Piano Technique (Dover Books on Music) by Walter Gieseking & Karl Leimer

Author:Walter Gieseking & Karl Leimer [Gieseking, Walter]
Language: eng
Format: epub
Publisher: Dover Publications
Published: 2012-03-15T03:00:00+00:00

Second Movement of Concerto for two Pianos and Pedal in C-major, by J. S. Bach.

Musical rhythm (according to Dr. Reisman in his “Esthetics”) has a dual sense: (1) Extensive rhythm, which pertains to the prolongation of sounds, and (2) Intensive rhythm, which pertains to the inflection (rising and falling) of tone; in other words, the accentuated and unaccentuated members of a measure. Accentuation of certain beats gives evidence of rhythm. In order to announce each new measure, we accent the first beat of the same. The regular recurrence of accentuated and unaccentuated beats is the primary step to rhythmic construction. The accentuated beats are the strong (Thesis-fall), the unaccentuated beats are the weak (Arsis-rise). This natural accent of each measure, which we term the metrical accent, differs somewhat from the rhythmical accents which we shall explain later.

The full metrical accent always falls on the first or principal beat of a measure. In the common time of 4/4 we also have a secondary accent which falls on the third beat; in 6/8 time this accent falls on the fourth beat. In 9/8 time we have the main accent 1, the secondary accents 4 and 7. In 12/8 time we have the main accent 1, the secondary accents 4, 7 and 10.

It is possible to cut up the above accents into still smaller relative members, in so far as the denominational groups and equivalents are concerned. Of course, there is a limit; otherwise this rhythmical matter would become too complicated, making it almost impossible for one to understand it. There is one example which needs attention, namely, the difference in treating eighth notes when they occur in 3/4 and 6/8 time. In the first illustration: 3/4 time— the main accent falls on the first eighth note, secondary accents on third and fifth eighth notes. In the second illustration: 6/8 time, the main accent falls on the first eighth note, the secondary accent on the fourth eighth note.

Triplets, quintuplets, as well as sextuplets, etc., have only one accent (on their first note), which must recur uninterruptedly and quickly, so as to become a direct and accurate division of a measure.

Couplets, Quadruplets, etc.

Whenever we separate (or cut up) “three-part” valued notes, we substitute dots to signify their ratings, as, for instance, in the following illustration:

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