Paul Hindemith Elementary training _for musicians 4 PAUL HINDEMITH(7) In instrumental music slurs serve several different purposes. As symbols of articulation they tell the player of wind instruments: “play the slurred notes without interruption.” stringed instruments: “‘play them with a single stroke of the bow.” keyboard instruments: “‘don’t interrupt by lifting the fingers from the keys between the tones; play as ‘legato’ (evenly sustained, connected) as possible.” As symbols of phrasing (especially in keyboard music) they indicate the sec- tions of melodic lines of some length. C. Coordinated Action —— EXERCISE 15 —— [ 39 ]More difficult: Gp PN ee —=e ee ee ee ee ete cy Agi a i rt regu pe ce I a rp fa mm IS Ss oe ee Eo 3) An Fe ll ase bed » > ) i—— DICTATION 18 Pieces need not begin on the first beat. Instead, they may begin on any fractional part of the measure. NoratTIon: The full measure, however, has to be written out (beginning with one or more rests) when the sounding fractional part is more than one half measure in j or 4, and more than two quarters in 3. In all other cases—i.e., one half measure or less in 2 and 4; two quarters or less in 3 (up-beats)—no rests are written. In shorter pieces the “‘up-beat’”’ and the ending measure complement one another to make one full measure. [41]—— EXERCISE 16 —— 1. Play, and count aloud (don’t sing): More difficult: ae ae SO | on SS bea arenes a opereejnaeyfilfe ene. he tf nrreith All, AN mneinnneech fog qi, Asm.) ae eelSS Leeman) Sel meeeeeetannirerysefill no... fii i imal a np Pn A as FN a rvenns-, a a el eee” 2. Sing, counting mentally. (These and similar exercises are easier to sing if certain important tones are accented. Wherever two or more notes are tied, any accent should be applied only to the first, except where otherwise expressly indicated.) NoTATION: An accent is written > (in some editions a).