A couple of wise mentors said to me, “Get along with your colleagues” and “Learn from your colleagues.” Consequently, I’d like to dedicate this book of etudes to the teachers and fellow students and musicians from my past, present and future. Whether they know it or not, I’m still taking advantage of their talents! A giant thank you goes out to Roger Wangerin, whose computer knowledge, good ear and patience helped me complete the project. I would like to thank my dear friend, Lisa Byrnes, and C. E. Stephenson (the daughter), who listened to much of the material used in this collection, offering fine ears and sensitive suggestions. Thanks also to Tad Calcara, who let me compose on his street-found piano during my son’s jazz piano lessons, and to C. E. Stephenson (the father), who helped edit much of the written material.

-Robert Stephenson

Dance Etudes

The Project of composing a large collection of dance etudes was inspired by a history and environment surrounded by the Arts. As a musician, I have had the desire to understand dance movement as it relates to musical tempo, meter, inflection, style, etc. The origins of these dances go hand in hand with the musical accompaniments that historically link these two art forms. There is no dance without the music.
Special Thanks go out to the Stephenson family of Clarence, Chelsea, Gretchen, Kendall and especially Lee (in London) and John Anderson (Jeanné, Inc.), whose help was enormous. Thanks also to my talented colleagues Tad Calcara and Lori Wike. The greatest thank you goes out to Lisa Byrnes and Pat George, who played through most all the etudes with a great ear and excellent suggestions.

-Robert Stephenson

Rhythm, Time and Meter and the Importance of Mathematics in Music

More than 2,500 years ago Pythagoras introduced the world to the equation a2 + b2 = c2 along with the octave and the diatonic scale. He once stated, “There is geometry in the humming of the strings.” He also recognized the significant effect of music on our emotions and senses. His discoveries were an early example of medical musical therapy.
The subject of mathematics arises often in the study of music. It can be hard to avoid when we’re considering topics like the circle of 5ths, scale degrees, the number of sharps and flats in a key signature, playing at 440, subdividing, mixed meters, etc. Mozart was known to have a love for mathematics, Charles Ives devised the actuary tables used by insurance companies and John Cage composed “4’33”, a piece where the performer simply sits in silence for four minutes and 33 seconds. Alexander Borodin was a highly respected chemist and Marcel Tabuteau used a numbering system to help convey intensity and “sound in motion.”
When asked about his theory of relativity Albert Einstein said, “It occurred to me by intuition, and music was the driving force behind the intuition. My discovery was the result of musical perception.” Before, during and after E=mc2, music was an integral part of Einstein’s life. He once said, “If I were not a physicist, I would probably be a musician. I often think in music. I live my daydreams in music, I see my life in terms of music.”
Whether we’re talking about 12-tone music, 7th chords, or different ways Brahms could divide six beats, math is as important to music as sound. These 50 etudes are designed to make you think about the close relationship we musicians have with mathematics. Hopefully it will bring an appreciation that someone in your past helped you learn your numbers.
This collection of etudes was made possible by the expert assistance of programmer, musician and brother, Lee Stephenson, flutist Lisa Byrnes, clarinetist John Anderson, and bassoonist Charles Ullery. To all I’ll say, “Thank you for persevering! You helped make it possible.”

-Robert Stephenson

Quotation Etudes

Picking a “favorite composer” is a most difficult task. Musical inspiration can go back as far as notes have been written, but one thing all great composers possess is a “voice” of their own. While an etude may contain a short, musical quote from a particular composition, the primary goal of the project is to capture the style, voice, and personality that defines each of the 68 composers. The musical ingenuity of these composers encompasses the period from the Renaissance to the end of the 20th century. The notation used is a 21st century vocabulary striving to be faithful to original performance practices and to the essence of each chosen composer.
Studying the music of great composers leads to an even greater appreciation of their genius. To this aim I say thank you to them for supplying the inspiration. An etude book requires a lot of notes! Special thanks must be given to people who took time to interpret and review each one. This particular project was made easier by the help I received from former student and now respected colleague, Dr. Jayne Drummond. Her attention to detail in the editing process always resulted in an improved product. Lee Stephenson worked his magic and expertly used his computer program to create some beautifully finished results. Thanks, Lee! It always helps to have someone weigh the musical options, so once again, thank you, Lisa Byrnes. Finally, thank you John Anderson of Jeanné Music Publications. Your support has always been appreciated.

-Robert Stephenson