Moderato maestoso, J = 69 3 3

cresc f JP crescf JP e JP - dim. - - - - - - - - - - - - - - - - - m

Andante grandioso J. = 58 -

I I I I I I l l I 1 I 1 I I I I I o m 0 0 0 o m 0 0 0 m o O O I I O

17 v

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

Moderato J = 112 5

1 I

f

7

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

6 Largo espressivo J = 63 -

- ,-q I - I I ; ; I k 1 3 1' A z !* fJ I H I I W I I 1 Y I - I i I f 2 I fJ I I I O I I I I I

n e theme of this exercise, presented in the first five measures, i s formed by a two-measure "ques- tion" 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.

7

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 1 and 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 u s 3/8 plus 1/8.

Andante moderato = 192

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

Largo J = 72 n A A A A h A A h h h A P I A

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, 51

the eighth and sixteenth-notes will become slower in the 3/4. The reverse will happen inthe transi- tion from the 3/4 back to the 9/8 in line 3. The foot tap, however, remains constantduringthe met- r ic changes.

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 a .

56 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 ==+I- sion of a beat into two, rather than three, a s do the f i rs t two beats of measure 6. wbic5 & 20

different than the last -two beats of that measure. Note the accelerando, b e M g a t line 8, rs-- ure 2.

Moderato J. = 76

> > I I . i

v- I I I T .r m m m I & r~ I I A I. 10 I m ' m I I I m m I I I I .

w -

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.

6 1 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 closing. In this piece, the form has again been translated into 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.

Sonatina J = 88

I , ; I 1 , ; i t 1 1 I \ 4 I 4 I i I I q. 7 ',. I. 0 I I I . I I I I I I I I I * I I * I I I I 1 -

63 A Song and Trio consists of a primary theme, a secondary theme, a mid-section, o r "trio", and a recapitulation of the first and second themes. This piece i s organized along the same lines: meas- ures 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 rs t and second themes.

Moderato (J. = 60) 25 Song and Trio

1

f