MUSICAL COMPOSITION

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28 <strong>MUSICAL</strong> <strong>COMPOSITION</strong>A~ltJgptJ~"ji_~CD if,LJ II IV=ffi~~Jtt¥m~~if if E'I if if if~IOj~~J~if ifA is a four-bar sentence;B is a four-bar sentence balancing A ;C is a two-bar sentence;D is a two-bar sentence balancing C ;E is a four-part sentence balancing A and B.The exact counterpart in poetical metre of thisscheme is the nonsense rhyme or "Limerick," forexample:AThere was a young lady of TyreBWho swept the loud chords of the lyre.CAt the sound of each sweepDShe enraptured the deep,EAnd enchanted the people of Tyre.
RHYTHM 29(As the tune given above is Turkish, the rhyme maynot be thought incongruous.)In order to gain complete control over metricalphrasing, it is well to experiment in phrases of three,five, six, and seven bars, and to invent melodies which,although expressed in these less common sentences,yet, owing to their rhythmical proportion, completelysatisfy the ear.An example of the use of a five-barphrase as the principal section of a theme is to be foundin the Russian dance (also used by Beethoven forvariations) :A.-#.1 ~ If$li!1 rmm;-hFR2Fldf~I II i i fl I•• _ •• _ ••••• _._ •••...••.•.• _ ..•••.••.•• _ ••••••.•.. , , ••• _ ••• __ ._ ••. _ .•.....••• _ •• _ •• __ • ..1Bt t I Ir I~fttt§¥fl tiiJ+9ili I C! r I J. IIL:...._ ..._......._............ ~ ..._...._.....__.__.__.J t ........................ f!_ ••_C..__.l,_______D _______~.~#I ~ ~I. ~~ co£l!iiEii1 U t:l ftEtr~E~th Ir I~#-$iatt11 E£Ef1 ~ ~tdtttrf?SDL_._._ .... __ ........ ~ .. __ ._. __ ....... J t...._..._..._.._.. I!_ ...._.__A five bars, B five bars, C two bars, D two bars, Efive bars.B balances A;D balances C ;E balances A and B.1
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 and 32: RHYTHM 25with the unmistakeable ind
Page 33: II p~RHYTHM 27tt.: J J -f4 J.: JoB(
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 48 and 49: 42 MUSICAL COMPOSITIONAll the other
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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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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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