INSTRUCTOR’S MANUAL

CHAPTER 2

RHYTHM, MELODY, HARMONY

LECTURE IDEAS

HARMONY

BEAT

In order to help students differentiate between rhythm and beat, ask them to try tapping a
rhythm pattern with their foot. They will immediately realize our natural perception of
beat, and that it is different from shifting rhythmic patterns. Have them practice finding
the beat with the following examples.
 Vivaldi, Concerto in E major, “The Spring” (DL 24)
 Mozart, Symphony No. 40 (DL 37)
 Musorgsky, Pictures at an Exhibition, “Promenade” (DL 52)

METER

This is a difficult concept for students without a musical background. Teach them the
conducting patterns for duple and triple meter and have the class practice with a few
examples. They should observe the following routine:

 Establish the beat before determining the metrical structure.

 Listen for the accented note, which will identify the downbeat. They should pay
particular attention to the bass, since it often accentuates the downbeat.
 Conduct the patterns. (It is sometimes helpful, once the correct pattern has been
established, to show how odd it feels to conduct a duple meter composition with a
ternary pattern.)

When going over the examples below, make certain that students write down the
examples for review at a later point in time. If they will be responsible for identifying the
metrical structure of listening examples on an exam, it is best to let them know at this
point in time.

Duple examples
 Vivaldi, Concerto in E major, “The Spring” (DL 24)
 Mozart, A Little Night Music, mvt. I (DL 34)
 Copland, Appalachian Spring, Section 7 (DL 77)
 Handel, “Hallelujah” Chorus from Messiah (DL 4)
 Monteverdi, “Toccata from Orfeo (DL 20)

Triple examples

 Handel, Water Music, Minuet (DL 30)

 Ravel, Bolero, (DL 69)
 Josquin, Ave Maria (DL 16; 2:26-3:00)
 Verdi, “Un di felice” from La Traviata (DL 57)

SYNCOPATION

There are numerous examples in the CD set, including the following:

 Machaut, “Kyrie” from Mass of Our Lady (DL 13; 0:18-0:20)

 Haydn, Symphony No. 94, second movement (DL 7; 4:22-5:11)
 Brahms, Lullaby (in accompaniment, DL 5)

DISCUSSION QUESTIONS

1. Listen to the opening minute or two of Bach’s Brandenburg Concerto (DL 26). Is
rhythm a prominent feature of the music? Now compare the rhythmic style of Bach with
the Kyrie of Palestrina’s Missa Papae Marcelli. Is the rhythmic component of
Palestrina’s music more prominent, about the same, or significantly less than that which
we heard with Bach? What gives each its character? If time permits, compare
Schumann’s “Träumerei” (DL 54) with Beethoven’s Pathétique Sonata (DL 42) or
Debussy’s Prelude to The Afternoon of a Faun (DL 67) with Stravinsky’s Rite of Spring
(DL 70; 3:36-end of track)

2. Listen while Alfredo sings the opening section of “Un di felice” from La traviata (DL
57). Is the meter regular while the tempo is treated with great flexibility or is the tempo
regular while the number of beats per measure constantly change?

MELODY

For a comparison between major and minor, have students listen to the third and fourth
ritornello sections in Vivaldi’s “Spring” Concerto (DL 24). While the third ritornello is
in B major and the fourth in C# minor, the violin line offers a pretty clear distinction in
the mode.

In addition to Beethoven’s Ode to Joy, antecedent and consequent phrases can also be
heard in the first theme of Mozart’s A Little Night Music (first movement; DL 34, 0:00-
0:30). Phrase a and c are subdivided into antecedent and consequent phrases while
phrase c also functions as a consequent to the antecedent phrase b. This is an interesting
example of a phrase serving a dual purpose: the subdivided phrases balance the structure
of phrase a while matching the weight of phrase b.
Play the following passages and have students determine whether the melodies are
diatonic or chromatic. They may not be able verbalize their reason but may nevertheless
be able to determine the correct answer.
 Haydn, Concerto for Trumpet (DL 36)
 Bizet, Carmen, Habanera (DL 61)
 Debussy, Prelude to the Afternoon of a Faun (DL 67, 0:00-0:57)
 Copland, Appalachian Spring, Section 7 (DL 77, 1:00-1:40)

Students may also find it intriguing to determine the emotional mood of different
melodies and what the music does to establish that mood. They need to consider aspects
such as tempo, rhythm, timbre, etc. Some of the following selections offer vivid
contrasts:
 Josquin, Ave Maria (DL 16)
 Bach, Brandenburg Concerto No. 5 (DL 26)
 Tchaikovsky, Romeo and Juliet, “Love Theme” (DL 51; 2:58-3:53)
 Musorgsky, Pictures at an Exhibition, “Great Gate of Kiev (DL 53)
 Bizet, Carmen, “Habanera” (DL 61)
 Wagner, Die Walküre, “Ride of the Valkyries” (DL 59)

HARMONY

This topic of harmony can quickly become needlessly complex. Students should be
familiar, however, with the basic concept of consonance and dissonance. Emphasize that
perceptions have changed over time and that many cultures have unique ideas of what
sounds pleasing or harsh. Some students confuse consonance and dissonance with good
and bad sounds. They need to realize that dissonance provides momentum while
consonance gives a sense of rest. The manner in which a composer treats these two
opposing sounds often provides a clue to his or her musical style.

Schubert’s Erlking (DL 48) offers a contrast between chordal and arpeggiated
accompaniment, although in this particular recording it is so rushed that students may
have difficulty in perceiving the difference. (This song also demonstrates the contrast
between major and minor). For an example of a composition featuring nothing but
arpeggiated chords, play Bach’s Prelude in C Major from WTC I.

To illustrate different tonal centers, play the ritornello sections of Vivaldi’s “Spring”
Concerto (DL 24). Note that for the first two ritornello statements, the key is the same.
The third statement is on the dominant, the fourth occurs on the sixth degree of the scale,
while the last two return to the tonic. The process of modulation occurs during the
intervening solo sections.