Mazzola, Guerino / Noll, Thomas / Lluis-Puebla, Emilio: Perspectives in Mathematical and Computational Music Theory

Figure 41:

Metric weight of measures 1-32 for the wind instruments

The isolated analysis of the wind instruments in figure 41 shows metric coherence. The greatest metric weights are situated on the second beats of the measures, which is in contrast to the result of the analysis of all instruments in figure 36. Again an analysis with a higher value of $l$ can reveal the reasons.

Figure 42:

Metric weight of measures 1-32 for the wind instruments, $l = 31$

The metric weight with $l = 31$ in figure 42 shows a long local meter built upon the second beats of all measures. This beat is the only one the wind instruments place continuously notes on, whereas the first beats lack an onset in measures 15 and 27 due to syncopations.

Figure 43:

Measures 11 ff. in the wind instruments

The score in figure 43 illustrates the rhythmic analogy with the passage in the first movement of measures 58/59 (see figure 14). In both cases a syncopation takes place because of tying the third beat together with the first beat of the following measure. But whereas the syncopation in the first movement supports great metric weights on the third beats, in this case the syncopation supports great metric weights on the second beats. On the one hand the third beat is empty in several measures, on the other hand long local meters cannot be constructed on the first beats due to the empty first beat in measures 15 and 27. Hence the comparison of these passages of the first and third movement enlightens the different influence of syncopations on the inner metric structure depending on the context.