of the meter signature for a compound meter may actually indicate the num- ber of beats in the measure. Consequently, in a slow §, instead of two é beats in ‘one measure, there might be six ¢' beats in one measure. Adagio re eee MT a Ae oe It is sometimes difficult to ascertain when to use the beat division as the actual beat note. Beginning with Beethoven, who first made use of the metronome, composers at times include a metronome marking for the beat division, as in melody 18.22, where the eighth note receives the beat in i time, and in melody 18.23, where the subdivision, a sixteenth note, is des- ignated as the beat in ¥ time. When no marking is supplied by the composer, an editorial marking in parentheses is sometimes included in the score, as in melody 18.26. Such a marking is based on the composer's tempo indication or determined through knowledge of the composer's style and of historical performance precedents. When not indicated, the beat-note value must be similarly determined by the performer, But there will always be borderline cases where a slight difference in opinion can result in a different choice of beatnote value. Section I. Rhythmic reading. Read each example, using these metronome markings: 18.1-18.6: MM. 18.7-18.8: MM. 18.9-18.11: MM.) = 44 Read cach example again, using these metronome markings: 18.1-18.6: MM. = 76 18.7-18.8: M.M. 76 18.9-18.11: M.M. 4 = 86 18.1 4/0 Ti Fy 327328Read these examples using the metronome marking M.M. + = 72. wear G4 001) FR) | Lag 18.13 18.14 18.15 Section 2. Sight singing. Mozart, The Magie Flute, K. 620, Andie EE 18.16 . mp Andante Mozart, The Abduction trom the Seragio, K. 384 18.17 32918.18 Adagio Haycin, Symphony No. 67 18.19 ; Haycin, String Quartet, Op. 17, No. 5 _fa See eS Moderato 18.20 330Andante Haycin, Symphony No. 90 18.21 Adagio cantabile 18.22 + P Beethoven, String Quartet, Op. 18, No. 2 Adagio molto e mesto d= 88 Beethoven, Sting Quartet, Op. 68, No. 1 paler enna Cua OF 18.23 pF ie erese. soito vaee => FS Sf > norndo 331Allegro Verdi, La Traviata 18.24 ‘Spohr, Double Quartet, Op. 87 Andante, aes 18.25, P oo Be = v SS nd ess! ere Po ee 5 SSS Andante cantabile (4) =80) Donizetti, Don Pasquale 18.26 332mmf Gtenpo Largo (= 72) an ee SE 5 = ree owe. = = == s.alFine 333Adagio (d= 72) B. Marcello, Lontananza e gelosia : se PS ee 1228 Jee ee eet poco rit Andante con moto Schubert, Symphony No. 5 18.29 — — Andante Haydn, The Creation 18.30 P 3342 ee io Rameau, Hippoivte et Aricio 18.31 7 f 7 i 7 Ce ee Adagio, ma semplicemente Haydn, Symphony No. $5 18.32 eS 335CC —— 18.33 = f Sostenuto («) = 72) Piccini, La buona fighuola 3 18.34 336Section 3. Structured improvisation. >> Maintaining a very slow tempo, construct a modulating phrase that fol- lows the harmonic profile below. In general, elaboration such as passing tones and neighboring tones should fall on weak beats, while strong beats should emphasize chord tones. Try to cadence on the new tonic 18.35 G: 1 vi i ve I a D: ii v 1 >> Iwo common cadential bass formulas appear below. Elaborate each basic framework with neighboring tones, passing tones to other chord mem- bers, and occasional chordal skips. Some chords are open to interpretation (for instance, the Bb in the first bass line might suggest iv or ii°). Maintain a very slow tempo, and try to include some short note values such as and J. 18.36 18.37 337