The Refinement of Rhythm, Volume 2 - Inside Music Teaching

The Refinement of Rhythm, Volume 2 - Inside Music Teaching The Refinement of Rhythm, Volume 2 - 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> 2<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 4 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 />

or email<br />

refinement@tpg.com.au


�<br />

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�<br />

Bengt�Olov�Palmqvist�is�presently�the�Senior�Lecturer�and�<br />

Coordinator�for�Aural�studies�at�the�Australian�National�University,�<br />

School�<strong>of</strong>�<strong>Music</strong>�in�Canberra,�Australia.�<br />

http://www.anu.edu.au/music/study/staff/opalmqvist.php��<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�highly�successful�tuition�skills�and�a�<br />

personal�interest�in�the�development�<strong>of</strong>�rhythmic�understanding.�In�this�volume�Olle�has�<br />

succeeded�in�making�the�musical�interest�at�least�as�stimulating�as�the�rhythmic�<br />

challenges.�<br />

�<br />

<strong>Volume</strong>�2�<strong>of</strong>�<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>�is�an�extension�<strong>of</strong>�all�the�rhythmic�material�in�the�<br />

original�text�to�provide�further�accomplishment�and�to�develop�confident�and�<br />

authoritative�rhythmic�skills�in�all�genres�<strong>of</strong>�music.�<br />

�<br />

Pitch�can�deceive�but�rhythmic�problems�are�blatant�and�unforgiving!�


Copyright�©�2006�Bopac�<br />

First�published�2006��<br />

Author:�Bengt�Olov�Palmqvist�<br />

Editors:�Peggy�Ann�Crosskey�and�Andrew�Koll�<br />

�<br />

Cover:�FineLine�Design�and�Publishing�Canberra�ACT�<br />

Email:�tanya@finelinedesign.net.au�<br />

�<br />

Conducting�diagrams�from�Ericson,�Spångberg�and�Ohlin�Kördirigering�(Choir�Conducting)�Sveriges�<br />

Körförbunds�Förlag,�Stockholm�1974.�<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>�2:�a�practical�guide�with�supporting�CDs�for�learning�to�perform�further�<br />

challenging�rhythms�<br />

ISBN�0�9751302�2�6�<br />

�<br />

Other�publications�by�Bopac:�<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 />

<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>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 />

Visit�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 />

Contents�<br />

�<br />

Preface� � � � � � � � � � � xi�<br />

Introduction��<br />

�<br />

� � � � � � � � � xiv�<br />

Chapter�1� � Subdivisions�<strong>of</strong>�the�Basic�Beat� � � � � 1�<br />

Chapter�2� � Single�and�Double�Dotted�Figures� � � � 19�<br />

Chapter�3� � Extended�Single�and�Double�Dotted�Figures� � � 27�<br />

Chapter�4� � Dotted�Figures�with�Subdivisions� � � � 33�<br />

Chapter�5� � Upbeats� � � � � � � � 39�<br />

Chapter�6� � Inversion�<strong>of</strong>�Dotted�Figures�and�<br />

� � � Simple�Syncopated�Figures� � � � � 47�<br />

Chapter�7� � Simple�Syncopated�Figures�with�Subdivisions� � 55�<br />

Chapter�8� � Extended�Syncopated�Figures� � � � � 61�<br />

Chapter�9� � Extended�Syncopated�Figures�and�<br />

� � � Inversions�<strong>of</strong>�Dotted�Figures�with�Subdivisions� � 75�<br />

Chapter�10� � Unaccented�Beats� � � � � � � 83�<br />

Chapter�11� � Extended�Triplets� � � � � � � 91�<br />

Chapter�12� � Triplets�with�Subdivisions� � � � � 99�<br />

Chapter�13�<br />

�<br />

� Triplets�with�extended�Subdivisions� � � � 105�<br />

Asymmetrical�Meters�<br />

Chapter�14� � Quintuple�Meters� � � � � � � 113�<br />

� � � a)��2�+�3� � � � � � � � 116�<br />

� � � b)��3�+�2� � � � � � � � 122�<br />

� � � c)��Mixed�groupings�� � � � � � 127�<br />

� � � �<br />

Septuple�Meters� � � � � � � 129�<br />

� � � a)��2�+�2�+�3� � � � � � � � 130�<br />

� � � b)��2�+�3�+�2� � � � � � � � 131�<br />

� � � c)��3�+�2�+�2� � � � � � � � 132�<br />

�<br />

�<br />

� � d)��Mixed�groupings� � � � � � 133�<br />

Chapter�15� � Shifting�Meters�and�Extension�<strong>of</strong>�Asymmetrical�Meters� 139�<br />

� � � a)��Constant�beat�values� � � � � � 139�<br />

� � � b)��Variable�beat�values� � � � � � 142�<br />

� � � c)��Variable�beat�division�from�simple�to�compound�<br />

� � � �����with�a�constant�pulse� � � � � � 147�<br />

� � � d)��Variable�beat�duration� � � � � � 150�<br />

ix


x�<br />

�<br />

�<br />

�<br />

�<br />

Chapter�16�<br />

�<br />

� Hemiolas� � � � � � � � 153�<br />

Polyrhythms�<br />

Chapter�17� � Triplets�<br />

� � � a)��3�against�2� � � � � � � 157�<br />

� � � b)��3�against�2�with�Subdivisions� � � � � 162�<br />

�<br />

�<br />

� � c)��3�against�4�� � � � � � � 165�<br />

Chapter�18� � Duplets�and�Quadruplets�<br />

� � � a)��2�against�3� � � � � � � 171�<br />

�<br />

�<br />

� � b)��4�against�3� � � � � � � 176�<br />

Chapter�19� � Quintuplets�� � � � � � � 183�<br />

� � � a)��5�against�2� � � � � � � 184�<br />

� � � b)��5�against�3� � � � � � � 190�<br />

�<br />

�<br />

� � c)��5�against�4�� � � � � � � 196�<br />

Chapter�20� � Septuplets�<br />

� � � a)��7�against�2� � � � � � � 203�<br />

� � � b)��7�against�3� � � � � � � 209�<br />

�<br />

�<br />

� � c)��7�against�4�� � � � � � � 215�<br />

Appendix�I� � Note�and�Rest�Values� � � � � � xx�<br />

Appendix�II�� Signs�and�Indications� � � � � � xxii�<br />

Appendix�III�� Chord�Charts� � � � � � � xxiii�<br />

Appendix�IV�� Realisation�<strong>of</strong>�Chord�Symbols� � � � � xxiv�<br />

Appendix�V�� Glossary�<strong>of</strong>�Terms� � � � � � � xxvi�<br />

Index�� � � � � � � � � � � xxviii�<br />


�<br />

�<br />

�<br />

PREFACE�<br />

�<br />

�<br />

This� new� book� is� a� continuation� <strong>of</strong>� the� program� <strong>of</strong>� study� found� in� <strong>Volume</strong>� 1� <strong>of</strong>� <strong>The</strong>�<br />

<strong>Refinement</strong>� <strong>of</strong>� <strong>Rhythm</strong>,� with� which� readers� may� already� be� familiar.��In� some� cases,� the�<br />

exercises� are� more� advanced� extended� versions� <strong>of</strong>� topics� previously� studied;� in� other�<br />

cases,� new� topics� are� introduced.��However,� in� all� cases,� the� same� high� standards� <strong>of</strong>�<br />

pedagogy�and�musicality�found�in�the�first�volume�continue.�<br />

�<br />

Each� short� and� crisp� chapter� follows� a� consistent� organisation.��First,� brief� introductory�<br />

comments� are� provided� to� explain� the� problem� or� situation� explored.��<strong>The</strong>se� comments�<br />

should� not� be� glossed� over� as� they� frequently� contain� powerful� instructional� aids� and�<br />

insider�advice�regarding�how�to�approach�the�issue�at�hand.��Next,�preparatory�material�is�<br />

provided,�along�with�valuable�comparative�charts�displaying�the�branching�out�<strong>of</strong>�more�<br />

ornamented�versions�<strong>of</strong>�the�basic�building�blocks.��<strong>The</strong>se�charts�make�clear�how�a�whole�<br />

set� <strong>of</strong>� apparently� different� rhythms� on� the� surface� can� share� common� underpinnings.��<br />

Melodic�exercises,�canons,�and�improvisations�round�out�each�chapter�with�an�abundance�<br />

<strong>of</strong>�practice�material.�<br />

�<br />

<strong>The</strong>� overall� form� <strong>of</strong>� the� entire� book� has� its� own� structure� as� well.��Each� chapter� builds�<br />

logically� from� what� has� come� before,� sometimes� with� slight� overlaps� from� previous�<br />

chapters�or�previews�<strong>of</strong>�upcoming�ones,�so�that�an�organic�thread�<strong>of</strong>�growth�and�progress�<br />

for� the� student� can� be� felt� running� throughout� the� book.��Individual� problems� are� first�<br />

presented� separately� and� then� later� mixed,� which� supports� the� feeling� <strong>of</strong>� gradually�<br />

accumulating�knowledge�and�pedagogical�momentum.��One�feels�drawn�toward�the�end�<br />

<strong>of</strong>�the�text�in�the�same�way�as�a�musical�scale�seeks�resolution.��<strong>The</strong>�book�culminates,�in�the�<br />

final�chapters,�in�a�dazzling�display�<strong>of</strong>�polyrhythms,�which�mimics,�to�a�smaller�degree,�<br />

the�master�plan�for�the�entire�book.�<br />

�<br />

One� feature� <strong>of</strong>� special� interest� and� value� is� the� emphasis� on� music� involving� very� slow�<br />

tempos�but�with�many�intricate�fast�notes�(for�example,�slow�movements�<strong>of</strong>�Haydn�piano�<br />

sonatas),� as� would� be� found� when� multiple� levels� <strong>of</strong>� subdivisions� and� numerous�<br />

embellishments�are�used.��Under�such�conditions,�students�<strong>of</strong>ten�slip�<strong>of</strong>f�the�metric�grid,�<br />

loosing�track�<strong>of</strong>�the�main�beats�and�especially�the�sub�beats.��This�book�s�approach�(with�<br />

the� precisely� aligned� comparison� charts,� for� example,� and� the� appropriate� reference�<br />

markers� tucked� inside� each� bar)� provides� a� way� to� understand� such� potentially�<br />

disorienting� and� overwhelming� torrents� <strong>of</strong>� varying� time� values� and� also� provides� a�<br />

generous� amount� <strong>of</strong>� practical� material� for� rehearsal� to� assist� in� maintaining� rhythmic�<br />

focus.�<br />

�<br />

<strong>The</strong>� study� <strong>of</strong>� rhythm,� in� one� sense,� is� the� study� <strong>of</strong>� pattern� perception� and� groupings� <strong>of</strong>�<br />

similar�time�values,�rather�than�simply�the�study�<strong>of</strong>�strings�<strong>of</strong>�unrelated�or�isolated�notes�<br />

and�rests.��Such�groupings�are�like�vocabulary�in�a�language;�they�are�the�foundation�<strong>of</strong>�<br />

xi


xii� �<br />

�<br />

�<br />

longer� phrases� and� musical� effects.��I� particularly� like� the� way� this� book� presents� and�<br />

teaches� these� underlying� motifs� <strong>of</strong>� rhythm� through� family� resemblance� and� not� as�<br />

incompatible�collections�<strong>of</strong>�time�values.��<strong>The</strong>se�recurring�patterns�are�sometimes�contained�<br />

within�the�bar�lines�but�<strong>of</strong>ten�are�spread�across�them�when�upbeats�are�involved.�<br />

�<br />

<strong>The</strong>re� are,� <strong>of</strong>� course,� an� infinite� number� <strong>of</strong>� durational� strings� found� in� music� but� a�<br />

relatively�small�number,�several�dozen�perhaps,�<strong>of</strong>�more�fundamental�patterns�that�show�<br />

up� again� and� again,� even� in� very� sophisticated� and� advanced� music.��This� book� does� a�<br />

masterful� job� <strong>of</strong>� identifying� and� teaching� the� recurring� archetypes,� which� increases� the�<br />

chances�<strong>of</strong>�the�more�unusual�ones�taking�care�<strong>of</strong>�themselves.��<strong>The</strong>��odd��patterns�can�<strong>of</strong>ten,�<br />

in�fact,�be�understood�and�performed�as�variations�<strong>of</strong>�the�primary�figures�but�only�if�one�<br />

knows�the�more�common�ones�first.��Both�books�in�this�series,�then,�teach�not�just�mindless�<br />

streams�<strong>of</strong>�notes�but�rather�the�fuller�language�and�unified�vocabulary�<strong>of</strong>�rhythm.��<strong>The</strong>y�<br />

teach�the�student�to�recognise�that�what�at�first�appearance�might�seem�to�be�novelties�are�<br />

<strong>of</strong>ten�merely��old�friends��in�disguise.�<br />

�<br />

Finally,�these�books�would�be�<strong>of</strong>�little�practical�value�if�they�were�not�so�much�fun�to�use.��<br />

After� all,� they� will� not� do� any� good� if� the� students� do� not� want� to� practice.��And� who�<br />

could�blame�them�if�the�exercises�were�dry�and�boring?��But�happily�in�this�case,�the�many�<br />

bold� and� surprising� twists� <strong>of</strong>� melody� and� turns� <strong>of</strong>� harmonic� progression� are� delightful,�<br />

engaging,�and�sometimes�humorous.��Just�the�right�amount�<strong>of</strong>�predictability�and�repetition�<br />

for�learning�to�take�place�and�hidden�traps�for�the�unwary�seem�blended�together�so�that�<br />

instructional� reliability,� aesthetic� flair,� and� joyful� pleasure� are� all� accounted� for� and�<br />

equally�balanced.��<strong>The</strong>se�materials�will�be�appreciated�by�anyone�wanting�to�go�beyond,�in�<br />

difficulty� level,� what� the� first� volume� provides,� and� especially� by� those� wanting,� and�<br />

needing,�material�for�the�challenges�<strong>of</strong>�20th�and�21st�Century�repertoire.� �<br />

If�intuition�enrichment�is�the�goal�<strong>of</strong>�all�good�music�teaching,�and�I�believe�it�is,�then�this�<br />

book�and�its�predecessor�are�gold�mines�<strong>of</strong>�pedagogical�wealth.��Intuition�broadly�defined,�<br />

in� my� opinion,� includes� the� notion� <strong>of</strong>� a� rich� experiential� data� base� supplied� by� focused�<br />

instruction,�a�stockpile�<strong>of</strong>�previous�perceptions�and�feelings�so�vast�and�deep�that�it�can�be�<br />

drawn� from� at� the� appropriate� moment� naturally� and� without� conscious� thought.��As� I�<br />

stated�at�the�end�<strong>of</strong>�my�Preface�to�the�first�volume,��<strong>The</strong>�promise�<strong>of</strong>�this�book�is�to�provide�<br />

just�such�experience.��<br />

�<br />

<strong>The</strong>�appearance�<strong>of</strong>�this�second�volume�reinforces�the�idea�and�reminds�us�that�the�study�<strong>of</strong>�<br />

rhythm� is� <strong>of</strong>� almost� boundless� scope� and� endless� value� in� the� acquisition� <strong>of</strong>�<br />

comprehensive�musicianship.��<strong>The</strong>�first�volume�can�now�be�seen�as�only�the�beginning�<strong>of</strong>�a�<br />

long� but� stimulating� journey� toward� total� performance� mastery.� � This� journey�<br />

unfortunately� remains� untravelled� by� too� many� students� <strong>of</strong>� college� level� or� university�<br />

aural� theory� classes;� students� whose� learning� environment� has� <strong>of</strong>ten� been� narrowly�<br />

focused�mainly�on�pitch�accuracy.��<strong>The</strong>�second�volume�has�now�opened�up�another�door�<br />

that�few�will�have�ever�stepped�through�with�its�thorough�documentation�that�rhythm�is�a�<br />


�<br />

xiii<br />

�<br />

�<br />

much� more� extensive� topic� than� previously� imagined� and� one� worthy� <strong>of</strong>� the� generous�<br />

treatment�that�it�receives�here.�<br />

�<br />

With�the�completion�<strong>of</strong>�these�two�new�volumes,�then,�no�longer�can�a�lack�<strong>of</strong>�appropriate�<br />

and�effective�training�materials�be�cited�as�an�excuse�for�avoiding�the�study�<strong>of</strong>�rhythmic�<br />

performance�as�a�subject�in�its�own�right.��<strong>Rhythm</strong>�no�longer�will�need�to�play�the�poor�<br />

step�child�to�instruction�in�pitch�relationships.��All�aspects�<strong>of</strong>�melodic�structure�can�now,�<br />

finally,� be� understood� and� studied� as� co�equals.��In� this� sense,� the� availability� <strong>of</strong>� such�<br />

textbooks� in� the� marketplace� can� be� seen� as� a� crucial� turning� point� and� landmark�<br />

achievement�in�the�pedagogy�<strong>of</strong>�aural�skills.�<br />

�<br />

<strong>The</strong>�appearance�<strong>of</strong>�this�second�volume�also�reminds�us�<strong>of</strong>�the�international�stature�<strong>of</strong>�its�<br />

author,� Bengt�Olov� Palmqvist,� who,� in� preparing� and� testing� these� materials,� has� now�<br />

presented� dozens� <strong>of</strong>� workshops� and� classroom� teaching� demonstrations� throughout� the�<br />

world.� �<strong>The</strong>se� demonstrations� have� <strong>of</strong>ten� been� discussed� and� marvelled� at� for� days�<br />

afterwards�by�both�university�instructors�and�the�students�themselves�as�the�effectiveness�<br />

<strong>of</strong>�Mr.�Palmqvist�s�approach�sinks�into�their�consciousness�and�as�they�realise�how�much�<br />

has�been�missing�previously�from�their�practice�routines.�<br />

�<br />

His� approach� consists� <strong>of</strong>� two� factors:� a)� his� evident� enthusiasm� for� the� merits� and�<br />

excitement� <strong>of</strong>� rhythmic� study� as� an� end� in� itself;� and� b)� his� especially� clear� way� <strong>of</strong>�<br />

breaking� down� a� complex� subject� into� a� step�by�step� procedure� that� virtually� ensures�<br />

performance� success� and� provides� the� thrill� <strong>of</strong>� truly� commanding� a� subject� for� the� first�<br />

time.��I�am�pleased�to�say�that�both�<strong>of</strong>�these�features�are�present�in�abundance�within�the�<br />

pages�<strong>of</strong>�these�textbooks�as�well.��On�the�basis�<strong>of</strong>�all�this�evidence,�the�books�themselves�<br />

and� the� classroom� reputation,� it� is� not� an� exaggeration� to� suggest� that� Mr.� Palmqvist� is�<br />

now�the�leading�authority�for�the�teaching�<strong>of</strong>�rhythmic�performance.�<br />

�<br />

�<br />

�<br />

Michael�R.�Rogers,�Ph.D.�<br />

Kenneth�and�Bernadine�Russell�Endowed�Pr<strong>of</strong>essor�(Emeritus)�<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 />


�<br />

To hear �the<br />

musical examples<br />

in this chapter, please<br />

playback the MP3 file<br />

“REFINEMENT OF RHYTHM<br />

VOLUME 2 Chapter 4”<br />

If you don’t have this file,<br />

email us at<br />

refinement@tpg.com.au<br />

and we will send it to you!<br />

Chapter�4�<br />

Dotted�Figures�with�Subdivisions�<br />

�<br />

In�this�chapter�the�complementary�note�after�the�dotted�note�is�subdivided�into�two,�three�<br />

or�four�equal�parts.� � e.g.�<br />

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It�is�important�to�first�establish�and�secure�the�primary�pattern�from�which�the�subdivision�<br />

derives.�For�instance,�No.�2�–�5�in�the�preparatory�exercises�on�the�following�page�are�all�<br />

extrapolated�from�No.�1�and�should�be�practiced�as�a�group.�No.�6�–�8�and�9�–�11�should�<br />

then�also�be�practiced�in�groups.�<br />

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A�common�mistake�is�that�the�subdivided�complementary�rhythmic�group�can�be�<br />

executed�either�too�early�or�too�late.��<br />

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Practice�the�following�drill�with�a�steady�clapped�beat�and�focus�on�the�subdivision�which�<br />

must�be�executed�exactly�on�the�second�<br />

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Drill�11�<br />

www.refinement<strong>of</strong>rhythm.com<br />

33


34�<br />

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Chapter�4�<br />

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Preparatory�Exercises�<br />

While�conducting�with�a�steady�beat,�practice�Column�A,�completing�the�bars.�<br />

<strong>The</strong>n�practice�column�B�and�C�in�the�same�way.�<br />

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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 (see<br />

melodic examples on the following pages). By lowering the right channel, the recorded melodies are removed enabling<br />

the student to practice along with the backing accompaniment alone. Adjusting to equal sound level between both<br />

channels enables the student to practice along with the backing, as well as with the recorded melody simultaneously.<br />

<strong>The</strong> CD number and the track number are indicated for each exercise.<br />

www.refinement<strong>of</strong>rhythm.com


Melodic�Exercises�<br />

www.refinement<strong>of</strong>rhythm.com<br />

Dotted�Figures�with�Subdivisions�<br />

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Example�57� Bar�5:�Practice�the�following�drill�to�secure�the�subdivision�<strong>of</strong>�the��������note.�<br />

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Example�58� � Bar�3:�<strong>The</strong>�following�drill�will�help�to�perform�the�final�notes�<strong>of</strong>�each�<br />

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CD�1:�Track�42<br />

To hear the musical examples in this chapter,<br />

please playback the MP3 file<br />

“REFINEMENT OF RHYTHM VOLUME 2 Chapter 4”<br />

If you don’t have this file, email us at refinement@tpg.com.au<br />

and we will send it to you!<br />

CD�1:�Track�43<br />

CD�1:�Track�44<br />

35<br />

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Dotted�Figures�with�Subdivisions�<br />

CD�1:�Track�49<br />

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www.refinement<strong>of</strong>rhythm.com


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

<strong>The</strong> <strong>Refinement</strong> <strong>of</strong> <strong>Rhythm</strong>, <strong>Volume</strong> 2<br />

�<br />

�<br />

� Below are a selection <strong>of</strong> musical examples from all chapters <strong>of</strong> <strong>The</strong> <strong>Refinement</strong> <strong>of</strong> <strong>Rhythm</strong>,<br />

� <strong>Volume</strong> 2. This represents a varied selection <strong>of</strong> many <strong>of</strong> the rhythmic concepts discussed in depth<br />

�<br />

throughout the book (220 pages + appendices).<br />

�<br />

To hear the musical examples please playback the MP3 file<br />

�<br />

“THE REFINEMENT OF RHYTHM VOLUME<br />

�<br />

2 Selected <strong>Music</strong>al Examples”<br />

�<br />

If you don’t have this file, email us at refinement@tpg.com.au and we will send it to you!<br />

�<br />

�<br />

Chapter�1:�Subdivisions�<strong>of</strong>�the�Basic�Beat�<br />

Example�21�����=�54��<br />

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Chapter�2:�Single�and�Double�Dotted�Figures�<br />

Example�37�����=�63�<br />

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Chapter�3:�Extended�Single�and�Double�Dotted�Figures�<br />

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CD�1:�Track�21<br />

CD�1:�Track�32<br />

CD�1:�Track�39


Selected�<strong>Music</strong>al�Examples�from�<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>,�<strong>Volume</strong>�2�©�Bengt�Olov�Palmqvist�<br />

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Chapter�4:�Dotted�Figures�with�Subdivisions�<br />

Example�63�����=�60�<br />

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Example�76� � Bar�3:�Practice�the�following�drill,�which�helps�to�execute�the��<br />

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Chapter�6:�Inversion�<strong>of</strong>�Dotted�Figures�and�Simple�Syncopated�Figures�<br />

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Example�86� � Bars�5�–7�and�onwards:�Remember�to�give�the�rests�an�active�role�in�<br />

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www.refinement<strong>of</strong>rhythm.com�<br />

CD�1:�Track�48<br />

CD�1:�Track�55<br />

CD�1:�Track�60


Selected�<strong>Music</strong>al�Examples�from�<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>,�<strong>Volume</strong>�2�©�Bengt�Olov�Palmqvist�<br />

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Chapter�7:�Inversion�Simple�Syncopated�Figures�with�Subdivisions�<br />

Example�97�����=�58�<br />

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CD�1:�Track�82


Selected�<strong>Music</strong>al�Examples�from�<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>,�<strong>Volume</strong>�2�©�Bengt�Olov�Palmqvist�<br />

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Chapter�9:�Extended�Syncopated�Figures�and�Inversions�<strong>of</strong>�Dotted�Figures�with�<br />

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CD�2:�Track�6<br />

CD�2:�Track�12<br />

CD�2:�Track�29<br />

CD�2:�Track�35


Selected�<strong>Music</strong>al�Examples�from�<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>,�<strong>Volume</strong>�2�©�Bengt�Olov�Palmqvist�<br />

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Chapter�13:�Triplets�with�extended�Subdivisions�<br />

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Chapter�14:�Asymmetrical�Meters���Quintuple�and�Septuple�Meters�<br />

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CD�2:�Track�77


Selected�<strong>Music</strong>al�Examples�from�<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>,�<strong>Volume</strong>�2�©�Bengt�Olov�Palmqvist�<br />

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Chapter�15:�Shifting�Meters�and�Extension�<strong>of</strong>�Asymmetrical�Meters�<br />

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Example�262��� This�example�presents�an�extension�<strong>of</strong>�the�hemiola�effect.�<strong>The</strong>�<br />

structure�features�2�bar�phrases�and�these�should�be�conducted�<br />

in�two������beats�per�bar.�<strong>The</strong>�exceptions�are�as�follows:�<br />

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Bars�7�–�9�Four�melodic�groups�fit�across�three�bars�and�should�be�<br />

conducted�in��������beats.�<br />

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CD�3:�Track�5<br />

CD�3:�Track�16a�(straight)<br />

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Selected�<strong>Music</strong>al�Examples�from�<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>,�<strong>Volume</strong>�2�©�Bengt�Olov�Palmqvist�<br />

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Chapter�17:�Polyrhythms���Triplets�<br />

Example�271�� Bars�5�–�6:�<strong>The</strong>�triplet�which�occurs�over�the�bar�line�could�also�have�<br />

� � � been�notated�like�this:��<br />

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example,�the�visual�impression�shows�the�flowing�momentum�<strong>of</strong>�the�<br />

triplets�as�if�the�bar�line�did�not�exist.�<br />

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Chapter�18:�Polyrhythms���Duplets�and�Quadruplets�<br />

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CD�3:�Track�22<br />

CD�3:�Track�36


Selected�<strong>Music</strong>al�Examples�from�<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>,�<strong>Volume</strong>�2�©�Bengt�Olov�Palmqvist�<br />

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Chapter�19:�Polyrhythms���Quintuplets�<br />

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Chapter�20:�Polyrhythms���Septuplets�<br />

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CD�3:�Track�51<br />

CD�3:�Track�66


�<br />

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�<br />

Selected�<strong>Music</strong>al�Examples�from�<strong>The</strong>�<strong>Refinement</strong>�<strong>of</strong>�<strong>Rhythm</strong>,�<strong>Volume</strong>�2�©�Bengt�Olov�Palmqvist�<br />

�<br />

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��<br />

�<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<br />

or contact us at refinement@tpg.com.au<br />

www.refinement<strong>of</strong>rhythm.com�<br />

MAIN TEXT INCLUDES:<br />

20 Chapters (see ‘Contents’ page)<br />

348 <strong>Music</strong>al Examples<br />

(including 120 Improvisations)<br />

Explanatory Text<br />

32 Preparatory Exercises<br />

49 Drills<br />

3 CDs with over 3 ½ hours <strong>of</strong> supporting recordings<br />

on separate left & right channels<br />

220 pages + 28 pages <strong>of</strong> notes and appendices<br />

DICTATION SUPPLEMENT INCLUDES:<br />

20 Chapters (see ‘Contents’ page)<br />

130 Dictation Exercises<br />

<strong>Teaching</strong> Methodology Notes<br />

2 CDs <strong>of</strong> supporting recordings<br />

70 pages + 10 pages <strong>of</strong> notes<br />

ALSO Free PDF Workbook downloadable from<br />

www.refinement<strong>of</strong>rhythm.com

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