aDae iste + a ee = | are i es = teeer: ey ar pf PH pf JIT) SIT) | SIT TI 7 CSeorC seer’ feerc coer 8.3) Adagio (d. = 44) SHITIIT OT IIR) ova Sy lt PLP PICO oer |o err » 5 es ee EP lees IT) ITI) | LTATT | ST STF J rt | t SCE ener per et sere lereerr 8. K) Thomas Hardy (1840-1928), from “A Musical Incident” P =f. Bhidve ITI J ML dds MITD LS “Twas thus. ‘One of them played to please her friend, not inring Tht en wa 2 LOT ITG3l Dds dove (ETO: Fl speed -i-ly growing Be-hind the play-cr’s chair, Sor - no-tent, una- » | TST ore fo ogrr erip err of JTSTI ITT 2" Poor CiCeeerr »WMD) ore Home Bis eR rae Of amy muse, there. “Bean gu said she waking As the [DJ Jvid J de 2 ‘Veet Ail 7k dM mu-sie ceased. “Heart-ach-ing!” ‘Though ne-ver a note she'd heard Io dve Til rd (STs dle lla dl judge of asa-verred Save that of the ve - ry last word, 9. MORE RESTS AND SYNCOPATION IN SIMPLE METER In performing a phrase that contains rests, we should stil! aim to understand and project the whole phrase. Rests interrupt the sound, but they should not interrupt the flow of the phrase. In this chapter and again ia Chapter 10, three of the studies are written with flags instead of beams. This notation is sometimes encountered in vocal music, where notes sung to different syllables may not be connected with beams. The first step in reading such notation is to bracket the notes of beats where the beats are not obvious. 9.1) ¢ =80- 144 Bldiv de dal 9, A) Allegretto (¢ = 88) EDT) Morr BLD ddr ey Diy dy Di dye | lt vd MIDs dn adn te a Di Dr all 9.8) Vivace (J = 132) Edi dre aor Ddre 2 a DIGIT Dre | lero Sht to MTee DF A S7dTD FD 2 Dadra er Dl dve toll wo9.C) Moderato (d = 84) tl lJ aid TB als Jui TRO dd id tld UAT Ls Fl id edd Oh Jos Tle | 9,2) J =56-96 td DDL DM - WTA | o- dy FURR, APPR O- ITLL - LA 9.D) Allegretto (J = 80) ab Ad Da o ADD AD Bd © S [ASDAD LD AADSD 12 pd SADA La SARS] = [dd SD DR Gd D ISAARASAIAD ASS SS Dt d 9. E) Allegro (J = 96) ee PDAMSADIIDL QDI die ADDS AY Ths div d ty SAAD AL Joly ABAD Fed Diy J ALDASAD Ay SAAD ALY ANDY A [Addy SMAALADSAAL 29.F) Allegretto (6 = 72) PATH Ta AUT A (dee MITRTIIU i a lee NIT [JT > MILI MT A LAT + MAUL +l 9.3) J =40- Iter r “fs [; re Fo ated. I. TS a oad tee] BAL { le? “COL: 24 eee 3! [oe fd veer ecee 9.G) Allegretto (d = 100) ee a Jadot 72) ire Pipyt os Yd oy 2 19U 45 pipre | v dibs Idi Taide Mert: | eet ap slers laerter pler st 9.H) Moderato (J = 69) i PIV ALAR |. 2 2 (APR. * Jeded| gro ereer ba |e aid es Ee rarer Creer i pteser Irerer | t 3 Ji tester RO SE |e | 429.1) Allegro (¢ = 92) {bray adit der adie Tle rah Tht i b= ft (Prk fe fre Cfe ICO ref» eee 92732 9 Te oe Til drt = | er py eros Iq TOOLS WPxt - 9.J) Allegretto (J = 72) i EDIT |e i DJ) Gre bp CELsrlettyy: freee |: RIT I) roeer Ce icefeer Fae cer 9. K) Ralph Waldo Emerson (1803-1882), from “Music” Andante (@ = 63) > BD ADD LD die gASSiD ds | Tis net in the high stars Nor in the cup — of bud. IND gAdNd dD INT doy do 7" weers, Nu in the 22 t'smel-low tone, Nor in the bow that smiles in IND Dade rdld Ads I Ad But in the m scum of | ‘There alway, 2 Ss) ind dir J ot ~ thing ZEB ays wp Ee? ter ur i A pet 10. MORE RESTS AND SYNCOPATION IN SIX-EIGHT METER Because the beats have more divisions in compound meter than in simple meter, tapping the eighth-note or using a metronome set at the speed of the cighth, until the pat- tems are thoroughly familiar, may be especially helpful in ensuring correct performance, Rewriting Studies 10.B and 10.C using beams may be instructive. Three different ways of notating the duple division of the dotted-quarter-note beat are shown in Exercise 10.2. as10.1) J. 540-72 81 Td 17 dd - RPDF IS |= WATTS ITT = TITS = | KITIITS Wd = ETT TTS 10. A) Vivo (¢. = 108) i Shroot Ider er Dd Tl 1 S| Ir og Didv ve Sidr ae Die de dT Ir de Dl = fe or Fl dv ee | 10, B) Allegretto (J. = 66) Sr ddd AM DD AS DAD DIN isd DDD ly ADD ADM: AAD ADI iz SDDDy DADA oe DD SD Ade | lp SAAD Adi Ad AAAS SALADS | ly DHD AAS: DD ADA: ASAD AD | ISD AANA oe 10.C) Allegro (d. = 72) g Adi dyer SdLDa er Abid Bde Ml = | iASD AD Lp Ab AR: LAAD SAAD AA = | ly ASSD AM oly ADD Ady 1 ly RSD ADy AA) I DAS SAAD ASL el a410.D) Adagio Selle: tellers LN UIT LIT 7) Lane UIT Ts ATT: IT LSTT3y TULA 1 + SIT Toe TTI | Ty S| FTAA MAL ASTD ATG 10.2) J. = nsDA = RI TI = ITO all - iT 10. E) Allegretto (4. = 60) 8 ITT) ITI TIT bey | STD | LOTT De de ATI OTT TI fl dy TORTI TIT Se ll 10. F) Allegra SION lo HI IVR | OMOTSRST Toe o AU OMMAT OMS el tna art |: [7 of re [5 of ‘| LEA |S Tete | PEP lo leeeel10.G) Allegretto (J. = 56) . nee ee ds J+(/TTW+ lee ro plr oF oir pr bir or 6 pg ETE HIP eT 2 a fe ead eT b ‘| r pr O if f Poe 10.) Andante (#. = 48) 7 araPrenaze ier b meee eres? piLtrr § 10.1) Moderato (d. = le Dod La Is 1 ~ (Cer cutripr opr (Caer cer E: dl ods | TIT bee roortt Ceerceeripr of ITAL 7 le rar oa cOeerer cere cere pe 10. J) Allegro (4. = 63) gf Of PCO corr cere Pibltart