MUSICAL COMPOSITION

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70 <strong>MUSICAL</strong> <strong>COMPOSITION</strong>pervades the whole song persistently, and is suggestedby all sorts of variations of the opening vocal phrase,which are apparently independent of the voice partand perfect in themselves, while the melody runs alongwithout undergoing a single modification to fit thepermutations and combinations in the pianofortepart. The result is that the listener feels the influenceof the picture subtly pervading the whole song withouthis knowing why. The melody of the first verse ofthe voice part is as follows:The first five notes are the "picture" theme, thusexpressed in the piano part :and every bar of the melody is accompanied by it invarious forms: (1) as above; (2) augmented ;'(3) diminishedand twice repeated; (4) the first three notesdiminished and repeated, the last two augmented andin syncopation with a new subject
MELODIES AND VARIATIONS 71in the bass; (5) is the same as (4) reversed in doublecounterpoint. These variations are now shown incombination with the melody:-. :.~fI-- ' II -G:iL' 1 I,....(3) (4).-~-~-., .,In the third and fourth verses, third line, the motivebecomes a figure developed in the bass with altered
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MUSICALCOMPOSITIONA SHORT TREATISE
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OB&PTDCONTENTS.AQ_I. INTRODUCTORY 1
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INTRODUCTORY 3and should be kept wh
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TECHNIQUE 7Harmony which results fr
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TECHNIQUE 9or, in slightly more orn
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12 MUSICAL COMPOSITIONauricular, ar
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TECHNIQUE 15if t of the string lies
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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 46 and 47: 40 MUSICAL COMPOSITION---This tune,
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 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.
Page 96 and 97: goMUSICAL COMPOSITIONto the topmost
Page 98 and 99: 92 MUSICAL COMPOSITION.Write in the
Page 100 and 101: ~ MUSICAL COMPOSITIONFreedom which
Page 102 and 103: 96 MUSICAL COMPOSITIONpainting can
Page 104 and 105: 18 MUSICAL COMPOSITIONartist; the c
Page 106 and 107: 100 MUSICAL COMPOSITIONguide does o
Page 108 and 109: 102 MUSICAL COMPOSITIONthe other ha
Page 110 and 111: 104 MUSICAL COMPOSITIONI. Violin}II
Page 112 and 113: 106 MUSICAL COMPOSITIONequally surp
Page 114 and 115: 108 MUSICAL COMPOSITIONBefore passi
Page 116 and 117: 110 MUSICAL COMPOSITIONscattered nu
Page 118 and 119: 112 MUSICAL COMPOSITIONcomplete fre
Page 120 and 121: 114 MUSICAL COMPOSITIONthe Irishman
Page 122 and 123: 116 MUSICAL COMPOSITIONin the relat
Page 124 and 125: 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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