![]() The examples illuminate how the regular rhythms have been manipulated to throw off their regularity. In most of these selected passages the composer created rhythm-usually in duple meter-but rhythm that is nonetheless regular. We have examined a range of syncopated melodies and rhythms in some of George Gershwin’s orchestral works as well as a few examples from Leonard Bernstein, plus a smattering of Beethoven, Berlioz and Bartók. With this post the series will be wrapping up, for now at least. The last three posts have focused on rhythm and counter-rhythm. Eventually multiple rhythms were written to be played simultaneously as counter-rhythms. ![]() In addition to layering and enhancing melodies and harmonies in the orchestra, composers in the nineteenth cenutry began to explore ways to use a greater variety of rhythms. And with more resources at their disposal, composers found a variety of ways to exploit them. The fact is that orchestras grew dramatically in the nineteenth century. Whether it was larger halls accommodating larger audiences requiring larger orchestras to fill the space or composers creating works for larger orchestras that required larger halls is an argument for another day. ![]() In music, it’s hard to imagine Berlioz’s Symphonie fantastique, any Mahler symphony or Stravinsky’s Le Sacre du printemps arranged for string quartet. Yet there are times when in fact more is more. Sometimes, perhaps often really, this platitude rings true. ![]()
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