JAVS Fall 1999

49

IY. PLAYING FREELY: FEELING MUSICAL RHYTHM FLEXIBLY Playing freely within the framework of a regularly felt pulse is inherent to musical movement. It is always helpful to notice if music is rhetorical in nature (modeled on speech or singing) or inspired by dance. The flexibility of speech patterns tends to extend over longer stretches than the flexibility inherent in dance patterns.

Qualities of Sub-pulses and Pulses Exaggerated

In example 12 (Boccherini), the first eighth of each quarter has a tendency to expand, push ing the second eighth over. In addition, the first and third quarters will occupy more space than the weaker second and fourth ones.

Playing on the Front or Back Side of the Metronomic Beat

Experiment with example 13. Play this example first with every eighth note lining up exactly with a metronomic sub-pulse. You may either imagine a metronomic pulse or actually use a metronome. Then play the example again, this time playing around the metronomic pulse. Fol low your intuition to decide where you want to play on the front side of the beat, where on the beat, and where on the back side of the beat. Which version flows in a more alluring manner?

Example 13-Rachmaninov, Vocalise, opening 7 m.

Tranquillo, lentemente, e molto cantabile ~ ~~ ., Pt: r liB i * = :r == ~~3~ u 1 ;rc U1trc eta1 11s r-r trr} 1 W r =c r1ff} 1 r~ '~Re1 --==== ====-- poco piu animato 3 .---...,_ , r P !r-r" -===== ====--

Strong-Weak Relationships

Strong-weak relationships are inherent to the music of the Baroque and Classical periods. Apply the same principles to example 14 as for example 12 above. (See Qualities of sub-pulses and pulses exaggerated.)

Example 14-Bach, Suite in d minor, Allemande, opening 2 m.

Allemande

liB I> B