Elements of Rhythm, meter and tempo

Question 1

Explain compound meter.

Answer 1

A triple pulse is found within each beat (6/8,9/8,12/8)

Usually found in Jigs, pieces with dance like qualities such as Baroques dances.

Question 2

Explain simple meter.

Answer 2

Each beat of the measure divides naturally into 2 equal parts. (4/4,2/4, 3/4)

Question 3

Explain simple duple meter

Answer 3

2 or 4 beats divided by two.

Top # 2 or a 4 (4/2,4/8,2/2)

Question 4

Explain simple triple

Answer 4

Three beats per measure each divided by 2

Top #3 (3/4,3/2,3/8)

Question 5

Explain compound duple

Answer 5

2 beats per bar, each divided by three.

Tope number 6 (6/8)

Question 6

Explain compound triple

Answer 6

3 beats per measure each divided by three

Tope #9 (9/8)

Question 7

Schleppend

Answer 7

dragging (used by Mahler in Symphony #1)

Question 8

Grave

Answer 8

Slowly and solemnly

Question 9

Lent

Answer 9

Slowly

Question 10

Moins

Answer 10

less

Question 11

Tres

Answer 11

ver

Question 12

vite

Answer 12

fast

Question 13

vif

Answer 13

lively

Question 14

Explain Syncopation

Answer 14

Placement of rhythmic stresses or accents where they wouldn’t normally occur.

Syncopation has been an important element of European musical composition since at least the Middle Ages. J.S. Bach and Handel used syncopated rhythms as an inherent part of their compositions; Haydn used it to create variety. Syncopation was used by Mozart, Beethoven, and Schubert, especially in their symphonies, for both purposes. This can be heard in Mozart’s 38th and Beethoven’s 7th. Syncopation is an essential part of the character of some musical styles, such as jazz and ragtime. Hungarian Csárdás song-dances are always syncopated. The “Scotch snap” of Scotland also feature syncopation.[

Question 15

Larghissimo

Answer 15

very, very slow (19 BPM and under

Question 16

Grave

Answer 16

slow and solemn (20–40 BPM)

Question 17

Lento

Answer 17

slowly (40–45 BPM)

Question 18

Largo

Answer 18

broadly (45–50 BPM)

Question 19

Larghetto

Answer 19

rather broadly (50–55 BPM)

Question 20

Adagio

Answer 20

slow and stately (literally, “at ease”) (55–65 BPM)

Question 21

Andante moderato

Answer 21

a bit slower than andante (69–72 BPM)

Question 22

Andante

Answer 22

at a walking pace (73–77 BPM)

Question 23

Marcia moderato

Answer 23

moderately, in the manner of a march[4][5] (83–85 BPM)

Question 24

Moderato

Answer 24

moderately (86–97 BPM)

Question 25

Allegretto

Answer 25

moderately fast (98–109 BPM)

Question 26

Allegro

Answer 26

fast, quickly and bright (109–132 BPM)

Question 27

Vivace

Answer 27

lively and fast (132–140 BPM)

Question 28

Presto

Answer 28

extremely fast (168–177 BPM)

Question 29

Prestissimo

Answer 29

even faster than Presto (178 BPM and over)

Question 30

Ritardando

Answer 30

gradually slowing down

Question 31

Accelerando

Answer 31

gradually accelerating

Question 32

A Tempo

Answer 32

at the same speed from the beginning

Question 33

alla

Answer 33

in the manner or style of,

Question 34

alla breve

Answer 34

in short style, i.e., duple time, with the half note (minim) rather than the quarter note (crotchet) as the beat; cut time; 2/2 instead of 4/4; often marked as a C with a vertical line through it

Question 35

assai

Answer 35

very much

Question 36

poco

Answer 36

slightly, little

Question 37

molto

Answer 37

much

Question 38

Explain the Sonata -Allegro form

Answer 38

Sonata Allegro form was a development of the classical era. It represents a more open form than many of the earlier Baroque forms such as fugues, rondeau form, etc.

While there is a formula that can be applied, there was not a rigid, formal concept for the form. Rather it evolved over the classical era and beyond.

Haydn was one of the early exponents of this form. It was named “Sonata Allegro,” because the final Allegro movement of a Sonata was most often created in this form. It is by no means restricted to this general rule, however. In fact there are no hard and fast rules in writing a Sonata Allegro form. However many trends can be attributed to the form generally

Sonata Allegro form can simplistically be described as an “ABA’” form.
The first A section is called the “Exposition.” ( This section is repeated verbatim in classical performance, actually making the overall form “AABA’”).
The B section, or “Development” follows the Exposition. It usually uses some material from the Exposition, but in a more or less radically altered way.
In the A’ section or “Recapitulation,” the A material returns relatively intact.
Each of these sections has a relatively complex internal pattern as follows:

The Exposition - states the main thematic elements and has its own internal form

The Development - is an open and free-form section of the Sonata Allegro movement, usually based on thematic materials from the Exposition.

The Recapitulation returns to the material in the Exposition. However the Recapitulation is almost always different from the Exposition in that it remains in the home key (i.e., second theme stays in the home key rather than changing).

Song Example: Haydn Symphony 104

Question 39

Explain the 12 bar blues form

Answer 39

A 12-bar blues is divided into three four-bar segments. A standard blues progression, or sequence of notes, typically features three chords based on the first (written as I), fourth (IV), and fifth (V) notes of an eight-note scale. The I chord dominates the first four bars; the IV chord typically appears in the second four bars (although in the example below, Elmore James introduces it in the first four bars); and the V chord is played in the third four bars.

The lyrics of a 12-bar blues song often follow what’s known as an AAB pattern. “A” refers to the first and second four-bar verse, and “B” is the third four-bar verse. In a 12-bar blues, the first and second lines are repeated, and the third line is a response to them—often with a twist.

In each 12-bar stanza, the third four-bar segment (9-12th bars), serves to resolve the previous four-bar segments. The resolution may signal the end of the song or set up another stanza. If the song continues, the transition to the next stanza is known as the turnaround.