JAVS Spring 2013

Example 4. G. P. Telemann, Viola Concerto in G Major, movt. II: Allegro, mm. 32–37.

of measure 33 would restart the number count at “1,” and the consecutive sixteenth notes would increase at an increment of one until the fifth six teenth note of the measure, which would be “4.” Each four-note grouping beginning with the second sixteenth note of a beat would follow this grouping, providing a sense of arrival at the first sixteenth note of each beat, rather than separating each beat as it is visually beamed together. This also discourages the unnatural effect of separation between measures at bar lines. 13 Rhythmic numbers are used to provide rhythmic sta bility when changing between various subdivisions of the beat. 14 The main point is that when the initial note of a new rhythmic pattern speaks, it is essential ly perceived by the ear as a continuation of the pre vious rhythmic pattern. The note is struck in identi cal rhythm as the previous pattern but is released in the new pattern. For a measure in common time containing eighth notes followed by a measure con Rhythmic Numbers

taining eighth-note triplets, one can use numbers to help facilitate rhythmic accuracy. One can number the first measure of eighth notes in pairs, giving the initial eighth note the number “1” and then the next pair “1–2.” When moving to the triplets, the last eighth note would be a “1,” and the triplet begin ning the next measure would be “2.” The subsequent triplet notes would be 1–2–3, with “3” being the first note of the following group of triplets (ex. 5). 15 In measures 246–47 of the first movement from Stamitz’s Viola Concerto in D Major, there is a pas sage of eighth and sixteenth notes in the first measure followed by a measure of triplets (ex. 6). In this case, the rhythmic numbers of the last four notes of meas ure 246 would be “4, 1–2–3,” and the next measure would be “4, 1–2–3, 1–2–3, 1–2–3, 1–2.” At meas ure 248 the arrival of the whole note would be “3.” As you can see, the rhythmic number pattern does not change until the rhythm actually changes, follow ing the first triplet eighth note in measure 247.

Example 5. An example using Tabuteau’s rhythmic numbers.

Example 6. Carl Stamitz, Viola Concerto in D Major, movt. I: Allegro, mm. 246–48.

V OLuME 29 NuMBER 1 35