MUSICAL COMPOSITION

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120 <strong>MUSICAL</strong> <strong>COMPOSITION</strong>a whole phrase. No music gains in the hearing bybeing made purposely difficult. Difficulties in reasonthere must be, but only where it is certain that thepassage cannot, by a few alterations, be made to soundas well in a more practicable shape.All these considerations apply with equal force toother forms of chamber music. In string trios thestandard must be three parts, and not a mongrel foursecured by perpetual double-stopping in the variousinstruments. This type of composition, if imaginedand carried out upon a genuine three-part basis, will beof great value as a training for the orchestral writingof strings. A study of such a work as the C MinorTrio of Beethoven (Op. 9, No.3) will be invaluable.The first four bars of itcre8. /p- -...ere8 • /p.-.......---.are enough to show that the composition is thoughtout for three parts and no more. The impression ofrichness is gained (as in the second and third barsabove) rather by arpeggio than by chord. There is nolack of double-stoppings in the work, but they arealmost always on a basis of three parts (like Mozart'sorchestra), such as the first bars after the repeat in thEt
COLOUR 121first movement, which are a harmonisation of theunison in the example above:" " " "~-.which is answered at once by an accentuation of threeparts only,-.- ir' If--==-== =-.-.,--=====a passage which does not Bound at all the thinner orpoorer for its juxtaposition to thicker harmonies.In all other respects this type belongs in its methodsof treatment to the string quartet, while its limitationsafford an excellent antidote to the danger of writingorchestrally for solo strings. One maxim ought to bekept steadily in mind in both. Avoid quick reiteratednotes (or tremolo) such as ~ unless you:
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MUSICALCOMPOSITIONA SHORT TREATISE
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OB&PTDCONTENTS.AQ_I. INTRODUCTORY 1
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INTRODUCTORY 3and should be kept wh
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TECHNIQUE 7Harmony which results fr
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TECHNIQUE 9or, in slightly more orn
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12 MUSICAL COMPOSITIONauricular, ar
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TECHNIQUE 15if t of the string lies
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TECHNIQUE 17coincide absolutely wit
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TECHNIQUE 19To the inexperienced li
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TECHNIQUE 21first entries of the su
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CHAPTER IIIRHYTHMIF melody is the l
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RHYTHM 25with the unmistakeable ind
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II p~RHYTHM 27tt.: J J -f4 J.: JoB(
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RHYTHM 29(As the tune given above i
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32 MUSICAL COMPOSITIONsmall things
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34 MUSICAL COMPOSITIONbe doubly and
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36 MUSICAL COMPOSITION(That is, on
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38 MUSICAL COMPOSITIONfirst four no
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40 MUSICAL COMPOSITION---This tune,
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42 MUSICAL COMPOSITIONAll the other
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44 MUSICAL COMPOSITIONNote how the
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!l6 MUSICAL COMPOSITIONWhen he uses
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4:8 MUSICAL COMPOSITIONmake your ph
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50 MUSICAL COMPOSITIONThis kind of
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52 MUSICAL COMPOSITIONThe greatest
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54 MUSICAL COMPOSITIONOf the fourth
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56 MUSICAL COMPOSITIONmust have the
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58 MUSICAL COMPOSITIONhowever, as t
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60 MUSICAL COMPOSITIONVar.8. Semi q
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62 MUSICAL COMPOSITIONVar. 22. Rela
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64 MUSICAL COMPOSITIONmust be kept
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66 MUSICAL COMPOSITIONis treated in
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68 MUSICAL COMPOSITION5. Chord puls
Page 76 and 77: 70 MUSICAL COMPOSITIONpervades the
Page 78 and 79: 72 MUSICAL COMPOSITIONintervals. Th
Page 80 and 81: CHAPTER VIFORMIT is not within the
Page 82 and 83: 76 MUSICAL COMPOSITIONand intangibl
Page 84 and 85: 78 MUSICAL COMPOSITIONmusical equiv
Page 86 and 87: 80 MUSICAL COMPOSITIONI. PROPORTION
Page 88 and 89: BarB.17.18. }19.20. I21. J22-25.25,
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Page 92 and 93: 86 MUSICAL COMPOSITIONBars.85. A va
Page 94 and 95: 88 MUSICAL COMPOSITIONBars.213-219.
Page 96 and 97: goMUSICAL COMPOSITIONto the topmost
Page 98 and 99: 92 MUSICAL COMPOSITION.Write in the
Page 100 and 101: ~ MUSICAL COMPOSITIONFreedom which
Page 102 and 103: 96 MUSICAL COMPOSITIONpainting can
Page 104 and 105: 18 MUSICAL COMPOSITIONartist; the c
Page 106 and 107: 100 MUSICAL COMPOSITIONguide does o
Page 108 and 109: 102 MUSICAL COMPOSITIONthe other ha
Page 110 and 111: 104 MUSICAL COMPOSITIONI. Violin}II
Page 112 and 113: 106 MUSICAL COMPOSITIONequally surp
Page 114 and 115: 108 MUSICAL COMPOSITIONBefore passi
Page 116 and 117: 110 MUSICAL COMPOSITIONscattered nu
Page 118 and 119: 112 MUSICAL COMPOSITIONcomplete fre
Page 120 and 121: 114 MUSICAL COMPOSITIONthe Irishman
Page 122 and 123: 116 MUSICAL COMPOSITIONin the relat
Page 124 and 125: 118 MUSICAL COMPOSITIONinto brillia
Page 128 and 129: 122 MUSICAL COMPOSITIONwant it for
Page 130 and 131: 124 MUSICAL COMPOSITIONwhich, if th
Page 132 and 133: 126 MUSICAL COMPOSITIONof hearing t
Page 134 and 135: 128 MUSICAL COMPOSITIONbe arrived a
Page 136 and 137: 130 MUSICAL COMPOSITIONBut doth suf
Page 138 and 139: 132 MUSICAL COMPOSITIONIn the words
Page 140 and 141: 134 MUSICAL COMPOSITION, ,(The acce
Page 142 and 143: 136 MUSICAL COMPOSITIONits colour a
Page 144 and 145: 138 MUSICAL COMPOSITIONby the accom
Page 146 and 147: 140 MUSICAL COMPOSITIONwhich will f
Page 148 and 149: 142 MUSICAL COMPOSITIONwith the fas
Page 150 and 151: 144 MUSICAL COMPOSITIONthe first th
Page 152 and 153: 146 MUSICAL COMPOSITIONdirection of
Page 154 and 155: 148 MlJSICAL CO~IPOSITIO~in the six
Page 156 and 157: 150 MUSICAL COMPOSITIONwhen softnes
Page 158 and 159: 152 MUSICAL COMPOSITIONSt. Matthew
Page 160 and 161: 154 MUSICAL COMPOSITIONor slur his
Page 162 and 163: 156 MUSICAL COMPOSITIONbrilliant di
Page 164 and 165: 158 MUSICAL COMPOSITIONhis subordin
Page 166 and 167: 160 MUSICAL COMPOSITIONthey precede
Page 168 and 169: 162 MUSICAL COMPOSITIONpaper, and t
Page 170 and 171: 164 MUSICAL COMPOSITIONBet himself
Page 172 and 173: 166 MUSICAL COMPOSITIONof the great
Page 174 and 175: 168 MUSICAL COMPOSITIONis equally s
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170 MUSICAL COMPOSITIONThe followin
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172 MUSICAL COMPOSITIONthrough a ch
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174 MUSICAL COMPOSITIONperformers h
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176 MUSICAL COMPOSITIONand do not u
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178 MUSICAL COMPOSITIONhigh. Every
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ISOMUSICAL COMPOSITIONsuggestions f
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182 MUSICAL COMPOSITIONtonic will b
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184 MUSICAL COMPOSITIONto F major,
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186 MUSICAL COMPOSITIONinvention wh
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188 MUSICAL COMPOSITION(§ 18) Last
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190 MUSICAL COMPOSITIONare sincerit
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192 INDEXHaydn, Joeef, 12, 63, 77,
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MUSICAL COMPOSITION

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