segments and pieces or employed them incidentally as context demanded.
Examples that come readily to mind include:

• “Money,” Pink Floyd (

Dark Side of the Moon

) in 7 (4+3);

• “Solesbury Hill,” Peter Gabriel, mostly in 7 (4+3);
• “Back in New York City,” Genesis (

The Lamb Lies Down on Broadway

),

again mostly in 7 (2+2+3);

• The wonderful compositions and arrangements by the legendary Jazz

artist Hank Levy;

• Béla Bartók,

Concerto for Orchestra

, IV,

Intermezzo

, simple duple

alternating with 5;

• Igor Stravinsky, the closing passage of

L’Oiseau de feu

(

The Firebird

),

Le

Sacre du Printemps

• (

The Rite of Spring

);

There are many other examples.

It became customary for 20th-century composers to mix asymmetrical meters as
needed, their use dictated by phrasing, text rhythm, and so forth. Concluding our
discussion of rhythm, we are fully prepared to enter the realm of pitch in the next
chapter.

K E Y   T A K E A W A Y S

The student should understand:

• Uses of the slur (phrase marking, tie).
• Basic dynamics and basic articulations.
• Syncopation.
• Asymmetrical meters.

Chapter 1 The Elements of Rhythm: Sound, Symbol, and Time

1.4 Additional Information

49