MUSICAL COMPOSITION

18 MUSICAL COMPOSITIONartist; the composer has no control over it on paper.Collective colour is the sole property of the composer,and the executive artist has no control over it onpaper. He can spoil the effect of the composer'scolouring by inferior playing, but he cannot alterits inherent qualities. The picture may be hungin a bad light, but its value remains the same. Lackof temperament and sense of colour in a singer willhurt him more than it will harm a song. It iswith" collective" colour, therefore, that we have hereto deal i with the means of producing it, of regulatingthe amount of its use, and the variety and contrastwhich it places at the composer's disposal. It isused in three main lines of composition, concertedmusic, orchestral music, and music for instrumentsand voices, solo and choral, with or without scenicadjuncts. In concerted music we have it in sonatasfor pianoforte and a solo instrument (such as theviolin or violoncello or a wind-instrument), in trios,quartets and quintets for similar combinations, inpieces for solo wind instruments and strings, andin concertos for a solo instrument with orchestralaccompaniment. In orchestral music such as overtures,symphonies and ballet music. In combinationwith voices such as oratorios, cantatas and operas.I. ORCHESTRATIONIn order to be able to deal with colour at all, astudent must first study the capabilities, characterand the limitations of any instrument in use. He willfind ample means of proper information on this subjectin the numerous treatises on orchestration which are