JAVS Fall 1999

Example 4-Galamian Grouping patterns

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6

6

n1fl!lJVI ; Ill ! fg JJ JJ jJ JJ jJ I . . -

The following groupings are to be practiced in both forms as given above. 2+6+ 4 2+6+4 ---- . - - 4+2+6 4+2+6 -.±+6+2.,_ .±+fi++ -&,+2+!- fi+++.4. 6+4+2 fi+.4++ - - 1+3+8 1+3+8 - . - - _}+8+1.- 1+~+_3_ 3+1+8 3+J+~ 3+8+1 .....___ ---- J+~+~ -8.,+1+1.- ~+1+.3_ 8+3+1 8+3+1 - -

Ill. RHYTHMIC DIRECTION: FEELING ENERGY GATHER AND DISSIPATE Measures group pulses; each beat within a measure has its own quality. For example, in a 3/4 meter, the downbeat is a point of stability and tends to expand. The second beat is a weaker beat, if anything pushed over by the downbeat; the third beat has a strong leading quality. Strong-weak relationships are important to musical shape. Particularly in music from the Baroque and Classical periods, beat hierarchy is inherent to the music's vitality. For example, in common time, beats one and three are strong and have a tendency to expand, while beats two and four are weak and do not take up as much space. Phrasing is the flow of musical energy. a. An impulse is that portion of the phrase where energy gathers. b. A resolution is that portion of the phrase where energy dissipates. c. All energy gathered should be completely discharged by the end of the piece; cadences release accumulated energy. The following practice methods are helpful in clarifying character and direction. When trying the musical examples, always mentally sing the example to yourself. Ideally, you should always hear the whole score as you practice. Ultimately, hearing the whole score is essential to understanding musical rhythm.

Counting Aloud

1. Character of pulses: Gende vs. explosive Count example 5 in a gentle and gluey manner, emphasizing the connectedness of the pulse (1-2-3).

Example 5-Schubert, Sonata (per Arpeggione), II. Adagio

Adagio

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3

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