Page 260 - ESSENTIAL LISTENING TO MUSIC

Example 15.6 > polymeters bœ #œ œ
& ( 68 ) œ œ œ # œ b œ œ œ œ œ # œ b œ œ œ œ # œ
b & ( 78 ) œ œ b œ œ œ œ b œ œ œ œ œ œ œ œ œ œ b œ œ œ œ b œ œ œ œ œ œ œ œ œ œ b œ œ œ œ b œ œ œ œ œ œ œ œ
Bbclarinet &58œœœœbœœœœœœ œœœœbœ œœœœœ œœœœbœ œœœœœ ()
polyrhythm
Not only do individual parts often play separate meters, but they also some- times project two or more independent rhythms simultaneously. Look at the reduced score given in Example 15.7. Every instrument seems to be doing its own thing! In fact, six distinct rhythms can be heard, offering a good example of polyrhythm—the simultaneous sounding of two or more rhythms.
Example 15.7 > polyrhythms
&24œœœœœ œœœœœ œœœœœ œœœœœ
WATCH . . . a demonstration of how various meters can be combined, online.
oboe
E clarinet
bœœ‰ œœ‰ œ œ œ œ
œœ‰ œœ‰ bœœ œœ
œ œ œ œ
bœ œ ‰ œœœœ ‰ œ œ œ œ
œ‰œœ‰œ ≈≈
œ‰œœ‰œ ≈≈
œ‰œœ‰œ ≈≈
flutes
oboes
clarinets
trumpets
violins
cellos
238
f‰‰ 2 bœ œ œ œ
&4 œœ‰ œœ‰
2f
&4œf≈œœ≈œ j
œ≈œœ≈œœ‰Œ bœ œœ œbœ
&24œœœœœœœœœœœœœ ≈œ≈J
bœœœœœœœœ bœœœœœœœœ œœbœœ œœœ bœœœœœœ œœ 2œœœœœœœœ œœœœœœœœ œ œœœ œœœœœœœœ
œœœœœœœœ œœœœœœœœ œœœ œœœœ œœœœœœœœ &4œœœœœœœœœœœœœœœœœœ
j j bœœœœ œœjœ j
?24‰jœ bœ œ j jœ bœ œ j œ J ‰ J ‰ œ ‰ œ œ J ‰ J ‰ œ ‰ œ JJ‰JJ
ostinato figures
Notice also in Examples 15.6 and 15.7 that most of the instruments play the same motive over and over at the same pitch level. Such a repeating figure, as we have seen, is called an ostinato. In this instance we hear multiple ostinatos.
chapter fifteen european impressionism and modernism
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