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The Refinement of Rhythm, Volume 1 - Inside Music Teaching

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<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


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expected�to�coincide�with�the�first�beat�and�the�lesser�accent�on�the�second�beat.�When�the�<br />

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musical�interest�on�a�weak�beat.�<br />

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<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 />

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Compare�the�following�two�examples�<br />

which�show�what�can�happen�<br />

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the�meter�has�suddenly�changed�from�������meter�<br />

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and�movement�does�not�stop�or�‘trip’.�Remember�the�phrasing�and�direction,�even�though�<br />

the�rhythmic�pattern�is�short.�<br />

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<strong>The</strong>�following�two�examples�demonstrate�one�interpretation�<br />

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Practice�Column�A�while�clapping�or�tapping�the�beat.�Complete�the�notation�in�<br />

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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


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Stravinsky,�I.� � ‘Infernal�Dance’�from�<strong>The</strong>�Firebird� � � b.�1�26�<br />

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�<br />

Selected <strong>Music</strong>al Examples from<br />

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CD�3:�Track�44


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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 />

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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

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