D. Sixteenth Notes

Dividing the Beat Division: Sixteenth Notes

In this chapter, we explore sixteenth notes at the level of the beat subdivision. Since the focus of Chapter 1 is simple-meter quarter-note time signatures, we now have the opportunity to encounter as many as four sixteenth notes in each quarter-note beat. Beaming is helpful here, as it typically groups sixteenth notes into beat-long segments. You will see an exception to this in Exercise 1D-4, which uses broken-beam vocal notation. In this case, other rhythmic and notational clues hint at the exact location of sixteenth notes within each beat and measure.

Now that the length of available rhythmic values has been reduced by a factor of two, tempo—in both performance and practice—is an important consideration. We strongly recommend practicing each of these excerpts at a variety of tempi, including and especially at tempi slower than indicated by the composer or publisher.

Exercise 1D-1: Johann Sebastian Bach, Brandenburg Concerto Number 2 in F major, BWV 1047, Movement 3

Exercise 1D-2: Dmitri Shostakovich, Three Fantastic Dances, Op. 5, Number 3

Exercise 1D-3: Amy Beach, Children’s Album, Op. 36, Number 5, Polka

Exercise 1D-4: Aaron Copland, Old Poem

Exercise 1D-5: Ralph Vaughan Williams, Toccata Marziale

Exercise 1D-6: Ralph Vaughan Williams, Toccata Marziale

Exercise 1D-7: Igor Stravinsky, Octet for Wind Instruments, K041, Movement 1

Exercise 1D-8: Launy Grøndahl, Trombone Concerto, Movement 1

In Exercise 1D-9, consider how the rhythm of measure 10 relates to (and therefore scaffolds) the rhythm of the A-flat to C and C to E-flat gestures in measures 11 and 12. This excerpt also serves as the perfect springboard to what we will cover in Chapter 1E.

Exercise 1D-9: Claude Debussy, Première rhapsodie, L. 116