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~eview exercise
61 This exercise reviews cells and meters introduced in Chapter 1.

Allegro

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10
15

Self-test on written concepts

1. How does compound meter differ from simple meter?
2. Differentiate between the terms "beat unit" and "division unit."
3. In 3,
a. What does the "9" mean?
b. What does the "8" mean?
c. What is the beat unit?

4. What does the symbol:/. mean?

5. Circle the two rhythms below that sound identical.

J J IJ J I
'------" '------"
Q. IIJ J I
~

6. The following line of music is beamed incorrecdy. Renotate the entire

line, using beams to join notes within the beat.
•
7. Indicate the location of each beat with an "x" (or a vertical line). The
dotted quarter note is the beat unit. The first measure is already done.
I COMPOUND METER 4I

I 8. Write and perform two rhythm exercises incorporating the rhythmic

•I
notation introduced in this chapter. Beams should join notes within the
beat.
a. Write and perform an exercise using each of the following at least once:

WII J I 1.1 rrJ I J I ~.

o· I
I b. Wtite and perform an exercise using each of the following at least once:

I ~ I~ I In I .r=n==t=flll ~ I !TIl
., ......-_._m
I fITTI I
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I
~ecommended listening
I
See the end of Chapter 1 (page 26) for recommended listening, including
excerpts in simple and compound meters.

 SiMplE METE~:
QUARJE~-NOTE BEAT

This chapter builds on fundamental rhythm patterns in simple meter with a

quarter-note beat, first introduced in Chaprer 1.

One-part exercises

~ •
62/
Preparatory drill
I'n

Moderato I.

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1
• SIMPLE
,

METER: QUARTER-NOTE BEAT 43

•
• \Ancdante

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f

• J ~

•
•
•
• Preparatory drill

• 66
• Allegro

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•
Allegretto

•
•
•
•
 ,I '
44 CHAPTER 3

68
Andante

dim.
5

ANACRUSIS Exercise 69 begins with an anacrusis, also known as an upbeat or a pickup. An

anacrusis is one or more notes that appear before the first complete measure of
a composition or movement. The last measure lacks the same number of beats
as appear in the anacrusis. Measure numbering begins with the first complere
measure.
Many well-known songs begin with an anacrusis. Try some examples by
singing the songs below. In each case the anacrusis is indicated with bold text.

Songs with anacrusis

• Sing "The Srar-Spangled Banner" (in AJ, major, start on E~):
..
Oh, say can yOll see, by the dawn's early light, ...
• Sing "We Wish You a Merry Christmas" (in G major, start on D):
We wish yOll a merry Christmas, ...
..
• Sing "0 Come All Ye Faithful" (in A~ major, start on A~):
o come all ye faithful, Joyful and rriumphant, ... ••
In contrast, the following songs do not begin with an anacmsis:
••
Songs without anacrusis
• Sing "Row, Row, Row Your Boat" (in C major, start on C):
Row, row, fOW your boat...
••I.
••-.
• Sing "Deck rhe Halls" (in C major, stan on G):

Deck the halls with boughs of holly, ...

• Sing "Jack and Jill" (in G major, start on GJ:

Jack and Jill went up the hill, To fetch a pail of water: ...

••
••
II SIMPLE METER: QUARTER-NOTE BEAT 45

II

fI

fI
I. "America" (in C
2. "Frere Jacques" (in C.
J. "JOy to the World" (in D

4, "Away in a Manger"

I
Conduct an empty partial measure as you begin an exercise with an anacrusis.
For example, in the following exercise, you will conduct beats 1 and 2 before

I
singing on beat 3.

•I Allegretto

•I 7°
Allegro
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f

•I
p
5

I MULTI-MEASURE RESTS A rest of more than one measure is notated with a heavy horizontal bar and a
numeral indicating the number of measures of silence. For example, a seven­
measure rest is notated as follows:
I 7

I
I
4 6 CHAPTER 3 I~
Many publishers, however, reserve the above notation for rests of nine or more
.1
measures. For rests of sharrer duration, rhe following rhree symbols are used
alone or in combination: II
Symbol
II
Duration

1 measure

• 2 measures
I'
I 4 measures

A three-measure resr, then, may be notated as follows:

I'
I'
..
3
•

71 II

Andante

II
I.
II

I'~I xj II
.'..1
x

Prep.4rdtory drill (recommended speech cue: "to-day")

 I fO.......

I'··'·"

II
,
SIMPLE METER: QUARTER-NOTE
, .,'

BEAT 47
- - - - - _... - - - - - ­

73
I

74
I
Andante

+!D4-.-{---'I-~H-fi~f----'I-'-~-"-----#-'#---#~-----!----'I-'~O-fHI--,H-firl-#-<~

Jlll
cresco '--./---#--..J-.......o'+<l::--'p---.Jl.#-~I-'-./.!-f--<lI-#-4I--+''--<Jc#-oI--#-. -+o---1J
......~p---.I-'*-,......~'--<Jc
....
10

•
[B
•
75
•
Preparatory drill (recommended speech cue: "pas-ta")

•
Andante

•
4-*.--#--#--.c-
p
~I~fi-'--*~¥+-#---#--'j--_4!_'_!:____\__#_~~----Lj_#"_--onnj
f ~

•
-P~+-+-r-4-r-JtD+_~~~-i--+"-.----..-~~

•
'Elongate and accent the first syllable of "pas-ta."

 •
!

4 8 CHAPTER 3

77 •
Andante
•
P

-l--+~t-D--1~--+\'~~¥.-frD~l--+---''f-#'-#,----*+-~

f
•
•
•
INVERTED DOTTING The rhythm n.
is an example of inverted dotting. It is the mirror image of
the more familiar n
pattern, introduced above. Inverted dorting is also
commonly known as a Scotch snap because it appears ftequently in Scottish

•
folk tunes, for example:

m.J~.i~
o faod - aidh sinn eir - igh, 0 faod - aidh sinn elf igh,
f}l Tha

•
fear a' sea a' gabh - ail mul - aid CUif urn - ad is eir - igh.
•
This rhythm also OCCUtS ftequently in Hungarian music, for example:

•
~~ Ha - la Is - ten, makk is van, Majd meg - hi - zik a kis kan.
•
~~-F+f=B •
•
Ha meg - hi - zik, Ie - vag - juk, Majd ta· risz - nya - ba rak - juk.

To maintain a sense of the beat, place an accent on the first note of this
rhythm cell, as shown below. When a thythm cell is ptesented in a bracketed
version (as below), use the suggested speech cue for both versions of the cell.
•
•
•
Preparatory drill (tecommended speech cue: "ta-ble")

•
•
•
(I SIMPLE METER: QUARTER-NOTE BEAT 49

[I
II Allegro u

[I -lyPTIPtd--{'----H'-<~-+-*-4-~~~
41-<lJI--#-#-#-oi"-~-'--<l,-*-,~f4--+~-oi"-_-#-I-#"-_~--1
I
I 80
Perform only the rhythm of the Scottish folk song printed on rhe previous page.

I 81 Perform only the rhythm of the Hllngarian folk song printed on the previous page.

I
DOUBLE DOTTING
When a note has a double dot, the second dot adds half the value of the first dot:

0·· = J. = j'-------"j jl
'--/

IL~II
•I 82
Preparatory drill /

I -+.-4-----<"-'~__#_'___#_~~'--#-Ht'-~-++-.o--+---I4'-'-..
'--..--."

I~I 1"-44~I---j
.

+-tII[]
~~ I
I

50 CHAPTER 3

II
Preparatory drill •.­
85 III
Allegro
.­

86
f
I

"'\ ..

--
\

MEASURED TREMOLO Measured tremolo is a notational shorthand used most often in orchestral music
and piano reductions of orchestral music. A series of repeated notes (e.g., ..fT.F.I )
is indicated by a note with one or more slashes (e.g., ;'). The speed of the
•

tremolo is indicated by rhe roral number of slashes plus the total number of
beams or flags. The duration of the tremolo is indicated by the rhythmic value
of the note itself (i.e., without the slash or slashes):

1= . ~ Lnn n=FTI
A tremolo between two different notes or chords is also used. Note that in this
type of tremolo the note value is given twice:

49i~ ~
ii~or~ ~
This type of tremolo is less common than the first type; it win not appear in
any f"xercises in this text.
 /9
,
I

• ,,4'
:'

•I COMPOUND MEIE~:
DOHED QUARJE~-NOIE BEAI
I
•I
I This chaprer builds on fundamental rhythm patterns in compound meters
rhat have a dorted quarter-nore beat, first introduced in Chapter 2,

I
One-part exercises

• ~
•
• 98
•I
Preparatory drill (recommended speech cue: "!a-zy")

99
• Allegretto

• t-i ~ ..rmJPJ-i~~-H-"-#-'"

+--fIDt-----4-.blJJ+L1-~t#'.'--+'--t.'-#-f1~-..........+#-1

•
•
•

58 CHAPTER 4 II

ONE BEAT PER MEASURE For rhe next exercise, conduct 1 beat per measure. Use the following
II

conducting pattem:

......... start
II
•~
".

1 beat per measure I

3 3 3
(e.g., 8, '.16 at a fast tempo)

/I
x
PI Jx I
100
Allegro

H+J-----*-!-+4---+--tI--tI--+-#---I-!-h~---#-#--J-+----'l--t-'I----'I-+4-<,-----+'-t-.'-#---#-+,!---01--#--j
10

Imlll
IOI
Preparatory drill (recommended speech cue: "la-zj-ly")

f-ULbt.DJ1~~~~~~!-'---+I

102 Beams over rests should help you group the notes into beats.

Moderato
• COMPOUND METER:
C
DOTTED QUARTER-NOTE BEAT 59

'f 'f 'f:;J-t!

~~~~~--#---f-'---t-+---'f--#-~+'---~~_)~
II
I~~III
1°3
Preparatory drill (recommended speech cue: "la-zi-Iee-kee")

tDJ·~~~~~~-.-.-..~~H't-*"-~·iI
I 104
• Allegro

~~~.~-#'-~. J~
•I j---+-'f-~,--#-#-~I4-j4-T-*-'f~f+-.'-<~HO--H'~L-*-I~~
-#"-----I--'f--'-#-i~..........>-'f-.'-#-[_'f__'f-#'-<.........4-+-+-~.....----r---..-L-1J
II To ensure accurare performance of rhis cell, place accenrs as shown below.

•II Remember ro use rhe suggesred speech CUe for borh versions of rhe cell in rhe
prepararory drill.

Preparatory drill (recommended speech cue; "jum-bo")

I
I
•I
•
 .") ")
I. (,.
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60 CHAPTER 4

106
Allegro

107
Moderato
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P ~
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I [Jl111
108 The accents shown in this exercjse will help produce accuracy and adherence
to the beat.

Preparatory drill (recommended speech cue: "some-bo-dy")

~j pj 1-P=J-fDt·~~·~~~~[IJ~·l ~.-H

10 9

Andante
Ejercicio de lectura y ritmica con aplausos

Jose Luis Ulloa ulloaflute@hotmail.com

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escritos en otras daves. No hara mas que suprimir mental mente 101 clave que se halla OIl principia de estos
€jercicios Y reemplazarla par una clave de Sol. La misma operaci6n pOdra ser hecha a continuaci6n para las
demas claves.
R~~?R
14
(1) Observese 18 insistencia en las formulas arpegiadas. Es porque en una pieza musical, cuyo movimiento
es muy rapido, se encuentran par sabre todo fragmentos de escalas 0 de arpegios. Las notas muy al€jadas
unas de otras general mente se ejecutan en un movimiento lento 0 poco rap~do.
15
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24
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DUETS ~ SECTION I
.­
1. Andante

...
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• MELODIES FROM THE LITERATURE ~ SECTION I

• 1. Moderato Chorale: "Christus, del ist mein Leben"

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2. Largo Chorale: "Weg, mein nerx, mil den Gedenken"

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3. Andante

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Chorale: "Ach, wie nichtig, ach, wie fliichtig"

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5. Larghetto Chorale: "In allen meinen Taten"

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• 261

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6. Andante con moto Chorale: "HerzIiebster ]esu, was hast du?"
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7. Moderato Chorale: "Stra£' mich nicht in deinem Zorn"

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9. Marchlike

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• 11. Slow Appalachia, USA

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• 12. With Spirit Appalachia, USA

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13. Allegro Sweden

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• 14. Vivace Sweden

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264 _--"--

15. Andante (three-voice canon)

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16. Allegretto Mozart: Symphony No. 39, III
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17. Andantino Poland

18. Vivement France

19. Adagio Weber: Overture to Der Freischiitz

20. Lively Spiritual

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• 21. Langsam Schubert: Wiegenlied

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• 22. Allegro assai Beethoven: Symphony No.9 ("Choral"), IV

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• 23. Lustig Gennany

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266 ~~~~~~~~~~~~~~~~~~__~C_ha--,p_te_r_F_iv_e--,-/_M~el_od_ie--,s fr,---o_tn_t_he_L_it_er_at_u_re

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26. Fast and lively H. C. Work: "Kingdom Coming"

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27. Allegretto Mozart: The Marriage ofFigaro, Ad I
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28. Moderato Japan

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30. LtU'gsam Chorale: "0 Haupt voU Blut und Wunden"

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I =-,Se:..:.cti="o=n.::-l -" ! 267

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31. Slow Spiritual

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32. Andante con moto Mendelssohn: Symphony No.4 ("Italian"), II

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• 33. Lively Spiritual

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34. Moderato J. Bland: "Oh, Dem Golden Slippers"

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• 35. Fast Afrikaans

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268 _ "') t/ Chapter Five / Melodies from the Literature

36. Andante Mozart: Don Giovanni, Act I

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37. Moderato J. Bland: "Carry Me Back to Old Virginny" ­
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38. Moderato Foster: "Maggie By My Side"

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39. Slowly and expressively Appalachia, USA

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• 40. Slowly Appalachia, USA

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• 41. Flowing "Santa Lucia" (Italy)

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• 42. Allegretto Denmark

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270 ~

43. Adagio
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45. Allegretto Russia

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Ejerccicio 1 

Ejerccicio 2 

Ejerccicio 3 

Lengu
uajes y Materialees musicales                                                                                                                      M
Maestro Luis Ullo
oa Ulloaflute@h
hotmail.com 
 

Lengu
uajes y materialees musicales                                                                                                                                                              ulloaflute@
@hotmail.com
 Formula 2 vs 3 
 

Ejercicios 

 
 

Mtro. José Luis Ulloa                                                                                                                             ulloaflute@hotmail.com 
 

Formula 3 vs 2 

Mtro. José Luis Ulloa                                                                                                                             ulloaflute@hotmail.com 
 60 
 

Formula 3 vs 4  Marcar con el pie el compás y con aplausos decir el ejercicio 

Utilizar aplausos para la voz superior y los pies para la voz inferior 

Maestro Luis Ulloa                                                                                                                                                       ulloaflute@hotmail.com 
 61

Combinacion de las formulas 2 vs3, 3 vs2, 3 vs 4 y 4 vs 3

2 vs 3
3 vs 2

÷ 13 œœ œœœ œœ œœœ œœ œœœ œœ œœœ œœ œ œ œ œ œ 57 œ œ œ œ œ œ œœ œ œ œ œœ œ œ œ

3 3 3 3 3 3
Manos

Pies Ι ‰ Œ Ó−
2 2

Œ− Œ− Œ− Œ−
2 vs 3

÷ œœ œ œ œ œœ œ œ œ œ œ œ œ 1 œ œœ œ œœ œ œœ œ œœ
6 3 3 3 3

œ œ œ œ 3 œ œ œ œ œ œ œ œ
2 2 2 2 2 2

Ó
3 vs 2

÷ œœ œ œ œ œ œ œ œ œ œ œ œ 57 œ œ œ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ
11 3 3

Ι ‰ Œ Ó−
3 3 2 2 2 2

Œ− Œ−
3 vs 4

÷ œœ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œ œ œ œ œ œ œ 13
16 4 4 4 4 4 4

Ι ‰ ‰ Œ− Ι ‰ ‰ Œ−

Ó
4 vs 3

÷ 13 œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ
21 3 3 3

Ó œ œ œ œ Ó

Ó− Œ
3 vs 2

2
÷œ œ œ 3 œ œ œ œ œ œ œ œ œ 1 œ œ œ
26 3 2 2 2

œ œ œ œ œ œ 3 œ Œ
Ó Ó−
Maestro Luis Ulloa ulloaflute@hotmail.com
 62
Lenguajes y Materiales musicales

Maestro José Luis Ulloa ulloaflute@hotmail.com

 63
Lenguajes y Materiales musicales

Maestro José Luis Ulloa ulloaflute@hotmail.com

 64

Maestro José Luis Ulloa                                                                                                                                ulloaflute@hotmail.com 
 65

Maestro José Luis Ulloa ulloaflute@hotmail.com

 66 
 

Ejercicio 1 Compasillo

 
 

Ejercicio 2 Lectura Sol Lectura 

Maestro J. Luis Ulloa                                                                                                                                                                                                                 ulloaflute@hotmail.com 
 67 
 

Ejercicio 3 Lectura Fa 

 
 

Ejercicio 4 Compasillo síncopa 
 

Maestro J. Luis Ulloa                                                                                                                                                                                                                 ulloaflute@hotmail.com 
 68 
 

Ejercicio 5 Lectura clave de Sol compasillo síncopa 

Ejercicio 6 Lectura clave de Fa compasillo síncopa 
 

Maestro J. Luis Ulloa                                                                                                                                                                                                                 ulloaflute@hotmail.com