play of rhythm
of the most bewitching interest. If the accents are marked, instead of
the beats, in the following passage from Beethoven's Pastoral Symphony,
we have the subjoined:--

[Illustration]

whereas the four previously maintained display the syncopation and make
it better felt:--

[Illustration]

This voluntary submission to a rhythmical form _which the author intended
to thwart_ is one of the gravest faults in style that a beater of the
time can commit.

There is another dilemma, extremely troublesome for a conductor,
and demanding all his presence of mind. It is that presented by the
super-addition of different bars. It is easy to conduct a bar in dual
time placed above or beneath another bar in triple time, if both have
the same kind of movement. Their chief divisions are then equal in
duration, and one needs only to divide them in half, marking the two
principal beats:--

[Illustration]

But if, in the middle of a piece slow in movement, there is introduced a
new form brisk in movement, and if the composer (either for the sake of
facilitating the execution of the quick movement, or because it was
impossible to write otherwise) has adopted for this new movement the
short bar which corresponds with it, there may then occur two, or even
three short bars super-added to a slow bar:--

[Illustration]

The conductor's task is to guide and keep together these different bars
of unequal number and dissimilar movement. He attains this by dividing
the beats in the andante bar, No. 1, which precedes the entrance of the
allegro in 6/8, and by continuing to divide them; but taking care to
mark the division more decidedly. The players of the allegro in 6/8 then
comprehend that the two gestures of the conductor represent the two
beats of their short bar, while the players of the andante take these
same gestures merely for a divided beat of their long bar.

[Illustration: Bar No. 1.]

[Illustration: Bars Nos. 2, 3, and so on.]

It will be seen that this is really quite simple, because the division
of the short bar, and the subdivisions of the long one, mutually
correspond. The following example, where a slow bar is super-added to
the short ones, without this correspondence existing, is more awkward:--

[Illustration]

[Illustration]

Here, the three bars allegro-assai preceding the allegretto are beaten
in simple two time, as usual. At the moment when the allegretto begins,
the bar of which is double t