MUSICAL COMPOSITION

FORM 93sonata form, first by following some models closely, andafterwards by writing independently on an averagebasis of all the models he has followed, he will be able,with certainty of touch and without loss of symmetry,to adapt the form to the requirements of his inventions,and to 'introduce various modifications of shape,such as the omission of some episode, the shortening orlengthening of a development, the omission or inclusionof a coda, while preserving the balance of the wholedesign. But this he must work up to through adrudgery as great as any other profession or artdemands, if he is to reach anything approachingperfection in it, and to make any valuable impressionon the ears which listen to his compositions.Assuming that the composer has now thoroughlymastered technique and form, and is at home in thevaried treatment of rhythmical phrases, what is hisnext step? To forget all about them. They will takecare of themselves. They are firmly fixed in thesystem, and the brain, which has been so far ridden onthe curb, must now be ridden on the snafHe. It is thecomposer's own responsibility to take up the curb reinat any moment when he finds himself unable to surmountsome technical difficulty, or when he discovers aflaw in his own equipment. But when he once beginsindependent inventive work, he must put his technicalrules behind him, just as a painter forgets his rules ofperspective and mixes his colours unconsciously. Hehas been through his term of slavery and won hisfreedom. Neither he nor anyone else will appreciatethe full joys of his freedom if he is always harpingback on his slavery. Freedom means life to music,but only when it is won by genuine hard work.