ACCENT AND REGNANT HARMONY 



169 



on. There are yet other resources arising in the 

 play of the imagination upon the subrhythm; for 

 example, the play of a 3 on a subrhythmic 2, of a 5 

 and 6 on a subrhythmic 4, and so on, not to mention 

 the possibilities of new forms arising by subdivision 

 and expansion of these play-rhythms. 



a) I r r 



1 I 



r r 



Li' r r 



etc. 



b)t r 



3 

 f F P ^ 



fill 



r r r rr 



t^n^n^ 



Also the play of 2, 4 and 5 on a subrhythmic 3, 

 not to mention possible subdivisions and expansions, 

 as follows : — 



ir 



r 



4 



r r 



r 



r r r r r 



etc. 



Next, an example (Chopin Op. 42) where the 

 melody sings a 2 to the subrhythmic 3, the former 

 dividing the accompanying figure into 2x3, the latter 

 dividing it into 3x2, as follows: — 



hfhr h_d 



r r r 



P P 



r r 



etc. 



Next, an example (Schumann "Des Abends") 

 where the melody sings 3 to the subrhythmic 2 (a)) 

 and later continues the same thing in syncopation as 

 at 6). 



«) 2 



8 



£j/^f..^.^^d^.^ 



etc. 



