The Refinement of Rhythm, Volume 1 - Inside Music Teaching
The Refinement of Rhythm, Volume 1 - Inside Music Teaching
The Refinement of Rhythm, Volume 1 - Inside Music Teaching
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
<strong>The</strong> <strong>Refinement</strong><br />
This PDF document includes:<br />
<strong>of</strong> <strong>Rhythm</strong><br />
<strong>Volume</strong> 1<br />
Information Pack<br />
Author biographical notes – Bengt-Olov Palmqvist<br />
Bibliographic publication information<br />
Chapter contents page<br />
<strong>The</strong> Preface by Pr<strong>of</strong>. Michael Rogers<br />
Complete Demonstration Chapter<br />
(Chapter 9 with MP3 sound file)<br />
Selected <strong>Music</strong>al Examples from the entire book<br />
(with MP3 sound file)<br />
To order visit<br />
www.refinement<strong>of</strong>rhythm.com
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
Bengt�Olov�Palmqvist�is�presently�Senior�Lecturer�and�Coordinator�<br />
for�Aural�studies�at�the�Australian�National�University,�School�<strong>of</strong>�<br />
<strong>Music</strong>�in�Canberra.�http://www.anu.edu.au/music/study/staff/opalmqvist.php�<br />
�<br />
Originally�from�Sweden,�he�has�a�B.Mus.�from�Ingesund�College�<strong>of</strong>�<br />
<strong>Music</strong>,�Arvika�and�is�a�Master�<strong>of</strong>�<strong>Music</strong>�in�Pedagogy,�Aural�and�<strong>Music</strong>�<br />
<strong>The</strong>ory�from�the�Royal�College�<strong>of</strong>�<strong>Music</strong>�in�Stockholm.�<br />
�<br />
Olle,�as�he�is�affectionately�known,�is�a�leading�authority�in�aural�training.�He�has�an��<br />
enviable�reputation�in�several�countries�for�his�successful�tuition�skills�and�has�a�keen�<br />
personal�interest�in�the�development�<strong>of</strong>�rhythmic�understanding.�<br />
�<br />
<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>�is�a�condensation�<strong>of</strong>�his�life’s�passion�<strong>of</strong>�teaching�music�at�all�<br />
levels.�Following�on�by�logical�steps�you�are�led,�using�a�thorough�grounding,�to�<br />
accomplish�skills�that�will�ensure�a�perfect�framework�for�all�genres�<strong>of</strong>�music.�<br />
�<br />
Pitch�can�deceive�but�rhythmic�problems�are�blatant�and�unforgiving!�
�<br />
Copyright���2004�Bopac�<br />
First�published�2004�<br />
Second�edition�2007�<br />
Author:�Bengt�Olov�Palmqvist�<br />
Editors:�Peggy�Ann�Crosskey�and�Andrew�Koll�<br />
�<br />
Cover:�Fine�Line�Design�Canberra�ACT�<br />
E�Mail:�fineline@finelinedesign.net.au�<br />
�<br />
Printed�by�Pirion,�Canberra�ACT�<br />
www.pirion.com.au�<br />
�<br />
CDs�duplicated�by�Quick�Copy�Audio�Services�<br />
Balcatta�WA�<br />
�<br />
Palmqvist,�Bengt�Olov.�<br />
<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>�<strong>Volume</strong>�1:�a�practical�guide�with�supporting�CDs�for�learning�to�perform�increasingly�<br />
challenging�rhythms�<br />
ISBN�0�9751302�0�X�<br />
�<br />
<strong>Music</strong>al�meter�and�rhythm.�I.�Title.�<br />
781.224�<br />
�<br />
Also�available�<br />
<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>�<strong>Volume</strong>�1:�Supplement�for�<strong>Rhythm</strong>ic�Dictation�–�a�Manual�with�supporting�CDs�to�master�<br />
the�Dictation�<strong>of</strong>�<strong>Rhythm</strong>�<br />
ISBN�978�0�9751302�1�6�<br />
�<br />
<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>,�<strong>Volume</strong>�2:�a�practical�guide�with�supporting�CDs�for�learning�to�perform�further�<br />
challenging�rhythms�<br />
ISBN�0�9751302�2�6�<br />
�<br />
<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>�<strong>Volume</strong>�2:�Supplement�for�<strong>Rhythm</strong>ic�Dictation�–�a�Manual�with�supporting�CDs�to�master�<br />
the�Dictation�<strong>of</strong>�further�challenging�<strong>Rhythm</strong>s�<br />
ISBN�978�0�9751302�3�0�<br />
�<br />
For�news�and�updates�www.refinement<strong>of</strong>rhythm.com��<br />
�<br />
All�rights�reserved.�<br />
This�book�is�subject�to�the�Copyright�Act�1968/2001.�No�part�<strong>of</strong>�this�publication�may�be�reproduced,�stored�in�<br />
a�retrieval�system,�or�transmitted�in�any�form�or�by�any�means,�electronic,�mechanical,�photocopying,�<br />
recording,�or�otherwise,�without�the�prior�permission�<strong>of</strong>�the�author.�<br />
�
�<br />
�<br />
�<br />
Contents�<br />
�<br />
Preface� � � � � � � � � � � viii�<br />
Introduction��<br />
�<br />
� � � � � � � � � xi�<br />
Chapter�1� � Longer�Note�Values�and�Rests� � � � � 1�<br />
Chapter�2� � Simple�Divisions�<strong>of</strong>�the�Basic�Beat� � � � 25�<br />
Chapter�3� � Simple�Divisions�with�Rests� � � � � 39�<br />
Chapter�4� � Single�Dotted�Figures� � � � � � 47�<br />
Chapter�5� � Subdivisions�<strong>of</strong>�the�Basic�Beat�and�Simple�Triplets� � 57�<br />
Chapter�6� � Extended�Single�Dotted�and�Double�Dotted�Figures�� 73�<br />
Chapter�7� � Dotted�Figures�with�Subdivisions� � � � 81�<br />
Chapter�8� � Upbeats� � � � � � � � 87�<br />
Chapter�9� � Inversion�<strong>of</strong>�Dotted�Figures�and�<br />
�� � � Simple�Syncopated�Figures� � � � � 95�<br />
Chapter�10� � Simple�Syncopated�Figures�with�Subdivision�� � 105�<br />
Chapter�11� � Extended�Syncopated�Figures� � � � � 113�<br />
Chapter�12� � Unaccented�Beats� � � � � � � 123�<br />
Chapter�13�<br />
�<br />
� Extended�Triplets� � � � � � � 131�<br />
Chapter�14� � Polyrhythms�� � � � � � � 139�<br />
� � � Triplets� � 3�against�2� � � � � �<br />
� � � Duplets� � 2�against�3� � � � � �<br />
�<br />
�<br />
� � Quadruplets�� 4�against�3� � � � � �<br />
Chapter�15�<br />
�<br />
� Hemiolas� � � � � � � � 157�<br />
Chapter�16� � Asymmetrical�Meters� � � � � � 161�<br />
� � � Quintuple�Meter�<br />
�<br />
�<br />
� � Septuple�Meter�<br />
Appendix�I� � Note�and�Rest�Values�� � � � � � xvii�<br />
Appendix�II�� Signs�and�Indications� � � � � � xviii�<br />
Appendix�III�� Chord�Charts� � � � � � � xix�<br />
Appendix�IV�� Realisation�<strong>of</strong>�Chord�Symbols� � � � � xx�<br />
Appendix�V�� Glossary�<strong>of</strong>�Terms� � � � � � � xxii�<br />
Index��� � � � � � � � � � � xxiv�<br />
vii
viii��<br />
�<br />
�<br />
PREFACE�<br />
�<br />
<strong>Rhythm</strong>,�most�musicians�would�agree,�is�the�lifeblood�<strong>of</strong>�dynamic�and�vital�music�making.�<br />
Yet,�regrettably,�this�subject�is�among�the�most�poorly�taught�and�most�overlooked�in�<br />
music�curricula.�When�rhythm�is�studied�at�all�for�example,�in�college�level�music�theory�<br />
classes,�it�is�<strong>of</strong>ten�presented�mainly�as�an�intellectual�activity�or�as�a�dry�mathematical�<br />
exercise.�Learning�to�perform�rhythms�well�is�frequently�given�curt�and�careless�treatment.�<br />
Its�position�as�a�fully�participating�component�<strong>of</strong>�aural�theory�needs�to�be�urgently�<br />
established.�<br />
�<br />
<strong>The</strong>�reasons�for�the�second�class�status�<strong>of</strong>�rhythm�are�probably�three�fold.�First,�the�<br />
element�<strong>of</strong>�pitch�has,�for�a�long�time,�been�the�ruling�force�in�music�theory�pedagogy.�It�<br />
has�ruled�both�the�world�<strong>of</strong>�written�music�theory�and�the�world�<strong>of</strong>�ear�training.�It�is�true�<br />
that�singing�and�hearing�correct�pitches�presents�enormous�problems�for�many�students.�<br />
But�we�are�<strong>of</strong>ten�so�happy�to�celebrate�the�achievement�<strong>of</strong>�performing�the�right�note�that�<br />
we�are�willing�to�accept�only�approximations�<strong>of</strong>�a�pitch’s�duration�and�metric�placement.�<br />
We�somehow�overlook�that�the�right�note�might�not�be�occurring�at�the�right�time.�<br />
�<br />
<strong>The</strong>�natural�priority�we�seem�willing�to�extend�to�pitch�may�come�from�the�fact�that�<br />
melodic�and�harmonic�study�play�such�a�large�role�in�musical�analysis�and�understanding.�<br />
When�we�look�at�rhythm,�on�the�other�hand,�we�<strong>of</strong>ten�notice�only�superficial�aspects�like�<br />
naming�the�meter�or�surface�details,�and�not�the�actual�temporal�“flow”�<strong>of</strong>�the�music�from�<br />
event�to�event�on�either�the�local�or�global�level;�the�accumulating�determinants�<strong>of</strong>�<br />
momentum,�the�elements�<strong>of</strong>�resistance�to�forward�motion,�and�the�role�<strong>of</strong>�proportion�and�<br />
pacing.�<br />
�<br />
A�second�reason�for�the�relatively�lighter�emphasis�on�rhythmic�studies�is�that�the�source�<br />
<strong>of</strong>�responsibility�for�rhythmic�training�is�ambiguous.�<strong>The</strong>�assumption�is�that�learning�to�<br />
read�rhythms�is�just�a�mechanical�rather�than�musical�task�and�is�the�province�<strong>of</strong>�the�music�<br />
teacher,�the�piano,�voice,�violin,�trumpet�etc.�instructor.�After�all,�the�logical�time�to�study�<br />
rhythm�appears�to�be�when�solo�repertoire�is�being�developed�and�a�problem�emerges�in�<br />
playing�the�score.�<br />
�<br />
However,�applied�teachers�assume�that�rhythmic�performance�is�being�dealt�with�in�a�<br />
theory�class,�or�perhaps�they�are�too�busy�dealing�with�technical�issues,�while�the�theory�<br />
teacher�assumes�that�it�is�being�handled�in�individual�lessons,�and�the�instruction�falls�<br />
through�the�cracks�between�the�two.�A�further�troubling�issue�is�that�when�rhythm�is�<br />
taught�in�a�studio,�the�teacher�will�<strong>of</strong>ten�merely�correct�mistakes�or�teach�by�rote.�<br />
�<br />
Under�such�conditions,�reading�rhythms�is�not�usually�presented�as�an�organised�and�<br />
comprehensive�course�<strong>of</strong>�study�so�learning�can�easily�be�hit�or�miss�or�<strong>of</strong>fer�only�a�Band�<br />
Aid�solution.�Of�course,�the�teaching�<strong>of</strong>�rhythm�ought�to�be�a�shared�enterprise�among�all�<br />
available�sources�<strong>of</strong>�instruction,�but�it�also�needs�to�be�constructed�thoughtfully�in�the�first�<br />
place�by�design�and�not�by�accident.�
�<br />
ix<br />
�<br />
�<br />
A�third�reason�for�the�problem�is�the�dearth�<strong>of</strong>�appropriate�pedagogical�materials�for�<br />
teaching�the�performance�<strong>of</strong>�rhythm.�This�dearth�is�especially�telling�when�compared�with�<br />
the�wealth�<strong>of</strong>�textbooks�for�harmony,�fundamentals�<strong>of</strong>�music,�sightsinging,�etc.�Some�<strong>of</strong>�<br />
the�better�sightsinging�books�do�<strong>of</strong>fer�some�treatment�<strong>of</strong>�rhythm�but�this�<strong>of</strong>ten�exists�only�<br />
on�the�periphery�<strong>of</strong>�the�book’s�main�focus,�which�is�singing�melodies.�<br />
�<br />
<strong>The</strong>�result,�again,�is�that�rhythm�is�presented�as�a�decorative�overlay�or�as�an�afterthought;�<br />
it�is�pushed�to�the�background.�<strong>The</strong>re�are�only�a�very�tiny�number�<strong>of</strong>�books�devoted�solely�<br />
to�rhythmic�studies�and�these�few�are�mainly�just�loosely�arranged�anthologies�<strong>of</strong>�practice�<br />
exercises�with�little�or�no�instructional�commentary�(for�either�teacher�or�student)�about�<br />
how�to�practice�or�how�to�avoid�common�mistakes,�with�some�topics�missing�altogether,�<br />
and�without�a�carefully�graduated�series�<strong>of</strong>�specific�pedagogical�steps.�<br />
�<br />
<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>�is�the�first�fully�comprehensive�textbook,�to�my�knowledge,�that�<br />
actually�teaches�the�art�<strong>of</strong>�rhythmic�performance�in�finely�tuned�incremental�stages,�a�<br />
“practical�guide”�as�the�subtitle�states.�It�is�a�masterpiece�<strong>of</strong>�logical�and�systematic�<br />
methodology,�format,�and�layout.�It�is�a�book�to�be�used�as�part�<strong>of</strong>�an�extensive�and�<br />
complete�course�<strong>of</strong>�instruction�in�aural�skills�alongside�the�standard�activities�<strong>of</strong>�dictation�<br />
and�melodic�sight�singing.�But�as�well�as�this,�for�those�aspiring�musicians�who�wish�to�<br />
develop�and�expand�their�rhythmic�skills�outside�<strong>of</strong>�formal�coursework,�this�compendium�<br />
provides�a�compelling�and�authoritative�tool�for�self�study.�<br />
�<br />
<strong>The</strong>�book�is�unusually�well�designed�with�a�consistent�and�repeating�internal�organisation�<br />
that�provides�for�spiral�learning�by�always�moving�from�simple�to�difficult�both�within�<br />
each�chapter�and�between�chapters.�A�wide�variety�<strong>of</strong>�practice�material�and�approaches�<br />
exhibiting�both�breadth�and�depth�is�found�including�warm�up�routines,�spicy�yet�tasteful�<br />
harmonic�accompaniments�for�musical�interest,�rhythmic�canons,�compositions�for�specific�<br />
rhythmic�concepts,�improvisations,�side�by�side�comparative�charts�<strong>of</strong>�meters�and�related�<br />
rhythmic�cells,�and�complex�patterns�presented�as�variations�<strong>of</strong>�more�basic�motives;�spin�<br />
<strong>of</strong>fs�<strong>of</strong>�the�bite�size�foundational�vocabulary�<strong>of</strong>�rhythmic�study.�<br />
�<br />
Even�rhythmic�dictation�material�is�available,�with�unusually�detailed�instructions�on�how�<br />
to�practice,�as�a�supplement�and�support�system�for�the�central�task�<strong>of</strong>�rhythmic�<br />
performance.�Of�special�interest�and�distinction�is�the�large�number�<strong>of</strong>�simple�melodic�<br />
patterns�that�the�rhythm�figures�are�<strong>of</strong>ten�attached�to.�<br />
�<br />
In�other�words,�the�book�provides�a�pitch�environment�for�rhythm�much�<strong>of</strong>�the�time.�This�<br />
makes�it�possible�to�either�isolate�rhythm�or�to�involve�it�with�full�blown�melody�as�the�<br />
need�arises.�Ultimately,�<strong>of</strong>�course,�rhythm�needs�to�be�combined�with�pitch�as�this�book�<br />
makes�abundantly�clear.�<br />
�<br />
This�text�will�be�worth�its�price�just�for�the�teaching�tips�alone,�which�are�plentiful�and�<br />
filled�with�pedagogical�and�musical�insights.�For�most�<strong>of</strong>�the�topics,�detailed�advice�is�<br />
<strong>of</strong>fered�about�how�to�use�the�exercises�and�especially�what�kinds�<strong>of</strong>�errors�are�most�likely�
x� �<br />
�<br />
�<br />
and�how�to�protect�against�them.�<strong>The</strong>�advice�<strong>of</strong>ten�focuses�not�just�on�“correctness”�or�<br />
mathematical�precision,�although,�<strong>of</strong>�course,�these�goals�are�expected�too,�but�the�<br />
comments�deal�frequently�with�issues�<strong>of</strong>�musicality�and�interpretation�as�well,�by�<br />
identifying�the�interconnected�role�<strong>of</strong>�dynamics,�articulation�and�the�subtle�nuances�<strong>of</strong>�<br />
timing.�<br />
�<br />
It�is�the�goal�<strong>of</strong>�the�author�to�capture�the�intangible�“feel”�<strong>of</strong>�a�gesture,�its�sense�<strong>of</strong>�<br />
lightness,�weight,�grace,�or�movement,�as�well�as�accuracy.�It�is�not�only�the�time�values�<br />
that�must�be�honored�but�also�the�lilt�<strong>of</strong>�the�music,�its�surges�and�lulls.�Finally,�approached�<br />
in�this�manner,�rhythm�must�be�experienced�as�a�physical�or�kinesthetic�sensation�and�not�<br />
merely�as�a�static�mental�act.�All�<strong>of</strong>�these�values�are�fully�articulated�and�promoted�in�the�<br />
book.�<br />
�<br />
<strong>The</strong>�author�<strong>of</strong>�this�work�is�uniquely�qualified�to�write�such�a�groundbreaking�text.�Bengt�<br />
Olov�Palmqvist�has�spent�over�a�decade�in�developing�and�refining�these�specific�<br />
materials�and�much�longer�than�that�teaching�the�larger�subject�<strong>of</strong>�aural�theory�in�some�<strong>of</strong>�<br />
the�top�music�conservatories�in�both�Sweden�and�Australia.�His�strong�background�in�<br />
composition�and�conducting�shine�out�through�the�book�too.�He�is�a�real�life�performing�<br />
musician�as�well�as�a�scholar�and�teacher.�<br />
�<br />
Thousands�<strong>of</strong>�hours�<strong>of</strong>�painstaking�care�have�gone�into�the�design�and�philosophy�<strong>of</strong>�the�<br />
book�with�special�attention�given�to�making�it�practical,�accessible,�and�useful.�<strong>The</strong>�<br />
materials�have�been�thoroughly�tested�in�the�classroom�with�enthusiastic�student�feedback�<br />
on�at�least�three�continents�including�in�the�United�States.�<br />
�<br />
<strong>The</strong>re�are�no�shortcuts�for�learning�how�to�perform�rhythm�well.�Rarely�is�the�mission�<br />
fully�accomplished�simply�through�learning�to�sing�or�play�an�instrument.�Progress�is�<br />
always�the�result�<strong>of</strong>�hard�work,�a�wise�and�meticulous�pedagogical�framework,�and�a�<br />
commitment�to�artistic�excellence�and�mastery�on�the�highest�level.�<br />
�<br />
Mastery�at�the�highest�level�means�that�rhythm�has�been�so�completely�internalised�that�<br />
performance�becomes�the�natural�and�fluid�extension�<strong>of</strong>�a�stockpile�<strong>of</strong>�musical�experience.�<br />
It�flows�from�the�performer�as�sap�flows�from�a�tree.�<strong>The</strong>�promise�<strong>of</strong>�this�book�is�to�<br />
provide�just�such�experience.�<br />
�<br />
Michael�R.�Rogers�Ph.D.�<br />
Pr<strong>of</strong>essor�and�Chair�<strong>of</strong>�<strong>Music</strong>�<strong>The</strong>ory�<br />
University�<strong>of</strong>�Oklahoma�<br />
Founding�Editor,�Journal�<strong>of</strong>�<strong>Music</strong>�<strong>The</strong>ory�Pedagogy�
�<br />
�<br />
Chapter�9�<br />
Inversion�<strong>of</strong>�Dotted�Figures�and�<br />
Simple�Syncopated�Figures�<br />
In�Chapter�4�dotted�figures�such�as��������������were�introduced,�where�the�metric�accent�<br />
occurs�on�the�dotted�note.�If�this�rhythmic�figure�is�reversed�to�������������the�strong�metric�<br />
accent�still�occurs�on�the�first�note�but�the�second�note�is�given�a�musical�stress�called�an�<br />
agogic�accent.�<br />
�<br />
�<br />
�<br />
Practice�the�following�drill�with�an�emphasis�on�the�accents:�<br />
Drill�31�<br />
Notice�the�difference�between�the�following�two�examples:��<br />
a)��where�the�rhythmic�pattern�functions�as�an�inverted�dotted�figure�<br />
������and�<br />
b)��where�the�rhythmic�pattern�functions�as�an�upbeat�pattern�<br />
�<br />
Two�pairs�<strong>of</strong>�equal�note�values�such�as��������������������joined�by�a�tie�������������������are�<strong>of</strong>ten�<br />
notated�as�<br />
�<br />
Looking�back�to�pattern�(a)�������������and�substituting�the�augmentation�dot�with�its��<br />
�<br />
equivalent�note�value,�the�rhythmic�pattern�changes�from�<br />
�<br />
�<br />
into<br />
This�special�rhythmic�pattern�and�effect�is�called�syncopation.�<br />
www.refinement<strong>of</strong>rhythm.com�<br />
95
���Chapter�9�<br />
�<br />
�<br />
www.refinement<strong>of</strong>rhythm.com�<br />
96�<br />
This�chapter�only�focuses�on�������syncopations.�<strong>The</strong>�characteristic�<strong>of</strong>�syncopation�is�the�<br />
intentional�disruption�<strong>of</strong>�the�natural�metric�flow.�In������meter�the�strong�metric�accent�is�<br />
expected�to�coincide�with�the�first�beat�and�the�lesser�accent�on�the�second�beat.�When�the�<br />
accent�is�shifted�from�a�strong�to�a�weaker�beat,�it�contradicts�the�meter�and�centres�<br />
musical�interest�on�a�weak�beat.�<br />
�<br />
Practice�the�following�drill�taking�care�with�the�accents:��<br />
�<br />
�<br />
�<br />
Drill�32�<br />
�<br />
�<br />
�<br />
<strong>The</strong>�beat�must�be�kept�steady�and�accurate�so�that�you�do�not�loose�the�metric�pulse,�<br />
otherwise�the�feel�for�the�syncopated�pattern�easily�becomes�lost.�<br />
�<br />
Compare�the�following�two�examples�<br />
which�show�what�can�happen�<br />
if�the�syncopation�is�inaccurate:��<br />
�<br />
�<br />
<strong>The</strong>�metric�and�agogic�accents�are�<strong>of</strong>�vital�importance.�<br />
�<br />
�<br />
Preparatory�Exercise�7�on�the�next�page�<br />
should�be�performed�as�follows:�<br />
�<br />
If�the�metric�accents�where�to�be�misplaced�like�this:�<br />
�<br />
�<br />
the�meter�has�suddenly�changed�from�������meter�<br />
to�an�asymmetrical�meter:�<br />
�<br />
Asymmetrical�meters�are�discussed�in�Chapter�16.�<br />
�<br />
In�Preparatory�Exercises�5,�8�and�10,�the�rest�on�the�beat�must�be�‘active’�so�that�the�pulse�<br />
and�movement�does�not�stop�or�‘trip’.�Remember�the�phrasing�and�direction,�even�though�<br />
the�rhythmic�pattern�is�short.�<br />
�<br />
<strong>The</strong>�following�two�examples�demonstrate�one�interpretation�<br />
<strong>of</strong>�Exercises�8�and�9�at�a)�and�b)�respectively.�<br />
�<br />
Correct<br />
Incorrect
�<br />
�<br />
�<br />
Preparatory�Exercises�A�<br />
www.refinement<strong>of</strong>rhythm.com�<br />
Inversion�<strong>of</strong>�Dotted�Figures�and�Simple�Syncopated�Figure�<br />
Practice�Column�A�while�clapping�or�tapping�the�beat.�Complete�the�notation�in�<br />
examples�7�to�10�in�Column�B�and�then�practice�them.�<br />
� A� B�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
97<br />
�<br />
�
98�<br />
�<br />
�<br />
���Chapter�9�<br />
Melodic�Exercises�<br />
�<br />
<strong>The</strong>�effect�and�experience�<strong>of</strong>�a�syncopated�pattern�will�not�be�as�strong�in�a�slow�tempo�<br />
with�longer�note�values�as�it�is�in�a�faster�tempo.��<br />
�<br />
Text�in�music�can�also�create�a�strong�feel�for�syncopation�by�the�placement�and�emphasis�<br />
on�certain�syllables.�<br />
�<br />
� e.g:�<br />
�<br />
�<br />
�<br />
Example�213�����=�104�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
Example�214� Bar�2:�Be�aware�<strong>of</strong>�the�difference�if�accents�and�phrasing�are�<br />
dislodged.�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�����=�96�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
www.refinement<strong>of</strong>rhythm.com�<br />
CD�2:�Track�68<br />
On the CDs a steady beat is given by a harmonised backing with a couple <strong>of</strong> bars introduction. <strong>The</strong> backing is recorded<br />
on the left channel with the melodic examples on the right channel which provides different ways to practice. By<br />
lowering the right channel, the recorded melodies are removed enabling the student to practice along with the<br />
backing accompaniment alone. Adjusting to equal sound level between both channels enables the student to practice<br />
along with the backing, as well as with the recorded melody simultaneously. <strong>The</strong> CD number and the track number are<br />
indicated for each exercise.<br />
CD�2:�Track�69
Inversion�<strong>of</strong>�Dotted�Figures�and�Simple�Syncopated�Figure�<br />
�<br />
Example�215� Bars�1�3:�This�is�another�example�<strong>of</strong>�how�misinterpretation�<strong>of</strong>�the�<br />
notation,�accents�and�phrasing�can�change�these�bars�from�simple�<br />
triple�meter�into�compound�duple�meter.�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�����=�104�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
Example�216�����=�120�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
www.refinement<strong>of</strong>rhythm.com�<br />
CD�2:�Track�70<br />
CD�2:�Track�71<br />
99<br />
�<br />
�
100�<br />
�<br />
�<br />
���Chapter�9�<br />
Example�217� Bar�2:�A�common�mistake�occurs�when�the�third�note�is�played�too�<br />
early,�before�the�third�beat.�This,�<strong>of</strong>�course,�creates�a�different�<br />
rhythmic�pattern�altogether.�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
Bars�3�4�and�7�8:�<strong>The</strong>�tie�across�the�bars�should�not�interfere�with�the�<br />
flow�<strong>of</strong>�the�syncopated�pattern�which�occurs�over�a�bar�line.�Do�not�let�<br />
the�bar�line�work�against�the�flow�<strong>of</strong>�notes�like�a�‘wall’,�instead�see�the�<br />
rhythmic�pattern�over�the�two�bars�as�one�long�phrase�and�‘ignore’�<br />
the�fact�that�it�happens�to�have�a�visual�line�half�way�through.�<br />
�<br />
�<br />
e.g:�<br />
�<br />
�<br />
�<br />
�����=�126�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
Example�218�����=�126�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
www.refinement<strong>of</strong>rhythm.com�<br />
CD�2:�Track�72<br />
CD�2:�Track�73
Inversion�<strong>of</strong>�Dotted�Figures�and�Simple�Syncopated�Figure�<br />
Example�219� Bar�5:�Practice�the�following�drill�to�clarify�and�secure�the�<br />
syncopations.�<br />
�<br />
�<br />
�<br />
�<br />
Drill�33�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�����=�120�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
Example�220���Alla�breve�����=�96�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
www.refinement<strong>of</strong>rhythm.com�<br />
101<br />
CD�2:�Track�74<br />
CD�2:�Track�75<br />
�<br />
�
102�<br />
�<br />
�<br />
�<br />
���Chapter�9�<br />
Example�221�����=�108�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
Example�222�����=�96�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
Canons�<br />
www.refinement<strong>of</strong>rhythm.com�<br />
CD�2:�Track�76<br />
CD�2:�Track�77
�<br />
Example�223�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
Example�224�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
Example�225�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
Example�226�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
Example�227�<br />
�<br />
�<br />
�<br />
�<br />
Improvisation�<br />
over�a�given�rhythm�<br />
www.refinement<strong>of</strong>rhythm.com�<br />
Inversion�<strong>of</strong>�Dotted�Figures�and�Simple�Syncopated�Figure�<br />
103<br />
�<br />
�
104�<br />
�<br />
�<br />
���Chapter�9�<br />
�<br />
Example�228�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
Example�229�<br />
�<br />
�<br />
� �<br />
� �<br />
�<br />
�<br />
�<br />
�<br />
<strong>Music</strong>�Examples�for�Further�Study�<br />
�<br />
Bach,�J.S.� � � Two�Part�Invention�No.�6�BWV�777� � � b.�1�20�<br />
Bartok,�B.�� � � No.�14�from�For�Children�Vol.�1�<br />
Bartok,�B.�� � � No.�14�from�Die�erste�Zeit�am�Klavier�<br />
Bartok,�B.�� � � No.�17�from�Die�erste�Zeit�am�Klavier�<br />
Bartok,�B.�� � � No.�18�‘Ballad’�from�32�Piano�Pieces�<br />
Bartok,�B.�� � � No.�95�‘Song�<strong>of</strong>�the�Fox’�from�Mikrokosmos�<strong>Volume</strong>�III�<br />
Beethoven,�L.v.�� � Piano�Concerto�No.�5�in�E�flat�major�<br />
1st�movement� � � � � � b.�64�77�<br />
Beethoven,�L.v.�� � Piano�Sonata�in�G�major�Op.�14,�No.�2�<br />
2nd�movement� � � � � � b.�21�41�<br />
Berlioz,�H.�� � � Symphony�Fantastique�Op.�14�<br />
4th�movement� � � � � � b.�62�77�<br />
Brahms,�J.�� � � String�Quartet�in�A�minor�Op.�51,�No.�2,�<br />
4th�movement,�Finale� � � � � b.�80�93�<br />
Debussy,�C.�� � String�Quartet�in�G�minor�Op.�10�<br />
1st�movement� � � � � � b.�1�12�<br />
Franck,C.� � � Symphony�in�D�minor�<br />
3rd�movement��� � � � � b.�330�337�<br />
Haydn,�J.� � � Piano�Trio�in�B�flat�major�No.�8�<br />
1st�movement� � � � � � b.�37�45�<br />
Martinu,�B.��� � Trio�for�Flute,�Cello�and�Piano�<br />
1st�movement� � � � � � b.�10�11,�42�46�<br />
3rd�movement� � � � � � Fig.�19�<br />
Sibelius,�J.� � � ‘Intermezzo’�from�Karelia�Suite�Op.�11� � � b.�53�75�<br />
Stravinsky,�I.� � ‘Infernal�Dance’�from�<strong>The</strong>�Firebird� � � b.�1�26�<br />
www.refinement<strong>of</strong>rhythm.com�
�<br />
Selected <strong>Music</strong>al Examples from<br />
<strong>The</strong> <strong>Refinement</strong> <strong>of</strong> <strong>Rhythm</strong>, <strong>Volume</strong> 1<br />
�<br />
�<br />
�<br />
� �<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
Chapter�1:�Longer�Note�Values�and�Rests�<br />
�<br />
Example�14�����=�120�<br />
�<br />
�<br />
�<br />
�<br />
Example�33�����=�120�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
Chapter�2:�Simple�Divisions�with�Rests�<br />
�<br />
Example�70�����=�120�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
www.refinement<strong>of</strong>rhythm.com�<br />
CD�1:�Track�14<br />
CD�1:�Track�33<br />
CD�1:�Track�58
Selected�<strong>Music</strong>al�Examples�from�<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>,�<strong>Volume</strong>�1�©�Bengt�Olov�Palmqvist�<br />
�<br />
�<br />
Chapter�3:�Simple�Divisions�<strong>of</strong>�the�Basic�Beat�<br />
�<br />
Example�105�is�in�����meter.�<br />
�<br />
Make�sure�that�the�������beat�is�secured�before�realising�the�example.�<br />
�<br />
�����=�96�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
Chapter�4:�Single�Dotted�Figures�<br />
�<br />
Example�121�����=�116�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
Chapter�5:�Subdivisions�<strong>of</strong>�the�Basic�Beat�and�Simple�Triplets�<br />
�<br />
Example�157�����=�76�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
www.refinement<strong>of</strong>rhythm.com�<br />
CD�1:�Track�87<br />
CD�2:�Track�5<br />
CD�2:�Track�33
Selected�<strong>Music</strong>al�Examples�from�<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>,�<strong>Volume</strong>�1�©�Bengt�Olov�Palmqvist�<br />
�<br />
�<br />
Chapter�6:�Extended�Single�Dotted�and�Double�Dotted�Figures�<br />
�<br />
Example�177���Bar�7:�Practice�the�following�drill�to�secure�the�double�dotted�figure�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
� Drill�18��<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�����=�76�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
Chapter�7:�Dotted�Figures�with�Subdivisions�<br />
�<br />
Example�193���This�example�should�be�executed�Alla�breve�with�two�������beats�per�bar.�<br />
�<br />
�����=�84�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
www.refinement<strong>of</strong>rhythm.com�<br />
CD�2:�Track�47<br />
CD�2:�Track�57
Selected�<strong>Music</strong>al�Examples�from�<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>,�<strong>Volume</strong>�1�©�Bengt�Olov�Palmqvist�<br />
�<br />
�<br />
Chapter�8:�Upbeats�<br />
�<br />
Example�200�� Bars�7�9:�Practice�the�following�drill:�<br />
�<br />
�<br />
�<br />
�<br />
� � � Drill�24�<br />
�<br />
�<br />
�<br />
�<br />
�����=�80�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
Chapter�9:�Inversion�<strong>of</strong>�Dotted�Figures�and�Simple�Syncopated�Figures�<br />
�<br />
Example�218�����=�126�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
www.refinement<strong>of</strong>rhythm.com�<br />
CD�2:�Track�60<br />
CD�2:�Track�73
Selected�<strong>Music</strong>al�Examples�from�<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>,�<strong>Volume</strong>�1�©�Bengt�Olov�Palmqvist�<br />
�<br />
�<br />
Chapter�10:�Simple�Syncopated�Figures�with�Subdivision�<br />
�<br />
Example�239�����=�72�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
www.refinement<strong>of</strong>rhythm.com�<br />
CD�2:�Track�87
Selected�<strong>Music</strong>al�Examples�from�<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>,�<strong>Volume</strong>�1�©�Bengt�Olov�Palmqvist�<br />
�<br />
�<br />
Chapter�11:�Extended�Syncopated�Figures�<br />
�<br />
Example�254�����=�76�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
www.refinement<strong>of</strong>rhythm.com�<br />
CD�3:�Track�10
Selected�<strong>Music</strong>al�Examples�from�<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>,�<strong>Volume</strong>�1�©�Bengt�Olov�Palmqvist�<br />
�<br />
�<br />
Chapter�12:�Unaccented�Beats�<br />
�<br />
Example�269���should�be�executed�in�������beats.�<br />
�<br />
�����=�88�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
Chapter�13:�Extended�Triplets�<br />
�<br />
Example�275�����=�76�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
www.refinement<strong>of</strong>rhythm.com�<br />
CD�3:�Track�20<br />
CD�3:�Track�23
Selected�<strong>Music</strong>al�Examples�from�<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>,�<strong>Volume</strong>�1�©�Bengt�Olov�Palmqvist�<br />
�<br />
�<br />
Chapter�14:� Triplets�� � 3�against�2�<br />
� � Duplets�� � 2�against�3�<br />
� � Quadruplets�� 4�against�3�<br />
�<br />
Example�291�����=�104�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
Example�303�����=�126�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
www.refinement<strong>of</strong>rhythm.com�<br />
CD�3:�Track�35<br />
CD�3:�Track�44
Selected�<strong>Music</strong>al�Examples�from�<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>,�<strong>Volume</strong>�1�©�Bengt�Olov�Palmqvist�<br />
�<br />
�<br />
Chapter�15:�Hemiolas�<br />
�<br />
Example�308�<br />
�<br />
Hemiolas�are�in�bars�4�and�6.�This�example�should�be�practiced�in�6���������beats�as�well�as�in�<br />
2��������beats�per�bar.�<br />
�<br />
Practice�Drill�56a�before�attempting�to�perform�the�melodic�example�below.�Compare�the�<br />
differences�in�the�notation,�accents�and�phrasing�when�the�same�rhythmic�phrase�changes�<br />
from�������into�������meter.�<br />
�<br />
Consider�these�differences�carefully�in�realising�these�drills�and�take�care�to�maintain�a�<br />
consistent��������value.��<br />
�<br />
� Bars�6�7:�<br />
�<br />
�<br />
�<br />
Drill�56a�<br />
�<br />
�<br />
�<br />
�����=�168�������=�56�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
Chapter�16:�Asymmetrical�Meters��<br />
�<br />
Example�317�����������=�104�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
�<br />
www.refinement<strong>of</strong>rhythm.com�<br />
CD�3:�Track�22<br />
CD�3:�Track�54
Selected�<strong>Music</strong>al�Examples�from�<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>,�<strong>Volume</strong>�1�©�Bengt�Olov�Palmqvist�<br />
�<br />
�<br />
� �<br />
�<br />
�<br />
�<br />
� �<br />
�<br />
�<br />
�<br />
www.refinement<strong>of</strong>rhythm.com�<br />
MAIN TEXT INCLUDES:<br />
16 Chapters (see ‘Contents’ page)<br />
337 <strong>Music</strong>al Examples<br />
(including 90 Improvisations)<br />
Explanatory Text<br />
31 Preparatory Exercises<br />
69 Drills<br />
3 CDs with over 2 ½ hours <strong>of</strong> supporting recordings<br />
on separate left & right channels<br />
175 pages + 24 pages <strong>of</strong> notes and appendices<br />
DICTATION SUPPLEMENT INCLUDES:<br />
16 Chapters (see ‘Contents’ page)<br />
156 Dictation Exercises<br />
<strong>Teaching</strong> Methodology Notes<br />
2 CDs <strong>of</strong> supporting recordings<br />
48 pages + 10 pages <strong>of</strong> notes<br />
ALSO Free PDF Workbook downloadable from<br />
www.refinement<strong>of</strong>rhythm.com<br />
To order <strong>The</strong> <strong>Refinement</strong> <strong>of</strong> <strong>Rhythm</strong> publications<br />
visit www.refinement<strong>of</strong>rhythm.com