MUSICAL COMPOSITION

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38 <strong>MUSICAL</strong> <strong>COMPOSITION</strong>first four notes and the wife (B) in the last two bars.These are the children. The whole section after thedouble-bar, which is (in miniature) Sachs' Aftersong,sums up all the material before it, so that 1/ none ofit is lost," while it expresses related ideas in a newway.To this theme Beethoven has written a bass somelodic and suggestive that he has used it apart fromthe melody as a theme in itself:So perfectly do they fit that they can be treatedwith the melody below and the bass above (in doublecounterpoint) as agreeably to the ear as in theiroriginal position.To Sachs' advice it is possible to add one clause,which is absent from his criticism probaHy becausethe melody he was listening to possessed the quality towhich we allude, sense of climax. All good themesare in curves, and tend towards one striking momentwhich forms the culminating point of the melody. Itneed not necessarily be a climax of height: it needonly be the outstanding main feature of the wholemelody. It must come in the right place, neither tooearly nor too late. In the theme given abovethe climax comes at the pause and following fournotes. It is here attained by the force of themelody itself, and not by its being a higher note thanthe rest.
MELODIES AND THEIR TREATMENT 39Another specimen of a melody, with a bass as perfectfor its purpose as the theme itself, is the song /I An dieMusik" of Schubert. The chief characteristic of thistune is the frequent fall of a sixth, which gives theunity of ide!!:; this is twice intensified by extending itto a seventh at (IX) and to an octave with interveningnotes at ({3). The climax comes in the penultimatephrase which is marked -= =.The whole is clamped together by two falls of a.sixth (emphasising the chief feature) in the finalphrase:. #:-" .A"'-.,.:D(,9). >-L
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 and 34: II p~RHYTHM 27tt.: J J -f4 J.: JoB(
Page 35: RHYTHM 29(As the tune given above i
Page 38 and 39: 32 MUSICAL COMPOSITIONsmall things
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Page 42 and 43: 36 MUSICAL COMPOSITION(That is, on
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Page 62 and 63: 56 MUSICAL COMPOSITIONmust have the
Page 64 and 65: 58 MUSICAL COMPOSITIONhowever, as t
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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
Page 76 and 77: 70 MUSICAL COMPOSITIONpervades the
Page 78 and 79: 72 MUSICAL COMPOSITIONintervals. Th
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Page 82 and 83: 76 MUSICAL COMPOSITIONand intangibl
Page 84 and 85: 78 MUSICAL COMPOSITIONmusical equiv
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Page 88 and 89: BarB.17.18. }19.20. I21. J22-25.25,
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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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