MUSICAL COMPOSITION

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26 <strong>MUSICAL</strong> <strong>COMPOSITION</strong>(4) _ ~ > • ::> (5) > • ::>f~ (,tJ tj·clcr SE~1=~d• > • >~ m .W£E-nI44$$GI~~f6AJ(8) > • > >; (9) - _ •~J.;:Slvrr·~rILU~-~=t@:;jCJ____"-Jand so on ad infinitum.Command over rhythm is as necessary in subsidiaryparts as in the melodic. One rhythmical figure cangive a character of its own to a whole movement (e.g.the finale of Beethoven's Seventh Symphony), and evento a whole symphony (Schumann in D minor), and willitself breed other cognate rhythms to vary it andcheck monotony. Its importance in song writing willbe discussed when vocal music is considered. Rhythmis the first attempt of barbarians to express themselvesmusically, and its prime necessity as an integral partof music is proved by the fact that all the mostadvanced and complex works in moqern music arestill dependent upon it for a livelihood; as witness theRatten/anger of Hugo Wolf, or the battle-section ofStrauss' Heldenleben. All the leading motives inthe Nibelungen are either rhythmical melody, such asthe sword-theme (alias the common chord of C),rJ" tlfor rhythmical figure, such as the Nibelung-theme,
II p~RHYTHM 27tt.: J J -f4 J.: JoB(three notes of the scale of G minor). The best possiblestudies in rhythm are the songs of Schubert, whichprovide an amazing series of all sorts and kinds offigure in a short space. But let it be rememberedthat they are all the outcome of spontaneous invention;if they had been hunted for or manufactured,sincerity would not be so patent upon every page.Genuine rhythmical invention, like melodic, comes tothe composer because it must, not because he makes it.The study of the rhythm of others must be directedrather to the way the masters use it than to the actualrhythms themselves. Manufacture will not do, but anall-round knowledge of their methods of using it will,to an inventive mind, suggest rhythms of its owncreation.II. RHYTHM OF PHRASE.This branch of the study is of much larger scope,and has to do with the balance of general design ratherthan with the patterns which form the ground note ofthe design. It is this which enables a composer towrite sentences which are intelligible and logical intheir relationship to each other, and at the same timeto preserve their relative proportion.This species of rhythm exactly answers to metre inpoetry. As an example of the simplest form of musicalmetre in four-bar and two-bar phrases, the followingtheme from Beethoven's Ruins of Athens usedj byhim for the pianoforte variations (Op. 76) willsuffice:
Page 1: MUSICALCOMPOSITIONA SHORT TREATISE
Page 6 and 7: OB&PTDCONTENTS.AQ_I. INTRODUCTORY 1
Page 9: INTRODUCTORY 3and should be kept wh
Page 13 and 14: TECHNIQUE 7Harmony which results fr
Page 15 and 16: TECHNIQUE 9or, in slightly more orn
Page 18: 12 MUSICAL COMPOSITIONauricular, ar
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 and 30: CHAPTER IIIRHYTHMIF melody is the l
Page 31: RHYTHM 25with the unmistakeable ind
Page 35: RHYTHM 29(As the tune given above i
Page 38 and 39: 32 MUSICAL COMPOSITIONsmall things
Page 40 and 41: 34 MUSICAL COMPOSITIONbe doubly and
Page 42 and 43: 36 MUSICAL COMPOSITION(That is, on
Page 44 and 45: 38 MUSICAL COMPOSITIONfirst four no
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Page 50 and 51: 44 MUSICAL COMPOSITIONNote how the
Page 52 and 53: !l6 MUSICAL COMPOSITIONWhen he uses
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Page 64 and 65: 58 MUSICAL COMPOSITIONhowever, as t
Page 66 and 67: 60 MUSICAL COMPOSITIONVar.8. Semi q
Page 68 and 69: 62 MUSICAL COMPOSITIONVar. 22. Rela
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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Page 78 and 79: 72 MUSICAL COMPOSITIONintervals. Th
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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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