Beyond this simple reminiscence, each of the primary melodies in the first three movements begins with the same tied anacrusis
figure that defers a strong downbeat.
If we look at the first three measures of the prelude (Example 1), including the anacrusis
, we find a plethora of voicing possibilities.
Zeyer keeps to an iambic metre by using anacrusis
, which Janacek declaims generally on the last arsis of a bar or else neutralises by using corresponding values: "Kles s tebou" as a half-note triplet, Tam najdes as three quavers and sometimes, in fact quite often, even prolonging the anacrusis
as against the subsequent text.
The introductory portion, termed anacrusis
among biblical scholars (Watson 150), appears as a single word, a phrase, a parallelism, or a small paragraph that propels the text into the chiasm that follows.
Possible, of course; but treat them as Ionics a minore with an anacrusis
, and see if they don't go better:' For halt" an hour the two men talked Greek metres as if they lived in a world where the only hunger known could be satisfied by grand or sweet cadences.
In addition there is an introductory clap corresponding with the anacrusis
and extra to the six beat pattern, see Figure 1.
This latter is therefore well ensconced in the language of the Rigveda, and its first two syllables provided a familiar anacrusis
for a new poetic creation of the late Rigvedic period.
5] If we look at the opening line of the poem, for instance, we can see that the initial syllable, "O," is the first unaccented syllable of the first iambic foot but is also an extra syllable standing before the first bar--an anacrusis
, a syllable that strikes up the tune (the meaning of the Greek word) in a way which is analogous to the sounding of a note or notes that appear before the fir st actual bar in a stave.
The author in the main accepts the basic premisses of five-type theory, though there is some fine tuning here and there: anacrusis
is seen as metrically significant, Kuhn's Laws are reshaped as purely syntactic in operation, and the author sees a stronger metrical link than is usual between the two verses of the line.
4a and 4b shows that the anacrusis
of this motive was unstable, but the essential crux remained undisturbed.
For the most part, every motive and phrase begins with an anacrusis
that should crescendo slightly to lead to the downbeat.
Amongst others, there are chapters on the basic rules of five-type theory, on the sound-changes which affect the metre, on resolution and anacrusis
, together with a detailed reformulation of the five types.