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STUDYING

RI-IYTHM

J\nnc Cnrothers Hall


Wi({rid /_.mtricr Unil'ersiry

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~
Pl~ ENT I CE l li\ L.L, Eng lcwoc>tl CliiTs, Ncw Jersey 07fi32
CONTENTS

lntroduction

l . T wo-hHtr l'vlt:tl:r 5

2. Thrcc-Four Meter 9

3. Fnur-rour Meter 12

4. D.o ucd Quarter~ ami Ticd Eighths in Simple Meter 16

5. Six-Ei ght Meter 20

<í. Si.xtccnth-i'lPtcs in Simple Meter 2:1

7. Uolled Eighths in Simple Meter 27

8. Sixtccnlh-Notcs in Six-Eight Meter 31

9. More Rcs t ~ ;tnd Syncopation in Simple Me ter 3~

10. More lk;ts :ntd Sym:op:tti un :n Six · I :i ¡~,ltt l'v!cll'r JH


Studylng l~hy!lu n ix
vi il Study ing Rhythm

1l . Ni nc-Eight and Twelve~Eight Meter


41
27. Five·Eight Mete r IOll

12. Triplets 45 28. More Mcters With Uncqua l I3 c<Jt~ 112

13. Two Agains t Th rec 48 29. Chang ing Mctcrs With Unequal lkats 1 1'1

14. Half-Notc Beat 54 30. Tcn1p0 MoJulation 122

15. Dottcd-1-lalf-Notc Beat 57

16. Eighth-Notc Beat 61

17. Dotted-Eighth-Note Bcat 64

18. Small Subdiv isions 67

1\1. Changing S im ple Meter 71

20. Changing Compouud Me ter 75 ~

2 1, Changi ng Be twccn Simple ;md Cotnpound Meter


•-.
..__.
With thc Division Constant 79 ._...,
22. C h<!nging Betwccn Simple and Compound Meter ~
With the Beat C'e>nstant R4
...._.
~

23. Threc Notes in Two Oeats; Two Notes in Thrce Beats 89


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24. Four Against Three 94
....._.
25. Four Notes in Three Beats; Threc Notes ~
---....
..._,
in Four Beats 98

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26. Quintu plcts 103

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Studying Rhythm

INTROD UCT ION

This book contains ext e nde d rhythmi c studies and prepa rat o ry exercises.
Thcy are in tended lo be sung , spokcn , anú tappcd 01 clappcú. Singing is bcst
becausc , u nlike spe aking, it promotcs th e conviction lhal we are cngagcd in a
musical ac tivity, and, unlikc clapping, it all ows us lo give the notes their fu ll
durat ions, rathcr than simply pe rform the allaá pat tcrn . Also, unlikc clapping,
singing lea ves !he hands f ree lo cond uct thc ntctc r. We ncc d n ol sing nll thc notes
on o ne pHc h; ma king up t unes to fil the rh y llllnic pallcrns m1d mood can he
enter taining. In grou p performance , as in cla ss, singing thc various n o tes of a triad
is another option. In spite of this st rong recommc ndatio n tb sing th e studies,
clapping may be the besl way lo check !he accuracy of an e nsemble per formance.
Anú lapping o r clapping all(l coun ting a loud may be a good way lo begin Jcarning
a study. l n addition , lapping or clapping is nccc.ssary for solo perforlllancc uf
!he two-part studies , as e xpla ined below.
St udics may be sung on any simple syllablc lhal ilegitts wilh a good dcfinite
consonant; "ta" is obvious. For very fast p;tlt e rn s , it is muc h casie r lo allernatc
sy llables: ta-fa-te-fc is easier to si ng rapidly than la-ta-ta-ta. We sh o uld also remem-
ber Lhal ligh tness facilítates speed; in approac hing a fast passage , a nxiety may
make us tense so that we sing Jouder 01 clap harder , making thc passage more
difficult. It is well to belicve that fast means soft.
The studies are idcntified by lctters fo llowin g lhc chaplcr number ( l . A,
3.C). T hey are composeú o f well-defined phrascs grouped i11 si mple musical forms :
slatemenl, cont ras! , and re!urn, or statement anú varia lions. The studics are
mean ! lo b e studied, not jusi sight-read . Many of thcm a re quite long, and many
of them will dw ll cngc cven expericnceu musi cia ns. Thcrc is no poinl in sludying
them unless they a re worked to a leve! of good performance . R hy thm is cither
righl, o r it is a different rhythm. Unless two aga in sl t hree is an exactly even two
against a n exa c tly evcn three, th c whole poi n t of the patlcm is los l. Whcn we
strive for real p recisio n , cven lh e simples! rhyth m may serve as a valuab le st ucly
in e nsembl e. lt is surprisin gly ú iffi cul t for fii'Lecn people to clap al exaclly thc
sa mc time.
Thc two-part studi es may be per fo nncd with one o r more people on cach
part . They a re designe d , howevcr, fo r solo perform ance, with the uppe r part sun g
and the lowc r par t la pped o r clapped. This m c th od r cquircs lhe pe r form cr lo
h ear bolh parls indcpend cntly in a way Lha t la pping b o lh parts d oes n ot. Mos l
musicia ns will fi n d the two-part sludies much more diffi c ult than lhc single l ines.
S in ce so much o f our musíe is composed of lincs wit.h lheir own inlcgrity, wor king
lo devclo p Lhc ability to think two lin es at once is well worlll lhe con sideral.J ic
effo r t it may requi rc .
Thc excrciscs, idc nlific d by numbers foll owing !he chapter numbc r ( l .1 ,
3 .2), serve as prepara! io n for the stud ies tltat tliey precede. Th ey consist of si ngle
2 Studyi ng Rh ytlnn Studylng Rh ythm 3

measures, or ¡>ai rs of mensures, scparated by whole-mcasurr. resls. Metronome studics. Thcy are suggestions only, and in some cases may not be appropriale
markings for an exercise suggesl a range of tempi posstble for !he performance for the tevcl of skill of a student. In general, howcvcr, we should considera study
of all ils segments, bul individuaJ segments may be performed faster. Each segment leamed only when we can perfornt it with a mctronomc al a lempo close lo the
of an exercise should be rcpealed scveraJ times, unti l it is easy, before continuing one indica lcd. On thc other hand, too much practice with a metronome may fosler
to the next segment. The :~bilit y to rcpeat a paltern is evidence that we can dependence on it. Wc must learn to kecp a sleady beat without sucit mechanical
perform it. lf we can perform a pattern once, bul not three or four times in help. J\nd musical rhythm is not as unrelentingly slcady as a metronome, so
succession, then we have not reaJly conquered it. Spending enough lime on a metronomic rcgulari ty cannot be ou r ultimate goal.
segment to memorizo it is a good way lo ensure that the rhythmic pallern has Metronome numbers indicate thc number of ticks pcr minute. Thus, longer
been completely grasped. The exerciscs are no! nccessarily complete prcparalion values are represcnted by lower num bers. ( In a given lempo thcre are fewer haJf.
for lhc sturlies; ratl1er, they serve as models. Wh ere individuaJ pattcrns in the notes than eigh th-notes per minute.) This principie must be understood in order
stud ies seem diffi cult, they should be e.xtracted and practiced. to figure out equ ivalc nces. If lile eigitth-notc is consta n! at 108, for cxample,
In pe rformin g the stud ies, lhe goal must always be to gmsp the rhy litm of thcn tite sixtecnth-notc, italf as long, is al 2 16, and tite quarler-note is al 54 ;
U1e pbrase as a whole. Reading music note-by-note is as useJcss as reading prose tite do tlcd-qua rter, th rec limes as long asan eigh th, is a thirrl as fast ut36.
Jetter-hy-letler. Read ing a beat at a time is Jike reading a word al a lime, and Conducling the meter both hclps keep the bcat slcady and lcts thc h3 nd
tbc lack of comprehension will be audible whe ther the performer is reading music takc care of counling beats. We should conduct whilc singing the cme-parl exerciscs
or poetry. A musical phrase, a musicaJ geslure, musl be comprehended as a whole. and studies, so that conducting becomes natural. Only witcn we can pcrform thc
To break a phrase, by hesitation or by reiteralion of a fragment , is lo dcstroy it. beal patterns without titinking about ·them docs conducting become a help. lf
We musl arri ve al cadences on time; in ensemble performance, arriving late is beating time secms a hindrance rather than a help- one more thing lo think about-
embarrassing, to say the J e:~st. So while we should aim for absolute accuracy, then it shoulcl be practiced assiduously, for it is an essential luol for musi.:ians.
we miss the poin t if we concentrate on thc details at the expense of !he shape However, we must nol grow dependen! on our hands to kecp thc beal because
of tbe long phrase. The phrase must he underslood as a continuous flow, they will, in many musical situations, be otherwisc occupicd. We should therefore
arliculated and enlivened by the pattems within it. aJso practice the studies without conducting.
lf sustaining the phrase is importan!, sois breal hing between phrascs. Usually 13ecause tite studies are composed of phrases. they arl' suitablc for dictalion .
there are notaled res ts between phrases. Occasionally, however, only a comma The grcatcsl benefil of dictalion, once wc know how to writc lite small pallrrn~,
or phrase mark indicates where U1e pcrformcr must sneak n hreath withoul is the dcvclopmenl of memory. Thcreforc , one person shou ld singa phrase·unttl
significantly dclaying the beat. An unbroken flow of sounrl, like too many run-on those taking dicta tion can sing il back; on ly then shoulcl titey write it. lndividuals
sentences, makes both performer and listener pitysica ll y uncomfortablc-out of work.i ng alonc can dcvclop skill by rcading a phrase until il is rncmorizcd, then
breath . Breathin g is vital. writing it.
In all the studics, the no tes musl be given their fu ll durn li ons (exccp l whcn Whi lc thc chaplers are arranged lo form n logical progression, and wilhin
we snatch a breath between phrases). Accu ratc pe_rformance does no l allow us the chaple rs the stucl ics are arra nged in ordcr of iucreasing difficu lly, it is nol
lo begin a si lcnce too soon, or to add a silence, any more !han it nllows us lo begin necessary to learn all the studies in one chapter befare procceding lo thc next. To
a sound too soon, orto udd a sound. Because we tend lo concentra te on begillllillg work st raight through the book may nol he as helpful asto do sume of lhe studics
each note correctly, we often find it difficult to lis ten to the full du rat ion of eaclt in cach chapter and lhen to return to earlier ~.:haplcrs and work some of the other
sound, lo pay attcntion lo its continuation and ending. Howcver, in order lo studies. Performance of complicated rhythmic pat tcrns, changing melers, unequal
projcct a linc, we must hear the whole of every sound. (Again, this is why singing heats, and cross-rhythms is not le:nned once and thcn known forcvcr, any more
the studies is bctter than clapping them.) than is performance of sea les; we ha veto kecp practicing.
The lempo indications given for the studies should he observed. \Ve may Understanding tite basic proccsses of musical rhytitm is neccssary for good
practice an AUcgro study slowly, but we should be ;~blc lo pcrform each study musical performance. Musical rhylhm is complex and difficull to describe ~ccause
al the given lempo. We do, after all, have to perfonn both slow music and fasl of Lhc numhcr of factors involved and their inlerdependcnce. 1 Rhythm ts madc
music. Not hing will make the studies more boring titan working on them all by durations of sound and silcnce ancl by accenl. J\cccnt is mad~ by many factors,
at lhe same modera te tempo. (Neither coffee nor lemonade lastes bcst lukewarm.) of which Joudness, making a stress accent, is just one. Duratton makcs accent,
. Metronomes are not lo be scorned as a means of check.ing stea diness of as a longer note is emph~sized by ils lcngth, so lhcsc two basic fnc tors_ of rhythm
tempo. Metronome indi ca tions for precise tempi have been givcn for all lht! nre not separable. 2
4 Srudylng Rhythrn
Studylng Rhythm 5

The rhythm in this book, like the rhylhm of most Western art music, is
3 Cf. Susanne Langer's assertion thut the esscntial chara cterislic of any
melrical. Meter is the grouping by accent of normally regular pulses (beats) into
rhythmic motion is that the end of onc action is the beginning of the nex l, in
measures beginning with stronger accenls. Wilhin the measure, lhere is a hierarchy
l'roblems o[ Art (Ncw York : Charles Scribncr's Sons, 1957), pp. 50-5 l .
of beats and parts of beats, in that some beats are stronger than o thcrs, and beats
are stronger than half-beats, which are in turn stronger than quarter·bcats, etc.
When rhyU1m is metrical, the rhytllmic patterns are hcard against a background
of regularly recurring pulses and accents. When accents of stress and duration
do not coincide with metricaJ accents, the result is syncopation.
Just as one factor of rhytllmic pattcrn, duration, can produce thc o ther 1. TWO-FOUR METER
factor, accent, rhythmic palterns produce the meter they are heard against. That is,
meter is made audible through sounding rhythmic patterns; only after the meter is
established will the lis tener re la in it as a set of expec tutions and hear a rhythmic This chapter is devotcd to two-four time, wilh no notes shorter titan eighlh·
pattern agree or conflict witll it. Muclt of the fun of metricaJ rhythrn, w1d its notes. Tite rclatively si mple material allows us to concen lratc on thc tcchniqucs
exprcssive power, derive from the interplay of irregular pa tterns and melrical of pcrforming the rh ythmic studies : conducting Lite meter whilc singing thc
rcgularity, and thc pcrformer should enjoy this intcrplay and project it for the rhythm, improvising melodies with lhe givcn rhylhm, performing in lime with o
audiencc to enjoy. metronome, and singing one rhythm whilc clapping another.
ll is common in performance to stress the downbeat slightly . Thc stress Conducling duple meter is rather likc bouncing an imaginary hall, with thc
seems espccially necessary in unpilched pcr formancc. ( In much music, the point of lhe beal al Lhe point of contacl with the ball. On the downbcat, the
downl>eat accen t is made by harmonic change, and no additional stress is necessary right hnnd desccnds and rebounds away from the body, tracing a backwards 1 ;
or desirable.) However, once the meter is established, then lhe listener hears a on lhe upbeat, the hand traces the same figure in reverse.
metrical accent on thc downbeat, and the performer must considcr tite musical' Wc should be aware of the structure of the two-part studics. Study 1.1
context lo determine how much stress accent, if any, should be added Lo thc is the first of rnany canons; hcre, the clappcd part lcads thc sung part by one
metrical accent. Long notes have tl1eir own acccnts, and additional stress acccnt beal. Study l . H is the first of many where onc part is an oslinalo.
may make a note too conspicuous. Too much accenl breaks a musicallinc into The notation of resls is often goverued hy diffcrcnt rules from the notation
pieces. We must be scnsitive to accent if our performance is to be musical. of notes. A note lasting a whole measurc in two.four is a half.nutc, but a rest
We speak of musical rhythm as composed of various discretc unils: beats, lasting a wholc measure is a whole rcst, as in threc.four and four-four -and other
measures, patterns of different lcngths. But thc cssential quality of musical rhythm metcrs.
is ongoingness.J Most downbeats function both as goal of thc prcced ing mensure
and as beginning of the new one. Patterns articulate a continuous now. For
rhytJ¡m to function as music, il must have this Oow. We musl, whilc aiming fo r l. 1) J- 60- 160
a corree! performance of thythmic palterns, strive always to crcatc the arli culated
now of musical rhythm. ~) J :JI IJ:) ~ :JI IJ=~ J =JI
IJ=) n :JI IJ:n J =JI IJ: J J J J =JI
Notes

1 For an extended discussion of lhe complexity of rhythm, sec Wallace Derry, 1. A} Allcgro (J ~ 144)
Structural Functions In Music (Englewood Cliffs, NJ: Prenlice Hall, 1976), pp,
30 1-424. For an extensive bibliography, see Jonathan D. Kramer, "Studics of
Time and Music: A Dibliography," Music 1'/teory Spectrum, 7 ( 1985): 72-106.
~J IJ J IJ n1 IJ IJ J lnJ 1

2 The accent a note has by virtue of bcing longer than the surrounding notes
is often cal.led an "agor,ic" accent, although litis is nol the lerm's original meaning.
IJ IJ nu Jll IJ IJlJ IJl) IJ 11
See the explanation of "ugogic" in the Harvard Dictionary o[ Music.
1 - 11: cr ¡ cr 1u ¡ :11 - 11: <r ¡ <r 1·r r r¡ t
09J·Q9 = i (E".l
J1 J J1 J ( 1 J J1 J (1 J J 1 J ~ 1
11 í í i<r r<rr r<rcr~. r<r rcr rrcr
111. í l íU I UlllcfJ. tlU í!CiííiU íl
J J1 J (1 J J1 J t1 J J1 J !~ u u r1
1 u í <r 1
• í í í rrr í u í <r 1. ~~ 1<r1. r1 íl ru ¡ c:~. il
(OO T=
rrrr 1<r ~
j) ona.12J(IV (3 '1
(OO 1 = j) O)CJapow (H '1

: aí ·J í:~:11 - 11: J í<f:J:ll -- 11: n J:ll - 1


11 t í 1 í 1u t1 í1u 1 u u (
11: - :Cf : i U: - 1 i U l U ti U í l U ti i Ul i Ul
J J ~~ 1U íl U íl - 1 í Ul - 1 U í!
11 ·: u J n í ·:11 -
-
11:
. r Jr r J:11
í.
-
-
11: J J
· ¡ i ~~ (ppJ = l) OA!A (Q ·¡

PPt·U = j (p·¡

11: r u cr 1 ~. <:11 - 11: ru u 1 ~ :11


11 /. ílcf í<f l cf i<fl u íl .1 - 11: U U 1 <f l. Hl - 11: U U 1U t~
cf!. tlrrrrl<r í<r l ct ícf l <f!. <l<r íct l 091·99 = j (z·¡

CiiiiU ílcf 1• <1 tU i cf í<fiU il<f~


(80 1 = j) oua.l2anv b ·1 11 E' l ti í ( 1 í ~1 í íl - 1
i
1 i ti i t 1 í ii _ _C_JI - 1 i~l
11 ·- 1 u u 1cr r cr 1 cr r cr 1 1 t íl í il - 1 í t 1 { il t íl í i ~
....___~

- 1 u
ílcf icfl íl - l<f í<f l u (891 =j) O}S3Jd (::> 'J

íUICf i'f l - IU il iUI íU~


(H8 = j ) a}Hcpuy (.:I · 1 11 íiUUIUUIU íl t í i UUI í íiU íl
1 t íiUU I U í i U íl t í i U i l í íiU í!
11: cr rcr cr 1 l. Hl - 11: <r rcr 1 r r:11 (oz 1 = j) onaJlla(ly (U · 1

L Wlj)Á IHI 311!,\JlllJS


llllllÁ IIlJ 8U!ÁPIIJS 9
8 Studylna Rhythm Studylng Rhythrn 9

2. THREE-FOUR METER

Three-four meter is more cornplex thatt two-four not only bccause it has
anothcr be al, but beca use, al!hough thc downbe:ll rcmains strungest, the rclative
strengths of !he second and third bcals may shifl. In conducting, the right hand
hooks slightly to the left on the downbeat in order Lo move out to thc right on
Lhe sccond beal and diagonally back up lo the starting point on thc third beal.
Although half-noles are uscd for two bcnts in thrcc-rou r meter, half rcsts
are not used in this meter. Two bcats of silcnce requirc two quarlcr resls.

t. J) J
Andante ( - 72) 2. 1) J - 84 - 184

¡¡¡iJ ;u In~u In~u IJ u} 1n;u 1ní u~ 1


i í i í
~ J J J =11
11=J J } =11
--
-
II=J J =11
IH J J =11
--
-
11:J J =11
11=J } J =11
- 1

1-rrJI; ~ liTj In~ l.bJ ;;--1; ~


i U í U í Uí Uí ·
J
Uí~
11 2. A)

~J
A!Jegretto ( J a 112)

J IJ J J IJ ~IJ J IJ J J IJ J IJ l 1
l . K) Allegro ( J- 100)
IJ J IJ J ~ IJ JIJJliJ JIJJJIJJ IJ ~ 11

l., IJu J., ~ IJu.,n~


¡~~ IJ
u.,~
J 1
u., -
~ u n., ~
IJ 1
2. U) A !legro ( J- 168)

1;
u.,~
n 1; u.,~
; 1 -
u.,~
In ;
u'/~
In J
u'/~
1 ~/íJ JIJ JIJ~~~J --ÍJ JIJJJI
-.
1J ~ J 1 J t J 1 J J 1 J J 1t J J 1 J J ll J J 1
J ;
u.,~
1
u.,~
- n J 1u.,~
1u'/~ J n 1J J 1)· . 11
u.,~ u., IJ J J 1} l J IJ J IJ J IJ J t lt t J IJ 11

l. L) Presto ( J- 132) 2. C) Vivncc ( J= 192)

¡¡ii -¡ 1¡J J 1J ., )> 1J J J J 1J ., )> 1


., o r e r í í ., ~ r e e¡
~J J J IJ. IJ. IJ J J 1 -- IJ J J IJ
IJ. IJ J IJ J l 1 -- ll J J IJ J IJ.
J JJ J
1 J> ; J> 1 J> J> 1 ; J n 1; ~ 11
1J J IJ J l 1 - IJ J J 1 - IJ J 1
1~¡~~¡~¡u rrr¡ ¡ ~
IJ J J IJ J IJ. IJ J IJ J IJ. 11
10 Studylng Rhylhm Sludylng Rhythm 11

1n J J ll'l'n J 1.t>J J> J 1 .r>J J>n 1J ~ J


2. 2) J = 60 - 160

~J ['lTI =11 - II=J Jl J =11 - II=Jl J n =11 IJlJ J I))J J>J IJ>J J>nln:J:JJ IJ} 11
1 - ll=!'lTI J =11 - II=J ) n =11
2. 4) J z 60-J60
J - 152)
1 ~~¡J
2. D) Allcgro (
J :11 - 11: J J J :11 - 11:J J :11
iJ JJJJIJ J J IJ JJJJIJ ) IJ !'lTII r í : - =í r = - =í r =

IJ J J IJ JJJJJ IJ ~ IJ n J IJ J ~ 1
n
u m11 J ~ 1J n7J u J u J J JJ J 1J. 11 n 1
: :rJ J r ;·¡¡ : ;}J r~ J} : - ;}J r rJ ;
11
. 11" "11 - 11" "11

2. E) Andante ( J - 96) 2. H) Allcgro ( J- 168)

~ J IJ n 1 J n n IJ J n IJ ~ n u J n 1
IJlJ n1J nn1J) tfiJ} niJ} Tl
l ~ J r rJ
1~
1 J J
l r r J} rJ r
1 1 J
~ r rJ } r r 1 - 1 J J
l rr 1

- --------
IJ ~ J 1 J ~ .r-J IJ n lr:J J n IJ J J IJ 11
...
I~¡¡
J J IJ J
~¡¡
IJ}Jj jJ 1)ÍÍ
- IJ}Jj jJ IJ}Jj j IJ} j jJ 1
2. 3) J ~ 60 - J 60 JJJ J JJ 1~ J 1J J J 1

~ J J>J .HI - II=)J J>J =11 - ll:n J>J J>:ll


1} j i
1
~rr
- 1
)irJ 1
)íí l i i )ií ~rr
- 11

2. 1) Allegro ( J ~ 160)
2. F) Allcgrctto ( J - 112)
~ J> 1J J u n .rrn u J>J J> u } ., J>l J rrn 1 J 1
n
1J J> J J> u l ., J> 1J ..rrn u ;, J J> 1 J> J J> 1 J ~ ., 11
n n 1 ~ J J J 1J J 1J J
~í ííííí
1 J l :11 J J J 1J J
jjjj:j í í í í í í i 1
1J J 1J l 11

2. 5) J a 60-126
2. G) AUegro (J - 138)

~ J1J 1nJ J 1J>J J>J nn


J 1J ) J 1 u n ¡ ~~ ín in ín =11 - II:J:U UJ =
J =il -
U =1 -
II:J

n n=¡¡
í =

1nJ Jl llnlJ I))J ))J11.JlJ niJ ~ J 1


.J
11 =U i
J ·11
U:
11·

n J n ·11
U U:
12 Studying Rh ythm
Studying Rhythm 13

2. J) Allcgrctto ( J = 100) In Study 3. E, as in comparable situations, !he stress marks indica te just
enough impulse to make thc downbeat clcar wlwn thc second beat is ~cccntcd

¡ ~~u
J 1J r J 1J , J 1J J J 1J , J 1J J
r u r r u r uu ~ r u t r u
1 by a longcr note.

3. 1) J~76-176

J J 1J J ~ 1J 11 1J J :11 - 11: J JJJ :ll ~ 11: J J J =11


1 ~UUtUUí - 1

ll=.l J J =11 11: J J J =11


2. K) Allegro (J = 120)

¡
fn
i~
1J J
~ ~
J
u 1J
í í i
n 1n
i
J J IJ
u u ~
i PI
3.A) Allcgretto ( J = I08)

1J J IJJJ IJJJ IJ- lJ J.JIJJJ


n ¡nnniJ t
I tu r r r ur u uuu r ~
J J J
.r
¡n.; ll 11
I.J J J IJ - 1J J J IJ J J U J .J 1J -
IJ J J IJ J J IJ J J J IJ - 11
2. L) Vivacc ( J = 138) Allegro (J = 120)

¡u u
~ t
¡ ;
~
1; ¡
i u
n¡¡ n n u:
í : :i t
¡ 11 ; ~
:~
.J 1t n
J =11
u~ í i U =
3. B)

1~ IJ J J .J IJ J uJ
J IJ .J ~ J U J .J .J 1
IJ ~ ~ U J J IJ t .J I.J J J I.J J J IJ J .J 1
1nn.;
l t u
1,;
i í
~ t
~ 11
I.J J t J IJ .J .J J IJ J J IJ .J J IJ ~ 11
3. C) Vivace (J = 144)
....---------._ - -;--._

1 J J J 1 - 1- .J J IJ - 1J J J 1- J 1- J J IJ - 1
3. FO UR-FOUR METER

In some composilions in four-four meter, !he first and third quartcrs ~re
1 J J J 1 - IJ J J '~ J t 1J- J J 1 - 1- l1l: 11
clearly the mai n strong and weak bcats, likc thc two quartcrs in two-four. Other
times, the four-four me~s ure is more likc two two.four mcasures, and the first 3. 2) J ,. 60 - 160
and th.ird.beats are about equally strong.
In conducting four, the right hand hooks slightly lo thc riglit un lite down-
bcat, so it ·can move lcft on the sccond beat. On thc third heat, which is the sccond
1J nJ n =11 ll=n J J n =11
strong beat, the hand moves out to the right , and on th e las! bcat, <lS always, it
rctums up to lhe starting poinl.
11= rrn ,; J :11 - 11= J n nJ =11 - 11= .rrn J>.J J> :11
14 St udying Rhythm
Studying Rhythm 15

J
IiJ J íJ IJ J J IJ - IJ IJ
3. D) Andante ( = 80)
1 j. J J
tJ J J u J nu nJ nu - u J J 1 i i i i .... í (' í í i í
1

u J n IJ n JTn 1 J J - u J J u nJ n 1
J J J 1J - 1J J J 1J J J 1J J J J 1J - 11
' .
1íí i í .... í i i íí í ¡¡ í -
1 J J J n IJ n JJ1) 1 J
'
- 11

J = 144)
llit
3. H) Vivace (
3. E) Presto (J e 160)
> > >

t J u J J n IJ J J J J n J ~ J IJ J J 1 1 n 1
J ) J J J J J J J J> - }J J J J JJ J
> > >
tíí íííí í í í i ~ i í íi íí
IJ> J niJ> J nlnJ t J IJ nn-n1J nnJ
J<4

1 >- >
J> J J >.... t J J J J
>
J JJ J J >
1J n
Irn 1J ~ J 1>J J 1 >J J 1J J 1J ~ n n rm 11
i i í í - ~ í i
>
ii 1 íi i í -
3. F) Allegro moderato ( J = 120)
3.4) J - 60 - 120
1n u ;m u J Jn:J I))J J>.rm u ~ n u J .rm1
1

1-
J n ..r-rn 1;J
1
J>J J u
/J IJ J nni.J)J )>Jrn I))J )).J>J .J>IJ
~ n I.M ;J n 1.J>J ;;m 1
1 11
litüin Uín
J J =11 ---
= ---
11=J nnJ
=ü'í · í U=
=11 ---
-
11=ml J J =11
=i i Ll..C!=

3.3) J = 66-168
-
1 - :j uu
11=rrnJ n=11
i :

lit
3. 1) Vivo(J = l 44)
11" J J J J "11
iJ i iJ i "11: -- í : -- 11"J
:j i J i :"11
¡ ~1~ 1r r
:j
1J J 1J
'f o
L1.11 rr L.LU r r -r ~~
1J
¡ r J
L.LU
1

.11.:¡J J í J .:11 --
-- .i i íJ J .:11
11: J

Ii i L.1..UJ IJií .i.


JJJ
,~
lrrn- lrrn- 1
í í CLU í i L..LU
3. C) Allegrctto ( J = 100)
n 1
- 1o 1J J 1J
1
' 11
lti
tJ J J
i í ¡. i i
J 1J J J 1J -
i i í í -
1d
í
¡J J 1 1í í ¡ ~~ í í r..rcc í r cccr r ~ ., ·
16 Studying Rhythm Studying Rhylhm 17

3. J) Allegretto ( J = 88)

¡tt-J n in uJ 1uJ in iJ un 1iJ uJ -í í 1-JJJ JJ n



J 1
~
~J
IJ= J
nJ IJ. )JJ =JI-
J n J J. )) =11 -
1
IJ=J f)JJIJ.
11= J n J J J> J.
1
)n=JI- 1
=11
JJJJ>JniJJ- IJnJJJJJIJnJmiJJ-11 '>

Iui~i~iUíi- iU~i~íL!L.Wíí 4. A) Andante con moto (J = 92)

3. K) Allegro <J = 108) ~J I.J nJ


n .J u. J>J 1J ~ J 1n n .J
I.J

an 1J ~ ~ n 1n J ~ ., J> 1 n-n.,~L.!ll
~ ., J> 1J n J ~ 1
1n n J u. ))n IJ ~ .J J_ ))n IJ. J>.ill 1

lt~ ~ L!i t t UUí t t ~~¡U IJ J J u~ n1nJ n1nn.J IJ. J>J u 11


- i m 1J J ~ '/ JJ 1n J '/ m 1J n ., m 1J ~ t 11 J=
1i ~- ;L.!Jj i ~ ;~LJi ;Llfj u Wí
4. IJ) Allcgro ( 120)
1

~ni.J. ))Jli.J. J>nln~ ~ 1 ~ ~ ~~


IJ. J>J 1~ -----J ~ 1~ 1 n IJ. J>J u ~ n 1
4. DOTTED QUARTERS AND TIED EIGHTHS
1 J. J>J 1 J ~ n 1 J. J> n 1 J. JJ J 1 J n
IN SIMPLE METER
4. C) Allegro ( J - 132)
A d ot extends a n ote by half the value of the note, so a dollcd quarter-
note represents a quarter extended by an eighth-note: ~J n 1 J. J> u. J> u n u ~ I.J. )) n .J 1

ln.J I))J. IJ 1 IJ n IJ. J)I))J. I.J7'n 1J ~ 11 .

Dots must be used instead of ties whenever possible. However, it is a rule of


notation that only a whole note, a dotted half-notc, or a half-note beginning 4.2) J = 72-144
on the second beat m ay span the middle of a fo ur-four measu rc . Thercfore, a tic
must be used whcn the value o f a dotted quartcr spans the middlc of a fo ur-four
meas u re, as in the third and fourth mea sures be low:
i .J n n J =11 - 1u .I1fJ J =11 - 11= J n Irn =JI
t J. J> J. JJ 1JJ J. J> J. 1n J----n J 1J n--J J 11
1 IJ=.J n J>.J
......... JHI - IJ=nTI.........l1n =JI

In perform_ing dotted ami ticd notes, conducting will help us fecl the bca t,
IJ: J> J i j J J> =11 11=.J n_n-n 1n J J> J J> =11
and so help us place correctly a note that follows o ff the bcat.
18 Studyl ng Rhythm Sludyl ng Rh y th m 19

4 . D) Allegretto ( J - lOO)
)>J J )>IJ $ $ IJ. J>n I'J>J J>n I)>J J J>IJ $ ~ 11
t J> IJ. J>J. J) IJ'"ln J. J> 1 J>., J> ., ~ ., J> IJ. J>J. ~) Irrr ¡~~ rur rur rrur }~
l)TTJ J. J>l~ )n ~ ., J> IJ nJ]TI IJ. ~rrn 1
4. H) Modcrato (J = 100)
J>., J> ., ~ ., J. J> J. J>..__..1 n J J J. J> 1 J ~ }·
1

4. E) Allegro ( J-
J)

120)
1 11

¡iirJ rn 1uJ r J> 1uJ n 1r J u;, 1rJ ~


J>
í
J>
~
1J
r u
J 1

~;, 1n J. J>l n J. J> IJ>J ;,n 1 .~ ;,-, '1;, 1n J. J>l nJ ¡nJ IJ n 1J t IJ nJJ>J J> IJ n1
1 J> J J> n 1 J) J J J> 1 J J ., J> 1 n ;. .tU1 J J.__..l l~ r ~ r u ~r ~ r t r r -·ru r u r -
l}J ;,n IJ1 J>., "J> IJ J. J>IJlJ. J>IJ>J J J>IJ J ., 11 lPJ J> 1J ~ 1 J J n J J> J ~-JTn J 1
1 1 1 11
Ir u r t í ul~ r ~ r c. rl ~ r ~ r ~
4. F) Allcgro ( J- 126) 4. 1) Andante ( J = 88)
!J IJ.•~J Jl iJ>J . .rln In t ~ J 1J J_}Tn
¡ ~~~)> 1J.~¡ J ~ 1)> J
1
)> 1J. )> 1J J )> 1J ., J> 1)>J. 1
u n_) n n ~ ~ J J. J>J>J. J> J ~ n
1 1 1 1 ~ ~¡ ~ ~¡ ~ crcr r .,~ ~¡ ~
1n ~ t n 1 J> J. J J J J 1 J> J. J. J> 1 J t ~ u J> J. 1; J n 1J> J J> 1; " J> 1J. J> 1$· J> 1

1~¡ ~ ~¡ ~ rrt¡ ¡ .,~ ~¡ ~ ~¡ ~


4. 3) J - 60- 120
J> J. ¡t· J> IJ. J> IJ>J. IJJJJ IJ>J J>IJ '111
¡i~ ¡'J L.JJ> íJ :11: -- J n~ íJ :11: -
11::¡· 11::jJ ~n¡· J. :11: I~r ~u.,~ ~r ~ ~¡ ~ ~¡ ~ u..u r .,
4. J) Allegro ( J = 112)

1 - :¡ u
- II:J Í>J. :11 - II:J. J>J :¡¡ - II:J. J>J :11
r : - :¡ ~ r : - :~ r ~ r : ¡a; 1; r; rJ. rJ>l;r· ; r r 1;r
~$ ~ ~
J. J> ~
~
}
r }
n 1; n J.
~ uru
;) 1
4. G) Andante ( J- 84)
n J J. J>l J ~ , J>n 1J n J. J>lnTI_) . J> 1J ~ ~ 11
~ J· J> J 1J>J J> J 1J> J· n 1J # ~ 1J J· J> 1n J. J>1 1 ¡· ~ r.r ¡ r ~ r ~ '1 ~u r u1r· ~ L1!1 r· ~ r
1~ ¡ c.r í í u r ¡ r r r ~ ~ r u í r u r.
20 Studyíng Rhychm
SIUdylng Rhythm 21

u. J>J 1J>J ., n 1rn .m 1J J>J>J 1J>J J J>l J. .,


5. SIX-EIGHT METER
11
In six-cight , as in all compound meters, thc basic division of thc beat is by
three. Thus, six-eigh t is a duple meter, with two bcats to the measurc , and the
S.D) Vivace(J. = l20)
dottcd-quarter beat is basically divided into lhrec cighth-notes. It is importan!
to rea lize the lack of similarity betwecn thc signaturcs of simple and compound
mcters. Two-four means two quarter-note bcats in a measure, whercas six-cight gJ. J. J. J J> 1J. J J> 1J J> m 1rn m 1
1

~cans two doltcd-quarlcr bcals in a mcasure. Exccpt in vcry slow tempi, six-
e•ght should be conducted in two, so the triple division of the compound beat IJ. l· IJ. J. U J>J J> IJTJ J .;,¡m J J> 1
is felt. This is why tempi are given for thc c.lotled quarter rathcr than the
eighth-note. 1m m J. ~- J J> m J J> JTJ IJTI .J> J
1 1 1

5. 1) J.= 48- 116


1m J> J 1m rn u. ~- u. J. 1 J ; J> J
gJ. m :11 - 11: J J> J .J> :11 - 11: J .J> .J> J :11 1J )> J> J 1J7l J> J 1JTI lTI 1J. t· 11
- 11: J. J )> :11 - 11: )> J .m :11 S. E) Allegretto (J.= 84)

5. A) Alla marcia (J.a 88)


g;, IITI J J> 1m J J> 1m m
1J. t J> 1
gmiJ. miJ. m1J. J. IJ .,ITIIJ. m1 IJTJJ J>IJTIJ>J lrTJJ>J IJ>J J>J IJ . .,Jl l
IJ. FnlnlJ. IJ .,JTIIJ. TniJ. J. 1 IJ>J J. ll· ., n IJ>J J>J 1rn J>J IJ . . t J>l
IJ. J. 1J ., nliJ. m I!TI m IJ. J. IJ. 11 llTI J J> 1rn J J> IJ> J J J> IJTI i> J 1J. ~ 11

5. F) Presto (J. ~ 126)


S. B) Vivo (J. a 11 6)

BJ>IJ J>J J>IJ J>n11J J>mu .,l J>IJ J>nll g J..:.__li J. 1J_~__ j). J J> 1J. J J> 1
IJ J>In IJTI J J>IJ ., l J>lnl JTJ IJ ))J J>l IJ. J )> 1J. IJ. l• 1J.
-- - -
1J. J )> 1
1m m u ., l J>IJ J>m IJ J>m lmJ J> IJ. ~ 11 IJ
'-- IJ. l7l IJ. JTJ IJ. lTI IJ
l/ ~- 1J. J. IJ. J )> 1J. J. IJ. lTI 1
1
--------
S. C) Allegro (J.= 104)
IJ J>JTI 1J ;,m IJ. J. IJ. t· 1J........__IJ. 1 m
gnlmJ>J u ;,;,J 1mJ J>IJ. .,JliJTIJ>J 1 1J..:._J) J>m u .J>m u. J J>l J J>nll J. l· u
IJ>J lTI IJ>J J J> IJ. ., n IJ. J. IITI lTI l.
22 S!lldying Rh y thm Srud ying Rhyrhm 23

5. 2) J . : 48-100
J. ~ J> I J )>J,J IJ J>J>J I.J J>rn¡J. ~- 11

ll tJ~. ~ 1 - l rl ~ ~ 1 : llf.; >


Ur 1 I UJ ¡· t
Andante (J. = 66)
~ í ~ ~í í ~ ~ í í ~ r:.u j'
:J. FTJ : :~ J>J>J :1
5. J)

I:~ í ~ í : :~ í í ~:
lgg ~ 1J. J.
~ í pí ~ ~
1J.
i í
J.
~ ~
1J.
i
nl lJ
~ í í.
~-
~ ·~
1J.
í ~
J ,.DI
í ~
5. G) Allegretto (J. = 88)
J J> J ,1) 1J J> JTI 1J. t' 1J J> J 1J. J> J 1

1~í i ~ ~í ~í ¡· J ~ í ~í ~ ~í í ~
lgJ. J J> 1J. J J> 1J J> J J> 1J.
gj' ¡· ¡· ¡· ¡· ¡· í ~ í

~
1J.
í ~
J J> 1
¡·
m 1J. ~- 1J. J>J 1J J>)JJ J J>IT~ 1J t
1
¡
J.
~ rJ J> ¡·J 1 J> J J> 1 J
¡· í ~
~-
¡ ~
¡.m ¡m J
¡· ¡· r
J J>
¡·
J> 1 1~
J>J
i ~ i ¡· t ~ í ~ i ~ ~i
1
i ~ ~ í ~ i ¡· t
11

J J>J J>IJ. ~- IJ. J ,l)IJ. J J>IJ .J>J J>¡J- t· 11


I r r ¡ ~ r~ w ¡· w ~·- ¡· ¡· r· t· 6. SIXTEENTH-NOTES I N SIMPLE rv1ETER

5. H) Andante (J,2 69) In learning sixteenth-no te pat!erns, spcaking tllc narnes of the notes in
rhyth m reinforccs the correlation betwecn the sound of patterns ami llteir
m r....u ~-
lggr J J> J
c...uJ> 1 J J> J J> J J>
¡· UJ r· r
1 J.
¡·
1 1
not11tion:

j) J J J> 1 )> J J -~ 1 J> J /TI 1 J. ~- eight sixtccn sixtcen eight six eigh t tccn sixteen sixtccn

1
¡· UJ ¡· u...r ¡· ¡· UJ ¡·
1

"Eigltt" and ''sixlccn" are casicr to repca l r~p idl y !han "eighth" and "sixtcenlh."
"Six" namcs lhc firs t or accc ntcd o f two sixtr.cntlr-nolcs, " Ice n" na mes thc sccond,
J J> J> J 1J ;, J> J 1J J> m 1J. ~. 11 unaccen ted one. This sys tem also works for qu art crs ami dottcd quarlers, although
¡·
1 UJ ¡· U! ¡· ¡· u_¡ ¡· thc single notes musl be spoken in two or thrcc syllahlcs as r.ven cighth-notes:

5. 1) Allegrctlo (J.= 84) quartcr


r
cíght
J
eight
J.
quarter dot eight

lg.J IJ.
g1
m IJw;m
t ~ ¡· . í
IJ. ~ )JIJ J>m IJ>J m 1
w ¡· t i UJ í ~ ~ ~ ~
This approach to rhythm deals entirely wíth sountl rathcr than wilh numbcrs.
lt i~ . inciden tall y, cxccllcnt fo r teaching rhythm to youngstr.rs who do not like
th c arilhrnctic invoJ·¡ed in counting.
24 Studylng Rhythm
Study ing Rh y thm 25

6. 1) J= 48 . 100
6. E) Allegretto (J = 76)
~ n Jffl =11 - II=In Jn =11 - 11= m m :11 - 1
i 1¡--¡:; ~ Jn l.r-J; ¡-;¡:;, fffi 1~ )> ., "f )) 1
)>
II=Jnff1=11 - ll=~ffl =11 1.rn ~ ~ 1m ¡¡---; ¡::¡:n u j ., )) 1
6. A) Andante (J - 52) l rnrn~lrnm ~1m J> ., ., 1> 1

iJ .n l.n=Jr.M ¡¡-n;,., I~JJJJ 1 ~ m IT1 1In!TlJ J J ru j ., 11


1rnn 1n nJ IJnJJJJ 1.rn; "f 6. F) Presl.o <J - 108)
ITnñl l ~m IJ""n J J J J ¡¡--n J>., 11 tn iJ mJ mlmm; ~ niJ mmm 1
6. B) Allegro ( J = 96) 1mm J> ; n 1rnm ;nm 1rnm)) ., m 1
~;1rn.n 1rnn
¡¡;:;:;¡::¡:n ¡J ., ;, 1 1~m Jnlffl lmm J 1
1m n
11n .r--n ¡¡::¡:n~ 1n ., ñ 1 6. 2) J = 40 .80
1m ñl 1m J' J J 1ñl J J., J 1J ., 11
¡¡m m
iU U =11 -
= -
11=n n :=11 --
=L..YbU n =11
11=ffl
:U '-L!=
6. C) Allegro ma no n troppo , leggiero (J = 84)

~n fffi~ l .rnJTl.rn l ~;~ ~ -


1-
11= .r-n n ·=11
=U LJd =
-
-
mn
11=
=U W
=11 -
= -
11=ff) .rñ=11
=LYrr..!=
1.n ¡;:;:;,-;; IJn!Tlm lfn)) "f ~
1n Jfflm lrnmm 1rnmmlifflJ ~ 11 6. G) Adagio (J - 52)

6. D) Andan le (J = 72) ¡ ~I7Jn


~¡ U
¡.rn~¡m
i U í U
rn¡J U ~ .,
~ IJ
UIU
n 1
~~
1~
J Jffll~ J J m 1nJ J 1~ J Jffi l
J nf)"-; IJ""""nJ J 1~ J....___... fffil n J n J n
U!UI ~ U! í
¡n J> " ¡mmU lff1 U.FD 1
~ í í
· 1~ J . JnffJ lff1rn J 1~ J n iffii
- ~ IJ n IJ n IJ n ¡nJ
1~ n Jnm 1 .rn.rn.~nm u 1 l rrn~n¡J
u u~ ., utw r r
u_¡g:_r utrrJ
11
26 Stuúying Rhyrhm
Sr u<lyinK Rh ythrn 'l7

6. H) Andante (J = 60)
7. DOTT ED EI GHTHS I N SIMPL E MET ER

¡i }
~u
n ;n fffl n ~ !ffi J J ~
1
r utL.....l:f u ~U! u~., u
1 1 1 Sincc a dot adds to a note half of its valuc. a uot adds lo au cigi1lh·nutc thc
valuc of' a sixtcculh·n utc :

nrn?ffl ¡nrn.r=rn ¡J J i 1 n = ~
~
a ntl n. = ro-
l ¡ w~ uw~ u~ ~ u
In speak iug thcsc paltcrns in !he ma nncr cxplainr d al thc hcginn ing of Chaptcr lí,

lfl [][!I; 10 Gtf:Jr ILr ~


lhe dot may be spokcn or tite syllablc "eighl" m:1y be givc n its extra lcngth: saying
"do!" rcminds us of the nolation , whil e just ex tcnuing "eight" all ows us lo spcak
11 lh e pa lt ern in its rh ythm:

6. 1) Allegretto (J= 72 )
J.
cigh l do l
j .FJ.
leen six right dot or
r
eight
'n.
Icen six cigh t

1 J m n m m
¡ !~ J~ ín u 1 1 J ~ J The douhlc do t, iutrocluccd in Stu úy 7. C, ;11lds lo a note ll u·cc quarlcrs of its
í c...1t u L._b!' LJ! í } val ue (half plus half of !he hall); the double dot thus almos! doubles thc value of a
note :

n m rn ¡m rn.rn ¡J .~
~1
J J>.
~-

Ii U W LY b:U l.1J L....1! i


rnn In ¡m rnrn ¡J ~ 7. 1) J = S2 - IOO

lu U:! u l...1! b:LJ LM' l...1! í 11 ~~.rnn :ll - ti:Jnn n:ll - ti:JT.fjm n.:11
6. J) Allegro non troppo (J = 76)
1 - 11:m n ~. :11 - ti:Jnnn. :11

n m
¡ ~~U:/ U
¡m ¡--n l¡n
LJ LY L!
1
;,.,
l...1!.,
1 ~
~
~
t
7. A)

~.hl~nrn.n
Allt>grcUo (J ~ 72)
IInnJ ., .J>Irnn.rnn
rn n ¡m n ¡m m
1

t IJ>., 1 ll"'"ñfffiJ ., JJ 1rn.nnlffl 1rnnJ 11


l u U:! b:U bU '='='=' ~ ~ '1 ~

fT1 ~ 1!'T1 ¡--n ln-1 .F7n 1)> '1 t 1 7. ll) Allegro (J = 100)

1Ubl.J U w Ub:U ~.,~ *·~ l ?ffl~ l ~n 1r~~ .hl IJ ,.


n
Iu_¡ ~
m ¡n m
lLl w
1¡-n ñl liJ '/
u_¡ '='='=' ~
~ 1 ~ ~~ ~ ~~ I ~JrJ=,IJ .,. J11
'1
n
1JTl r"1 1 J ~ r---1 1r~ n=H 1J ,. 11
28 Studying Rhythm Studying Rh ythm 29

7. C) Andante con moto ('J = 63) 7. 2) .J = 48 - 84


fffl J JffiiJ. ñ J. ' ñ IJ.. )J.. .)} 1
~J
IJfflnJ ~ ln.JnJ. ~I.J. J>J. ' ~I.J .. ).J.. )1
¡~¡---;
~'="IW!· -
.r-1 ~11 ' - 11:~
-L.IL!· ~:11 -- 11:~ ~:11
.LJb:fY.
~ ¡---j 0 u~ :.
1/ffl.r.lJ ~ IJ ffJJ Jffi l.r.l.r.lJ '1~1
u. J> J. ' ~ IJ.. )J .. ) 1Jffi.nn n ~ 1 u .. 1-... 11::L.J c...J!::11 -._. 1
1::LJ :11

7. D) Allegro ma non troppo (J= 104)

~.niJ mn u mn 1n . !J. !J. u


1n mm 1n .fl1m 1n. tJ. m u
t n 1 ! 1

~ n 1
........ m r.-1 1I"""n ¡---) 1J. ~ J. ~ 1J
1n. Jnm I!J. ~nm lll !J. l'T11J ~ 11 ~ 1U U U U CCCíCCCj í ! 1

7. E) Allegretto (J = 80)
~
........ I.J n IJ n
L_.1:! t.J L....1:l t...J LJ LJ 1 L!
1~ n=n IJ
!~ 1

!I"ll'J. l.r--ñl'J. 'l.rniffl l !nln IJ ~ ~


,....., 1 ~~ ~~~ 1~ J. '1.Jí ·~ 1
·.....-.....
I JT~YJ. IJnñ. 'IYJ. lffl i Jnrn IJ ~ u u u u ~llU
,........
1J:T1 n. 11n m '1.tn Jffi 1Jffl n. 1J ~ 1
1n. Jm 1m Jffi 1n. n. '1m Jffl llffl m I.J ~ 11
,._,
,...., 7. 11) Anda nte (J = 66)

7. F) Allegro maestoso (J 92)


,.....,
,.,.._, ¡ ~nln n n1rnn
~t UU U UU!U
.n1rnn niJ
UU!U Uí
ni ·t
t
,.......
=

annn 1nnn IJl n. m IJ } 1 ¡--n n r1l.r=¡=n n .n l.r=¡=n n n 1


1nnn 1nnm IJ1 n. m IJ 'IJ> I ~ 1LJU!U LJW:!U LJ~U
~
~~- n. m Jffl m J> Jl J:J. Jffi 1
1 mm '1 1 '1 J> 1 ~
.J ~ n n nn ;nnnln nni.J ·~ 1
IUí ·t UU U L.JU!U UU U Uí
·1 n n ;n n n 1 ..r-ñ 1 n. JJ m 1J ~ 11 ~
~
~
~~
~
1
~
~

~
30 Studying Rhythm
~ 1
Stutlying Rhythm 31

7. 3) J= 48-84 ~ 8. SI XTEENTH-NOTES IN SIX-EIGHT METER


~

1W~J~II : lli0~ 1 - IICJGt'll ~


~
There are twr.nty-four possible patlcrns made of sixleenlh-notcs, eighlh-
notes, an<l dottcd l!ight hs thal will t.:onslilute a dollcd-quartcr bcal in cumpound
time. Pcrforming Lhe pat tcrns by speak ing thc note-valucs in rli)'Lhm is a zood
~ way to becomc familiar with them:

1: 11~ ~11 ~~
J )J J. j J J. ; J J
·~ quarter eight eight teen eight eight{dot) leen six teen

7. l) Andante ( J = 66)
~· J H J J J FrJ J JJ J ~
¡i 1un n. 1un ;n 1
~

¡~
J>
rJ!
J>~ 1u!J. !J.u In.
u J>~ 1w
J
c_g í
't
"1
n. 1
n Uf '1
'1
eight sixteen eight - six cight teen sixtceneight sixtceu sixtcen

The convcnti on of notalion that sixtcculh-nc>tes wit hin a bcat he b~;amcd


togcther makcs it diflicult in some pa!lcrns lo scc !he basic thrce cighth-notcs

nmiJ 'J>IJJ. TJ.IIJ.'J>Inn.lnm¡J '11 of !he do!led-quartcr bcat. J. m


has to he lllldcrstood as ~J n.
for
l~ lY í ~ L!U í .,
1 ~ t!Uf UU! í 7 example.
In Exercisc 8.2, voice and hands rcvcrsc parls within each mcasurc.
Thcrcforc, the single beals should be pracliced until they can be pcrformed easily;
7. J) Allegrctto (J - 7 6) only the n should wholc measurcs be attemptcd.

8.1) J-=40-76

gm mJJJ :11 ll=.lln .rrn =11 - - 11= rm J':lJ =11


"n 1 J.. )n n. n n1 1 J ~ ~ 1 - - 11= J Jffl J. m =11 - ti= .n J n ¡¡:¡n =11 1
~í ~¡ ~L!~í ~U~í ~¡
tl:~n m=ll - tl=.r-TI rn:lt
nnJJ. '¡nnJJ. '¡mm~¡n. ~ ~ 1
l urL...Y'=ll utUbU utL..l!ut ~uu 8. A) Grazioso (J., 66)
J. nn ¡J . ).rn¡n. nfll¡J ~ ~ 11 gJ J>J ))!n:J J .h IJTI ~ 1J. t·
I ~¡ ~ U~í ~ tJ~í ~U!í ~ 1
lr-nJ J>IDJn:JIJ. t· IJnJ.
.m
1m 1r:n ~- u JJJ ;¡ n:J Jl"J 1m J )) 1J. ~· 11
32 Studying Rh yr h rn
Studying Rhythm 33

8. B) Adagio (J. ~ 52)


8.F) Andante(J· - 60)

gJ> 1~ J J> 1~ J J> 1J J> J ., 1~· ~ )) 1 gnJ m u .1> J .1> rTI J. m J .1> J .,
1 1 1

11""1) J )) 1[."1"J n=n 1r-11 J ., 1~ . ~ )> 1 1rmrn 1/J mnJ IJJ mJ. m u J>J ., 1
1.r-n ¡--n 1J ;, m 1rm J J> 1J ., ~ 11 11'"1J I"mii"mJJ n~lñnJ. miiT1J ., 1
8. C) Allegro (J. = 88) IIT.lJ. mlnl/J m1n mJ. miiTlJ '/11
gJ J>m J ~ ~ 1 J ;,m 1mm1
1~ .m 1m 8.2) J. = 40 -52

IJTIJ ., lmJ J>II'JJI"'mlrmJ ., IJTIJ J>l


:11-11=rm IlJ=11-11=~nn =11
IJTIJnl~ J .,¡m~ IJTIJ"nii""n J .,¡ lggJJJJJJI"n
L._U jjCW: - =r::Jl Llll: - ='=L.U Ulf=

IJ7l J. m I J1"l~ IJ. m J. m IJ. ~· 11 - 11=nJ n~ =11 - 11=J. =11 - mrm 1


1 - =b.Uir b!r r.t= - =Ul.! r- W= -
8. D) Allegretto (J. = 66}
glJ 1r.-n m 1J. mim 1 ~ rrJ IJ J> ,. J:J 1
=r:rmJTD =11 - 11= ~I1l =11 - 11=
11='-LU r r:;..y= - =UJ ~= - :UJt!J=
mrrlll
IDJ n=n 1r-n J JJJJITTI J. m u. .,. ffll 8. G) Allcgro (J. - 88)
u J'1"nJJJJJJ inJ nnJ n1rn /' n 1
1r-n m 1J. m ¡-¡:n 1rTI r. m 1J. .,. 11
gJ> IJ
l
g '/ r r ¡.r-n
UJ
m IJ JH .b iJ. J .J> I
;,m
¡ ~ r ¡· r ~ u...r
(J. ~ 80} rn .bJ IJ } ..hln-1 ))J 1¡--n J>J 1
8. E) Allegro

gn 1n=n J J n IJ J> ., n 1r-1n J l'ffll


lUJ UJ í ~ ¡ ., r r ~ r· r ~
t )) IJ )) rrJ I¡--n m IJ. : 11

1r-n ., n
lnJ nJ nJ lnJ nJ nJ 1 1¡· ¡· r í ~ L....U í ~ ¡· ~
1nn .,n 1 i1ffi J :n=n 1 JmJ J :r=tn 1;m ., 1 n
1ñ1"1 J J n u J> ., m 1JJJJJJ;-n u ., ., 11
~

34 Studylns Rhythm
~
Studyin g Rhythm 35
~
8. H) Allegrctto (J.= 56) ~ 9. MORE RESTS /\NO SYNCOPATION IN SIMPL E METER

g; nnrm IBn; 'IJi ifflnn IJrrJ J ~ 1


~
~
In performing studies with syncopalcd p~llcrn s involving six lcenlh-notcs,
l gi ~ i ~ i ~ i ~ Q'í b! i b/í b! il may be helpfullo tap lhe eighth-note divisions of lhe l>eat orto use a metronome
~ scl al the lempo of the eighlh-note. In sludies with frequcnl rcsts, wc should still

¡~.JJrJ lñffi J "111


aim to undcrsland and projecl whole phrases. Rcsts intcrrupt the sound, bul
ñn .fffl'J 1hJ ñJ 1 ~ lhey should not intcrrupt lhc Oow of the phrase.
lr bU! e e.w r b.U!lWf í ~ í ~ r b.Wí ~ ~
~
8. 1) Andante (J. =48) ~ 9.1) J - 56-96

)n 7niJ J>TniJTil'"TIIJ JnniJ


tnr· í ~u_r t11 UJ r r r
~r.-rJI
~ UJ
~
~
1J ~

II:Jnfnnljn:ll
i ) i ) :11
-
11:)) J i j J ;) :1~
11:; J;~fffl ~· ~Jffl:ll - 1

JJ n~ IJ i)i n IFT.lJT.liJ
I UJ ¡· ¡· c...u í u
Lll ~
)Ji
i j'
n 1 ..__,
~

~
ll:m_rninJn :11 - II:JJ_:_11Il~JJ. :11

J J> m IJ J>¡ n I;:-1J ~¡¡---n J J. ~~ --....., 9. A) Allegretto (J =88)


-.,...., .....-:-- ...........
Iu:....JUJ r· ¡· L.LJ ¡ ~ r r r.rr r "
.rn J J. ~ 1J. 11
L...L! t..l.J í.
&......,
~
~
..____
~;In
...--......
1} i J> 1J> i i 1>
-n
¡))l));;))ln ¡J>I)}¡¡)}I.,))¡J>I))¡
1 i J> 1} i J> 1
·- - -----,..,
- 1! i J> 1J> .., ·¡ 11
~ 1

l
~ 9.0) Vivacc(J = 132)
8. J) Adagio (J. ~ 44)
~ ..-- -::::::::--...

l 1m
gJ>
gi r
n 1
e e~ ~
J J
¡
J. ~ J J.
bl ¡
m
L_ll
1 J
e· w
i ~
¡ ~1
--......
.........
i)>l)>.,~

1-
l .,J> IJ>.,l l
} i ID¡~ l ., J> 1n l l
·¡ J>Irv;nJ>it
·¡ J>l~fu., 'f J)l
1

1l
r.-n J n ; 1n
~ e· 1 r e u¡ 'r 1 r 'e w
~ J JJ m 1J i ~
¡ ~1 --...... lT :¡~ n n i J> 1)> i l ~ ~¡ l } '1 ·11

!'"11 ~ mJJ m 1m JJ
1t ~Lll '-Lll C' ·w kr' WUJ
IJ. miJbr' Wj i } 11 9. C) Moderato ( J- 84)

mu u rñn
~J. 1 J l 1 J l 1 J ;.____ 1

1 JJ 1 J } IJ .n
IJJ JnJ 11 J IJ Jnl
-
1 J l IJ n IMJnJ ll .J_ j) fñiJ 11
36 Studying Rh y thm Studying Rhythm 37

9. D) J
Allegretto ( = 80) 9. G) J
Allegretto ( ~ 100)

t n n t ., ;, 1n m .t> ., ., J> 1m m;, ., .,. ) 1


---
-----
I.Jffin......__..rñm 1- t :¡niJffirn..__..~m 1 '--'

1- t :¡n llffl___m_¡n'--'m lt ., VJ ~J
1m..__..m 1n Jffl u ~ -
'-' '--'
11

9. E) Allegro ( J= 96) 9. H) Modera lo ( J = 69)


iJffiJniJ>J WJ J>lt Jffl lmm \ ..__,
IJ>J J> 1
-..__.,.,. ~~ n
~~., i
ñlJm
~ í
1J., ("L.bf1u
~ t lrm m Yffll
i ·- ~--¡
,., J. ,., JtfTl iJ J ,., ñffi 1., J J> ¡., J Ll
·¡

1 ., ~m 1m., ~lrniffiiJ
J t lñ. n. m¡J } t ¡!J. !J. -m¡
}
IJnm
..._,. ..._.,
l., ~m
..._ - ...._
t 11
I., rt.YW u u u ., r'-U1U uuu
J= t ~ 1/ffl ffl____lfñ 1
!ffl m m~ 1 J }~1
.1J, ~~~lU
9. F) Allegretto ( 72}
., í '-' ~ í ., í ~--- ~--u i ~ ~
1m t ., . ) IJTltnn im t t lt .,. )nll
ilnt .,. )imJmn.___....1m .,. )Jffi
'--' -
ln...._.....nJffll
- i~ J>~~ ~;~~ ;.,~ ~J>¡t Dt ' J>l~ ffJ} :¡ffll
l t-
.._.
'-" .._,

1Jffl t .,. J11 ¡¡-ynnjn__,lffl_ _Jffl l J .,. 11 ~~~ ~~~ ~~~ ~~~ u1 u~~ u~.,

1U.
iffl__,l ffl ~
~ 1 U
:¡ ffl [ J
~ ., -
:¡ m~ :¡ m¡;'/ -
., UJ P .,
~
J -
11

~ 2 J J J :11 - ll:J>J J J>:l - Jn._}Tl__,m:ll- - 1


u :u 11:
u u:- J
oí í 0: - í í : -
)l n mm
9. J) Allcgretto ( 72)
:j =

:n n n :¡-¡:JJ.
l::¡W~'"': - JJ. rJ¡-¡:~m m :1
:Uuu·: - :w_.: l: iflU=
~ lJ., p ~ J> m rn Jffl J> ., 1 t '1 .t> m
~ '1 ~ ., ~~u wT~ ~ ~ J ., ~ '-'~ r.ul~ ~ ~ ~
n ~m ~ '--'
~ J> m m!~.......
m J ,
'1 ~ '=Lr u U:f'=U l ., ~ bU Lf! í '1
38 Studying Rhythm St udying Rhythm 39

10. MORE RESTS ANO SYNCOPATION


IN SIX-EIGHT METER

Because the beats are longer in six-eight than in simple meter, tapping the 10. D) Allcgretto (J. = 66)
eighth-notc or using a metronome set .al the speed of the eighth , until the patterns
are thoroughly fami liar, may be even more irnportant in ensu ring correct
performance.
g'1 n J. m 1~ J> .r.-m 1~ J> JJ m 1/J m 1·
1'1 m r.m11 ~J. m i ~ ~~:¡m .lñ'/ 7 t ñl
11 ñffTI IJJ mnJ nliffiJ t· 1
10. 1) J- = 40-72
1~ 1·
g¡n__m :lt - 11: ~-rm :11 - 11: /J m :r rm :11
1 '/n.r:-m1~ J>Jm ll ~~ I JJmñrn IJ. ~- 11
1 -- ll:ñJ n:rffn:lt -- ll:n m~ :11 - 1

ti: lT1 m :11 -- 11: JrTI :r m :11 lO.E) Allegro(J -=72) .

gJJ 1J) '1 '1 '/' lJ 1)) '1 7 '/' JJ 1;· JJ '/' JJ 1 - 1:¡ JJn 1· 1
10. A) Vivace eJ., 112)
I:¡JT'1j 1· I:¡JT"n :¡frñ 1 -- 1:¡~ ~ i i 1
gn1- lTI ln-J-m 1.r11___....ITI 1n 7 t 7 1
1:r fl"j ;:; ~ "/ 1:¡ Jn"J n :r m u n :¡~ n J n 1 J
1m_~ ;,
1JTI__....J ;, 1ITI.J J> 1)) 7 ; ~ '1 1
11

ll7l._....rTI 1m- J J>lrn._....m¡;, '1 7 J>'l 11 1


\
10. F) Adagio
'
eJ. =40)
1 rn_m 1ITIJTI 1)7) m 1; , J> ~ 7 11 gnlll'1'1nlr.n'ln l ~nJ~I;,n~n
...__.. 1

1n ~ ~ n 1r-n n 1nn n 1JJ


¡· 'f· J ~ '1 JnJ
(J.= 108)
10. B) Vivo
LDn m_Lm 7 IJTn:¡JTI I JJ n m:rJm
gJ> ., '1 t· 1 J> "/ "/ 7 n ¡; i ., '1 n 1 '/ n "/ n 1
IJTn)J ) I)J )JJ J ;lñTl )J U
'1 '1 ' 1

1 ~- t )) 1 )J "/ ~ ~ )J 1 ~
'-" ~

'1 )> 1 )J '1 ., )J 1 )> 1


11 J> ~ J> 1 1 ~- ., n 1 J> ., "/ ~- 11 10.2) J- = 40-60

1O. C) Andante (J.= 52)


¡gg n i
j'
l"'n :11 - 1
1:!ffrJ ñn. :11
-¡· : \ - :í ~ í ~:
-- 1 ::í¡-¡n~ ím .~::11
1 : 11 ~~~11 : 11 ~~11 : 1
40 Stuclylng Rhythm Studying Rhythm 41

rm . l'7n :11 - 11:n. n. :11 IO. J) Allegro(J·=63)

:LJ·
11
10. G)
Lt : -
Allegretto {J·= 56)
:L.Jll lW :
¡gBnrJ
í
J7fJ ¡n. n. ¡n. In ¡J.
~ í ~ r:Jll
~-
L.Jll U!! tJ:U U!J í ~
1

Bi n rm ., n n=n J>J J ., .rn_n ., J J> J .)) 1¡-m rm 1nn J. m ¡J:ñ"J J 1


lgr· uu i

-r ~ r· -r ~ r ~ r ~ r· ~ r ~ IUll u · u · u· UJ. r ~ ~-

m_fffn ., m ~ m. J ~ mJ. J i n=n ¡--J_ 1rn:J .n. 1 ~- n . 1 1

-r
'1
Lr LW L!. CJll ~· l.W
r r ~ r ~ r ~r ~r ~r ~
1

Jffln J n ~ JfflnJ :n nJ n)"jJ :n J.


~ t· 1 1
¡--]jj

rm
t ....r
¡n. uu
.n. ¡.n. nn
ur_r uu r· LJ·
IJ. ~- 11
~-
í ~ '"'¡ ~ í ~ ~¡ ~ í ~ l.L! ¡· t·

10. H) Andante (J. =48)

lYmffllffnJJJJJJ i mliJ>; i
g¡ ~ Lll í ~ W í ~ WL...U u.!UJ
¡Jn ffnl ;rn¡rn 11. NI NE-EIGHT ANO TWELVE-EIGHT METER

Ni ue-cight and twclve-cight meter combi ne lhe compound beat patterns


of ~ix-cigh t with lhe ll1rce and four heals of lh rce-four ami fou r-fou r meter; hence,

lTI ~· 1~- JJ JJ J j 1/J J j /J J j 1J i 11


therc are no ncw prob lems he re . In Excrcise 11.3 cs pecially, single bea ls should

l rr...u ~· 'r
r tí ~ UJ í ~ í ~
be repca led unlil lhey sccm e~sy hcfore whole mcasures are allcmpled.

11. 1) J. = 40. 66

10. 1) Moderato (J. = 56) .

g~ _nj J>J J>J n=n_¡-m ¡-n__}'


l n J :n J lJ':h:ll 11:m r.m JJ m =11
'1
11: JrnJ
§- t.lJU!~í~í
U:UUll
1 - ll:ffr.J /J J jffl J ~:11

1
~· ~ n ¡rm.r-m¡J>J J>J ¡1J mJJ m¡
t1J í 1 ~· 1 U LWtJY ~ í ~ í 11. A) Allrgro vivo ( J . = 120)

J. mJ '1 ¡~· JJ m¡J ~ ~· 11 RJ. J. J J>IJ. J. J J> IJ. J J> JTI IJ. J. t· :lf
Ihr w'r w r· wu_r í ~ t· IJ J>J J>JT~ IJ J>mJ .J)IJ ))mm IJ. J. t· 1

1m J J>J ))1m J J>m 1m m J )) IJ. J. ~- 11


42 Studylng Rh ythtn
St udyi ng Rh y th01 43

11. B) Con moto eJ. ~ 60)


LITI'-rm [."1)~ 1171 J. tn J ., ~ ~
RmlrJJ ;:-m.rm IJ. .,. mJJJJJJ 1m J:""mJJJJJJI
1J. .,. n r.m IJ J> .,. lJ r.m 1J .b ". m JJJJn 1
-1m m ......., mm
__. 1 ~n=nn-J
...__, ___...'7JffllmmJ.
..._ ~ n

1J. m J. aJJJ JJJJ 1J. t· .,. 11 11 . 1') Andnul c (J . ., 56)


11 J J>rn 1 J. nJ J ¡,Jn:J 1J. ~ - . m In) 1
eJ.- 63)
J J>JñJ nJ m; u. ~- ~m u JJ..FnJ JJ"mnm
11 . C) Allegrctt o
1 1

ft )) l ~~ffn 1rm.rmn-n u J>mt J>l


IJ. ~- J J>rn 1J ;:;rmJTTJ n m u. t· u
IJrmJJmmn iJrm!IEJimlmJJ )$ ]ji
1ffnflTI¡¡-m 1JJTiffn¡¡--¡fj 1ñ"n rm mJ 1
11. 3) Jo- 40 . 60
1J ., J J>Fm 1 J. ~- t 1
1 ¡a J.
g¡ ~~¡
J J>J>J :11 -
i ~:
II:DJ r.mnm:ll
: UJCJ..J~i :
-
-
l{f
~
11.2) J. - 56- 76
: 1f J. J J>.bJ J ,b:ll - II:J1'"ñmJ ~Tlj.!T!J :11
lJ m J .~.~J J J>:ll - 11:.rn m~ :11 m - 1 11:y¡ ~LUí ~L!J': - :U!J' lL! L1lJ UJ:
11:m r.-mm ~:11 - 11:J. !IEJ. ~:11 11 . G) Allcgro non troppo (J. = 88)

11. D) Allegro maesloso ( J·= 104)


¡ 3~Jr· ;Jr· ;J~ r J>IJ.r ;J rn ¡J. ~- ~-
Yn IJ. J ;J. ., n u. J J>J. ., n IJ. m mJ .,1)1 ~ r ~ í ~ r UJ r
u. J ., ., n 1 J. .bJ J. ., n 1J. .bJ J. ., n .b J J> J .b J 1 J J> J J> m 1 J. ~- ~-
1
l r r í ~ ~ r ~ í ~ í ¡· UJ r
1J. J>J J>J m 1J. J>J J .,., n 1 J>J J J>J. ., n 1
., n 1J>J J J>J>J J .b l m J>J J. ., u
m J>J J J>l m ;J J J>l J J>J>J J>J 1J. t· }· 11
1J>J J .bJ.
1r ¡ ~ ~ r ¡· r ~ ~ r ~ r r ~ r ~ r· w r
11. E) Andante con moto eJ. =66) J 1. 11)) Andante (J. - 56)

¡ R~ r-n J~~ m J " J. ; J>


~ ¡· i ~ t..!.! í ~ U.J í ., t.il t..:lJ
44

~J
rt.11
Sludylng Rh y lhrn

J>lT1 J .,
t.J.J r .,
r.mrm¡.rn
r r ~
¡:--mrm¡
r r ~ t..ll ~ ~
:E
e+; 12. TRIPLETS
SIUdyi:'IR Rhythm 45

n ., r.-n ~ IJ. ',nj rmiJ.


I ., ~ í l..L! tl.J UJUJ ¡·
W'
11 :E
·~
Thc division of thc bcat int o thirds is fam iliar fron1 compound meter. ll1c
ncw problcm hcre is performing in succcssion duplc ami triple divisions of !he hea!.
A commoJn tendcncy, whcn moving from duplcl lo triple! eighlh·nolcs, is tu makc
lhe firsl note of a triplct too long. 11 may hclp lo rcalizc that a third of a l.Jeal
is closer in lcnglh to a quarter uf a bcal lhan to half of a heat, so triple! eighlhs

l ~llegretto (J. = 60)


11. 1)
are more like sixlcenth -notcs than lhcy are likc eighlh·ll(,llcs. When beginning
a lriplel, we mus! move qukkly lo ils second nole, rather !han sil on lhe first
.....
¡
Fine note. \Vhen alternating diiTerent divisi ons of lhe beat, it is hclpful to use a
i J. J J>m J ;,1 J. t· m J J>l J J>JTI J. ~·. 1 ~ raelronome rnough lo cnsure lhal lhc hcat stays conslalll.

Yr ~ í í ~ ~ í ¡· 1· í ~ ~ ¡ ¡· í ~ r ~ -~ Successions of eighlhs, triplels, and sixtecnlhs may be pct(,lrmeu by


numhcring aloud thc notes on cach bcat: 3

J. J ññn J J n ¡J. 1·
I¡· '=UJ í ~ '=U...! í. t.
"' ~
1
.rnJJJJ
21231234

12. 1) J ~ 60. 100


J ~~J. ~· lnJ nJ nJ nJ nn=n 1 n JTJ=II
3

JTI

m n
3

I'=l.!..1 u..r r ~· CJlJ "r "r "¡ ur r;r 11= =11

Da capo al fine
11= n 3

JTI fffl =11 Ji: fffi ¡-n JTI :11


.1 3

¡;:¡n /fflJ J. l· 1 .-.'1-. r--.1---,


n ;,., J> =11
.1

l('
UU(' H-U UJ i ~ ll=rn m ?ffl:ll 11: , ~

,¡ ) 12. A) Allcgm ma non troppo (J.• 112)


ll.J) Adagio(J· - 48)

¡~~·12m 1J J> J ñJ J>J ~· ~·n¡J.


.m 1 ~J n 1n m 1n m ---
1n J :IL.íl m 1rn .r1J 1
3 3 ---·. 3 3 ~ -....

-· ~· U.J í ~ í b! í ~ í " :1

1mn lmJ u n1nrn1mn 1mJ 11


- - ---- -
.1 .... .....-- · -· -- ·' .1 - :¡- -'

m J ñ .r-TI J J n 1 J. ~· 1· T'TI 1

1r ~· ~· r...u t...LJ i YLll r r " 12. fl) fllodcrato ( = 88) J

l~ic-
J J> l1"TJ lTl
"r m [.J !~ic wr
n m 1 J. ~·
~1
~· 1
~J.

IJ.
J>J u. ;, n u. J> m J. J> m
;,n u n n u n JJ"J IJ n m
3
3

.1
1

J
3

3
1

u
J

L..1J' r .·~ u...ll j r í ü w UJ!:! r IJ nJTIIJ J


.1
~
3
IJ
.1
nJT:JIJ J
3
~ 1

IJ n m1n nrn1mmn IJ ~ 11
46 Studying Rhythm Studying Rhython 47

12. C) Anda nte ( J- 66) 12.2) J- 48 -84


3 3 3

!.r>IJ nm 1nmlffliJ J ;;¡~nml


3 3 ~

1m mm IInmlffllnJ 't~ 1n mn 1
IJ '.11
3 3 3 3

l ·rn
1nmrn1nJ ;J>IJ nm1nrnJm1
:j . Cjjj:
1 m .m Jrn l n J 't 11
3

12 . G) Anda nte ( J e 80)


12. D) Allegro (J = 100)
3

tJ nmniinrnJTIJ>;IJ nmn1
3 3 n¡J m¡nm¡J
l iU í U í í í
~J ~ 1nJ ¡nJ
i U í W U~ 7
1

J 1 ín;~IJUírñiJUím¡rnm
JIUUJ
3
3 3 3 3

1 ~m m;'t lmJfflmlffi 1.mm m;; 1


3

IJ n rn1n1m m rnrn u ~ - 11 ·
3 3

3
í i 1 ~

IJ s ¡nJ 1nJ In n-JIJ ~ 1 3

12. E) Andante con moto ( J = 76)


r-:r--,
U~r i í UJ L..YUJ i r:_y ~
¡n n 1n~rn 1)); ;Jl 1)); ~ 1n 'tn1
3 3 ,--3--, 3 3

1n ;-[5 1; ;, r·,J> u 't ~ ,., )) ';-:n ;-n 1;-J1 ;---~,1 , 12.H) Andante(J ~ HO)

1imrl¡m.rn ¡J ;J>b! I
't ;

l ~J>I.J n
r-3---. .1

IJ> 't ~ In ; J> l1 J> n 1Jl'1 1 J> IJ ~ 11 1 ¡ '1 u '="=' í r44! í '='=k( i

12. F) Allegretto ( J= 92)


.1 3 ;¡
IuJ .rn¡m.rn¡m.n:=niJ
'='='! í í
in ¡
r:._y í '='='!
~
~.n1n~ ~ m1ms ~ nu nJmml
ms n ñ ¡m; ñ ¡nl m IJ l
IJ J ;;¡ n ~ m 1n ¡nlfflm 1

r-3--. 3 .1 ,-3--, J
~ s ~n 1 i '1 ,)>
r-3--.
~ í í (' ~ ~~ '1

1n ;J>J i~ll"ñt s in 1 .r-n~ ~ Jffil 3 3

,.,

IJ7j m n=J.rn ilfflin n 't n


3 3 ¡-3- ,

IJ t '' ~~-1 Q í lfTI [J í lfTI [Jj 1~ : 1


48 Studylng Rhythm Srudylng Rhythm 49

12. 1) Con moto ( J- 72) The performance of cross- rhythms requires undcrslanding the numerical
relalions involved. When two eighlhs sound againsl triple! eighths, each of the

~~n ~~n
lií u i L! Jniinn ~
t.JtJ í ~ ~
IJ luJ f:Jf'l duplet cighlhs is thrce sixlhs of a bcal, so thc duplet cighths bc¡;in on lhc 11rsl and
fourth sixths of the be al; eaeh of the triple! eighths is t wo sixlhs of a bca t, so thcy
bcgin on thc 11rst, th ird, and 11flh sixths of the beat. Grasping the cornpositc
pallerns may be facilitated by speaking verbal phrascs thal we naturally spcak

J .rn ¡-¡=;niJ ~ 1mff11mr.n1 in thesc rhylhms:

1
IU'-L!a.!U i 1 i U i U Thrce againsl two:
1 2 3 4 5 6
Two aga ins~ lhrcc:
1 2 3 4 5

IJWU!
.rniJ
6

l ~nmiJ} ~lrnmiJ ~ 11
J J J J J
U í ·í 1 .7
W~ '-L/W í ~
3 3
C í r C i
Nice Clip of tea Pass thc buller

12. J) Allegro ma non troppo ( J= J 12) 11 is rclatively casy to hcar and pcrform thc composile paltcrn rnadc by two
JE -
~~m¡J.
t~ ~
)>J IJ. ñJ IJ. ~m¡J
r:u í u w i u c.u í
i í
~ ;n¡
~
3 againsl threc, as thc rhythm of the pallern - is familiar. 11owevcr,
it is musically importan! to be able lo hear the duplcl and lriplct as indepcndent
concurren! pallcrns. ror this reason, wc nccd lo practice two agaiusllhrec slowly
3 3 3 so as tu hcar that thc composite paltcrn is corree! ami quickly so that wc can hcar

J.IL.l!í J>JU IJWí


. ;;.mi J. ~m IJ ~
U Wí í i fTII ~
3 two and lince al the samc time hui indcpcndentof each othcr.

13 .1) J. ~ 40.69

J7l ·l I :QJ[b:ll
3 3 3

J
IlliU
Jfflrh
i
1 Jlffl)ffll
WU U
~ ~ m J. }JJ7jl
- Wi U
1
l
grm
gu· u·:
3

J. ~m IJ
3

!fflm IJ
3

II:QJ f1i :1 l :rmn ffl:ll


:LJ' U'' :
IWí 3
í WU í3
í 1 13. A) Allegretto (J. = 52)

¡n.
g m n-J J ., ¡m m lrJ. n. 1
l c..m r...u U:ll UJ U:U L....U
gL.1!J UJ

1~ ~ 1~ flr 1[0 LU IQJ [ir 1


13. TWO AGAINST THREE

We have airead y cncounlered two againsl three in Chaptcr 1O, in the division
of the doÚed-quarter beal of six-eight meter in to two dotled eighth-notes thal
we hear against the basic triple division of the beat. n . .n. IJ.
IL1l! UJ L.1ll ¡·

11
50 Studying Rhythrn
Studylng Rhythm 51

J> m j
m mm
13. B} Allegro ( J2 66)
~ J. ..~
~~.r:-n ~ r~ J :t=tn
1gr r r r~
¡m ¡m
r r u· u·
~
nn 1
~ ~ ~
J .,
~
1
J.
Í UUííííUUiUU
J l

JffiiJTI
r.1) J J ., ¡rm.I7n I'J mJ ¡¡ni I ín;~;¡; nm¡nmm¡J
l
11

u· u· u· r ., r í ~ ¡ ~ ~ i ~ í í íUUí UUííí
m J ., ¡.rmnn l¡n:;;; Jffl¡m JTI IJ. l· 1 [3.3) J = 48-96
lr ~ ¡ ., u· Lt u· u· u· u · ¡· l·
¡ ~~Wll!ül
J J> J ==¡¡ -- 11=J>J J> n =¡¡ - 11: n mnJII
=L!!LlllU= - =í ~ i ~ =
3 3 3 3 3 3

l ~;
~UUU·
mm:¡¡-- ¡¡:nn n~¡¡-¡¡:mmm:¡f-
·í WLU· - ·í U U · - 3
3
3
3 3
1
1
-
-
l ::LlJj
nnn=¡¡
3 '-.'l_J
~¡ ~:
'-.'J-1

J
IUJUJW= -
n n =¡¡- r =:Umn m=¡¡- ¡¡=n mn =rr .
WU = - =CllU ü.!=
13. E) A !legro ma non troppo ( J = 96)
3 3 3 3 3 3

¡iJiC... J
.t U
IJ n ¡n n IJ
U U U U U
~
U
IJ n
U U
1 J. ~ J 1 J> J J> n 1 J> J .J> n 1 J J ,n 1
í1 U U í U W í UJW í 3
i :¡ :¡

J m¡mm¡; l ¡; m¡; m¡mn 1 J. J> n 1J> J J ; l.h J J> n 1J 11


Iuu uu Clí uu uu uu 1i uu i uc.u i L..IJL.U i
3 3 3

~~~ I[;[?IU ~~~~I~C 1~: 1 nm¡n mn IJ ~ .,;,¡mn ~ )>l


13. U) AUegretlo { J_ 80)
~)>IJ
l
~7 .,~¡U
WUWUi 3 3
1 ~~WU
3

J. Ju J mn ~ ¡mmn ¡n ~ J>IJ n m¡
l ~
~¡ u J> 1J.
í
n
uu J> 1 J J
í í í
'1 J.
í
J>
u u 1

1l WU ~ Ll.JW U U
3
J>
í U 1 ~ 3 3
7
1 1 ~
52 Studylng Rhythm
Studying Rhyt hm 53

mn m¡nJ
lwwu Lllí
111 13.4) J=50·80

l ~Jffi u.
m:¡ - ¡¡:n m=¡¡ IIG'[?II
1
3 S S

~u .~u=

~
l J1J. JJ 1 J. n
J> n 1 J> JJ n 1 J t J
BW' ¡· í ~ W í ~ í ~ W W í ~ L.U ¡· 1· W
J 1
1 -
-
¡¡=n n ·¡
:LbfUJ: 3

J. J>n¡J>J
í w i ~i
;n¡nJ>J
U! i
J>IJ
w ¡· w
~ n¡ 13. 1) A!legre(( o ( J = 88)
I¡· ~ ~ UJ ~ j·

J> J
r· r
J
~w
J> J> J
r ~¡
; n __ }
J J> J ~
~w Wí ~w r ~·
n n
w liJxL.f1 Lf1
n¡nm¡-
Lf1 U U U
IJW LU
3
n¡nn
U! r:._y
"
¡
J. J J> )J J W J J> n J ~ -

L.f-1' U! u
¡nm¡.r-nJ>,Inn¡nJ>.,I
u u u u L..U U! U!
r· r ~w ¡ ~í ~wl UJUJL..U r· 1·
1
3

J n ¡rnm ¡J ~ l
13. H) Allegretto ( J = 84)
IC..ULUUU í t
a"/ t l'm J J IJ J J J mm¡mmn-n ¡
.7 3

liW i í U...U L.UL.UWUJ CCr r ¡. U 13 . J) Adagio ( J =52)


rnm ¡U:!CJ
n ~m IJ ~ l
3 3 .1 3

J nJ t
I t 1 UJ í
í
¡1rnJ J ¡mnJJJJI
í W u r r r ¡ W .UJ l ~n
~L....l!U U U U!i
~
t

m.rhJJJJ¡mnJ ~ I'J7lJ J l
3 3 3

m ¡--]1¡-h
lLld"w
¡m r---ñ.rh IJ t ~ l
lr r r í wu í t 'UJ í ¡ ww U LYW U bU í 1

Jffirhfffil - ¡mr.rnm¡ - l
3 3 3

l
mm;J

; .¡nrhJ>J J> IJ
ur...u ~ u..ru r
~ l
, ~¡ ~
Iu u .u - u u - L._J
• 3 3

l
rnfTñrh
w
¡rnn=nm ¡J ~ ~
bf.J L! w '=U u bU '=l.! i
l
54 Studying Rhythm ..._.
~

.__ Studylng Rhythm 55

14. HALF-NOTE BEAT


...._. 14. C) (J o120)
Vivace

J J lo JJJJ IJ JJJJ J IJ JJJJ J 1


Whcn no valucs smallcr than eighUHJO!es are involvell, thc half-nolc bcat
prcsents no new rhythmic difficulties, but simply a realling problem : Wc musl
~
......... -----JJ
see a half-note as onc beal instead of two, anll scc a whole note as only two beats,
and a quarter-note as half a bcal. Sixteeulh-notes llivillc lhc beal inlo eight parls.
The new symbol in this chapter is lhe breve, which equals two whole notes
~
~
-lo
1JnJ J..._..J J J 1
---- Jlo
JJJniJflJJJJ JI
-----
u n.J J..__..J nim 1J n J J J nJm 1
0· -

(see the firsl measure of study 14. H). The wholc rcst conlinues to be used for a
whole mcasure rest, even lhough il is also used for a half-mcasure rest in four-two ~. 1J nJ J J J J J u nJ J J J 1t J J J ·n 1 11 O· -
time. The wholc rest is nol used for two bcats in three-two lime, jusl as the half
rest is nol used for two bcats in three-four time. ~
~ 14. D) Allegretto (d ., 92)
14. J) d= 88-176
~ ~ J J 1o J J 1J. J J J 1,). nJ J IJ - .J J 1
~J J o :11 11: O· J :11 ~
lo nJ IJ nnJ IJ nnnJ IJ J J1
11: J J J J J J :11 11: J J J J J J :11
~ --
!4. A) Allegro (d =132)
~
~
lo.______..lo
l). J J J 1
1
1
1-
1
JJ1
1- - J J 1
1
----
O•

---------
O· O
~
~o IJ J IJ J J IJ J J IJ lo IJJ IJ J J J IJ J nnJ 1 ______lo 11 .........
O•
....

lo 1J J J IJ J J IJ J J J IJ
14. 3) J = 48 . 60
IJ J J IJ J IJ J J IJ J 1
~ J J.; nn JfflJffl:ll ~ II:J rJrrñmm mJ.m:ll
lo 1J J J IJ J J 1 J J J 1J 11
14. E) Adngio ( ~ 60)
J
Presto ( J 160)
J J 1J J J 1J J n 1J J /ffll o_lJ 1 J 1
14. B) =
~
~ J J~ J J J ~ J JJ J J J J J__j) J 1
J IJ J J 1J___lm IJ___) J Jni o__j.J t J"J 1
o o
1J
I~JJJJ)JJ
- - ....__....IJJJJJ J....____..IJ Jo
IJJ JJJJJ 11
rm
u J '.J......____ u J J11J u J...__.,...J Jffll q_ u -- 11
~ ----
14. 2) J = 60.88
J 4. f) Largo ( J = 44)
II:J. J J. n :11 ~ J 1 J J. J> J. 1 n-n 1J J. )>J. ., J J11
l.h J ; J> J J> J n J> J J> 1 J. ;, J> J ; J ~ , 1
56 Sllldying Rhythm Studying Rhytlun 57

IJ J. ~J. 1 JJJhiJ J. ~J . ., JhJhl 14. 1) Allegro ma non troppo ( J - 104)

l ~j~~ííIJ ¡¡
JJJniJ- JJIJ JJn¡J - nn1
l.t>J ~~J ~J n;¡¡;nnJ J n 1 J ., ~n(}mJ 11
i íii t Í Í íí í ¡¡¡ ~¡
J ~ 40- 56
J J J l ;m 1J J J - 1- ~ J nrJ 1J. J J n 1J -
14. 4)
11
1 ~ J J J J J ~~ -
~~ i i i i i :1 -
11: J J
:
J J :11
í í i i:
- 11: J

ni;mi Lllf:
J J :11 1í i í í i l í LW í í í í í. íí í í -
14. J) Adagio ( J= 40)
- 11: J J J J :11 - 1: ~nJ ñJ Jnn:ll
J J ñ J nnJ 1J
l ~~ J~ J n 1J
- :L!ll@@CCCU!: :j í í i : 1J t J
í í u r r r ur UbCí L!.ll ¡
14.G) Allegro(J = 96)
J nJ nJfflJ niJ J n IJ ~ J
1 ~ J J J J J 1J J J. J 1J J J - 1J J JJ J1 Ií í U r' bf r '1 Wt r' H b!C r: r: í t
~~ í j' i í í i í - i i í í ¡· i -
JJ ; J n JJ ~ nJ 1J J n 1J t 11
JJJ j J IJ J j - IJ j J- IJ J J- 1 1í í U hL !C b!U!b!j '-!..:!l!J í
íI í ¡ ¡ - ¡ ¡ ¡ - ¡¡ ¡ - ¡¡ i
J J J J J 1J J J J 1J J J - 11
1í ¡· i í í i i - i i í 15. DOTTED-HALF-NOTE 13EAT

Reading six-four und nine-four me ter, we quickly lcnrn to npprcciu lc the


14. H) Presto (J~ 192) cla rity with which bcams show bcats in six-c ight und ninc-eight mrter. llcrc, wc
have to lcarn lo scc ninc consecut ivc quarter-no tcs us cnnstituting threc bca ts.

15. J) J. = 4!! - 72

J J J- o o ,._,_.
~ ~J. J JJ J :JI IJ:J J J J J 1J J lJJ :JI
í í í í - -í í í -
o
í ,__,_ IJ:J JJJ J. J>J J. m :11 1u J J nnJ :JI
J J_j) J J J J J -
,.........
O • • o O O -
,..........
-- í i i - o í - í - lí o í o ,_,.
,...._.
~
~
1u t < ·r rw r 1 r<r ·¡ ru 1
rl r r í<r ·r rr.r n rr 1
J J J J1 J J J J1J J J J 1J J J .J 1J .J J J1 1i ( ( ·¡ i i i 1 j<( ·¡ j<( ·¡ i uí 1 j<( ·¡ j<( ·¡ i í i 1 i 8
.-
1otlnJ tJQ ·¡ r r r ri r ¡ ¡ r r r r r i r r r r r r (u=·¡)OJ:I;)IfV (H·sr
{ j J J1 J J J J1J j J J1J JJ J1J J J j ~ ¡
1 ·- T r r r r r r rr r r rr r r r r ·rB 11< r r r 1r r r r<r ·¡ 1w.r r rcr ·¡ 1r r r r 1
aii!:J
(09 = ·¡);!J111!puy b'Sl 1 ( 1
í i i i w .i i u í w .i i<f .i i i i i 1 1 1
1 < 1 1
r ·r r r r r r r r<r ·¡ r<r ·¡ r r r r ~ 1
: J J J J J J J: ~ :J J J J J J:ll - (09 = • f) a¡uupuy (a ·s 1
:ar ¡q- r<r r<r<r rcr i: - :r r r r r:' rr
11 -- ·o 1 ¡ ¡ ¡ r r r r r r r1 r r ·r r r ·r1
: J.J.Ja .J.J J~ .J:I ,~ ll:n J Jn J Jn J J:ll -
11:LJ1 i icf jcj í j: - :Lf í i i iL! iU j: 1 í í 'j · O
1 ·- i í í í í j -·1 ·-· ·¡ i í ·-1
: J J J J J J J:11 .... 11: J J J J J J8 ¡ 1 ·¡ ·- i í í í i í 1 ·¡ ·- í i i í í i 1 ·- 1 •O
11:iL.WííUUlfí: - : íi íiíii~
1 i í í i i í r ·¡ 1 i í ·¡ ·O 1 í í ·¡ ·Olí
o9-ov =·r cz:·sr
(9Zl = ·¡) :>JCA!¡\ (J ' SI
11 ·- ·r 1 r (r r r r r r rr r rr 1 1
r 11 ·- ·riWJ íU íLJ iL!llllliJ í ·- 'íl
1 ri n r r r, r r r .- ·r r n r 1 1
·r 1 ü í í í iLJ íü i 1 LJ í i ·- ·¡ 1 í i í i i í i 1 i í í 8
1 rr n rr 1
r ¡ r rl r r r r r ·- 1 1
·r (95 = ·¡) O!:lupy (II '51
1 ¡ rrr ·r 1 1
r r rr r r r r r r r r ·¡ 1 ·r B
(9 11 ·~ · f) O.ljjJJ[ V (.oj '5 1 11 ·o 1 í i i i i 1 i í í í i 1 i r ·¡ 1
;t: 1 ·- i i1 í í i i i 1
í i i i i 1 i í i i i1
11 t { ·- ·¡ 1 ~ 1 · ·- 1
r r r r r r r r rrr 1 1 í r ·r ~
1au ~ ·¡ ¡ r il Lf<t 1
·r crrrLrtu r r<r ·rrrrrrn r r 1 ::t! (sor = ·f' ) oJ¡¡<~Irv cv·s¡
6!> llll¡I Átl)l 8li!ÁPn1S lU4lÁII'lJ 8tt!ÁpnlS R5
&o.-.
:t:
60 Studying Rhythm

15. H) Moderato (J. = 72) 16. EIGHTH-NOTE BEAT

~ ~ JJ J J J ·Jj J J 1J J -· ~ J J J J J J J J ~ Thcrc are no new rhythmic problcms here, but simply lh e probh:m of secing
l ~ } } ~ í i í i í il? i í í i -· ~ i i í í í i an eighth-note as equal lo a bcat, a quartcr-nole as cqual to two beats, a thirty-
sccond-nolc ~ s cqual lo a quartcr of a heat.
1J J -· J JJ) J J J J J J J J -· $ J J Thc four syllables of " lhirty-second" may be spoken cventy so as to match

fi r r r r -· 1 r n r rr r r rrr
thl' four lhlrty-second notes wilhin !he lime of an eighth -nolc. AILhough thc
syllahlr\ bccome too tricky Lo be useful in somc úollcd ar¡d syucopated pattcrns,
speaking thr. namcs of lhe note-values may be hclpful in lcarning thc more straight-
J J J J J J J J. -· 1
forward palterns of eighths, si.x teenlhs, and lhirty-scconds:

~ ¡ í ¡ r ----¡ rlr r r r· F1 JJJjJ H~ J second M=:Jleen


A thirty
sixlcen thirly-sccond cight thirty-second six

15. l) Allcgretlo (J. =52)

~4 J n J J n J J nn 1 J. 1
16.1) ) = 72 - 112

3 rñ Jffi :11 - 11: n ;m .FJ Jm:ll nn n


(i í uí ui u LJ i i i uí í í u - 11: :11
J n J rrn J J Im 1J. -· -· 1 1 - 11:mm mm :11 - ,,: J J :11
1í L!i L!í ULriL!iL!ií i U
16. A) Allegretto ( Jl= 112)
J>J J>J J J>J J>J>J m 1J. -· -· 11
~n 1n 1m 1n 1n 1,rn lr.-1 1)) ~ 1
1í Ui Uí U~¡~¡ ~¡ Wí í í
l5.J)

¡ ~ J 1 J.

Andante(J. = 44)

rr
J>J J. J>J J J. J>J.
~CJr· ~
1

¡
m
r uur· ~ ur· ~r r
1 J J ~. ~ J 1
1m 1m l.fffll·rn I.F7TI 1fffi 1r11; .,
--
1~ In 1~ In lrllfffi IJTñ IJ
-------
l.rn 1.))., IJ ------.1))., Lrn 1.))., IJ IJi ., 1
11
J J. J)J'"JJ. J>IJ J nnJ. JJIIJJ. J>J } 1
16. n) Viva ce ( Jl = 120)
I ¡· ~ í ¡· ~ i í ¡· ~ ¡· w í í ~ t í
gJ J rJ 1~n IFñn 1.r-1 ·7 1..r==.r;.n 1
- · J. J>J IJ .J. )>J } J IJ. J>J J J. ;·1
1 ¡· ~¡ í ¡ · ~ i t i ¡· ~¡ í ¡· ~¡ ~ i 1tnlffl1rnm 1n -11~m IJTlJñ 1rnJffi1
J } } ~ ~ J 1J· J>J J· J>J 1J J J> J· m 1J. $ ~ 1 lt=n :¡¡;mm 1JMm lfi1n 1r1 :r 11
e:
1r ¡· r ~ r r ~u r· ~ ¡· rll r r u r r· } }
1
1
62 Swdying Rhyrhrn
Sllldying Rhythrn 63

16.C) l'resto(JI= JlH)


--:---.... ----- ---....
--~..61J>.,.,

1 - ,., n ,.,
1 -- 1~

J>., IJ>
~
)1 1 ;,.,

'1 '1 11
1 --1~
,--·
J>IJ>.,., 1
;, ,., J>ñ ll
-- ---
;, 1 l
~ n-1
~ LW
¡m ¡nJ. ")¡n
~¡nJ . 1¡--yj"JI
'1
t.:U r c.r¡ r e.rr w ., r r í
....,---
1 '1 )> ñ ,., Jfflll )
-......... .---
1) '1 '1 1 - 11 ) ,., )>
-·-- ............
¡ 1) ., 1 lr-n ¡rm ¡ ~ ¡m.,
L..U blr"! ~e- U!
lñr= ' 1 ~ ~~ 1
Lll UJ' t LW
'1

16. D) Largo (JI = 60) J. m¡-¡rm ¡.r-n ¡rñl ¡;. m ¡J ., 1


~ JmiJ. tn lr-l fñlrr-1 ~ 1 )) ;t)Jffl l
I ª-LJ - LU r'Cb!w.:._!~!~í .,

¡;:-; JmiJ>.....__.tmm 1JJ ~~1r.-n lt ~~


~~ ¡¡;,¡~n m
itJ J '_Ltn~m IM.b 11 §n ¡n 1-'ñln l.r=rnllffiln ,.,J>l 1
l~-u u U:rU ~~W!u ~o
~
16. E)

~ ñ!J..
Allcgretto (JI= 92)

)IJ. ñ ITntnH In., ~1 I


¡m ¡m
n-- U l.U:!
r-;r, LY l?ffi-
lt:n¡n ¡·'
¡; 1- 1
W bU! u.J U ., bf
IJ...___.....nm 1J...___.....ffm lñmrnlffllñ'l ~ ñl
ll :¡ nn ll :¡ tn....__.., ltJ J J 'lñ., '1 ñ'
IJ . .b..__.. ll~m n 1mnt!Jm 1nm u '1 11 ~

16. F) Allegro moderato ( J>=108)

I)J
...__... - u....___........1nm ~
:¡ Jtn~ 1;, :¡ Jtn~ 1ñm.J> - '1 1
IJJ n".n1 nmmm 1/j. nn. m IJ. ., 11

16. 2) )> _ 44.76

lil n-1 :1 -- l'=n J ':11- l=mnm :11--· 11:J. rm=¡¡


~ rrcrr r : I= L~ = - : bU~~= =r .f =
64 S!Udying Rhythm Studying Rh )'th m 65

16. J) Allegretto ( J> = 96) 17. B) Adagio ( ). = 48)

~J
~ :¡ w J bJ! 1
m ~
b!l 61:!
:¡ :¡ :¡
1 J

~ 1J J. -~¡
'=41 :¡ w :¡ bJ! :¡ 61:!
1~ .,1) ~ ~~ ~ ~~
~~~ I~J. ., .Jll
)i lt=TI
1).
ffliFmJ. ffliJ>.
~ '1

J nJ Jmñ'") ~ JJHJJJ.___........Jffl 1tmtm l JJ mJJ miJJJ3J:JJ39Jn 1tn .Jl :¡ .Jll


:¡ bkf :¡ w
~

:t bY :¡ b4J :¡ bid :¡ b4:!


1n ~u. mJJ m IJ.rmJ999JJI.b. ., 11
J mm Jffi ~ ._.... J ~
17. C) A!legro moderato ( ) . = 72)
:¡ b!:::f :¡ bJd :¡_ b4! ~ '!
~~ .hlnnmlnnm 1m Im mJ 1J). J>. ., .hl
l .~mOOinimnm i .FJm.fW~I.h 12·, )1
17. DOTTED-EIGHTH-NOTE BEAT 1n .r1 mi 1m 1 m r=m 1J>. J). 1 .r51 nm rm nm
Again, the problern here is o ne of read ing. In order to tcad six-sixtecn or 1nmtm 1ntm ¡=¡:m 1 r.mtm~1.~ J>. i 11
nine-six teen meter, we must be able to scc a dotled quartcr as lwo bcats and
n as a whole beat.
17. D) Allegretto ( J>. ~ 63)
17. 1) ) . ~ 44-76

1~ mn n :11 - 11; tm ~ fm:ll - 11: J. ;. :ll 1n ;.....__....rn 1n J>. :r m1rn·~~Jmj ~


u. .,. 1
ll:~!m .m:ll II:J~JJJJ.r-Jm..rr.=n:ll
- -
1:¡;m~---- rm 1 J> ;. :¡ ¡· 1:¡ ~ J1j .17m 1:¡ J> J).
- n
:¡- 1
li: TJ fM~:II - ll: ~íJ m:ll
..__.

u. tml n tm JJJJJJ 1n ,. :¡- m1J. :¡· 11


----------- ·-----
17. A) Allegretto (

~~ nrn 1n~n 1 1n~


Jl.= 72)
-----
---... 1n.rn
1n;. 1
J 7. E) Andante con moto (

lff t=mm tmm 1m n m J> :¡t.f!ñm tmtm 1


J>. = 52)

1n n _1;. -;,. _1n _n 1n n 1


ín ~ lffjnffl J> :¡ ¡Jn nm=~ n lyy=j tn J0
~ 1nm 1n m 1n n 1h . u l}. y· ~- l ¡===mfflJJm~ i !nJJm~.m l

1Jmtn ). )) 11
66 Swdylng Rhythm Studyl11g Rhythm 67

17. F) Allegro- ma non troppo ( ). = 88) 17. 1) Andan te ( ). = 56)

n n n m n m J> :¡ m n m n 1m
Fine'
ILJ~ 1 J~.m L _.FTI t=fj )>.....___ t=TI .r=n )l.
l
1 1 1 '/'

llftm.b=tmlntmnJmft==mm; =~mi 1~ v· ur b4:f o· bJ1 r::1:1 ~- bl! v·


1/J lñ1tntm llntmJ>. 11
1
JffJ .b.
LJ~ ~
Jrn !m )>. 1

L!~ ~
trn llffl )>.
L.!'=UJ •t•
'/.

17. 2) ). - 40 - 60 Da capo al [tne


.,. '/' 1
l .,.
~n=n~l~
WJ ~ b::b! U1l :r u
17.1) Allcgrctto(J. = 63)

¡ ~~~~ ~=~:¡'Jn
~
loo tm .r=rnl;. .,. :'ñl.m nn ~~
:¡ L.« LJ(bH.f ~- ., ~ ~ :¡ L._JfLJfbllf
17. G) Allcgro ( ). = 92)

rnlnUUni;. .,.., Jtl ;.1 ., m1bKf'


~ .t=rn .rn=:J 1
:¡ 1 J>.
¡ ft:¡
l~Jt~m~lnnln
i i.
~- bJrJ bJbf v·
~~ =~ '1
LIU UU LIU ~-

tn__m fl__tn n___~ ~¡=rj ;. ., Jt


LJU UU UU L!U ~- ,. '18. SMA L.L SUBDIV ISIONS

tn r1 n ~ n__m iJ. .,., 1


L! u LJ u
Wr encountered thirty-sccond-notcs in 1wo-eighl and thrcc-cight meter;
L/ u ~- we cncountcred division of the beal into cight whcn six tecnlh -notes appcared
in a half-nolc hcat. Only six ty-fuurth-notcs, dividing lite quartcr-notc hcal into
sixteen, are ncw herc. Such small subdivisions occur in slow tcmpi and are often
17. H) Vivo(J. - 138) ornamental; thcy should be sung lightly and casily.
As elscwhere, thc more complicated singlr-beat patterns shou ld be lcarned

¡ JJ,
~~
lff .,. ~- .,.
Jl
~-
J~). ).
.,. ~- .,. ~-
L__ffl )>.
¡: ~- ~- ~-
J~ffl ffl
.,. ~- ~- ~-
bcfore wholc mcasures of the excrcisrs are ath!mpl cd. Tapping steauy eighths or
six tecnth -notes-will hclp in learning the more contplicatctl pattcrns.

J. ~- ¿m;.; t._mnn ¿_mn}n J. l·


.,. ~- .,. ~- .,. ~- .,. ~- .,. ~- .,. ~- .,. ~- ~- ~- j' ~-
68 Studylng Rhythm
Stud yi ng Rhython 69

18. 1) J- 40. 60
~ n ~ JmJffl =11 - 11= J EJ E~J lD JJ jJJ 3=11 - 1
II=J. ~!Tñ =11 - II=J.. nn =11 - 1 •

m mm =11 nm ñn mn =11
3 3 3 3 3 3

11= ¡:¡n - 11=

18. A) L3rgo ( J = 4_8)


18. 3) ) = 80 . 108
~Jn JD1nn JJJmiiTIJJ?JJJEIJ. J>/J., 1
.
~~ JJJJJJ .=r;:¡:::¡::¡::;;;;:;m:a::~;m:e3 =11 - ti=trmJJ jJmJJ jm=lt
~

1nm I"""!lnlfflfiiml rTin. JmJml J. J>J 11


· nmJmmJmlJ=II
11=/JJIE~=II -II=J,....,ñ~m~
7 3 ·'
1-
18. D) Adagio ( J= 52)
18. E) Lento ( F - 40)
i~l J.. ~l> ., J EJm 1r-!Jffñ J> ., J. 3Jml
il .m 1nm J ~ J J ;m, rm 'm 1. .,~:MI
I~JJm9JfflJ JJm 1JfflJffl)> ., J ñ$rñl
IJ. )/J.,J.SJ#S I ElJffl!J~JJjMIJ . ~J .11
1rm J J>., :r ~1nmn J. ;;n rnm1
1;:-n ., n J j ;m ¡¡---:ijJnJ J> ., :¡ lDffll
IHmnJ. ;;nJ Hrn1rm 'm J. ~;m,
1J. bn J. ;,mJfln 1J J> ~- . ~ 11
18. F) Andante(J . ~ 36, ) = 108)
3

BmiJ mniJ 'ffli/J 'fflH~m~tnl

18.2) J> - 44-60


1m'l .,.m 1nmn¡· .m 1nmn.mmm1 3 3 3

·¡ J J J J JfflJJJJJJJJ =11 - 11: ~ JJjJ"!ffl :11 - 1


· ln:r:eJmn~}ffl}s~ 1/Jm'l .,. _ml.~m-. . rn.. . . _.?-=nn ~m,
1 3 3 3

1m--:r-!-m~· m~Jfflm lñJ ~J ;,miJ ., .,. 11


11=J. !m Hmmm ;m ·.11
70 Studyln g Rhy1h111 Studying Rhychm 71

18.4) J = 40 -52 J mJ J. m mJ J 1J J> ~- ~ ñ 1

~il!!J JJ,mlll-ll:n~:ll-ll:m m:Fm:i'l 1 r 1rr ~ r- t r e wr r w wr r


U'r 1 'r 1: - :U/U/ : - :Llf!LJ..!: JJ !J JJ ;m 1· 1m JJ m n__
Jffln )·
J 8. G) J
Andante ( = 44)
r r· J t: r· 1 ULt LC..J 1' r· 1 u_n
~~
l ~u 1U L.J 1U
¡.m
J J J ;, 1J¡:::::¡:n:;:::;:J=s13 J E JJJ2 J> .,
r :' sb::U 1
J.
r
~J
~
r: !J J. ~n J
w r u er t í
1
LSJ
~-
r- ~u

r
11

J rnEJ J R 1JfflJ 13 Jffl J"ttS EJ J J J> ., 18.J) Largo(J ~ 44)


1r w :¡ u r ~ 1 '=='=! r :¡ Gtbl.J .7 3

HJ ~1 n n n mm J ~
rm ~J J"1 mn .eJ Jffll JJ ~J J¡---ji J ~ ~íU U.JU.JU i Lf ·¡ ~·u
1u :¡ ~ r Fl! :¡ w r trGU 1 Sb6! r
.7

~ .7 3 .1 3

J m rmrffl¡ n n~ m ;:~J ~ 1
18. H) Largo (J= 48)
lr ~ 8./ u_¡ r L..__f ~ w r41d
3

.cmm
3 3 3 .1 .

j2niJ. ~~ r."l iJ. ñ~ I J ~ ~~ n mJfflJ J ñmmJfflJ__ ~ 1 11


~i ~u r ~ u r· ·" u r ~ l u UJ U' r r ~ u 1' u LJYr 3

n rn.r:-1 n ~m J ~ ¡--n
Uu-U:t U u~ Ll!r ~
19. CHANG ING SIMPLE METER
J JJJEr-1 n n-!.r:--1 J ~
r~r-rrrer Jucr "t.Jr When changing meter, we must kJtow what thc ncw meter is well befare
beginning lhe mensure. Even though it may seecn espccia lly difficull, conducting is
particularly hclpful in lhese studies hecause it forcrs us to be awa re of the meter
before we make the geslure of thc downbcal , sin ce tha t gesture is diiTcrenl in
18. 1) Adagio ( J>= 92) differenl meters. Good preparation for thesc sludics is conduct ing the measurcs
and simply counting the beats aloud, so we hccomc fam il iar wilh the succession
of mctcrs befare tackling the actual rhythms.

19. 1) J = 100 - 176


~~ < n 1 n ~ "~~ n ~ '· t1 n ~" n ~1 t ~ n
~ ~Cl<f"U!Cf" tU<f" tU t tU~~ 1u1. ·r~IUlJ~ ·¡~¡u~. ·r1u~ ·r1u~
(08 - ¡) on;}Jl!anv (o '6 1
<zn =¡) oJl!<~u v (!) '61
n~ .J~:II J~.· 1 n Jl l 11-- íiLLU ít!U í l í í~l t iU íi
i~ u u j~: - ! ·¡ ~ <( ·¡ !~
- ~11::un C(n
1 :~:u .J¿I ~I L.UJ' iÍ:I t í íf l L1ll i~l t i íl ü i i~
vt l -ZL "' j (Z'6 1
~~ u r1 u r ~~ t r r1 r r r fl r r 1 r 1~
(Z61 =¡) o¡saJd (J '6 1
11 " tUl ~Wb.U ~~ U!-bU ~1 ~uf~~
tlr:t " W1T~b! i<rti~Ut!Wk { Ul 11 t r 1 r <r ·¡ ~ ~ r r r í 1 cr ·r ~ ~ í <r ·r ~
~~~"-.1 tiW!1.Uti~r:J ·¡¡bl:fk tUl ~~ i i !1 i cr ·¡ti t í !1 f' r f' 1' r r ti u_u 1<r ·¡ 1
lllirJ..ff~ ~1 W:í'LJ!I~1! 'ilb!t lil'f'il<f ·¡1 t í!IU í il f'f'f'ír'f~lef ·¡~
(88 • ¡) oddoJ) IIOII CUI CUl!;)JI V (.~ '6 [
ti r<r ·r~1 r í~l í<r ·rtl ~ í!l r ~ ~
. ~1 j j j fl e( ·¡~¡
ícf ·¡~¡ i i!l i<f · ¡~
11 t r1 u g rcr ~~u~'? rcr il ucr r<tTilwcr ·r1
(091 = ¡)o~auv (U '6 1
1 u ~.cr~~ur ~~ w11l!&~l~ 1. r~"='!-t
ílw<r r~l:ILYC.J<r ¡~¡~~. ru"ªl 11 t í 1 c.. r f' r í ~~ u i !1 u i i 1 r f' 1' f' f' r ~
í'N' i rctflrcr i<ff:l L.LUCf rcr1 U, i U~ l ti u í ~ 1 < f' r i 1 r u í i ~ 1' r r r u i ! 1 1
ti cr í i 1
<r1lt r i r <r i cr r r r r <r i ·í 1 u ~~ t i í ~~ i ~1
u er r r í ~~ r r r í ¿1 u í í 1
(OO J =¡)oll!<~uv (3'61
~ 1 t
í i ~~ r r r 1 e u í ~~ r r r i i ~~ u í t
~ (9LJ =¡) a:JEA!A (V '61
11 t íl ~U~'· í~IU~r!Ug' ·r!Ut.<fUI --h,
1 bl.JbfJ! u ~1 ~ l. '=fJ! "='!u 1~ J. U! "=U u~ ~ 11: rcr · r~l<r ·r<r ·¡;:11 ~ ~
flbl.J t itiU"=Y~iiiU!.<f íiU~bL!I
o+.
-+. ~II:UlJ í i~IU í j~:ll ~~11 : i<f ·¡~lcf ·¡(!):11
EL IUlllÁll'lJ lli!ÁPIIIS .+. WlllÁll'll 3li!ÁP01S U
~
74 S!udying Rhy!hm Suodying Rhyrhm 75

~ r~
l ---
~U~
n
l
~~
U
'1
~
J>n ll ~ J>n li~m-~IJ
~ 7 ~ lU 1 ~ í '/ ~
., ~ U
r-1 ~ '1
ltíx u ñ JT1 .r-n__¡n
í u
~.r-ñ Jnfl"l J
~¡ u u i
~
u u
~ ~
~
- ------......._ ....--------
)_Jffi ~ '1 J]__J7ñ~~ x:t n _Jffi ~ =1 n_¡¡n ~
-1'/ J> J> ·¡ 1J> '/ '1 J> 1'/ J> '1 j) 12))'! )> '1 )n 1n ~ ~ 1

.....-
~-~~~'Ice~ e¡~·, ~¡~·,e¡~~
--
l u l*., u

'1

~j u u ~í u ~¡ u u ~

n ~ J> 1n ~ ., J> ~~ n '/ J> . .1. .J


'1
1~ ~ ~ u ~ ~~u ~~ e u r
~
~
11 ¡ii J t=J ¡--n_m ~ .rn__¡Tt~ J ~
u í . u 2i L.J u i J
19.J) Moderalo(J = 72)
19.H) Vivo(J = t44)

l nJ>J J> ~ nnm ~ ~J. nn 1J. ~J>~ Jp ~


l rrr r u
iJ
1~
J 1~ J
~~ u ur
J 11 J
1~ u~
J 11 J
~t
~ lt
~ l r· or
~ ~ r· ~ UJJ i u~ r ~ ~ u u-~ r P ~

l!J J 11J nJ ltJ


!tí¡¡~~ r u J n1~J ~~
a~ u~ u~~cur
t
4 l~n~-~~nn. m'l~!ffln. ~~17n~ n'1
~~~u ~'le u., o~·,~ L.!~-, o u'/ P
1
nJ>J J>¡a nnm ~~~nñJ ~~J ~
l11i J ¡ Jr r ~~ n lti}J J n ~~ J ~ 11
J
~~~uu
J
u~UJ ~~our l
'f
¡ · ~ i ~ í · e u er i t-J L.....it u í · }_
11

19.3) J = 60- 96

¡ ~ u., J> un u·
~
n ~~~ J>n=11 -11=~)nm ~~ nnm
1 e., o ., o"o.,
u~r = - =(!)., ~
=11
~=
20. CHANG ING COM POUND METER

/l.s in d r:mging simple meter, il is helpful lo ecua! lhc hea 1~ whilc conductiug
- =(~)mm.__Jm ~ mlffi= lhc meter beforc t:rckliug thc actual rlrytlun of caeh sludy. Conducling while

- :(2)'1 ~ uu ¡ '1 ~ u : performing thc ~1 11di cs hclps us feel physically thc succrssiun of mclcrs.

20. 1) J- = 56 - 76

19. l) Andante ( J = 66) gJ. JTI lB J. J. m =liY - ll=~ JTI J ))~ :11H

l ~ ~ 1'/ J ~ 1J> J ñ 11 J> J J ñ n ~ t


!U i U i U ~í U U t U U ¡
1 ll gJ ))ITJ :11 - n t~) nn mJ mJ"Tñ r:m 17ffl=liY
H - ll=~J.m.Jn)!Jmlflrm~ :11
1 76 Studying Rhythm Studying Rhythm 77

1 20. A) Presto (J. - 120) 20. D) Andante (J.m 60)

1 g.b 1m J .bln:J la m nJ m
1J J>J. ~ J>lg m
1 ~----- --

1 RJ J> m JTI 1J. ~· J J> IJ. ~· J J> lB J. J J> IR arn rm IJ. mJ ~!RrJJ J. mJ Jtñl
1 --=---..
RJ. 1· m
----;--....,.
lB J J>rn IR~· ~· /J11 J. ~· J J>lg
~
IJ J>J. ~ ~IIJmfJmJJ11gn mJJñl
f,
1 9~· J J>IR ~· 1 J>J J> 1g 1 J>J J> IR~·
------
.hin 1g ~
IJJ mJtJ'~ IR In J. ~J> 1g ~ J ;, I[Jj rm m
--..... gr.rJ rm _r-¡n 1J J>J. ~ ~ 1g ~ 1.m ~m r.m
t g~ J>IJ11R J. ~· J J>I))J J. J J> lgJ>J J J>m grTI rffliJ m 1 J. ~· ~ 11
1 RJ>J J J>JTI 1g J)J JTI IR m m J>J 1J. 1· 11

!
20. E) Adagio (J. ~ 56)

20. B) Vivo ( J · - 132) QñTI nnm~ m-J J J n1gm., ~· 1

8J. J. IR J. lm:JliffliRJm Jm Ilffllgm., 1· 1-mmnm


1 1 - IJ J>J J>IRJ. IJ~ m
1gJ J>J. 1 m RJrn"J JfflJ m J ' mJrn"J
ñTI m J ,¡g ~· 1

1 1 - IJ>J J J> IR J>J__) · J> lJ1 1J>J__rn JTI 1g B~J ttnJ mJ "BmJ 'IJ rn IJ. · 1· 11
1
§ J> J J. 1 - 1 J> J J> J IR JJ J> JTI 1 20. F) Allcgretto (J. ~ 66)
1
r· IJ>J
20. C)
--m
n1 1J>J J>J
Allegro (J.- 92)
m
1g J ;,J. 1 - 11 RJ>II"mF.m.Jm IB F.mlm IH!J ., J)Jn~rm 1g
gmmn:n 1mrm1J. ~ J>lgJJ mfJ mn=n 1g
f.
R/J m~ IRJl., ñTfflffn IBJJJ:rn~ 1
1~

gJ. JTI J J>IJ J>ITI J J> l.r:-;J 1g ~m


g~~IRJ. mJ ., IJ ;mJ J>l.r:-TimJ J>lg ll'mnffliJ. ~ J>IRimrm.mn 1g lm.ffflJ IR
~ n:J JTI 1~ ~ mJ. n1 J ., 1n:J m J J> 1g Rn., JJ mJrn 1§ JJ mlnJ lffmffm IJ. ~ 11
~r.JJnli~~IRr-TimJ J>IJ. ~· 1· 1! 20. 2) J. - 44- 60

~---------------____.
r 78 Studying Rhythm
Sl udying Rhyfhm 79

¡ggrJ.JJ Jr¡¡ -¡¡


í w: - :(g)j
~
: (g)., ;m.,.
~ ~
m ¡~ ~ ~7·
gí ~ ~í
m.,. ml'lg
L..U : g
20. f) Allegretlo (J . ~ 60)
í
n=n ¡3n:J
gt·
1J.
t1!
J.
r r·
rTI 1~ J. Jrj 1J.
gLl! r· t..!!
m
r· g
1~
¡~ :BJ71
r
.n=r;J 1HJTI ,¡-,ffJ :11
11:nU /'j WcC W gu..ll ~r' H!=
~- rm 1J. J> .rm 1
20. G)' A llcgretto ( J· = RO) l tll
g J.
~ ¡· )·
J J> !7n
L.lll ¡· í ~
lgJ
~ UL! í ~

)1 J J> ¡--¡;) lg J. )· rm 1m J J> n=n lg


l gJ.
g.,u.,~.,
J )1 IR J.
g.,u.,u~~ .,
J. J )1 1 J.
·,u.,u.,~.,
JTI J )1 lg
g l L..W i O gUl! ¡·
r
~- U!! UJ í ~ g

¡ gJ_
g.,u~.,.,
~- IJ>J
'fu~~.,
J )> lg J>J
g~u·'u'f~'f
J>J J )>1
lgr ur
g J. ~ J rn·~ 1
L. tr r
~J
btí t.. .t: i
r n~ lg J.
gr:

bti ¡·
11

.l , u.,mu J.,
J> J
~
J> lgg.,J. u ~-
~ ., 1'~ ín J
., ~
J> IR
., g
20. J) Andante (J. = 54)
'l i
g,. m¡J J> rm¡J. J rm; ~- m¡~ ~~ ~¡

l g ., n ~ n J
R~ r ~ r ., ~ 'f
J> 1.,
~
n 'f n
r UJ
J
u g
J> 13 J.
u~
t-
'
11 lgu...r UUí O í BLWi i v ~UJ ~
j
'f· m ¡g J ;, J.J ;:n J. ~- m¡~
'1 '1 '1
~~J. 1· ·1
20. H) Andante (J . = 52) ~ i ~ ¡- UJ gt~.M! í ~ i ~ UJ B

gJ J>rn lg J .t>J J>r.n 1J. ~- ~- lg m ~lB ~~~ lJ lñiJ r:rn )· 1


lg., U 1 u 3'f U ., U 'fU '1 u 1 U 1· g.,. U 1U ., R ~gt_ WU WLLJ ¡· }·
11

1
RJT:J m ~ 1 J. ~- ~- 1 gJ. m J> ., ., IR
g.,. ~ ., . U ~U 'f .,. U 1 a.! ~- ~ ~ ~ ~ L: W B
l

~ gJ. mJ~ i ' ~ , ;\g , • •";j .~ i ,.~~~ :J ¡;:; .~ '1 ·: ~- lg 21. CHANGI NG BETWEEN SIMPLE AND COMPOUND METER
WITH H IE DIVISION CONST 1\NT
1
~§ ~ 'f :¡~t..1lft..ll! g~ 'f :¡ ~~ ll ~ :¡~Uf' 1· g
}gJ J> m lgJ
1J. ~- J> m m ~- 11 ~nd
\Vhcn changing bctwccn simple ami compunnd meter , as between two-four
six-cighl lime, thcrc is normally an cquivalcncc cithcr hctwcen lhc beals or
1
lf' U 1'-U ll U ., U :¡b.Lf :¡UJ ¡·
1 ~- hetwccn !he divisions of the hcats. In lhis ~:h:1plc r . thc division uf !he bcal rc m ~ in s
constan t : Whcn uwving bctwccn 1wo-four and six-cight, thc cighth-n otc renwins
!he s:une. This mcans U1:~l thc beat is longer in compound meter, wherc il has 1
1
..._.,
~
Studying Rhythm 81
80 Studylng Rhyt hm
~
~
three eighths instead of two, and so the lempo is slower. Moving from six-eight
g~;-rni.JJmn., 1~rnrnn IJnnJ>., IR
to two-four, the lempo speeds up because lhe beat is shor ter. lf the eigh th -note
~
~
is constan! at 216, for example, the lempo in two-four or Uuee-four will be half
of that, J - 108, while the lempo in six-eight or nine-eight will be a thinl of 216, Qrm ñn IJnJ J ., 1~ !nllfm J .,11
or J..n. The tempi of the three note-values are given only for the 11rst exercise
and study; for the rest, those not given can be derived from !hose that are.
~
Tapping the eighth-notc throughout a study, or using the metronome al 21. 11) Presto, J> constan!( J = J44)
the speed of the cighth, hclps cnsure U1e steadiness o f the eigh th as thc meter
changes. Studies that alternate between six-cight and thrce-four ca n also he ! J J. J>J J. J>J J. J>Jl IJ. J>n IJ ~ J ¡g
1 1 1

gJ. JTI IJ. m IJ. J>J J. J>J J. ~ j) '~


p racticed with thc metronomc at the valuc of the quartcr (making a cross-rhythm
with the six-eight mea su res) and al the val u e of U1e dot tcd quarter (making a 1 1
cross-rhy thm wit h thc two-four measu res). Simi larly, studics altcrnating bclwee n
six-eight and two-four ca n be p racliced with the mct ronome sel at the specd of ~ J. J> Jll J. J>n IJ. ¿n IJ. -2_n J t n IH 1
the quarter-note; those allernating betwecn nine·cight and th ree-four can be
practiced with the metronornc al the speed of the dollcd quarter.
Counting the numbcr of eighths on a beat, while conducting thc mt:ler,
~J. J J> 1 J. J J> 1 J J>J J> 1 J J>rn
..._.. ----J>
IJ. 11
is good preparation for the studies:
21. C) Allegretto, J1 constan! ( J·= 56)
1 2 1 2 1 2 1 2 3 1 2 3 8~ 1['"11 n=n u JffliJ m IJJ J J JJ J>., ~ ¡¡
Normally, when meter changes bctwecn simple and compound, the
equivalence - ~ J> J>
or ~- = ~ - must be shown at thc point of the change.
i ¡::¡::n m ~ ~ 'n_ ¡::¡::n J ., ñ ,g
1 1

This has not been done in these studies because thc eighth is always constan!.
B.rJJ ;:-m 1/J m/J mi ;JJJJJJ>., ñl~n-InJ
21. 1) J1 consta nt, J~ 72-120, J.= 48-80, )= 144 -240 1
.._.
¡:=¡=n ~......__....1 ~ ,¡¡---;....__...1 J J J ~-Jfñ 1 J i 11

~ nnn I Ymm:lr~ ll=(g);m rm


> > > > >
~~~nm =11~ 1
2 J . D) Andant e co n moto, J1 constan! ( .f>- 144)

l.¡
n n n. ¡g r.-n ~
n<~) =11 ll=(g) rTI r.-n ~~ Rmlrn.rn.r.ml~r.mJJJJJJIJ JJJ. ;· mi~
.1
¡¡ ¡ n n~m :11 II:(~)J. J> J ¡g J. J J> :11 ~ .n ;:-,m 1n Tl ~ 1r--1 J 1m IR
i'
II®J. >J>J 1~ J. J>J :11 11:(~) J nJ
>__..
IBJ J>J. =11 BJn:Jfm)fflj 1nn~mm1J J;J. .,.m, ~
il
1, ~ m .rn lffl n 1 ~ Yffl 1 n J> ., lTñ m
p 2 t. A) Allegretto, J1 constan! (J.= 80, A 240, J z 120)
,,
1
BrrJFmJ~I~JJmJJJJJJIJ. ~- ¡·11
¡! gJ J>nl I~J ., IJ"n~ IJJnn., 1~
,.
~n .rnrn1n rñJn 1
rnrnn 1mmJ>., IQ

1~
82 Studying Rhythm
Studying Rhythm !l3

·/,
2 1. E)

~n;nm
Allegretto, ) constan! ( J= 80)

mm J Jfflm., 12nfflm IH l§J.


g} ~~
J. I~J
o~ ·~o.,~
J lgJ_
g~o ~~ ~·~
J. ,~J
~ .,~.,~
J ¡-- lgg
~ J. m JJ .=n__lfflJ 1~ n J. ' 1n m/rn m ~ J J> J J> ~~ J n n IH J J> J J> ¡~ J ~
~rm¡¡-¡:¡jm .,1 ~nm;m1grmffnJnmll
~ ~ ~
lg'f ~ '1 '/ ~ 1 ~ '1 ~ 'l ~ '1 ~ 1g., C.J •¡ u ~ '1 ~ i
11

~ ~_!Tttrn 1 J ~ ~ 11

~ J>ln m¡g¡n.rm ~~ n []jf"J,jl~ n1 nrJ ~ ~~


l
21. F) Allegro, ) constant( J· ~ 72)
~ ., uru gua r.u zuru u gLJl! UJ L..Uf' ~
g.~ IJ J>JTI 1J J>m li J nj__n n IY J J>rn 1
u ., ~ J> 1J> J JTI 1.rn~.m li n J 1n J 1g --- --- ~J t ., J>¡~n .r:r1¡gl'Tl mlj~
l ¡t
~¡ g,r r tUJ
~UJU
Jnflll
g
U! g ~~u
n_

tmJ>J IJ ., ~ J>l~ I"ñmJJLm_.rm ~~ Jmm.....__....IH


n J 'n J ~ 1~ J ~ ·~
g__¡m ~ 1~ m lffllg m ~ J> 1J>J J J> 1g ·
g))J ·m 1¡ .t>J J> IJ>J J> 1g ¡n nn 1J. ~ 11
laer r
Hr7l
Jl..U r r" ~i í .,
11

-- 2 1. 1) Viv:wc, .Jl const:mt (J. ~ _~O)


21. 2) .Jl constont, J 56- 112 , J= 84 · 168, ) =168 - 336
gJ>¡r.-n ¡-n m ¡g~ !TI ¡~nnn ~~
l
· a

gJ J> J J> IJ J n~ n~ :11 - 11:~ J IH J g~ L.UL..Ul ~ ML....U ~ ~~u u·~~~


u ., u ~ ~
lg'1 =i UJ g
~ nn 1 ~ m lg .rTJ ñn ~~
= ~ l iC...t.,~ ~ .,~gUJUJ~
J> jR m
'f '1 'f : - 'f
., .FJ"n
gJ J> J J> = =
~ J ;, J J> J J> ~ J n~n 1 ~~UJ~ ~~
lg,u.,u = - :3.,u.,u.,u
1 -
~¡ ¡ r =
:t: 1 ~u u ' o ¡u ·~ ~ ~
~~¡--)m·¡~r.-lm ¡~ ..,, J> ¡~
u g
~ ~
m lg
21. G) Presto, ) constan! (J.= 96, J= 144) ~ g }· ;;nli ., ~ m¡~ m J. mJrn lg
,..._, lggJ. mñ"n¡~nnm
J.

lgJ J> J ;, ~~ J nn lg J J> J J> ~~ J J ~~ ,_,


~
~· UJ U RUJ UJ ~~ 1 ., ~
J> jR
~ ~ H
¡~r1m ¡J
g'f~ 'f'f~'f ~'f~ '1~'1~ g 'f~'t'f~'f ¡.,~j

~~J n n lgJ J>J>J ~~J ~


B
,._,
,...., l u., r
;11

l u ., u
RJ
g 'f
J>J>J
~ 'f ~ ., ~ 1 ~ g'1 l.J ., u ~'f ~ i 1:
~
gL.LJ ~ ~ ~u ~ ~u 'f ~ '1

~
·~
Studying Rhythm SS
84 Studylng Rhythm

3 3 (J~J.)
2 1. J) Allegro, J>constant (J= 138) 1- ll: tn n 1mm:11 -ll:tn n 1grn Jn:ll
~ J nn
gJ JJ J
¡ ~ r r -¡ gr· r JJ iJ J J gJ. J 7 ~ 1-II:MDJ m 1~n n:lf-ll:g¡m ;m 1~ rnrn:ll
~ r u~u gr ~ i ~ ~
Allegro, gJ _ =~J (= 104)
~ n n n gm J J> ~ J J J gJ. J 7 ¡ 22.A)

l ~ r r -----¡ gr· r· ~u u~u g¡ ~ i ~ ¡ iniJ


-
n IJ
------
n u J 1~ mlgJ.
- .- f¡
m
-- --
IJ.
-----
m 1
¡ J> J J> 1gJ J> J J 1gJ. J 7 1~ n...-- IJ 7J>IJ··,J>In J ¡gJ. 7 n 1
~

l¡ r r gr· r
)J 1¡ J
~~ r ~gi ~ i ~ i
IJTI.rn llJ
,-J. 7 n IJ. ~ J>IJTIJ. 1D n IJ n J>nl 17

¡ ¡ r r r gr· r·
~n_n_ngJ>J J JJ~J J J gJ. J JJJ. ~­
i u-uu g~ r ~ r r· ~- ,-;m,J ., J>jg J. m lt· m 1t' 7 n l.rnm~. 11

22. CHANGING BETWEEN SIMPL E ANO COMPOUND METER


~J nu nlrnnlrnJ>·,¡gJ_ .rniJ. rn1
WITH THE BEAT CONST ANT IJ J>J J>ll"'nJ 1I~J n IJ n IJnn IJffiJ>71H
In this chapter, whcn moving bctwee n simple ano compouno meter, thc bea t gJ. J J>l J. J J>l m J J>l rm J ., ~ J J>·l~ 1

rcma ins constan!: the dotted quarter in compouno meter equa ls the quarter-note
in si mple meter. For cxamplc, the eighth -note in six-eight is on ly two-t hirds as irnrn ¡g .mrmlrJffiJnlg.m~IJ. t· 11
long as the eighth-note in t wo-four. The change is !he samc as tl wt be twecn duplet
and triplet eighths in simple time or between ei&hths ano dotlco cighths in
compounu time. This is shown in Exercise 22.1, whcre the second a!td fourth 22. C) Amlante, 2J. = ~ J (= 60)
segments, with cha nges of meter, sound the samc as the first and third scgments,
am ln"JrnJ ~lmr.mJJJJJJIJ. n 2

where only the division of thc beat changes. ~- 1!


Because they ha ve thc samc number of heats, six-eight and two-four mca5ures
have the same length, as do thrce-four and nine-eight measurcs. Howcvcr, a six-
eight measure, with two beats, will be shorter than a tlucc-four measure, cven
~ ~rnlfflln rñJmiJ t rmrn n=m1
m1~
3

thuugh measures in the two metcrs may have idcntical succ:essions of notc-valucs,
as in Study 22.1. 1~ J. mJJJJJJIJ. ~- n 13rnrniTim
2 3

~ !"11 m n 2
1~ n !ffl ~m J.
3
~- ., n 1
(J.ftJ)

gn=rJ l"'m 1n. n .:11 - ll:g ~ rm 1~ n n :11 1rn ~ n=m 1~ niñJmm rm r.mJJJJJJ IJ. t·ll
86 Swd ying Rhyrhm Srudying Rh y llun 87

22. O) Adagio, ~J. - 1J (~ 52)

~n 1rnJ1nm l.rnJrnmlg J ~¡ ntJnn' g J. J. r~ J J :11-ll:a)n n lg nl m :11


ll'J:J J. '¡n l.n:J rmñn 1nnliffi n. ~~ l gL.L! UJ ~u u : - :(~)Í í gi. i. :
~nmm=JI~J nl~mo=nl.lffimmm
' ' 3

¡1 -11=
-:~~U RUJ U:CJ:- :(füi ~¡ v l
g)r.n m jt
~ n flñ [g JJJJJ~rn :11-ll:c
g¡¡:m J Jtñ 1 trn ¡;:¡:n J J"tn 1~ n J
~m m: - ll: (~)fTn 0 ~~~J. m J
fTfn 11
¡ iu )) =1
u : - : (~)w ~J gr ~ r· ~r
22. E) Allcgro ma non troppo, gJ. ~ ~ J. =~J {:. 92)
~)IJ.
1J
J>n 1~ J....___....;-n rn1g J. m
J> 1J. ñ n lB J-:_____)TI J )) 1g J ~rTI 12
J .,
- I~J>J J>Inl
¡m
22. G)

R
Andante ,

n)
3J. =l J (= SSJ
m~~ n Jnlffll2 m m rm 1
~i ~í ~ í ~ ~U U L..! ~ í ~ í ~ i ~
!J>J ~~m 1m n .,)J itnfl___m 1~ m J ~m lB
1JTJ ~~m r~ n rñ¡n:=J [il
~ J J ~
---J J J ~~ n : ~.......-m - J J J J 1J ~ ., 11
¡I ¡
J.
~

¡·

t· r ~ ~ r ~ ¡ :~ ~ u· u- 3
- -----..______ ~g.rnr.n.rmiJ. ~- ~- I ITn ~J. :m¡~
g~ i>J J>rn ¡~.,)) n ~ ¡~., J> ~ lli 1av r ~ r ~ r ~ r r· ~- ,~ ~ ~ r ~ r 1
[;" n .r--n --rJ. m,. h J )) ,. n ~~ ~-
l ?rñ ~
1L.! u-
fffllg J J ;n J. rm J ¡Jffll r·J.
u · gi ~ ~ ~
~- ~-
~- ~-
j¡'

f'/ ~n '1 ñl~=t~r"ñ lil·r mm--[). ~- ¡g


22. H) Adagio , 43 .¡1 = 86 .¡.
1
( - 52)

gJT"ññJ n!TlfJI~ lffl~mi~~Jn 1g


gnnñJ nlJ. ~- -------~-
¡g.,. mm.,. n ~~ l ~J>¡nn lr.;n
t~ UL.l!UU!gí
¡grn m~¡ ~
[J J>Tn
UJi b"~
l
-..-"

J "J>ln.,rnln~lg n:J J.ff:J IJ J> l7fJ 14


¡ ~~U/U U U U cr.J Mi ~ U! UJ LJ:Y ~
¡grnr.n J>¡nrnl
l ~J "·~1nn
~u u u L..Y gi
~~~-
~ í b' 1 ~ UJ u L...! 1
88 Studylng Rhythm
Studying Rhythm 89

23 . THREE NOTES IN TWO BEATS;


TWO NOTES IN THREE BEATS

The proponions involved in putling two equ~l notes in three bcats and three
equal notes in two beals are familiar from earlier chaplers. In Chaptcr 1O, two
dottcd cigh ths wcre pul in a rlollcd-qunrlcr hc:1 l; in Chaplcr 12, lripl<'ts wcre pul
~~n n n ~~ J J>J ~J J>¡~n n lg J
1~
J>J. in beats normally dividcd into duplcts; in Chapler 13, two not es wcrc pul againsl

ui i i ~
¡· j' ¡· ~ i i g¡· ¡· threc notes in a bcal. What is ncw herc is clwnging thc division of thc mensu re
rather than lhe division of the beal. '
In moving from normal quartcr-nolcs lo triple! quartcrs, il is helpful to
tn ., )JfJ RJ J> ~ J>JTJ 4., J J> R" .n J.
l .,
~i i i

~ ~
g¡· ¡· ¡· i i i g¡· ¡·
J> B J ;¿_,m ., n ¡ ., J ; R., n_rn i·

J'
think lriplcl cir,h ths ahcad of time, sinee lwo tri ple! ci~h th s cqual a triple! quart er:

Tltinking mm .7 3
f~cilitales performing J]J
.1
m
.._, .._,
.7

-....;
=
1.7-,
,J ~ J.

l1
'1 Conducliug hclps stcady lhe bcal llgainsl which thc cross-rhythms play. When
i i i B¡· ¡· ¡· ~ i i B¡· ¡· J. we pcrfonn triple! quarter-notes, we must move quickly lo the secoml note; when
a triple! is performcd uncvcnly, alrnost always it is thc Orst note that is too long.
,.¡:
~., ~n ., J> R i ,ifn ., n i ., J .t> g., n n1 i·
1
The hemiola pattern is most often lhree half-notes in the lime of lwo three-

!¡~

1
l2 i i J gj' ¡· i· i i i g¡· ¡· ¡· four measures: 1J J..___.....J J .
1 Study 2J.P presents the hcmiola rhythm

in patterns fa miliar ·from the lltird movement of Schumnnn 's Piano Concerto
1' where, wilh one beat lo a three-four measure, we hrn r the lhree half-notes
.,
11
22. J) Allegretto, ~ J= gJ. (= 69) against two downbeats.

l
~;nJnm¡H~nJn¡mJ .,I~JnmJffi¡H
~ ¡ ., ~ u g¡· UJ r r ~ i ., ~ u H 23. 1) fi J. • ~ J=63 • IOR
.7 .1 3 3

H~J Jffl rm J ., ~ nm-.;Jm Hr.m;:--m


Hmm1rnm1J J J:ll -ll:lmmlmml
l g¡· UJ ¡· ¡· i
> > > > - - - :>

g¡· UJ ~ '1 ~u 1r-rl :11 - 11:~ J ¡¡-j- J 1n n :lt 1


r.rJ J ., 2 1n ññ'-J.fffl HJJ m JJ m .m J. m .? . - .1----, 3 .?

n J>
lr· r· ~ r ., ~ u gr· u..r r r·
1 ll:n
,--3---,
u J J llffliTI :11
r------3----,

IJ J J :11 - II:J J n 1/JJ J :11( -mm 1m -JTI)


...__,
.---3._...,
-

--
ll:m
3 .1 3
i)J
3
1

1
;

23. A) Allcgro moderato (J. = 72}


11
\1
1 gJ> 1m l"1J 1 ~J IJ J>rm
n;-m- u ;,m 1

¡ 1J ~ J 1J. ~
....._..

J> u J J 1J ~m 1~ J Jffl l
l
!~
...
1
&a-....,.~
-
11: ·¡ ·¡ 1 rr rr :11 - 11: -r ·¡ 1 N' ·¡ :11 - 11: ·¡ ·¡ 1 r u í t ~
8._,.¡
9L I · ss ~ ¡ (CfZ
~ 1 U Cf ~ Í l U WtcJ l <f Í <f'{_L.J l <f 'j{_cJ 1_
~
~ 1 U<ft. Ul UW-W i <r ·¡W I<f' ·¡ í l w<r~ e e e
11 r (! r r u r rD r <r ·r rli r <r ·r Fl 1 1 1
(91I G¡) oJ3<~nv (o ·Er
----- ...---...... ~
1 i í 1 t t í 1ir rri..r 1L.11! i 1 i í i 1 ·í 1 i í 1 ~
..---.... ....---.....
1<r ·¡ r 1 r r 1 t t r 1u.u r 1 r r r 1 r r r 1 ·r 1 11 t í l u~rJJI L_J_I~UllCJLtf~cfl
1 1
r r <r ·r ríl r t r rD r u r rTr r 1 1 1 IW!WW!bUI "='!Wb:U'
&"
e il~ 1. tí i íl L---L'--'
....---.... .,----........
1(( ·¡ íl i ll<r ·¡ il í í l <r 1• i il i t i L~J br~ ti ~1
---- íl 1 e_r_r Wk LU
---- ·--..._
1 t i~í i L-f!U Lr._l l Lf_iL-f! L..fl
1 u r r -1 t r 1<r ·r rlr 1
r <r ·r rTr r·~
-·- -- - ·- ·
----------
(";¡Jnscatu u 0 1 auu p npuo:)) (U = ·¡) ;)JCh!A (.:.1 '(Z 1 1
L1J '-<rb! ·¡ ~U:!~~ "ªU '=U í ~ t 1 1
e
(08 = ¡) o¡otu uo:> <~Jilllpny (::> TZ
~ ------
11: í i 1 i il i i il i i ¡~
--~
CaJilSI:alU e O} ;¡no pnpuo:)) Oz:l · 09 = ·¡ (z "(Z
11 í 1 u 4-! 1 LCJI L CJ' 1 4-! í l
..,.._~
1q•
.
·¡ 1 t i 1 í í i 1 í í í 1 UJ' i 1 í í í 1
L-- c-----1 L---t:~ e l.-.1:~
11 í Cf i <(' i i í i í i u w u u 1 í í <r .í 1 1 1
L- t ----.J '--t.:· __J e
~ t i 1 i í í 1<(
L- L...__
1 .1.
rJif ~ r ¡ 1 t r r r u 1 r r r t ~ 1 r r ¡ t w 1
1 i ic__..._Jí llU
e
u1 c___J
·¡ 1 u w1 L'
l._ c__J l--¿·___j L-- ~:.·___,J '--L--.) t·
<r <
1 1
t r<r r<r CJJ r_r.J r..r.-t u u u u ilf ·¡ 1 1 1

:±; 1 LL..J I u íl ·¡ 1 . íl Lr_ll


1 u UJ 1 u UJ 1 i í i 1 UJ 1
í cf ·¡ l
~ L' L' L.-.- 6 -----1 C
1 LJ( -~ <(' i <r 1· i i i i i i 1 L.U u
u:.u i i <r ·¡ u f ..r-a 1 1 (ni = ¡) OJS<l.ld (U "tZ
e . _ _ ,.._ J L- t·~
~~
(POI = ¡) o¡cJapolll oJ5anv (3 'f:Z
~~
~. 11 < ·¡1 ufir il" (? i l WJbCLY I'-..B/LUI
11 ~ L.....-t'----J
r1u r r r1(¡" rcr w 1<r ·rcr r1 u cr ~. u 1 t: L-¡:.....J
~ 1 LU L..U 1<r ( í<f 1 í i i 1 i i i 1 lJLÑ í 1
l<f illi í<tT~ í í i il UW<f í l UW~W I ~
L_ ¡;-1 1.: '-/}-J
t "-(.'-' '---l.'- - ' E: '--t.-..J 1: 1r r il r 1cr < ·r1"=U"=UI ~~~
wcr
~
1G urtp AinJ ffto!.-lpnJS 111111.-\4~ SutApnJS OG
~

~
-.. ,...
92 SIUdyíng Rhythm Studying Rhython 93

23. G) Allegretto (J = 112) J J J J .J J J m


J>..._... J. ~·
iJ n J J n J 1 1 J. J>J 1 J. J>n 1 J ~ ~ ., u ., ., ., u
~ ~ ., ., ., u ~ ., ., ., u ¡·
1 n J J J n J1 1 J. J> J 1 J. J. 1 J ~ ~ J )2__¡-¡---J J ~ J J J J. ~·
u n J 1J. ;, J 1 J. J. 1 J. J. 1 J ~ ~ ¡¡ ~· UJ ~· UJ )· L!..J ¡· ~·

23. H) Allegro ( J = 160) 23. J) Allegrctto (J. = 72)

i J J J J J 1 J J J 1 J. J. 1 J ~ 1 J J J ¡gnn J iJJ
~ ., u í
¡J. 'n J .J>J .J>
~ r ~ í rr~ í r·
; J J J
., u r ~
1J n J 1 J. J. 1 J. J ., 1 J J J J J 1 J> J J> J 1

1 J. J. 1j ~ 1 J J J 1 J nTJ 1 J. J. 1 J J J J J. ., n J J J J .J> m
1 1

r ~ í ru í r· ., u r rr~ r ~í r
11

1 J. ., n J JJ J .t> J J J 1 J J J J. ., 1

¡
§J.J. J J J =
1- 1=m m rniTI=I
> >

ru..r r· ., u í ~ r ~í mr r ~ r· .,
glUUJ ~Uf: - :¡· ¡· i i i :
1 - 11: 1
:>

mím 1rfJlí =11


::>

- 11: r-Jl 1J J =11


23. K)

¡¡in ln
Allegretto ( ~ 80)

mlnJ In UJ JTIIJJJ
J

1
1 - :1í = - = r r r_r_1 : ~ i r_u r:..u
L...U U! U! i
3 3 3 .1 3 3

J>., n In m 1
¡· J>i 11n m 1¡ }>J 11
3

m I.JJl
3 1 3 3 3

1-
- 11=n
=U U í í
:11
=
- 11:¡ )f"11T"1i JII
- =í í i i í L . - .,1____...J
= Ií t r c.p Lr_f r 41 r_r_!
23.1) Allegro (J. = 100)

IiJ ., J>
t
In
i
n IJJJ In n ¡JJJ 1
i i i i i i i
gJ )> lTJ J )J J7l J .Q}7l J. ~·
l g~ ~u.,~

J JJ..........m J
~u.,~

.J> lJ"1 J J J J.
~u.,


.,u¡ ~
1 ~ n
-
In
i í
.rTIIJ.1"1i'"11.n n IJ3"1J3"11J 1
íii i i ¡¡¡ i
l--:J----l L- 3 __J

u ., t ~ u ., ., u ¡·
-._/

~ ~ u ., t ~
94 Sl udyl ng Rhylhm Studying Rhyl h m 95

23. L) Allcgro ( J- 120) lt ís importan! lo praclice the cross-rhythm s slowly so us to cnsurc accuracy
and quickly so as lo arrive al the point whcrc we hc~11 nol jusi thc compositc

¡ ~~rJ J J 1J J> J J> 1 J n n 1J ~ ~ 1J rhythm bu! each par! independently. Finally, we shou ld fcellhal we are perfonn·
J 1
¡ r ¡ i í i i ~ ~ i i i ing two connicling pallcrns al the same lime and lha t. all hough lhcy fil togclher
correctly, neithcr one is hased on lhe olher: We don'l think sixlecnths and fit

J J IJ J J IJ t t J )>J ; mnJ a triple! against them, or vice versa; we simply si ng four sixlcen ths and clap lhree,
or singa lriplet an<l clap six leenlh notes. althe sa111C lime. We think lwo different

Ií ~¡ ~ i uu i t t Ií i 1í i 1
thoughls simu llaneously.

m r-J l fJ] ~ 1j 1 J 1j J 1J J J 1
24. 1) J ~ 40 -72

.J"in:ll - 11: ñn ufffll L...U


1r r r r r t r ~ r ~ LtJ L.JJ o/l_CJ
l~ n
~ww
n 1 Jffi
UJ UJ: - :U
iffl ~:1 1
UJ:

1
J J ~ 1J )> J J> 1J ,))J J>l
¡ r ¡ ~ - r ¡ r í í
fJJ 1J t t 11
¡ i r t t
m 3

-
.?

11: m
3
3
.?
3
3

JTI 1JTI m :11 - 11: .r1


3

1
J

n
3

'----.1--1
- :U U '="! bf4!: - • :"=':! b/4!

24. FO UR AGA INST TH REE lmm :


bf4!~ : 11
:mm
- :U L...Y
mm:l
l -
11 1LY~: 1

As twelvc is lhe common denominator of four and lhree, lhc rhy llun of
four sixleenlh·noles aga insl lriplct eighths is measured in twclfths of a bcat. Thc
:Jnffñlrnrn:ll
:W L..U LU C...U:
II
sixtccnt hs are attackcd on lhc firs t, fourth, scventh, and tcnth parts of thc beat, 3 3 3 3

and the triplcls are altacked on the first, fift h, ~ nd nin th parts of the beat. As
with thc performance of two against three, we may be aíded by verbal phrases 24. A) Anda nte ( ~ J ~ &~. ~ 60)
thal we speak naturally in lhcsc rhythms:

J n 1J J n IJ n n 1J
rour against three :
1 2 3 4 5 6 7 8 9 10 11 12 l R~ WJ Lll ~ 1
L!! r:.u l.ll LU L!f W L.U L!1 W W
J
i
When
J
wiH
í
he
J
come
i
J
a· gain? IJ n n IJ n n rJ ~ 1
L!JLUW W'W'Lll W'LLíW WWL.ll
In JrniJ
Threc againsl four:

J
1 2 3 4 5
J
6 7 8 9
J
JO 11 12
IJ n JffilnL..UWW
L..UC.UL..U
n ññl~n JffliJ
U:J r:.ll W
t 11
L!JL!fi·

i i í í
Pass the b ri¡~ht red cat • sup!
~
Studying Rhythm 97
96 Studying Rhythm

24. n) Allegretto ( J= 66) n ññ¡m;.,


IU!Lll lññJ""ñiJffl.r:r:JIJYfjJmiJ ~ 1
~i 7 J> 1J 7 )> 1J 7 )> 1m n 1J 7 J> 1 4; ¡· ¡· WL.U WW W W ¡·i·
u u u
~ i ª=Y

m7 ¡m 7i> ¡mm ¡J 7 )>


'="!' ~ "=Y bU:! bU:!
)> 1
::E
4;
24. E)

~!i>IJ m ¡n
Adagio ( J ~ 52)
n m.¡mJ ., j)l
n
l U~U~U'=!:YU~ u~ u Ul'="=' u r ., LYut~ ~

IL~/ ~ la?r ~ d~ 1 ~ rm 1 ~ 1 .,
- .1 _, -~

-7 ñ' \., n., ñ~ JJ \ ~/7) ¡~nJ

24. C)

HJ
Andante ( J= 60)
n J· n ¡n n JfflJffi\J n J ~
*---.
~
~
1u
mJ
lu
u
m¡mmm¡mJ ~~
u í .,
Ul'=f:Y

u i
L....br~

L._Y(J,!'=f:Y
~

., 11
i

HUWUL11 U L.fJU 4-f Ulf!i t .


1
--...
--. J= 50)
..._.
3 3

nmnm¡n mn m¡nmJ ~
24. F) Adagio (

\i u i u u u '=ª='"" i u i ~ ....... li.b¡n !ffi¡n !ffl¡n m ¡m.fffi¡


1

J n J Jffl¡n rhn m¡n JfflJ ~ 1


--..
.......
¡,

7
.,~u LUUJ ~u

l.r--l.Fffi 1~ ;=,m 1¡---n ¡n 1


~u
3 3
3

\UW'UUli Uí "='!U4-fí~
---. 1~~,
J> i )J
, ~~~u_¡ ~LY

J ~ m~¡nmn m¡J - 1 ,..._.


~

IU4-JUL..fJ i U4-J"*lí ... --. 1


n=ñ
c..u m 1
u_r .
,~
1J""'n JT1 1¡--¡=; ~ 1
CJd" UJ LY
)J
7 7

~
)J
1 ~
.,...... ~ 3

~m ¡~m ¡nnm IJ ,
,.., l
24. D) Allegretto ( l J=gJ. 72)
.........
p

11
. ~fJ
~g w J ¡n n \J J ¡n J> 7\J n \
U! ¡· ¡· . L.U L1J ¡· ¡· U1 L1J ,..... u..J L-J:! UJ L-J:! UJ '=!:Y UJ .1 3 3
~
1,

,...,
~~~~~[Z:\~ ~· ~~~IP P1
l
J:

1
!
'
,..,
,._...
~
~

·~ - - - - ---
25. 13) Allegro{J = i 32)
9R St udying Rhyth m

25. FOUR NOTES I N THREE BEATS;


2J J J u J J 1 r-.rTJ TT'D u J J 1 1 J
THREE NOTES IN FOUR BEATS
u J J ID Jl1nnm11ln_m1JTJlu 4

Singing fou r even notes in the time of three beals is performing four agJinst
lltree at the leve! of the mcasure. Each of the four quadruplet quarters in a tltrCC· IJ nn 1ITTJ ln_n_m 1JTTJ 1n_n___m1c1
four measure is three-quarters of a beat long; thus, lhe paltern can be nolaled
as Lhe equivalen! of four dotted cighths, but it is more commonly notatcd as a
quadrup let: 1 JJJ u n n .JTTJ D7"J u J J~ J J
1 1 1 J ~ 11

25. C) Modemto ( J= 88)


Singing Lluee even notes in the time of four beals is most easily done in
twelve-eigltt time, whcre each of the tlnee notes has the valuc of four cigh th-nolcs,
~)) l rnnJm 1mrn_Jm 1 mn_Jm 1J t "/ ñl
or a hal f-note. When the meter is four-four, a background of triplct eighths should
be imagincd: I D.Jlfilllfl~lffllm_n_JmiJ t 1m1
,.---4- - - ,
1 n_ll_n. J J J J n~n~.Fffl J "/· .bm
1 1 1 1
.---~ --,

Tapping the note that is the comrnon denominator (the sixleenlh for four
notes in thrce beals, the triplet eighth for three notes in four bcats) will help us
1 Jn_n_n. 1J J J J 1.rn_n __lm 1J t 11 'l

learn lo hear !he proportions correctly. As wilh other cross-rhylhms, performance


al a fasttempo is a process different from slow performance, so thc patlcrns shou ld 25. 2) 1
f J. = ~ J = 60 · 120 (Measure 4 is <'quivakn! to measurc 3.)
be pracliccd both slowly and quickly. r
1 1r m
1 m mm 1 J ))J J J>J. 1 ~~J) ¿J. J J J :11 1

J ~ 60 · 120 (Measure 4 is equivalen! to measure 3.)


11; .~ )) )) J .~ J>; J
25. 1)
j J J :11 - a
¡ n nn 1nnJl 1nn-·Jllfi.,Jl
,\ 1 - 1 1

:11 -
m m.~
1
~
---~-----, r--4 -----, \ 11 :~ J 1 J J>'J TJ>J :11 fi:J .bJ J)J 1

ll:mnm I.JlJlJl u J J J :11 - ti:J J J IJ J J J :11 IJ JJ :11 ll:mm r-rJ IJ-r-:J :11
25. A) Adagio ( J=63)
Allcgro ( ~-
~ J n 1ffl um Jffi 11ffl Jffl.....__.Jffi 1 J ~ ~
25. D) = 112)

J>m m mm
~ ~

l1 J J>J J J>J>J J. J>~ .J J>m


1J JJ.Jffll rn rnJffll J> J J&fffll J t t
1 ~
1 ~
1

IJ ))JTI J. ~- 1 J J>J>J J J>m 1 J. J>J_j J>ITI 1


IJ rn}ffllrnJffiJm tntn--<mlm t t 1
IJJJ__) .J}_m I.J J>m J. "/ n u. ..bL.J ~.~ J> 1
¡.rrtmmlmffin \r:nmi(TD u l 11
1 J_.__)) J_) )}_} 1 j J j 1 J. JTI J. ~- 1
J
- - - - - - - - - - -·-- -- --,
b.lj
1.-1
l.....?
~
e._.;
L..,
/. ~ JI fffjf'n 1 t
l. ~ ~ ~ t ~ ·UUU · - · ct~U· - I ·~UI LY · -
11: D'TJ:II -¡I: _D-'0:11- il: JJ'Tl:ll-
1
J]jlí
........
JT'Tl¡.tnn m¡~~.~. ~n¡ n n n¡ ........ J J .J:11 - 11:n
JJ'TJ:II - 11:.¡¡¡¡.-- n:ll -
n¡ ¡ . - 1
..___,.______. L---.-,__. ~__..J
1~U! W í í í í bLf'W L.Y g '·'-<fU ....... 1 :·&UbU·- .\¡-¡
.._.,
JJ'TJI n nm1 ~ '· ~ .JI Jffirnrn¡ ~ ¡ - l:fflff:JJn:¡- I:Jffl.fffllffi~( .
1u u u r r r r u u~ " ~ r
" - - - 1'------'
1. ~
._. í í í í: - : í í
~, _,
l ::~mrn: i ¡: -
'--I______.J
:
í í í í R~ L.....-- p-- - - - '
i
ti
88-9S-j (E'SZ:
.JJ'Tll rnrn~¡~ ~ Jliffimm¡ l. ...,....
1~U!ut í í í í LUU!U! í ~ 1. ~
l!·
.____ , ___. .,.....
..,__ 11 ~ .t ·¡ 1 í í í r1 í í í 1L.!.ff rrrr 1
.J . .J "JJ 1m JrJ .m 1;=; ~ t 1 ~ 1 ..,.... l. l.
1~~~ í. _ _í ,____, í í c.Y'=lJ~ "~ .,..,..,. 1r r r wcr r 1cr t ·r r r r 1 r r r 1c.r.R nrr 1
(08 = j) OJOIU IIOJ (H .SZ:
~ -1 r r rr..ucr r1<r t ·r rcrcr r1 -r~ r wr1 ~
1 1 1
u...ru:..r u.r-1 í í í L..U e( í <r t .Í. í í í 1
t ~ JI J J JI J J JI n n
~~¡ ¡¡¡¡ í í í í í í í í
1 L.__, ___, ~ }'--' t . _ ,.______J

n¡ rní ínm¡
í í L -1----'
1wcr r wcr r 1<r rw w ·r 1cr rc.u<r r ·r 1<r Pr
(88 = · j) OU3JlJ<lJI V (d . SZ:
.J1 .n m m Jrn m m Jffi m m .fffi m
< < r r ·ifUu ·cruu
r r.___r , ___j 1 1
'----c---J L----..-
11 - r1 r r r r rc----Jr
n nm m Jffi Jn m Jffl m m¡;:;=; m 1CJJ lU 1Lf! r u r 1 t ¡ u r 1u u L.f.! Lf!l
~ t r .L!--uu ·rruu uu ·r:~ ~
1c_c_j lLJ 1 r r L.f1 r 1u r r r 1 ~ r r1
mlfflm¡.mffflml mJmm~¡ ~
In nm1 ~
t í 'L/ uu u u u u u ~ u~ 1 LC_J 141 r 41 r 1u r u r1 r r i
(Z:L =¡) OJJ<lJlJ.JUV (D ·sz: (9t l • j) oñf<lJ1V (3 ·sz:
10 L IUltlÁII'!J Su!ApnJS WljlÁLI'lJ Sli!ÁPOIS 00 L
~
~

102 Studying Rhy thm


~ Studying Rhythm 103
~
~ 26 . QUINTUPLETS

:J J J ~
{f J J J :
l
~WWUJL.!J:
> > > >
1:¡ ~Wí ~í ~:
~t:l
~
Counting the notes helps us put lhe fivc notes of n quinluplcl onl o a bcal ,
cspecially in a con!ext o f olher divisions of thc bcal:

:a mmr7l lc1_r--:J :ll


l :! r r r r r r r r: :f:
~t~
2 2 31234 1 2 J4S

To sing five cqualnotcs in !wo be~ts, we uccd Lo think thc quinluplcl bcat:
e,. l_~ {i !i r.

Allcgrclto ( J. ~ 96) .tnfi_ñJ"V J J J J -~


:E
25. 1)

l§' 1J. J. J. J 1J. )JJ J )JJ 7


1J. ))J J )JJ )JI Thc common denmninator of five nncl two is len , but lo perform five against

l~~ r r ~ w r ~ r- w w r ~ r· r r r ~ two, we nccd lhink only of lhe sccond no te of the duplc! dividing !he lhinl note
of lhe quinlu plcl:

J. m J. ~- 1J. m J. J )J 1J.
1 3 S 7 9
J J J J J J
1r· r ~ ¡· ~ ~ ¡· r ~ u.r r ~ r
í i í
J J J 1J· m J. ~- 1J· m J J ~~ 6

1r· w L.U r ~ r· r or· ~ ~ r· í ~Wí V The common dcnominator of fivc ami thrcc is 11flcen, so thc second note

IJr·
of the lriplc t sounds a llftccnlh of a beat bcforc !he third note of thc quintuplel,
J ~ 71j
~
aiHI lhe lhird note of lhc lriplct sounds a fif'l ccnlh or ~ hrat aftcr thc fourlh note
j j J J mJ. of lhe quintu plel:
lr· r..u u..r r ~ r· r· r r ~ r ~ r· 11 4 7 10 13

J J J J 1 J
25. J) Allegretto ( J ~ 100)
i í í í
mJ J IJ nJJ ~ IJ mrJliJ mJ ~
lir r u r u r u r í r r u r t
aJ
ú JI

As wi tlt olher c.:ross-rhythms. l ca rnin~ must bcgin wilh careful count ing.
prm;ccd lo slow pnJ'uJJnancc wltcrc lite suhdivdon:; ca n he inwgincd ami !he
.---.1 ~ .1 r---3 - - . , - 3 ----, composile rhylhm hcard to be accurate, and arrive ~t lhe poinl whcrc the lwo
\.J J J \~ JTij t \J J J \J J ) 1 pn l! erns are per J'o nn etl an d hca rd simultancously nnd indepe ndcntl y.

lr r ¡ Ir u r u ir í r u" 1r r r u 1
~

1 104 Studying Rhythm


~
~ St u dylng Rhython 1 OS

~
1 26. 1) J = 48 -76
/S

~ JJ J J J J J J J J :11
¡¡

11: J J J J J J J J J :11
¡¡
~
26. C) Andante (

nmu
J = 63)
3

nJffliJ:JJffiJ7ffl i.J ~ m1
6 .1

~ fJJIJ
J r--3 - - - ,

II:J J J J J J J J :11
6

- II:J J J J J J J :11
6
~
~
3

IIJmlffilnm.ff.mlrJJffiJ7ffliJ
3 6 5

~ m1
3

~ n m Jffll m lffl J7ffl l J5ffl Jffi m u


3 3 6 r; .1

1 26. A) larghetto ( J a 52)


/S /S
1 ~ 11

¡J J J 1rr:n.rrn IJJJJJJJJJJ IJ J J ~ 26. D) Allegro ( J = 80)


f IJ J .J I.Jrr.J.JJJJJ IJJmJ J IJ ~ J IJ .J r:J
6 li

1 l~I~Jnl.ffflJJJJJ I .rn~ l n.,


¡¡ r;

ñl

~
6 6

IJmJJm IJm.r:J"Jn 1 Jmr.m 1J ~ ~ J IJ J J .J 1

5 6 5 S ¡¡ 5 6

IJ J J J JJTn IJ J J J J JJJJ J IJ JJJJJ J 1 J - 11 ~ UJJJJ.rn IJJJJJJ"n IJJJJJfiTJ 1;.,., n1


t .._,
~
26. B) Andante ( J - 76)
~
6 G 6

¡.rrn.J J IJJJJJJ J 1- JJJJJI- .r:J"Jnl


J
5 6
......... 26.3) J = S4-80

IJJ-- 1- .J.J I J nm1- JJJJJI.rrr:JJ"J'TII ~


~ r--:¡- - , r; ¡----3 ---,
,_,.
~
I.J .J .J J J 1 - I JJ JJJ J IJJJJJ.J J .J 1

~
n :11
5 ¡¡

1--- JJl u J 5J J JJ 5J J 1--- JTJ 1J J ~ 11 ~ II:J JnJ J .J nJ J

26.2) J ~ 48 - 76
¡¡ G 3 6
,.__.
~
26. E) Allegretto ( ~ 76) J
G 6 6 5

i.J ~:11 - 11:17TJ~:II - ll:m~:ll


,..._.
~ ~Jffiln n .JJJJJin n rnniJJJJJ ~~
1 - 11: n
6

JJ JJ J :11 - 11:
6

J' ' JJfffl 1.m n


3

:11 ,..,
,..., IJ ~ JffllrJJ:JJ7ffl l rJñiñrJ
6 6

I~J JJJJ
¡¡ r;

1 - ll:n m 3

1 fffl .JJ JJJ :11


6
,...,
,.., IJ ~ m
.7 r----3----,

I.J J J Jffi IJ .J J
,....-3--,

~111
6

mfffll
3

- -- _,:..._ ________ ~
~ ~----- ----- ______ ......,._.,.........,.._,.... - . , _ . . _ _ __
.....__.
106 Stutlying Rhylhm
~
SIUd y in~
'-4 Rhylhm 107

6 .1 6 G r-----6-
~~
lñfflJfflm u ~ Jffl lnnJJJJJIJJJJ:Jm 1 26 . 11) Allegretto ( J = 63)
~
1 n JJ J JJ
---, 6

1 ñrn
6

n
G

J JJ u ~ 11 ~
~
~¡J
H~ G
IJfflJ
í "=ª~ G
IJffl
r
J "=ª~ 5
I~J
u "=ª~ ~ G
1)>..,, ffffll
í
5

26. F)
6
Andante ( J = 60)

iJJ9JJ.rTIUJJJJJ7l IJTIJ>
6 S 5 6
1
5

IJJ:JJJñJ ji
5
~
~
~~ IJ JJJJJ
"='=l'í
IJ

JJJJJin

JTin IJ>.,
· ~ ·,~
J 1

~"'4f
~
JrnJ
I¡ rcrrr r
I!Tf5r1 IJTñrl 1)>·,r
rrrrr u ~fbY ~ 7
~1
5

1.m; 7 1nnJ J n 1J nJ J n 1J,_..,h~J.¡;....nn~ 1J>., ~ 11


ú 6 5 6
tk~ 5 6 ti
6 5 r.
~
26. 4) J = 40-69 ~
~
~~~'m i ~B''I~B''I~ 1
HJ ~J ffE:II-II:J J n n :11 ~ J= 72)
~i~í ~í : - :"=ª/ª="/~~ 26. 1) Moderato (
S 5 5 6 :; 6
._. ~ J Jq.r L.f!
~
n IJ J n IJ J ~ IJ n n 1
1
- 11: n ñtñn Jffl:j:ll - 11: J ¡m,;;=m=1
- :"=ªfU 'ª='fU = - =L!.!WL.ll UJ
m =
.-... l ~í L..f.1 í..f-i 4-1 L.f14-1 L.fJ
..._. J n .Fffl:j n J ~ »ffl ñffi .Fffl:j; ., i í ~
6 5 3 .1 3 3

26. G) Adagio ( J = 54)


.,...
........ 1W WL..U L!Jí
1 t
~
1
Uf UJ
J> '
~'
1
UJ r....r.J' ~ .,
1

In urñlffiln t n In Jn~ln t n 1
3 3 ;7 .7 .7 :1 ,1 3

J~ n
~2 í i u í w í u u í uí i IJ J n
í llilli 3 .1
In
u..r ñfñ.Fffñi.Ji ~
.7
L..U·UJ
3 .1
1 11
1 ~

m Jm ~ 1ffl Jffi Jffl; 1Jffi ~ n 1


26. J) Andan te ( J = 60)
1í UL! UUL...J i Ui

n ;-n Jffl; 1J ~ 11
~~~~n
~xi
Jfflln JTinlnJnn
i '=fU bJ±!U
IJ .,
CLf:!!~ U í
ñl
Ií u u í ~
n
I .!7'
i
TI In m ¡mn
r...ur....u
~L...J
IJ
u
.
,
í
ñl ~u .7 .7
1

~ 108 Studyi ng Rh ythm


Srudylng Rhythm 109

lffl[r:J
1> 6

~
n ~~JJJJJ~ IJ ., ñ 1
I., '=tU "='=! L...J rccr¡crcr¡ u¡ 6 6 8 11 m 1n m 1n J J> 1n J J> 1n J ., 1
2 3

1 n Jffl ¡n m¡mJ;ffl¡nfflm IJ ., 11 n n
1 ITI 1J In 1J J J> 1 J J> 1J ~- 1 In 1 n
1 C! U "='!U LU L.L! '='"! "="! í .¡: 1n J 1> 1J J 1> 1J J J> 1J J.
'1
3 3 6 6
'1

~~
IJ J. 11
-
r ~ 27. n) Vivace (JI = 330)

~ arn n u J>n u J>n


32 ;-n n u J>)J
r 27. FIVE-EJGHT METER

While slow quintuple meter may be understood as having five beals in a


~
~
....__.
u )>·n .m n )> J n1 1
1

I)>J n IJ>J ;.,


., 1

~ measure, five-eight meter is most often not quintuple m eter, but duple meter with
two unequal beats, one a quarter-note and the other a dotted quarter. For
.._... I)JJ J ll>J n I.J>J J IJ. J 1 J. J IJ. t 11
1: example, when the lempo of the eighth-note is 240, the quarter-note is 120, the

t
dotted quarter is 80, and these slower values are lhe effective tempo. Most of
these studies should be understood, and conducted, with two unequal beals iñ ~ 27. C) Allegro (JI = 280)
a measure.
It is importan! to conduct the larger unequal beats, not their eighth-note
..........
~
1 divisions, in order to feel the beats physically. After years of striving to keep the
beat steady, unequal beats will seem strange. The other hand ora foot may tap
---. u .hn J J>n 1 n J )> 1 n J .hu ~- 1 DJ
1
11
!
the underlying quick pulse to keep the beats in their propcr ratios, and the
metronome may help for t his purpose.
The grou ping of the eighths into 2 + 3 or 3 + 2 is shown in severa! ways.
.........
,..__,. 1J )> n 1 J n
u J 1> u ~­ IJ. F.JIIT:JJ
Where the grouping is consisten!, the meter signature will indicate it, as in the
first two stud ies. Beams will usually make the beats visible: J J"J
)> is 3 + 2, ~ ' J 1TI 1J J )> 1J J. 1J t· 11
i
whereas J m is 2 + 3. As quarter-eíghth is a more normal pattern than eighth-

~
1
quarter, an eighth between two quarters may be assumed to belong to the first
beat - J J> J is 3 + 2 - if there is no contrary indication. Where there might
~
~
27. D) Adagio ( Jl=80)
otherwise be arnbiguity, the beginning of a beat will be marked with an accent,
o r brackets will group the notes on a beat.
~ ~~u :n=n;n 1J nn.Mñ 1.rm n 1..r:r:n )1 ñ1
~
1 JJJJJJn u. ., ~ 1 IñJJm 1¡-¡j¡=j:¡ m1 mJJTI 1
t.
1
1
27.1) JI~ 144 - 208 fl-"-e
I!T1Jm7')1JniTliJ ., :rmu 1ffln 1
~ An mIJ J. =11 - ll=nl n IJ. J =11
~
~
~,
IJnJ> rm 1JrnJn 1m.h1.Jm IJJJJJ:Jn 1J. ., 11
- 11r.un 1rnn:11 --II:~J ~=lnTm=ll ~
1 r-,
II=J >m1J ; J
>
=11 -- 11=J J n 1 J J n :11 n n ~
,......
~
~
..._.
11 O Studying Rhylhm .._,.
~
._,.. S IUdylng Rhylhm 111

27. E) Allegro ( Jl - 192) ..__. J J. IJ.


J J J. J IJ IJ. IJ IJ. )· 1~ J J>l
§J)InJJ11!1JDIDF.miJ 7 D IJTIDI ~ I i í ~ i ~í í ~í í w í ~u i w í ¡·
~
1Innln.!T.'1u. , ~l.f"J"'ñJ1 IJ :rtñJJ. '
~
J J J>l J
1i ¡· ¡· i
;n 1m Jn 1J m 1J ;n 1m n 1J 11
¡· i i ¡· ¡· i ¡· í í
lm~ln·,,~l.mnl.rTlJffllr.mmu. 11
~
~ 27. H) Presto ( J>= 300)
A ndante(Jl ~ I60)

¡gg
27.f)
~
fi ; 1J JJn 1r11 n 1n J .b 1n J .b 1J t .b 1 J J. 1J J. 1J J J> 1J J J> 1J JTI 1J ,( ·
~_,.

~
i i ~ ui ~ i U! uw uí ~ i l·
IJTin 1Jrr.ln ID.f"J"'ñ 1!1J Jffl!J t ñ 1 ~ J. n 1J. n 1J. J 1J. J 1n1 J 1J. .~ 1
~ 1r ~ u r ~ i í ~u r ~u i ~ u r· t
~
1J J· 1J J ; 1J Jn 1n J J> 1J ). 11 ·
.__.
t-.
...._.
J J·
1i i ~ í í ~ u lU u í ~ i UJ i ~-

27. 2) Jl _ lOO · 144 27. 1) Andante ( J> = 108)

¡§ín .m
§
¡·
1J J. :11 -
ULU=-
11:J )> n 1J J :11 - 1
=í· í í DU= -
~

.__.
~ ¡3rir.-n
3
2
~ ~
8 ~ i u 1~ i u
r;lrn i
fi1
u 1í ~ ~
J. ~
1
L...J
:F-1J
II=U.Ju.n l-?10 :11 - 11:0J. iffilnr.m:ll
uru= - =L!c w u UJ =
~
f..-""-t1)
IJT"rJ ~ l n-n r-llffTJ lniJ.
~¡ U~í U~i U~i
u~ 1
- II:JJ mff11 JJ J=;Jn:ll .._,.
~
/J m~I/J mrnlfJ mJniJ. u.< 1
1 =UJ U UJU =
- ~
....._. 1~¡ U~i U~í U~i

27. G) Presto ( J>- 264)


~
JJ J ~ .n 11J J ~ rll
1~ í u ~ i u ~ í
J n 'Jn
u 1 J.
¡·
: 11
¡§Jg )JIJ J )JIJ j)J 1;
¡· i ¡-
J>J
¡· i ¡· i
IJi ¡·m IJ¡ · J>Ji 1}í ¡·J J>l ~
~ 27. J) Allcgretlo ( J>~ 132)
¡.

JJ J>l.rnJ IJ J>n IJ JTI IJTI J IJ ~- 1 ~


~ ¡ 2
38 J> 1J ; n 1J ; n~ 1rm m 1; J> 1 .
Ir r· r ¡ ¡· r ¡ r· ¡· u r L.ll
i i

~
8 i ., ~ í
2 3
~ u i u L...Y.J' w i .,
,._!..
1~
~
~
·1-
112 Studying Rhythm ;¡:: Studying Rh ython 113

J ñn IJ ñn IJ Jffi.r-niJ '1
I '1 ~ ¡ ~ u i " u r bU! L..l!i
'1;, 1
:±: 28. B)

~~'2 J
Allegretto (Jl= 192)

J )) n J J )) n J nJ m m
:E
'1 2
1 1 1

J
~
;, J
¡ ~
1 J J. ~
¡ r r· t
1 J. n u mr· nw 1 J
u r
i i ¡; 1 lrñJ lfflln iJ J. ~ IJ J J>J'J IJ J J>ml
~
1i
1m .m lffl lm JJJJJJn IJ J. ~ 1n J J>MI
i

~
J. m ~ 1J. m r.--11 J nn ~ 1J i
1i '=fr· w ur· w L!r' ur "*' i 11 ~
~
IJnJ J>mlnJ J>n ...._.... iJnJ .P'Jñ~IJ
.....__. J. ~ 11
28. 3) ) : 160. 20~
~

28. MORE MET ERS WITJ-1 UNEQUAL BEATS


._.
~
._.
3
~~~2 J J>J ;n :11 - 11= ~ rm m =11 - 11= J. J. J :11

The meters in t his chapter combine quarter-note and dotted-quarter beats


just as five-eight meter does. Here, in each case, the me ter signature makes the
sequence of beats explicit. For example, 2+§+3 is ~. but with three beats, of which
.....
._.
28. C)

a+§+2 J1
Allegro ( J>,;, 2 08)

1n1 J ;n 1m J J>n 1m rm n 1
the first two are quarters and the lhird is a dotted quarter. Conducling again helps
......... 1J. J J>n 1m J ))J1 11m J ;m 11m nn m 1
us become comfortable with patterns o[ unequal beats, and tapping the underly ing
eighth-note helps us keep the proportions accurate. .......
.._. IJ. t· JliJ. J. J IJ. J. J IJ. J J>J
28. 1) )>= 160.288 .._.. 1

IJ. J J>niJ. '))n lmJ ;n¡.rm~J. nn ll


2 +g~ n n .m :11 11: J J J )) 1J J J. =11 ~
....... 11m nJ nm IJ. ,. 11
~
28.A)

2+9+3
>
Allegro(J = 138,

n n m n n J ;, n J
> >
1
J.~92)

>
;, 1>
1 J i 1 nnJ --..
.......
28.4) )=1 60 -224

2223
+8 + JJ J J ; :11 - ll=nnn~ :11
lnJ J J>IJ J J ; IJlJ J )) IJ JlJ )) IJ nJ ., 1 ........ 11=/nln In~ =11
1J J m 1 n J m 1 n J J ;, 1J ~ }· 11 .......
,.._. 28. D) Andante con moto, in 4 ( J>=160)
28. 2) J>=160.208 ,...,
~
8 J> 1J n J J J> 1J ;n n J ; 1J>J ñ n rm 1
22 23
+ +

2 +~+2 n J· ; n :11 - 11= ¡-n J"":Fn m =11 ~ IJ nJ ~ J>IJ nJ J J>ln~m~ 1/l.Jmrnr.ml


~
~
,.......
~
- - - - -·' - ·- ·· --··- --·- - ·- - - ·- - - -- ·
114 Stutlying Rhythrn $tud ying Rh y thon 11 5

1nmJ ~ ñiJ mnln1inJmwnJni 2S . G) Allcgrcllo t Jl ~ 184)

1~nmmnJn1nmJ t J>1n.rnm~ 1 3

1t
3
~9~2 .rJJ
2
í
.m n
o UJ í
1m lUmn 1mo J ., 1
í ~
J.
í í L.LJ í
t
lnmmJJmlnJmmñT.llnmJ t 11
rn J. mn l.rmJ. m~l.r.mJ>J ~ 1
~ -.._./

28.E) Vivo(J = I62, J. - 108)


lí PUJí í OUJr í PUJt
2+~~Hmin~· m I n~ J>mi,J>m~ -J;Tn.~. illl
1JTlr.T.J n J J. jffTI
í ~U..Jí í OLUí í ~LUí
n) ~
'¡ ml.r:r-1 1
---------------------
, n , n 1 J> , n ~ J> 1n ~-
1n ' J> , JTJ 1n '1 m1
; J. j ffl
1í ~ UJ í í P LU U
rll
J~. ~ .FT11___,F1"n 1). .~· ~
í" ~ -
11

~ J>n1 In~ J>ln in rn., n-h ~· 11 28. 6) ) = 144-224

.
:'
28. F) Andante ( J = 80, J.= 53) n ín íDJ'"T1=
=
í p:
11
11:j
3
'~+3 ; 1rn ;n;-m 1m Tñflffli!ITJ fl1 DEl
lnJJ ~ J>ll"""n JnffrJ ll"'n"J ~JJ
J ~1
11 =o .;--um'/no.r.;J
=., ;,
, u==11
1m.1n~1.mJ l ))IJ. J J J>IJ. nJ ñl
1J> J n. J....___,.ñ 1ñ J J t m ;n J n==n 1
J> 1
2R. H) i\l!egro (,]\ = 216)

2+282+3 J )> IJ J J J )>IJ J J m


IJ ~ .~ J j)l
2+2tl':·l ~- ' O' P., O., U ., O' v ' D., U ., ~U í t· 1
1
2S. 5) ) ~ 120 - 200 ; nJ nJ IJ nnnJ IJ ~ ~ J J>l 1
1'1 o., p ., o., u ., p i o., o ., u ., ou í J·
t n ~ J>rn .,.hmn.r-rJ ¡J>..__,mnrn
~

u~~ ~ u o,u.,~ ~rJ ~ ~ u ~ o.,u

., . ..~;)'1 .~ rn J nJ IJl nnn ;n J ~ .!


1 .,P1u'~U ·~ ~~p ., ~hU ·¡ p·t D·tp·,U r ~ ~
1 16 Studylng Rhyth m
SIUclying Rh ythm 117

28. 7) )>= 120- 184


29. CHANGJNG METERS WITH UNEQUAL BEATS
8 J J. J.
2+3 3+2 J =ll - .n;~ .mnm·11
1 r:_g
2+383+2 c..m! L.1:S! r:g: 1 :u í í u : ~ ~ The bcst prcparation for these sludics is counting thc eighths 011 each bcat
aloud while conducting the larger beats, thercby becoming familiar with lhe
metrical patterns before attempting tite actual rhythrns. Thus, while conducting
scven-eight in thrcc ami five.eight in two, we would counl:
28. 1) Andante()>= 144)

2+383+2 J> n l.n J J> ~ J> n 1n J J> ~ J> 7 J> 1 r-n 1

12+383+2 ~ C-Y U! ~~Ul w L.1:S! ~Uf 1212 3!2 1 2 1 23

.1c.gc.gg¡
, J>J )> ~ ñ7 ~¡7 ~7 ~7 Jfflml~ ñ'l Jfflmnml
~ u u í ~ i ~ ~ ~ u í ~ ~
'1 '1 '1 '1
~
~.
Tapping the cighth while singing thc rhythm is especially importan! for
studies such as 29. 3 where there are many notes longer than eighths.
Studies 29.F and 29.1, and the cxcrciscs that immediately precede them,
include three-sixteen and 11ve-sixteen measures. The six tccnlh·note rather than
~
n 1n J n 1 )> J the eighth-note is the basic division of the beat, and bcats are cighths and dotted

l ~ U ~ "L.U Cl!UW ~ r:.g Uf L.l:S!(gULJr


.rnr-m~ J> )> ~ )> '1 )> ~ )> '1 J>l ~ eighths. In thesc studies, thcrefore, two.eight and fivc.sixtccn mensu res havc two
c.._. beats, threc.eight and seven·six teen measurcs havc· thrce bcats, and a three-sixtcen
1 '1
_.__. measure is a single dotted.eighth beat.

l~i..dr~ 1 ~
~
29. 1) .P- 176- 240

~
én n J J> 1gn J )> =11 - 11= án J J> n ¡g
§ J J> n =11 J> n 1~ J J n =lt
28. J) Grazioso ( .J> = 116)
~ 11= gJ
3+8+2 1J'1'J n rn 1rTI n rn 1;:-n I""n rn 1
n ~
1 ~ u Uf u L.Yt..l! L! L.l!l.1! U!
2+Ü+2
'-e 29. A) Allegretto, .J> co nstan! ( .J>= 176)

J. ~ n IJ. m.r-1rn1J. m~¡-¡:; 1 ......... ~


an n J Jffll.rnn J :J"tnl§n J nn1
1L..l! r ~ U L' WL! c..J!C· WL.! lr-:r:JJ nn1~rnJ ~ lérnJJJJJJ.rnl
J. m~ m IJ. ~ n IJJ mr--J m¡ .....,....
~
In JJJJJJFnlgJJJJJJTn IJt:HJ Tnlf
Ir_gr· Wc..Jl L..Yi' ~ u 'r wu ~
~.rnJ l léJ :r=tnn m IJ ffñ~m 1§
/J mn r---ñliJ mJTl¡-n IJ. ~ ,.,.... ~
§ J Jtfj m IJ J""tn m 1~ n n m u ~ 11
1
Ul'C WU ~¡;r WUJ U!í' 1 ~
~
.' ~
,.,.....
1
.,...
·T~ _j
118 Studyin~ Rhyrhm Sllltlylng Rhythm '119

29.JJ) Allegro(.Jl= 208) 29. E) i\llcgrn ma non troppo, .J> constan( ( .J>=224)
gJ>I..r:nJ n 1nn m m IU
lé~ n m §J>IJ:JJ .J)IénnJ ) l~ nninmrn; J>l4
Drm ¡;=¡n m lé JJ:JJ:JJn ., J>l§~ m lé ~ n ;n u ., J> lg m J .J> la m m J .J> 1~
é ~.m m 1 [1.3) m Jffi 1~ .rm ¡;=¡n Jffi 1 i m m m IR m trn lx m JffliJ ., J> 1~
IJ:J:JJnrn ~ "''RJnJ m lfTlm 1~ :¡)lffJ 1 gnm 1~nn¡-n 12n.nm1~mmJ1~
1~· m 1~· ., ~~~ n léJ ffñrn m 1 ~ .n Jn IJ ., )> 1§ J J éJ J J
)> 1 )> 12
IJJJJJJ., ñrn IRJ"":Fn; Jt"ñiffiiJ. ~· ., 11 ~ J J ..n 1§ n J .J> 1~ n .r.---; 1J ., 11
29.C) Vivace(J ·=96 , J ~ 144) 29. 2) )1 constan!, )1 = 176 -300
3
+§+2 n u. J .J>n u J>J .J>.n 13 J ).D 1~ J. ~· n 1 ~ tn ~~ J> n 1a .J> m =11 - ti=~ .b. ) 111 )> ~ lit
u J>J .J>n IRJ J>J J>rn I§J J>n 1~ J. 1· 1· n it ~ =11 -· 11=~) J> ) li't .n n li~ n =11

IJ j}J J>niRJ J>rniRJ )J .hm lfiJ J>nl~


29. F) Presto, )ll'O nstnnt (Jl= 144)
gJ. ~· n IJ. J J>IJ 1 J>J J J>n IR .bJ J .J>J>J IH
g)> J J .h 1§ )> J .n 1J. 11
~ ~ 1.J> n I.J>. .b 1~ 1)) :¡ ) l1í ~) ffl 1.J> m lil
~~ ;=n ~~ J> .n I.J> 1 ) 1.n . 9 1J>. ) 1n .h 1
(J. J ~ 108) li~ ñ n n lit; ~ 1~ .b J> Ji 1J> :' .f1
---
1) J) 1J>
29. D)

·- --
Allegro 72,
e

gn l.r-TI m lg rnn 1n .m rm l§rm rn1n Í.J> ñ 1 J>. ) 1 "r=s
j) 11 )¡ 1> &:¡
1 ) n --
1 J> n 1í1
grm J JfflU. ~ n 1m r-rJ 1g ,m m 1B .-- ---.......... .------ ---..
gm .r-Jn 1§ r.-n Jffl iB .rm nJ :n 1n., ., m 13 it ~ lg n J> 1J> :¡ ) 1J> l~ 1J>. )l 1:¡ .t=n 1
--~ --·- ----:--...
3 r.mm 1.rmm1.rmm1nmrnu ~n IY ~ h 1> .h l1i:' )n lñ n IPG rll~ J-T11 1; :¡ 11
g r.;J fl1J lfi.r;J m1n .r-mn m 1~ JTmJm 1g ...._.
~

gJJ m; Jffll J. ' 11


,.__. 29. 3) .1> ~ 152-208

,_,
~

,.._,
"""T'\
~
120 Srudylnx Rhythm

29. G) Allegretto ( J>= 208)


·~
~
StuJying Rhythm 121

J ., ~ 1 J ;,
l ~~rJ ~rJ>mrn¡HJ
~r ~ Hr
n¡aJ J>I"JJJJI§
J>n ¡aJ
ar ~r ~r g ..,__.
~ r ar
J>n
~r r
~
~
lggrn"J U;n lg rm UJnn lg
í ~ Yí
n lg
L1t g~
J
Bí ., ., ~ UlJ
13 ~Jffllg mn .rrn lg J '., 11
§ J. l ~~ J J>¡-rj Jm 1§ r.JJ rn¡a D) .I'nn ¡a
l~r ~r ~r ~r ~r ~§¡ ~r ar ~u u a ~ ~
~
l aJ
guu
JjJT]j J
gU!! r
UlJ §W:U U! §r ., ., r;u.r
29. 5) )l constant, )l = 184 · 240
a ~ rJ5'J n¡§ J. t ~~ 1lJ ~.m 1ª ~ m¡a
l~r ~r ~u §r ~r ~r ~¡ ~u.r g¡ ~u a
~
~ ¡itil 1r--1 ¡a J> ~ ¡n J J J =11
6f ft 1 r r '! § 1 e r e CJ
mrnJn¡a J. mJJ m;---ñ 1§ J. ~ ~~ .__.
~
lar
=

a- J.
~ u u ar ~ UJ u r ~r ~ ª .__. 29. 1) Vivace, )l constan! ( )l = 240)

m¡§§íJ. mJn¡a¡¡-¡¡;JnJniH .._.


l ar
a~~JJ
u .D ,.__. iL.hl ~ IIÍ .r-, lñ ~ 1ñ .r-llil -¡-") ., 1
~r ~u...r ar ~u

~~ 11
~u
.........
l )J
1t11'=! i~:¡~:¡b! 1P1'=! 1~:1'=! §1~:¡bf:(

laJJ mJJu....rmfn
Hí ~U g
1ª J.
¡· ~
~
li J>. )lliJ> n¡)J> ñi)J> ñi~J
J>
:¡~:¡'='=f IÍ :¡~:¡b!.,
'='=!
~~
~ '1 31~1
J JJ
1W ~
....._.
J> ., ., lií n ~ n ~ ~~ ~~
....... l
29. 4) J>=120 - 168 H 1 rJ 11t r-1
'"-e H:¡ ~ ~ ~ b! i~ 1 ~ :¡
P :¡ ~ :¡ b:! ~ :¡ g =1 i11 '=! fi
~ § )> .,
~ :t
r~~ ~
l '='=' it '='=" 'il ~ IÍ n
lB J
r;J ~ :¡
,.,.
'=! .,
) )>
'=! JÍ :t g 1 ~
1 .

29. H) Andante con moto ( J>= 168) .._.


~

,_. ñ '.h ñ ¡t
)l )>

)>1 11 J J J J
i{; :¡

)> ., .,.
§J>IJ J>.n¡§J J>J J>I§J J>rn¡aJ J>J'jJJ'jlg 11 .,
l g., r- r gr· r· gr· r gr· r ~ 3 ~
~
'=l:! ., ~ ~ =t ~ :¡ G :¡ '='=! ~ ., .,.

3J ., ~ 1J. J lg J. J J> 13J J> n lg ,.._. 29. 6) J> ~ 120. 184

1gr ., ., ~ r ~ u gr ~ r e bf gr ~ c_y g
...... ¡üJ.
~u·
m um =rr - 11:¡--J. n
=L..l:l1 L...kr=
=rr

gJ .J> m 1§ J ' ., J> 1rm ;--ñ 13.r7n .Bn lg


,.,
= -

l gc.u qr bf 3r ., ~ r ~ u gr ~ r ~ §
~

,.,,...... ~1 -- 11:0· 0 =¡¡


=L.l! U=

~
122 Stutlyi11p, Rh ythm
Sruc l ·,·ill~ Rhythm 123

29. J) Grazioso (Jl- 160) J O. l a) J 162, IOH , 72,48

¡gu· u u· u au · u u gu_r n-¡


~ [l'j n 19 J"1J
~u·
.rm n lé 1'1'J n n ~~ J .,
l
~n n
)> ~ J>

IHJTJ m IJ. J.
J. J
1~ J )> .,
Jx
=11

.r-rJ
¡lu· u
r.mrm
;ni~
u· u éu· u u
~Lt
'n¡ ;--ñ¡érmn.rn¡~ J
§L..U l
30 . .l b) J ~ 48, 72, 108, 162

J. 1.rn f'"J1 1~
J> - J>
n n n IJ

liOd711 Gtlc71~r~ciDII~ :: 1 30. l e) ,)= 48, 72, 108, 162


)h )) J . J. Jx
gm FTJ 1~ n n u J ¡g J. J i =11

30. TEMPO MODULATION JO . /\) lkgin ning Yivacc ( J- 144,96, 64)


J> , )l

In these studics, lempo is changed in two differcnt ways. The samc note-
~ J. m 1 JJ J 11= nnn 1 J J>·,ln nn ¡g
valuc mJy havc the sa mc speed in metcrs wilh diffcrenl numbcrs of lhat value )l . J> )> J>
on 1he bcat, so t he beat beco mes longcr or shorlcr. For examplc, as wc saw in
Chapler 2 1, when tlie eighlh-nole stays lhe same in moving from simple lo H.rn m~~ n .J>J .J>IH m J 'u ;m 1m J .J>I
compound meter, the bc:~l hecon tcs longer and the lempo slowcr. J\ltcrna lively,
J. ~ J J ~ J. J. =J
diffcrcnlno te-valucs may be given lhc same spced . For exarnple, wht'" a quin luplel
six lcenth is equalcd to a prcceding normal sixtecn lh, lhe bea l, now consisting
IJ. J J>IJ J>J )>IT.J 1~ Jr"J J1 lg J J>.rn li
of Ove sixleenlhs, hecomes longer. Thc terms metric modulation ami lempo
modulotivn have both bccn applied to these procedures fo r changing lempo , bu l
the latler is more accura te.
Each of ll1e preparatory exercises in lhis chaptcr should be performcd thrcc
limes in succession, beginning al the flrst of the indicaled lempi; we will lhen arrive
at the olher lcmpi during lhe course uf the excrcisc. In thc fi tsl cxc rcise, 30. 1a, 30. n) ncginning Andante (heat = 48 , 72, 108)
if the quartcr-no lc is inilia.ll y 162, the eighth is 324, and the dotled quart er is ' ' J¡ .. )l
108; at the rcturn to lwo-four, thc 108 bent is kcpt; bcginning again al 108, the ~ .J> IJ J>m li-r.JJ II=J>U J>ln 1rmJ ~u J>m 1~
cighlh is 216, and lhe dotted quartcr is 72; lhe third time, lhcn, wc bcgin al 72,
the cighth is 144, and lhc dotlcd quarter is 48, which is thc spccd of thc final ) ).
quarter-nole. 1nn1nm1nm1J
,
'J)IJ ·¡.J)IgJ .J>ITI 1
ll will he helpful lo f]gure out the lempo at each point during lhe cxercises
and s tudi c~ whcre va lues are marked as equ ivalen!. As always, conduding will IJ'IJ J = II~IJ ;m IJ""""m~ llTJ nn IJ ~ 11
makc us physically aware of the changes of lempo.

J 0.2a) J,. 54,72,96, 128


J~ ~ )1

f J; '=~ r1¡;:9r=;¡:::¡-, 11~ m Fn I.J>. )l .,


3x
=11
l"lA Stu d yi n g Rhyth111 Sruflyiug ~h'y th m j 25

30.2b) J = l28 ,96,72,54 30. 3b) J=100, 80, 61, ca. 51


J ft)l, )l ~ )l ~X ='1, J= J
~J n ~~~;,. )J. ~~ ~ ~~ ~~ :11 iJrn~lñTñflJ:JJU
)l 1i 1i

n 1m )l ·¡ :11
JX

30. C) Beginning Andante (beat = 63 , 84, 11 2, 84, 63) 30. E) Bcginning Modcrato (J . 64, 80, 100, RO, 64)
)l = )l J>. ·· J li li

~ñi)J .J).J"ni~J ~rñl ~~ mnnlm'--'mnl~ i ñ 1In m 1Jm ~ 1Jffl ñffl u ,'J~ I.FTn im~ 1
J ~ )l .

LJ~J ;,n IJ J ., :ll: ñ I)J ñrn lm __}n.,r-n ll~


~
r!'• ,
)l " )l )l = )lr; ¡; ~

11.m nn 1m nm 1~ Jffl m .m 1n J ~ :11 ñ 1 ~ 1Jffl.ffffl l ñ7ñ Jffll J ., :11 J::J IM Jffi ¡_m ffi~ 1
~
'-' '--'

IJ>J ñlnlñJ ñr:ñ 1 J. ñrñiJ 11 1 ~ .f"n 1 J


~
1 7 11

30. D) Deginning Allegro ( J= 128, 96, 72, 96, 128) ~ 1

~ 30. 4) J = 84, 70 , ca. 58, ca. 49


G /~~)l J.~J
~
~J J1Jffll.ñññffl~ IR~¡m m~ IJ J;J.J·,li
~ · > 3x

~
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