(a rhythmic analysis course)



(xx) = no.of pages

           I. COURSE DESCRIPTION  (11)

The Analytical Recital

Practicing Mental Rehearsal


           II. ACCENT AND PATTERN  (16)

A Counting Exercise [conducting]  

A Dot-Structure Exercise [dictation]           

Accent and Pattern in Bach Fugue Subjects [analysis]

Implicit Hemiola in K.330 [analysis]


(Material from the Introduction to Rhythm, Meter, and Form)  

            IV. PHRASE RHYTHM (52)

The Nature of Seams (boundaries); Seam Types  


Seams: Mozart, K. 332 and K.333 [analysis]           


The Rhythm of Form

Periods and Sentences [analysis]

Constructing a Phrase Map (P-Map)                      

            V. PHRASE EXPANSION (23)

Phrase Expansion: Haydn, Symphony #86, Capriccio [analysis] 

Recomposing to Find a Basic Phrase                  

Phrase Reduction: Mozart, Symphony #35, mm.1-35

Reduction and Rebarring: Mozart, Symphony no. 41, ii

Rhythmic Manipulations of Phrase: Mozart, Symphony #39, Intro. [analysis]    

“ Clip-out” Exercise: Haydn, Op. 33, #1, i [dictation]            

“Add-back” Exercise: Haydn, Op. 50, #4, I [dictation]

P-Map: Mozart, Symphony #41, ii

P-Map: Mozart, Symphony #41, iii                      

P-Map: Mozart, Symphony #38, ii


            VI. HYPERMETER (20)

Introduction to Hypermeter                      

Hypermetric Map Symbols           

Silent (Hyper)Downbeats

Conducting Hypermeter: Shania Twain, Any Man of Mine     

H-Map: Smashing Pumpkins, Bullet with Butterfly Wings    

H-Map: Jimi Hendrix: Manic Depression              

H-Map: Brandenburg Concerto, No. 4         

H-Map: Mozart, Symphony #38, i, mm. 37-302   

            VII. P-H INTERACTIONS (18)

The Interaction of Phrase Structure and Hypermeter:

            Excerpt from an Interview with George Solti  

Elision Bump or no Bump: Mozart, Sym. 39, iv, beginning           

P/H-Map: Bach, Brandenburg Concerto #1, Trio

P/H-Map & score: Bach, Brandenburg Concerto, No. 3, iii

P/H-Map: Mozart, Symphony #36, iii

P/H-Map: Beethoven, Symphony #3, i, mm. 37-83    

P/H-Map & score: the Subjectivity of Hypermeter,

       Mozart, Symphony #39, iv, mm. 54-104  


Expansions of the 1-5-1 Bass-Note Pattern

Structural Harmonic Progression

Finding Structural Progressions

Berry’s Theory of Tonal Relations   


P-H Map Haffner mm.1-94 black.png












Essay summaries


This essay defines musical seams as articulating boundaries of phrases and phrase units in the context of a dialectic opposition of forces of flow vs forces of closure.  It describes how anacruses (upbeats) and afterspans (afterbeats) arise and fill the time between ending and beginning downbeats, and how they fit into a metric (dot) structure.  Several seam types are characterized.


This essay compares elision in speech and vision to reveal features of musical elision.  It suggests that phrase elision can be understood as a process of time folded over on itself, and details four types based on relative properties of the preceding (left) and succeeding (right) phrases. It argues that elision is a special case in the broad category of overlapping, and considers elision in relation to musical seams.


This essay presents hypermeter as a fragile, easily disrupted yet resilient and durable feature of meter and locates it at the highest (slowest) levels of a  metric structure. It defines it in notational terms and suggests that it is among the most subjective aspects of meter.  Phrase rhythm, especially expansion and elision, is established as the determinant of hypermetric perturbations. Conservative and radical “hearpoints” and physical and psychological modes of awareness allow for different interpretations.