MUSICAL COMPOSITION

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24 <strong>MUSICAL</strong> <strong>COMPOSITION</strong>The accent of the same line when read isAnna virUmque Cano, Troja.e qui primus ab oris.An example from English blank verse (five feet ofiambics ( '-' - », the first line of Paradi8e Lo8t, willalso illustrate this point:...., - I...., -1""'-1""'-1"'" -II(a) Of man's first disobedience, and the fruit.which when it is read will give the following accents:(b) Of man's first disobewence, and the fruit.The difference between prosody and accent in thisline, written out in terms of quantity alone, can beshown thus:(a) "'-'-"-"-......,-'-"-......,-(b) ....,--....,....,-....,-....,-(a) is the rhythm, which drives the poetry: (b) is themelody, which uses the rhythm for its own purposes.Rhythm may be roughly divided into two sections:rhythm of detail, and rhythm of phrase.I. RHYTHM OF DETAIL.It is obvious that the number of ways in which thenotes of the scale (even including chromatic intervals)can be interchanged in order to form melodies must belimited, however numerous those ways may be. It isthe entry of rhythm into the scheme which practicallyturns what is finite into what is infinite, and makes itpossible for several composers to write an identicalsequence of notes, and yet produce a wholly differenteffect with them; each specimen may even be stamped
RHYTHM 25with the unmistakeable individuality of the writer.The following-·sequence of notes~~rrpl~appears in the finale of Beethoven's Eroica Symphony,thus:and in tlie introduction to the third act of Wagner'sLohengrin, thus ~But it would be an absurdity to say that the latterwas suggested by the former, or to deny to each formof the same melody the hall-mark of its inventor.The following specimens of some few of the rhythmicalvariations of the scale of F major will further illustratethis:
Page 1: MUSICALCOMPOSITIONA SHORT TREATISE
Page 6 and 7: OB&PTDCONTENTS.AQ_I. INTRODUCTORY 1
Page 9: INTRODUCTORY 3and should be kept wh
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Page 21 and 22: TECHNIQUE 15if t of the string lies
Page 23 and 24: TECHNIQUE 17coincide absolutely wit
Page 25 and 26: TECHNIQUE 19To the inexperienced li
Page 27 and 28: TECHNIQUE 21first entries of the su
Page 29: CHAPTER IIIRHYTHMIF melody is the l
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Page 35: RHYTHM 29(As the tune given above i
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Page 70 and 71: 64 MUSICAL COMPOSITIONmust be kept
Page 72 and 73: 66 MUSICAL COMPOSITIONis treated in
Page 74 and 75: 68 MUSICAL COMPOSITION5. Chord puls
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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
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132 MUSICAL COMPOSITIONIn the words
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134 MUSICAL COMPOSITION, ,(The acce
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136 MUSICAL COMPOSITIONits colour a
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138 MUSICAL COMPOSITIONby the accom
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140 MUSICAL COMPOSITIONwhich will f
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142 MUSICAL COMPOSITIONwith the fas
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144 MUSICAL COMPOSITIONthe first th
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146 MUSICAL COMPOSITIONdirection of
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148 MlJSICAL CO~IPOSITIO~in the six
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150 MUSICAL COMPOSITIONwhen softnes
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152 MUSICAL COMPOSITIONSt. Matthew
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154 MUSICAL COMPOSITIONor slur his
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156 MUSICAL COMPOSITIONbrilliant di
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158 MUSICAL COMPOSITIONhis subordin
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160 MUSICAL COMPOSITIONthey precede
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162 MUSICAL COMPOSITIONpaper, and t
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164 MUSICAL COMPOSITIONBet himself
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166 MUSICAL COMPOSITIONof the great
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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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