MUSICAL COMPOSITION

RHYTHM 31rhythmical phrases on a large scale, the etudent iereferred to the famous passage in the scherzo of Beethoven'sNinth Symphony, marked "Ritmo di trebattute" and "Ritmo di quattro battute."In addition to the juxtaposition of rhythmicalphrases the composer must study the overlapping ofthem, the end of one period forming the beginning ofthe next. The following examples from Beet~ven'sQuartet in E Bat (Op. 127) will show the working ofthis method:BAI~ 00 ~-... ....P,9-w=t~,~joThe phrase B overlaps A by one note, and thephrase e begins on the first beat of the eighth bar,while the phrase B ends on the second beat of thesame bar. The student is advised to find out examplesof this for himself, and to analyse the result~It is this aspect of rhythm which eventually enlargesand extends itself into form. Form is rhythm ofphrase on a large scale, and the mind which hasthoroughly assimilated the subtleties of proportion in