UU “f WIELTLA PUDIDADY SUL buidUIAE|A siy hq PaKow OS SEA T,, ‘10 +, jaouBursoysad Hujaou v 1eYM.,, ‘AWS QUOdWOS PsvIY Dm DAeY sown KUEL SSOPIOUE OF SSOP dH BHO Ut anu 10 ‘de) OL 2004 aM Poe a a aL 3S Ayeny 3B "yw W998 94 fTLM SE “JuaLWOAOW Jo A1oseUuT SIELL “DISMUL OY Surmrornr samo Wop pul amp ur iasaud AxaHeu juowacow pp) 2 Ba oe OL Kem au. unaasiag &/“yonepes we woduit we soi) 1 PUTT 12a9 Sa Ge v {su pu Tyssrexo ODE yu SurpawBox a1nyesOyN| WUE, S@ayT JO APMIS Yonuu yyy Asus 0 Burejd sty wy Ans -sepur z 3ygeus Ts Tey oF firro}sod ay} 0} yoeordde yeanovid Bis TST agunO9 Jo “wo }GoId DL heyy 829907" ur9]9ld HL -SpEUT TOOT SEY APMIS Si 1 f ques TA Jo soueTSA UST pUe TUNE) 9 d ‘2qissosdxo Tey OAT TA SHIOM JodUO!M aU) JO DUO St ee Y10005.A88071 ‘eu BuIKeyd aatssordxo weUp tym JOU LOUaJO ef qins st wonnoako yueaq pure ‘siids poyls may v Jo Auodord "Buy ureura, 07 suioas—oisnu Jo 200889 atf}—UOISs9:dx °°, cuoissasdxg [D21snp YOO sty Jo a¥so1d ay) Ul Sov ssn supe “Ajyoaismu, sTaSUty PUY, 09 PeY oY “As0ISeur Jeoruyooy poadiyse pey wossad B sore yeyr ysMe) 9g Jou pinos 2isnuu Jo ped styy yeUA TYBMOY) Sem I STEDK OL ‘esse 12201109 Se pa2d0ns 0} Axessao0u Os Burceyd stoMp UL 2YtL pue yjuuem jo sonfen ayy Ye] OU yng siuoWnaTsUE seu Q uo quatoyord Ayjeoruyoa aze Oya swuAPMS Kuew a4p dja OF > Dilsop au) wo4} parjnsos sey sty, “BuLkeyd aaissoxdxo Suy2007 vee ey 0 sounpas OU OU ay) OTuL yoveasos uy apeL U9Dq NS ‘aazy sooueape ‘pue}oziimg pue aoueLL Ul Ayjedoursd ‘svak yuooor ut Tey *S59/9U) ou 0} SufesnosuD S11] _{ "syonnaaxa ansnse Jo ysofqns 9up UO UayTIM apt Alo U99q ! =~ sey azoyy Apuanbosuos ‘Siam Jou ssyDe) Pook JayW!9U 3 srt quauimopua [eanyeu eas8 axby OM SISHIE [EOISMU USO ‘ Buydnosg 210N 8120 Note Grouping would successfully answer this question.’”* Poetic motion in music—“the poetry of sound’”’—is the important objective of the performer. He must learn what it is, how to recognize it, and how to attain it Related Works ~ - VA ‘As mentioned previously, the number of extant writings on expression in musical execution are few, and for the most part are confined to theoretical analyses rather than to the giving of practical instructions, or the outlining of effective procedures for achieving this quality of style in the playing of students. There are many so-called ‘“‘methods,”” both in- strumental and vocal, which give directions to guide the teacher in instructing pupils; however these rarely go into detail concerning expression or artistry in playing, and are ustally devoted only (o helping the student acquire technical and rhythmic mastery. é enpealale TerTAS made of the fundamentals of musical expression is inthe DOOK-quoted above - c sign.” Ta this work he divides the accents in music into three categories: metrical, rhythmical and expressive. After treating cach type at length, Lussy states that the expressive accent is the most important, and supersedes the other two. This book is a thorough study of the musical interpretations ‘used by a number of great artists that Lussy heard during a period of many years, and should be read by every musician and music lover. — mL ’Anacrouse dans la Musique Moderne," Lussy discusses in detail every type of anacrusis found in music and stresses the importance of the upbeat in interpretation. To the author’s knowledge there has been no English translation 4, Ibid., p. 41. 5, Leopold Stokowski, Music for All of Us (New York: Simon and Schuster, 1943), p. 20. 6. Lussy, op. cit 7. Ibid.,'p. 125. 8. Mathis Lussy, L’Anacrouse dans la Musique Moderne (Paris: Librairie Fischbacher, 1903). Introduction 2 of this most important work, so unfortunately it is not easily available in the United States. For excellent material on the influence words have on music and expression, the little book by Emile Stigvenard, Essai sur la Prosodic Musicale’ is recommended. Although it places particular emphasis on vocal music, instrumentalists will derive much knowledge from its study. Probably the most scholarly work in this field by an American is The Principles of Expression in. te Play- ing" by Adolph F. Christiani, in which every phase of expres- Sion in plano paying is discussed. Many of Christiani’s ideas are valuable only to pianists however, since they apply only to pianistic effects and problems. Musical Interpretation’ .ous English pianist and peda- nogue, mentions the mistakes eeuunde by fautious composers. artic in logating barlines when writing their music, Undoubtedly this will evoke so rent aniong Those who believe that the great composers could make no mistakes; nevertheless it ig excellent food for thought. The position of the barline is all-important in determining the expressiveness of the music. ‘There are many excellent dictionaries and histories of music in which material can be found relating to the develop- ment of the arsis and thesis. The standard work, of course is the monumental Dictionar, i usicians™ by jeorre Grove, which is particularly valuable for a treatise on Greek rhythm; while in Emmanuel’s Histoire de la Langue Musicale,” the evolution of the barline is outlined quite ex- tensively, and many interesting facts are revealed concerning 9. Emile Stiévenard, Ménestrel-Heugel, 1924). 10. Adolph F. Christiani, The Principles of Expression in Pianoforte Playing (New York: Harper and Brothers, 1885). 11, Tobias Matthay, Musical Interpretation (London: Joseph Williams, 1914), 12. George Grove, Dictionary of Music and Musicians, ed. H. . Colles, 4th Edition (Edinburgh: R. and R. Clark, 1940). 13. Maurice Emmanuel, Histoire de la Langue Musicale (Paris: Librairie Renouard, 1911). issai sur ta Prosodie Musicale (Paris: Ise] YL G3 uononposny (cp61 ose pure 20yost “f HOA MON) weod WHYPIY WO suent uosuimel Jo WapSipT YL “PALE WdRsOE WOT “PT -uonour a1popsur pur ‘uorssasd -xo ‘ujwuem anotyoe oy ‘Surceyd oye JOUUBLE seus UE sojou dno op sureroisnun 12238 “}0U 0 AIstiojosuo> Yeu MOUS Sojdrexo asouf“sno} Jayde wt payuasoud pouou surdnosy sprout 4) 0} Suipsoage pazcfeue (ossnus Jo sioyoudsorut eos Se uoUy AfopiM asoup) sistse snOWeY JO sBuIps093 WOI) tuoyey sadessed Jo soquinu e suqiyxo soideys Wx's LL Sunjonpuioo pu ‘2oueuojsed “uon -jsoduros ut suoneayidde Aurea sit Jo oj e std ‘adoSepad Uurasn sy1 Joy SUOHONAASUL YO} 19S YAgLy ae O[yH $Suydnosd yOu Jo ydaatio> amp Jo sasKeue jeonsesd sonts qo; HL -pokejd aisnur oy) wt uor}ow Jo yunowre wmuspceut ax Suyaaryse Jo soydiound oun mous ‘91 sioaeapua pur ‘sIsnus Jo Aypenb dayssaudxa tp pue HOH Now usamjaq Arulsge ayy soveBnysoaut Joydeyo pay OL “jst Jo 2OUeWIO§ od ay) s199}Fe 21 moy pure woHBIOU Jo ywaUIoyp yrErZodu 4494 sy JO WENO bu) Jo UOISSN2sIp v 0} UoAts s{ aoeds atHOs “ouseG au JO wOH Sisod au) uo paseg sf swsouy-sisre Jo wonydsouo> WiapOul 2no goung ‘souewsojsod Jo pouyaut simp or somdde rx se wydiys Jo juowdojeaap au Yo 3uuIs9s Jatsq w OF ParOAEP st JoIGeYD ‘uoaas auf) “ida0u0o sItp Jo pUNoI#Yseg TEOUOISYY a4} JO But Epurysropumn we ypta (siti sysoyr-ssuD ut yOu Burcnos8) Buy “dnou8 aj0u Jo 9sn ay YBNOL WOINNAXD [eoysNUs Uy SsOUDA!S “soxdxo Buraaryse Jo woyqosd ay yoeosdde 0 49p30 UT suajdeyg Buymoyjo4 YL ssraqdeyp BUIMOT[O} AUp 405 eUAVEUT aounos ayy UF papnypUt u99q BABY Ted SOU! DUN 105 Loma uuorssoudxe pu Sujseyd Jo y29fqns 24) UO apeUl st UdUE “usoo yoru ut sowunjon yUED1sHUBIS O40 [PDAS aze YL __ _ suoneraidiay ut yeoysnidr U1 3]H Si pu sisze up Jo Joue Od yi uo ssans se]0N ic pue ueYD EL 0 WOISsnos4 TD TSOUL @ St, SuOsUIDie fo weyiAy et UL s[prefeD YassOT Wg “sau! pue wypAts Jo UOLNIOAD 2) ‘Suidnosy a10N- wwRHYTHMIC BACKGROUNDS SAacctign Mo Woe TE OG. In order to Understand the basic rhythmic coAcepts underlying the study of musical expression, itis necessary to investigate three facets of the evolution of rhythm: (1) the development _of motives' as germ elements of rhythm and melody; (2) the development of arsts-and Thesis, and their classification as upbeat and downbeat and (3) the genesis of the Barline as he Garline.”_ Motive and Accent hythm has always been an important part of human ex- istence. The rhythms of day and night, of the seasons, of the change from wet to dry, of the ebb and flow of tides, and of breathing and walking are only a few of the cyclic phenome- na by which all of nature is affected. These natural periodic 1. It will be shown later that the treatment of motives is the basis for the theory of note grouping as outlined in this book. 2. The “hierarchy” of the barline, which has led to the erro- neous conception that the first beat in'the measure should always be accented, has been largely responsible for the development of the style of playing characterized as “lifeless” or ‘“mechanical,”” since it emphasizes rhythm and meter instead of the one element in music that is most important: melody. 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BumuurBoq ‘o[durexo 404 ‘oze ozoy “UOH Zouny yu9.94)1p v sey (Sor0U Jo dno48 10 BIN feorsMU! YOUS) Sanjour Yoee ‘puno§ ax 1 MOUY aM se LUAU Jo sBurUUFOg bu Yor UT SoATOW! 1U9ID33Ip Aue Jo pastidusoo ase KUL. “urauo fewauo Jo A\geqod aze pue AuMDNUE read Jo ore squwyo asay. “andoBeuKs ystaos ayy ut pasn AyjeUo! st Aepor Buns fps st Yeu ywEGD Jo Sw1IO§ IS9PIO 241 JUD _uorsifas pte “tpeap ‘240 ‘reat Jo STUBYD HATA pares -osse a15m yids Saouep apni OW! padoyaaap suonow A} eye Yo" Jo SuPANS a) 40 Surddeyo-pued aH ‘2s! “Inoos’ autos &q paruedwuosoe Ajyensn ‘syuouraaows wNUAys (ydnosyp soqdoad aanutid Suoure worssordxo punoy so#ueY> Bujdnos9 210N 428 Note Grouping Curt Sachs writes: ‘The metric accents in both poetry and melody followed the so-called quantitative principle; they materialized as long syllables or notes among short ones, not as strong, among light beats . . . The two beats of all these feet were called arsis, lifting and thesis, dropping of the time- regulating hand or foot; in our words, upbeat and downbeat.” Again in Grove's Dictionary we find: ‘The Greeks called the weak beat arsis and the strong thesis, This is clear from Baccheios’ Catechism (Mcibom, p. 24): Q. What shall we say arsis is? ‘A. The time during which the foot is raised when we are going to take a step. Q. And what is thesis? ‘A. The time when itis on the ground. We need not go into such detail as the moment between arsis and thesis, for by its brevity, it escapes both eye (in the dance) and ear (in song).” From the foregoing, then, we know that originally what we would call the dynamic. accent (the stressed syllable) did not necessarily coincide with the thesis as in our modern poetry and song. In fact, if the accent occurred too often with the strong syllable of the poetic foot, the verse was held to be faulty." For instance, the short syllable of the iambus (~~, / 2, weak-strong) was usually placed on what we would call the strong beat of the rhythm, thus:| J J stead of J | J;"as we would write it today."* 12, Sachs, op. cil. p. 263. 13. Grove, op. cit., Ill, pp. 446-447. 14, Ferguson, op. cit., p. 33. 15, If written| Jd | today it would be called syncopation because of the misplaced accent, and would not be considered a normal rhythm. 16. Ferguson, op. cit., p. 75, n. 4. Rhythmic Backgrounds } JP ‘This shows that in ancient Greece tKe importance of the short syllables of the verse (in music, the smaller note-values) was recognized. This fact is important to remember later in this book when the author's theory of note grouping is pre- sented; for the basis of this theory is that the arsis or weak note (upbeat) of the motive or measure (in an iambie-meter) is more expressive musically than the thesis (downbeat), and that by stressing the arsis ever so slightly, the performance of music can be made more satisfying and musical. “Thesis, to the Greeks, meant the accented part of the ‘foot, rather than merely the accented note, so that if one ap- plies what they said of the foot to the entire measure, the following is obtained: 12 Malide de Chobe ficare » as rN AMPLE 1 ‘Thus, every unit in the measure down to the smallest foot— group of two in the case of the trochee (strong-weak)—is thesis-arsis in construction. This system is in fact a practical way of showing ‘‘thi bs ) s SUITOR ever SECTION, stall OFA oF she pe " al 0 seem to have given rhythm impor- tance, for evidence exists showing the use of recurring stress at equal divisions of time similar to the rhythmic scheme used in Western music." By the fourth century the influx of alien tongues had gradually changed the principle characteristics of the strong element of Latin and Greek speech from one of Tength to that of accent, and it was inevitable that whenever the thesis of the poetic foot coincided with the speech accent 11. Grove} op. cit. 18. 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OS yueyo-ureld uy pasisop you Sem aun TOK *AsNyUI YAsTOAN ay 20399 ‘ups peotsr auf ayeD!PUt 0} 9S494 a4) ATO SEA D1OY.L, Joo} au Jo 1uaUL -afo Buons 10 sisaty ay) Uo BupsINI90 ssosIs 40 SHIP! ‘yweudp Ut Bunynsos “31 Auedusoooe O} UaTM o}sMUE OM) UE MITA poyusode ay) paseasdu! A[mMops 1003 290d auf Jo aaMIONTIS bun ut 38ueyp fenpesd SILL, ,"3Nd0 P]noys ssaNs O]UDUK e Bujdno15 210N 032 Note Grouping monodic (in a single-voice style, as in Gregorian Chant), or note against note (as in organum), there was no real need for a barline, since division of the phrase was made by the verse accents; however when one part began to be more florid than the rest, it was necessary to superimpose the parts in | score form in order to show how the voices were to combine.” This practice naturally led to the use of the barline running the full, length of the score—from top to bottom. In the seventeenth century the comprehension and the tradition of the choral art began to become lost, principally because of the difficulty of performing the compositions. Counterpoint had become so elaborate that sometimes as many as thirty or more parts were written. In the Renaissance the barline did not exist; consequently there were no fixed marks in the music to guide the director of the choir: ‘each chorister had no other recourse for keeping his place than his feeling.""* The writing was so inexact that beating time for ‘the musicians was very difficult, and asa result the players or singers of the seventeenth century, ‘when they tried to rehearse the works of the sixteenth century, more through reverence no doubt than by choice, soon found themselves prevented from reading them.” Itis believed, therefore, that in addition to the develop- ment of the barline for rhythmic reasons, the measure also appeared in notation because it was needed “‘in a certain era to read the numerous parts which rose tier upon tier (grad- ually one over the other) in scores’;” it being necessary to have some means of enabling the reader to sce the position of the notes in relation to each other, and of aiding the condue- tor to beat the meter. Today, even though one cannot play music without the barline, it should be realized that it is only a means tojhelp us to better execute the duration of the sade dy Bora Coe notes.” Ave Before the Saves of the ‘oarlie (circa 1600 A.D.) the 24. Reese, op. cit., p. 269. 25. Emmanuel, op. cit., p. 434, (French: fouchement.) 26. Ibid. 27. Stiévenard, op. cit. p. 18. 28. Ibid., p. 19. og He 6 Rhythmic Backgrounds 33 divisions of a composition were indicated by the repose at the end of the phrase and parts of phrases. In this way no vertical line separated the melodic line; and one read, played, or sang the musical idea or phrase, and not the measure (as one observes many musicians doing today). The over-accentua- tion of the first beat in the measure (or thesis) in serious music, which is at the root of unexpressive playing, can be said, then, to have arisen primarily froma legitimate need for an excess of rhythmic stress in dance music (the same as in ~popular music today). It is obviously a serious mistake, how- ever, to consider all music as if it were written for the dance, and transfer this stress to every downbeat or every thesis simply because it is first in the measure! mand? Urell aaa:se 1 92.74 41 (B061 *°915 79 29}980q]:teUAMO, ‘2140%) uayso%puy pwo1snpy auquion HT *MBD!INDIOW 24PUY WOE “| au ur “ume pur upesy uonse sy souanyur unyyy pue wauanoy SISNW NI NOLLOW36 Note Grouping | literature, the relationship between music and the sense of | voluntary movement is emphasized. In a very elaborate | study of musical enjoyment, Weld finds that whenever visual imagery is present during listening, it is always ‘movement imagery.” This movement imagery,’ created in the mind by a succes- sion of musical tones, gives rise to the sensation we know as, ; rhythm. The following paragraph, written by one of the leading musicologists of this century, is significant: FI psychology, musical rhythm depends upon the fact } that tones presented in temporal sequence are perceived as “J having not only pitch, loudness, quality, and duration, but also movement. Movement is so exactly progression from one note (o another in a melody that the term isa literal use of the word, And yet the objective stimulus which pro- duces the sense of movement is,a movement, not through \ space, but rather through time." ¥ < % “Why can't the four physical properties of musical ton; (pitch, loudness, quality, duration) alone create rhythm?’ ‘Why is motion also necessary? Because “rhythm is in the in- tellect.”” ‘An analysis of the above characteristics of tone shows why this is true. If a group of notes are played that are exact- ly equal in intensity, but different in duration, such as J 5J.31 ), an impression of rhythm will occur due to the feeling of movement from the short note to the long note. Here the generating cause of rhythm cannot be intensity, for the degree of loudness is equal throughout; and since rhythm has been produced without intensity, this property of tone can be eliminated as a causative factor. In like manner, a series of notes alike in duration, such as 2. James L. Mursell, The Psychology of Music (New York: W. W. Norton & Co., 1937), pp, 38-39. 3. It is movement imagery that causes one to beat his foot when a stirring march is heard! 4. Glen Haydon, Introduction 10 Musicology (New York: Prentice-Hall, Inc., 1941), pp. 85-86. 5. Gajard, op."cit, pp. 18-19. Motion in Music a ! J.J 4, will give an impression of rhythm if one or more of them are intensified (accented): J J {4 4 J; due again to the movement from each non-accented note to the following accented note. Duration, therefore, must also be ruled out as a generator of rhythm." It is, of course, obvious that neither pitch nor quality (timbre) can be rhythmic since they both exist in a tone that hhas no movement whatsoever! In fact, rhythm is not com- posed of sound at all, since it can be perceived without the ear. Can one not watch a pendulum without hearing the tick of the clock, and still get an impression of rhythm? In this connection, it is known that the Greeks had to watch the bodily motions of the dancers in addition to hearing the music in order to feel rhythm; for to them, music and dance were synonymous.” Sister Mary Goodchild, O.P., in het book on Gregorian Chant says: Saint Augustine called rhythm “the art of beautiful movement," and this art is strikingly illustrated in the chant, for while the rhythm is free from the restrictions of mathematical measurement, it is alive with beautifully ordered movement." Although the music of Gregorian Chant is basically different from that of our familiar rhythmic kind, and is not divided into actual measures, it is not felt to be arrythmic. We have become so used to hearing music accented in régu- larly recurring elements and in strictly measured time “that we have almost come to believe that the word ‘rhythm’ im- plies a succession of thumps. Properly however, it means ‘motion . . . the effort to escape such mechanical regularity is, one of the most striking features of contemporary music.” 6. Gajard, Ibid. 7. Ibid. 8. Mary Antoine Goodchild, Gregorian Chant (New York: Ginn and Co., 1944), p. 10. ‘9. Donald N. Ferguson, A History of Musical Thought (New York: Appleton-Century-Crofts, Inc., 1948), pp. 47-48.41g a8ed 298 “6 ‘snoiuduouss a1 suts0) om asoup Buyjaa] Nau SDE UE TEE UMOYS W99Q SEY HT “BL LE-9€ Safed 295 “LT pure Anyaod Jo saydioutid au 01 pasoddo st sanoed sty pavoo}fou sasie ay) pur aouetus0} 10d tt pavusD>e10A0 4B sasayp ay) yey) Uaaq sey aouaUIWOAA si4 Jo IoUINbIsUOD 94. jisnfs} sou siyy WM Bujaq voseas fedIoULAd ayy Y>ed UT “sSasIs oTwIEUAP fends -UN JO sau0} 10 sBUay w1aJyIp Jo sauoY BuNBUIOTE JY ‘Burkeid Aq souanstj ay) Jo purty ax Wi pazapuadud oq wed, WON, -oul 40 wYyrAYs Jo UoNdadad B , "240}9q pauonUDU sy sissy ay) Jo aouevoduy ‘suU099q II!M UOISSI1dND pure aft] (J919UUE JOU) WHYDAYS Tey) OS ‘coueuojiod [eoisnuy Ut UONOW a10UH UTEIGO 0} 9UO a}qQeUD 01 auop aq wed 1eYA *BULMoTIOJ aU? 0} paonpar 9q Wed oISNU Jo WopNys snoyios ay) s9eJ TEIN axojaiaypy wayqosd 9yL “uoyssaudxa Jo yunoure 31918800 15018013 au} (NUN paunoyred awn sues ay re sey ay (souaIpNE sty Jo spurus au Ut UONOU! 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Notas Mince lade otherwise he will never become a good sightreader. All too often, however, stud read by measures far longer nr tay should and do not learn to read by motives and phrases, or in other words, read “‘ouer the badling.”” This practice of reading by measures results in wind players breathing at every barline, pianistepracticineometmeasareat~ a time, and in the lack of abitity-to-recognize the true motives, phrases and periods of the music, never_realizing that, as J. Alfred Johnstone says in his book, Touch, Phras- ing and Interpretatior the most usual normal rhythm is the rhythm of the upbeat followed by the downbeat . . . is it any wonder that those who look from the note following a barline to the note ending a measure; from strong to weak; often miss all the delicate motival punctuation of their music, and jog along quite satisfied with the mechanical swing of metrical monotony. If, therefore, the interpretation of music is to be intelligent and interesting, the player must cease to regard the barlines as the dividing points of his music, and must instead turn his attention to its motives and phrases.”” In speaking, one uses words before phrases, and phrases before sentences. It is much the same in music: one thinks first of its motives, and then its sections, phrases and sen- tences. The movement from one note to another creates the motive; and ‘just as in walking one must first raise the foot before putting it down, so too the motive normally begins on an upbeat (upbeat: lifting, arsis; downbeat: lowering, thesis). Of course there are many motives which begin with the downbeat, but they are exceptions involving an artificial foreshortening of the normal upbeat motive .. .””"In other words, in most cases where motives or phrases seem to begin ona thesis or downbeat, there should be an imaginary arsis understood immediately before the initial note. In the ex- amples, the imaginary arsis has been indicated by an A in parenthesis—(A). 31. J. Alfred Johnstone, Touch, Phrasing and Interpretation (London: William Reeves, 1909), p.33. 32. Hugo Leichtentritt, Musical Form (Cambridge: Harvard University Press, 1951), p.'5. Motion in Music 45 Sometimes whole measures are really upbeats or ana- cruses. Take for instance the following theme from one of the Songs Without Words, Op. 67, No. 6 by Mendelssohn: si ani At first glance one would think that this theme started on the downbeat; however since it doesn’t, the first measure is more important melodically than the second, for the first measure is arsic! ‘another writer observes that ‘the rhythms [sections of a phrase] beginning on the strong beat are relatively rare’’; and Alec Robertson observes that the acknowledged master of all contrapuntalists, J. S. Bach, wrote motives and phrases that almost exclusively begin on the arsis, He writes “that the: down-beat is not of its nature strong . . . this may be seen in the correct phrasing of the well-known G Minor Organ Fugue {of Bach] . . . sy pun omm ronnie moe fig he Oicas sp eae ee EXAMPLE 7 EXAMPLE 6 = ane “Even if the organ were capable of percussive accent its ‘use would be unnecessary, as the accents in Bach’s passage from movement to repose are beautifully marked merely by the melodic elevations [high to low], and it is the upbeat and not the downbeat that stands out.’”" It must be understood that in addition to being a great composer, Bach was a master of the organ, and knew how to fuse the arts of composition and execution so that they com- plemented each other. 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The anacruses preceding the second and fourth measures have less emotional impact and have not GROUPING been marked. Throughout this symphony, as mentioned before, almost all of the motives, sections and phrases suc- — ceed each other by beginning on the upbeat and ending on the downbeat. The last example to be quoted is from the Symphony No. Fundamental Theory 3 in F Major. It is the poignant violoncello (and horn) solo in In order that the reader may understand more completely the third movement which is marked Poco allegretto: + the reasoning that underlies the theory of note grouping, the © first part of this chapter will be devoted to a summary of the fundamental concepts on which this method is based. It was pointed out in Chapter 3 that the arsis or anacrusis, whichever it may be, is the motion-creating factor in the motive or phrase; and that the great composers must have felt this to be true, since the majority have written their music Y _ ima manner that highlights the importance of the anacrusis. | Proper recognition of this importance by the artist will insure Y that in performance the composition will be phrased correct- ly and with ease; for if, with few exceptions, the ¢rue motives EXAMPLE 12 In interpreting this theme at the opening of the move- ¢ ment, the conductor usually holds the opening anacrusis a bit =~. and phrases begin with anacruses, one has only to phrase longer than written in order to emphasize its eloquent and g from one anacrusis to the next thesis before the next moving qualities. It is especially appealing at (1) and at (2), a ing” anacrusis! Phrasing, or “punctu: and again at (3) and (4) due to the aesthetic sensitivity and cS the author, is almost synonymous In the next chapter a method is presented that, if used 2 the anacrusis, and the thetic portions of the measure are not and taught properly, will insure that the anacruses receive the <__ stressed, phrasing will be more correct and consequently the importance that is necessary if they are to perform their ap- expressiveness of the music will be enhanced. propriate function—that of endowing the melody with movement, emotion and life! ae movement of the anacruses. 5 d Ly“zayafo) ssoyoeUT “191-091 °dd “(2p6I “OD PUP LOIN “AY “AA 240A MON) aun Jo 3993 axp d2oy 03 aznsvats aun Jo 1009 S41} 2th Jo UoIREMD9 aounuuofind ui >Isnp Jo A40ISIH ail, *wewOCL DUBPIHA “T “oe Joy AssoaoU 2th 0} anp aqnop Oust st “soyore ur Apeisods> “sisoqy if) UO URIs Te) soATOM! spulj Sto AY[CUOIST290 “p “Erey “dd “0 “do ‘suorsuyor paisty * Nn Lid ciel vai v9 pena ‘ou se pow am one | 7 sstseg) aporisnyy uomisodwo ap sinog ‘APL. 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Fur instances eves the Tirst subject of the fourth mx it OF the Concerto in B-Flat Major for piano and orchestra by Johannes Brahms, grouped from the smallest group (sub-motive or figure) to 12. Compare with Ex. 18, p. 55. ] Note Grouping 65 | the period, showing how the complete melody is built from many small units (groups): Eu EGIBRE REESE | EXAMPLE 29 It is only by mentally taking cognizance of the smallest ‘groups that the whole period can be correctly expressed; just as in a sentence of prose each syllable of each word must be pronounced correctly, and the words punctuated properly, to form intelligible thought; for, as we have learned, music is a temporal art and must be perceived in time, motive by motive, until the entire composition is heard. It Follows also that if’ the smallest groups are correctly recognized and played, the sections, phrases, and sentences will also become apparent and will fall into their proper places; each acquiring its proper degree of importance in the work as a whole. ‘When reading in note groups (always arsis-thesis in~ form), the perception of the arsis as the first note in the ‘group automatically tends to increase its importance, and ac- cords it its true value in the motive or phrase as the action- creating ot motion-creating agent." The thesis, appearing se- cond, is unconsciously given less attention and its melodic importance decreases in accordance with its rdle as a note of repose or rest. In this way the lilt of the music is made more manifest, and the motion generated by the movement from arsis to thesis is continuous throughout the phrase, giving it life and meaning. Example 28, page 64, showed how note-values in dGple or quadruple simple time are grouped. Component eighth- 13, The same as the importance given to the first note of the printed pattern (simply because iti first) has given rise to mechani- cal interpretation of melody through over-accentuation of the thetic and metrical qualities of the music,“GL “4 “Zp XT 2S “ST Spd ‘9 998 “PL yor ut sasio ye :sajdioutid aures ayy Kq patusoaod st worstayp popifiay “sanyea-2,0U JO Wo}sIAIp joAN}oU 01 aaNVeF—P. 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BA9SGO |[!a JOPLOI dU, Te a1aWvxa :padnos8 aq pnom ‘(q) aun punoduios ajdin pur (8) aun aduus 2fdin Ut SOON, wnydyy Krowsay, Of ATAWVXT Te ee ee :SMo[O} Se “(LVV,) SIsoys-sisuD-sis1D padno1d 2g pinom ‘aun punodwios (q) a{dnapenb 30 (8) ajdnp ut sa}ou Suydno1p 210N 9968 Note Grouping note group (all notes in the beat or measure, after the first) are grouped with the following thesis: EXAMPLE 34 Uneven Note-Values Binary Rhythm Desgeart Coo 0B a dy The foregoing presentation has been concerned mainly with the primary arsis-thesis groups (sub-motives or motives) in which all note-values are equal. However music is seldom restricted to this type of notation, for it is in variety that much of the charm of this art lies, so that for the greater part of music the interpreter is concerned with notes of unequal time value. In grouping notes of different lengths it is necessary at first glance to mentally apply the note-grouping principles simultaneously to all the component paris (ot units) of cach note (whether these parts are visible or not) in the terms of both the smallest and the largest note-values exhibited in the particular passage. For example, the following rhythm Note Grouping 69 should be thought of as containing ail the small and large groups that are applicable: nyt Funke Groun Fast tempo or In this way the exact importance of each note in the phrase becomes apparent immediately, again depending upon the speed of the music. The slower the piece the more the next smaller note-values must be visualized; the faster, the more one should be conscious of the ext larger ones. To put it another way: if the player is thinking note groups in quarter-notes,(4J J J'J]J) he should also simultaneously be thinking note groups in eighths {7 29 23 P91) Dif they exist anywhere in the passage. If he is thinking in half-notes (¢ J°F]PI]F ), he should also think note groups in quarters (¢J°TP'I]P and perhaps also ineighths (¢ STZIITTI J), and so on. ‘The same procedures applicable in the case of tied notes: all the component note groups (subdivisions) should be vi- sualized mentally as one plays. 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Needless to say, he will breathe in the right place! To illustrate further, observe the following passage for clarinet and bassoon in the second movement of Brahms’ Symphony No. 3: EXAMPLE 39 If the clarinetist and bassoonist feel the three component quarters as shown in the rhythm schematic, they will have no trouble putting expression into the dotted-half, if only to slightly intensify it. The first A is an arsis, so it should be pressed a little, however the first quarter of the dotted-half is the following thesis, so it should just be lightly ‘ouched! The second quarter of the dotted-half is an arsis; consequently the note intensifies almost imperceptibly before the follow- ing triplet. This also provides the necessary sostenuto of the slow, sustained melodic note. The last two notes of the triplet are grouped with the following quarter (‘AAT"); the first note being the thesis of two previous imaginary arses understood as part of an imagined triplet in the dot (third beat) of the preceding dotied-half. The following D is also a thesis and is gently played, but the next Cis arsic and most expressive, as is the next A leading into the final note, similar to the open- ing anacrusis. If the executant feels the true character of a long melodic note in this manner, it can never sound dull or monotonous. In the following passage for trumpet and horn from Schumann's Symphony No. 1, the normal note group is composed of quarters, except for the dotted quarter-note, Note Grouping 3 which must be thought of in terms of eighths (the smallest note-value) in order to properly place (melodically and rhythmically)” the eighth that follows it. Andante EXAMPLE 40 Since the above passage is played moderately, four beats to the measure, the grouping should be as illustrated at (1). The preceding imaginary arsis (in parenthesis) for the first cighth is shown at (2), and should be felt, mentally (in the smaller note group), in order to give character to the up-beat eighth! This note, however, is grouped in accordance with the quarter-note grouping (3), since the beat is in quarter- note values. The thesis before the second eighth (in the melody) is the dot after the first quarter (4), so it must be grouped with the larger group (5) of which it is a part. The thesis following the second eighth (the second eighth of the smaller group (6) and to which the second eighth in the melody leads) is the first eighth in the next quarter-note, so that the second cighth (in the melody) is properly grouped with the quarter (7), and leads into it. The remaining quarters are, of course, grouped in the regular way. 17. Since all the notes in the first measure are on the same line of the staff, the term “rhythmically” applies here. 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Next, the Loin du Bal by Gillet, a simple little waltz that contains a valuable lesson in expressive interpretation: vane ——— (Epes EXAMPLE 43, In the first measure (1) the repeated notes pose a problem for the student. By grouping them properly however, the dif- ficulty is immediately overcome. As shown in the rhythmic schematic, the last five eighths of the measure constitute a large arsis leading to the next thesis (3), especially when play- ed up to tempo (one beat per measure). Instead of mechani- cally playing these six first eighths in one swoop and accent- ing the first note, the sensitive artist will start on the first thesis with only a slight touch, and as the remaining arsic eighths (2) take their places in the rhythmic scheme there will be a very slight crescendo or intensification up to the thesis, as shown by the arrows. The thesis, however, is of ac- cented! This crescendo should not be consciously made, but should appear solely as a result of the notes being properly grouped and felt. Scherchen’s “crescendo of intensity” sure- ly applies here also.” In the third excerpt, a quotation from the opera Carmen, Bizet illustrates how perfectly words may be set to music. ‘The anacrusis in each case is beautifully accentuated through 19. Scherchen, op. cit. Note Grouping 7 the coincidence of the beginning word of cach phrase of the text with the arsis of the musical group! In the first measure the word dis should be mentally sub- 10 note groups of eighths (1) so that the following cighths can be grouped properly in the most musical manner. ‘At (2) the larger grouping of dotted-quarters should be used as shown in the rhythmic schematic. Within this larger con- ception the smaller groups should also be felt, as at (3); to more perfectly feel the progression of the melody. If this quotation is dissected further, one may observe how delicate- ly the note groups fit the intensity of the syllables of the French words. Pou, hé, ré, and beau all fall on the strongest (Second) arsis (of the two) in the group. The attention of the reader is especially called to the fact that the arsis closest to the barline is always the most intense. More of this shall be said later. ‘Mais (English: ‘“but”) falls on the first note of the larger group as well as on a chromaticism, which is as active musically as is the conjunction in prose or poetry. Je (“T—the most important word in any language!) is always expressively placed on an arsis, and on the only sf in the passage. At (4), although the principal grouping is in dotted- ‘quarters, the je is still very active (AAT). 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AOU, am se uontsodutoo feorsnur Jo sBurmutaq atp Jo Sunt uy sjeuapioy “supysita 21sze ax) o1 quawosow pappe ants (¢) sseq ax ut (sasatn) stpUysia pan ayy uresy ‘ofessed ojqenadiojun ‘pareunue ‘Buysind e soyea19 «(1) an1y Buyduedurosoe otuyyAy B Ur So}0U-INYsTO Jo So1s0s v snjd ‘sunpaooud sty “satpoyaur yzog Ur arnseaut axp) Jo pua ay) premor paced aze Soi0U , ,SUIAOW,, 40 o18Ie ay} BIH 0s TIdWVXE way) yedioutsd om a4) SoUIqUIOD J9UEMA Hoya uontsoduros ay) ut uo Jaye] A|BuDULAUOD o:0W FINS UMOYS FSI) pur ‘aur[req ayy 210Jaq ISN pase{d usaq aaey (OC “xg ut (2) sarou Butaour-raysey ‘s9qpeUs amp TTY “auT}Teq ay) paemor Suyjaay opsie uy aseasoUr ay) smoYS HEWIYDS ay 6p WIaWVXa so8ejueape 017899 yino} axp Jo Aousjod amp pasn suse MOY saTeNISNITY Suidn01p 210N 784 Note Grouping parts of actual or implied active harmonic structures. These accidentals therefore should be given special attention in ex- ecution, for in addition to their natural arsic quality, they have an active harmonic function (modulation) which in- creases their melo« ince. The Following theme from ‘AMPLE 51 In the above melody, each accidental occurs on an arsis (or on the first note of a group 'AT"). Therefore note group- ing is most helpful in bringing to the attention of the player the importance of the chromaticisms, or color creating elements; and consequently the importance of the harmonic changes in the music, This underscoring of the unusual elements of the melody intensifies the variety and freshness Of the piece and enhances the expression. Closer examination of this theme shows that the two D-sharps at (1) have, in addition to their motive importance as arses, a strong melodic tendency in each case to return to the next note, E; and the D-natural at (2) is made more strik- ing because of the two previous D-sharps. Proper use of the note-grouping method will give these pithy elements of the music the correct amount of expressive vigor. While the BA flat at (3) normally receives additional accent due to its be- 1g a syncopation, the knowledge of the fact that itis the last arsis before the barline gives it still more importance musical- ly. It should be apparent that the above principles also apply to the last four measures of that phrase. The above instances are only a few of the unlimited number of delightful musical phenomena resulting from the delicate use of note grouping in phrasing and interpretation. In the next chapter more excerpts will be given, with special emphasis on the use of the note-grouping method in peda- Bogy. APPLICATION AND USE OF NOTE GROUPING Pedagogy and Performance In his excellent book, Musical Interpretation, Tobias Matthay writes: No one (not even a child beginner) should be allowed to sound any succession of sounds, however simple, without ‘being made clearly to understand that there must be some shape or progression even in such primitive attempts; thus: Not Bu EXAMPLE 52 even therefore, suggesting harmonies: I-V-I.' Matthay’s logic is stimulating and perfectly fits the con- ception of note grouping as set forth in this text. Another ex- cerpt from the same work is also pertinent: It is non-perception of the fact of progression that results in all the rhythmical “sloppiness” in playing 1. Tobias Matthay, Musical Interpretation (London: Joseph Williams, 1914), p. 45. 85