Moderato maestoso, J = 69 3 3

crescf JP crescf JP e JP - dim. ------------ -----m

Andante -grandioso J. = 58

I I I I I I l l I 1 I 1 I I I I I
o m 0 0 0 o m 0 0 0 m o O O I I O
 v
17
The qaarter-note triplets in lines 7 and 8 may p e e problems at firet. If so, the troublesome meas-
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 grace-
notes, taking c a r e that the sixteenth-note and eighth-note triplet figures are also executed correctly;
3.) practice the passage as is.
5
Moderato J = 112
I
1

f
 7
19
The many dynamic markings must be carefully observed here, with slight exaggeration of the cre-
scendos and decrescendos.
6
Largo espressivo J = 63 -

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fJ I H I I
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i I f2 I fJ I I I
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O I I I I I
n e theme of this exercise, presented in the first five measures, i s formed by a two-measure "ques-
tion" 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.
7
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
s plus 1/8.

Andante moderato = 192

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

Largo J = 72
n A A A A h A A h h h APIA

h = J Vivace

J = .h Larao
 51
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 transi-
tion from the 3/4 back to the 9/8 in line 3. The foot tap, however, remains constantduringthe met-
r i c changes.

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 a .

56
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 ==+I-
sion of a beat into two, rather than three, a s do the f i r s t two beats of measure 6. wbic5 & 20
different than the last -two beats of that measure. Note the accelerando, b e M g a t line 8, rs--
ure 2.

Moderato J. = 76

> >
I I . i
- I.
v- I I I T .r
m m m I& r~ IIA 0
1 I m ' m III m m I I I I .
w
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.
 61
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
closing. In this piece, the form has again been translated into 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.

Sonatina J = 88

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 63
A Song and Trio consists of a primary theme, a secondary theme, a mid-section, o r "trio", and a
recapitulation of the first and second themes. This piece i s organized along the same lines: meas-
ures 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.

Moderato (J. = 60) 25

Song and Trio

1
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