Staff Notation: Clefs and Key Signatures

The excerpt - in 3/4 meter - shown above is obviously for 3 instruments. The top line repeats a 1-measure motive, while the voice notated on the middle staff moves along in a continuous dotted rhythm. The lowest instrument plays a two-measure figure punctuated by a quarter rest.

For your consideration: 1] What are the clefs and key signature of the excerpt? 2] Where during the course of the 6-measures do complete triads occur on the beat? incomplete ones? 3] What is the significance of the chromaticism?

I am most interested in finding out different musicians’ methodologies in deriving the solution, so do write me a comment explaining your rationale if you have a moment.

Rhythmic Grouping: Counting

When musicians count, we are doing more than just assigning a succession of increasing numbers to the beats. Counting is an expressive pursuit as well. The downbeat, or initial metric unit, is unique in that it serves as the rhythmic center of gravity and is less active than the ensuing metric units. Upbeats are distinguished by their pull to the next downbeat but are not emphasized unless specifically called for by the composer. In triple meters, the middle beat can vary in its intensity. And in quadruple meters, the third beat has a secondary emphasis, while the second beat is perhaps the least dynamic of all.

When a piece begins with an anacrusis, none of this changes. J. S. Bach’s magnificent chorale prelude, O Mensch, bewein’ dein’ Sünde gross, BWV 622, begins with a quarter-note anacrusis, establishing that the first 2-measure phrase ends on the third beat of measure 2. It then follows that each subsequent 2-measure phrase is identical in rhythmic organization.

I believe there is something unusual about the way the piece is notated. If we listen to it without knowing in advance that it is in 4/4 meter and that it begins with an anacrusis, how would we count along as we listen? Would we recite ‘4 & 1 & 2 & 3 &’ without giving it a second thought? I have tried this as I listen, and don’t feel it to be the proper inflection in the case of this chorale prelude. Instead, ‘! & 2 & 3 & 4 &’ feels right, as if there is no anacrusis.

Organists and others are most welcome to offer their comments.

Rhythmic Grouping: Rests

The term 'rhythmic grouping' or simply, 'grouping' describes the way in which notes, motives, phrases and larger units are organized in a specific composition.

In the opening of Symphony No. 4 by Brahms, quarter rests delineate each statement of a two-note motive. Four rhythmically equal gestures connect to form a single phrase. This is perhaps the simplest possible illustration of how rests are part of a rhythmic group, rather than separate from the group. There is no question that the violinists here will taper each half note into the ensuing rest, stopping the motion of the bow for the duration of the rest. A change of bow direction takes place during the rest as well.

Now on to the main point of this post: in my experience as a collaborative pianist/organist with singers and as an avid listener of lieder and opera, I am troubled by the fact that, most of the time, singers do not observe rests at the ends of rhythmic groups. The biggest names in vocal performance are just as remiss in this regard as the most amateur singer. What could possibly be the reason behind this disregard for the composers' markings?

Anyone who has sung in a chorus knows the hard work that goes into making all cutoffs perfectly together. Choral directors are constantly reminding the singers to watch especially at the ends of phrases - why? so that the sound turns into silence at a precise moment in time. One would think that highly trained 'professional' singers would take this wonderful structural aspect of the music more seriously, but they do not. I'm relatively certain that they are unaware of the problem.

All comments are welcome.