MUSICAL COMPOSITION

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132 <strong>MUSICAL</strong> <strong>COMPOSITION</strong>In the words "c6rlU" and "n6thIng" Purcell hasfollowed the accent as strongly as the quantity, andhas evidently intended "nothlng" to balance the longquantity and accent of "somethlng" in the last line.It is worth noticing that there is not one single phrasein the whole of this wonderful melody (even in themodulation in the fifth line) which does not amplyexplain itself to the ear without help from any accompanimentor harmonisation j and that the composerhas contrived to emphasise the close relation betweenthe second and third lines, and to space out the fourthline, by a slight break and rest before it.The next factor in declamation is to define in musicthe natural inflections of the poem. The reciter varieshis pitch only, the song extends the compass of thereciter and gives an intelligible series of notes wherehe can only roughly indicate their high or low position.The composer translates this defined rise and fall intomelody j but his melody should be conceived so as tocoincide with the natural run of the words. He wouldgive more attention to this all-important feature ofsong writing, if he fully appreciated the limitlesspossibilities which music has of accentuating theappeal which a poem makes, and if he understoodhow irretrievably its maltreatment can destroy theintentions of the poet. The poet cannot indicate thepitch or the lilt of his poem, except by the suggestionof the words themselves, and he is obliged to leave allsuch details, no matter how vital they are to the truerendering of his verse, to the intelligence of the manwho reads it. The composer who sets it has, therefore,the great responsibility upon him of interpreting it onthe lines which the poet felt, and was unable to write
THE TREATMENT OF VOICES 133down with the accuracy which is at the musician'scommand. For an instance of this, the following linesset by Handel in Samson will be valuable:Total eclipse I No SUD, no moon IAll dark amidst the blaze ot noon IIn accent they run thus :- '"T~tal eclipse I No stin, no m~on II I IAll dark amidst the blaze ot noon!The natural rise (c:::::::::::) and fall
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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
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70 MUSICAL COMPOSITIONpervades the
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72 MUSICAL COMPOSITIONintervals. Th
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CHAPTER VIFORMIT is not within the
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76 MUSICAL COMPOSITIONand intangibl
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78 MUSICAL COMPOSITIONmusical equiv
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80 MUSICAL COMPOSITIONI. PROPORTION
Page 88 and 89: BarB.17.18. }19.20. I21. J22-25.25,
Page 90 and 91: B&rII.84 MUSICAL COMPOSITIONThe dif
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 126 and 127: 120 MUSICAL COMPOSITIONa whole phra
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 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
Page 176 and 177: 170 MUSICAL COMPOSITIONThe followin
Page 178 and 179: 172 MUSICAL COMPOSITIONthrough a ch
Page 180 and 181: 174 MUSICAL COMPOSITIONperformers h
Page 182 and 183: 176 MUSICAL COMPOSITIONand do not u
Page 184 and 185: 178 MUSICAL COMPOSITIONhigh. Every
Page 186 and 187: 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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