Rhythm
238 pages
English

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238 pages
English
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Description

In Rhythm. Advanced Studies, Erik Hojsgaard, composer and professor of aural training at the Royal Danish Academy of Music, provides a detailed guide to reading and understanding advanced use of rhythm. The 451 exercises and their corresponding notes allow those professionally involved with music to further develop their technical and practical skills in this specific area. The book also includes exercises aimed at developing modern composition techniques. Danish professor and composer Per Noergaad writes: The many aspects of aural training in this book by Erik Hojsgaard have been inspired by his deep insight into western music and its thousand-year-old traditions. Written with clarity that allows for rhythm and polyphony to be presented in an understandable form, Hojsgaard's book is both musical and entertaining. There is no doubt that one gains new insights and musical joys after working through the book's exercises.

Sujets

Informations

Publié par
Date de parution 01 août 2016
Nombre de lectures 3
EAN13 9788771841510
Langue English
Poids de l'ouvrage 13 Mo

Informations légales : prix de location à la page 0,013€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Exrait

Rhythm∙Advanced Studies

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

    

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



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

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

International distributors:

Gazelle Book Services Ltd.
White Cross Mills
Hightown, Lancaster,  
United Kingdom
www.gazellebookservices.co.uk

  
 Enterprise Drive, Suite 
Bristol,  
USA
www.isdistribution.com

/ In accordance with requirements of the Danish Ministry of Higher Education and Science,
the certiication means that a PhD level peer has made a written assessment justifying
this book’s scientiic quality.

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

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

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

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

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

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

Alphonse Leduc
Olivier Messiaen’sLa Nativité du Seigneur

Edition Wilhelm Hansen
Per Nørgård’sTrepartita

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

Irregular time signatures I
Fast time signatures in 5 and 7

22

Contents

5

55–58
59–68
69–72

27–34




15

45–54

23–26

15–22

19

21

17






1–7

8–14

9
10
11

Foreword ∙Reading recommendations

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


12
13

15

16

14

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

Irregular time signatures II

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

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

7

6

8







1

41–44

29
30
32

35–40

26

27

73–76
77–83

24

109–117

33
34

39

41

36

99–108

3

4

84–98

2


31
32

30


118–128

22
23




27
28
29

132–138
139–152

63
65
68

54
57


33
34

35

38


39

36
37

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

155–159
160–163

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

74
76

168–170
171–176

164–167

206–212
213–220

177–180
181–188
189–190

198–199
200–205

191–197


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

240–249

87

221–228

83
84

250–258

90

229–231
232–239

79

25
26

24


59

60
61

69

71
72

129–131

46


43

53

47
49

153–154

19
20


17


18

21


Mixed Time Signatures V



















40

41

42
43

44
45
46
47
48

49
50
51

52
53
54
55
56
57


58
59


60

61
62


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

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

Irregular time signatures IX

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

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

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


259–263

264–274

275–279
280–283

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

310–312
313–318
319–320

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


351–389

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