UNIVERSIDAD PEDAGOGICA NACIONAL FACULTAD DE BELLAS ARTES DEPARTAMENTO DE EDUCACION MUSICAL LICENCIATURA EN MUSICA GRAMATICA MUSICAL IUNIVERSIDAD PEDAGOGICA NACIONAL DEPARTAMENTO DE EDUCACION MUSICAL, NOMBRE DEL ESPACIO ACADEMICO: Gramatica Musical | INTENSIDAD HORARIA: 4 horas SEMESTRE ACADEMICO: I!) oBJETIVOS = Desarroliar competencias basic2s necezarizs para el dominio del pensamierto musical, con al propésito de ser epicadas en el de sarrallo profesional del futuro pedagogo musical © Contnuar con ¢ proceso de formacién auditiva medante los ejercicias de entrenariento auditvo, dctado musical, solfeo y conceptuelizacion de 10s contenido. * Generar espacios de creacién musical a parbr ds experiencias teénco — auditivas ent la clase. + Colaborar ech el procese de formmacitn musical utlizande como punto de pertida ia relacién de las imagenes Soneras erganzadas tanto en el sistema tonal como en el modal CONTENDS TEMATICOS: Contnueeién del rabaja con tados los infervalos, ubjedndolas dentv del sistema tunel o modal Melodies que cortengan el proceso de madulsvidn a las tonalidades de primer grado de vecinded. Oustes. trios v cuartetos, 0 63 melodias Con acompariamienios del pian: Clesificacion de les bisdas dentro del sisiema tt {meduiacion) : Notas ial y 19 alteracién cromatica de la aiet fa (reterdog, andcipaciens alidades de segurkia eratio Le ysciny 3 ds paso, berdade: d (Vil, ¥ 97). ner — mayor. Milas misioee uilizadas en la clase cea el ndadas ds orgervzacicn del aide musical EVALUACION 20% erimer p 20% segundo pertiai 20% Examen Final PARA TENER EN CUENTA NOWERO TOTAL DE HORAS EN EL SEMESTRE: © tera: = PIERDE LA MATERIA CON: 13 horas de inesisrenta (20% del toislde horas) NOTA: Toda excusa se des presentar al profesor por sscmto. io chide que & ox fala St oe lo opened de proven ls eiehaonas © ke Fabel que Bria ogee tae para ial dia,a | Bee yy A.Ocmpobernii i #_ C.Gon0bveb iq “= :BBEMEHHE B xacronice nanaine yaeGuitka conPerseuo, Ou. syiutero por yxe 30 net B npaKTHKe Hallyy ysu Kanbuuix yueOWRIX 3apeneHutit, BHECEHM Bcepwa cy uecroeHiie voMewenus. 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BostH Yoqosable rpanauun ouLyTHMEL KoppeKTED BHOCKT KONKpeTHaR wHiTeppanHKa, TpyaHocth MexORH- NeCKHX XOLOB, PHTM H METP, a TAKKE cHOmHOCTS 06 lel o6paanoli erpykTypht MezonitH B wea0M. Orciona HW YeAOBHOCTS NpHiIATOR nocmeroBaTeasHOCTH. Kax yoke ykaanpaqock, YernepTaa WacTb yueOuitka mpeapapena AoRom4No passepxyTo cucreMoh TunHH HBX 3BYKOPALOB M ynpaxueHl-sTIOIOS Ha pasauH- be TpyaHocTH 1 weucaeco: o6paaHeers snawirenusoro yaeauvenma oGueNa yseOnha, NDI lock onyerre® tacromutew Hanan cuewiazenel Parzen pein AANA, ocaRuMeHsRweamaMaw. B KaKOH-TO Mepe Srot. nenomnah npoder Mower Gurr KoNmeNeupoRai e903 Souammest aToporo.uiyera Moore, KowneKeHar® yeti Conugenmno (A. sl. Ocrposcent WBA. Hespauos, Yse6iix compen, suinyex 2 eMtyannas, 1962) Tpuwevanue A, Ocrposcxutt “Tipu ordope wyauKaasoro watepuana aK pasaesa Il uer. prof! act nenasisonamia storue, npHMeplt, oMeulenie 8 a6orax Goaraperix aavopos K. flonaiwerpoaa. x. 3. Flouo- Son-Tozopenon(etlsopany conpen Wo Taapwtcroro.Goarap Coors Kosioaitroposy it «Capea or chapel YAAeCTpal ftr'kowmoswTopie, cHayxa iaasyernos, Copan, 1365 N19), 8 rake npisteps 19 Kiutw pynlnceoro abropa’ Bukroga [Lay feeny (Victor Ghuleanu. Teort gt Solfegi. Bucuresti, 1968)UACTb NEPBAA XPOMATH3M Pasdea | (MBM 118) NPHJEFAIOWWHE 3BYKH a) Xpomartaveckne scomorareasHire 6) Xpomataveckne npoxoasmne YMPAXKHEHHA, TOMOPAIOWIHE YCBOEHHIO TPYHOCTEH JAHHOTO PA3JIEJIA Tlets 8 pasHiix ronassHoctsx wakopa it MiHOpa: Xpomarmueckaa ncnomoratetpHan Xpomatuveckan npoxoasuas Tpumesanne. Muorte nprxepis sof uacte coxepaT MosyamunK & napannemnyo ToNAADNOCTE, BKIOCEHAME B ne uk sunyex yeti, , . pene * Xpomatwieckan acroMorateabuan Moderato DA. Pocennn. Ceaunvensi unpionsiwk 2375 «MMajinonenuiHepeanunn Moderato P H.Pumckmi-KopeaKon. Mago Moderato . Spt, 3Pmolt: Allegro moderato APoccnim. Tannpea f Allegro ASaazynon, Bapsiuna_cnywanka 25 Pur as —7 Lento 2K. Macene. Tepesa hea Allegro moderato JD. Bepaw.Tpaswara Allegro =—_— 2 62375 KA.Bepan. Tp: Andante ara Saas Xpomativeckas mpoxonamaa Allegro molto | Anenanaa Andante P. Lyman. Beauara Nerp 62375 xAndantino J, fean6, Pyvek Nei par. a-moll D.C. al Fine Affetuoso J. Berxosen. ipowanne Ne13. Sales B ree wapisa Vi. Dynaencui. Mecha 0 pogune Se =, wen Se SS ee SSeS f . 3 SS Spree t : i ee ee 62375 x D.C.al FineAndante cantabite B°A, Mouapr. Bee onm raxoue yess RE Allegro. moderato N.Yaiikoncnui. YepesnuKn M. Banaxnpes. Banc Allegro non troppo See Nea?’ P co rit. ya tempo . dK. Macene. Snerus 62375 Kry Paadea I] (.NiNb 19-26) OKPY)KEHHE JLHATOHHYECKHX CTYMEHER JADA XPOMATHYECKHMMH MPHJIEPAIOWHMH 3BYKAMH YIIPAXKHEHHSA, MOMOTAIOUIME YCBOEHHIO TPYHOCTEA AHHOFO PASIENA Tlete 8 pasntix ronassnoctax Maxkopa # sistopa: Andante BrA.Moyapt. Konyept ana -n, NOB Non J. Berxonen. Komuept ans dn. Nod Allegro con brio ? Allegretto mouvement: de Valse Neat gow. SS SSS NS NS SS SE pp [Ymepenso] A.Tnaaynos, Kannrer Nez “F-Fantabite 2375 KM. Trumika.Mlamste copaua [B remne saasca) A fnasynos. Banec Allegro vivace A. Bepan. Tombapaust Ne = Larghetto THD.fenaens. Meceus 2875 xPasdea III (NN 27-36) NOHMDKEHHAS BTOPAS CTYNEHb B MHHOPE, NPEANOJIATAIOWAS B CONPOBOKAEHMH AKKOP, « Bodur eo ©2875 Ka Andante ee I. Beep. O6epon Andante A. O6ep. Amennn Benn Nos Opur, gmoll Moderato F. Bonk. Ukomsaiie ©2375 kPasdea V (MNS 51—55) MEJIOMMYECKOE J\BW)KEHHE NO XPOMATHYECKOH TAMME YIIPAXKHEHHS Tletp ykasauntix pasmepax xpomaruweckyio raMMy B pagHbIx TOHANBHOCTAX MaxKopa H MHHOpa, Omi pancb Ha yerotiuneble ctymeHH aga: Tpwwewanie Mpanimnoe naruiante wor a xaxkxof Tonaioct# 9 AaHvOM ynpaRNeNW raK He OSADaTeALHO, ax n a 'npeaieayuny, Mpokauouledwe sxaKos anerepaust (00-dues, au-Genos) “oOxsateauio pH Npedoapsreabiom nexnm Ynpaxvenin B MeLieidon TeNne.B GWCTPOM TeNne 34aX roMpaaywenaoren MM NpowsMocurce auly CHOrOBOe HaSBaNME ena Andante 3.tpwe Hopsencxas mechs (ane @-r) Nest ‘opue. g-moll Andante P. Barnep. Napeugans No52. Opn. h-moll z PP — poate poco erese 2375 x23, Allegro agitato A.Bepan. Anza Ne 53 Oper, e-moll BP A. 8epam. Tpy6aayp Allegro agitato Chace jee == # apo he + = < + = =o ee = Ss AeAllegro A. O6ep. Nocnanmnua P 2975 « D.C. al FinePasdea VI (MM 56—63) CEKBERWHH C XPOMATH3MOM YIIPAXKHEHHS Tlers 8 pasntsx roxaasnocrax wansopa Ht sigtopa: co o S Allegro assai BrA.Mouapr. Apua ,Hagemaa mon ymupacr™ nego opt Baur Allegro BA Mouapr. Konuepr ans cn. NOS Nes? oar, 2375 «06ep. Nocnannya Allegro e “ 58 PGi. Allegro moderato MA.onmea. Yan Cycannn wes0 £5 es AB, SSE + a Se 2375 Kar Allegretto A.Bepan. Tey6aayp legret 260 opm e-moll PP SS Allegro A. Bepan, Crnpenno eg opt Gaur28 MYamKonckni.Cnawas Kpacasnya Neg? Opar. A-dur Allegro con brio A. Poceunk.Copoka-roposxa opt G-du ee WE 62375 x29 Pasdea VII (MN 64—70) METPOPHTMHYECKHE TPYLHOCTH B MEJIO.MYECKOM XPOMATH3ME, A. Bepan. Tpasnera Allegro : a Opi dur Lento dK. MaccHe. Mar Ne65, Opmr. c-moll . A.Bopay.3pnann30 Alle ito egro) modera .06ep.enenne Neo7 pur. G-dur. P Moderato ae WS 2375 xat 2K.Buse, Kapmon faa Allegretto leggiero Crest Ss, nan yas RAEN S risoluto Allegro con brio A. Bepan. Spann ona Baur32 YACTb BTOPAS MOJYJALLMA Pasden I (NG 71 — 92) MoglysialiHa H3 MAXKOPA H MHHOPA B TOHAJIBHOCTD V CTYNEHK YIIPAXKHEHHS! Tletp B pastx Toua.sbuoctax: (ca) Monyanuns-nepexoa, (a/e) Moayasiuns-conocrasnenie Hpnwesanne B apevepar, noweyiMMWX ® penzeaax I-VIT orok iets, » Gyktenion supanenn ykaaan roxAae weal naan (8 cKoOKaX). inne Venouwue o6oanasenn (CG) Moaya (F (B) F) Moay (2 f5) Mosyom ‘onbuniy Gyxeaun o6omavawren wsMOPHME TOHAADHOCTH, saAuaH—xaWNopHMe, Horta BMCOTa HEXORHIOM| TOKaAM ocen omer" naare neooromsucts onroy"®© "PANCHOPA, nonpnsep: T=, Fongent. Cayuaivan oparopux Andante a a eee Peres, perese, 2375 «33 T.UakKoscKui. Mle6equnoe osepo Allegro moderato ey cbc P —_= = Pp of 1. Hafixoscxnit. Lenkynunn Allegro oxi = 7 tZ Se Grese. f mp ere, Fe®. Tenemay. Davraana Presto & Allegro BrA. Mouapr. Tocka no seche oR 62375 KkAllegretto J. flenw6. Cmepte Ne76 Opa fig moll = > = ¥ Andantino HGM.BeGep. Yen, Moe Beanoe Nez wiaS = Andantino BrA. Mouapr. Taka NOS.35 Allegro 2.06 0p. Kamenusare Moderato BrA.Mowapr. JoH-yKyan Andante con moto : @.Menqenbeon. VraneancKan CAMOHHR ii Menuett Alfegretio -A. Mouapr. CHMpoHHs NO39 &S o —36 Menuetto BoA. Mouapt. Camconna NOSoh Allegro Nes! @ tf Allegro B-A.Mouapr. K Xn0e ett Hee ls P rrr ' Lay <= ©, Menaenbeon. Keaprer Allegretto con mot?37 Adagio non troppo O56 f olin E o =F pe “f @.Mewaenscon. Mechs 6e2 cos 4. Andante con moto KrM.Be6ep. O6epon xe97 elie {Allegro vivacissimo] Noss. Glia) eee ca 3g Sf f mae See ©2375 x38 Allegretto ben moderato A.MeiiepSep. Cesepnas 386398 colle Sf Presto F.Malikoackni. Weneynank - . a Allegro moderato A.O6ep. Ament Bean Lento P. Bardep. Mopax -cknraney, 2375 KPasdeg I] (NxNe 93— 102) MOYIALKA H3 MAXKOPA H MHHOPA B TOHAJIbBHOCTb: IV CTYNEHH YMPAKHEHHS Ter 8 paswux Tovaabuocrax: (elf le) ‘Moayanupis-orkaowenne (C/F) Moayasuua-conocrasaenue Allegretto J.Berxosex. Kaaprer NOG api eee ss K.Cew-Cane. fpyers Andante cs Neos Opur e-moll Wigidy 7H pe Pb 2375 xAndante non troppo H.Pameknii-Kopeakon. Hows nepea poxmecrsom pute Set wt ghee Pea) S P —f of Nicht schnell P.Ulyman. Ha aym6nne ctisl ASK tis P Presto A. Bepan. Cruden Neo7 a pat a-moll = (e hiecaye) Andante mosso MAFnwnna. Near Cycani 2375 xAmon wmi Julce MAZE Proferteer ou Conservatoire Nelvsnel de Musique de Paris Vingt Lecons de Solfége avec accempagnement de Piano pr NOEL-GAnLON Andante (d= 1001 er a Sen ned B = Andante (d= 100) Ly = . _ be = =I 3 PIANO Kaper ght wan hy Seney be Westy Lenaexe or che bait ahaaneo BESS p doice i ! 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Ba. # Pa, & sincilesimile Sans lenteur (12104) Neg P Sans lenteur (J2404) PP doleigsimo, «. ° mf eapress. a Pa. &_ ri. far. den. doAd Modere (¢=76) NP 10 _Modéré (276) mn ee ee be pee ee p légeriS OL FES: on LG ee de Piano 4 #enh, uae o- ax ok ee1 Moderato («= 92) : Mtro.x salient’) ates”?(3) pa ay = ae Sa » ik iy HA Ht Hl a a, ty NL 2 a mva eee chee i aad Math alata) eek jxdup id | 1 “Ese ae BES eee —S =Us’ poco. mossal 4 BA. MA118as2 3MELODIES » SECTIONAL To be used with Section LL of alt other chapters sity of chythme; intervals, phrase structures, and nuusical styles. © The material of Section UL can seaally be corre: lated with the study of chromatic harmony. Chromatic alterations “are used with “increasing frequency in melodies of this section: Some indicate modulation; some are factors in secondary dom. inant harmonies; others are melodic embellishments. Within these melodies there is an increasing diver SSN Skips larger than one octave ace found in the next four melodies. 234.50 a 238. Allegro con bi 7. 2 i Chapter One / Melodies am mf ; DE 239. Andante ed espressivo = eee ae =e = = : eRe ae = 240. Largo enesto —_——~Section NU SL 242. Larghetto WHEE P 246. Allegro grazioso EE a P52 _ Chapter One / Melodies BR BE SF Skips to chromatic notes are inteoduced iui the next five melodies. 247. Allegra moiterato’ +, , 4 eS] oO a oe 248. Audante mdsso wll Site z P subitoSection UL 252. Gavotte 255. Allegretto SESS yeas ele p ERE ipl uia > S ees ga aa Sea e erChapter One / Melodies 54 __ et 256, Andaute con moto _ ; ES Ts ee 2 = nnpyotbepttect ie lel l Fine peepee etree pet ter oe: os rit. a tempo at 1p pth Ree ierrraeecterett ie ~ ? = 257. Fast = Ss: FS Ea REES ace — x AP aoe tae Spear eH ee) - oy Qty — pe oi Baa i = 258. Sastenuto ed espressivo migg E FES =p Ei mf cresc. 259. Anegieiié ae > Ao Pe =} —=——e 7 SS Sa SasSecon RE 55 *Chapter One / Melodies BE BEBE Secondary dominants are outlined in the next five melodies. 266. Energetic . pe jet e pS aes eS 4] oS F Se oS eo o + = <4 = (= ee 2 ~ SS SS | JSection Il 268. Allegro 269. Sehr casch =a ne eee 2. Inaig273. Ziemlich bewegt Chapter One _/ Melodies Dera ER BEM The meters and f are introduced in the next five melodies, 275:, AllegreSection IU 277. Altegro _ 59.4 aan SSS P . eS Pad eet 280. Lento ee. 5 st uf epressivo ypb Sete pes eee yer P fa £Chapter One / Melodies 60- 281. Presto = ee —_ cg see = =. 25a aptistet Peeters peta, Eieterexipxss os eresc. Pp FF perdendosiSection Ut = 61 284. LebhagtChapter One / Melodies 62 288. Presto alla Tarantella spe et PSH ce Hse Babe P detached BES 8 poco £290. Assez lent = a ODES fie nf +: 291. Medium bounce S Ss SSS}Section Mit 292. Andante espressivo fie tr 293. Rather slowly Peg 5 ger peer eet pe 5 ate crers reise teee64 , Chapter One / Melodies 88 ME The next four melodies, in the major mode. incliide the Matted sixth scale degree. 296. Andante = Ras 300. Quasi presto 4-4 _ ro ee Soe ae ?Section 11 S01. Allegro giocoso 65" Paras 2302, altegretto inf pesunteChapter One / Melodies 66 x BS The dominant ninth chord, in both major and minor, is outlined in the next four melodies. 306. Aadunte 2 oer aq ae 307.’ Larghetto opt , BREESE af 308. “Andantine 1.309. Au gle a cpens- vssivo 1BIL. Allegretto seherzoso ——F a A (te. Sees68~ a or “7 Chaptet One / Malaties ral. SySection (tt 319. Fast Safi ae * 320, altegretto EE ar erese, wy dim. | 21, I piii presto possibile fete PEN IED yey es SESS Seer SE tee70 = Mero Chapter One / Melalies 323. Alla utarcia 324. Andante etubateSection : “ Ze F327. Allegretto 329, Vifetgat Dapp enerert a Mf detached70° Chapter One_/ Melodies 330, Etwns langgam unri fart : i ZSection tl 335. Fust paemieaae ~S* = AF bie 2= = 336, EuergeticChapter Cre / ila 338. Presto = : es | pe ‘ Ae ees ms aha ae SY ee foe ree tet — = SES eee peer teeere pets = == == cresc. = IY IBaus:(BE Andante ERs)BastAlly moderato ylBatsBuseBWEGEBCADGGHOKBOEOCOCOHTEYUBIYE9YN NESE Ses 10.3) Allegro (J-~ 63) ee J SDE. J | gf of SPICER CECr ICECr Ceericerr re 6 Joos alee ee nett 7 eer ceer ler cr ler eer ot fir Ce if Cer | SI TD |S, Fa ay ee r | ff cur ice cer iceer ere ie ob Eee bee | \ 11. NINE-EIGHT AND TWELVE-EIGHT METER Nine-cight and twelve-eight of six-eight with the three and fo. there, ace no new problems here. combine the compound beat patterns of three-four and four-four meter; hence, Exercise 11.3 especially, single beats should be repeated until they seem easy before whole measures are attempted. 1.1) d= 40-66 8) J ddl - KAT SITAR - | ii) AT RET SFR | ~- WAT) TSA Sa L.A) ssieeaagat les 120) Blood J aL J di J DITA 2b JJ DJ dITII DTI dt ATT 2b | [ITVS dd MIT DSTI STI dtd od11.B) Con moto (4: = 60) 8D OA. + SE lk + OST De FRY) oe FHF | |i FRITA ARAL or Ul 11.C)° Allegretto (4.63) QT OAT AAT by dl LIRR TTT ST ar fil TTT TDITRALI A qT TAT) SD STS | id td DLAI [L & t | | 11.9)" dn$6-76 BITII Dd J dM ~ LS Faas | I) TAS Sl; ied. fT Fad. TT 11.D) Aliegeo niaestasa-( = 104) FIL Jd 1 De bok DL my yy 1 Joon a tonmwl ana ay I dL TIL Md I dd I IDJ J dL 9S dd J da 2 oI) Lott 11.E) Andante con moto (d. ~ 66) PQUT LIT SALT PR PPP RPAARHRAArRnmnreenen....| TLE) Andante (4. = 56) Studying Rhythm 43 LO LS ARIS FR. bl LU GL IT Bloom. Gl sale » Mani J SORID AR IL ) TRG BAD A [hoy J DO ARRAS AGL th 11.3) J.=40-60 12 fF od SOS |: J I o- |F ar por r 6 eer ee regi A = Me BJ J dad J | EF BAD BT Ler pcerr peer Ree COs Cer Cf: 11.G) Allegro non troppo (J-= 88) (BJ, Dd i a Lorik | lar f cm ots f att ee — ITI | 2 mS or ‘pm dt Ioan 1 ET? Ba sah ue - | rf ber If of BPP ior For pir core 11.4) Andante (4. = 56) pee kale ade ik lo ar or op leere f etek Est44. Studying Rhythm Tadd ddl: i; 1 ITAL TAIT ARE 7 f terete ie of or 6 Of Far fH SH |. a Tas | eerypr eefletreeee tit: wD Allegretto (4. 60) | f+ V dldad “e bo dTid 4. JSTVS. : | Bf f oor It a > ote fF of IF: BAT) TFA ob ALIITA c cert ereeest look of Tey. ¢ ATRL & |AT RTA ATA, eerepeerp ep ob iter effet eer eer ep Da capo-al fing am r 6 11.3) Adagio (J. = 48) es (GJTI|J SJ Bl dl All 2 r* TA lpr |. y cori pr eri pr er Fal Fad ‘iF les 2 b Sao ro} corr eee creer A id b FJ 2 ee reer [elerer cere ot d AY gate eee be d ) rere piper ter lee eerer ese | PREP AMP ORR POO LOOHEC OA RAARARAEMROPRE= 82 Ee eee a a f Studying Rhythny = 45 12. TRIPLETS The division of the beat’into thirds is familiar from compound meter, The new problem here is performing in succession duple and triple divisions of the beat. A common tendency, when movitig from duplet to triplet eighth-notes, is to make the first note of a triplet too long. [t may help to, realize that a third of a beat is closer in length to a quarter of a beat than to half of a beat, so tripleteighths are more like sixtecnth-notes than they are like cighth-notes:. When beginning a triplet, we must move quickly to its second note, rather than sit on the first note. When alternating different divisions of the beat, it is helpful to use.a metronome enough to ensure that the beat stays constant. + Successions of eighths, triplets, and sixteenths may be performed. by\ numbering aloud the notes on each beat: ne Seg 12:1) deiso-1b0 il sua - eer. - | IO TR RAR ~ IORI AR - wT be ba 12.A) Allegro ma non troppo (4= 112) HUoOINMIAMIA Ami) Tanidd WR imi a 12.1) Moderato (4 = 88) Pood SAW OTL amis 24 WOON AON Am om 2 | Wo FAN be a LAamnnmimmnois 2 i12.C) Andante (J = 66) LW ODO AY bo aT mA aM aA bana | INARI 1 OMI nas SATA FRI Il 12.D) Allegro (J= 100) WOM VaAm Mol) non FAR MD AR aR AAT 1 OSM Ames -~ 12.E) Andante con moto (.!= 76) MW ibelare in TA OeAbsvSA bs sen ASARS drt Wrdblva Alms dt ov 12.F) Allegretto (J= 92) tiny Vr’ nis ph J Jodi Hithawininwsch TQed) VALS FIR. MATAR ATA 2 | AORBeeHA PPB FPB DPRCARRAR ARR RRRERRRE e12,2) deag.4 §id m bd. ues ec i ls d 12,6) Andante (480) (QJ Qjom n in uae Ett i ier Cece a } a os jeu 2 Wds' inl be 6: : 12.H) Andante (J= 80) Studying Riytny 47 > Wee 7 eee i ad “ait owen Cf fF. fit fa es 2 crit 4 cerif ctr iter (2d|2 — mm re rb] (7 (Cr cee ir f ERE ir wef J ei nL ae AA Jo? BB tr eser ceer ip. cerlr ceer [59 . Als mrs 2 f eer ir r leeer. 3 1 tq raya Ti s-F J "| Cr ceer peer cece ip syp48 Studying Rhyihe ! 1 12.1) Conmoto(d=72) fr FOU FAAS Pod add ae Lee ge oc Ir. Corley ) CRSA Waa mA treerlecrer le ; hap IF cf See le) lteetareereete ecleeee is 12.3) Allegro ma rion troppo (d= 112) sr eas djk Bl il BSA. an be leger eeltere cricere Ip dood APB. ach! Ie gg J cere efleerr er itere of lp ar 1 eee ees b5 teres leerese - |eerr er 1). ag Spe leere r leereet : ISTI[J 2 | | 13. TWO AGAINST THREE ! We have already encountered two against three in Chapter 10, in the division Of the dotted-quarter beat of six-eight meter into two dotted eighth-notes that we hear against the basic triple division of “12 beat ' <_< me wehxk ok: Ee. aoa ok ec UBL._— ee ee ee ee ee eee a eee ae oe a eS eS eS ee ee Studying Rhythm 49 The performance of cross-thythnis’ requires understanding the numerical relations involved. When two eighths sound against triplet eightls, each of the duplet cighths is three sixths. of a beat, so the duplet eighths begin on the firstand fourth sixths of the beat; each of the triplet cighths is two sixths of a beat, so they begin on the first, thied, and Gfth sixths of the beat. Grasping the composite patterns may be facilitated by speaking verbal, phrases thal we naturally speak in these rhytiuns? ; Three against two: ‘Two ageinst three: - 12 3 4 os 6 1 x 3.4 5’ 6 4 ‘ C f C c & Nice cup of tea Pass the butter It is celatively easy to hear and perform the composite pattern made by two against three, as the thythin of the pattern — JJ) — is familiar. However, it is musically important to be able to’hear the dupiet and triplet as independent concurrent patterns? For this reason, we need to practice two against three slowly so as to hear that the composite pattern is correct and quickly so that we can hear two and three at the same time but independent of each other 13.1) J.=40-69 f Gor eri eee | pee la ser EF Cor cer: pea Bee | ie cee 2 PE], 13.A) Allegretto (J.= 52) tte? brane ea et eae Geereerlrenecriceer cor leer cor / v ibe Jed | dd, Jy | gi dd Cer Cee Cee ee eer eer tery Err | Fa £0 |) : | cfr Ctr iceer ¢ ?13.3) Allegro athe 66) §8 00) mrsnim. Cee ae (gr ff oir pr pif ef ler tur In SHAT. utr ra creer lor rorif Ofe tif of 6 He ST) ) + | ESI | dk War ler er ler er” He BB.) {ad ee [Peceeeel ¢ panty - HOCr ef f ‘Core? rf erer bette PEI BP eS: 13.C) Allegro (d= 100) ‘ i 2 off FO |fO Fi id teal: foe aoe ler cr ler er er ieee Jeq) My Alon ent lores ler er ler ce | ees ITH. | CF ey ! 1 Da Wo josh leer lores 13.D) Allegretto (J = 80) fe ds fe dg kb Gr aren ir erer ir t ty Ir CORPORA RRR ARP PR ROMER Pe POR PRHDRARRRARevuvevdcedet veevoeeevrvvvwvv Vv VV Vee eevee ve ve Ye Ve Yew Looms 2b fe reererle ee irerer- ‘Studying Rhythm $1 Ml ana Pott Of fad a) Aiba | 13.3) J=48-96 ee > leer 13, E) AUegro ma non troppo (d= 96) (Qj od) | aoe air creer dr ee cerle cer nee |e Lod) [dl dIT | 2 reefer ir. Crceric cereer |p |: DFDIHL, 1 wd Hd F Cres 13.F) ite (d= 69) ence cercr terior 3 | dD Jd: 6 ceres roceretr Hera p) Tre ft. It cerernin, ope Amy f Pr Bs Q Fa |d | f creerinm cercerle WMA): ashe a} uF Ger or ay 9 roerBEE sara ‘| cereereys icerr: 7 13.G) Andantino (}4= 2 J.=69) : ff. 2]. dja ody leer re el pe peerleers feat ter Lod Jd on ad AR > ror peerir er peericeer peer Yds d Da ieee are 2 J) roe peerle or peerleers peer lee cer k J ddl.) bps Ra js 3 | poirot peeclr or peericereer eerie 13.4) Allegretto (= 84) t feet Wid 1773 naa teerir¢ ceerieereeeeerceriere re ef ! Rie bm Los f-x rter le Pref ite ereercer [od | [ara J leer acres |r Porterit tf ceerece TMs) piano! oy | br pcreerier op cerce Ie i fy CFL} RPAIPRPERORHHHOA ROHR EOHOPBAA BP RR! QPRPRO9vwvv VvNGNM VUE vee eee vv Vee eV VE YUEN YEM VG SGGGE 13,4) J- 50-80 a RAI -. po ry -- Any er cr | - [eezee f | a [: ff | | > eee 13.1) Allegretto (J= 88) iio sil fk Ami- | A eceter leper leery eerie Ezek | - ears ey rl pm ae cercerier cor ice cr ler cer iter cer Le Mm |cam cercericr cr i % ro | 13.5) Adagio (4=52) / | in CATS Fo : Yeecr cr ltercs cr inerr 3 eres cr |Ceaerr Cr leer er eee ~ uae - creeper) ~-ler cr ort - ee ee) i | eer err tor letro ere cp leer eer e | 2 | Mmrami~m CAM) Le | | |54. Studying Rhythm 14. HALF-NOTE BEAT ‘ (\ H H When no values smaller than eighth-notes are involved; the half-note beat presents no new rhythmic difficulties, but simply a reading problem: We must see a half-note as one beat instead-of two, and see 2 whole note as only two beats, anda auattechiate as half a beat.’ Sixteenth-aotes Givide the beat into eight parts. The new symbol in this chapter is the’breve, which equals two whole notes (see the first measure of study 14. H). The whole rest continues to be used fora ‘whole measure rest, even though it is cls used for a half-measuré rest in four-two time. The Whole rest is not used for two beats in’ three-two time, just as the half rest is not used for two beats in three-four time. 14.1) d=88-176 gd do Wo of doi =, Id Jdd Jd 4 = Fld JJdd dl 14. A) Allegro (d = 132) g Ws WF we oh, ard © Wadd Woivieddaw ae Wd did 2 Woodie se | - oe) Wedd Wd bbb ddd = 14.B) Presto (d= 160) de od od added dg feld . J | RIJS ddd del de dl 14.2) d= 60-88 tJ 31 S77) Da < I. dd DA => -_ mad mk ae he wee. ae me te me ee me cae Sc ee ess secsets eae VV Se we Sel Tel Sl eee eee ee Studying Rhythm $5 14.0) Vivace (4= 120) $.. Jdla Pestle ld Tid ddid J oe le sla dd Sle ILA dd oI : Wd lddd dle = Dba DIT 21 1 27) | WAPI ITI W Ad ded deal | \ 14. D) Allegretto (d= 92) \ Blile Jai dddld Dd = 2 to Aid ANNI LD Id $s Pes ee | We ddl de 71 = on ddl lo AIL III DAL de de I | 14.3) d=48-60 $3 JI STIG, - Wd ST TT) ST 14. E) Adagio (d= 60) Bld td Jd ld J ls J ARI ld td J Wd JIU a J WS LT) Ld I 14.F) Largo (d= 44) 4 ld LSE arti 2 dk 29 8) Ib) DODD) ds di, ddl od J$6 “Studying Rhythm. | . ld od fide 1 TTA oh Ais FRI Id) AA) ASR) AST ll 4.4) d= 40-56 . Bea: Hee 4.6) Allegro (d= 96) 7 As Jidayiis Jill - } Jiid) cle porele ere le eof maga lJ 1d l- | PoP ree hae Teed ele? a dddddiid J ita IP Pf fif P fe ree 14.H) Presto (d= 192) Br velar Ee | Po eer tebe. | | | epg “teases EAT | Leow a tm oe Re oe mem em aka atk wz =O we KR RE HR ER SE z= we ee eo wee| | \ Studying Rhythoy 57 {4. 1) Allegro ma non troppo (d= L04) BJ Jd ddd Dd - Jd Id. 3 gir ip cf ferrari, re PW fe S04 Ite = i ee oe | p Poff epeeericr ¢ ft fr ~ TH 14,3) Adagio (d= 40) Bd |S T BR |b od Ld tT 21 IP r oceiereertererr ifeere 3 J | Littl - i P f Cf ereeerr Piero ree oe ae a ; a peepee? 15. DOTTED-HALF-NOTE BEAT, Reading six-four and nirie-four meter, we quickly leant,to appreciate the clarity with which beams show beats in sixeight and nine-eight meter, Here, we have to learn to see nine consecutive quarter-notes as constituting three beuts. 15.1) d-=4g-72 ‘ | Ri odd Mowe Wa IE) J db) ~ thd Jd J th5 i 15.A) Allegro (d- = 108) 58, Studying Rhythm G4 dldd dd dled: Ped dddd JW tld Eid Ii ad di did ddd Jide dos isle. ll 15, B). Adagio(d- = 56) BI dd ded Deed = dd Jats DILL do A STAT 202 od STAN, =~ | 15.C) Vivace (d- = 126) He dab dle dtd dl ddditaid ££ = LAtived Wades ~ Jd mI ddim le ded dod dd d-dld JlJdd Ldn 2 | 15. D) Andante (d- = 60) GJ dd JIL Wd Dds sole ddd WA MLN DIL MEd a dud Jie dtm sadsis oda 15.E) Allegro (d- =72) 1 QIWIII MLA I dd ad ddd Dd MALI LI AIL Wd OT lA~EOCCCOYYTYUSSRSUYVGVYUGDEOUGOOUGGGYUGAGGGGE Studying Rhy 59 |b LAT. bd |) LITT. alle tJ ld ~~ del | 15.) Allegro (d-= 116) Phd DU seedld de dodaide ws | l= J did Jd ddd did td ddd) ly d ddd ide= Jagd Peas ds) Wo ddddsdidd. dd dos dd i= ol +h ~ 15.2) d-=40-60 jilidd 1 ~ [Jonas aay ah ocr ce rer Pry ~ Parr attal + Cea - cre rere cr bre ee tes t) ddd ddd FJ DL DOD DY bd STH he pre rd - he erecre | 15.G) Andante (d. = 60) o ddlde ddd fd ddd yee / arecrerle rr cle re ele re rirer a Jidd Jfdssdd Jls dda i! 144) 7 rrr fle re orle re le re tle eee15.H) Moderato (d- = 72) Rlijd Jd ee d= al rl ] Wi Qarhrre re fitete tr heeeee pe A t = J dfeddadd Jedd add POOR = IE EP GREE Ube het Rs bene Ji 4 Uyedid |. rere P rere 3 15.1) Allegretto (d- = 52) R01) 2) 10 i i en nine cp eel P. CrP CrP: oGe ore rereore per er ( | pe a) | a ~ | potrr err erlerrcerere er cr od dd do dd ddd eth | iP Off Ce aret or ercerp te 15.3) Andante (d.= 44) WI] Md Mild dd ie ia” fe rite err sie r crere Chr BP \.- ds) J. rie oer A) dd. 2 Ir ore cer lp or fry : JO ae dl dd od Poorer pleat or lee rar Giri erie ae Dd STII Ie pra itt peers ply cererr Fle nal e Or AL. & © 8°9 © 919. 0 B!S or BLM serela BRB 6 & em crm me mm