SIMPLE AND COMPOUND METERS THE FOUR BEAT 117

TWO CHORALES
Johann Sebastian Bach

These two chorales by J. S. Bach should lead to a discussion of phras-

ing and the fermata (hold) after each phrase. More recently, we have
dispensed with the stops after each short phrase and have decided to
combine and elongate them. In the "Jesu, Priceless Treasure," the author
would suggest a continuous phrase until after "to me," succeeded by an-
other terminating in "tor Thee," followed, without further interruption, by
a build to the end. It is probable that the stops were important when these
chorales were sung by congregations; however, both the melody and the
harmony provide a natural cadence which make the fermata and a complete
stop unnecessary. It would be advisable for students to do further research
on this subject.

(A) "Jesu, Priceless Treasure"

r.\
r.\

Je - su, price - less

f
ure, Source of pur est pleas ure,
Long my heart hath ed Till it well- nigh faint ed,
_J ~ .d

True - est to mel

Thine I am, 0 spot - less Lamb!
Thee.

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I will suf - fer nought to_ hide

.J ..i .l--n_ #d
Thee, Ask for

J
nought be - side

n [] J J.D
Thee .

11

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 1

TERMINOLOGY
I. Common Tempp'1Indications
Larghissimo, very broad
Largo, broad
Lento, slow
Adagio, slow
Andante, walking
Moderato, moderate
Allegretto, rather fast
A11 egro, fast
Vivace, lively
Presto, very fast
Prestissimo, very, very fast

II. Modifying Expressions

Assai, very
Molto, much
un poco, a little
(rna) non troppo, (but) not too much so
(rna) non tanto, (but) not too much so
con affetuoso, with pathos
cantabile, singing
con mota, with motion
maestoso, majestically
sostenuto, smooth and sustained
agitato, agitated
appassionato, passionately
con brio, with vigor and spirit
con fuoco, with fire and animation
con spirito, with much spirit
giusto, steady and precise
grazioso, gracefully
1 'istesso tempo, in the same tempo
tempo giusto, in exact time
III. Tempo Nuance
accelerando, quickening
stringendo, pressing, accelerating
poco a poco animato, little by little getting animated
piu mosso, more animated
ritardando, slackening
ritenuto, holding back
allargando, enlarging, widening
.meno mosso, less animated
 IV. Dynamic Expressions
pianississimo, ppp very, very soft
pianissimo, pp very soft
piano, p soft
mezzo-piano, mp moderately soft
forte, f loudly
fortissimo, ff very loudly
fortississimo, fff as loudly as possible
mezzo-forte, mf moderately loud
forte-piano, fp loudly followed immediately by softly
sforzando, sf or sfz indicates that a single tone or chord is to be accented
rinforzando, rinf. reinforced, an increase in power extending through a passage
crescendo, gradually becoming louder
decrescendo, gradually becoming softer
morendo, gradually dying away, i.e. becoming slower
perdendosi, gradually becoming softer by very small degrees
con espressione, with expression
con tenerezza, with tenderness
pesante, very heavy
dolce, gently, sweet
giocoso, humorously
pomposo, pompously
scherzando, jokingly
sotto voce, with subdued voice

V. Italian Score terminology

Area, bow
a 2, by two or both players
a 3, by three or more players
attacca, begin the next or begin here
con sardine, with mute
corda, string
divisi, divided parts
lunga pausa, long pause
ponticello, near the bridge
sempre, always
senza sordino, without mute
simile, in like manner
sordino, mute
subito, suddenly
sul taste, on br near the finger board
tutti, together or all together
via sordina, remove mute
V.S. (volta subito, turn the page quickly
poco , a 1itt 1e
piu, more
meno, less
con, with
rna non, but not
molto, much
leggiero, lightly
pizzicato, plucked
i s s i mo , most
ietto, less
 3

... - - ..
VI. String Terminology
Clefs o;een strin~s Transposition
Violin T g d' a' e ' sounds aa writter
Viola ~ Gt\L fl, c g d' af sounds as wr1tter
Violoncello '(' .< ~ c Gd a sounds as writter.
Dou'::>le bass (: EE AA D G sounds octave
lower than writte

!talian French
cord a string Saite corde
frog,nut,heel Frosch talon
punta d'arco at the tip Spitze pointe
sul tasto on the finger .... am Griffbrett sur la touche
board
sul ponticello near the bridge am Steg sur le chevalet
col legno with the wood mit Holz avec le bois
eon sordinc wit.h mute mit DM.mpfer sourdine
senzasordini without mu.tes ohne Dlmpfern sans sourd1nes

Unmeasured bow tremolo:

measured bow tremolo:

Natural harmonics:
Artificial harmonics:
r
VII. Brass Terminology
Italian English German French
co:rno horn Horn cor
trcmba trumpet
trombone Pozaune
VIII. Woodwind terminology
Italian ng_,~ish Germar1 French
If
flauto piccolo piccolo kleine Flpte petite r1ate
oboe hautboj.s
corno inglese English horn cor angla.1s
bassoon Fagott
 Terminology (cont'd) Page 4.
... ~ .. -
IX, .Percu~~1.on Term5.nology
____ __
ItuJ.la.n
.,.. . French

tamburo snare d1~u:m kle:i.ne lJ'rommel ta.mbou.r

g::an cae~a baas d:tum grosse 'l'ronu-nel grosse-caissa
timpani k(lttledr'WiUi Pe.uken timbales

.... -.-

 NAMES OF ORCHESTRAL
INSTRUMENTS

ENGLISH GERMAN FRENCH ITALIAN

Piccolo Kleine Flote Petite Flute Flauto piccolo, Ottavino

Flute Grosse Flote Grande Flute Flauto
Alto Flute Altflote Flute en sol Flauto contralto
Oboe Hoboe Hautbois Oboe
English Horn Englisches Hom Cor Anglais Como inglese
Clarinet Klarinette Clarinette Clarinet to
Bass Clarinet Bassklarinette Clarinette basse Clarinetto basso
Bassoon Fagott Basson Fagotto
Contra bassoon Kontrafagott Contrebasson Contrafagotto
Saxophone Saxophon Saxophone Sassofono
Horn Horn Cor Como
Trumpet Trompete Trompette Tromba
Trombone Posaune Trombone Trombone
(Bass) Tuba Tuba, Basstuba Tuba (basse) Tuba (bassa)
Timpani Pauken Timbales Timpani
Bass Drum Grosse Trammel Grosse caisse Gran cassa
Snare Drum Kleine Trammel Tambour militaire, Tamburo militare,
caisse cassa
Cymbals Becken Cymbales Piatti
Triangle Triange/ Triangle Triangolo
Glockenspiel
4,
' .
Glockenspiel Glockenspiel,
Carillon
Campanelli

Harp I Harfe Harpe Arpa

Violin ' Violine, Geige Violm1 Violino
Viola :Bratsche Alto Viola
Violoncello, Violoncell Violoncelle Violoncello
Cello
Double Bass
Contrabasse Contrabasso
Klntrabass
Contra Bass
I' , .
. --_ ....,

ix
 TABLE OF TRANSPOSING '\o."4, '.,j, .., I

':J-

INSTRUMENTS

INSTRUMENT KEY ACTUALSOUNDi

.'
. :}
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)

Piccolos c: one octave higher

Qf1at a minor ninth higher
Alto Flute G a perfect fourth lower
Oboe d' Amore A a minor third lower
English Horn .R a perfect fifth lower
Clarinets E-flat a minor third higher
D a major second higher
c as written
B-flat a major second lower
A a minor third lower
Alto Clarinet E-flat a major sixth lower
Bass Clarinet B-flat a major ninth lower
Contrabassoon one octave lower
Saxophones
Soprano B-flat a major second lower
Alto E-flat a major sixth lower
Tenor B-flat a major ninth lower
Baritone E-fla t an octave and major sixth lower
Bass B-flat two octaves and major second lower
Horns B-flat (alto) a major second lower
A a minor third lower
G a perfect fourth lowe(
F a perfect fifth lower
E a m~nor sixth lower
E-flat a major sixth lower
D a minor seventh lower
c one octave lower
B-flat basso a major ninth lower
Trumpets F a perfect fourth higher
E a major third higher
E-flat a minor third higher
D a major second higher
c as written
B-flat a major second lower
A a minor third lower
Double Bass one octave lower

When low notes for the horns are written on the bass staff, the B-flat basso hom sounds
a major second lower than written, the C horn where written, and all the other horns
higher than written: the horn in D a major second higher, the horn in E-flat a minor third
higher, the horn in E a major third higher, the hom in Fa perfect fourth higher, the horn
in G a perfect fifth higher, the hom in A a major sixth higher, and the horn in Bflat alto
a minor seventh higher. Some twentieth-century composers have tried to correct this
illogical procedure by writing notes on tlfe bass staff so that they sound lower than
written, just as on the treble staff; in this case, in order to avoid misunderstanding, a
footnote is usually given explaining the notation.

vii
 Te_mpos- q~ - tuY\e~tA.\ t\o..t"cl...
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l. Wtth t".h. , COV\A.uc..t ~ po-t-km~, Wi~ l-~- c.ue OV\ ~ ~~t"t~t beo.t e4~ loo.r!
1. Set ""V o.n iVWt~\W\o.1'J o,-c.\..t. - pro.c:kce cues. w\t<r. l.h. \W'Il~i~i~~ d\f{-t.reV\t sec.i\o~
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3. CoV'tlu.c.t 314 t4 eue e~ o~er loeo..t.
CoV\clu.c..t "'"' ~ c.'"'~ eve.~ ~ \o~t.
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8. ();~:;rt~ i~ r'i~\i~r! ~ ~ ~ ~ ~ ~ ~ ~ ~ l\
fP ff
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 CONDUCTING EXERCISES
'-"' PATTERN
1. Conduct all patterns with the weight of arm focused in fingers
and rebounding off hard surface at each beat. Practice at
various speeds, preferably slow.
2. Conduct all patterns in the following manner:
one bar with right hand
one bar with left hand
one bar with both hands (the hands should mirror each other so
as to feel equally coordinated in both hands.)

\.../ UPBEAT
1. Practice giving upbeat to: I I I ;
a.),,,, at)= 40, 60, 90, 120
b)
n-.r,.,
It II II ti. __
II

c ) Ir"1 r!"1 .,.-: 7'

l l ,j; J'}; j;~
II

(b.) and c.) think the inner rhythms

within the upbeat.)
2. With one beat preparation, have the class sing downbeat of third bar.

v SUBDIVISION
1. Conduct with left hand the beat, with right hand the subdivision,
and vice versa.
2. f
Start conducting the subdivision at = 60, accelerate to = 160;
in the process erase the subdivision, then return to the starting
J
tempo .

.....- CUING
1. With right hand conduct regular beat pattern, with left hand cue
on a different beat each bar. Reverse.
2. Set up imaginary orchestra, place people in each section, practice
cues with each hand while other hand keeps pattern. What cue to
do will be dictated two beats before entrance.
3. Conduct 3/4 pattern and give cue on every other beat.
4. Conduct 9/8 pattern and give cue on every other beat.
5. Conduct 4/4 pattern and give cue on every third beat.
SYNCOPATIONS
1. Practice conducting each pattern and singing an eighth-note
syncopation to each beat. Don't conduct syncopation. The beat
should provide it.
2. Alternately conduct eighth and sixteenth-note syncopations, feeling
more of a quick provoking on the sixteenths.

ARTICULATION
1. Distinguish in conducting: [ E Jj) t ~j) t (I; d J )
':::::- -=::
I I
2 }' 1 f '1 } 7 )' 7 IJ ~, )''I J '1 J 71 ); '1 :. q J 9 ): , I ; ) i !I I~}J) I
3 ~~ ~
ff
r; 1)
II-
i) 11itj 11 1 ) ) ~ ~~ t
ff . If

COORDINATION
1. Conduct regular beat in one hand, the subsivision in the other,
and vice vers.a.
2. Do exercise nos. 3-5 under "cuing" with separate hands.
3. Conduct 2x3 and 3x4 with separate hands.

IN ONE
1. Conduct 2 bars of 2/4 in 2, then 2 bars .i!n .1.; ) = 120
Conduct 2 bars of 3/4 iri. 3, then2 bars in 1;,1 = 190
2. Alternate between duple and triple rhythms in 1. Ensemble
should sing inner rhythms.
3. Conduct a "semi-one" beat pattern, i.e. in a triplet rhythm
conduct 1 and 2 and skip 3. Alternate this pattern with a
straight 1 pattern.

POLYRHYTHMS
1. 2 X 3 6!8 .,.I m i I
7
,,
m
>
-mm
; ! I
~ 3 X 2 3/4 n 1hi
i I
7 ,.
n
, ,

3 X 4 r-iJ
12/8 ,l) , ,;, I), ,,,
' !
iiii 4 X 3 3/ 2 rrn ITTI)
, n-n
7 "7 ,. ..,1"111
? ' ,II
"7
a.) Learn each rhythm separately--be able to conduct beat
pattern and sing syncopation.
b.) Conduct all four consecutively with the eighth-note
remaining the same.
2. Conduct the above by keeping the accents happening at a pulse
of 60.

METRONOMIC MARKINGS
l. Learn 48, 60, 72, 84, 96, 108, 120, 132, 144, 156

VISUAL RHYTHMIC DICTATIONS

1.
4
4 0I tl 'I I I 011I 1
tl I I 'lr.-11
t!

2. ~ J. ),.._,....
I J J. I J J J'--""'I J J ),_I..........~ ll
3. : J J - I t. J. I J t t J I J - - '"-/
I ; If

4.

5.
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6. A J J I ) J I ). J. I I; ). t I d. I
.......__..~

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7. 1 f._..,I J rJ J.._....I t J J : I J. ). I J. ~
I I ) I ~ I J h I I :' I I I tfI ft
"
8. I
"""
I
\c,_..-'
I I I
"--r""
I II I
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9. J\ E 1- I I tlI I~....._/
(_! r; I J t' [.. ,'I
. I.I II I I I 1':'
D
I
10. J t } I ; t r fl I t i' t.. i I f. 1 '7 J 11 Jj_,~ I
(':\

11.
i:
B I
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I !1'"': ~
I' I , I ,
I I ~ I I h I tJ.I I'I
I , I I

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12. I I I I I I I I I I ~. I h I ' I I I ~ II
I
\. _..
I tJ,I II

13. J 1 '7 J I J~ 7 ,~ ., ~ ., I ).............,,h ., 1 I rn ).

'-""'
f. I
II

b r-M1 II IAjPI.._.~,I
"'
Flhl'll
14. 8 1!;;, I ,,, ; 1-1 1111 tf,
15:

16. j J t t ) I { i ,1 E I E ) t r I ~ I
17. 1 J. } ) J J ). I ~ ).
\.....-' -~.1' ... _ /
J' ) )
..__!
J ). I ;". rl 'j '7 J '11 '1
..._~_./
} 'i '7 'I II (subdivided)
r.l

18. a J)) IJ ). J.l~ )))),~/1 }).).fli ),1)}/ ), II (keep eights same)

"---"' ~

19. t J J) J I J J )=I~,~)))~~
...____.... I~ ,J) /' .""'----_ .......
I~ J))) J/ (equal quarters throughout)

20. * ). :. '( I
f
<)
w {f
f. t
pP
E ,I I l (. },I
f
'-
ff:::>-
I d. t 'I J..) - II
21. ~ JJitlJIJ))i)JI)Jll )I
If. f t1lf PI' fff cmt~--- .,__/ ;..__../ rH
I ,I ,I I ,I ;' ,l ,I I , i )' ,I ,I I
J--- , _ , __ .. _.
22. 4 ,

(:>

23. l d. I J. I J. I J ) I J. I J ; I i I ) J ) I J. I ) J J I J. II
....___.. ..__,., .... _ ' - j .........__.,. ....__,
<in one, as much as
possible) f.l

24. l J. I - I r 1 ) I r r ) I - l ) r( I t Jt I - I J JI r J t I J t t I t t ) I
25. 1 J. J. J~J. ) ) ) I J. fj 'l '7 'l ) I ~j 1 } 'f '11 ). /I (in three)

POLYMETERS
1. Conduct 2/4, 3/4, 4/4, 6/4, 9/4, 12/4 successively
2 ! fJ n I ~ JJJ I i n iTJ I 4 ) ) J I J J J ) ,~ I J
3. ~ ; JI~ J 1\.,_.I ~~ J ll ; J ) it J ) J J Ii J ) t 11 ,h J J J I ~

(J.: ,') r.). : ,'>

4. ~~ 1I 1I I 4~ J ,_I 114 ) ,I I A.1 I ,.I
,. j 42 ) ) I a ,.I ,.I "d
";J

s. ~ ;T; 1 i m r; 11 :: ,r;; n 1~ r;;; r, ; J) 1 ~ nnnnrn 1

6. Set metronome at ) = 100 and conduct the following: 2/4 2/4 3/8 : fl
7. Set metronome at J. = 60 and conduct the following: 12/8 4/8 :II