Transcription Starting on Beat 1
The relationship between metric and motivic accents will determine the line's position in the measure.
Listen once more to the recording. You will probably hear two attacks which sound like they occur on a downbeat and two others which do not. Ex.1 below shows the first attack point on beat one. The treble clef line consists of the Charleston composite while the bass clef illustrates the strong metric accents of beats one and three. The balance between metric and motivic accents is acceptable until the first beat of measure 2: suddenly, the energy which had been established by the metric downbeat and the two off-beat dynamic accents has collapsed! The strong metric accent of count one conflicts with the quiet staccato of the last note of the motive. Beat one of measure 2 is superflous and balance is replaced by disagreement.
Ex. 2, on the other hand, shows the entrance of the motive on beat 2. Energy is developed throughout the first measure as before, but this time, the thrust of the motivic and metric activity is continued over the barline. The metric downbeat is balanced by the last note of the motive, appearing on beat 2. (Go back to see the same motivic structure with added pitches in Ex. C.)