MELODIES SECTION IV

To be used with Section IV of all other chapters

The rnelodies in this section present challenging sified chrornaticisrn, modal idioms, and complex
problerns of intonation, rhythrn, and phrase struc- syncopation offer the advanced student both chal-
ture. The tenor clef is introduced at the beginning of lenge and stirnulus.
the section. Modulation to remote keys, the use of The concluding melodies of this section intro-
augrnented and diminished intervals, a more inten- duce twentieth-century idioms.

The next nine rnelodies are written using the tenor clef.

339. Allegro

,Jffr 1@1 J J±J rJ1a J1aDlJ w1f9 1

r r1rfffl
340. Moderato

341. Largo

g 1 Jif@J @1

342. Andante

75
76

343. Allegro

344. Sostenuto

p
dtt1
11ki) *Efe IJ rrr rr J1rr LJ nr JfRJ *Jtl1
llbl J rr e r ffi?i * Jf c 1r- a. ,a nr pr:;=:--., 1
345. Presto

11 of;ff[ll &:atz¡E11f EEt EtJiefiU r rr r j

1 1

11Jij]J íl@ , @?' 11

347. Allegretto

11 gp@yffii 1ttf'M·1 ty,hóWl 1®'tf@I ífuñfü·

.
*· 11
Section IV
- ------------,------- 77

348. Lento

11 t p fiWn:fi?tí--efutliar: 1

mf

349. Minuet
,,,.,.-;,.- ---

350. Tempo di valzer

Vrt1W..,..-r-Intd-1Titg
p
tifi[J Ef 1g®%f
78 Chapter One / Me/odies

352. Con spirito

llB 1• I filfE!r 11rr H1m#fr1Ln&1 mrft scm

llB #1 f
E tr E1U -fF ¡,_E1'cE f E1
ptuf
tlEfC.Hd §(t fil
Ft 1

353. Lento

llR "!fITy 1- J1 G ¡ti 1itiftt t fjp:J.

A f= 1[fjV'CJ11q HI
====-

354. Con moto

- - - - - - - - - - - - - 79
Section IV

356. Lento

357. Valse brillante (in one)

a-e-1r-r-ir--Pfüu. 1#rf
'Ep ----
1 J8JQIH11" 1

358. Molto adagio

¡ 'fil 1' g 11mrn 1rn , ivpu 1

'iffi'ü 1<&8º1nnw1 J 1
p ------------
,.1#
mf :::::==- p

359. Slow and expressive

 Chapter One / Melodíes

fJ:k Dr FÜffrt * f 1 Pf f 1OOíF

363. Moderato con moto

18 11 i C" f"i?f fl
11s f([ EfF f 1 *41
364. La11gsam u11d ausdrucksvoll

&6 i #® tf:J 1 1 ,fJ l 1P tfiij=.i 1#8H

l 1

doo tn 1 I I etW tJl

SectionIV 81

366. Allegro assai

en
367. Bewegt

:¡¡g# g Jiw tm tu
p
r fi r rHmtJ yij@
1
mf
1 1 1

111' ILJ f Uttfi @ fu Etb et; 1e:: [j 1Llfü 11

The flatted supertonic scale degree is introduced in the next five melodies.

368. Andante
82 _ _ _ _ _ _ _ _ _ _ _ _ _ _e c _ __ _ Chapter One / Melodies

369. Allegro
. . . ,...,
2· e f pfth CI 1CnJ f PRQJJ% D1FJ+;pJ]fEE CCifl tt-±1---e-m
f
2/2f-rJ-ttJ
370. Langsam

5h6 i jJ-%E-f
f

?'fifü ftnfñi r Gtu B 4=H

rrtEmrffffllli ro
371. Allegro

B*h
m cresc. f Fp sub.
1rWr -1
'372. Langsam

-f6g mf
'@i!€P '--" .

tf66 P EH intilf-441
zurückhalten f.\ a tempo

1 1
p
 __ 83

374. Modera to e pomposo

1§ 1f J. J3 r·· PJ#r:4} 1 fflllJla fJ :!iQ

1
-
1

aqpµnm 1 r· µ 11

376. Allegretto
84 Chapter One / Melodies

379. Allegretto _ _ _ _ _ _ _ __
. . -=::::::-.....

380. Allegretto

i fJtil i?'f 1 ifct1 lJtt1 '

381. Lively

41B1• é f..
®1
@1 @1 Jjp @I
. . p.. . .

, 1111 uJFffli?tBEJ81 fjp ® IJ jj @11

. mf f . . . . .
iittM rnn ffrlfJfilr· ttw.tr r co tci [
383. Andante ,-------___

1 1 1
mf

=l¡#@J!li1c.c.F{IDJnH dtm. p

385. Waltz (in one)

*'2.3@SJ 'º u!D '* Jíi2DF'

f#• n.(fij n:i &i@11J?µJ J1fP 1ª•H lµulfJ H p
86 Chapter One / Me/odies

386. Andante con moto

1e#11ft PffttctPrurrt
jB #ali ]ÍJ CU 1
387. Free and easy

1r tff e* *®1 t» 'f flfh

,;ia1r· pr r 1U*
fh q:J: 'J ''J 9 w 'JilJ r H;J1e* ,11
388. Liindler

m.r - p

J ¿ 1J 4t J
..
n 1r f 1E1 r r 1CJ\.l l1.tgC11 f u ·.
r' •

389. Valse brillante

Section fV 87

391. Allegro

f
tJha tgit tr 01 ftbr: 1t§r t DI bthf r l&f Jr-
piu f cresc. .ff
394. Arietta-Andante

WffF·
P espr.
1 EÜl
ro&f '43?
. stringe,:;=ndo__,.__

..... ere se.

·
fü líWJ ;t¡D} WbEJ rTu ri!·
rall. , Temp=-=-o1__

P 1 1
f . p

@t!j9 d1!J 1
pp
J.11

395. With movement

396. Andante

§
P
1•t1i§ ot@rrffi1@ ÍI
cresc.

2'f§rrri1@LJ
f
6tltfr1rrID1Ur 11;@·
--====
senipref
11
Section IV
:..::..:=.:::.:..::...:....__ _ _ _ _ _....,--_ _ _ _ _ __ 89

397. With gusto

*uf91irn *'arJ1 1 ·wn

*W* 'JPI?* f
,JJ?- 1Er;n
.ff
,11
398. Grave

399. Lento ed espressivo

400. Allegro piacevole

The next four melodies include changing meters.

401. Allegro

f9J 11 32.rrJ r 1r J ID 12 &f2J 1f1if? 11

1krn r 1r a fJ 12 &QJ 1f§r::ft 'tBJ n
90 Chapter One / Melodies

403. Lebhaft

404. Piacevole

405. Allegro energico

:H J 1 r "ª pu%.frffl.tbELF ry
1 r jjJ-3t r 9d 1 1

r1r grs JJJ on .n n crifr!flr

1
p ere se.
1
f
Section,:_:_IV_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ 91

407. Andantino espressivo

MJ r Jíff prEffif .11

p

409. Tres vif et détaché _

w1' r r piDrrJr-W r r fWl--r;a-·

- - Fine
11--l-p
wt--.-.-. ---r 93----,F-J

c.tt r.r11af 1, aca cr.r JllJ&i1@JJJ mwt 1

f (p) mf D. C. al Fine

ere se. f
92 Chapter One / Melodíes

410. Allegro

2: •ft#• t nf #J
f con calore
ai ,#JGi!r r r. Utrrur rJ gtJ r r r
3 --i
1

:n##• #fl r1Ii- crr fJJ dTI

L_ L_ 3 - - i

p f
f1
$ r r ,Ji1 r r•r 1r e1r J r 1ffl J\íl PEr *11
L_J_'_j

413. Allegro non troppo

SectionIV 93
414. Lebhaft und frohlich

415. Allegro con brío

416. Allegretto

p
D aJi-tgj rtn@±)mf) lH) p
pp ppp
1 1
417. Presto leggiero

lt1
tttrf fHf 1t ru r 11LiLEEf1f¡rJr 1
p sempre

1li EJ:ttt tr v1atdfFrOr 11vtrcreru 1tttf (} r

f .
11
94 Chapter One / Melodies

418. Allegro piacevole

4') ® 9t!@ff gtllitJ f w r u:i 1r t lJJ ® 9@

@E!) @1t9 t?sJ 11
419. Lento poco rall.

11sb w 1pn 1rrran1filliJ?r1 *

422. Slow Blues

i'ftijr•pig!l@ ljQE§il
'#$17 ,, 1JO fJJ Y
- - - - - - - - - - - - - 95
Section IV

426. Allegro
96 Chapter One / Melodies

427. Tempo di marcia

Major and minor modes are combined in the next seven melodies.

428. Allegro con spirito

-aq-ta
. f ·
fil& 8 r4 1t a 78iii{pB1 1cresILF p ·

:lib utt r 11 JtrtcUtt r m--:=n

429. Allegretto

!ll
430. With well-marked rhythm

'## un f 1J J. r 1qJ 4l J 1 J r r 1r J2f1

'## 1JlJ llJ l#@p fJ ldOJ r* B
"---- . . . .
431. Bewegt gedelmt · zuvor
wie ge d eh nt

f p f p
- - - - - - - - - - - - - - 97
Section IV

432. Allegro

434. Tempo di minuetto

435. Expressively

p 7!if decresc.

=tFi. a. lJ 11
98 - - - - - - - - - - - = - -Chapter
----
One / Melodies

436. Vi/ <P =)l)

! fffj @:B] Q?J IR [D ®·. I!

g ma ID I! a r 1rJtr IR EB fiJ).11
437. Andantino

llB rv·b g piEt[t J'itfflt ' 1ffl} @lip '@MI íl

ffli]1l' :1 fbf!*r f 1r=e&}1). ' ' u
p

439. Vivo
Section IV 99

440. Con moto

441. With spirit

'e jNal 1§ r r 1éBD 1 r J1J 1,a J r 1§ r J 1 1

'r j j r
J 1 - l§ftQg]ll

442. Lively

,.#1¡ J B.f!_0 ; J
j la seconda volta p
l Jea 8 oJJ :11 f p) t1J J 4 1
· f

'*tt' r pr o:r t r J r pJ tm J 1
p .
o 1; ; :
S/
a o ; 3 11
..

443. Spiritoso
100 Chapter One / Melodíes

444. Allegro gioviale .

f
túlñifi1F@@11 p cresc. molto

, Jfttáfj'1t@lf 1
.ff mf

m&FMbJ:Srl
-======= f Cflbfil'I P'
445. Lebhaft und stark

f
tiffl ª1J J J J
.. kh lt im Zeitmass
J
f zuruc a en(.\

447. Allegro

mfifPf
l W?jJJ) ¡3],J Ff
'---'
1
p
 - - - - - - - - - - - 101
Section IV
-
448. Allegro giocoso

;tg 1 JOl¡ngJ 5t
f

calando

449. Vivo

cresc. f
a Wk%1Ji1g rJIIDli
ff._/ · . . -

451. Andante

ffWHA-Ffa51 1@ful @
-$WPEff f{ft@t11¡J @ fJ r t12@
ere se.
1 u
102 - - - - - - - - - : - - - - - - - - - - - - - -
Chapter One / Melodies
''-----
452. Allegro moderato

f
Jffi 1fOO 1jJV r11fD 1J?f 1 .
1@ 1 •ij wrf J11
453. Andante

ldffF l@1íll fJ1 IJ$J 1

mf

Octatonic scales have eight notes arranged in a pattem of altemating whole steps and half steps.
Two octatonie scales:

' #o o o
.a- #.a- #o o
o

'
o
o io o

'º
11
11
.a-

The next four melodies are based on octatonic scales.

455. Andante con moto

456. Flowing

457. Andante espressivo

2=1
P
rij ·1kcm-i1r 1J dt1i #f r: * fJij 11 fij?t 1
cresc.

2=
11if
11 kéiP
dtm.
1 1 r
P
11

458. Allegretto gioviale

*.m wu r N 1 11 *}til 1hn 11 #J qJQbffe. 11r· H 1i r 11

104 Chapler
_ One
_ / _
Melodíes
_

460. Vivo

* ll!@tflMn!@#
'J mf

'
eres c.

1
f

461. Allegro con br_io

__- - - -

o-...-.-n-rr-ra-·--'H 1J r et cr 1f9ª ttf=r ttm

,.___

1---J'-r
f
------------
 DUETS SECTION IV
85. Allegro deciso

86. Andante espressivo

133
87. Mi:issig

88. Etwas langsam

89. Affettuoso
 calando

90. Allegro deciso

f sempre

91. Merrily
136 Chapter Two / Duets
95. Andante con moto

96. Gedehnt
138 Chapter Two / Ouets

97. Andante

p leggiero e staccato

98. Andante espressivo

99. Molto lento

 - - - - - - - - - - - - - - - - - - - - 139
Section IV
-

100. Deciso

101. Allegretto e marcato

140 Chapter Two / Duets

102. March

fsempre
 THEMES ANO VARIATIONS (UNACCOMPANIED)
SECTION IV

14th Theme and Variations

Theme: Vivace

i mpgl r eL_;ft
:J
e E]g-.J
;;J
;¡ ;¡ &! J J] 1flJJ1
>- eresc.
Et r1

Var. 1: Allegretto

Var. 11: Andantino (minore)

lel? rn ;a J ron. 111-ca 1crrro

1J 3 1

[!'.ff •hl J 1pW 1wPffl1 J1 Mi3 EJ.

254
:::=Secti=.:..'on.:..:_IV_ _ _ _.;____ _ ____;__ _ _ _ 255

r 3
cresc. 3 3 f .

Var. IV: Allegro (maggiore)

15th Theme and Varlatlons

Theme: Allegretto

fW1J:Ff r1J w rt11 :rlfr J J J J 1fW ¡11 1

f J r Tlr ñ e r J r· J r r.PIJ *
1 w1 1 1 11
256 Chapter Four / Themes and Variations (Unaccompanied)

Var. 1: Andante

Var. 11: Grazioso

. f .

Var. 111: Allegro (minore) .

Var. IV: Andantino cantabile (maggiore)

- - - - - - - - - - - - - - - - 257
Section IV

Var. VI: Allegro

11Y JJ@:i @!Y 1éñtl!ttfc9FLfl

- ere se.

1
16th Theme and Variations

Theme: Andante

Var. I: J =j
258 Chapter Four / Themes and Variations (Unaccompanied)

Var. II: Un poco meno mosso (maggiore)

· # e-- __:; simile

Var. IV: Allegro

M*jV;ttfft1t t 1'tttp l rI 1
*u '#i!J 1u'1 rITEJ Jaª@_§p F1PJ2]
' molto rit.

*u p Ji? 1@gttfft1t L ¡ l ' 1@11@!'J!F1;"J 1 * 11

17th Theme and Variations f

Theme: Allegro deciso

 - - - - - - - - - , - . . - - - - - 259
Section IV
-

Var. I: Allegretto

1Q¿[email protected] éf3]1r 1
,.# 'fflf 1f €J 11!
Var. 11: Allegro

Var. 111: Moderato (minore)

p w.¡Jp J l{JJ fil

frf 37)1 l@if r9pj. 11ij•q
Var. IV: Presto (maggiore)
 Triolets quintolet!:, oontr,..ctés et. monnayés.
'º"'""' .
28 1! . r L r g-1 r rr r t r r1r f 1 ; , 1P1 ' ......,...
J "e 1

e ccir ar -wac1r v'

1
J""' r i :1!:
r
.r

't®I P1

e rtf u 1 e Ei '1
r

1
.,

.. '
---.;;...'°''--
6 ... , • ....____

r * r r Fr 1e
.,. 6'"'

1 1r f , l 1
r-¡-. 6 --.

1rErrQ!1 C [rrr rrrrl r 11

Etude du grand quartolet...

fl . el c:r tr· ,r:ttttt !.i r1µ11· 1r·.r

. . 4.

1 g r r í a 1Clf · ClJ i J 1J. i fi a· i F r F F i

21'7 ·
1 r r" r' r
. . ·fl!;¡
Triolets et quintolets en syncope .
....-..... r .#

bl 1 i .1

wr .-.tr u @# r rr r P r
r 8 ., - ,--tJ--i

t!.J !J 1[r f rÍ p , U" r4'

__.
r r---p I;
1 ¡J 1E
' i
,
:r "r;1r
.,
r lf

(?[E C J

,_ 8 ...J ' r
..,
' ,
r r a.. r p "l f J.J 3J ;p
lf lf
-a
;
Er 1 1 = í 1

24217 IL.
22

r .l
,- '1' '

-.-

.,,, .
. ;•-;

..---r .,
v.·'·. Eff · .· gqr;tf. rQf t{ Xt'.*# fJt.l.,t.:X._JJ
7

1 1
' .

.._,.' . -·····,.·

Etude des groupes

'
r LJ
.
et r· r 3"

r.·r sJ r¡e; 5_:Jtí;::ff µf Er>rn_f tr

.. ' .· - ........... ·. -- .· ·. ·. ·__._:_, .._. · .... _.4,:.:-:-·>"'1 _.,.:,.

1
0·· ' .- ,•
 23

.· Triolets contractés monnayés.

/
i) 1 • 1
.
11 Pr q v ' /t v o. ' 1g r
r-.-1.

ss P[ vl ,
.

ar. r r i r_ v ·D, rrr P rr·!r'r±LJJ .

.. i ·... ,, i '
, 9 1 . • 3 '. · • 1. 1

1 1 'í

tdr u+p •fiircir tir 'Ef 1qr# •lft#1

24

,..:: .:;· ·:

cont.ractés .ªt.lllonnayés ...... .., ...· '''}'•''' .·:é;·?

r! dé ¡r f?Ji l.

..
,; ,'. ""·
r-. . ', :

1 e É; J 1 .·, . .lp 1

i
1

.. li
--·25.IHFOUR NOTES IN THREE BEATS;
.. - - · •.• · - . - - - ,, ,

FOUR BEATS
nncc
ga;;n• THREE nu
NOTES 1 nna;;;a;. 1 1 e:>

Singing four even notes in the time of three beats is performing four against
three at the. level of the measure. Each of the four quadruplet quartersin a three-four
·measure is three-quarters of a beat long; thus, the pattem can be notated as the equiv-
. alent of four dÓtted eighths, but it is more comrnonly notated as a quadruplet:

.nn-n.
,.---4---,,

.._, .

Singing three even notes in the time of four beats is most easily done in twelve-
eight time, where each of the three notes has the value of four eighth-notes, or a half-
note. When the meter is four-four, a background of triplet eighths should be ímagíned:

Tapping the note that is the common denominator (the sixteenth for four notes in·
three beats, the triplet eighth for three notes in four beats) will help us leam to hear the
proportions correctlyc As with other cross-rhythms, perfoimance at a fast tempó is a
process d!ffererit from slow performance, so the patterns should be practiced both
slowly and quickly. · ·

25. 1) J =60 - 120 (Measure 4 is equivalent to measure 3.)

t n n n J.nn Jl,-4--,
J.nn JJ. 1J J J J :JI - J
,--4--,

..._, ._,
,-4--,
11:mnm 1nnn.JJ J J J :11-11:J J J tJ JJJ :JI
25. A) Adagio (J =63)
t J n 1ffl J J rñlffl
..._, lffllffllffl
..._, ...., J J 1

1 j n ñ.tm
...,J:i:ij
..._, j 1 rnrn.tm ..._, l .hj 1

1J rn.rmtrn.Jm.rm Jrnn m 1m t
mm m mm n.1 .nn m 1j J j j 1J
...._,. . .. ...._,. ..._,, . ...._,. V

,.-4---,
1 ..._,, J
._ ..._,, .._, . 11
 25. B) Allegro (J = 120) r - - .+---, r-- 4--¡ e:''f" '
e:'/ ...
i.J .J .J l.J .J .J l.J .J .J .J l.J .J .J .Jl.J .J .J IJ
. . ¡--4--¡ ¡--4--¡
I . •:'1·· '
s;;:······
IJ.J·.J·l.JJJ..JIJln1TIIDn.fTil.JJJ.J IJ
,••. 1

_.,,, . . ........, :
f .f

1.J n ;1 1.J .J .J .J 1n n m 1.J J J J 1n n .lTI 1J

' ''

r-

-
r - - 4 ----, 4 --¡ ..

.._,, '..../ .._,, '--' .

í 1
1 J .J .J 1 .J n n 1 .J .J .J .J 1 .J .J J J 1.J JJ.J .J J 1 J
¡ - - 4 ----, r-- 4 ---,

11 • ''
,.;:!!e

c:··i•'·
i)ilfñJllffllITI.rñJmlñlnlffll.J '-'
..
n nv.rñ m
,
. .

1 1 1 1 J . :¡ 1·
. r-4----i . . ,
¡;:'
1nn
. :. ::: :
.
. JJ.1.J J .J .J inn'. -'·' ·.'-':JJiJ
... :...;· ·: ·' '--. ' '·f.,- - .: . .:.-·- - :' . . : •'' .
IJ· Jlm 1 . 11;*
·_:¡·::_:;·. ·:'·::.(:..:·".. "_.,_,..._;: ,.:-'{;'' .. .
·. '/!f:
l·J'.J;:Jn !J. JJ ·J .J .J · 1.rnn JJ :rJJ .J· · r'· ··111 ·
l....../ _'-" ·"-.../ '......., ..'· •.: _: ., • ·:;,t_¡_:: . . . :¡t;;,;;..
¡:··:-·

25. 2) WJ. =t J = - .132 (Measure 4 is equivalent to measure 3.) t¡;.-::...:--

ig mm mm JJ .J )IJ 1 J J :11
¡¡¡;;
...tt3''
1 - ll= J )i )i J J ,)¡ )i J 1J J J :fl - it
11:t .J mm J
3 3 r-3--,,3-,

)i.J .J Ji.J 1J J J
1J
,--3--:-i

:11 - r· ..:
;.

. u: rn rn
3 3 ,.-3---,

.J . J .J 1 J J J .:11 ... ·;;,:

.,
• • • .'"'!"
 ..:::i •. 1!.J Allegrenu \•·· =u..:¡
WPI J J Jlffi J Jl I J In In J Jl IJ Jlin J Jlin 1
••· . J. J J J Jll J llm J J J
1 - m .rn 1 ....._,. I ·

ffi
'

, I J j ..hJ 1 J Jl}lJ J t Jl I J llm J J J 1

'.
" '-'
J J ·IJJ JJ t JilJ JlJTIJ JJ
.V.- ' '. ....;../· " . ,' ' ...._,,
1·

1 . ..hm 1J J j 1 j j J J 1 J. . 11
....._,, .,

25. 3) J =56 • SS
,....---4 4 4-

)l J j J J : - J J J : - :J J J j :,. .
:J
> ·> >
- :L.YL.Yw_: - :wwa.t: · . . . .

- 1: J 1- 1:j J J J: - fJj .Jl ñJ :, .

,--4----,

J J J:
,--4---,
1:
- f=uuu= - =r r r: - f:r r r r =

-- =ñJñlfJj:l
:r r r r
. . l:nmn.:¡-1=nnn:¡··.··_
:r r r r =r .r. r. r : . · .=· - = -
. 4 . ¡ _ _ _ 4----' . '-------' 4 -,-----' .

25. F) Allegretto (J =72)

11 .nn n nn n .nn n. J ·
(l U1 w Ul@ 6lJ" U1 w U1 u u
nn n. ·nn_n. nn_n. J t
ur w ur@w ur 6ªf:w ur u u
nn_n ..nn::.n.
. .

J
ur@w urv66:bfw
.
".., ·-
¡--4-----,
J J

¡-:--4----¡ ¡-- 4--,

J. J
Llf ú
·
u.
J. .J-J . J JJ·JJ JJJJ JJJJ Jt·t
· uru w u u u r r r r r r r '
l ·
3..
 25. G) Con moto (J = 80)

rnrnm
4

·i ñ J J J J .rnrnJ;;JJ
i '/ . :1 61 w L.ll 6l.! r r r r .
iJ:&dr M7r .
J n rnn n J / J J n'n n
1 ,
wwbU! r · '/ 6f wu u' r·r r r ·
!I ,,!

nJl'I '/ ñ m mm J J J J m m.Jm

. 4 L - 4 - - 7 .... ..

u
I"....rl'..
. •·· .
í .í í í
·.,' I"w'.f".
.
I". ..'·
..
=
: ¡·' ''i I" I" 1,==.J··
f I" I" I"
. , ·•'•e
I" I" I" I" I"...
Ci.=
,, , .. :;; ·.. '• '
'
, ';¡
e
. ..: ' •
:
•:e:. .
"-;-; ·!" '.
;,' .
.:
r.:?i:...,
.

. ,,.. ,. ?i. i

t. t t-'1·····
b:lf. ·c r / rt r: r . "
r· t . i .·
".i·

u·. .J . .· J .; '
25.. 4) iJ.=tJ =5.0-80 ,. .., ,. . ·._. .
)1i '.J ] ' : '";J ' .
w w e.u r.tr: : ": :r Pt.u r r D:
1· ·.··· ...···1 ·f ·.·. •. . :. •. · ... ,. ::
lw ,. > > > >
.: i ¿"; . ·.. ,

......
.. ' ;

.· . ' < ·;.::' •• • •-,( • • • .. '.•'.''' ' - ' •

'
2s. cJ. =96) . S·l1

, ,"

'.> •
'-··_ ·... _., ...
. . r· ww r D r· r or·
d •,,J ... d ,J • .J.J.J.J. . ,J . .J.J.J.,J . .) .)1
r· r ou:..r r o
1

. fl'/<ml·G·:f fJl úl ml JrJ fJl ;

J J J J JT.lJ
r--3----i 3 ,--3---, r--3-
J J J J J J
í í í í u í u í í í u ·Í í. í u
m J J J J m J_ t /·
3 r-3---¡ 3

·¡
....
. -
• "'- -
.¡· J
e; . " "'
1
' • ."' tfl ."'
IJ.. ·

; • 1 - i 1 ' li w 1 !_·

. · . 2s: J) .· .Anne ' ' .. - -, . ' ..

(1612-1672),fromYMfrth
.
and
"
Melancholy;,
. _,.,.. -- _: _-.-,
'
:. " ' •"'

Andante·.(J =80) ·
"'.f . .. . .. ..

She
1n__:n0h· 1J
Ji leves nought _ else _ but
Ji 1J
noise which dis-cord malees,
n. 7· n
As croak-ing
1

1
.. frogs: whose dwe!cürii
n 7 7 n 1J
is in lakes;
7·
The
1 n
ra-ven's hoarse,
J· ·'t . .
the
1

.n
I .
1
. man - drake ·s hol. - low
1 J
groan,
'1.
. And shriek-ing
1.r-1
ow.Js, which fly
J 7 n1
i'. th'

1 J 7 . p}i 1 J 7 11
night a - lone;

111
26. QUINTUPLETS

Counting the notes helps us put the five notes of a quintuplet onto a beat, espe-
cially in a context of other divisions of the beat:

3 5

n 2
J J J
2 3
JJJJJJJJj
2 3 4 2 3 4 5

To sing five equal notes in two beats, we need to think the quintuplet beat:

= J J J J J
The common denominator of five and two is ten, but to perform five against two
we need think only of the second note of the duplet dividing the third note of the quin-
tuplet:

3 5 7 9

J J J J J
í i
6
i
The common denominator of five and three is fifteen, so the second note of the
triplet sounds a fifteenth of a beat befare the third note of the quintuplet, and the third
note of the triplet sounds a fifteenth of a beat after the fourth note of the quintuplet:

4 7 10 13
5

J J J J J J
r í6 í11 í
As with other cross-rhythms, leaming must begin with careful counting, pro-
ceed to slow performance where the subdivisions can be imagined and the composite
rhythm heard to be accurate, and arrive at the point where the two pattems are per-
formed and heard simultaneously and independently.

.26. 1) d = 48 - 76

-
5 5 5

i J JJJ JJ J J J J :·11 - J J J J J J J l J :11

11: '1
¡--3--, 5 5

11= J J .J J JJ J J =11 - 11= J .J J J J JJ =11

11Z
 26. A) Larghetto (J = 52)
5 . 5

J J IJJJJJJJJIJJJJJJJJJJIJ J J t 1
5 5 . .

IJ JJIJJJJJJJJJIJJJJJJJIJ J.DI
5 5

lJJTIJJJJJ lJJTIJJJJJ lJJTIJJTI 1J J 1J J J J 1

5 . 5 5 5 . . .

1JJ J J Jj J J J 1JJ JJ J j J J J J ¡JJJ J J j j 1J - 11

26. B) Andante (J = 76)
5 5 5

e- .
J IJJJJJJ J 1- JJJJJI- JJJJJI
f 5 p 5 f
"• . :;) 1J J - 1- J J 1J JJ] JJ 1- JJJJJ 1jdim.J J J '"'l'"'"JIJ 1
•' ,-3--, 5 ,-3--,
'• IJJJJp J 1 - IJJJJJ
cresc.
J IJJJ]JJJJI
' ·::1 ,-3--, 5 5 ,-3--,

• ·::i 1- fJ J J 1j J J J J J J J J J 1- pJ J J 1J J - 11
' ::1
' ::1 26.2) J =48.-76
5 5 3 5
::1
::1
i J JJJJJ :11 - 11:JJJJJJJJJ :11 - 11:m JJJJJ :11
5 5 3

1 - 11:n J:JJJJ:11 - 11:JJJJJJJ:JJ1mn:11

1 - 11: n m 1J :JJ J JJJJ.J :11
3 5

i 26. C) Andante (J =63)

n 1J n m 1J n Jm 1n JmJ:JJJJ 1J m 1
3 5 3

i
PP 3 3 s s P3

1nm;m1nmJJJJJ1nJmJJJJJ1 J m 1.
1n m Jm 1m JmJ:J:JJJ 1J:JJiJñTIJTI1
3 mrp 3 5 5 3
. ;)
J 11
--===mf
;;i
;;i
113
 wi;.: • """'

26. D) Allegro (J = 80) ¡;;l':s (

5 5

tñJrn.rn1J:;:;JJ:;:;:;JJrnJ:;:;:iJ1n 7 n1 rt; 1 3
1
iF> 1

¡;:: 1 _,

.¡¡; 1 --

5 5 ¡;:: 1

JJ· n J :i :; J 1JJ J J J:; J J 1J :; :; J J:J J:; J 1Ji 7 7 11 • 1 tila

e!.·
J =54 - 80 e;· :s

-.- _,_,_,
26. 3)

..._,. .._,. ..._, .._,. ...._, :11 - IJ: n JfflJ JJJJ :11 - 1
5 5 5 5 5 ¡; :t .
t J:J:J:JJJ:J:JJJJ:J:JJJJJ:J:JJ
3 5 5 5 5 5

ll:[J mJJJJJ :JI - IJ:Jmfl'ñJmm :JI - 1

-. _,_,
5 5

IJ: J J h J J J h J J h :JI • :t

.. _,_,
26. E) Allegretto (J = 76)

• · i Jm J n n JJ:J JJ Jn n JJ:; :J J JJ J JJJJJ:; JJ 1

5

5 5
5 5

5 5
5
..
1J t Jm 1n n J:J:J:JJ 1n JJ:;:;Jn 1J:J:J:JJJJJJJ1
JJ t m JJ J J 1ffl 1J J J .J:J:J:JJ 1n m .rm 1 ., .
3 ,-3---, ,-3---, 5 3
;¡; _,

1JJ:J:JJ.!fflm 1J t Jm 1n n J:J:J:JJ JJJ J .J J m 1

5 3 5 5 ,---"- 5-
¡;; ..
5 5 5

1n J J J J J 1J:J J:J JJ J J J J JJ t 11
--¡
íij ..

.,, il
fil •
26. F) Andante
5
(J
5
= 60) .. ·
5 5 5 5 5
¡;;· a
i J:J:J:JJin IJ:JJJJin IITJ)l7 JJJJJJhJ J J • a
5 5 5 5 5 5 ¡;
1J JJ Jñ J J1hJ J)l 7 l.J IJ :J IJ J J J J Jñ J J J JJ J ir: -a
5 . 5 5 5 ..

JmJi 7 1nnJJn1JnJJn1 J nJ J:J:JJ 1)17 t 11 ¡;:: a

¡; a
 J = 40 • 69
¡-¡:
26. 4)

.J .J . n n :
5 .5

ít .J .JJJJJ.J .JJJJJ:
(t rrrrrr rrrrrr . : - :rrrr;rrrrrrrrrrrrrr¡:
.5 5 . 5 5 5 5

-1- :.n JJJJJ.n .JJJJJ: -1: .J ill.JJJ.JJ.JJJ. JJ: 1

5 5 3 5 5

:rrrrru rrrrru : - :W'üJLU lU :

5 5 3 3 3 3

.JJJJ.J .JJJJ.n
r rrrr¡ r rrrr¡ 5 5
5 5

.J .JJJJJ .J .JJJJJ
rrrrr 6':6f Li
:;> .
26. H) .Moderato (J =72)
:;>
n .J .J n .J .J .J n n
ít.J .J
(t r u.ru.r r u.ru.r u.rr u.r u.r u.r
:;>
3 3 3 3 3 3 3 3

• n .J .JJJ.iJJi'/ .JJJJJ.JJJJJJi'/
5 5 5

3 3. 3
r.ur3
W'lU3 3
D7 lU lU
3· 3
D7
5 5

.J .J n n
.JJJJJ.JJJJJ .J t 1
;¡
r wUJ UJLU LU · r ·
--
;a 3 3 3 3 3

8.
115
¡¡e
 26. I) Andante (J = 60)

)in n. . JJJJ n
5

.JJJJJ .JJJJJJJ J
5
in
¡ '1 . '1 '6=" U' CCr'íLf rrrrrrrrrr ur
5 5
3. 3

n .JJJ .JJ].rJ j '1 n

rrrw ur
3 3

n .J:iJJ n JJJJ:J
5

.J J JJ
5

Jrl J 'I n
'1 "L! Cj'CjLJ CjjjjCjCjj
5 5
ur
nJmnm m .J:i:i:iJ 3 3 5 5

.J:i:i:iJ.rn
3

6d" U' 61 u w r:.u.

.J i

'I
3 3
rrrr;rrrr¡
5 5
r i

26. J) Langston Hughes (1902-1967), from "Daybreak inAlabama" 1

'; . Andante (J =60)

np
-
5 5

When
J I
J J J .J J J J J IJ J J J :J J.J 1
l.Jget toJ be· a c'om-po-ser I'm gon-na write me sorne mti-sic a-bout
....-.. "
"_.
¡ '.
! 3 3
5

l.JDay.:break
J inJJJñ'I lt Andn1J:i2J.JJJl.J ....
'"
1

i' Al-a-ba-ma l'm gon-na put the pur-ti- est songs in it

;... \1
1
mf 5 p 3

J n
1

IJJJJJ
Ris-ing out of the ground like a
1.n
swamp mist
¡·
And
JJ JJ J J
fal-ling out of heav- en like ,,. il
nif
)1 ¡ J J J J__,J J_,J J 1.J J J J J
5
...- .

lrl '1'

...--
1 €
soft dew. I'm gon-na put sorne tall_ trees_ in it And the scent of ... "il
np -.
... il
1.J J J'1 .n1rn J tJln.J:i :iJ1
.... .
'I
pine need-les And the smell of red clay af-ter rain ... In that dawn of mu-sic when I ... ·a

... .
5 ... .

1.JJJJJ JJ J l.J J J 11
....
Get to be a com-pos - er And write a- bout day.:break in Al - a - ba - ma. ... ,.
• ,¡
NOTE
"·¡·a
.,
"·¡·a
.
'From COLLECTED POEMS by Langston Hughes. Copyright © 1994 by the Estate of
Langston Hughes. Reprinted by pennission of Alfred A. Knopflnc.
"
...,
;

116
:J ..
•••1

.,. , ''.:111
(
i ·t;!!!I
'· , 27. FIVIE-EIGHT METER

Five-eight measures may .usually be understood as consisting of 2 + 3 or 3 + 2

. -:t eighths. Where the grouping is consistent, the meter signature will indicate it, as in the
first two studies. Where the grouping is ·not consistent, as in the next three studies,

beams will make the groups visible: J )in is 3 + 2,. whereas J m is

2 + 3. Because quarter-eighth is a more normal pattern than eighth-quarter, an eighth
::»
between two quarters may be assumed to belong to the first group-J Ji J is
3 + 2-when there is no contrary indication.
One standard pattern for conducting five beatsis a modification of the pattern
for conducting four, with an extra motion to the right (as in conducting six) before the
"!t upbeat when the pattern is 2 + 3, and an extra motion to the left when the pattern is 3 +
3 2. When approaching the rhythms in this chapter, it will be simpler to beat 3 followed
by a smaller pattem for2, or vice versa, depending on the structure of the measure.
While slow quintuple meter (as in Study 27.C) may be understood as having five
beats in a measure, five-eight meter is most often not quintuple meter, but duple meter
with two unequal beats, one a quarter-note and the other a dotted quarter. When the
tempo of the eighth-note is 240 (as in Study 27.A), the quarter is 120 and the dotted
3 quarter is 80, and these slower values are the effective tempo. Most of these studies
:'3. should be understood, and conducted, not with five, but with two unequal .beats in a
measure. After striving to keep the beat steady, conducting unequal beats may seem
. :'3 strange, but we need to feel these beats physically. The other hand or a foot or
metronorne rnay rnark the underlying quick pulse to keep the beats in their proper r:¡:
tíos.
:'3
27. 1) ) =144 - 208
gn .r.n 1J
J =11 - 11= .r.n 1J J =11 - n
11= rn n 1rn n :11- 11: JñJ .J:i:iJ 1nJ J:iJ :11 -
11= J m 1J JiJ :11 - 11: JJ
> >
1n JJ =11 nn n
i
27. A) Allegro (in 2) () =240, J =120, J. =80, J = 48)

n .rn 1n
p
rn 1n J Ji 1n J Ji 1n J "! 1
1.nm1J m1J J JilnJ JilJ 1.nm1
;) 1n J )i 1J J )i 1Jcresc.J )i 1J J 1fJVJ 11
::¡
/V.
::¡
117 .
c.¡
· 27. B) Vivace (J =330) •

3 2
s In n 1J Ji n 1J Ji n 1In n 1J Ji Ji "! 1 e
e
r :5

•
;i
1.J Jin1JJJn1Jl.J n1Ji.J n1Ji.J Ji"lt
1Ji.J J 1Ji.J n 1Ji.J J 1J J 1J J 1J t 11 -.
•
27. C) Adagio

§ n 1
(J
J J:; :; J
= 80)

rn Im n Im Ji:; ñ
1 Jii=J:;;::::¡:;:¡JJ Ji:; ñ 1 1 1
-
.e
;i

1J:J:J:J:JJJl1 J "! ñ 1InJJ J:JJ 1Inñ:; .m l..WJJ J J 1 e :! (

e
IJTI.J:J:JJ:;Jil.rn.J J. Jl.J "! :;JTIIJ J:;:;JJll e :1
IIñJi:;.!TI IJJJJiñ lfflf1:;Jm IJ:J:JJ:J)Jl IJ "111 e:
e:
27. D) Allegro (Ji = 192) :e;:: . ;i

§ n 1rn n 1rn n 1n.J.JJJ 1.J "! n 1.rnn 1 e: ;i

e
1J J. Jn 1n.J J. J 1J "! ñ 1J J n111 J J:;:iJJJ. 1 e: ......
1m1JJ:;J 1n"l"I ñ 1rnn 1mlffl 1.rmm 1.J.11
e .....
e .
c "
27. E) Andante (Ji =160) "
c
§Jil.J JinlJTIJ"JIJ"J.J JilJ"J.J Jil.J f Jil e "
'-
1.J J. :in 1n1Jn1nJ J n 1nJ J:;:;J 1.J t ñ 1 e
ci ' .

e: •
. 1 '

3
e: 1 :
1..WJJñ"I Jil.J Jin 1mm 1nñTI 111.J Jit.J t 11 1 •

.e 1 •
27. 2) ) = 100 - 144
e: 1.:
e: 1 :
1§ nITI.. J J :
l§ r r u W: - :r
l:.J. Jin J J :1 -
r r DL.J: - e: 1' :
e: ¡1
.
•

¡\_ e: .1 .
 ¡- ¡:
.. ""?"":!§

·
·. 1:. .rn n ;:n fJ . : !JjJ.J:i:i:i n.J. J:iJ ·: I
:.LLJ U U! lJ: - :lfC ere U L.LJ ..
!
1 -1:JJ J:iJ..Fn JJ J J.JTJ:
1 e- - :r r·r u r r r u :
.e
1 ;,
¡ C 27. F) Presto (Jl = 264)

1 • · ) § J Ji J J Ji J JiJ J ..hJ J m J JiJ t J Ji

• § ¡· .¡ ¡· ¡· í ¡· í í ¡· . ¡· . í í ¡·
Ir
1
r 1 j j Jll m j 1j )l[J j 1 m m 1 j 1 j t·.
1
r- , ." ,... i .... ," , ,... r r r· 1 1 r· u" r w1 1

:r
.r j .J. .J. j .J. j j .J. .J. j j· t· t j )l
r r r D r r r r r w r u r w r r·
D D D
r
r J .J J1 .J J1n m J11 .J m .J J1n m n ·.J
r r r· r· r r· r r r· r· r r· r r
r
r 27. G) Andante .(Jl =108)
1: .J. 3J n
,;-.-3J .n .J. 3J JJ 3 .J.
,, ? $ Dr u Dr u Dí ru
3s2
3 2
u
,,
1: D

1: JJ JJ n JJ JJ .n JJ JJ JJ J .J.
r i
Dí U Pi U Dí U Dí U
::» JJ JJJJ7j JJ JJ JJ7j /J JJ J/J J .J. t
Dr Dr u
D·í . u Dr u u
JJ J JJ"""l JJ J JJ"""l JJ J JJJ J J : 1
D.r u D r u D r u í' •
12_
119
 27. H) Allegretto (Jl =132) e
¡;:.

·Ji J Ji n
n .J n J .J n J J Ji Ji e
D u r D u r u r L..6f r
) "1 '! :!
( '! .'! Dt '! e _,

.J nn J nn J JJJJJ JJ J ¡;;;;
e;
i>
_,
"1 D r bf U U r rrrr U/r '!
r bd"' e: _,
¡;:: .¡¡¡¡
J JiJ JJ. Jn J JJJ.n J '! '! ñ
'! D r D r r e 1 u e rrr ur C'
•

!I
e
e :1
e :1
1
i
27. 1) Emily Dickinson (1830-t886), "Heart, not so heavy as mine" e: :1
i·· Andante (Jl = 108) e:.
:1
n n
p

g Ji
Heart,
'! JJ. J 1.J
not so hea-vy as mine,
'! .J J J 1Ji
Wend-ing late home-
'! .n
As it passed my
e: :1
¡;;;: --

7 .J J J 1.n n
3

1n. .J J J J. J 1.J '! '!. 7 .h 1 e: --

win-dow Whis-tled it-self a tune - A care-less snatch, a bal-lad, A
e: --
ñ.JJJJIJ"""l.JJJ. JI -- --
¡;;;: --
dit-ty of the street - Yet to my ir- ri - ta-ted Ear An An-o-dyne so
-- ..
.-1
cresc. nrf
1 .J J J. J 1.J."""'J,......,J .J J J. J 1)1 '! J J. 7 J1 ;;; "

.
· sweet - lt was as if a Bo-bo-link Saun-ter-ing this way C:a-rolled, and
;;;

n
"P

1Ji
paused,
"1 1.hn. 1'1· .h n
and ca-rolled - Then bub-bled slow
IJ
a - way !
1 .hJ JJJ 1
lt was a:S if a
;;;
;;;
p

1.J J J. J J:J J JI J 1 .h
chirp-ing brook U-pon a dust-y way
.J J J J1n J. J J J J J 1
Set bleed-ing feet to mi-nu-ets With-0ut the know-ing
e:
;;; a
;;; a
1 .J '1 11

=!a
;;; 1 ...
why!

.......
- ¡

120 c···a
e: 1 .....
 28. MORE METiERS WITH UNEQUAI. BIEATS

The meters in this chapter combine quarter-note and dotted-quarter beats just as
fiveceight meter does. Here, in each case, the meter signature makes the sequence of
beats exp!icit. For example, is but with three beats, of which the first two are
quarters and the third is a dotted quarter. Conducting again helps us become comfort-
able with pattems of unequal beats, and tapping the underlying eighth-note helps us
· keep the proportions accurate.

28.1) Ji =160- 288.

• n J-J-J :11 - 11: J J J Jl IJ J J :11

•
!S

• ::» 28. A) Allegro (J = 138, J. = 92)

•r n n m 1n n J )l I n J J i 1n n J )l I
> > > > >

r 1nJ J JilJ J J 1lnJ J JilJ nJ JilJ nJ 11

J J m n J m n J J Jil J f f·
r
1 1 1 11
r f.

r
28. 2) Ji = 160 - 208
r
r n J Ji n :11 - 11: J n J n J .rn :11
28. B) Allegretto (Jl = 192)
J J Ji n 1J J Ji n 1rn J n J 1 .rn
l.fñJJJJJ.fñlJ J t IJ J JinlJ J )lñJI
1 mm im 1 JJJJJJn 1J J 1 J )lfñ 1 m n
1m J Jim n J Jin 1.rnJ Ji.Jm J J f1
'-'
1 11

28. 3) ) = 160 - 208

J )lJ Jin :11 - 11: m .r:m m :11 - 11: J J J :11

l1t.
li!l
 s:::••
28. C) Allegro (Jl = 208) C::'.'
JinlmJ JinlmJnJnl .I;'' 3

Jin m J Jin JJjJ J Jim JJjJ Jm m

• 3
1J. 1 1 1 1
iii

1J. n 1J. J J 1J. J. J 1J J Ji J 1

.l ·.
iii
¡¡¡;· 3

1.J nJ nJ nm 1J. 11 e: !'!)

(;;:· 3
=160 • 224
•.
·,
28. 4) )
..

;;·
J J J )l:ll - ll:JlJlJl.[JJ :11 - 1 ·:.
11: .f'h ñ1 .f'h h J J =11 ¡;;·
,;;; ' 3

.-•.
.. ,,
. r 28. D) Andante con moto, in 4 (Jl = 160) ' ¡;;.

Ji IJ n J .J Ji J Iñn .J Ji! JiJ .fjn .rnJ

1 1

. .:i, Jll.JJJ.J.JJllJ)Jñ.JnJJJ IDJmw.fm 1 '--'

p- il
. ¡ p-· il
.
1

1 1 nm .J ñ 1J m n ñJ J 1nJmiññJn1 p-· il
,- il
/JññJff.JñJhlDñJ.J JllDJñff.JI1JI ,.-
1nmm1JJJJ1n;mmnJ.J1nmJ
.._, 11 ;· il
' iil
28. E) Vivo =162, Ji. =108) .;:-. 11
2 3
+g+ m m )lffi - ;: :.
;
NI ,; . a

lZZ
..........,"".
.......'!JI

\s. ' , . , .,
 .. ,_ ?-.. ':!!!!JI
. .. 1

· :-: : 1n .h"I IJ n n Jh n t .h n · JJ J
"! I71 l "! "! 1"! 1 1

;C
e 1n t j)JJl n t j)JJl n ¡-:¡--J n J t·
1 1 "! 1 11

.. 28. 5) ) =120 - 200

e
5
;,
1¡)
3+g+2 J J J :1 .... 1:J :J J .[l"J.·
.. ..n : -
..
3 2
( +g+ "1 U 7U 7 D: ..... :7 U "1 U 7 D : -
r
r :,
..n
:J J. jJrl .
l :r D r r ru :
:'
111:
r ::a 28. F) Allegretto (J =184)
111:
rn J jJ n rn J J:JJJJ rn J
r Dw
"!
::a
tlí:
tlí:
( 3+g+
2
r Dr r r r r Dr r r r r
11: [1J J J:JJJJ J JJjJ JJJ.rñ J J:Jjj)J )
e r Drrrr r Drrrr· r
n m
llC'
llC' J J. JJ JJ J J. j JJ JJ J J. Jñ J f
llC' r Drrrr r Drrrr r Drrrr
J J. J JJ. J n J J. JJJ JJ'"'J :i :; J J
f;
t. t
f;

r; r Dr r r r r Dr r r u r· . f·
f; '.";)

ic· i 28. 6) ) = 144 - 224

"I:' 2+2s2+3 J J J J .h :1 n n n J J. .J :1 - - 1:
2 3
?2 + s 2+ "! D D D u : - :r r r r D : -
"! "1 "1
I:' .. -;

C'.; .··
C'.:

123
r;:,
.. :-¡
 e:;¡,1:
28. G) Allegro (Ji = 216) t::"' ... {

2+2é2+3 J J . J In .J
J ji J J J J ji J ji ¡;;-';
'1 ..'
'! D'! D'! D'! U 7 DU r f · . ....
1
2 2 2 3
l + é + · 'f D'! D'! D'! U ;;;-

J nJ J jJ J nnJ jJ J r J ji
...- -.
;¡¡;- '
'! D ' D ' D, U ' D' D ' D ' U ' DU r t·
t n,ji J'"'JJ , ji
Ut f ."fu D"fU"fD "fu D'U 7 D1 U
J'"'JJ , ji
'--'
mn J'"'JJ mn
'--'
..
::: .
... '
"'
!1J J nJ m nnnm J f t
t ' ' U ' D' D ' D' ü , D / D ' D/ ü r t .
;;:- .
'
28. H) Grazioso (Ji = 116)
í n JlJ ..nm .rJJ nm J'"'JJ 175 m ;;; .
'
uwu
.
;;:· 4

'
•· 1

J · t n J. J J J J J rn J J;; JJ · j rn '
1

wr· t U C" rrru U!C rrru • 1

J J;;J.r:nrn J L n JJ J;;Jn rn
• 1

Ll!L" rrrw wr· t u rr rrru

•
,¡;:
1

JJ J;;Jn .r:n n J;;Jn j.J n J t

r c.r rr rr ru r c.r rr rrr rr / U! r·
28. 1) Samuel Taylor Coleridge ( 1772-1834 ), from Rime of the Ancient Mariner
Allegro (J. =80, J =120)
mf
ji 1 J ji J ji n 1 J ji n ,n 1 J t· t
A- round, a-round, flew each sweet sound, Then dart-ed to the Sun;
p
1 J-J-.J J
Slow-ly
ji n 1 J ·ji J ji
the sounds carne back a - gain, Now mixed, now one by
n 1
one.
J t· r¡;; .
'

1Z4 (1. r¡;;- .

1
 JIJ JlJ J JJ. 1

"F·
,,
· Sorne-times

1 p!\ rr .n:;. · 1· 1
....··..•.... J
.from the

!\ , ·
sky , ..

por;escelndl
r heard the, sky-lark sing;

1 n' 1 1
.J!.J·(,J .. J· . .J Jl.J JI. ·...... l,J.'(.J,.. J .J .. ·.·.·r
. r--1 1 1

:··c .• all ¡¡¡:tJe''blrds'that ru-•... Hów they seemed to fil! the sea and 'air . Wifu.their

4"··:. ·1·J . . .J0, l".:7·.·.j,.:n;Jj• .t.

·•· ·
L

flute; · Arid now

: . ·... · . . . .

it is .• an
And P()W 'twas like all

>] .··.·ji n l'Jli

in-stru.-ments,

an: -•gel's song, That makes ihe ;: óeacvens · .

No\V like

t.
a 1·one·-Iy .

29. CHANGING ME1ERS WITH UtiEQUAl BEATS

'"'-'::· ,.

The best prepatation for studies is counting the eighths on each beat aloua.
while cond1,1cting the 1arger beats,,Jhereby becoming familiar with .the.. m.etricaLpat,, .
tems bef-ore attemptiií:g the acttial rhythms. Thus, while seven-eight in · ·
three and five-eight in two, we would count: .

·J jJ

Tapping the eighth while singing the rhythm is especially importanffor studies
such as 29 .C where there are many notes longer than eighths. . ·
Stúdies' 29.E and 29.G, and the exercises that pfocede them, irié
elude three-sixteen and five-sixteen measures. The sixteenth-note rather th:m the
e.ighth-note is the basic division of the beat, and beats are eighths and dotted eig!iths.
In these studies, therefore, two-eight and five-sixteen meastiies have two beats, three- ·
eight and seven-sixteen rneasures have thr.ee beats, and a a
single beat. · ·

' é Jl n
29. 1) ) =176 - 240

)i 1§ n J )i :11 ,.. li:é n J ..Q n lg , .. ·

..
:.,_;
.

l§cJ Jin :11 - 11:§ J Jin 11 J J n :fl

ifr ns
 29. A) Allegretto, Ji constant (.Jl = 176)

én n· J .JJJJ JJ7jn J JJJJ rn ..r1JJJJJ1

•'• n

'='
(J =208) ..,..,
ª Jll J nJ n lé J.......n"'"""J n m
29. B) Allegro

·.···;:,.,,
....

JJJJJ m··ié .JWWJJ'J;JJ1 "·.bJgJ.·h]n-J.:lé' ·

..

J hJ
'

,,.,,,., ... A• ¡¡; ,,

lé JJJJJiññJJJhJ.ñJ .Jm IñJ JJJJJ .Jm.I . -.

nlm·r
. • .." ... ' .... ,, .. ,; , .. -· .'- •... .'·J ·:.", - "",' ' '.:: : . , .. -· . . ' ... . •.. • ' •. ····- . ' '' ' i ···. ·. .J '" - 1

.·1 JJi3i5J J J:1 J; . jJríT·t ...

,, ' ' . ' ' ' . '' ,., '-"-'' . ,., ¡¡; '·

lt· lTilt· "ñJJnJnléJJJJJJTIJTII ¡¡; ··.·

iii .· .·.

ii ··..
'--''.. :··.

.n
p
1 J. J JlJJ IJ JlJ Jin Jg J JºJ· ·ni ·
1 .btJ J\J ·.hm 1§ J
J J. . . . ··.,. ·· .•.
. .,, .. L.

.,,.•;·f•i';•;';>-J .bJ .D.n ¡g J .b..m ¡g J .bJ .bffi ¡gJ

1
- . ' .'' . . ·. . - ...·.. · ....; ... :." ..

. ,. ,•., . ., . J. · .n 1J. J .h .n 1.b J J Jl h ¡g

Tnp .. ;.···,:¡-¡,,.. '1·;·. : r. ·
.!i:•b:::tw ¡.g .b J J; Jlm" Jl J ··.n TJ ll .
f ' ' '. ? '

t26
1 Jl·.·. . __ \•·• ·' _.. .

f':v 1g Íl]J hJ 1g
0'. . _·' ..·:·.-.·.: . __ .... ·_._·; .. -:,'_· .·-. : ·. . ·, _·'.'" '.····"._ ' ' . -·''· . . . ,., '·:·' . ;:_'.

·· . ;·- ' --·\

rnm 1g;·rm JJJ JJ 1g· tJ JJJJm 1.g ···
. .. ,.>""" .· :;, .. : ·... · ,. ._,, ··.. -, '"'.:•

._. ··..:;
'
• " -,, ···: ·-;!'' ""

29 .. Z) J ·= • 300 ., · ::. ,' ' ,..

1

1ª6 m: Jirn· JJ ·m ·:rr - JJ ···11. R 1/5·; ·

n fl.,
.. . ' ,, ,, ' . ' - ' .:· ·h .·.; •'''· ·;::·. -:,·--·' -.: __ ,.

j .,j :il"-·: l1\ R :lf .

1

1 ' 29. E) J ¡;onstant (Jl =

Presto, ,. , , . . . · ,, · · · \ · .

Ji ñ 1JJ• .A IJ...oJ JJ
..
1Ji1 }.IPE? Ji '
m '
fn 1·r6·' .

11\ J · J J Ji ·. n 1··J\ 1 J1 1.K ·.·n 1.b.. ·J\ 1 ·

1}Ji . 11i .
n
- . ,_:,,·_,,.,,.·

1JJ.· ] 1Ji n 11 J1Ji 1P6 1 .n.1•Ji n 11\

" ' ',','

1Ji
16ª . ..ir-:;
l
... 2 .. .... . •·,.,11
.· ..i .:s ..i ..i .,i1 , .,i1 1 .n 1
.
1
.•.·. ·. .J ..i . · iJ/r>i:i>1·.·•· ·:,·J.· J ·
1 . . ,.

11.Jl 1.n Jf6:B ·Ji J;cJ

'

n
'

1i:Ji Ji . ·
 l J. .J .i Jrn !Tl J JJ n JJJj Ai J . t ·; , rh'.\
r P· ·U u r P. r r r t.J ir .pr,. . -· <::.) -·· ·: 'r :· '.
. f;:r .. -

.
; ..... -·.--::

.!:..

29.4) J ·J = 184 • 240 · ..

J .. J fa Ji> .rl J,..... . -J....---.J :'
(fa:¡ .6J 15s; rrr í r r r r j: ..
·-
·. :;

91"::
';;''·
;A
....::_!;

•,,
1 ·
.
1
rF\ 8 Jl. "! '!
l'I
16
5
rri
r f".···· ··• ,. ,. ·
n J J·
2 .·
.;!
· 3 ·.
n .
g
2
I V V 16 :¡,,.P :¡ := :¡ p :¡ 6t :¡ :¡ 16 :¡ 6f S

Ji n
. --......

h:_:
'

..).' ,\.,·

' ' .':·'. .. '. ·-·. -_.,::_· - . ,"

z9. H) (.H =;60}

}·ª. ·!.rJJ······.··.]
. ·.·. ·. m.· . ·. . u·.u·.éu··uu
·.·rn·:·.·.·
. ··.·.·•. ·.·. ·.· .·..;1.·:·····.n.·.·.···.··J·····.·.··fil.: ······R··.·
. .•. ·.·.:.· ..··.·.·.·.··.·é··.·.rn. J ·. 'l.. ·. .f4.,.' .·
.. ·. ·:.··.·.R··.········.·.ª.··.
gUJt ·
-·

mm .rm:nm ª n
.;: . . :. ·.• : ·. ,,, ·-«""' ''•' .. ""'

JJJJJIDm é
t.r u ª
j · '!
cr· u . ·. u· u· 1 u· ·
.n. n n: rn n é n: fñfl ª j
ctru u; ú .écrcru u gr
'! t
'I
'!<,

29.1} Elizabeth Barrett Browning (1806-1861), from Sonnets from the

> Portl.lguese, XXXII .
AÚegretto
rrp .
(Jl···p··
= "'P p . rrp
gj·· J Jilé J· J·.
Quick·lov-irig hearts, 1 . thought, may quick-iy
n 12J '!J.· 1én
Ióathe; And, look-ing on my-self,
n· j Jil
I

H9 .
 ..J
s6erned not one For
..J ..J fil§ ..J J. IJ.
. such man' s lo ve!
1
more
.
like an out-of-tune Worn
J ¡g
n
lg J )¡ J 1)1 J
viol,

¡g J 'I
a good

J . )11§ J t )
sin- ger would be

lé
¡g
J J
J )1 J )11! J J
wroth To spoil

n 1
his

J·
song with,

J · ..K
'1

1
)1
and

J
lg

11
!t
which, snatched in has te, Is Jaid down at the first ill - sound - ing noté. ·::,·. ¡_..

30. MORE CROSS-RHYTHMS

The 'stridies in this chapter are based on rhythmic pattems, of ...

rh:ythrriic pattems, and .the principie of ostinato found in music. of West Africa. 1 In ad-
-... ·:.::.4
diti6n to''t:h"e éonÍlicting divisions of the beat (2 against 3 and 3 against 4) already stud-
. ied •.,these Jhythrns involve different divisions of the measure in the>two pa'rts. ,The.
.
..... .....···.(

.diviSion of 6 into2 groups of.3 and 3 groups of 2 (30.A and 30.B)is familiar..from
Chapter 23.;New here is the grouping of twelve equal divisions ofa_ measure irito 5 ..-j1t)
plus'.7, or 7 plus 5, against the normal 6 plus 6 (30.C) or 4 groups of 3 (30.D and 30.H)
or 3 gf4 (30.E). Two studjes (30.F and 30.Q) involve cross-meters inways that. .

our convendÓnalnotation obscures, because, in order to show the equivalence ofnote-

... ...
J. . ..O.
'

·the twqpárts, one of is notated with a nota-

tión is that of-c0tnpound meter,, but we hear the pattem in simple meter.
As wi·th ali cross-rhythms, we first focus on the way the two parts fit tógether _
......... ,¿;
and . tJien
.
proceed. to perforrn the t.wo parts independently at the same time.
'•
·
... ;f''i:t'."

NOTE
,.;,.::>:;:.:
J See,
example, John Miller Chemoff, African Rhythm and African Sensibii¡ry
(Chicago and Londbn: University of Chicago Press, 1979); A. M. Jones, Studies in African
M11sic (Londón:iO?tford Universiry i7ess, 1959); and J. H. Kwabena Nketia, African Music in
.
Gharnz(Evanstórii NorthwestemUrÍiversity Press, 1963). · ··· · ··· • · ·· ·
. ..
· 30.1). 92 -·.· ..-··
,:·. . ''":-·· .

130' c.