MUSICAL COMPOSITION

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182 <strong>MUSICAL</strong> <strong>COMPOSITION</strong>tonic will be robbed of all its freshness if it is heard amoment too soon; the more firmly the tonality has beenfixed in the mind in the first part, the greater is thenecessity of keeping clear of it in the free fantasiasection. Wagner's wholesome advice to say everythingin a key before leaving it has its counterpart, understoodbut not expressed, to avoid the same key whenyou have said everything in it which you want to say.Do not, therefore, discount your arrival at a given keyby anticipating its entry.(§ 14) The danger of making the keys into whichyou modulate sound as if they were the original keyof the piece.This may arise from two causes; either from thetonality being insufficiently driven home at the start,or from the subsidiary key being so firmly insisted onthat it overbalances the original key. For this reasonit is most inadvisable for a beginner to alter his keysignaturein the course of a movement, as, for example,in a movement in E major, when the second subject is inB major, to alter the signature from four sharps to five.The mere sight of the original key-signature tends tokeep the due balance of tonality in the mind, and torelegate every subordinate key to its proper position inthe general scheme. This is one of the reasons whyBrahms laid so much stress on a composer writing hisclefs and key-signatures at the beginning of every pageand every line. It is not waste of time to do so; themere manual labour gives a little pause for thought, ora little rest to the brain; as a perpetual reminder ofthe original tonality it is invaluable. Too definite anapproach to a related key may produce the same uncertaintyof tonality. The modulation must be 80
DANGER SIGNALS 183delicately handled as to give a feeling of rest when therelated key is reached without over-accentuating it.It is like paying a visit to a friend who makes youfeel at home, while all the time you know that his houseis not your own.(§ 15) The danger of writing a single part in akey different from the chord last heard.This, a most common failing, arises from thecomposer supplying in his own mind chords orharmonies which are not there, and, for any earsexcept the composer's, do not exist. The openingof Beethoven's Overture to Leonora (No.1) is anillustration of a single part of considerable length,every note of which will conform to and combinewith the opening bass note (suggesting the chordof G):cru.f'.--~:-In the following bars, where he wishes to modulate
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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
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102 MUSICAL COMPOSITIONthe other ha
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104 MUSICAL COMPOSITIONI. Violin}II
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106 MUSICAL COMPOSITIONequally surp
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108 MUSICAL COMPOSITIONBefore passi
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110 MUSICAL COMPOSITIONscattered nu
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112 MUSICAL COMPOSITIONcomplete fre
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114 MUSICAL COMPOSITIONthe Irishman
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116 MUSICAL COMPOSITIONin the relat
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118 MUSICAL COMPOSITIONinto brillia
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120 MUSICAL COMPOSITIONa whole phra
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122 MUSICAL COMPOSITIONwant it for
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124 MUSICAL COMPOSITIONwhich, if th
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126 MUSICAL COMPOSITIONof hearing t
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128 MUSICAL COMPOSITIONbe arrived a
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130 MUSICAL COMPOSITIONBut doth suf
Page 138 and 139: 132 MUSICAL COMPOSITIONIn the words
Page 140 and 141: 134 MUSICAL COMPOSITION, ,(The acce
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Page 150 and 151: 144 MUSICAL COMPOSITIONthe first th
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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
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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