JAVS Fall 1999

47

Count example 6 in an explosive and fiery manner, including the sub-pulses to reflect the more highly charged nature of this music (3-223-323/1, etc.).

Example 6-Hindemith, Der Schwanendreher, I. Massig bewegt, mit Kraft '1.JcT fF r&rr'r 1 .t.it'r'c'rc•r·1FEI'ITrcp F r 'r ,J ~c 1 - ,;mf~~+· eg~Jfl 2. Direction of pulses: Horizontal vs. vertical rhythm In example 7, experiment by counting it first with a noticeable horizontal direction toward the phrase's goal note. Then count it again completely with a vertical feel. The first version has a more active emotional quality to it, while the energy of the second version has a more spent or resigned quality to it.

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Example 7-Bart6k Concerto, II. Adagio religioso

2 3 3 1

1 3--... 1 #,....... """"' 1 2 3 ~t * crr 1 ~Wrr 1 r mp semplice

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When counting example 8, count the phrase with a strong vertical quality to the quarter; this will bring out a wonderfully stubborn or obstinate quality that is typical of some Hungarian music. Be sure to image an active 16th sub-pulse while counting the quarter.

Example 8-Bart6k Concerto, III. Allegro Vivace

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2 - - tr~ I I reFkar#rtrl Cf#r!frral r r f !r Elf I pocof 1 3 2

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3. Flow of energy in phrases: Impulse and resolution Impulse refers to the gathering of energy, and resolution refers to the dissipation of energy. Phrasing consists ofwaves within larger waves. In the following 12-measure example, notice the contrast of the wavelengths, the first four waves last two measures each, while the final wave lasts four measures. Within each wave, follow your intuition when counting the quarters to discover what portions of each wave gathers energy, and what portion dissipates energy.

Example 9-Schubert Sonata (per Arpeggione), I. Allegro moderato

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