Rhythm , livre ebook

Rhythm∙Advanced Studies

 
Rhythm



    

Rhythm ∙ Advanced Studies
©Erik Højsgaard and Aarhus University Press 
Translated by Siri Brown
Cover: Carl-H.K. Zakrisson
Cover illustration: Igor Stravinsky’sSymphonies
Graphic Design and Typesetting: Erik Højsgaard
The book is typeset in Minion
&CPPL QSPEVDUJPO CZNarayana Press, Denmark
Printed in Denmark 



Published with support from:
Vera and Carl Johan Michaelsen Foundation
Danish Arts Foundation
The Augustinus Foundation
Koda

Aarhus University Press
Langelandsgade 
- Aarhus 
Denmark
www.unipress.dk

International distributors:

Gazelle Book Services Ltd.
White Cross Mills
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United Kingdom
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/ In accordance with requirements of the Danish Ministry of Higher Education and Science,
the certiication means that a PhD level peer has made a written assessment justifying
this book’s scientiic quality.

he excerpts of the following works are quoted
with permission from the publishers:

Boosey & Hawkes Ltd.
Béla Bartók’sConcerto for Orchestra· Benjamin Britten’sCantata
Misericordium· Richard Strauss’Salome· Richard Strauss’
Sonatine für Bläser· Igor Stravinsky’sPerséphone· Igor Stravinsky’s
Petrouchka· Igor Stravinsky’sLe Sacre du Printemps·
Igor Stravinsky’sSymphonies· Igor Stravinsky’shreni

J. & W. Chester Ltd.
Igor Stravinsky’sLes Noces

Universal Edition
Alban Berg’sLulu· Alban Berg’sWozzeck· Pierre Boulez’
Improvisation sur Mallarmé· Arnold Schoenberg’sGurre-Lieder·
Arnold Schoenberg’sKammersymphonieop. 

Associated Music Publishers, Inc.
Elliott Carter’sConcerto for Piano and Orchestra·
Charles Ives’Symphony No. 

Heugel & Cie
André Jolivet’sConcerto for Ondes Martenot and Orchestra

Alphonse Leduc
Olivier Messiaen’sLa Nativité du Seigneur

Edition Wilhelm Hansen
Per Nørgård’sTrepartita

Triplets I
Polyrhythm 3 against 2
Hemiola
Mixed time signatures I
Compound time signatures III
Slow time signatures in 6
Eighth note as beat-unit II
Triplets II
Polyrhythm 3 against 4

Irregular time signatures I
Fast time signatures in 5 and 7

22

Contents

5

55–58
59–68
69–72

27–34



15

45–54

23–26

15–22

19

21

17



1–7

8–14

9
10
11

Foreword ∙Reading recommendations

                  
Quarter note as beat-unit I
Time signatures in 2, 3 and 4
Half note as beat-unit I
Time signatures in 2, 3 and 4

12
13

15

16

14

Eighth note as beat-unit I
Time signatures in 2, 3 and 4

Irregular time signatures II

Duplets and quadruplets I
Polyrhythm 2 against 3 and 3 against 4

Compound time signatures I
Fast time signatures in 6
Quarter note as beat-unit II
Time signatures in 2, 3 and 4
Half note as beat-unit II
Time signatures in 2, 3 and 4
Compound time signatures II
Fast time signatures in 9 and 12

7

6

8

1

41–44

29
30
32

35–40

26

27

73–76
77–83

24

109–117

33
34

39

41

36

99–108

3

4

84–98

2

31
32

30


118–128

22
23

27
28
29

132–138
139–152

63
65
68

54
57

33
34

35

38

39

36
37

Compound time signatures VI
Triplets IV
Polyrhythm 3 against 2 with subdivisions,
polyrhythm 3 against 5
In uno
Septuplets I
Polyrhythm 7 against 4 and 7 against 2
Metric modulation II
Change in beat-unit
Sixteenth note as beat-unit
Irregular time signatures VII
Fast time signatures in 10 and 11
Quintuplets II
Polyrhythm 5 against 4

155–159
160–163

Eighth note as beat-unit III
Irregular time signatures V
Fast time signatures in 9 with 4 beats
Compound time signatures V
Mixed time signatures IV
Irregular time signatures VI
Slow time signatures in 8
Duplets and quadruplets II
Polyrhythm 4 against 3 with subdivisions,
polyrhythm 4 against 5

74
76

168–170
171–176

164–167

206–212
213–220

177–180
181–188
189–190

198–199
200–205

191–197

Metric modulation I
Doppio movimento, Temps = temps
Irregular time signatures III
Slow time signatures in 5 and 7
Mixed time signatures II
Quintuplets I
Polyrhythm 5 against 3 and 5 against 2
Irregular time signaturesIV
Fast time signature in 8
Mixed time signatures III
Triplets III
Polyrhythm 3 against 2 with subdivisions
Compound time signatures IV
Slow time signatures in 9 and 12

240–249

87

221–228

83
84

250–258

90

229–231
232–239

79

25
26

24

59

60
61

69

71
72

129–131

46


43

53

47
49

153–154

19
20

17

18

21

Mixed Time Signatures V

40

41

42
43

44
45
46
47
48

49
50
51

52
53
54
55
56
57

58
59

60

61
62

Septuplets II
Polyrhythm 7 against 3
Metric modulation III
Change in tempo and pulse
in relation to 3:2 and 4:3
Mixed time signatures VI
Irregular time signatures VIII
Slow time signatures in 9 with 4 beats,
slow time signatures in 10 and 11

Duplets and quadruplets III
Mixed time signatures VII
Polymeter
Irrational time signatures I
Quintuplets III
Polyrhythm 5 against 3 and 5 against 2
with subdivisions
Septuplets III

Irregular time signatures IX

Metric modulation IV
Change in tempo and pulse
in relation to 5:3, 5:2, 7:4 and 7:3
Irrational time signatures II
Mixed time signatures VIII
Polyrhythm on unstressed beats
Polyrhythm in irregular time signatures
Other polyrhythmic figures
Nested polyrhythm

 -              
Combination exercises I
Combination exercises II

                 
Changing time signatures without
irregular time signatures
Irregular time signatures
Changing time signatures with
irregular time signatures


259–263

264–274

275–279
280–283

284–288
289–291
292–295
296–304
305–309

310–312
313–318
319–320

321–326
327–330
331–336
337–338
339–346
347–350

351–389
390–435

436–441
442–443

444–451


93

95

99
101

103
105
106
108
111

113
114
116

117
119
121
123
125
128

133
144

165
168

169

I

II

              
    
     
Metronome markings and other common tempo
and musical indications
Explanation of polyrhythmic figures

Bibliography
General index
Index of symbols


173
181

221
222

225
226
235

Foreword

Rhythm ∙ Advanced Studiesis a textbook focusing on advanced rhythm
reading; it has been written mainly for teaching aural training at music
academies or other musical colleges, and on higher education courses.
Some of the exercises found at the beginning of the book can also be
used to prepare for studying music at higher education level.he book
is aimed at anyone involved with music at a professional level: music
students, instrumentalists, singers, composers, conductors,Tonmeister
and music teachers. As a result, a general familiarity with elementary
rhythm reading is necessary in order to be able to use this book
effectively.
he primary aim of this book is to further develop the student’s
technical and practical ability in reading rhythm, in order to ensure that
they will be able to meet the demanding requirements of the musical
world, which in this particular area are only becoming more demanding.

By working through the exercises and their corresponding notes, a wider
knowledge and understanding of the use of rhythm in classical music
will be acquired.he book can also be used as a reference book or
an additional self-study book for those who are already familiar with
the more complex uses of rhythm.
Ater many years of teaching aural training at the Royal Danish
Academy of Music, I have learnt to value the importance of variation
in the teaching materials that are used.his can be seen in the layout
of the book, specifically in its short chapters, each on their own subject.
Together, the individual chapters form an overall progression, which
is described in more detail in the Reading recommendations. Each
chapter has one or a few specific focuses, but the exercises in each chapter
are as varied as possible. For example, triplets do not only appear in the
chapters Triplets 1–4, but also in many other exercises found under
other sub-headings.

If a teacher wishes to focus on specific areas, it is of course acceptable
to deviate from the defined progression of the book. Should this be the case,
it may be helpful to use the index found at the back of the book.
Many of the following exercises are likely to seem challenging. Admittedly,
some of them can cause difficulties even for the author. But the main aim
of these exercises is to represent the complex notation in sheet music that
professional musicians and music teachers have to work with, whether
in music from the fourteenth century or from the twenty-first.

I wish to thank my aural training colleagues and students at the Royal
Danish Academy of Music, who over the years have provided inspiration
and constructive criticism. A special thank you to Per Bundgård, lecturer
of aural training at the Royal Danish Academy of Music, and Klara Rylander,
masters of aural training, for proofreading and also providing inspiration
and critique.

Copenhagen, Spring 2016

Erik Højsgaard
Professor of aural training at the Royal Danish Academy of Music

Reading recommendations

It is recommended to follow the progression of the exercises in the book
from chapters 1 to 57.
he two-part exercises in chapters 58–59 follow the same progression
and can therefore easily be practised simultaneously with the unison
exercises(see more information on page 131).
Chapters 60–62 contain conducting exercises that can likewise be
practised simultaneously.

Each exercise has a given tempo indication