OUST | SUI COPPOreer |LErcreer (Cec ere_er iteeres or QJ AN. Ja “eEai tt | pr peer perp r poe? 7.3) Elizabeth Barrett Browning (1806-1861), from “A Musical Instrument” Alegreto @= 2 imo oSsincmia: - He tore out a reed, the great god Pan, From the deep cool bed of the ri-ver, poco a poco crescendo | TRIPS FRO cain hacked and hewed as a great god can, wane hhard bleak steel at the pa-tient reed, ‘Till IATA ine | there was not a sign of the leaf in-deed, To prove it fresh fromthe —ri-ver. Wn Sain amin: “This is the way,” laughed the great god Pan (Laughed while he sat by the river), Then LFIa ITTF SGI ITI Fe | dropping his mouth to a hole in the reed, He blew in power by the river. IT Was ioe Binet Sweet, sweet sweet, O Pent ——_Pierc-ing sweet, by the ri-ver! &. SIXTEENTH-NOTES IN SIX-EIGHT METER ‘Twenty-four different patterns of sixteenth-notes, eighth-notes, and dotted eighths constitute a dotted-quarter beat in compound time, Performing the patterns by speaking the note-values in rhythm is a good way to become familiar with them: - d fT] quarter eight eight (dot) teen eight eight Jot) teen six - teen Idd FIT OTT eight six-tcon eight six eight teen six-teeneight six-teen six-teenWhen learning six-eight pattems, we may first count the eighths and articulate the sixteenths, while clapping the rhythm, but we then proceed to count the beats and articulate the eighths, and finally we just count the beats: oe, WER STR Smita 1&2&3R4RSR6R 1k © 2 & © The convention of notation that sixteenth-notes within a beat be beamed to- gether makes it difficult in some patterns to see the basic three eighth-notes of the dotted-quarter beat. ITH has to be understood as ITA » for example. In Exercise 8.3, voice and hands reverse parts within each measure, Therefore, the single beats should be practiced until they can be performed easily; only then should whole measures be attempted. 8.1) J. = 40-76) 8 IT) SIT - ITT = tk b= WIT TT - RTT = | WITT SETI = eT) Sal 8.A) Grazioso (d- = 66) 8) dd MIT ITT big dd OI WIT) 2 MIT ITIL Perr fT | TIT Te IP) MITLTNIT dil ed 8.B) Adagio (d. =52) BMITIL METI SJ dd rte 2 Dd IIT) MITT TTT J vie oe dN IIT) IT DITUIITI TT tt8.C) Allegro (d. = 88) SL STU IIIT ITI le MST STITT [Ths ATT MITT ID IT ISTITUTO STS ET IT) ITAA 8D) Allegretto (d. = 66) SAINI STATI ST TT de \IT) ST SR ST ITs I IFT TR ATA + ITD IT IFRS ST ITT 8.E) Allegro (- = 80) STITT d+ ITT FT (Ts TATA ATT) | SI0 SD| S555) ST SFT STI STI + FD ITE de FIT vol 8.F) Andante (¢. = 60) SIN TTI. dL MITT IIA dls IAI STITT TTT bd LET) SIT ITT TT STITT TI |STSITI STITT | STII IT oll 37Ge LBB: Veber | -beercor | - § Corr cere [ect eee | > LEP | 8G) Allegro (. = 88) Bd) MTEL oe did grip of Ifere pie of IP pCEe Dd Web ered ET fercerir provif fF bir FP 6 b 1 Ole dITA IT ITD |. | por of fp picte fp pir 8.H) Andante (J. = 48) SNL SIT ITI IG by gr iP PLericrcerir & rape dr S| ITT careesrip of offer re 6 ¢ IT] 0 ET Oe ae eee eesfersir of iferr § |ff erceer re Peer if 2 AIH Procter 2a tree