MTO 17.4 Examples: Hook, Impossible Rhythms

(Note: audio, video, and other interactive examples are only available online)

http://www.mtosmt.org/issues/mto.11.17.4/mto.11.17.4.hook.php

Example 1. Brahms, Variations on an Original Theme, Op. 21, No. 1, Variation 5 (Breitkopf & Härtel)

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Example 2. Rhythmic notation in left hand of Example 1

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a. Split notes (not feasible)

Audio for a:b. Triplet priority, unequal duplets

b'. Triplet priority, duplets separated by rest (attack rhythm same as b.)

Audio for b/b':c. Duplet priority, unequal triplets

Audio for c:d. Duplet priority, incomplete triplets

Example 3. Possible realizations of Example 1, measures 3–4, left hand

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d'. Duplet priority with triple subdivision (attack rhythm same as d.)

Audio for d/d':

Example 4. Brahms, “Wie rafft ich mich auf,” Op. 32, No. 1, measures 27–29 (compare Example 3a)

Example 5. Brahms, Variations, Op. 21, No. 1, variation 11, measures 14–17 (compare Example 3b)

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Example 6. Brahms, Sonata for Cello and Piano, Op. 38, mvt. II, Trio, measures 1–5 (compare Example 3c)

Example 7. Brahms, “Es liebt sich so lieblich im Lenze!”, Op. 71, No. 1, measures 37–39 (compare Example 3d)

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Example 8. Brahms, Variations, Op. 21, No. 1, Variation 5 (Simrock, 1861)

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Example 9. Brahms, Ballade in B Major, Op. 10, No. 4, measures 56–59

Example 10. Mendelssohn, Song without Words in F Major, Op. 85, No. 1, measures 1–12

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Example 11. Clara Wieck (Schumann), Concerto in A Minor, Op. 7, mvt. II, measures 37–39

Example 12. Brahms, Intermezzo in A Major, Op. 76, No. 6, measures 17–28

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Example 13. Liszt, Concerto in E-flat Major, mvt. III, measures 28–39 (solo part only)

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Example 14. Brahms, “Regenlied,” Op. 59, No. 3, measures 53–56

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Example 15. Robert Schumann, Romanze, Op. 28, No. 1, measures 33–44

Example 16. Robert Schumann, Dichterliebe No. 12, “Am leuchtenden Sommermorgen,” measures 23–30

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Example 17. Franck, Prelude, Chorale, and Fugue, Prelude, measures 1–4

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Example 18. Schumann, Bunte Blätter, Op. 99, No. 2 (“Stücklein II”)

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a. Notation in score

b. Realization with 32nd-note priority, unequal triplets

c. Realization with triplet priority, unequal 32nds

Example 19. Impossible rhythm in Example 18, measure 3

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Example 20. Schumann, Noveletten, Op. 21, No. 1, measures 29–32

Example 21. Brahms, “Ständchen,” Op. 106, No. 1, measures 25–26

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Example 22. Chopin, Nocturne in F-sharp Major, Op. 15, No. 2, measures 25–28

Example 23. Chopin, Prelude in E Major, Op. 28, No. 9, autograph, measures 1–4

Example 24. Schubert, Winterreise No. 4, “Erstarrung,” measures 79–81

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a. Breitkopf & Härtel

b. Bärenreiter, Neue Schubert-Ausgabe

Example 25. Schubert, Trio in B-flat Major, D. 898, mvt. I, measures 37–40

Example 26. Schubert, Winterreise No. 6, “Wasserflut,” measures 1–4

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a. Piano part, measures 368–373 (Peters), showing impossible alignment in measure 371

b. Accurate alignment of the notated rhythms in measure 371

c. Notation in measures 371–372 revised to show probable intent

Example 27. Franck, Piano Quintet in F Minor, movement I

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Example 28. Stravinsky, Petrushka (1911), Tableau I, measures 23–37 (condensed score)

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Example 29. Stravinsky, Petrushka (1947), Tableau I, measures 23–37 (condensed score)

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Example 30. Scriabin, Prelude in C Major, Op. 11, No. 1 (Izdatel’stvo Musyka, Moscow)

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Example 31. Metric structure of quintuplets in Op. 11, No. 1, measures 0–2

Example 32. Conflicting rhythmic indications in Op. 11, No. 1, measures 18–20

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Example 33. First possible realization of Op. 11, No. 1, measures 18–20: X and Y but not Z

(triplet and quintuplet groups aligned; downbeats aligned; unequal triplets)

Example 34. Second possible realization of Op. 11, No. 1, measures 18–20: X and Z but not Y

(triplet and quintuplet groups aligned; equal triplets; downbeats misaligned)

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Example 35. Third possible realization of Op. 11, No. 1, measures 18–20: Y and Z but not X

(downbeats aligned; equal triplets; triplet and quintuplet groups misaligned)

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