SA), as the climax or high point of “Peri’s Scope.” It is the dotted quarter note, however, that is secretly exploited by alternate syncopation, i.e. It reappears in measures 13-16, the second part of phrase two, where Bill the composer fully exploit it (EX. The syncopated FIGURE in measure 7 is not unique. Measures 1-8 comprise phrase one measures 9-16, phrase two measures 17-24, phrase three. And that is precisely how we can identify the end of one phrase and the beginning of another. How does he reveal this? By following the” g#s” with six beats of rhythmic space: silence! Now he is able to make a new breath. It is in this measure that Bill reveals to us that he is inwardly singing. How does he rhythmically treat these “g-sharps”? By holding the first one for one and one-half beats and syncopating the second one. Evans do? He lets the” composer” step in, and in measure 7 he writes not one, but two” gsharps,” the first chromatic note of the piece (EX. Why? They all hover around the pitcli “g”! What does Mr. With all of this incredible melodic and rhythmic variation.so far (measures 1-6), the DIRECTIONAL TONES hint at monotony. His ear immediately picks up on the sixteenth notes, so we get more of them in the very next measure! (EX.
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