1 LESSON 4: RHYTHM AND METER u SUGGESTIONS FOR LISTENING duple meter: • Johann Sebastian Bach (1685–1750), Brandenburg Concerto No. 2, third movement (1721). • Wolfgang Amadeus Mozart (1756–1791), Piano Sonata in A Minor, K. 310, third movement (1778). • Franz Joseph Haydn (1732–1809), Symphony No. 104, fourth movement (1795). • Ludwig van Beethoven (1770–1827), Symphony No. 7, fourth movement (1813). • Franz Schubert (1797–1828), Military March, op. 51, no. 1 (1818). • Robert Schumann (1810–1856), Album for the Young, “Soldiers’ March” (1848). • Piotr Il’yich Tchaikovsky (1840–1893), The Nutcracker, Overture (1892). • John Philip Sousa (1854–1932), “The Thunderer” (1889). • Johannes Brahms (1833–1897), Rhapsody, op. 119, no. 4 (1893). • Scott Joplin (c. 1867–1917), “The Easy Winners” (1901). • “You Do Something To Me” (Cole Porter, from Fifty Million Frenchmen, 1929). • “Embraceable You” (George and Ira Gershwin, from Girl Crazy, 1930). • “Where or When” (Richard Rodgers and Lorenz Hart, from Babes in Arms, 1937). • “I’m Old Fashioned” (Jerome Kern and Johnny Mercer, from You Were Never Lovelier [film], 1942). • “The Lonely Goatherd” (Richard Rodgers and Oscar Hammerstein, from The Sound of Music, 1959). • Fifteen Character Pieces: Ballad. triple meter: • George Frideric Handel (1685–1759), Water Music, Allegro Maestoso (1717). • Johann Sebastian Bach (1685–1750), French Suite No. 3 in B Minor, Minuet (1725). • Wolfgang Amadeus Mozart (1756–1791), Piano Sonata in F Major, K. 332, first movement (1783). • Franz Joseph Haydn (1732–1809), String Quartet in G Major, op. 77, no. 1, third movement (1799). • Ludwig van Beethoven (1770–1827), Symphony No. 3 in E∫ Major (“Eroica”), first movement (1805). • Franz Schubert (1797–1828), Symphony No. 8 in B Minor (“Unfinished”), first movement (1822). • Frédéric Chopin (1810–1849), Mazurka, op. 7, no. 1 (1832). • Giuseppe Verdi (1813–1901), Rigoletto, “La donna è mobile” (1851). • Johann Strauss (1825–1899), An der schönen blauen Donau (commonly known as the Blue Dan- ube Waltz) (1867). • Johannes Brahms (1833–1897), Sonata No. 2 in A Major for Violin and Piano, first move- ment (1886). • Erik Satie (1866–1925), Gymnopédies (1888). 9780199975563_034-057.L04.indd 46 5/31/13 11:31 AM 2 LESSON 4: RHYTHM AND METER • Igor Stravinsky (1882–1971), Firebird Suite, finale (1910). The finale is in triple meter, at a very slow tempo, until approximately 1:45. • Francis Poulenc (1899–1963), Valse from Album des six (1919). • Béla Bartók (1881–1945), String Quartet No. 4, fourth movement (1928). The entire movement is played “pizzicato” (plucking the strings instead of using the bow). • Maurice Ravel (1875–1937), Bolero (1928). • “Out of My Dreams” (Richard Rodgers, Oscar Hammerstein II, from Oklahoma!, 1943). • “The Tennessee Waltz” (Pee Wee King, Redd Stewart, 1946). The best-known recording of this country and western classic is by Patti Page (1950). • “The Girl That I Marry” (Irving Berlin, from Annie Get Your Gun, 1946). • “Sunrise, Sunset” (Jerry Bock and Sheldon Harnick, from Fiddler on the Roof, 1964). • “Lucy in the Sky with Diamonds” (The Beatles [John Lennon], Sgt. Pepper’s Lonely Hearts Club Band, 1967). Only the verse is in triple meter. Listen for the drumbeats as the verse concludes (e.g., 0:48), which shift the music into quadruple meter for the chorus. • “Friends” (The Beach Boys [Brian Wilson, Carl Wilson, Dennis Wilson, Al Jardine], Friends, 1968). • Fifteen Character Pieces: Lullaby, Lament, Minuet, Waltz. quadruple meter: • Johann Sebastian Bach (1685–1750), Orchestral Suite No. 3 in D Major, Air (“Air on the G String”) (1731). • George Frideric Handel (1685–1759), Messiah, “Hallelujah” Chorus (1741). • Franz Joseph Haydn (1732–1809), String Quartet, op. 33, no. 3 (“The Bird”), first movement (1781). • Wolfgang Amadeus Mozart (1756–1791), Clarinet Concerto, K. 622, first movement (1791). • Ludwig van Beethoven (1770–1827), Piano Sonata, op. 53 (“Waldstein”), first movement (1804). • Franz Schubert (1797–1828), Symphony No. 9 in C Major (“Great”), introduction to the first movement (1828). The music stays in quadruple meter until the introduction ends at around 3:45. • Frédéric Chopin (1810–1849), Piano Sonata in Bb, op. 35, third movement (“Funeral March”) (1837). • Robert Schumann (1810–1856), Album for the Young, op. 68, “Folk Song” (1848). • Stephen Foster (1826–1864), “Old Folks at Home” (1851). • Piotr Il’yich Tchaikovsky (1840–1893), Romeo and Juliet, Fantasy-Overture After Shakespeare (1880). • Johannes Brahms (1833–1897), Symphony No. 3, op. 90, second movement (1883). • Serge Rachmaninoff (1873–1943), Prelude for Piano in G Minor, op. 23, no. 5 (1901). If you are counting the beats, which is easy to do for these march-like rhythms, you’ll notice one two-beat measure at approximately 0:28 and again around 0:43. • Maurice Ravel (1875–1937), String Quartet in F, first movement (1903). 9780199975563_034-057.L04.indd 47 5/31/13 11:31 AM 3 LESSON 4: RHYTHM AND METER • Igor Stravinsky (1882–1971), Firebird Suite, Berceuse (1910). • “Ol’ Man River” (Jerome Kern, Oscar Hammerstein II, from Show Boat, 1927). The main melody (“Ol’ man river . .”) in quadruple meter is preceded by an introduc- tion notated in duple meter. • “Star Dust” (Hoagy Carmichael, Mitchell Parish, 1929). • “Autumn in New York” (Vernon Duke, from Thumbs Up, 1934). • “A Woman Is a Sometime Thing” (George Gershwin, DuBose Heyward, from Porgy and Bess, 1935). • “I’ll Be Around” (Alec Wilder, 1942). • “I Have Dreamed” (Richard Rodgers, Oscar Hammerstein II, from The King and I, 1951). • “Where is Love?” (Lionel Bart, from Oliver!, 1960). • “Losing My Mind” (Stephen Sondheim, from Follies, 1971). • Fifteen Character Pieces: Etude, Invention, Folk Song, Scherzo. 9780199975563_034-057.L04.indd 48 5/31/13 11:31 AM.