JAVS Fall 1999

44

• Practice 4 against 3, and 3 against 2 rhythms in scales. This is particularly helpful in devel oping a sense of sub-pulse. See examples 2a and 2b, subdivisions of triplets.

Examples 2a and 2b-Ellen Rose, Extreme Viola! a 12-week guided course in scales, arpeggios, and double stops (to be published)

Subdivisions of Triplets

'~~~~ ·-~~

Example 2a-4 against 3

Tfr r

I r r

r

r r

4 against 3 1. With metronome at 50, walk the quarter (in common time). 2. Clap 2 measures of half notes. 3. Clap 2 measures of triplet 8ths. 4. Clap 2 measures of triplet half notes. 5. Play a 3 8va scale first in half notes, then in triplet half notes.

Example 2b-3 against 2

3-__, f : ~ f L r I I

3-__, . r r . I '

t

~

L

3 against 2 1. With metronome at 50, walk the quarter (in common time).

2. Clap 2 measures of quarter notes. 3. Clap 2 measures of triplet 8th notes. 4. Clap 2 measures of triplet quarter notes. 5. Play a three 8va scale first in quarter notes, then in triplet quarter notes.

II. RHYTHMIC CHARACTER: fEELING EMOTIONALLY DIVERSE ENERGY • Pulses are bursts of energy. Each pulse has its own distinctive character and direction. Prac tice scales in rhythmic patterns, choosing a specific rhythmic character. 1. Select a rhythmic pattern and an emotional character. Choose from the categories of love, joy, anger, fear, or sorrow; or draw inspiration from a musical context. 2. In common time (at either~ = 68 or 50 as specified in the example), mentally rehearse the meter, clarifying the quality or character of the energy at both the pulse and sub-pulse levels. 3. Walk the pulse. 4. Play the scale while continuing to walk. Try the scale without walking, but with clear rhythmic character.