ABSTRACT
The term “phrase rhythm” refers to the interaction of phrase, a unit of tonal motion with a clearly defined beginning that leads to a point of rest (cadence), and hypermeter, the existence of recurring patterns of accented and unaccented measures. The components of a hypermetric group or unit, called hypermeasures, function much the same as beats within a measure. By definition, then, hypermetric units are beginning accented with the first measure of the unit receiving the greatest stress. In Free Composition, Schenker has pointed out that hypermeter most naturally occurs in multiples of two. The most common hyper - meter is quadruple, but duple is fairly common as well. Hypermetric groups containing an odd number of measures are relatively rare, and when we do encounter them, they often occur in pairs. A famous passage with extended triple hypermeter often cited occurs in the Scherzo movement of the Ninth Symphony, where Beethoven writes “ritmo di tre battute”. In this instance, he is telling the conductor to conduct in three, and what is being conducted are measures, not beats, in a fast tempo; in other words, the hypermeter.
