MUSICAL COMPOSITION

MELODIES AND VARIATIONS 59I'Ihort rhythm; the C Battened in bar two, the modulationand the melody both altered; the accompanyingchords being transferred to the second and fourthquavers of the bar (the off beats). Alternate p and f(dynamic variation).VaT. 3. The slurs of II. inserted into I., and themelody given in quavers to admit of it. A scale fromthe bass rwming across the melody in both parts, andthe melody crossing into the bass.VaT. 4. The same idea as the treatment of thescale in variation applied in the form of shakes. Themelody transferred to the bass and much altered, theslurs of the last variation extended from two bars tofour, and the section II. still more drastically altered.VaT. 5. A brilliant and ornamental variation, thefigure being in the treble, and the theme (a thirdhigher) in the bass. A suggestion for the first time ofchange of key; the earlier portion of III. being in thetonic minor, and so making the major ending muchmore fresh in quality."VaT. 6. The slurs of the third variation appliedthroughout; the scheme is orchestral, suggestingclarinets and bassoons; the whole is (with the exceptionof the closing chord) in two parts only, doubled.The repeat of the second part is written out in full toallow of a variation of it, the lower parts being transferredto the upper, and trice versa. Chromatics enternow into the scheme.VaT. 7. Contrapuntal and polyphonic in style, thesecond note converted into a rhythmical figure, whichpersists throughout. The idea of the crossing scale inthe third variation applied in III. to the new figure.Many more marks of expression.