The Refinement

of Rhythm
Volume 2

Information Pack
This PDF document includes:

Author biographical notes – Bengt-Olov Palmqvist

Bibliographic publication information

Chapter Contents page

The Preface by Prof. Michael Rogers

Complete Demonstration Chapter

(Chapter 4 with MP3 sound file)

Selected Musical Examples from the entire book

(with MP3 sound file)

To order visit
www.refinementofrhythm.com

or email
refinement@tpg.com.au
ȱ
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BengtȬOlovȱPalmqvistȱisȱpresentlyȱtheȱSeniorȱLecturerȱandȱ
CoordinatorȱforȱAuralȱstudiesȱatȱtheȱAustralianȱNationalȱUniversity,ȱ
SchoolȱofȱMusicȱinȱCanberra,ȱAustralia.ȱ
http://www.anu.edu.au/music/study/staff/opalmqvist.phpȱȱ
OriginallyȱfromȱSweden,ȱheȱhasȱaȱB.MusȱfromȱIngesundȱCollegeȱofȱ
Music,ȱArvikaȱandȱisȱaȱMasterȱofȱMusicȱinȱPedagogy,ȱAuralȱandȱMusicȱ
TheoryȱfromȱtheȱRoyalȱCollegeȱofȱMusicȱinȱStockholm.ȱ
ȱ
Olle,ȱasȱheȱisȱaffectionatelyȱknown,ȱisȱaȱleadingȱauthorityȱinȱauralȱtraining.ȱHeȱhasȱanȱ
enviableȱreputationȱinȱseveralȱcountriesȱforȱhisȱhighlyȱsuccessfulȱtuitionȱskillsȱandȱaȱ
personalȱinterestȱinȱtheȱdevelopmentȱofȱrhythmicȱunderstanding.ȱInȱthisȱvolumeȱOlleȱhasȱ
succeededȱinȱmakingȱtheȱmusicalȱinterestȱatȱleastȱasȱstimulatingȱasȱtheȱrhythmicȱ
challenges.ȱ
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Volumeȱ2ȱofȱTheȱRefinementȱofȱRhythmȱisȱanȱextensionȱofȱallȱtheȱrhythmicȱmaterialȱinȱtheȱ
originalȱtextȱtoȱprovideȱfurtherȱaccomplishmentȱandȱtoȱdevelopȱconfidentȱandȱ
authoritativeȱrhythmicȱskillsȱinȱallȱgenresȱofȱmusic.ȱ
ȱ
Pitchȱcanȱdeceiveȱbutȱrhythmicȱproblemsȱareȱblatantȱandȱunforgiving!ȱ
Copyrightȱ©ȱ2006ȱBopacȱ
Firstȱpublishedȱ2006ȱȱ
Author:ȱBengtȬOlovȱPalmqvistȱ
Editors:ȱPeggyȱAnnȱCrosskeyȱandȱAndrewȱKollȱ
ȱ
Cover:ȱFineLineȱDesignȱandȱPublishingȱCanberraȱACTȱ
Email:ȱtanya@finelinedesign.net.auȱ
ȱ
ConductingȱdiagramsȱfromȱEricson,ȱSpångbergȱandȱOhlinȱKördirigeringȱ(ChoirȱConducting)ȱSverigesȱ
KörförbundsȱFörlag,ȱStockholmȱ1974.ȱ
ȱ
PrintedȱbyȱPirion,ȱCanberraȱACTȱ
www.pirion.com.auȱ
ȱ
CDsȱduplicatedȱbyȱQuickȱCopyȱAudioȱServicesȱ
BalcattaȱWAȱ
ȱ
Palmqvist,ȱBengtȬOlov.ȱ
TheȱRefinementȱofȱRhythm,ȱVolumeȱ2:ȱaȱpracticalȱguideȱwithȱsupportingȱCDsȱforȱlearningȱtoȱperformȱfurtherȱ
challengingȱrhythmsȱ
ISBNȱ0Ȭ9751302Ȭ2Ȭ6ȱ
ȱ
OtherȱpublicationsȱbyȱBopac:ȱ
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TheȱRefinementȱofȱRhythmȱVolumeȱ2:ȱSupplementȱforȱRhythmicȱDictationȱ–ȱaȱManualȱwithȱsupportingȱCDsȱtoȱmasterȱ
theȱDictationȱofȱfurtherȱchallengingȱRhythmsȱ
ISBNȱ978Ȭ0Ȭ9751302Ȭ3Ȭ0ȱ
ȱ
TheȱRefinementȱofȱRhythmȱVolumeȱ1:ȱaȱpracticalȱguideȱwithȱsupportingȱCDsȱforȱlearningȱtoȱperformȱincreasinglyȱ
challengingȱrhythmsȱ
ISBNȱ0Ȭ9751302Ȭ0ȬXȱ
ȱ
TheȱRefinementȱofȱRhythmȱVolumeȱ1:ȱSupplementȱforȱRhythmicȱDictationȱ–ȱaȱManualȱwithȱsupportingȱCDsȱtoȱmasterȱ
theȱDictationȱofȱRhythmȱ
ISBNȱ978Ȭ0Ȭ9751302Ȭ1Ȭ6ȱ
ȱ
Visitȱwww.refinementofrhythm.comȱ
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Allȱrightsȱreserved.ȱ
ThisȱbookȱisȱsubjectȱtoȱtheȱCopyrightȱActȱ1968/2001.ȱNoȱpartȱofȱthisȱpublicationȱmayȱbeȱreproduced,ȱstoredȱinȱ
aȱretrievalȱsystem,ȱorȱtransmittedȱinȱanyȱformȱorȱbyȱanyȱmeans,ȱelectronic,ȱmechanical,ȱphotocopying,ȱ
recording,ȱorȱotherwise,ȱwithoutȱtheȱpriorȱpermissionȱofȱtheȱauthor.ȱ
ȱ ix
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Contentsȱ
ȱ
Prefaceȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ xiȱ
Introductionȱȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ xivȱ
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Chapterȱ1ȱ ȱ SubdivisionsȱofȱtheȱBasicȱBeatȱ ȱ ȱ ȱ ȱ 1ȱ
Chapterȱ2ȱ ȱ SingleȱandȱDoubleȱDottedȱFiguresȱ ȱ ȱ ȱ 19ȱ
Chapterȱ3ȱ ȱ ExtendedȱSingleȱandȱDoubleȱDottedȱFiguresȱ ȱ ȱ 27ȱ
Chapterȱ4ȱ ȱ DottedȱFiguresȱwithȱSubdivisionsȱ ȱ ȱ ȱ 33ȱ
Chapterȱ5ȱ ȱ Upbeatsȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ 39ȱ
Chapterȱ6ȱ ȱ InversionȱofȱDottedȱFiguresȱandȱ
ȱ ȱ ȱ SimpleȱSyncopatedȱFiguresȱ ȱ ȱ ȱ ȱ 47ȱ
Chapterȱ7ȱ ȱ SimpleȱSyncopatedȱFiguresȱwithȱSubdivisionsȱ ȱ 55ȱ
Chapterȱ8ȱ ȱ ExtendedȱSyncopatedȱFiguresȱ ȱ ȱ ȱ ȱ 61ȱ
Chapterȱ9ȱ ȱ ExtendedȱSyncopatedȱFiguresȱandȱ
ȱ ȱ ȱ InversionsȱofȱDottedȱFiguresȱwithȱSubdivisionsȱ ȱ 75ȱ
Chapterȱ10ȱ ȱ UnaccentedȱBeatsȱ ȱ ȱ ȱ ȱ ȱ ȱ 83ȱ
Chapterȱ11ȱ ȱ ExtendedȱTripletsȱ ȱ ȱ ȱ ȱ ȱ ȱ 91ȱ
Chapterȱ12ȱ ȱ TripletsȱwithȱSubdivisionsȱ ȱ ȱ ȱ ȱ 99ȱ
Chapterȱ13ȱ ȱ TripletsȱwithȱextendedȱSubdivisionsȱ ȱ ȱ ȱ 105ȱ
ȱ
AsymmetricalȱMetersȱ
Chapterȱ14ȱ ȱ QuintupleȱMetersȱ ȱ ȱ ȱ ȱ ȱ ȱ 113ȱ
ȱ ȱ ȱ a)ȱȱ2ȱ+ȱ3ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ 116ȱ
ȱ ȱ ȱ b)ȱȱ3ȱ+ȱ2ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ 122ȱ
ȱ ȱ ȱ c)ȱȱMixedȱgroupingsȱȱ ȱ ȱ ȱ ȱ ȱ 127ȱ
ȱ ȱ ȱ ȱ
SeptupleȱMetersȱ ȱ ȱ ȱ ȱ ȱ ȱ 129ȱ
ȱ ȱ ȱ a)ȱȱ2ȱ+ȱ2ȱ+ȱ3ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ 130ȱ
ȱ ȱ ȱ b)ȱȱ2ȱ+ȱ3ȱ+ȱ2ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ 131ȱ
ȱ ȱ ȱ c)ȱȱ3ȱ+ȱ2ȱ+ȱ2ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ 132ȱ
ȱ ȱ ȱ d)ȱȱMixedȱgroupingsȱ ȱ ȱ ȱ ȱ ȱ 133ȱ
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Chapterȱ15ȱ ȱ ShiftingȱMetersȱandȱExtensionȱofȱAsymmetricalȱMetersȱ 139ȱ
ȱ ȱ ȱ a)ȱȱConstantȱbeatȱvaluesȱ ȱ ȱ ȱ ȱ ȱ 139ȱ
ȱ ȱ ȱ b)ȱȱVariableȱbeatȱvaluesȱ ȱ ȱ ȱ ȱ ȱ 142ȱ
ȱ ȱ ȱ c)ȱȱVariableȱbeatȱdivisionȱfromȱsimpleȱtoȱcompoundȱ
ȱ ȱ ȱ ȱȱȱȱȱwithȱaȱconstantȱpulseȱ ȱ ȱ ȱ ȱ ȱ 147ȱ
ȱ ȱ ȱ d)ȱȱVariableȱbeatȱdurationȱ ȱ ȱ ȱ ȱ ȱ 150ȱ
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Chapterȱ16ȱ ȱ Hemiolasȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ 153ȱ
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Polyrhythmsȱ
Chapterȱ17ȱ ȱ Tripletsȱ
ȱ ȱ ȱ a)ȱȱ3ȱagainstȱ2ȱ ȱ ȱ ȱ ȱ ȱ ȱ 157ȱ
ȱ ȱ ȱ b)ȱȱ3ȱagainstȱ2ȱwithȱSubdivisionsȱ ȱ ȱ ȱ ȱ 162ȱ
ȱ ȱ ȱ c)ȱȱ3ȱagainstȱ4ȱȱ ȱ ȱ ȱ ȱ ȱ ȱ 165ȱ
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Chapterȱ18ȱ ȱ DupletsȱandȱQuadrupletsȱ
ȱ ȱ ȱ a)ȱȱ2ȱagainstȱ3ȱ ȱ ȱ ȱ ȱ ȱ ȱ 171ȱ
ȱ ȱ ȱ b)ȱȱ4ȱagainstȱ3ȱ ȱ ȱ ȱ ȱ ȱ ȱ 176ȱ
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Chapterȱ19ȱ ȱ Quintupletsȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ 183ȱ
ȱ ȱ ȱ a)ȱȱ5ȱagainstȱ2ȱ ȱ ȱ ȱ ȱ ȱ ȱ 184ȱ
ȱ ȱ ȱ b)ȱȱ5ȱagainstȱ3ȱ ȱ ȱ ȱ ȱ ȱ ȱ 190ȱ
ȱ ȱ ȱ c)ȱȱ5ȱagainstȱ4ȱȱ ȱ ȱ ȱ ȱ ȱ ȱ 196ȱ
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Chapterȱ20ȱ ȱ Septupletsȱ
ȱ ȱ ȱ a)ȱȱ7ȱagainstȱ2ȱ ȱ ȱ ȱ ȱ ȱ ȱ 203ȱ
ȱ ȱ ȱ b)ȱȱ7ȱagainstȱ3ȱ ȱ ȱ ȱ ȱ ȱ ȱ 209ȱ
ȱ ȱ ȱ c)ȱȱ7ȱagainstȱ4ȱȱ ȱ ȱ ȱ ȱ ȱ ȱ 215ȱ
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AppendixȱIȱ ȱ NoteȱandȱRestȱValuesȱ ȱ ȱ ȱ ȱ ȱ xxȱ

AppendixȱIIȱ ȱ SignsȱandȱIndicationsȱ ȱ ȱ ȱ ȱ ȱ xxiiȱ

AppendixȱIIIȱȱ ChordȱChartsȱ ȱ ȱ ȱ ȱ ȱ ȱ xxiiiȱ

AppendixȱIVȱȱ RealisationȱofȱChordȱSymbolsȱ ȱ ȱ ȱ ȱ xxivȱ

AppendixȱVȱ ȱ GlossaryȱofȱTermsȱ ȱ ȱ ȱ ȱ ȱ ȱ xxviȱ

Indexȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ xxviiiȱ

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PREFACEȱ
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Thisȱ newȱ bookȱ isȱ aȱ continuationȱ ofȱ theȱ programȱ ofȱ studyȱ foundȱ inȱ Volumeȱ 1ȱ ofȱ Theȱ
Refinementȱ ofȱ Rhythm,ȱ withȱ whichȱ readersȱ mayȱ alreadyȱ beȱ familiar.ȱ ȱ Inȱ someȱ cases,ȱ theȱ
exercisesȱ areȱ moreȱ advancedȱ extendedȱ versionsȱ ofȱ topicsȱ previouslyȱ studied;ȱ inȱ otherȱ
cases,ȱ newȱ topicsȱ areȱ introduced.ȱ ȱ However,ȱ inȱ allȱ cases,ȱ theȱ sameȱ highȱ standardsȱ ofȱ
pedagogyȱandȱmusicalityȱfoundȱinȱtheȱfirstȱvolumeȱcontinue.ȱ
ȱ
Eachȱ shortȱ andȱ crispȱ chapterȱ followsȱ aȱ consistentȱ organisation.ȱ ȱ First,ȱ briefȱ introductoryȱ
commentsȱ areȱ providedȱ toȱ explainȱ theȱ problemȱ orȱ situationȱ explored.ȱ ȱ Theseȱ commentsȱ
shouldȱ notȱ beȱ glossedȱ overȱ asȱ theyȱ frequentlyȱ containȱ powerfulȱ instructionalȱ aidsȱ andȱ
insiderȱadviceȱregardingȱhowȱtoȱapproachȱtheȱissueȱatȱhand.ȱȱNext,ȱpreparatoryȱmaterialȱisȱ
provided,ȱ alongȱ withȱ valuableȱ comparativeȱ chartsȱ displayingȱ theȱ branchingȱ outȱ ofȱ moreȱ
ornamentedȱversionsȱofȱtheȱbasicȱbuildingȱblocks.ȱȱTheseȱchartsȱmakeȱclearȱhowȱaȱwholeȱ
setȱ ofȱ apparentlyȱ differentȱ rhythmsȱ onȱ theȱ surfaceȱ canȱ shareȱ commonȱ underpinnings.ȱȱ
Melodicȱexercises,ȱcanons,ȱandȱimprovisationsȱroundȱoutȱeachȱchapterȱwithȱanȱabundanceȱ
ofȱpracticeȱmaterial.ȱ
ȱ
Theȱ overallȱ formȱ ofȱ theȱ entireȱ bookȱ hasȱ itsȱ ownȱ structureȱ asȱ well.ȱ ȱ Eachȱ chapterȱ buildsȱ
logicallyȱ fromȱ whatȱ hasȱ comeȱ before,ȱ sometimesȱ withȱ slightȱ overlapsȱ fromȱ previousȱ
chaptersȱorȱpreviewsȱofȱupcomingȱones,ȱsoȱthatȱanȱorganicȱthreadȱofȱgrowthȱandȱprogressȱ
forȱ theȱ studentȱ canȱ beȱ feltȱ runningȱ throughoutȱ theȱ book.ȱ ȱ Individualȱ problemsȱ areȱ firstȱ
presentedȱ separatelyȱ andȱ thenȱ laterȱ mixed,ȱ whichȱ supportsȱ theȱ feelingȱ ofȱ graduallyȱ
accumulatingȱknowledgeȱandȱpedagogicalȱmomentum.ȱȱOneȱfeelsȱdrawnȱtowardȱtheȱendȱ
ofȱtheȱtextȱinȱtheȱsameȱwayȱasȱaȱmusicalȱscaleȱseeksȱresolution.ȱȱTheȱbookȱculminates,ȱinȱtheȱ
finalȱ chapters,ȱ inȱ aȱ dazzlingȱ displayȱ ofȱ polyrhythms,ȱ whichȱ mimics,ȱ toȱ aȱ smallerȱ degree,ȱ
theȱmasterȱplanȱforȱtheȱentireȱbook.ȱ
ȱ
Oneȱ featureȱ ofȱ specialȱ interestȱ andȱ valueȱ isȱ theȱ emphasisȱ onȱ musicȱ involvingȱ veryȱ slowȱ
temposȱbutȱwithȱmanyȱintricateȱfastȱnotesȱ(forȱexample,ȱslowȱmovementsȱofȱHaydnȱpianoȱ
sonatas),ȱ asȱ wouldȱ beȱ foundȱ whenȱ multipleȱ levelsȱ ofȱ subdivisionsȱ andȱ numerousȱ
embellishmentsȱareȱused.ȱȱUnderȱsuchȱconditions,ȱstudentsȱoftenȱslipȱoffȱtheȱmetricȱgrid,ȱ
loosingȱtrackȱofȱtheȱmainȱbeatsȱandȱespeciallyȱtheȱsubȬbeats.ȱȱThisȱbookȇsȱapproachȱ(withȱ
theȱ preciselyȱ alignedȱ comparisonȱ charts,ȱ forȱ example,ȱ andȱ theȱ appropriateȱ referenceȱ
markersȱ tuckedȱ insideȱ eachȱ bar)ȱ providesȱ aȱ wayȱ toȱ understandȱ suchȱ potentiallyȱ
disorientingȱ andȱ overwhelmingȱ torrentsȱ ofȱ varyingȱ timeȱ valuesȱ andȱ alsoȱ providesȱ aȱ
generousȱ amountȱ ofȱ practicalȱ materialȱ forȱ rehearsalȱ toȱ assistȱ inȱ maintainingȱ rhythmicȱ
focus.ȱ
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Theȱ studyȱ ofȱ rhythm,ȱ inȱ oneȱ sense,ȱ isȱ theȱ studyȱ ofȱ patternȱ perceptionȱ andȱ groupingsȱ ofȱ
similarȱtimeȱvalues,ȱratherȱthanȱsimplyȱtheȱstudyȱofȱstringsȱofȱunrelatedȱorȱisolatedȱnotesȱ
andȱ rests.ȱ ȱ Suchȱ groupingsȱ areȱ likeȱ vocabularyȱ inȱ aȱ language;ȱ theyȱ areȱ theȱ foundationȱ ofȱ
xiiȱ ȱ
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longerȱ phrasesȱ andȱ musicalȱ effects.ȱ ȱ Iȱ particularlyȱ likeȱ theȱ wayȱ thisȱ bookȱ presentsȱ andȱ
teachesȱ theseȱ underlyingȱ motifsȱ ofȱ rhythmȱ throughȱ familyȱ resemblanceȱ andȱ notȱ asȱ
incompatibleȱcollectionsȱofȱtimeȱvalues.ȱȱTheseȱrecurringȱpatternsȱareȱsometimesȱcontainedȱ
withinȱtheȱbarȱlinesȱbutȱoftenȱareȱspreadȱacrossȱthemȱwhenȱupbeatsȱareȱinvolved.ȱ
ȱ
Thereȱ are,ȱ ofȱ course,ȱ anȱ infiniteȱ numberȱ ofȱ durationalȱ stringsȱ foundȱ inȱ musicȱ butȱ aȱ
relativelyȱsmallȱnumber,ȱseveralȱdozenȱperhaps,ȱofȱmoreȱfundamentalȱpatternsȱthatȱshowȱ
upȱ againȱ andȱ again,ȱ evenȱ inȱ veryȱ sophisticatedȱ andȱ advancedȱ music.ȱ ȱ Thisȱ bookȱ doesȱ aȱ
masterfulȱ jobȱ ofȱ identifyingȱ andȱ teachingȱ theȱ recurringȱ archetypes,ȱ whichȱ increasesȱ theȱ
chancesȱofȱtheȱmoreȱunusualȱonesȱtakingȱcareȱofȱthemselves.ȱȱTheȱȈoddȈȱpatternsȱcanȱoften,ȱ
inȱfact,ȱbeȱunderstoodȱandȱperformedȱasȱvariationsȱofȱtheȱprimaryȱfiguresȱbutȱonlyȱifȱoneȱ
knowsȱtheȱmoreȱcommonȱonesȱfirst.ȱȱBothȱbooksȱinȱthisȱseries,ȱthen,ȱteachȱnotȱjustȱmindlessȱ
streamsȱ ofȱnotesȱ butȱ ratherȱ theȱ fullerȱ languageȱ andȱ unifiedȱ vocabularyȱ ofȱ rhythm.ȱ ȱ Theyȱ
teachȱtheȱstudentȱtoȱrecogniseȱthatȱwhatȱatȱfirstȱappearanceȱmightȱseemȱtoȱbeȱnoveltiesȱareȱ
oftenȱmerelyȱȈoldȱfriendsȈȱinȱdisguise.ȱ
ȱ
Finally,ȱtheseȱbooksȱwouldȱbeȱofȱlittleȱpracticalȱvalueȱifȱtheyȱwereȱnotȱsoȱmuchȱfunȱtoȱuse.ȱȱ
Afterȱ all,ȱ theyȱ willȱ notȱ doȱ anyȱ goodȱ ifȱ theȱ studentsȱ doȱ notȱ wantȱ toȱ practice.ȱ ȱ Andȱ whoȱ
couldȱblameȱthemȱifȱtheȱexercisesȱwereȱdryȱandȱboring?ȱȱButȱhappilyȱinȱthisȱcase,ȱtheȱmanyȱ
boldȱ andȱ surprisingȱ twistsȱ ofȱ melodyȱ andȱ turnsȱ ofȱ harmonicȱ progressionȱ areȱ delightful,ȱ
engaging,ȱandȱsometimesȱhumorous.ȱȱJustȱtheȱrightȱamountȱofȱpredictabilityȱandȱrepetitionȱ
forȱlearningȱtoȱtakeȱplaceȱandȱhiddenȱtrapsȱforȱtheȱunwaryȱseemȱblendedȱtogetherȱsoȱthatȱ
instructionalȱ reliability,ȱ aestheticȱ flair,ȱ andȱ joyfulȱ pleasureȱ areȱ allȱ accountedȱ forȱ andȱ
equallyȱbalanced.ȱȱTheseȱmaterialsȱwillȱbeȱappreciatedȱbyȱanyoneȱwantingȱtoȱgoȱbeyond,ȱinȱ
difficultyȱ level,ȱ whatȱ theȱ firstȱ volumeȱ provides,ȱ andȱ especiallyȱ byȱ thoseȱ wanting,ȱ andȱ
needing,ȱmaterialȱforȱtheȱchallengesȱofȱ20thȱandȱ21stȱCenturyȱrepertoire.ȱ
ȱ
Ifȱintuitionȱenrichmentȱisȱtheȱgoalȱofȱallȱgoodȱmusicȱteaching,ȱandȱIȱbelieveȱitȱis,ȱthenȱthisȱ
bookȱandȱitsȱpredecessorȱareȱgoldȱminesȱofȱpedagogicalȱwealth.ȱȱIntuitionȱbroadlyȱdefined,ȱ
inȱ myȱ opinion,ȱ includesȱ theȱ notionȱ ofȱ aȱ richȱ experientialȱ dataȱ baseȱ suppliedȱ byȱ focusedȱ
instruction,ȱaȱstockpileȱofȱpreviousȱperceptionsȱandȱfeelingsȱsoȱvastȱandȱdeepȱthatȱitȱcanȱbeȱ
drawnȱ fromȱ atȱ theȱ appropriateȱ momentȱ naturallyȱ andȱ withoutȱ consciousȱ thought.ȱ ȱ Asȱ Iȱ
statedȱatȱtheȱendȱofȱmyȱPrefaceȱtoȱtheȱfirstȱvolume,ȱȈTheȱpromiseȱofȱthisȱbookȱisȱtoȱprovideȱ
justȱsuchȱexperience.Ȉȱ
ȱ
Theȱappearanceȱofȱthisȱsecondȱvolumeȱreinforcesȱtheȱideaȱandȱremindsȱusȱthatȱtheȱstudyȱofȱ
rhythmȱ isȱ ofȱ almostȱ boundlessȱ scopeȱ andȱ endlessȱ valueȱ inȱ theȱ acquisitionȱ ofȱ
comprehensiveȱmusicianship.ȱȱTheȱfirstȱvolumeȱcanȱnowȱbeȱseenȱasȱonlyȱtheȱbeginningȱofȱaȱ
longȱ butȱ stimulatingȱ journeyȱ towardȱ totalȱ performanceȱ mastery.ȱ ȱ Thisȱ journeyȱ
unfortunatelyȱ remainsȱ untravelledȱ byȱ tooȱ manyȱ studentsȱ ofȱ collegeȱ levelȱ orȱ universityȱ
auralȱ theoryȱ classes;ȱ studentsȱ whoseȱ learningȱ environmentȱ hasȱ oftenȱ beenȱ narrowlyȱ
focusedȱmainlyȱonȱpitchȱaccuracy.ȱȱTheȱsecondȱvolumeȱhasȱnowȱopenedȱupȱanotherȱdoorȱ
thatȱfewȱwillȱhaveȱeverȱsteppedȱthroughȱwithȱitsȱthoroughȱdocumentationȱthatȱrhythmȱisȱaȱ

ȱ
ȱ xiii
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muchȱ moreȱ extensiveȱ topicȱ thanȱ previouslyȱ imaginedȱ andȱ oneȱ worthyȱ ofȱ theȱ generousȱ
treatmentȱthatȱitȱreceivesȱhere.ȱ
ȱ
Withȱtheȱcompletionȱofȱtheseȱtwoȱnewȱvolumes,ȱthen,ȱnoȱlongerȱcanȱaȱlackȱofȱappropriateȱ
andȱ effectiveȱtrainingȱmaterialsȱbeȱcitedȱasȱanȱ excuseȱ forȱ avoidingȱ theȱ studyȱofȱ rhythmicȱ
performanceȱ asȱ aȱ subjectȱ inȱ itsȱ ownȱ right.ȱ ȱ Rhythmȱ noȱ longerȱ willȱ needȱ toȱ playȱ theȱ poorȱ
stepȬchildȱtoȱinstructionȱinȱpitchȱrelationships.ȱȱAllȱaspectsȱofȱmelodicȱstructureȱcanȱnow,ȱ
finally,ȱ beȱ understoodȱ andȱ studiedȱ asȱ coȬequals.ȱ ȱ Inȱ thisȱ sense,ȱ theȱ availabilityȱ ofȱ suchȱ
textbooksȱ inȱ theȱ marketplaceȱ canȱ beȱ seenȱ asȱ aȱ crucialȱ turningȱ pointȱ andȱ landmarkȱ
achievementȱinȱtheȱpedagogyȱofȱauralȱskills.ȱ
ȱ
Theȱ appearanceȱ ofȱ thisȱ secondȱ volumeȱ alsoȱ remindsȱ usȱ ofȱ theȱ internationalȱ statureȱ ofȱ itsȱ
author,ȱ BengtȬOlovȱ Palmqvist,ȱ who,ȱ inȱ preparingȱ andȱ testingȱ theseȱ materials,ȱ hasȱ nowȱ
presentedȱ dozensȱ ofȱ workshopsȱ andȱ classroomȱ teachingȱ demonstrationsȱ throughoutȱ theȱ
world.ȱ ȱ Theseȱ demonstrationsȱ haveȱ oftenȱ beenȱ discussedȱ andȱ marvelledȱ atȱ forȱ daysȱ
afterwardsȱbyȱbothȱuniversityȱinstructorsȱandȱtheȱstudentsȱthemselvesȱasȱtheȱeffectivenessȱ
ofȱMr.ȱPalmqvistȇsȱapproachȱsinksȱintoȱtheirȱconsciousnessȱandȱasȱtheyȱrealiseȱhowȱmuchȱ
hasȱbeenȱmissingȱpreviouslyȱfromȱtheirȱpracticeȱroutines.ȱ
ȱ
Hisȱ approachȱ consistsȱ ofȱ twoȱ factors:ȱ a)ȱ hisȱ evidentȱ enthusiasmȱ forȱ theȱ meritsȱ andȱ
excitementȱ ofȱ rhythmicȱ studyȱ asȱ anȱ endȱ inȱ itself;ȱ andȱ b)ȱ hisȱ especiallyȱ clearȱ wayȱ ofȱ
breakingȱ downȱ aȱ complexȱ subjectȱ intoȱ aȱ stepȬbyȬstepȱ procedureȱ thatȱ virtuallyȱ ensuresȱ
performanceȱ successȱ andȱ providesȱ theȱ thrillȱ ofȱ trulyȱ commandingȱ aȱ subjectȱ forȱ theȱ firstȱ
time.ȱȱIȱamȱpleasedȱtoȱsayȱthatȱbothȱofȱtheseȱfeaturesȱareȱpresentȱinȱabundanceȱwithinȱtheȱ
pagesȱofȱtheseȱtextbooksȱasȱwell.ȱȱOnȱtheȱbasisȱofȱallȱthisȱevidence,ȱtheȱbooksȱthemselvesȱ
andȱ theȱ classroomȱ reputation,ȱ itȱ isȱ notȱ anȱ exaggerationȱ toȱ suggestȱ thatȱ Mr.ȱ Palmqvistȱ isȱ
nowȱtheȱleadingȱauthorityȱforȱtheȱteachingȱofȱrhythmicȱperformance.ȱ
ȱ
ȱ
ȱ
MichaelȱR.ȱRogers,ȱPh.D.ȱ
KennethȱandȱBernadineȱRussellȱEndowedȱProfessorȱ(Emeritus)ȱofȱMusicȱTheoryȱ
UniversityȱofȱOklahomaȱ
FoundingȱEditor,ȱJournalȱofȱMusicȱTheoryȱPedagogyȱ
ȱ
ȱ
 ȱ
To hear ȱthe musical examples 33
in this chapter, please
playback the MP3 file

“REFINEMENT OF RHYTHM
VOLUME 2 Chapter 4” Chapterȱ4ȱ
If you don’t have this file,
email us at
DottedȱFiguresȱwithȱSubdivisionsȱ
refinement@tpg.com.au
and we will send it to you!
ȱ
Inȱthisȱchapterȱtheȱcomplementaryȱnoteȱafterȱtheȱdottedȱnoteȱisȱsubdividedȱintoȱtwo,ȱthreeȱ

orȱfourȱequalȱparts.ȱ ȱ e.g.ȱ

ȱ
ȱ
ȱ
ȱ
ȱ
ȱ
Itȱisȱimportantȱtoȱfirstȱestablishȱandȱsecureȱtheȱprimaryȱpatternȱfromȱwhichȱtheȱsubdivisionȱ
derives.ȱForȱinstance,ȱNo.ȱ2ȱ–ȱ5ȱinȱtheȱpreparatoryȱexercisesȱonȱtheȱfollowingȱpageȱareȱallȱ
extrapolatedȱfromȱNo.ȱ1ȱandȱshouldȱbeȱpracticedȱasȱaȱgroup.ȱNo.ȱ6ȱ–ȱ8ȱandȱ9ȱ–ȱ11ȱshouldȱ
thenȱalsoȱbeȱpracticedȱinȱgroups.ȱ
ȱ
Aȱcommonȱmistakeȱisȱthatȱtheȱsubdividedȱcomplementaryȱrhythmicȱgroupȱcanȱbeȱ
executedȱeitherȱtooȱearlyȱorȱtooȱlate.ȱȱ
ȱ
ȱ e.g.ȱȱ Primaryȱpatternȱ
ȱ
ȱ
SubdivisionȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱCorrect
ȱ
ȱ
ȱȱȱȱȱȱȱȱȱȱȱȱIncorrect
ȱ
ȱ
ȱ ȱȱȱȱȱȱȱȱȱȱȱȱIncorrect
ȱ
ȱ
Practiceȱtheȱfollowingȱdrillȱwithȱaȱsteadyȱclappedȱbeatȱandȱfocusȱonȱtheȱsubdivisionȱwhichȱ

mustȱbeȱexecutedȱexactlyȱonȱtheȱsecondȱ

ȱ
ȱ
ȱ
Drillȱ11ȱ
ȱ
ȱ
ȱ

www.refinementofrhythm.com
34ȱ Chapterȱ4ȱ
ȱ
ȱ
ȱ
PreparatoryȱExercisesȱ
ȱ
Whileȱconductingȱwithȱaȱsteadyȱbeat,ȱpracticeȱColumnȱA,ȱcompletingȱtheȱbars.ȱ
ThenȱpracticeȱcolumnȱBȱandȱCȱinȱtheȱsameȱway.ȱ
ȱ
ȱ Aȱ Bȱ Cȱ
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ȱ On the CDs a steady beat is given by a harmonised backing with a couple of bars introduction. The backing is recorded
ȱ on the left channel with the melodic examples on the right channel which provides different ways to practice (see
melodic examples on the following pages). By lowering the right channel, the recorded melodies are removed enabling
the student to practice along with the backing accompaniment alone. Adjusting to equal sound level between both
channels enables the student to practice along with the backing, as well as with the recorded melody simultaneously.
The CD number and the track number are indicated for each exercise.

www.refinementofrhythm.com
 DottedȱFiguresȱwithȱSubdivisionsȱ 35
ȱ
ȱ

MelodicȱExercisesȱ
ȱ
Exampleȱ57ȱ Barȱ5:ȱPracticeȱtheȱfollowingȱdrillȱtoȱsecureȱtheȱsubdivisionȱofȱtheȱȱȱȱȱȱȱȱnote.ȱ

ȱ
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Drillȱ12ȱ
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ȱ
ȱ

ȱȱȱȱȱRȱ=ȱ56ȱ CDȱ1:ȱTrackȱ42

ȱ
ȱ
ȱ
ȱ
ȱ
ȱ
To hear the musical examples in this chapter,
ȱ please playback the MP3 file
“REFINEMENT OF RHYTHM VOLUME 2 Chapter 4”
ȱ If you don’t have this file, email us at refinement@tpg.com.au
ȱ and we will send it to you!

Exampleȱ58ȱ ȱ Barȱ3:ȱTheȱfollowingȱdrillȱwillȱhelpȱtoȱperformȱtheȱfinalȱnotesȱofȱeachȱ
ȱ ȱ ȱ barȱwithȱpreciseȱvalues.ȱ
ȱ
ȱ
ȱ
Drillȱ13ȱ
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ȱȱȱȱȱRȱ=ȱ54ȱ CDȱ1:ȱTrackȱ43

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Exampleȱ59ȱȱȱRȱ=ȱ52ȱ CDȱ1:ȱTrackȱ44

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www.refinementofrhythm.com
36ȱ Chapterȱ4ȱ
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ȱ

Exampleȱ60ȱȱȱRȱ=ȱ54ȱ CDȱ1:ȱTrackȱ45

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Exampleȱ61ȱȱȱAdagioȱȱȱFȱ=ȱ60ȱ CDȱ1:ȱTrackȱ46

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Exampleȱ62ȱȱȱFȱ=ȱ56ȱ CDȱ1:ȱTrackȱ47

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Exampleȱ63ȱȱȱIȱ=ȱ60ȱ CDȱ1:ȱTrackȱ48

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www.refinementofrhythm.com
 DottedȱFiguresȱwithȱSubdivisionsȱ 37
ȱ
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Canonȱ
Exampleȱ64ȱȱȱRȱ=ȱ52ȱ CDȱ1:ȱTrackȱ49

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www.refinementofrhythm.com
38ȱ Chapterȱ4ȱ
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Improvisationȱ
overȱaȱgivenȱrhythmȱ
ȱ
Exampleȱ65ȱ ȱ
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Exampleȱ66ȱ
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Exampleȱ67ȱ
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Exampleȱ68ȱ
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Exampleȱ69ȱȱȱAdagioȱ
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Exampleȱ70ȱ
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www.refinementofrhythm.com
 Selected Musical Examples from
The Refinement of Rhythm, Volume 2
ȱ
ȱ
ȱ Below are a selection of musical examples from all chapters of The Refinement of Rhythm,
ȱ Volume 2. This represents a varied selection of many of the rhythmic concepts discussed in depth
ȱ throughout the book (220 pages + appendices).
ȱ
To hear the musical examples please playback the MP3 file
ȱ
“THE REFINEMENT OF RHYTHM VOLUME 2 Selected Musical Examples”
ȱ
ȱ
If you don’t have this file, email us at refinement@tpg.com.au and we will send it to you!
ȱ
ȱ
Chapterȱ1:ȱSubdivisionsȱofȱtheȱBasicȱBeatȱ
Exampleȱ21ȱȱȱFȱ=ȱ54 ȱȱ
CDȱ1:ȱTrackȱ21
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ȱ

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Chapterȱ2:ȱSingleȱandȱDoubleȱDottedȱFiguresȱ
Exampleȱ37ȱȱȱIȱ=ȱ63ȱ CDȱ1:ȱTrackȱ32

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Chapterȱ3:ȱExtendedȱSingleȱandȱDoubleȱDottedȱFiguresȱ
Exampleȱ49ȱȱȱAdagioȱȱȱFȱ=ȱ58ȱ CDȱ1:ȱTrackȱ39

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ȱ

www.refinementofrhythm.comȱ
 SelectedȱMusicalȱExamplesȱfromȱTheȱRefinementȱofȱRhythm,ȱVolumeȱ2ȱ©ȱBengtȬOlovȱPalmqvistȱ
ȱ
ȱ
Chapterȱ4:ȱDottedȱFiguresȱwithȱSubdivisionsȱ
Exampleȱ63ȱȱȱIȱ=ȱ60ȱ CDȱ1:ȱTrackȱ48

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Chapterȱ5:ȱUpbeatsȱ
Exampleȱ76ȱ ȱ Barȱ3:ȱPracticeȱtheȱfollowingȱdrill,ȱwhichȱhelpsȱtoȱexecuteȱtheȱȱ
ȱ ȱ ȱ secondȱhalfȱofȱtheȱbarȱaccurately.ȱ
ȱ
ȱ
Drillȱ16ȱ
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AdagioȱȱȱFȱ=ȱ58ȱ CDȱ1:ȱTrackȱ55

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Chapterȱ6:ȱInversionȱofȱDottedȱFiguresȱandȱSimpleȱSyncopatedȱFiguresȱ
ȱ
Exampleȱ86ȱ ȱ Barsȱ5ȱ–7ȱandȱonwards:ȱRememberȱtoȱgiveȱtheȱrestsȱanȱactiveȱroleȱinȱ
ȱ ȱ ȱ theȱperformanceȱofȱtheseȱsyncopatedȱpatterns.ȱ
ȱ
ȱȱȱȱȱFȱ=ȱ132ȱ CDȱ1:ȱTrackȱ60

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ȱ
ȱ
ȱ
ȱ

www.refinementofrhythm.comȱ
 SelectedȱMusicalȱExamplesȱfromȱTheȱRefinementȱofȱRhythm,ȱVolumeȱ2ȱ©ȱBengtȬOlovȱPalmqvistȱ
ȱ
ȱ
Chapterȱ7:ȱInversionȱSimpleȱSyncopatedȱFiguresȱwithȱSubdivisionsȱ
Exampleȱ97ȱȱȱRȱ=ȱ58ȱ CDȱ1:ȱTrackȱ66

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Chapterȱ8:ȱExtendedȱSyncopatedȱFiguresȱ
Exampleȱ118ȱȱȱRȱ=ȱ69ȱ CDȱ1:ȱTrackȱ82

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www.refinementofrhythm.comȱ
 SelectedȱMusicalȱExamplesȱfromȱTheȱRefinementȱofȱRhythm,ȱVolumeȱ2ȱ©ȱBengtȬOlovȱPalmqvistȱ
ȱ
ȱ
Chapterȱ9:ȱExtendedȱSyncopatedȱFiguresȱandȱInversionsȱofȱDottedȱFiguresȱwithȱ
Subdivisionsȱ
ȱ
Exampleȱ130ȱȱȱȱRȱ=ȱ50ȱ CDȱ2:ȱTrackȱ6

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Chapterȱ10:ȱUnaccentedȱBeatsȱ
Exampleȱ140ȱȱȱRȱ=ȱ66ȱ CDȱ2:ȱTrackȱ12

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Chapterȱ11:ȱExtendedȱTripletsȱ
Exampleȱ161ȱȱȱFȱ=ȱ76ȱ CDȱ2:ȱTrackȱ29

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Chapterȱ12:ȱTripletsȱwithȱSubdivisionsȱ
Exampleȱ171ȱȱȱRȱ=ȱ58ȱ CDȱ2:ȱTrackȱ35

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www.refinementofrhythm.comȱ
 SelectedȱMusicalȱExamplesȱfromȱTheȱRefinementȱofȱRhythm,ȱVolumeȱ2ȱ©ȱBengtȬOlovȱPalmqvistȱ
ȱ
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Chapterȱ13:ȱTripletsȱwithȱextendedȱSubdivisionsȱ
Exampleȱ180ȱȱȱRȱ=ȱ50ȱ CDȱ2:ȱTrackȱ40

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Chapterȱ14:ȱAsymmetricalȱMetersȱȬȱQuintupleȱandȱSeptupleȱMetersȱ
Exampleȱ232ȱȱȱRȱ=ȱ80ȱ CDȱ2:ȱTrackȱ77

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 SelectedȱMusicalȱExamplesȱfromȱTheȱRefinementȱofȱRhythm,ȱVolumeȱ2ȱ©ȱBengtȬOlovȱPalmqvistȱ
ȱ
ȱ
Chapterȱ15:ȱShiftingȱMetersȱandȱExtensionȱofȱAsymmetricalȱMetersȱ
Exampleȱ244ȱȱȱRȱ=ȱ84ȱ CDȱ3:ȱTrackȱ5

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Chapterȱ16:ȱHemiolasȱ
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Exampleȱ262ȱȱȱ Thisȱexampleȱpresentsȱanȱextensionȱofȱtheȱhemiolaȱeffect.ȱTheȱ
structureȱfeaturesȱ2ȱbarȱphrasesȱandȱtheseȱshouldȱbeȱconductedȱ
inȱtwoȱȱȱȱȱȱbeatsȱperȱbar.ȱTheȱexceptionsȱareȱasȱfollows:ȱ
ȱ
Barsȱ7ȱ–ȱ9ȱFourȱmelodicȱgroupsȱfitȱacrossȱthreeȱbarsȱandȱshouldȱbeȱ
conductedȱinȱȱȱȱȱȱȱȱbeats.ȱ
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N.B.ȱThisȱexampleȱisȱalsoȱideallyȱsuitedȱtoȱaȱswungȱȱȱȱȱȱe.g.ȱ
ȱ
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CDȱ3:ȱTrackȱ16aȱ(straight)
ȱȱȱȱȱIȱ=ȱ72ȱ ȱ ȱȱȱȱ16bȱ(swung)ȱ

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 SelectedȱMusicalȱExamplesȱfromȱTheȱRefinementȱofȱRhythm,ȱVolumeȱ2ȱ©ȱBengtȬOlovȱPalmqvistȱ
ȱ
ȱ

Chapterȱ17:ȱPolyrhythmsȱȬȱTripletsȱ
Exampleȱ271ȱȱ Barsȱ5ȱ–ȱ6:ȱTheȱtripletȱwhichȱoccursȱoverȱtheȱbarȱlineȱcouldȱalsoȱhaveȱ

ȱ ȱ ȱ beenȱnotatedȱlikeȱthis:ȱȱ

ȱ ȱ ȱ ȱ
However,ȱbyȱusingȱtheȱunbrokenȱnotationȱasȱinȱtheȱfollowingȱ
example,ȱtheȱvisualȱimpressionȱshowsȱtheȱflowingȱmomentumȱofȱtheȱ
tripletsȱasȱifȱtheȱbarȱlineȱdidȱnotȱexist.ȱ
ȱ

ȱ ȱ e.g.ȱbarsȱ5Ȭ6ȱ

ȱȱȱȱFȱ=ȱ92ȱ CDȱ3:ȱTrackȱ22

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Chapterȱ18:ȱPolyrhythmsȱȬȱDupletsȱandȱQuadrupletsȱ
Exampleȱ296ȱȱȱFȱ=ȱ76ȱ CDȱ3:ȱTrackȱ36

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www.refinementofrhythm.comȱ
 SelectedȱMusicalȱExamplesȱfromȱTheȱRefinementȱofȱRhythm,ȱVolumeȱ2ȱ©ȱBengtȬOlovȱPalmqvistȱ
ȱ
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Chapterȱ19:ȱPolyrhythmsȱȬȱQuintupletsȱ
Exampleȱ320ȱȱȱFȱ=ȱ132ȱ CDȱ3:ȱTrackȱ51

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Chapterȱ20:ȱPolyrhythmsȱȬȱSeptupletsȱ
Exampleȱ344ȱȱȱRȱ=ȱ72ȱ CDȱ3:ȱTrackȱ66

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 SelectedȱMusicalȱExamplesȱfromȱTheȱRefinementȱofȱRhythm,ȱVolumeȱ2ȱ©ȱBengtȬOlovȱPalmqvistȱ
ȱ
ȱ

MAIN TEXT INCLUDES:

20 Chapters (see ‘Contents’ page)

348 Musical Examples

(including 120 Improvisations)

Explanatory Text
32 Preparatory Exercises
49 Drills

3 CDs with over 3 ½ hours of supporting recordings

on separate left & right channels

220 pages + 28 pages of notes and appendices

ȱȱ
ȱ
ȱ
ȱ
DICTATION SUPPLEMENT INCLUDES:

20 Chapters (see ‘Contents’ page)

130 Dictation Exercises

Teaching Methodology Notes

2 CDs of supporting recordings

70 pages + 10 pages of notes

ALSO Free PDF Workbook downloadable from

www.refinementofrhythm.com

To order The Refinement of Rhythm publications

visit www.refinementofrhythm.com
or contact us at refinement@tpg.com.au
www.refinementofrhythm.comȱ