The music examples are to illustrate the use of the gesture and have been found practical for class work.
In practising these gestures with the music examples, the movement must always be expressive of the character of the music.
Sharp and energetic movements for music of an accentuated character, and moderate, gentle movements for music of a corresponding nature.
The accent is executed by a sharp, quick arm movement. Great care must be taken to execute each movement, even the most gentle pianissimo, clearly and with authority.
In all the diagrams shown the following principles are adhered to:—
1. The heavy or accented beat is indicated by a dark arrow.
2. The light or unaccented beat is indicated by an unshaded arrow.
3. The semi-accented beat is indicated by a semi-shaded arrow.
4. All subdivisions are indicated by dotted lines.
5. The fundamental beats are described with the arm movement, while subdivisions are performed with the wrist. In this manner, a clear indication of the fundamental beat is always maintained.
DIAGRAM Nᵒ. 1
Fundamental method of beating 2/2, 2/4 time.
DIAGRAM Nᵒ. 2
Actual method of beating 2/2, 2/4,
and fast 6/8 and 6/4 time.
EXAMPLE Nᵒ. 1 for DIAGRAM Nᵒ. 2
[[Listen]]
| Accented 1st beat:— | [[Listen]] |
|
| Accented 2nd beat:— | [[Listen]] |
DIAGRAM Nᵒ. 3
Normal subdivision of 2/2 and 2/4 time.
N.B.The subdivision of each beat is
indicated by the word “and”.
DIAGRAM Nᵒ. 4
Method of beating 6/8, 6/4 time when only 2 beats in a measure are required. To be used also for slow 2/4 time.
DIAGRAM Nᵒ. 5
Accented subdivision of 2/2 and 2/4 time.
EXAMPLE Nᵒ. 3 for DIAGRAM Nᵒ. 5
[[Listen]]
DIAGRAM Nᵒ. 6
6/4 or 6/8 time. (Modern French Method) 6/4 or 6/8 time is a subdivision of 2/2 or 2/4 time.
DIAGRAM Nᵒ. 6a
Old method of beating slow 6/8 time.
The disadvantage of this method is that the 6th beat is out of proportion with the others. In diagram Nᵒ. 6 the long beat comes on the 4th or naturally accented beat of the measure, whereas in 6a the 6th or last beat in the measure is apt to be unduly accented.
EXAMPLE Nᵒ. 4 for DIAGRAM Nᵒ. 6 and 6a
[[Listen]]
| A—With accent on 1st beat. | [[Listen]] |
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| B—With accent on 2nd beat. | [[Listen]] |
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| C—With accent on 3rd beat. | [[Listen]] |
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| D—With accent on 4th beat. | [[Listen]] |
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| E—With accent on 5th beat. | [[Listen]] |
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| F—With accent on 6th beat. | [[Listen]] |
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| G—With accent on 1st and 4th beat. | [[Listen]] |
DIAGRAM Nᵒ. 7
Fundamental method of beating 3/2, 3/4 or 3/8 time.
DIAGRAM Nᵒ. 8
Actual method of beating 3/2, 3/4 or 3/8 time.
| B—With accent on 1st beat. | [[Listen]] |
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| C—With accent on 2nd beat. | [[Listen]] |
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| D—With accent on 3rd beat. | [[Listen]] |
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| E—Accent on 1st and 3rd beat. | [[Listen]] |
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| F—Waltz—Accent on 1st beat. | [[Listen]] |
|
| Polonaise G—Accent on all 3 beats. |
[[Listen]] |
DIAGRAM Nᵒ. 9
Normal subdivision of 3/2, 3/4 or 3/8 time.
EXAMPLE Nᵒ. 6 for DIAGRAM Nᵒ. 9
[[Listen]]
DIAGRAM Nᵒ. 10
Accented subdivision of 3/2, 3/4 or 3/8 time.
EXAMPLE Nᵒ. 7 for DIAGRAM Nᵒ. 10
[[Listen]]
DIAGRAM Nᵒ. 11
9/8 Time. Only for very slow tempos.
Otherwise, beat 3.
EXAMPLE Nᵒ. 8 for DIAGRAM Nᵒ. 11
[[Listen]]
DIAGRAM Nᵒ. 12
Fundamental method of beating 4/2, 4/4 and 4/8 time.
DIAGRAM Nᵒ. 13
Actual method of beating 4/2, 4/4 and 4/8 time.
EXAMPLE Nᵒ. 9 for DIAGRAM Nᵒ. 13
[[Listen]]
| A—With accent on 1st beat. | [[Listen]] |
|
| B—With accent on 2nd beat. | [[Listen]] |
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| C—With accent on 3rd beat. | [[Listen]] |
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| D—With accent on 4th beat. | [[Listen]] |
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| E—With accent on 1st and 3rd beat. | [[Listen]] |
DIAGRAM Nᵒ. 14
Normal subdivision of 4/2, 4/4 and 4/8 time.
EXAMPLE Nᵒ. 10 for DIAGRAM Nᵒ. 14
[[Listen]]
DIAGRAM Nᵒ. 15
Accented subdivision of 4/2, 4/4 and 4/8 time.
EXAMPLE Nᵒ. 11 for DIAGRAM Nᵒ. 15
[[Listen]]
DIAGRAM Nᵒ. 16
12/4 or 12/8 time.
12/8 time is really a subdivision of 4/4 time.
EXAMPLE Nᵒ. 12 for DIAGRAM Nᵒ. 16
[[Listen]]
DIAGRAM Nᵒ. 17
5/4 or 5/8 time.
This 5/4 or 5/8 time is a compound rhythm of
(2-3)/4 or (2-3)/8 time.
EXAMPLE Nᵒ. 13 for DIAGRAM Nᵒ. 17
[[Listen]]
DIAGRAM Nᵒ. 18
5/8 or 5/4 time.
This 5/8 or 5/4 time is a compound
of (3-2)/8 or (3-2)/4 time.
EXAMPLE Nᵒ. 14 for DIAGRAM Nᵒ. 18
[[Listen]]
DIAGRAM Nᵒ. 19
Method of conducting slow 5/4 time
when the measure
is not subdivided
into (3-2)/4 or (2-3)/4.
EXAMPLE Nᵒ. 15 for DIAGRAM Nᵒ. 19
[[Listen]]
DIAGRAM Nᵒ. 20
7/4 time.
(3-4)/4 or (3-4)/8 time.
EXAMPLE Nᵒ. 16 for DIAGRAM Nᵒ. 20
[[Listen]]
DIAGRAM Nᵒ. 21
7/8 or 7/4 time.
(3-4)/4 or (3-4)/8 time.
EXAMPLE Nᵒ. 17 for DIAGRAM Nᵒ. 21
[[Listen]]