MUSICAL COMPOSITION

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40 <strong>MUSICAL</strong> <strong>COMPOSITION</strong>---This tune, although it bears the stamp of rapidspontaneous invention in every phrase, will bearanalysis up to the hilt, and will repay it. Notice,therefore, the following points:The balance of B to A. The phrase A falling atits close, but the phrase B rising and thus leading theinterest on.2. C and D, though two phrases (D being a variationof C), 80 joined that they sound like one.3. E beginning with an intensification of D, andsuggesting also an intensification of the close of A.D,...,~ ... ",,110-IVEI~i~,vm=~.r • VA..... .. ..E-". .110.
MELODIES AND THEm TREATMENT 414. F, a summing up of the characteristic falls inA and B.AB--It must not be imagined for a moment from readingthis cold and dry analysis that such a melody as thiscan be made by calculation. We cannot explain theprocess known as inspiration; we can, however, applythe touchstone of the best inspirations of others to testthe value of our own, and we can by comparison andanalysis train our minds to present the results ofinspiration in their most perfect form.A melody isnot necessarily in its most perfect state when itis first written down. Some of the finest tunesin the world have gone through long processesof lengthening, shortening, refining and altering invarious ways before they have reached the form inwhich the world now knows them. The first stagesof the immortal theme of Beethoven's Ninth Symphonyare almost absurd to look back upon, e.g.:Prato. ~II 2r c· c¥f&-fP¥ft#1 t cft$@#Jtl J c rtf c c·lr ["II r c cfffflF5t r IFAllegro.fti if r ~ I r ~ m ~ I r ~ I r ~ I r 1JE
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
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
Page 48 and 49: 42 MUSICAL COMPOSITIONAll the other
Page 50 and 51: 44 MUSICAL COMPOSITIONNote how the
Page 52 and 53: !l6 MUSICAL COMPOSITIONWhen he uses
Page 54 and 55: 4:8 MUSICAL COMPOSITIONmake your ph
Page 56 and 57: 50 MUSICAL COMPOSITIONThis kind of
Page 58 and 59: 52 MUSICAL COMPOSITIONThe greatest
Page 60 and 61: 54 MUSICAL COMPOSITIONOf the fourth
Page 62 and 63: 56 MUSICAL COMPOSITIONmust have the
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
Page 76 and 77: 70 MUSICAL COMPOSITIONpervades the
Page 78 and 79: 72 MUSICAL COMPOSITIONintervals. Th
Page 80 and 81: CHAPTER VIFORMIT is not within the
Page 82 and 83: 76 MUSICAL COMPOSITIONand intangibl
Page 84 and 85: 78 MUSICAL COMPOSITIONmusical equiv
Page 86 and 87: 80 MUSICAL COMPOSITIONI. PROPORTION
Page 88 and 89: BarB.17.18. }19.20. I21. J22-25.25,
Page 90 and 91: B&rII.84 MUSICAL COMPOSITIONThe dif
Page 92 and 93: 86 MUSICAL COMPOSITIONBars.85. A va
Page 94 and 95: 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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