Moderato maestoso, J = 69

crescf

JP crescf

JP e JP

dim.

------------ -----m

Andante grandioso J. = 58

o m 0

0 0

m o

O O I I O

The qaarter-note triplets in lines 7 and 8 may p e e problems at firet. I so, the troublesome measf u r e s may be approached In the following manner: 1.) Practice straight quarter-note triplets with the hands, while tapping quarter-notes with the foot; 2.) practice the passage in question without gracenotes, taking c a r e that the sixteenth-note and eighth-note triplet figures are also executed correctly; 3.) practice the passage as is.

17

5
Moderato J = 112
1 I

The many dynamic markings must be carefully observed here, with slight exaggeration of the scendos and decrescendos.

19
cre-

Largo espressivo J = 63

31 '
! *

fJ

,-q
I
A

I
I I
i

I ; ; I k 1
I
f2

fJ

n e theme of this exercise, presented in the first five measures, i s formed by a two-measure "question" and a three-measure "answer", which are indicated very clearly by the dynamics. A variant of *5e answer is employed in line 3, measure 2.

The subdivision of the 7/8 measure varies, with the most common groupings being 4/8 plus 3/8 and 23 3/8 plus 4/8 (as,respectively, measures 1and 2 of this piece. ) Other orderings, of course, may be, a d have been used, and two of these have been incorporated into this exercise: line 4, measure 5, which equals 2/8 plus 2/8 plus 2/8 plus 1/8, and line 8, measure 2, which equals 3/8 ~ l u3/8 plus 1/8. s

Andante moderato

= 192

---pie doable-me

---

process i taking place. T5at i . 3 e qxed u t3e s ! ! - t j l f % y e - = s s ! in the slower tempo becomes the speed of the eight3 andl sixLtuth-notes i t5e fasttr t w i-5 1 n e . , and the foot beat becoming twice as fast. This transition reverses itse2 a': -je equalling last line.

Largo J = 72

A A

A h A

h h h

APIA

h = J Vivace

J = .h Larao

Since the speed of the dotted quarter-note becomes the speed of the quarter-note at the second line, the eighth and sixteenth-notes will become slower in the 3/4. The reverse will happen inthe transition from the 3/4 back to the 9/8 in line 3. The foot tap, however, remains constantduringthe metr i c changes.

51

Larghetto J. = 72

Again, the eighth-note remains constant, but the foot tap should be placed according to the phrasing. All rolls in line 3 are to be given fresh attacks.

Presto ma non troppo

56

=I This exercise is to be played with four beats to the measure. M e a s a r e s 2 and 4 congin t b z = +sion of a beat into two, rather than three, a s do the f i r s t two beats of measure 6. wbic5 & sdifferent than the last -two beats of that measure. Note the accelerando, b e M g a t line 8, rure 2.

20

Moderato J. = 76

>
m m m
I&

>
I I

r~

IIA

- I.

v0 1

I .
w

i
m
'

III

I T I I

. r

I .

T5e designation "ABA" refers to a three-part form comprised of a first section ("A") in a particular

59

key, a second, contrasting section ("B"), in a different, but related key, and a third section ("A"), similar to the first, if not an actual recapitulation of, it. This structure has been approximated here as follows: "A" equals measures 1-6, in 4/4 meter; "B" equals measures 7-18, in 2/4 meter; "At1 equals measures 22-27, in 4/4 meter. Since the snare drum is incapable of expressing changes in tonality, meter changes have replaced key changes in the respective sections. Further, measures 19-21 act a s a transition from the "B" back to the "A" section, and employ shiftingmeters just a s an lmrmonic modulation would employ shifting tonalities. The last seven measures form a coda, which d x s not add to the form proper.

Tze Sonatina is the largest two-part construction in music. The first section of the form begins with an exposition of a primary theme, moves through aVbridge-like" portion into a secondary theme in a different key, and usually concludes with a kind of coda. The second section recapitulates the opening theme in the original key, often utilizes a transitory passage as a lead - in to the secondary theme, a-Ech is, this time, also in the original key; the form may o r may not employ an appended, coda-like no closing. In this piece, the form has again been translated i t rhythmic terms: Section I - primary ';erne, measures 1-5; transition, measures 6-7; secondary theme, measures 8-19; coda, measures "-25. Section I1 - primary theme, measures 26-29; transition, measures 30-36; secondary theme ? original time signature,) measures 37-40; coda, measures 41-43.

61

Sonatina J = 88

'-. ,

q.
1

I , ;
I.
0

I
I
I

1,;
I .

i t
I

1
I

1
I

I
I

\
I

4
I
I

I
I *

4
I

I
I*

i I
I

I
I

and a recapitulation of the first and second themes. This piece i s organized along the same lines: measures 1-8 a r e the primary theme, measures 9-14 the secondary theme, the entire 3/4 portion the Trio, and the remri.ning sixteen measures n recapitulation of the f i r s t and second themes.

A Song and Trio consists of a primary theme, a secondary theme, a mid-section, o r "trio",

63

Moderato (J. = 60)

Song and Trio

25