MUSC134Rhythmic1

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MUSC 134Rhythmic

Studies, Part 2

Version 1.02010 Terry B. Ewell; www.terryewell.com

Creative Commons Attribution License:

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RHYTHMIC STUDIES, PART 2

Compiled by Terry B. Ewell

Introduction to Rhythmic Studies

This collection of rhythmic studies is drawn from this work:

George A. Wedge,Advanced Ear-Training and Sight-Singing As Applied to the Study of

Harmony: A Continuation of the Practical and Coordinated Course for Schools and

Private Study (New York: G. Schirmer, Inc. 1922).

Wedge was an outstanding pedagogue who included in his text several interesting methods of

mastering rhythms. One of the primary methods was to sing major scales descending and

ascending to the given rhythmic patterns. Here is an example he gives in the text (Wedge, p.

10):

Wedge recommends singing patterns with la but solfege could be used as well, if desired.

Naturally the studies could be played on instruments instead of sung.

Occasionally in the studies Wedge supplies designations for pitches. Take for example the

following (Wedge, p. 90):

The 6, 7, and 8 in line 2 indicate pitches La, Ti, Do. Line 3 reads 5, 3 indicating Sol, Mi.

Additionally the Wedge studies could be performed in ensemble exercises by combining select

lines of the study. For instance, students could each tap or clap simultaneously these two parts

(Wedge, p. 108):


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Students should be encouraged to subdivide all rhythmic studies in order to better develop

rhythmic precision.

See these modules available onwww.cnx.orgfor information on subdivisions:

Rhythmic Study: Introduction to Subdivisions in Simple Meters (m22810)

Rhythmic Study: Introduction to Subdivisions in Compound Meters (m22811)

< http://cnx.org/content/m22811/latest/>
http://www.cnx.org/http://www.cnx.org/http://www.cnx.org/http://www.cnx.org/


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9. Borrowed Divisions and Other Rhythms in Simple Meters

I. Borrowed Divisions and Other Rhythms in 2/4 (Wedge, p. 203)

II. Borrowed Divisions and Other Rhythms in 3/4 (Wedge, p. 194)
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III. Borrowed Divisions and Other Rhythms in 4/4 (Wedge, p. 203)

Red 1 is a continuation of (1), Red 2 is a continuation of (2), etc.
http://cnx.org/content/m22805/latest/http://cnx.org/content/m22805/latest/http://cnx.org/content/m22805/latest/http://cnx.org/content/m22805/latest/


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10. Studies in Varied Meters

I. Studies in 9/8 (Wedge, p. 279)



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II. Studies in Varied Meters (Wedge, p. 176)


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11. Studies in 12/8

I. Easier Studies in 12/8 (Wedge, p. 297)



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II. More Difficult Studies in 12/8 (Wedge, p. 307)



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12. Studies with 32nds

I. 32nds in 4/4 (Wedge, p. 90)



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II. Upbeat 32nds in 4/4 (Wedge, p. 99)



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III. Review studies in 4/4 (Wedge, p. 118)



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13. Varied Rhythmic Studies

I. Varied Rhythms in 4/4 (Wedge, p. 78)



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II. Varied Rhythms in 3/4 (Wedge, p. 154)


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14. Studies in Compound Time

I. Studies in 6/8 (Wedge, p. 262)


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II. Studies in 9/8 (Wedge, p. 262)


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15. Advanced Rhythmic Studies with Ties

I. Ties in 2/4 (Wedge, p. 242)


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II. Ties in 4/4 (Wedge, p. 252)



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16. Complex Rhythms

I. Complex Rhythms in 4/4 (Wedge, pp. 270-271)



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II. Excerpts and Complex Rhythms in Varied Meters (Wedge, pp. 317-318)

Edward Elgar, The Dream of Gerontius

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MUSC134Rhythmic1