The early sketches of Hymn to Freedom contained an accompanimental motive and an anthem, the two of which were intended to be superimposed. The accompanimental motive is constructed over a bass line (see Ex. No.1)

Musical Example No.1:

Prominent Features of Bass Line:

• Mostly quaver values
• Contains all the notes of F major
• Steady conjunct rise towards top F
• Composite (changing) metre

This metrical scheme is quite complex but does contain some interesting patterns. If the 4/4 + 3/4 bars (marked with a solid bracket) are added together, they can be seen as a 7/4 bar. Both times, this is followed by a 7/8 bar (marked with a dotted bracket) which is a metrical diminution (by half) of the previous two bars. This pattern is repeated twice followed by a cadential 6/8 turnaround.

At first, this metrical pattern is complex in that the metre changes every bar. The quavers of each bar can be added up as follows:

8 + 6 + 7 + 8 + 6 + 7 + 6 = 48

This total of 48 quavers is important because it is a 'natural' number number that can be divided into 6 x 8 (or 4 x 12). When orchestrating the early sketch, I thought it would be more practical for the orchestra and conductor to work in a simpler metre and I redefined the motive as follows (see Example No.2):

Musical Example No.2:

Prominent Features of Redefined Bass Line:

• Quaver pattern still exactly the same
• Now all in 4/4 metre
• 6 bars instead of 7

The dotted lines show where the barlines used to be. This does create a slightly different syncopation due to the implied accent of the bar line, but both patterns are exactly the same notes over a 48-quaver pattern. An orchestra can play both - passages of Stravinsky's Rite of Spring are more complex again - but I adapted the simpler six bars of 4/4 so that the anthem (also in 4/4) could more easily be superimposed on the motivic figure.