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Portraits in Rhythm - Anthony Cirone

The document contains musical notation and instructions for practicing various rhythmic exercises on snare drum. It discusses techniques for navigating complex rhythms and transitions between time signatures and tempos.

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pelican1234
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© Attribution Non-Commercial (BY-NC)
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42K views25 pages

Portraits in Rhythm - Anthony Cirone

The document contains musical notation and instructions for practicing various rhythmic exercises on snare drum. It discusses techniques for navigating complex rhythms and transitions between time signatures and tempos.

Uploaded by

pelican1234
Copyright
© Attribution Non-Commercial (BY-NC)
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
You are on page 1/ 25

Moderato maestoso, J = 69

crescf

JP crescf

JP e JP

dim.

------------ -----m

Andante grandioso J. = 58

o m 0

0 0

m o

O O I I O

The qaarter-note triplets in lines 7 and 8 may p e e problems at firet. I so, the troublesome measf u r e s may be approached In the following manner: 1.) Practice straight quarter-note triplets with the hands, while tapping quarter-notes with the foot; 2.) practice the passage in question without gracenotes, taking c a r e that the sixteenth-note and eighth-note triplet figures are also executed correctly; 3.) practice the passage as is.

17

5
Moderato J = 112
1 I

The many dynamic markings must be carefully observed here, with slight exaggeration of the scendos and decrescendos.

19
cre-

Largo espressivo J = 63

31 '
! *

fJ

,-q
I
A

I
I I
i

I ; ; I k 1
I
f2

fJ

n e theme of this exercise, presented in the first five measures, i s formed by a two-measure "question" and a three-measure "answer", which are indicated very clearly by the dynamics. A variant of *5e answer is employed in line 3, measure 2.

The subdivision of the 7/8 measure varies, with the most common groupings being 4/8 plus 3/8 and 23 3/8 plus 4/8 (as,respectively, measures 1and 2 of this piece. ) Other orderings, of course, may be, a d have been used, and two of these have been incorporated into this exercise: line 4, measure 5, which equals 2/8 plus 2/8 plus 2/8 plus 1/8, and line 8, measure 2, which equals 3/8 ~ l u3/8 plus 1/8. s

Andante moderato

= 192

---pie doable-me

---

process i taking place. T5at i . 3 e qxed u t3e s ! ! - t j l f % y e - = s s ! in the slower tempo becomes the speed of the eight3 andl sixLtuth-notes i t5e fasttr t w i-5 1 n e . , and the foot beat becoming twice as fast. This transition reverses itse2 a': -je equalling last line.

Largo J = 72

A A

A h A

h h h

APIA

h = J Vivace

J = .h Larao

Since the speed of the dotted quarter-note becomes the speed of the quarter-note at the second line, the eighth and sixteenth-notes will become slower in the 3/4. The reverse will happen inthe transition from the 3/4 back to the 9/8 in line 3. The foot tap, however, remains constantduringthe metr i c changes.

51

Larghetto J. = 72

Again, the eighth-note remains constant, but the foot tap should be placed according to the phrasing. All rolls in line 3 are to be given fresh attacks.

Presto ma non troppo

56

=I This exercise is to be played with four beats to the measure. M e a s a r e s 2 and 4 congin t b z = +sion of a beat into two, rather than three, a s do the f i r s t two beats of measure 6. wbic5 & sdifferent than the last -two beats of that measure. Note the accelerando, b e M g a t line 8, rure 2.

20

Moderato J. = 76

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m m m
I&

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I I

r~

IIA

- I.

v0 1

I .
w

i
m
'

III

I T I I

. r

I .

T5e designation "ABA" refers to a three-part form comprised of a first section ("A") in a particular

59

key, a second, contrasting section ("B"), in a different, but related key, and a third section ("A"), similar to the first, if not an actual recapitulation of, it. This structure has been approximated here as follows: "A" equals measures 1-6, in 4/4 meter; "B" equals measures 7-18, in 2/4 meter; "At1 equals measures 22-27, in 4/4 meter. Since the snare drum is incapable of expressing changes in tonality, meter changes have replaced key changes in the respective sections. Further, measures 19-21 act a s a transition from the "B" back to the "A" section, and employ shiftingmeters just a s an lmrmonic modulation would employ shifting tonalities. The last seven measures form a coda, which d x s not add to the form proper.

Tze Sonatina is the largest two-part construction in music. The first section of the form begins with an exposition of a primary theme, moves through aVbridge-like" portion into a secondary theme in a different key, and usually concludes with a kind of coda. The second section recapitulates the opening theme in the original key, often utilizes a transitory passage as a lead - in to the secondary theme, a-Ech is, this time, also in the original key; the form may o r may not employ an appended, coda-like no closing. In this piece, the form has again been translated i t rhythmic terms: Section I - primary ';erne, measures 1-5; transition, measures 6-7; secondary theme, measures 8-19; coda, measures "-25. Section I1 - primary theme, measures 26-29; transition, measures 30-36; secondary theme ? original time signature,) measures 37-40; coda, measures 41-43.

61

Sonatina J = 88

'-. ,

q.
1

I , ;
I.
0

I
I
I

1,;
I .

i t
I

1
I

1
I

I
I

\
I

4
I
I

I
I *

4
I

I
I*

i I
I

I
I

and a recapitulation of the first and second themes. This piece i s organized along the same lines: measures 1-8 a r e the primary theme, measures 9-14 the secondary theme, the entire 3/4 portion the Trio, and the remri.ning sixteen measures n recapitulation of the f i r s t and second themes.

A Song and Trio consists of a primary theme, a secondary theme, a mid-section, o r "trio",

63

Moderato (J. = 60)


Song and Trio

25

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