MUSICAL COMPOSITION

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152 <strong>MUSICAL</strong> <strong>COMPOSITION</strong>St. Matthew Passion will suffice to show how Bachtackled such a difficulty:-~ -I'"A.t~~~~lj_T. 1~9t? ~_ i¢--E& I r~ • -.. ~ ___A_.__ ,110B. ~:!t:"Ji~~ ::~ ..-t-o--=-----l:::.--+-jlLO"""andIn this last example the A flat (which would havepresented great difficulties to the altos) is given to thetenors, who take it quite easily from C. In these,as in many other places, the effectiveness of the
THE TREATMENT OF VOICES 153declamation gains by crossing the parts, and the contrivanceserves the double purpose of greater ease forthe singer and clearer incisiveness for the words.Lastly, give the singers time to breathe. Longseries of notes without a break will inevitably resultin artificially broken rhythms and unsteady tempi.There is no bellows-blower for a singer's lungs. Hemust fill them himself, and the composer must providestopping places where he can carry out that operationwithout interfering with the run of the music. If hedoes not do so, the singers will perforce find them forthemselves, and will not scruple to break a phrase, oreven a word, to do it, perhaps exactly at the spotwhere it is most ruinous to the composer's meaning.If he intends the break to be taken between two notes,it is better to writethanB.especially in a quick movement. The quaver rest willbe there in any case if the singer breathes, and towrite it at A, instead of trusting to chance as at B, isthe safer policy if good phrasing is to be preserved.What the composer too frequently forgets in manybranches of his craft is, that performers do not immediatelyand intuitively know things which seem selfevidentto him, and that he has to legislate very clearlyand definitely for the most ignorant and the leastexperienced. When he means legato or staccato, hemust say so. When he wants a hurrying or slackeningof pace, he must put it down. When he writes forvoices, he must indicate the phrasing as he would bow
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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
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BarB.17.18. }19.20. I21. J22-25.25,
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B&rII.84 MUSICAL COMPOSITIONThe dif
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86 MUSICAL COMPOSITIONBars.85. A va
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88 MUSICAL COMPOSITIONBars.213-219.
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goMUSICAL COMPOSITIONto the topmost
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92 MUSICAL COMPOSITION.Write in the
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~ MUSICAL COMPOSITIONFreedom which
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96 MUSICAL COMPOSITIONpainting can
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18 MUSICAL COMPOSITIONartist; the c
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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 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 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
Page 188 and 189: 182 MUSICAL COMPOSITIONtonic will b
Page 190 and 191: 184 MUSICAL COMPOSITIONto F major,
Page 192 and 193: 186 MUSICAL COMPOSITIONinvention wh
Page 194 and 195: 188 MUSICAL COMPOSITION(§ 18) Last
Page 196 and 197: 190 MUSICAL COMPOSITIONare sincerit
Page 198 and 199: 192 INDEXHaydn, Joeef, 12, 63, 77,
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MUSICAL COMPOSITION

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