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B AS I C R H YTH M S IN S IMP L E M ET E R S

Notes One Beat Long and Longer


The following one-part rhythm-only excerpts may be performed in a number
of ways: intoned on a neutral syllable, tapped or clapped with the hands, impro-
vised or prepared with pitches on an instrument, and so on.


Joseph Haydn, String Quartet Op. 74, No. 2 (Hob. III:73), mvt. 4, mm. 7890



Johannes Brahms, Ich schell mein Horn ins Jammertal,


Op. 43, No. 3, mm. 111 (1860)

Csar Franck, Three Chorales, No. 2, mm. 18 (1890)

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2 Chapter 7: Basic Rhythms in Simple Meters

Alexander Glazunov, The Seasons, Op. 67, tableau 1,


Winter, variation 4, Snow, mm. 520 (1899)

Arcangelo Corelli, Trio Sonata Op. 1, No. 3, mvt. 2, mm. 112 (1681)

Bla Bartk, First Term at the Piano, No. 3,


Little Invention, mm 18 (1913)

What does the alla breve symbol indicate in the following excerpt?

Johannes Brahms, A German Requiem, Op. 45, No. 6, section 3,


Herr, du bist wrdig, mm. 6677 (1868)

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Notes One Beat Long and Longer 3

The following two-part rhythm-only excerpts may be performed in a number


of ways: tapped with one hand on each part, intoned with the voice on one part
while clapping the other part, improvised or prepared with pitches on both
parts on an instrument, performed by two individuals or two groups, and so on.

Erik Satie, Menus propos enfantins, Le chant guerrier


du roi des haricots, mm. 1324 (1913)

W. A. Mozart, Symphony No. 41, K. 551, mvt. 4, mm. 245253 (1788)

Arcangelo Corelli, Sonata a quattro in D, mvt. 3, mm. 1017 (1704)


10

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4 Chapter 7: Basic Rhythms in Simple Meters

Pay special attention to the meter and rhythm of excerpts that begin on an
anacrusis (pickup).

Daniel Gottlob Trk, Twelve Easy Keyboard Sonatas,


Vol. I, No. 2, mvt. 3, mm. 1732 (1783)


11

Konrad Max Kunz, 200 Short Canons, No. 9 (1783)

12

Ludwig van Beethoven, Glaube und hoffe!, WoO 174, mm. 25 (1819)

13

Robert Schumann, Album for the Young, Op. 68,


No. 9, Folk Song, mm. 18 (1848)


14

(continues)

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Duple Division of the Beat 5

Paul Hindemith, Neun Stcke in der ersten Lage, Op. 44/1, No. 7, mm. 1225 (1927)

15

Duple Division of the Beat

Edvard Grieg, Cello Sonata, Op. 36,


mvt. 3, mm. 151166 (1883)


16

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6 Chapter 7: Basic Rhythms in Simple Meters

Modest Mussorgsky, Pictures from an Exhibition,


The Great Gate of Kiev, mm. 122 (1874)


17

Joseph Jongen, Petite suite pour piano, No. 2,


Conte plaisant, mm. 250257 (1924)


18

Aleksey Stanchinsky, Sketches, Op. 1, No. 10, mm. 112 (1913?)


19

Joseph Haydn, String Quartet Op. 76, No. 6


(Hob. III:80), mvt. 3, mm. 116


20

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Duple Division of the Beat 7

Igor Stravinsky, Chant du rossignol, Jeu du rossignol


mcanique, mm. 5667 (1917)


21

George Frideric Handel, Organ Concerto Op. 7,


No. 1 (HWV 306), mvt. 3, mm. 112 (1740)


22

Gustav Mahler, Symphony No. 2, mvt. 5, mm. 6269 (1894)


23

Max Reger, Clarinet Quintet, Op. 146,


mvt. 4, mm. 917 (1915)


24

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8 Chapter 7: Basic Rhythms in Simple Meters

Orlando di Lasso, Indi per altro, mm. 4552 (1557)

25

Bla Bartk, Forty-Four Duos, No. 8, mm. 719 (1931)


26

Bla Bartk, Mikrokosmos, No. 57,


Accents, mm. 2126 (1939)


27

Domenico Scarlatti, Sonata K. 42, mm. 116


28

(continues)

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Duple Division of the Beat 9

Theodor Kullak, Kinderleben, Op. 62, No. 5,


Wiegenliedchen, mm. 2128


29

Michael Praetorius, Terpsichore, XIX, Bransle de la Schappe, No. 2, mm. 110 (1612)

30

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10 Chapter 7: Basic Rhythms in Simple Meters

Bla Bartk, Forty-Four Duos, No. 4, mm. 110 (1931)


31

Be careful while reading Pistons beaming in the following excerpt, which


slightly obscures the quadruple meter.

Walter Piston, Suite for Oboe and Piano,


mvt. 4, Nocturne, mm. 15 (1931)


32

Paul Hindemith, Neun Stcke in der ersten Lage, Op. 44/1, No. 9, mm. 16 (1927)

33

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PEN TATO N ICIS M


Scale degrees in pentatonic music will be calculated here by labeling the tonic


as ^1 . Therefore, major-mode pentatonic melodies will contain scale degrees


^1 , 2^ , 3^ , 5^ , and 6^ .

Major-Mode Pentatonic with 6 as Complete Upper Neighbor to 5


Sally Go Round the Sun, North American folk song

591


Do, Do Pity My Case, North American folk song


592


593

Billy Joel, And So It Goes, mm. 916 (1983)

(continues)

168

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Major-Mode Pentatonic with 6 as Prefix Upper Neighbor to 5 169

Major-Mode Pentatonic with 6 as Prefix Upper Neighbor to 5

Anton Bruckner, Symphony No. 7, mvt. 1, mm. 413420 (1883)


594

Antonn Dvok, Sonatina, Op. 100, mvt. 3, Trio,


mm. 18 (1893) [original in C]


595

Mikhail Glinka, A Life for the Tsar, Act III, No. 12,
mm. 170178 (1836) [original in G]


596

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170 Chapter 28: Pentatonicism

Ludwig van Beethoven, Twelve Scottish Songs, WoO 156, No. 11,
Auld lang Syne, mm. 815 [original in F]


597

This song is often sung beginning with the refrain. What can you do before you
sing to auralize the first note?
Good Bye, Old Paint, North American folk song, refrain

598

Major-Mode Pentatonic with Skips from 1 to 6 and 6 to 1

Franz Liszt, Septem sacramenta, No. 6, Ordo,


mm. 1019 (1884)


599

Hey, Betty Martin, North American folk song

600

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Major-Mode Pentatonic with Skips from 1 to 6 and 6 to 1 171

Franz Liszt, Ossa arida, mm. 4154 (1879) [original in A]


601

The Border Lament, Scottish folk song

602

Arirang, Korean folk song

603
(continues)

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172 Chapter 28: Pentatonicism

Carl Maria von Weber, Overture for Turandot,


Op. 37, mm. 917 (1809) [original in G]


604

Mo Li Hua [Jasmine Flower], Chinese folk song

605

The Hanging Third below 1

The Owl Sings, Native American folk song

606
(continues)

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The Hanging Third below 1 173

Cumberland Gap, North American folk fong

607

Alabama Gal, North American folk song

608

Franz Liszt, Les Prludes [Symphonic Poem No. 3],


mm. 4750 (1855)


609

David Buttolph, Theme from the


TV show Maverick, mm. 2136 (1957)


610

(continues)

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174 Chapter 28: Pentatonicism

Where is the hanging third below the tonic in the following excerpt? Where
does Sullivan deviate from the pentatonic scale?
Arthur Sullivan, The Mikado (or The Town Of Titipu),
There Is Beauty in the Bellow of the Blast,
mm. 7191 (1885)


611

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Major-Mode Pentatonic with Other Uses of 6 175

Major-Mode Pentatonic with Other Uses of 6

Shake That Little Foot, North American folk song

612

Jubilee, North American folk song

613

Camille Saint-Sans, La princesse jaune,


Overture, mm. 153168 (1872)


614

Etienne-Nicolas Mhul, Uthal, Overture, mm. 820 (1803)


615

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176 Chapter 28: Pentatonicism

Gabriel Faur, Requiem, Op. 47, No. 7, In paradisum,


mm. 316 (1900) [original in D]


616

Alexander Borodin, Prince lgor,


Prologue, No. 1, mm. 2941 (1887)


617

Minor-Mode Pentatonic
In what ways is the following excerpt pentatonic? How else might you interpret
its pitch structure?

Antonn Dvok, Biblical Songs, Op. 99, No. 7,


By the Rivers of Babylon, mm. 38 (1894)


618

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Minor-Mode Pentatonic 177

Marina Girls, North American folk song

619

The Gallows Pole, North American folk song

620

Wonder Where Is Good Old Daniel, North American spiritual

621

Charlie, North American folk song

622

The Blackbird and the Crow, North American folk song

623

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178 Chapter 28: Pentatonicism

What is the tonic in the following excerpt? What key signature might you
expect with that tonic? How does pentatonicism make the written key signa-
ture possible?

Wedding Song, Lakota Native American song

624

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THE DO M I NA N T S EVE N T H CH O R D ;
S KI PS TO 5, 7 , 2 , A N D 4


The Complete Dominant Seventh Chord


J. S. Bach, Cantata No. 197, Gott ist unsre Zuversicht, No. 3,
Aria, mm. 2529 (1736)

747



Drunten im Unterland, German folk song

748



Gabriel Faur, Les Berceaux, Op. 23, No. 1,
mm. 2236 (1879)


749

(continues)

221

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222 Chapter 33: The Dominant Seventh Chord; Skips to 5, 7, 2, and 4

James Hewitt, Three Sonatas for the Piano Forte,


Sonata No. 1 , mm. 17 (1796)


750

W. A. Mozart, Aria Per piet, non ricercate,


K. 420, mm. 7884 (1783)


751

W. A. Mozart, March K. 215 (213b), mm. 16 (1775)


752

(continues)

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The Complete Dominant Seventh Chord 223

Franz Schubert, Ecossaise D. 299, No. 8,


mm. 18 (1815) [original in C]


753

W. A. Mozart, Minuet K. 103 (61d), Trio, mm. 15 (1772)


754

Amlie-Julie Candeille, Piano Concerto,


Op. 2, mvt. 1, mm. 17 (1784)


755

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224 Chapter 33: The Dominant Seventh Chord; Skips to 5, 7, 2, and 4

Joseph Haydn, Symphony No. 94 (Hob. I:94),


mvt. 4, mm. 211218 (1791) [original in G]


756

J. S. Bach, Well-Tempered Clavier, Book I, Prelude 20, BWV 865,


mm. 1316 (1722) [original in C]

757

W. A. Mozart, Minuet K. 61h, No. 5, Trio, mm. 18 (1772)


758

How does the dominant seventh chord arise in the following excerpt?

Sopranos with higher ranges should sing the top part of the following excerpt.
Alternatively, transpose down a third; then singers with the lowest ranges
should sing the lowest part.

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The Complete Dominant Seventh Chord 225

Felix Mendelssohn, Te Deum, No. 4, Tibi Cherubim,


mm. 15 (1826)

759

How will you conceive of the E in m. 2, beat 2 to make it as easy as possible to


sing? What melodic role does this E play? What harmonic role?
Giuseppe Tartini, Violin Sonata Op. 2, No. 4 [Brainard e7],
mvt. 1, mm. 12 (1743) [original in E]


760

In what places is the dominant seventh chord stated melodically in the following
excerpt? Where else is it implied by the interaction between the parts?
Arthur Sullivan, The Gondoliers, List and Learn,
mm. 1624 (1889) [original in D]


761

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226 Chapter 33: The Dominant Seventh Chord; Skips to 5, 7, 2, and 4

Skips between 2 and 4

Giuseppe Verdi, La Traviata, Act II, No. 6,


mm. 8196 (1853) [original in F]


762

Felix Mendelssohn, Paulus, Op. 36,


Siehe, wir preisen selig, mm. 1117 (1836)


763

Roll That Brown Jug, North American folk song

764

W. A. Mozart, Minuet K. 103 (61d), No. 13, mm. 18 (1772)

765

(continues)

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Skips between 2 and 4 227

Joseph Haydn, String Trio, Divertimento No. 15 (Hob. V:16),


mvt. 2, mm. 14 (c. 1764) [original in C]

766

Shoo, Fly, North American folk song

767

Vocal transposition: Sing both parts an octave lower.

Joseph Haydn, Symphony No. 56 (Hob. I:56), mvt. 3, Trio, mm. 18 (1774)


768

(continues)

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228 Chapter 33: The Dominant Seventh Chord; Skips to 5, 7, 2, and 4

Joseph Haydn, The Creation, Rolling in Foaming Billows,


mm. 7593 (1798) [original in D]


769

Felix Mendelssohn, Sonata for Viola and Piano,


mvt. 2, mm. 1834 (1824) [original in Eb]


770

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Skips between 2 and 4 229

Vocal transposition: Sing at concert pitch and sing the last three notes up an
octave (or omit them entirely).

W. A. Mozart, Horn Concerto K. 417, mvt. 3, mm. 18 (1783)


771

Vocal transposition: Sing at concert pitch and sing the last three notes up an
octave (or omit them entirely).

W. A. Mozart, Horn Concerto K. 495, mvt. 3, mm. 18 (1786)


772

Joseph Haydn, Symphony No. 104 (London) (Hob. I:104),


mvt. 1, mm. 1732 (1795) [original in D]


773

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230 Chapter 33: The Dominant Seventh Chord; Skips to 5, 7, 2, and 4

Louise Reichardt, Herbstlied


774

Christoph Willibald von Gluck, Livrogne corrig,


Act II, Allons, morbleu! mm. 1656 (1760)


775

(continues)

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Skips between 2 and 4 231

Ludwig van Beethoven, Symphony No. 9,


Op. 125, mvt. 4, mm. 241256 (1824)


776

Joseph Haydn, Symphony No. 94 (The Surprise)


(Hob. I:94), mvt. 4, mm. 116 (1791)


777

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232 Chapter 33: The Dominant Seventh Chord; Skips to 5, 7, 2, and 4

Louis Moreau Gottschalk, Le Mancenillier, Op. 11,


mm. 2633 (c. 1850)

778

BWV 873, mm. 12 (c. 1740) [original in CI]


J. S. Bach, Well-Tempered Clavier, Book II, Fugue 4,

779

What can you do before you sing to hear the first note of the top voice in the
following excerpt?
Ludwig van Beethoven, Violin Sonata Op. 30, No. 3, mvt. 2,
mm. 13 (1802) [original in Eb]


780

Anne Home Hunter, Arietta No. 4 (1783) [original in C]


781

(continues)

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Skips between 2 and 4 233

W. A. Mozart, Horn Concerto K. 412 (386b),


mvt. 1, mm. 2125 (1791)


782

Camille Saint-Sans, The Carnival of the Animals, Tortoises


(after Jacques Offenbach, Orpheus in Hades), mm. 310 (1886)


783

George Frideric Handel, Hercules, HWV 60, Act I, March, mm. 16 (1744)

784

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234 Chapter 33: The Dominant Seventh Chord; Skips to 5, 7, 2, and 4

Christoph Willibald von Gluck, Ezio, Act I,


Pensa a serbarmi, mm. 1322 (1750)


785

Giacomo Puccini, La rondine, Act I,


Chi il bel sogno di Doretta, mm. 14 (1917) [original in F]


786

Clara Schumann, Liebst du um Schnheit, Op. 12, No. 2, (1841)


[Published as Robert Schumanns Op. 37, No. 4]


787

(continues)

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Skips of a Seventh between 5 and 4 235

Skips of a Seventh between 5 and 4

Johannes Brahms, Quartet Op. 112, No. 3 (Vier Zigeunerlieder, No. 1),
Himmel strahlt so helle und klat, mm. 211 (1891) [original in D]


788

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236 Chapter 33: The Dominant Seventh Chord; Skips to 5, 7, 2, and 4

Gustav Mahler, Symphony No. 9, mvt. 2,


mm. 913 (1909) [original in C]

789

W. A. Mozart, Contredanse K. 609, No. 2, mm. 18 (1791)


790

W. A. Mozart Minuet K. 103 (61d), No. 10, Trio,


mm. 18 (1772) [original in C]

791

Carl Friedrich Abel, Six Easy Sonatas, No. 6, mvt. 1,


mm. 16 (1771) [original in G]


792

KarpinskyAnthology_Unit21_221-239.indd 236 28/09/16 6:08 pm


Skips of a Seventh between 5 and 4 237

Joseph Haydn, Symphony No. 28 (Hob. I:28),


mvt. 1, mm. 1422 (1765)


793

W. A. Mozart, Minuet K. 105 (61f ), No. 1, mm. 18 (1772)


794

KarpinskyAnthology_Unit21_221-239.indd 237 28/09/16 6:08 pm


238 Chapter 33: The Dominant Seventh Chord; Skips to 5, 7, 2, and 4

W. A. Mozart, Minuet K. 105 (61f ), No. 2, Trio, mm. 18 (1772)

795

W. A. Mozart, Minuet K. 103 (61d ), No. 4, mm. 18 (1772)

796

Skips between 4 and 7

J. S. Bach, Suite, No. 3 for Unaccompanied Cello,


BWV 1009, Bourre I, mm. 14 (c. 1720)

797

Joseph Haydn, Symphony No. 13 (Hob. I:13),


mvt. 1, mm. 17 (1763)


798

KarpinskyAnthology_Unit21_221-239.indd 238 28/09/16 6:08 pm


Skips between 4 and 7 239

Joseph Haydn, Symphony No. 77, (Hob. I:77),


mvt. 4, mm. 116 (1782?) [original in Bb]


799

W. A. Mozart, Minuet K. 103 (61d), No. 3, Trio, mm. 18 (1772)

800

Franz Schubert, Ecossaise D. 781, No. 2 (1823)

801

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