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April 9th, 2014, 12:43 PM   #11
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Quote:
 Originally Posted by soroban Speaking of West Side Story, consider four consecutive triplets. Recite this phrase: DA-da-da, DA-da-da, DA-da-da, DA-da-da. Now in the last two triplets, accent every other note: DA-da-da, DA-da-da, DA-da-DA-da-DA-da.
I believe Stravinsky did something similar in The Rite of Spring.

And Bruckner was very fond of this rhythmic motif: DA-da DA-da-da DA-da DA-da-da … (the accented DA’s being equally spaced in time). Listen to it, for example, in the opening of the Fourth Symphony.

 April 12th, 2014, 07:01 PM #12 Math Team   Joined: Dec 2006 From: Lexington, MA Posts: 3,267 Thanks: 408 More unusual rhythms The first movement of Gustaf Holtz's Hymn of Jesus is in 5/4. It was my first experience with unusual rhythms. It went: $\displaystyle \;|\,\blacksquare\!\blacksquare\,\blacksquare\! \blacksquare\,\blacksquare\,|\, \blacksquare\!\blacksquare\,\blacksquare\! \blacksquare\,\blacksquare\,|$ That was years before Dave Brubeck's Take Five: $\displaystyle \qquad \blacksquare\, \blacksquare\!\blacksquare\,\blacksquare\, \blacksquare\!\blacksquare\,\blacksquare\! \blacksquare\,\blacksquare\!\blacksquare$ And the Mission Impossible theme. $\displaystyle \qquad\blacksquare\,\square\,\square\,\blacksquare \!\blacksquare\,\square\,\blacksquare\! \blacksquare\,\blacksquare\!\blacksquare$ Brubeck has this in Blue Rondo ala Turk (9/8): $\displaystyle \quad$ DA-da, DA-da, DA-da, DA-da-da He also had Unsquare Dance in 7/4. $\displaystyle \qquad \blacksquare\,\times\,\blacksquare\,\times\, \blacksquare \,\times\,\times$ where the $\displaystyle \times$'s were handclaps. I believe The Terminator theme is in 7/4. Thanks from Olinguito
 April 13th, 2014, 02:55 AM #13 Senior Member     Joined: Apr 2014 From: Greater London, England, UK Posts: 320 Thanks: 155 Math Focus: Abstract algebra One of the best known examples of 5/4 time in classical music is the second movement of Tchaikovsky’s Sixth Symphony, the Pathétique.
 April 16th, 2014, 04:02 PM #14 Math Team   Joined: Dec 2006 From: Lexington, MA Posts: 3,267 Thanks: 408 Did you know that the opening passage of Stravinsky's Rite of Spring is not played by an oboe? It is a bassoon playing above its normal range. Thanks from Olinguito
 April 21st, 2014, 07:27 PM #15 Math Team   Joined: Dec 2006 From: Lexington, MA Posts: 3,267 Thanks: 408 You mentioned the whole-tone scale: $\displaystyle \; C\:D\:E\:F\sharp\:G\sharp \:A\sharp\:\text{ or }\:D\flat\:E\flat \:F\:G\;A\;B$ I "discovered" it prior to my Music theory courses. I was noodling on a piano at school and ran across it. I found it to be the creepiest set of notes. $\displaystyle \;$Anything I played sounded like the soundtrack from a horror movie. Later my music theory teacher mentioned that the theme from the old radio show "The Whistler" was written in a whole-tone scale. He even whistled the theme for us, something I never mastered. He taught us how to do quarter-note triplets. $\displaystyle \;$He said walk slowly, counting ONE-two-three, FOUR-five six with each step. $\displaystyle \;$Once you get that rhythm going, snap your fingers on One, Three, and Five. It is a bit unsettling, but with a little practice, you'll get it. Thanks from Olinguito
April 22nd, 2014, 04:43 AM   #16
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Quote:
 Originally Posted by soroban He taught us how to do quarter-note triplets. $\displaystyle \;$He said walk slowly, counting ONE-two-three, FOUR-five six with each step. $\displaystyle \;$Once you get that rhythm going, snap your fingers on One, Three, and Five. It is a bit unsettling, but with a little practice, you'll get it. [/size]
I know that. Apparently Dvořák was very fond of this switching – have a listen, for example, to the powerful scherzo of his Sixth Symphony. In the scherzo of his Seventh Symphony he does even better: the music is written in fast 6/4 time with the rhythm divided between two sets of three crotchets to the bar and three sets of two crotchets to the bar.

I believe the technical name for this is hemiola.

 April 24th, 2014, 03:21 PM #17 Math Team   Joined: Dec 2006 From: Lexington, MA Posts: 3,267 Thanks: 408 $\displaystyle CE\flat G$ and $\displaystyle BDF\sharp$ walk into a bar. The bartender says, "We don't serve minors here." Thanks from Olinguito

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