Guide to Musical Composition

^•^^r'-y-r'.y-^'r-^t^J-J^

Cornell University Library

MT 40.W84

1887

Guide to musical composition,for tliose

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GUIDE KUSIGAL COMPOSITION, FOE THOSE WHO WISH, DT A SHORT TIME,

WITHOUT THE AID OF A TEACHEa. TO AUIJDIKE THE POWIR OP

|nte% Um Of PROVIDING

pCtkMts,

THEM WITH SniTABLE ACCOMPANIMBNTB

(

^BPECIALLT OP

;V«POSIlfG THE EASIER KINDS OF MUSICAL PIECBi

BY HEINRICH WOHT.FAHllT. TRAi^SLATED BY

J. S.

BWIGHT.

BOSTON:

OLIVER DITSON COMPANY. NBWTOKK:

C

H. Biison

&

Co.

OHICAGO: Lyon

&

Healy,

PHIIiA: J.

E. Ditson

EOSTOIT:

&

Co.

lolm

C,

Haynes

&

Co.

Entered according to Act of Congress in the year 1850, by Olitbb Ditsok & Co. in the Clerk's OflBce of the District Court of the District of Massachusetts.

Copyright, 1SS7, by

John

S.

Owight.

PIIEFA.CE. "

How

does one begin, in order to compose a

of music

?

to write

them down and make a

I

commonly am

where T

Pretty thoughts often

float little

add new

ones, they will not

at the

first

fit

how one can them

all

little

but

;

piece

if I

try

four measures,

If to the first thoughts

together rightly.

composers of larger works.

hensible to me, thoughts, and

fit

me

musical whole of them,

stopped short after the

my fancy leaves me in the lurch.

wonder

before

It is

Then

I

incompre-

think out such innumerable

together into one consistent whole.

I remark, to be sure, that in such

once there, comes up again, but as

works many a thought, it

were

For the study of a School of Thorough Bass

in

a new dress.

I have

no time

moreover, such a work, without the special guidance of a

would probably remain a book with seven

teacher,

me.

Besides,

it is

a composer proper

not at ;

all

my

trifles

for

my own

purpose to form myself into

I only wish to have just so

in this matter, as to enable

seals for

me

much

light

at times to write musical

satisfaction, or

at the

most for good

friends."

These words are taken from the tur.'isd to

fnquiry

me

made

asked of me, notion of

me by word which leads me of

many

sists for the

To prove

in this predicament.

letter of a friend, I often

who

have the same-

of mouth, and information to infer the quite erron&oua

dilettanti, namely, that a piece of music coa

most part of a

string of wholly

new thoughts

the contrary, in the most obvious and striking 1*

man

PREFACE

fV

)

aer, I

me

have made them give

a single measure, or only

couple of tones, out of which I have forthwith dev sloped various little pieces, waltzes,'polkas, &c., partly playing them

over

on the piano, and partly writing them down with-

first

out the aid of the instrument.

This excited great astonish-

ment ; and quite as much so when I pointed out, in larger cofnpo-Bitions,

how whole

Of course

periods are developed out of a few notes.

I could not

make

the matter wholly clear and com-

prehensible to such inquirers all at once

them to lead them to a

spring,

the inventive fancy of those

from which the greatest masters

who drink from

friends

is

that they

it,

Before we reach

I

;

it,

we must

it is

called

reception in wider circles, and lead

many

Guide

But a knowledge of the theory of

Whoever wants

this

Guide

it

friendly

find

to the fountain.

Harmony

is

presupposed.

knowledge can easily obtain

" Introduction to the '

I can give be-

Thematic Treatment.

May

this "

Gently,

1

hastily, for that is

" originate.

Thus did

it

go over a small

first

we must not drink too

The name of the magic fountain

dangerous.

forehand

Quick, let us go to

this fountain ?

mountain, and then

*

fructifies

one musical thought continually crowding out another.

Where

my

but I promised

had drawn, a real magic fountain, which so

in the art

find

'^

it

through

Theory of Harmony," of which

thia

is a sort of second part, or further development.

H.

W

CON"TJE:NrTS. L

Pattern Melodies for Imitation

IL

Structure of Musical Pieces

Periods^and their

III

...

€

Members

The Theme

7

8

r

Principal ways of Transforming a 1

,

Theme

9

Transposition

9

• F.xpansion

10

3.

Contraction

4.

Augmentation

11

6.

Diminution

11

6.

Repetition

II

7.

Omission

12

10

• •

•

8.

Changing the Order of Tones

9.

Reversing the Order of Tones

13

Combining Fragments of

13

10.

•

• • •

different Motives

11. Inversion

Combinatian of several Modes of Transformation

V.

Consideration of some Periods with regard to their Thematic Treat-

ment

12

13

IV,

14

15

,-

Exercises Periods of the Scholar's

VL

i

18

own

formation

•

Harmonic Accompaniment of Melodies

23

Figural Voices

Harmonic Accompaniment of the

22

27 Scholar's

own

Melodies as Exercises for Harmonic Accompaniment

!

44 4S

n VII

mi.

CONTENTS. Periods of different length

51

•

Shortening of Periods

62

Short Introductory Phrases

6S

M.

Cadences *

1.

The FuJ Cadence

2.

The Half Cadence

67

3.

The Plagal Cadence

67

4.

The Deceptive Cadence

••

67

•

69

Imitation

Inverted Imitation

Mixed

83

•

85

Imitations

Canon, Fugue

88

Dances

88

Variations

89

•

Marches

90

Song Composition

Bondo Sonatiaa

66

9C '

•

•

91

M

GUIDE TO

MUSICAL COMPOSITION. I.

The

Pattern Melodies for Imitation.

chief thing in

Music

is

and expressive melodies, has in composer.

may

Melody. his

He who

Taking the Rhythm of one melody

be formed in imitation of

it.

can invent beautiful

power the most important for

a pattern,

art of a

many othen

For example

%^^^^^^^^t3^^^

^^ig^lg^i^^g Tt:«__^

|gd^-Nf{^|giSgpf}ggp^3g

^i^^i^^gi^i^ ^^pi^i^niiSlip Such rhythmical in

imitations, to be sure, are

no real melodic formations

a proper sense, but they are a very good preparatory means.

The

fol-

lowing melodic patterns should be imitated in a similar manner, always taking care that the melodies be as sing-able as possible.

A

mere wan-

dering about of tones, without harmonic connection or natural flow,

melody.

The melodic

steps or intervals

and such as appeal to the feeling. beginner, the commencing measures but be must also

try,

each melodic pattern.

must be

To make to

some

easily

is

no

comprehended,

the matter easier to the

imitations are here given

without a given beginning, to form melodies

aflei

P GUIDE TO Allegretto.

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Allegro.

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MUSICAL OOMPOSITION,

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GUIDE TO

10

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Ef^EEtHEi:?^: &c

Moderato.

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The following melodic

I

^-'-

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—— * J

«

^t

_

patterns should be imitated fovir times without

a given beginning. Allegretto.

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Allegretto.

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isl^te ^H rtzt

rp=P=P=

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^

MUSICAL COMPOSITION.

n

Allegretto.

r^rfiif:&':fri:fi

Allegretto.

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g^si^li^^^

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.

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HP Allegretto.

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Allegro,

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^^^l^^ip^i^^

^^^m^^^m^m Moderato

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Allegro scherzando.

HSliSsSi^iiiil^ Allegretto.

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GUIDE TU

L!:

Allegre

^ri=r piB^^i^pipfe^ pg Moderaio.

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aigi^s

lz:z^3ES^. ?=t

Allegro scherzando.

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AU^agretto.

i^i

s^eIMe^s.^^

II. If that

we examine it

structure of Musical Pieces. the structure of a piece of music

consists of smaller or larger

Usually such a

guage of music

member it is

more

closely,

mew Jer«,(tone-groups,) strung

consists of eight

called a Period.

measures

Such

;

we

find

together.

in the technical lan-

periods, for example, are the

eight-bar melodies which have so far occupied us.

The period may be

again divided into smaller parts, but always into equal halves

;

thus the

8 measures into twice 4 measures, the 4 measures into twice 2 measures,

and

finally the

measures

is

2 measures

called a

into twice 1 measure.

Phase ;

the half-phrase of

Section ; and the half-section of 1 measure

is

The

half-period of 4

2 measures

is

called a Motive.

called (

MUSICAL COMPOSITION. 11

mil it be remarked that the

lense, as

opera motives

«ense

;

that

is,

Thus

is

also often

there

are

used in a wdei

upoL

variations

the themes of the Variations are taken from opera

But here we use

music

word Motive

meaning a whole Melody.

lo

the

word Motive throughout

in the first-named

as indicating the smallest division of a Period.

PERIODS AND THEIR MEMBERS. -^-0-m~ j;

^Ji^g^li^lg

^

t^=x

Phrases

p^iii ?3 Sections.

--T-:U^.5s:fc»:

-^-•-#F:^ t-

-P=i= :*iti

3^1

m

1

^igig^iggijiiii^Slt Motives.

1

s^gss

:» 1*1*

f -^5-»-»E=E^:

In periods commencing with upward as an incomplete Motive, which

closing Motive.

whole,

is

F-#-

-I

I

m

i^Jji:'^'

beats, the up-beat is considered

belongs with

the

equally incomplete

That two such incomplete motives make up together

clearly heard

upon a

a

repetition of the period.

t^^E^ir'f^n =1=^

^^^Sl

-0W

;^i^SEg^tL'J -#— P—•-

=?—^•

i

£ EES:

it=t:

Many

may also be divided otherwise, may have an up-beat, but of equal

of these periods with up-beats

every motive

\hat is to say, so that

For example

ralue.

iHnf

Motives.

:

1

m

it5= E:j^fegEgEgEgE;;iEgEE^5^:^ ig:-fe; :t=tt ^f=f ;tif:zlzc-rtir.=piiic:ztt: :t=S^:

m^

::Cr;

i-E^E

t=ijiz:3t=l\ti

Motives.

I

:.zy--z=-zt,zri

z±z

gEl-^^|Eg±£ggE|5E:g=fc--^gE|:(;Ea-

^

:

1

whole or

;

but the

_first

nized.

The

In

The theme Hume of

its

this

Such a

principal thought

is

called the

transformed, but always so that

way

its

all

it

its

may

Theme. first form still

But ;

it

be recog-

appearance every time excites a new interest

working up a theme in itself

neariy

repeated in different parts of the other periods, either

is

in part.

alte'^ed,

art of

;

period contains the principal

the repeated thought should not be employed always in

should be

^-

The Theme.

seldom that a piece of music has but a single Period

thought, which

—

g^fe^^3|

y it-^-i-V

pieces contain several periods

in

-«

-^-T=^-

III. It is

^^t^E^ 3:^

contains such

this

work

;

way, for

is

called thematic treatment.

we have already remarked

tha.

motives are precisely alike, and that others are verysimUar

MUSICAL COMPOSITION. Such

different forms are inexhaustible, as

would be impossible

to represent

them

we

shall soon see

;

therefore

il

all.

The PEiNciPAi WATS OP TRANSFORMING A Theme

are the following

Transposition.

1.

A Motive is transposed,

16

when

it

stands upon different degrees or stepi

of the scale, but with the same intervals oreserved.

Motive.

P

^^

Transpositions.

^=P

-0=*Motive.

Transpositions.

i

e^:E Transpositions.

Motive.

i E :*=t:

^-

Motive.

a:=t:=|:3f:

Motive

^-

iipS

t— 1=

-cri-

Transpositions.

^1

;»=p:

t^tr^u=£ Transposition.

E#-5?=

Motive.

—

.»_

Sip

Transpositions.

&c.

^^sm^^^^M^si\ -fl

—g—

GUIDE TO

16

2 Motives.

Transposition.

zW=i-

?^fcp

i Half Period.

Transposition.

^

[lE^EES

m

-P*^ J=Pfp:

giiigi^ig

Half Period.

Transposition.

g^^=Efei^^siigfe^ Half Period.

4w

m-Js

Transposition.

^^^^^m^mi

Transposition plays a principal part in the thematic working of both smaller and larger pieces.

2. Espvinsion.

In transposition the

intervals of a

the notes are spread farther apart,

Expanded.

Motive.

Motive are not altered; but here

o.,

Motive.

the

Motive

is

expanded.

Expanded.

'^m^^m^^i^i

1^-*'

ESf

Motive.

i.

Expanded.

Motive.

Expanded.

b.-

^^^&feg:^ifjg|ffe(EE-j!:fJ^£^ Expanded Expand

Motive.

i

a=

•

3.

Here the

intervals of a

l»bi^—

Contraction.

Motive are made smaller, or contracted

n

MUSICAL COMPOSITIOA, Motire.

Contractions.

Motive.

Motive.

Contracted

Contracted.

Motive.

Contracted.

i^iPj^i^^gi^^ 4.

Here

Augmentation.

the intervals of the Motive are not changed, but the length oi

time-value of the notes

is

augmented. Augmented.

Motive.

i

SHI

^J-^EE 5^; Augmented.

Motive.

I

i^

-'

J^

=Et

ZflZZIi^Zft

5.

This

is is

i

Diminution.

the opposite of the preceding

Motive

£

=t

;

for the value of the notes of th«

diminished instead of being augmented, while the

intervals

remain unchanged. Diminished.

2 Motives.

S5531 ^^i=P3^l^ Diminished.

2 Motives.

|S ^

-t

rt 6.

Many inents

motives

may be

—r=ff=?=

Bepetition.

variously remodelled

or members of the Motive

[2*1

^

by the

repetition of fraj-

GUIDE TO

Id

Isi=S^ Motive.

Repetitiona.

^^fegEfefeSS tij—Si5"'s3"- -^-^j—

or

more members may be omitted from a Motive. 2 Motives.

i

1

Omission.

7.

One

E!Et

"--^-^-^j-

Omissions.

•=?-

-M—f—T-W

i^^^lgi^P^^S^H^E Motive.

Omissions.

±^

^?=^

rtt

¥

|i 8.

s

:T

;]

g=E

Changing the Order of Tones.

The members of a Motive,

maybe

PI

especially such as form a chord together

tniercAang'edji.e., introduced in a different order, but without

altering the rhythm.

Section.

This

may

occur within a narrower or a wider

Change of

tones.

i^#iiip^g^ii^i^E

fe^^^^^^^ Motive.

Change of tones.

Motive.

Change of tones.

MUSICAL COMPOSITION. Reversing

d.

A

Motive, or several Motives

tlie

Order of Tones.

may

bo taken backwards,

from tlM

e.

i.

rhythm.

to the begiuniug, without altering the

Bnd

Reversed.

Section.

i

«_,-

Reversed-

Section.

i

:«i|ii

this

—^—

'

Combining Members of

10.

By

^^

st

-^:a-

*-

*• i

different Motives.

means of transformation many new Motives may be formed Half Period.

r

I

n

I±=^ -*—*-

\

J-L

M. tz=Mz

'^m

E3^5=i=

Combinations from measures, 1

and

2

3,

and

i 3^S"^A 1= -*- -^-

1

and

-*- -*-

3 and

3,

^

3

3,

*

move

3 and

1,

2,

f^ s

-^--

3

1,

*—•

11.

Bteps, or

-^

—*—•——*—

Motives may also be

and

and

2.

—d-^ —^— — —^— •

-i^

*

Inversion.

so changed, that their intervals shall

in the opposite direction.

This

is

make inverted

not reversing the ordec

of tones, as in No. 9, for there the series of tones went back from the

end

to the beginning

;

but here

the first note of the Motive,

Motive.

isi

t=:

Inverted.

-tt

we commence

and not

inverting the intervals at

at the last.

^^ ^^ 2 Motives.

C

Inverted.

Zizzzw:,

t-t;i:

GUIDE TO

20

Inverted.

2 Motives.

2 Motives.

I^SHseg-l^pipSfS Half Period.

Inverted.

i i

:p:>i^^rp:

Mai- :£i|:: Inverted. ZJfZlfi-

^^

EE^

ntm

-0-0-

^E^'

Combination of several Modes of Trans-

IV.

formation. Frequently not only one, but two, three, or even more means of

trans-

Thus we can

trans-

formation are applied to a

Motive at the same time.

it, or we may transpose and way Motives may be at once

pose a Motive and at the same time contract at

the same time expand

In the same

it.

transposed and inverted, transposed and diminished, transposed and repeated, &c. &c.

It is better to begin with

combining only two modes

;

but there are also three-fold, four-fold and even five-fold transformations, as the following

Motive.

example shows. transposed

& inverted,

|

reversed,

|

transposed

&

reversed.

-0-n-

Motive.

IE

=#-^= -0—0'^^

::t:

transposed and reversed.

S££

-J^

transposed and reve rsed.

Motive.

^^iEjLengthened by transposed

m

re; -W-0- -jtz=±

repetition,

and the figares

S '^m in sixteenths inverted.

^^^^m^^^^^m Transposed, inveried, and lengthened

by

repetition.

rfUSICAI.

COMPOSITION,

transposed

Motive.

& expanded,

||

21

transposed

&

reversed.

gg^Eisga Transposed, contracted and inverted.

|[

Transposed, contracted, diminished with repetition.

Transposed, inverted, contracted and incomplete.

2

-W=lt-

Consideration of some Periods with regard to their Thematic Treatment.

V.

We new we

have already remarked that not a single Period consists of purely

motives, but

some motives are only transformations of

will call original motives.

taken from well tives

known works of Mozart and

must be pointed

others,

which

In the following Periods, which are mostly

Haydn, the

of

original mo-

out, with allusion also to their transformations.

Allegro.

1^=^Ir— l?E

j^

I

Original motive.

i^^dm^^m^m^ • f-

The whole Period has

five original

motives

;

the

first

we

find trans-

posed in the third measure, and the second transposed in the fourth measure.

In the sixth measure we have the

but enlarged by two

^ connect

Oriii'-ial

it

new members

third original motive repeated,

(a and

rjf)

at the close, in order to

more agreeably with the following fourth motive.

motive.

|i=p:

0-—f-0-

t=i:

^^^mi

»

GUIDE TO

22

;itt*=i=^."=F=^P-

I

This whole Period ure

is

ed in the

fifth

crotchet

for, strictly

first

original motive,

Measures

members of Properly

the

first

this period

3,

this

find i)oth repeat-

7 and 8 contain transpo-

original Motive,

taken, the e in the second original Motive

which case

and

and we

namely

the

has only one original motive

and the two semi-quavers may be resolved

note,

3, 7

last

and quaver.

The second meas-

developed out of two motives.

and sixth measures. two

sitions of the

in

is

a transposition of the

is

;

only a participant

into the harmonic note d,

motive would be only a transformation, like measures

8.

Vivace assai.

^i^i Original Motive.

nt

S^33^S

EE

^^

i

0-

:t=p::

What may be made out of so simple a melody with only may be seen in Haydn's Symphony, No. 10.

a single

origi-

nal motive,

Presto.

m

ES^

=t

-0—fi-

=tit=

Original Motive.

m^mM

it

Here only

tne

first

E&'£

original motive has

been transformed

has been transposed, contracted and inverted »lly,

;

and measure 6 transposed.

^

Andante.

-f— Original Itotive.

1

;

measure 4

measure 5 repeated

FT Sii ipi!

liter-

MUSICAL COMPOSITION.

23

g^ggg^^g^^^^EE= Measures 3 and 4 are transformations of the measure 5

a transformation of the

is

transposed, eontraxsted and inverted

;

first

first

t

two original motives

original motive.

and measure 6

is,

1.

half of

;

e.,

partlj

it,

an ex-

pansion of the second ori^nal motive, and the other half a transformation of the three eighths in the

first original

motive.

Allegro.

Original Motive.

The second second half

is

1

original motive only half deserves this name, because the

only a transposition of the

first.

This motive

is

transformed

and sixth measures, where the two eighths make inverted and expanded steps. Measures 3 and 5 are transformations of the first in the fourth

original motive.

Allegro con spirito. _i-

p i i -i.

I •te

•

„^—

•

Tt

Section.

A^^^=rr^:

:^

^M^^^^^^3=^^

p.4--^gL-j3^M^i Such periods

as the last are better

divided

into sections than inld

GUIDE

24 motives, since each section section

;

makes a

Tt

little

whole.

The

first is

the origin^

the second and third are transpositions of the same, with occa

nonal contractions, expansions and inversions, which are easily found out

Only

in the fourth section

We might make into I measure,

(measure 7)

is

a new thought introduced.

a period of sixteen measures of

and the feeling actually divides

it,

by ohap^ng the

*

it so.

Motives.

w^sm 14

13

LT

We

shall soon

become

__

15

16

better acquainted with such periods of

more than

8 measures.

Exercises. In the following Periods the scholar must seek out and indicate the original motives himself,

and

also note the transposed motives as above.

Vivace.

I i^^=i 3

-•:

i:

fci=-±rt

'-

E

m

Allegro molto.

-^—^KUgzirW

^EE|Eg^Jg^ai^EgE^^^:j|E|^^ 7>

MUSICAL COMPOSITION.

6=

23

^^

Allegro

m olto. •y-p~r-y— M- ^

-r

——

<—

f-

^. Ji

— ~~

l2_-»3q=£^^^£^t^n-'-.- -•-.•-•-^-•-

Allegro.

:1==i L^:

::1=:t=:t

ite3^=

—

zM—izzi:

==!=: *-•

-^

s^

i«

I

*

II

M-

Allegretto.

iE^iiigi

^ES^ ^^

-p

ISe ^^

Vivace.

5:f-

—

----

:t:^L^-r.

t^^=^^

^ 1«-

—

_!_•

.

.

^^

—

'^^m

—— —

m~0-' -,-f^^^ I

-^

.

I

—

^~0 — -0—P-0

—T- m

^'^^

r

Allegro.

fe^Efe -h^'^4

!s££t:3igc:^=g-^^--F-fr-tiFr-r3

ggiili^^ip^li [3J

i

GUIDE TO

P.6

Moderato.

^f^Egp^j^;i^^^j|P^}j^

^^^^i^^§m^

*=^

t

Presto.

gHEESse^ES^iSSi:

^m

Largo. -^- -^,=fi=t:

^^iiiiE

-P-?-

rfo/.

4

i

S^

^3:

1-3=*

N-=5z

E*=-E3E3•— ^-

^r=r3

Adagio, .0

—

0^0

sssiei

-.=r-.^. ^.

E&:

-«-•-

P

i^eiSlij^

Allegretto.

=§^=1 TyroUenne.'

fea^i^^i^i^i^iiii^si

MUSICATi COMPOSITION.

21 0-

E=b^3EfEEiEEe3=P; -•-—••—p-

——

i

Allegretto^

I

^

gs I

i

A^ji^Jl,..

f,

iif^g^^i^iSE zf i^^i ^-f-f -f-. ^'f -f-f- f-.

i

^^^E^:

^

^-,"-1* -"

Allegro.

i^^^i^^^^

II

Allegretto.

P

H

^B^gzj^gjteg^E

igrp5?j5?

:fi2=?ib(

Allegro.

|te^^5i^e

^!SE

S£;^

g=^^

[See measure 7.J

^'^^igg!^^^^ p^t^f^jE^mi^-fe

^isi^giteiif^

GUIDE TO

28 AUegr

tei^:

^^^^^

p=?=±»zrp=

r^--7y

±±3:.

#-»-.

#

5

—

i-

Allegretto.

l^^igg^gssgg^jBfeESi^ga ^=^" ;^^zrd=r

=t^:

^

ff^

Allegro

P=i=Pt

t

i ^-^ 3=SS t=3t=jt:^^jL ^E^

lirt-

k-

E2e:^:

-0-

'^^^mmm.m^^^^^. n -p^=»-

tf^ t=Xr

Some Periods of the

own Formation.

Scholar's

Hitherto the scholar has worked after certain melodic patterns, simply imitating the pattern melody, measure for measure, without

means of transforming the melody. such models. will

ures left

be given ;

Here he

is

no longer

knowing the to

work

after

In the following exercises only the commencing motives hira,

and out of these he

the invention, transformation

wholly free to him.

is

to

form periods of eight meas-

and succession of the other motives

Several periods should be formed

For example.

the san e beginning.

Allegretto.

Commencement

ptii^ :|

-

&om

if

one and

MUSICAL COMPOSITION. Period

29

1.

ii^ii^^^fi^^ Period

2.

A.

A

^^^^^mi^^ Period

3.

m^i^^^^^^^m ^^m t^ ^s^-

Period

4.

A— _i.-n_k,i_ Period

A

5.

A

w^^^m^^^^^ A

.

A

Period 6

^^

E^

E^feg^zL^E^Ei^^

^^=i5=

Commencement

tssaf

^

2.

1. Allegretto.

-

[3«]

FJVoea

^

GUIDE TC

30 Allegretto^

3.

Moderato.

5.

*—

»»-

i S3

m

0^0-

I--

EEE -s

9.

::jzi^

•-

Allegretto.

=£

i

~^-zl-

l=[

EE

Galoppade.

14. Allegretto.

-0—0-0-

:E^

JToZier.

-4-=*-

^s^

Moderato.

12

16. Allegretto.

15. Allegretto.

18. Andante.

17. Allegretto.

rg^g^gg^pEggiigl

:t::--t

-P-1-!

FiVace,

20. ilforscA.

P=#:

fe±:i?

fc

10.

13. Andantino.

19.

2=t

Allegro.

± 11.

#

1

5: S—l?3E

;^3 8.

— —jp^t

Allegretto.

Allegretto.

6.

Moderate.

7.

4

^

^

s^i

:ee3e

$^

=t:

Choose now out of various musical pieces several more such beginnings {(IT

the formation of periods

are not familiar,

to avail yourself of the

the beginning also. imagination, and

tnatment.

;

but choose them from pieces with which you

and then compare your work with the

you

necessary improvemec's.

original, in order

This done, then invenc

Melodies will flow more and more easily from your will gain

more and more dexterity in the thematii

MUSICAL COMPOSITION.

31

The Harmonic Accompaniment of MelodJos

VI.

who

In the invention of a Melody, a person

is

at all musically calti

Harmony

vated has in his thought at the same time the

to

it,

at least itj

Nay, even unmusical persons and childien find for simple melodies a second part as a harmonious accompaniment, evnn Bbould it consist only of the ground-tone (Tonic) and the Fifth (Dominant) So too will we begin with setting a second part as an accompanifundamental chords.

.

ment

to

a melody

;

not

all

at

once to a whole Period, but

one

first to

measure, and then to two and four measures.

The following

we

three notes,

will suppose, require a Oiie-voice

accom

paniment.

i EfefE?^ In the belongs.

first

place

The

first

we must know

and third note

(c

to

what chord each of these tonfi to the Trichord of

and c) belong

<

I

major, and the middle note (rf) to the Dominant chord of this Trichord

Hence an

interval out of these two chords

panying voice let

;

but which

We

?

will try

must be chosen

them

all

for the accont

one after another, am

ihe sense of hearing judge which intervals will serve our purpose.

-a-

I

f

All these combinations sound not disagreeably

Bound empty, namely the Octaves e-e, c-c, still

more the fourth

g — c.

;

d-d,

but some of them the

fifth

g — d,

much as possible, at all events not use them in unfit successions The accompaniment of the above three melodic notes, both in and a

false tone-series,

and

Such empty consonances we must avoid

would be as follows

a?

of tones a correcl

:

Correct.

2 ..

J ^-.,^-J_J-)-^-j-4-4-Tr-^U-J-,r-J-4-l-Tr-J-^-!

i,

J-4-l-t

GUIDB TO

52

False.

10

9

r-^-

Tr- -r

I

What

then, from 8 to

is there false,

11 the progression from

in

-r-

same octave, with the fourth

this

fto

c,

but one step downward, and here

g-c ;

from J

because h

to e,

an octave

(_d)

occurs

is ;

15

Of

this

f should go to

We

may

also

to the

In

e ; in

c.

12 the octave

— In

this progression of the

parts

it is

is

e

;

3, to

be sure,

two voices, where

not faulty, nor does

called

accompany the three melodic notes e

and c belong

Dominant chord of

it

Contrary motion

e,

d and

c with tones

also to the Trichord of

this Trichord.

PS to

9

in

hereafter.

from other harmonies, for

and d

171

also in 15, besides the progressiop

Such a progression of the

more

ff-

In 8 the octave d ;

here the hadincf-note to

but in

15

in

one moves downward and the other upward,

sound badly.

?

U

10 the two octaves d and c ; because the seventh must always move

13 and 14 the same octave, and

in

13

12

11

For instance

A minor,

:

J.

-^

the- following examples, the-

i

accompanying harmony

is

so obvious

1

need no explanation.

*=i

pl^r'^r

m. ri>-r-

^-^-

^

^

:J-Jd

m

rr'^rffrr'-^T-

MUSICAL COMPOSITION.

^

ri=Jz 3-:r=i^3^3E

E^EEJ T n^-

rrr^T Ft"

"

33

Pigural Voices. To

illustrate

E=E

what

meant by

is

1^=:^:

}$

:^

-•

we

will take the last

-m

:3:

-0

w^--t-r

7:i—i=z± -•- -3-

fi-

Now

voices proceed in simple tones.

4

sixteenths,

&c.,

—

^if,

for

if

these voices are

example, a fourth

we have jigurated

upon the place of

their principal notes, in this

EEfegg^^EE^:

;=frtt

turned into

to

But

:

is

effected

by

participant

harmonic notes (in broken harmony), syncopated

and suspensions.

In composing a

figural melody,

one must

think of the principal notes, which should stand in the place of the ares he.

;

and

if

it

come always

ip:p;p:pi

enriching or embellishment of a voice

notes, passing notes,

notes

way

is

the voices.

must not be understood that the eighths and sixteenths are

The

I

~w

dissolved into richer note-forms,

2 eighths or

—

1^=14 -*—^-

ii=t:

f^=

-r

Here both

example.

l=E^li=E=E=^ il^i

£

^ ^P

this

first fig-

one would set a proper accompaniment to a figural melody,

must be able

to find

out the principal notes in the various figurations.

Accordingly the composer must bd able corrcatly to distinguish passing

and participant notes from the harmonic notos, and also the harmonic pri» ripal notes

from the harmonic accessory notes.

A^d

not less must he

GUIDE TO

34 nave a is

suflSciont

FiguraHo«

knowledge of syncopations and suspensions.

an excellent means of transformation, which contributes remarkably

the animation

and coloring of a piece of music

;

and hence

it is

to

of great

importance to a composer.

The following 15 examples show, j«l notes of the

upper voice

may be

in

what a variety of ways the

princi-

figurated.

^Sgggggggg^^^^Sg=g^ ¥^ -I

zjizizpsr. r-»-f^-r

a^^^pg^^feEi^gEEj

;k

^^^^^^^^^m^ m $ r^ it=*

^^^^^^3S=^s^^m Ie:

^

:5^3 H^-•— ^ — •-»+••

-fC0=?=Z

SEtE£,Ei:E^[

-d- -*-

=P;;i=P— •-a-L,

^^ -i

|ri^3|=^p|pi^^S=3=

^

MUSICAL COMPOSITION.

33

6

&c.

lipMpgiE^^^i gpSJ^Batl^Egf^iagggpg &c.

&c.

i 3^^S

i

&c

&e.

^Mi f

ip^Pi^f

^^3

Szg^:^ &c.

fillip

¥ 12

.-^

&c.

&o.

ili^iig^i^Pif

i 13

14

i^^ii^ji^pSE3^^

GUIDE TO

S6 15

|B3;g^_E^^=pgjggE^:

^

1 15 Examples.

Bemarks on these Ex.

The

1.

first

eighth of every quarter

is

a participant note

;

the

harmonic principal note strikes in every quarter as the second eighth.

The

2.

first

and

third quarters are not figurated

;

the second and fourth

have participant notes, as in Ex. 1.

In the

3.

the second

and

first

third quarter the second eighth

and fourth quarters are not

is

a passing note

;

figurated.

In the second and fourth quarter the harmonic principal note ia ; the first and third quarters aro

4.

answered by a harmonic accessory note not figurated.

The

5.

first

quarter has a passing note

;

the second on the contrary

begins with a harmonic acces.iory note, which the harmonic principal note follows as an after-stroke.

Each

6.

So

too with quarters

3 and

4.

triplet begins with a harmonic principal note,

which

strikes in

again after the passing note.

In the

7.

first

quarter the

eighth

first

is

note

so too with the third quarter.

;

is

a harmonic principal note,

repeated again as a sixteenth, and then followed

which

nionic accessory note, answered

by

by a

passing

Quarters 2 and 4 begin with a hai>

the harmonic principal note.

The first eighth in quarters 1 and 3 is a participant note ; quarters 2 and 4 begin with an eighth pause, which is followed by the harmonic 8.

principal note. 9.

Quarters 1 and 3 begin with an eighth pause, followed

monio note

;

the

first

eighth in quarters 2 and

The harmonic principal notes pushed out of place by syncopation. 10.

4

is

by

the

har

a participant note.

strike in after,

because they aie

MUSICAL COMPOSITION. E

11. of the

31

ery quarter begins with a harmonic principal ncte; the figuri

fiist

quarter has then two passing notes, between which the prinii-

pal note is again struck.

So

it is

also with the figure of the third quartur.

In the figure of the second quarter the passing note

is

followed by a

harmonic accessory note, to which the principal note succeeds as a fourth sixteenth.

So

Here

12.

§

also with the figure of the fourth quarter.

time

used instead of

is

The second and

t.

harmonic principal notes strike

The harmonic

13.

after, as

fourth tones

In the upper voice the

of the lower voice are shortened into eighths.

second and

principal note, striking after,

fifth

is

eighths.

followed

by a passing

note.

The harmonic

14.

principal note

between which the principal note 15. In the

first

is

is

followed

by two passing

notes,

again struck.

quarter the harmonic principal note, adorned by a short

appoggiatura, strikes

after, as also in the third

quarter

;

quarters

2 and

4 have participation notes.

To

the following figurated examples the scholar in composition should

mite down similar remarks himself.

-S^-#-

ifeig^^^^^

^:?

-^^^^^^^^&^

i=jS^

zizSiL:

m

—

—^_

HE [4]

^

GUIDE TO

38

p

ipf^i^^gg Eapi^p mi^^=£^^^

^^=1 *=!^3ESEE:^=^*Ei =C--qi

iil

:^=t:

J±tH^3£

^^g|£JgEflgj^3E8g±^M gg{ ^3 sO S

^

^

3

_

^

3

3

§11-1

/

§1

i

l^ii

e:^ t=t

^=p:

ir^z -i»=p:

it=f:

ii-jsSE

^

^#^

$^^ -^rL^gg^igg^i

:^"

:e=i5ii::.gz

MUSICAL COMPOSITION.

^^

7^::z^m Mz^-

<-!•-»-

39

p;#-

ptc=r-h=i-p-

:3^::

eS

=E^^^;=i iiEE

iEEEt^t^E

-p-#-

fefEL=^^^3^]gl3=3

iS

±3E^EE

=C-?-

^1

IEe

=p= =1=

-^

=t=:

if=

— ^m «

,

-p

-'-

^-

i

^^^^^^Ip^a si

|g|

t

f

k

GUID E

40

Examples with the lower part

TO

figurated.

1

mmm

i ^—

*--f*

g*f^-fe?fe -4- —

i^i

^3

i fCEZ^ZiZWZ

S^ES

HrftP^

3^ iit

q;q:

1

5z=5z

-S-yW V—»(

Ejzt

e

-*—_-•-#

?^E -p—t-gd-

i

-f—•-

=F—f—

•-

1

i^i

jipMlgpgis^Bi^^i 5.

The

lunder,

parts of No. 4 exchanged, so that the upper hecomes the and vice versa.

lagg^jsapajgig^^^g^pfpti SbeE

)

^^

il.^i^^^Jg£^|^ii

MUSxCAL C0MPOSiri'»N.

41

"h* pa. is exchanged.

m^i^^i!^^M^^Mw^i e-3H3£EJEEE^53^g^=P=?rB 8.

Harmonic

9.

The

principal notes.

^m^mmmm^^^ parts exchanged.

E^i^m^^fsmm^^i

tE^m 10.

The

r-:i=\:

:fi=f=i—fi-

t-

:t=t::t

i

parts fvoices) of No. 8 both figurated.

-0-

11.

The

-0-

^

voices of No. 9 both figurated.

fffejifefig-fgi^jSj CONTRARY MOVEMENT. 12.

Harmonic

principal notes

13.

The

voices exchanged.

^mm^^^^^^^ --•|»-fe»n-a^

'

—^

t=h

^--'-•-

s^^^^^^^S^^ £4*]

GUIDE TO

(2 14.

The upper voice of No. 12 figurated.

-•-— ^ 1« r— T—a~'

P ^E

f ^

^-T

!«-• ^^ r—m-r-'i

—

^,t£E R=Pt=l^^|

—

-

ifczi

»-

1

IS The lower voice of No. 12 figurated.

^^m[^E^m— — »

•

-?—?•-

,^=^;,i^^m^^^^^ 16.

The upper

voice of No. 13 figurated.

Mm^^^^^sBs^ f?^^

9i=

17.

i E^E

=

-I"

?— ?-

Oreo:

jg^l^HEgggl

-?— y-

s:-=»-P-i»-|

=?=^

i 4=ir

p=:i-

^E3ES

18.

i

The lower voice of No. 13

figurated.

I

^p^^

iig3^=}r>=pg=i^E^ .SEfafejipja--;;^ 19.

The lower

=P=?fnc:

EEE

^—?— y-

i

voice of No. 12 figurated.

:tE±=5z U

.

~m

*

1

—

-I

•-

»

ig^Efei:EpiB^}P^^^ii^^i

[

MUSICAL COMPOSITION. so.

Both voices only

iS

in contrary movement.

pEirtially

gfe^^^pggpg^^rg^ -

7^»-

p^^^m^^m^m^ 2i

.

22.

The following passage

in thirds

shows the principal notes of No.

The following harmony also may be placed under

20.

the upper voice of No. 20.

^s^igigps^ijg^i^^gg^ zpi.rr

m

9ie£ 23.

The same melody founded on the following passage

iEH: ::i^

::1=*:

in thirds.

3:&5i^£^j;^Si 3£±

^^SeSI^^

EE 24.

Now completely flgurated.

s?SiEi

iiE^SIglg^^Sgi^p^ig^i Observe

:

The

first

rieosure in Nos.

23 and 24

contains the rriginaJ

motive, which appears in the other measures as transposed, and indeed

GUIDE TO

44 in

Also tbe

both voices

one voice are repeated,

Such

other voice.

which we

shall

cross-lines

show

that the first foui -eighths

liy transposition, in the last four-eighths

ft

of th«

repetition in the other voice is called imitation,

i

speak more fully in due time.

In contrary movement there often occur tones, progressing st«p by step,

which form several consecutive dissonances.

must be used but seldom, and

movement

their

dissonances,

in a

Such progressions

quick tempo, since in a slower

being longer heard, would sound

too

For example.

harsh.

m^ m

-tfH»:

i^ g^^ lir-*

harmony occur

If tones of a hrohen

must be so placed as not Cmnsecutive

fifths

to

form

in the figurated voice, they

and octave progression!

false fifth

and octaves.)

Cantabile,

ri=p=p=irp:

i£?BS

-till

I

.y

_J

L

I

^^^gj. I

I

I

i_

Faulty.

feiS^&J^i

—--0-^-0-

=P*=tlt

iPgS:!

MUSICAL COMPOSITION,

4S

Pf^^

i

m

#:p-*?f|£.^ SB gg|3E=E giiS^ffi

^ittrf-r.-

pT_zpizzp: ^_i

iteji^

:Et

I

In the faulty

first

measure, the fourth eighth e forms an octave with

the upper voice, and then both voices

move on

in

an octave

to

c.

In the

Similar faulty progressions are found in the other measures.

figurated voice which stands above the faulty one, octaves occur also,

be sure, because the harmony

to

is

holding tones; but the octaves strike octave,

A

full, and the upper voice has

after,

do not progress

to another

and are not struck simultaneously with tones of the upper voice

good musical ear soon detects such

faults.

Both voices flgurated by broken harmony.

,^^^^ fei

v^rxz

^lls

^m^^m^^^^MM E:E

If in the figurated voice two tones of broken harmony come always

upon one tone of the other

voice, then the after-tone,

which

from the omitted tones of the chord, must be so chosen as the

harmony

distinctly.

the octaves c and

example,

it is

/

not faulty.

the four notes of the

the

first

— If a

third

in the first

first

We

is

is

taken

indicate

struck after an octave, as after

and fourth measures of the following might give c as the lower voice

measure, and by a

tie

to

all

prolong this c through

two-eighths of the second measure, as indicated

this period

to

it

the close of

^

GUID E TO

i\S

E^mm^^^Mi ^^ii £iF

^

-

#

r-tt

^^^^ — p^-»

—

f-^!

m •-

I-

^-1

J^EE

Passages with broken harmony frequently occur in Piano-Forte works, as figures of accomphniment, where not seldom the

Dominant) plays the principal part

in the after-strokes.

fifth

(or

It facilitates

the seeking out of harmonic principal notes, particularly notes, &c. to

imagine the broken harmony as struck together.

Andante.

U

k

A

§ :=E

fzM: *fc-^ -"-^=i

Scherzo.

1*

— m^^ ^^^ ^-*

A

:^^E^E^

Sa^=Ei^EtE«E'3=57l^S l=^^g-^g^=E

i

1^1

l«

(^3^

-»— =t7

=f:=4

g^

g^i^^^^=-.

IS

S»^=»=P-

?=^

=3^

^

3E* Id:

MOSICAL COMPOSITION.

41

Allegro moderato.

m

•— -^wr» ^e^Se^ rE2

-•--•

-•--•-

ffi^g^-'ge^i^'^^ -#-

zjnw -•—

-^-

-«

=t=t=t

:*-•

M^^m

i

i ^v-f;

„

-•- -•-

-"«-,-«-

h,0-

-0- i#- -»-

^^m s^^

-^,-n ^-»'-f^

Moderato.

-%'^

—

iS-, #-_ ±=^-.Wt:zt--tzK

^m^^.

=B;

?^

ii The

figures of

accompaniment only partly broken.

^=^

1

=?=?^

1

For example

Allegro sckerzando.

Staccato.

:±;:

:E

11

5ii^

i

-r

—

f^i^^^g^l^ ±=S=i=3=?: ::rt

t^l.^

:

——

—

:

GUIDE TO

18 Allegro.

s^^^^^i^^^pE^

gg^^b^^

-f-f

For example

Accompaniment with chords not broken. Walzer.

^

J^^

^^tgj^ fe»-'a

3EE

^^^izs-i-^s3izs-t=i3:zi=s—l—i-_s—-i=^ -•- -••-

X

-^•^•-

::pi^^

ifcnf:

EEEEf^S

-r-F-P-a-*-

I

B^^Szt

^ffi:

ii=fcz:^iirM A 9- zsz ziTiiz

ii

—

-

^— »!

l-a

J

^

a!

Ji-

^—r-±--l

{'t-^ -^

-•

i

Allegretto.

^PJg^EB^^

^l

^ig

iiHiiiiiiSsi^ -5— 5-^-i-iS^

-•- -•- -•-

-•-

^<

^^Ifl^g^^l^ '^^^i^p^g^pi

j

MUSICAL COMPOSITION.

49

Allegretto.

With

the bass immoveable, or Organ-point,

Pastorale.

^^^^^^^mn-J^j-jt.

m *-^-

E=^iE^^:E^feEE^

_i^^

^^

^iOil

^^^

m^^ ^^

-^--^-J. -r-

In larger compositions the Organ-point often occurs in Irhole periods

;

for instance, in the Finale of

this

way through

Haydn's well-known

D major

Bymphoily, from the beginning through two consecutive periods.

leldom found of such length in piano compositions, but

all

|uently therefore in a few measures. Allegro.

S^ '^=s^S^

IB

a^^^ps^ The bass

in the second

^[ivsn in eighths.

A-^ — ^-^-S-T-J:

the

more

It

is

fre-

^

-t

#-!- #—

and third measure has the Organ-point, although

GUIDE TO

so Allegretto.

Si ^

rp-i

-W-0

I

^

ift^i^gSi

^gg^^^g?^gf^#^;

i

-*^-M-0-

ZESI^

i

P- -#-

«:

^^i^Sl^^il^i The

first

note of the bass in measures 5 and 7

is

an Organ-point.

Allegro eon brio.

Measures 2 and 3 have an Organ-point in the

first

note.

Harmonic Accompaniment of the Scholar's Own. To

set a right

accompaniment to a melody, one must

what fundamental chords will fasten his

it

can be done.

through

reflect

These chords he will

find, if

be led astray by accessory notes (participant notes, &c.,) especially figurated passages he

But then

too he

knows how

must have regard

to tne measure, tempo,

rhythm and

The most

beautiful

melody may be ruined by a poor and inappropriate accompaniment melody can be made

examples will confirm

this.

if in

to find out the ground-notes quickly.

character of the melody which is to be accompanied.

B poor

he

eye distinctly on the principal notes of the melody, and not

interesting

by an apt accompaniment.

;

and

Somi

MUSICAL COMPOSITION.

mm^m^

51

Wah.

.j_ .j_

i.^^A_.^

fe

^

m:^ ^3Eh;

i^

zw=zr-

3^::rt

-#-

4

jgglpgggjSlgg^g^^^

sgi^ipiMr^^r^lif telE

iS^

rE

r

-i

=!«=F= ip=t::

§BP

-?—

ii =l=t te

-^ — &^ x=x.-

;^^E

-(•-

^-

-^EB

i

^^glgiiiili The accompaniment «o

an Andante.

there

is

That

something in

at

a does not

purely in quarter notes, and

.E^

=i::|=]z

;h-y-M^

please ns, because

at h is better, because

this that

=t=t

it

is

goes against the feeling

now

it is

better suited

more waltz-like ;

;

yet

the melody moves

too comes the accompaniment in the

same movement, by which the whole becomes very monotonous. The accompaniment at c, on the contrary, consists of eighth notes, for which But there is still a better one. The reason it is the best of the three. icelody to

is

taken from the so-called Sehnsiuiht {Le Desir) waltz, ascribed

Beethoven

;

there

it

has the following accompaniment

^

62

GU1DE

TO

i^S^^^S With deep feeling.

i

y—^-

|gi^

4=f:=t:

U^-.

isi^iii — -»

»-

-^

1«-

We

find something similar in

lompositions

;

:f^-Sp^ -r^i^; -• -^

33^EE

!§^te

^i

:J:zzJz=iq!Li

— —

•-

i^Ei

(«-

melody and accompaniment

for instance, in the

in

many piano

weU-knowh "Fairy Danees"of Eeissiger.

Moderaio. DoLce.

5

f5 I

•

I

i

I

I

^1 Ilk

tal*B

II

Tempo

* —M^

»i

'^ '

-rr-rr-y\-r''y~r' I

I

III

I

I

I

P &c.

'

-0-

'

di polacca.

^^m^' b±:

^^^gg

a

sal £ a

•

-t

»—t: •—T-^

:J:

r-»

-S:

'T'T

i. 1 ^F ::?=ii=

*.

>.

-•

—

»-

-^«

it=±if

\

%

% -t-S-SS-S-

The accompaniment at d alone is Wonaise charaotor is entirely lost.

*-

— 4=it=

:»=i«r

Til*

-<•-

H«

of the right kind

;

•

•

•-«-•'!

-5- -5^-B*^

at a, i

aud c the

MtrsiCAL COMPOSITION. if

53

a mslody consists of broken harmony, the ground chords are ob nous,

Z^

Allegretto. Allegretto

,i _

_.

e,

g.

ft ^

Or:

—f-* ^i— T-—

-;

i

5=5^

^l^JEl fc

On

-

some

^±E{^^^Ei

hand the seeking out of the

the other

occasions

1^

^-?—?-

difficulty to beginners,

scales or runs.

But when

marked by

figurated in

is

In the following examples the

m

.^Ztf-l

£^

Ground chords.

principal notes sometimes

the melody

x.

~W^5=P

Ete^ ":+rE^

i

principal notes are once singled out, the

.the

ground chords are easily determined. principal notes are

when

-g-y-f

^p^-^i

Figurated accompaniment.

il^^^ip^^

-^ -3t-i

1r

X - » i; m ._x

Ground

cliords.

3E

J3:

-ESS

^

•

[5*1

—14—i-"--^

V

-i1 I

-r

>

I

I

-»-

.^4—

"

It is understood of

itself, tliat it is

fundamental chord be used in

the

nore must

not a matter of indifference whether

this or that position or inversion

;

much

be carefully considered whether the original chord or one

it

»f its inversions best suits the place to be accompanie''

be faulty reduplications and progressions, Allegretto.

h-

-I

else there will

e. g.

a-^^M^M

EH

Dolce.

1^^

i

^ m

P^ -^Z.

t==^=?3 ±

The accompaniment'

t at

s

'zgr-

a sounds very disagreeably, especially the

first

two measures, where ground-tone and melody progress in octaves, and

moreover the two outermost tones of the accompaniment move in (J>\>—f,

c

—

g).

The chords spring up and down without

the sevenths rise, instead of falling, &o.

notion of modulation

another in so

and a true

awkward

But one who has any

ear, will not

Against the succession of tones at b there

In the

first

is

•ighth, for the bass voice has already given the third to first

to

nothing to be said, only

measure the second quarter

not a faulty octave, because the melody also introduces

has

sort of

proceed from one chord

a manner.

the whole sounds too thin. is

fifths,

connection, and

a participant note.

b'?

it,

in the

(Jl?)

sewnd

and the mi.bdj

MUSICAL COMPOSITION. With fi

the accompaniment at c, one might be satisfied, but the following

certainly

third

55

more

still

to the purpose.

The

bass note in the second and

measure makes an Organ-point.

-—^

Allegretto.

,_^ ^

-^

Doles.

^

i

'

« fc=qr=;&::^

-P-

,

-^-

-^-

H^l SE

*-

Melodies as Exercises for Harmonic Accompaniment. Moderato.

#=2

i ^=»

te^Sii^

££

f^i^.^B^^E^^r^'i^ Accompanied

first with

Fourths merely, then with Eighths, then with Sixteenths, &c.

&C.

&C. &c.

»^-*-

ki^— &c.

Allegro moderato. i=p=r=P;tit: S^?^3^^^ iz*:'zFi JtJt.

•-#

With Eighths merely. i

I

I

-

»^Eii3: &c.

^i^ Andante.

m ii^

With Fourths and Eighths,

aE*

•Bi^iEEfE^iE? for

example-

&e.

t^

GUIDE TO

56 Moderato.

m SEglBSSSEglE

> .»

/VV

t-W^i^

With fonrths merely,

/VV

/VV

ggf-r^

W=¥T^'-

I

e. g.

&c. -f-»-

Beginning of the accompaniment.

mm Adagio

%r^ &c.

espressivo.

^pp^ggg

pEga^a^f rt

fe#i^jp|i«p-ipg o tempo.

raZi.

EE?firi:

3i7^z-3z:

g^S:

s^^^^m ;gii—"Jt^: Two-part accompaniment throughout

;

Beginning

asg^gspis^G^gi Allegro molto. :^--:;

-a-f.

-3^»-i£

a

£:^!^

;?;i-

£9^^:

*-rL

Two-part accompaniment; Beginning:

ijj^ig^iaj^^issg^

~

MUSICAL COMPOSITION

57

Scke'i zo.

One-part accompaniment; Beginning:

§»E^

ill:

give rules for all cases, as to what kind of accotapaniment

To

suited to this or that melody,

An

infinitely various.

is

best

a pure impossibility, since these cases are

is

attentive

of good compositions for the

perusal

piano helps one to a sure judgment in the matter, and to the nscosssry

composing.

skill in

But one must not only look

at

and play such

pieces,

he must use them for written exorcises ; he must write off from them an eight-bar melody, interesting it is

and

and

set

a

fit

instructive to

accompaniment compare

to

It will then be very

it.

own work with anotherV

his

;

but

not necessaay that the two should agree note for note.

If the scholar invents melodies of his own, to which the fiindamental

harmony has

floated before his

accompaniment

mind

at the

same time, the

But

also will suggest itself

in

most

ning the accompaniment will cost him some pains. courage

!

By

right

mode

of

cases, in the begin-

Let him not

lose

constant reflection and endeavor he will at last succeed in

Our

finding the right accompaniment. their

works without some pains, and

they

lie

greatest masters have not at

all

made

once so pure and perfect as

made

plans and sketches, which

they afterwards elaborated in various ways.

Neither beautiful melody

before us

;

nor accompaniment CO

but they have

fly into

first

one's hands so instantaneously as

VII.

We

Periods of

have already said that

largest, consist of Periods.

several,

all

diflferent

Length.

pieces of music, from the smallest to the

The smaller have only one period, the largei Heretofore we have had to do onlj

which are strung together.

with periods consisting of eight measures OT

many seem

ima^ne.

fewer measures.

For example

:

;

but there are period? of mort

GUID B TO

58

Periods with four measures.

Andante.

iSi

'^-^J~

The

F-i-*-

feeling halves these measures,

and makes of them an eight-hat

period.

\-

i

\

^-»-f-

^^i^S

^^^^^^1 ^- ^

nere

too again the feeling

fc;

I

-*-

makes eight measures.

3-.E^

-i«-»L^i_

-Ff

SS^:!!E!^3^

53^33^3'-iS^£-'-^ifPeriods with sixteen measures, Allegro,

i^^g^Sl^^igil Here bara,

the case

is

by changing

^^

the reverse

;

the feeling divides this melody into eighl

the | time into | or

fe :t:=t!=U:

S>

3E5

i

52^-=F=F=P=

3=

^

MUSICAL COMPOSITIOX,

59

Besides such periods of four and sixteen measures there are two other kinds.

An

1.

mother motive,

eight-bar period

section, or phrase

is

lengthened by the addition of 2.

or,

;

way

it

«way one or more measures.

In

12 measures, and

7 measures and

vf

One may ask we formed all

of eight bars ?

:

—

so on, or of

What

is

this

is

shortened by taking

arise periods of 9, 10, 11, less.

Would

the use of this ?

it

not be simpler

periods of an equal compass, one as well as another It

would be simpler,

feeling craves variety, not merely in

be sure, but too simple.

The

rhythm and succession of

tones,

to

as has been already shown, but also in the length of periods, especially in larger pieces of music,

and monotonous.

But

eight bars, since in

it

are presented,

which otherwise would easily become tame

the principal period remains always that of

the leading thoughts, the theme, of a composition

and the other

divisions of musical thoughts are to be

regarded only as transformations of that one. period

is

Moreover, a shortened

easily converted into the full eight-bar form

;

and by dropping

out certain measures from a lengthened period, you have again the period of eight measures.

We

take, as a first example, the beginning of ths last Allegro in

Mozart's Concerto in

juiegro. ^,~ Allegro.

B

flat

major.

_^_ ^

—^

—

Solo.

m^^^^m^0^m\ m ^ ii

m^'

:pzi|2«—i; irpziW

2HEf35

^^M^

OU IDB

.0

TO

After the preceding eight-bar period has been fspeated by dii orchestra

,

there follows again a second Solo

Jj.

Solo.

:

^

.

~

•>

a

1

1

A

^M^^g^^ »J

R

=t:

"

fi

s

- -'^Jm.

iisialli^-^l^

iiia=J:.

'1*=^

^g^^i^j^i^l i£i^3^=

''^

i2=5:=t

14

13

13

11

10

?zi?rS:

15

Here follows agata the

first

Solo.

g^S a^gigjBJESEEa ^^^ This second of which the

Sob first

consists of a lengthened period

oiffteen measures,

8 measures form the natural principal period, and

MUSICAL COMPOSITION. the last 7

That

the prolongation.

really is only a prolongsnon,

it

and not a new period of 7 measures,

61

is

obvious to hearing, through

out.

If we play merely the principal period, stopping with the of the eighth measure,

immediately follow,

two periods

is

— pause 5

— we

feel that

eighths,

eighth

first

the first Sola

let

a mediating transition between tha

Could we not remodel the eighth measure

wanting.

lengthening of the period would

'nto such a transition, so that the

We

become unnecessary?

and then

will try

it,

and remodel

this bar thus:

-?—

i

This would be better, at any

rate,

fall

into the house with the door, as

the

first

than the

it

were

first

attempt, where

we

but yet the entrance of

;

Solo comes too soon for our feeling, which desires a longer

We

mediation.

will therefore

make some

further trials,

by forming

periods of from 9 to 16 measures.

Of 9 measures:

1)

After the 7th measure,

let the

14th and 15tb

follow.

2)

Of 10 measures

and 15th

After the 7th measure,

:

let the

13th, 14th,

follow.

3) Of 11 measures;

Leave out

8,

9,

11, and

10, and

pasi

directly from 7 to 12.

4) Of 12 measures

Of 13 6) Of 14 7) Of 16 5)

Skip from 9 to 13.

measures

:

measures

:

Strike out measures 9 and 10.

Strike out the 12th measure.

Repeat the 13 th measure.

measures

Mozart's lengthened period

{.i

fifteen measures

is still

Let us now consider the prolongation with regard treatment, or the working of the theme. repetitions of

measure

7,

and measure 10

the best.

to its thematia

Measures of 9 and 11 are is

varied after measure 8.

Measures 12 and 14 are transformations of the second motive of the first it

Solo, as

said above

and are is

m

to

13 and 15 :

The

are of the

fifth

motive.

— With

truth, then,

be regarded as transformations of the same.

for the

most

was

prolongations flow out of the principal period,

part.

The means here employed

the period are easily detected.

At

least

i(

for lengtheninji

:

:

GUIDE TO

S2

Period of twelve measures

AUegro.

^

Ii^

=p^p=

i

v.

ssfiflgiliiie^lifi^gi p^ i=^ 8

9

g

^E

^

Strike out measures 6 to 9, and it

would be a

Leave

of 8 measures. fifth

—

"

18

we have

the eight-bar period.

But

pity to sacrifice these four measures, for the reason that

We shall

chapter.

11

^:

they contain an imitation, of which the ning.

10

off the first four measures,

But

measure must be

in this case the left out.

Period of fourteen measures Allegro assai.

IS ft3E

§:*S=

Ca-CSSS

fifth

measure makes the begm-

make acquaintance with such

kataaaiuS

i^^

^SSS -^—•—^.

imitations in a following

and we

Bass quarter

also

have a period

(y and

a)- in the

MUSICAL COMPOSITION,

;—

>

,

— —fj — — —•—• —•—

—|-i|-— U-i-fA—0-i-^f-l-l~\-^ H

1

I

'

'

•j;I

63

—0^0 —

t

.

.

1

—01

• .

.

I .

10

0—0—^ t-^E^

3eE

E£

fei

mp^!^^^^^^^^^^ » JO

12

^l^!3_^_gj__^ r^_y

^

The

14

"Ts

^,^g=^^

eight-bar period appears, if

Let the student seek out

we

I

leave out measures

means used

for himself the

6

to

11.

for lengthening

this period.

Period of ten measures Allegro.

mf

J>

|?=C

1

I

'J^ '0-¥-

:

2

*

6^-3^1

^^^^^^^]

—

I

GtJlUE TO

64

—

ii

.b .^ ^

'

—^^—

- girn ** i

r

1I

I

—

' I

-?—

$

.0-0.

•-'-ri.

=£k tiz^i^fiCs

^?^

=?^-

:t

:t=t

m

^ms

10

9

^

•

A period of

eight measures

^e£

It

is left, if

measures 9 and 10

fall

and we end with the third quarter of the eighth measure, that the second b flat; or if measures 5

and 6 are

means of prolongation here employed ?

left out.

—

— What

is,

=t

away with

are the

Period of ten measures. M

Presto.

=?=?=

IfRtt

«=

^^^ i-^-0 -f.

M

m •

•

9

•

-^

• s— « —_-4—I -4^-m- m

10

— —

a •-

-^ 1^ '

*

MUSICAL COMPOSITION. To make an 8,

eigbt-bar period out of tbis,

whicb would give

tbis

Or we migbt 8,

we must drop measures 3 and

form to tbe melody

I ^%^^^|g

and

65

A^

£E»isa=

.-»,-»-

-^^m

-ne

condense measures 2 and 3 into one, and also measures 7

wben we sbould bave

tbe following melody

^^m^^^^^^ In botb

and

it

was

accompaniment would bave

cases, bowever, tbe

Measures 2 and 7 appear tbis tbat

in

caused tbe lengtbening of tbe period.

be borne in mind, tbat we bave bere been merely showing

ened period can be transformed

means saying that

it

into

we should

is

;

ti^n

bow

it

must

a lengtbis

by no

and Father Hatdn, out

taken, would turn round in bis

lay bands on his masterworks in tbis way.

old master the scholar can learn tbe best use of all tbe

mation, and

repetitions,

But

one of eight bars, which

should be so transformed

of whose symphonies the above period grave, if

be cbanged.

to

measures 3 and 8 as transposed

bow one may thereby develop a

greiat

Prom

means of

this

transfor-

and beautiful eomposi

out of a simple melody.

Jjengthened period-formations veiy frequently occur in musical piecM

w concluding pas$ages.

For example

GUIDE TO

66 Alhgro non moUo.

•^

/

^

1

2

3

ffegg^^^aggi^^itg^l ^ ;S sas i^=i=3:

-^--tuj:

^:«r

«

6

fcJ3i3::d^d:ii

iz-fqz'-.^^Mqz

^'''-Jt'

/ivLengthened. \"°"S"' °"°"^_/;

-K--

—0-

-rj-

-0-

—0

0^

m^^^^^. 8

'^J)-'^

-'.z^- ~»^^.-

The connecting passages between

P^i.

periods do not properly beloJig to the

lengthening of the periods ; but lest the two should be confounded, here follows

an example.

Allegro.

^mm^^^^^^tcherz.

-^- -0-

-^-

mt

i4-i

-0.^.0 gJTf. f-f-t

Pif

=f^^'

iiE

^

^

,-f:?=r-^.

g

WU8ICAL COMPOSITION.

Gl

m $mm^^^^^m ^^^^m S:S 0.0

-•-p.

Connecting passage.

8

iiiit

•i-"--^-

—T

^^-0—»il

^ '»^

.«_

JL

-

-f-0

3^^3E:

•=f=rfE

-^-

_»- _^ -ii

—

^^^l^^isg^l^l ij^^jipili^^!^^ It

must be remarked, however, that the connecting passages should not

be too foreign to the motives of the periods, but should be developed naturally and appropriately out of them.

by repeating the second phrast commonly with slight alterations ; thus

•Periods of 12 measures are also formed »r half of the eight-bar period,

Waher.

-»-•--•-•-»-• »-T-»-»-»-

_,_

^^_^_

-»-•--•-•-•-

-•-m-

-,

-'-»~

-'-0-0-f'

a::Ei5I

GUIDE TO

G8

If the entire eighfrbar period be repeated in this way, vre have a doubli period of 16 measures.

The Shortening of Periods.

We

give at the outset an example of this, and append the necessary

obseirations.

AUegro. -i—l«-T-i

isEgii f

'^^m

iprir^TC

1

m^^^EE^

4V=^—i-^-

^-?

-wn:

^m^^^^gggis 'P

5

f\\\

Ie^^I^^

:p=i: :p=ri=*r

ia^E^E Pf^-.-

-^- -m.

-ft.

-# «j. -^ #-^

-^-

fegiS?3F

^p§^ ice

'yf"-r=j^= i:

That

many

is-

the beginning of a well

i

known Sonata

!SE of Clementi, which

certainly have played, without remarking that there are not 16, but

•nly 15

measures.—

MUSICaL COMPOgiTION. May

not be a period lengthened out to

it

15

69

bars, like that whicii

udduced as an example from the Mozart Concerto, and^ therefore not ft

And why

shortened one?

l?here the figures 8

is

the eighth measure doubly numbered,

and 1 are placed

In the eighth bar

lies

in brackets?^

by which

Mozart we heard

DO

another period was to be mediated, so we here see and hear

at onoe the prolongation,

the transition

Clementi, very clearly, that with the 15th bar the period

inasmuch as a sign of repetition

follows,

and upon

ation the feeling tells us, that with the eighth bar

The end

of the

first

As

the knot, or rather the solution of the knot.

iu

closed,

is

now

is

as

it

in

formally

closer consider-

a new period

begins.

period coincides with the beginning of the second

period in one and the same measure, so that the conclusion of the period

wa»

at all

first

were swallowed up by the beginning of the one that follows.

The forte in the eighth bar does not come in without reason ; it serves to make the beginning of a new period felt. Also the first measure of this period

is

repeated with transposition in the third

measure in the fourth, which likewise

is

;

and so too the second

a sign of the entrance of a period.

These 15 measures, then, consist of a seven-bar period followed by a

full

period of eight bars.

now we

If the

consider the conclusion of this Allegro,

we remark

precisely

same thing.

.

j»

1

"^ •

§gg=J3=^

a =1:

5-1

^^ -.

4

s

i^£=i=fi

^

pg^ Q!

6 cresc.

^

^EZE

^11

e| ^^

-

:

GUIDE TO

10

^^^^mmm^

I i^^s

j

— —-'

-*-•

i

mt

2—?-

y

'

^

P=i= ?L,ifiZn*

SF This conclusion 1 to

4 transposed

is ;

a transformation of the

first

two periods

5 and 6 transposed and inverted

;

but containing only the principal of the figured notes in the

^d

Measures

period

first

;

so on.

Would we the

:

7 also transposed,

first

see the

period into

ground

its

of such abbreviation,

we have only

to bring

complete eighfebar form, somewhat as follows

^^^^^^0^

&c.

^i This conclusion in the eighth measure breaks the connection of the two periods

by a

sontrary, flow.

by

— Such

full stop,

which

is

quite

unwelcome

0»

to the feeling.

the

the omission of the eighth bar, the whole acquires a liveliei abbreviations occur very frequently, and therefore

we have

spoken of them at such length. Abbreviations by the introduction of General Pauses. M

Example

:

Allegro,

kleEi3^3=,.^ai^3:i:^3^^S !•¥. p

m^m^^^^^^^^

MUSICAL. COMPOSITION.

m

71

^^:33=5 -^-^Here enters a new Period.

gl^jg^j^ III

passages so incomplete and interrupted by a general pause, the

feeling as

it

were

silently supplies

the wanting measures.

There

is

a

peculiar charm in such abbreviations, only they must not be used too

The

often.

listener is surprised, all the

more,

if after the

pause the piece

Such pauses sometimes occur even

takes an unexpected turn.

in dance

music.

Many

pieces, small

and

first

by

great, are introduced

are not shortened periods, but merely

little

They have something

period commences.

short,

phrases.

These

introductions, after which the similar to the lengthened

conclusions, for they are a sort of lengthening of the beginning.

The

following examples need no explanation.

Allegro moderato.

i feiS^ESES! /-.:tt-E

.0.

E^=

.!:mm^ :E^E^E

-f-

r_^tLT ^:=

l»5Sa3

1=

-M^-

Moderato.

^S-^^ — g— g+s^^=lt-*-4-F^3=H=-FF=t

r

r^ 3P^ ^

— —

.0

00-

-e-, -S-:

&c.

GUIDE TO

72 Galopp

illtegi:? mf

2

1

_

&c.

§»|£a^Ei^p^pigfffi|i r^-'i'^ett YIII.

Cadences.

Cadences are the most decisive marks by which we can recognize tne end of a period, and at the same time the beginning of another period

They

are of four kinds.

The Full Cadence.

1. It consists of

two chords, of which the

first

Chord, and the second the Tonic Trichord, seat

its

In

i.

the

e.

the Trichord, which has

upon the Tonic or key-note of a piece of music.

C major. (Dominant 9,

a.

Tonic

In

c.)

A minor.

a. the

upper

voice' of the first chord Vises

the second chord; at

b.,

Dominant

a,

0.

i=*

one step into the Tonic of

on the contrary, the upper voice of the

chord descends a step into the Tonic of the second. throughout in is

its

fundamental tones.

called a perfetit taH cadence.

are to

From

first

The Bass moves

This kind of concluding sequence these the imperfect

fiill

cadences

be distinguished, where the upper and lower voice, either alone

both at once, the

Tonic a.)

e,

0.

^^1 At

Dominant- Seventh

is

make

other progressions.

In the following example

oi

at a,

upper voice proceeds to the third of the Tonic, or remains standing

on the

fifth

of the same

;

at b. the

Dot give the ground-tone of the roiccs aie imperfect.

Bass steps are imperfect,

Dominant;

i.

e.

they do

at e. both of the outsidi

MUSICAL COMPOSITION.

73

pfplS^^lil^lpf ^i[

sgiimii^g^sg mi 2.

This

arises,

The Half Cadenoe.

when the Dominant-Trichord Example :

follows

upon any choid belong

ing to the scale.

^m

EbE3 1

r =p=f

3.

This the

is

The Flagal Cadenoe.

one in which the Tonic Trichord

is

preceded by the fnebtrd of

Example

Suhdominant.

mm^,

'^

ii

vv^

&c.

m 4.

The Deceptive Cadenoe.

After the Dominant chord the ear commonly expects the Tonic Trichord

now

if instead

cadence,

i.

e.

of this expected chord another follows,

one in which our expectation

in the right place

must

dfial

is

it

is

a

deceptive

deceived or betrayed.

such cadences have a good

effect

;

Used

but the composci

sparingly with them, or they will lose their charm and cease

be agreeable. ising them.

Here

follow

The expected chords [7]

tc

some examples of the most common way of are placed in bracketE.

:

GUIDE TO

74

^^mMi^m^am '

^E^mm^E^m^^m)-:^

^^m0m(imm^m

^m^^^)^^mm But

\

the Cadences must not be regarded as an absolutely decisive and

infallible sign for the distinguishing of periods

already seen in the abbreviations of periods ces occur in the

middle of a period.

many we have

one from another ; for

periods have no cadences, but flow into the next following, as

and not unfrequently caden-

;

Thus

Allegro.

-f-n

a-F

I t~^ dolce.

-^-

P

i^i

y£

^mm^^^^^

a=i

9fcA

t

4-

Wo

feel that

S

£

=P

ml

here are not three periods, but only one, although thre«

eadences occur in

it,

and what

is

more three perfect cadences

The second

MUSICAL COMPOSITION. section is a transposed repetition of the frith

a

addition of three notes

little

fourth

the

section

If

fii-st

75

so also is the (hird, onlj

;

we do

not reckon this additii n,

becomes an iin«ltered repetition of the

The

third.

whole period, then, in spite of cadences and pauses, shows unity of design it would have no complete meaning, if a section were to he left out; the musical thought expressed in periods

whoever takes

;

would be disturbed.

it

sufficient note of that,

for the distinguishing of periods,

find

in all

it

infallible sign

and can neither be led astray by caden-

nor by prolongations and abbreviations.

pes,

So we

has the most

—

It will

be well now

to

re-examiue, from this point of view, the lengthened and shortened periods

The very

abeady given as examples.

example out of Mozart's

first

Concerto will appear now in another light;

the

predominant motives,

we

with their transformations, will strike the eye more clearly, and feel the

shall

unity of the whole period of 15 measures.

IX.

Imitation.

In speaking of the ways of transforming a melody, motives or parts of motive^ can be repeated, either

formed by transposition, expansion, contraction, &c.

two parts or

consist of

one voice

must be

was shown,

literally,

that

or trans-

If a piece of music

voices, a musical thought can be transferred from

Such a

to the other.

many kinds

as

it

repetition is called

an Imitation.

There

of imitations as there are kinds of transformations,

which have come under our notice;

and there are as many

different

entrances of imitations possible, as there are different intervals.

Thus

the imitation can enter in unison, or a second above or below, a third

above or below, &c.

It

is

one of the most interesting means of thematic

treatment,

and every one who

is

himself as

much

as possible.

At

to

be heard,

it

is

therefore is

in

it

if

is

no

advised to

first

silent,

make

uttered the

but continues

only in a few tones occasionally, which indicate the fundaIf the

first

voice

when

is silent,

the imitation enters

no longer a two-voiced, but only a one-voiced phrase, and imitation,

but only a transposition.

heard during the imitation,

To

beginning to compose

be imitated, does not become absolutely

mental harmony. then

home

the entrance of the imitation the voice which has

thought to

at

distinguish

it

is

The second

voice,

which

called the Counter-phrase (Antithesis

from this we will

call the

)

passage to be imitated th«

GUIDE To

76

The principal phr
trineipal phrase (Thesis.") be of various lengths motive,

a

section,

example therefore

f^^^

is

;

with

its jUiitatidL

voice,

a phrase, or even a whole period.

no imitation, since the counter-phrase

i.

e.

The is

may

iu/itate

a

following

wanting.

MUSICAL COMPOSITION. EEg-

j^EEfEg^

Here

77

too the lower voice fui

nishes the principal phrase, which

Mmn

is

3?

that of

At

^^p§=pi

e.

b.

and/, both voices com-

mence together

;

the

of the upper voice

is

first

motive

imitated in

the second motive of the lower

one

;

while the

the lower one

is

first

motive of

imitated in the

second motive of the upper

(ine,

as the cross-lines indicate.

Such interchanges of ihe lower the upper,

rated voices. tially

They

necessary.

imitations are

still

where the upper becomes the lower, ana

voices,

have already occurred among the examples of

We

give here a few more examples of them.

found

in the octave

^

I

I

1

\

!

E

a:tt33E

The

below or above.

2. a.

iipi

Jiffu-

are not possible in all imitations, nor are they essen-

^

b.

i^¥

^^^

-T=?=

W=i'

^fl^r^^^^^t^

giitrgEJilfe/ [7»]

i

GUIDE TO

78

-*--»-

P

Ja^gP^ggjEp

i^^fi^^ ^ipi^^^g^

§Sli^

^

gsfel^isl! il4. o.

^^

tef

g^jEa^ii&ggf

^ Also

l^isfe^

in the following

examples the imitations occur in the octave.

irt-

:fe tf:

ii^

—TT-T r ?t-i-T-

t

S5>^

Ji *-#:p iipff-irrip^i-i-KKjq:

P 3EE cji-2

•

=t:

-— yf-»—I-»-g=»-T-»

^E^S^y I

1[

MUSICAL- COMPOSITION.

79

^mm^^^ m 8.

The second

made the

imitation,

two octaves lower, sounds as

a third voico

*-^-»

g^:

S

TH^t

^^^^m In the two following examples

all

i^i^mii the imitations enter in the seventh

and no

It

might seem as

but this

is

not the case, for the entrance of the imitation

if

these were transpositions,

with the close of the principal phrase,

by a

indicated, if only

m

=*=m

rtr-

helow.

is

if

imitation.

is

imitations

simultaneous

by which the fundamental harmony

single quarter note.

pgi?EJ^~^'

^^^^^^^^^^^^^ -#-•-

fc*z =F=Et:

§fe

W^

u

^^i^

P:«

'I^'

i^^ggji^H^^^^^Si

GUIDE TO

80

^EgJigaEgE^^Sl^^lgggf^^^P

p^g^^^gggzg^^^ !^^ ;

11

Imitations also in tbe seventh below.

'-^^^'^:td:it

i 12.

A passage of

sixths used for different fignral imitations in the

(Seventh below.

s$

&^^

m^^ &

W^El F^=rF-

*.

m

1=

-JF=^

ji=lzt

#-?=> -p-

n

—

-ii—»-*

*r-^

t^^

P-JJ

:p=»:

t=^

L

^^

_

'^m^

MUSICAL COMPOSITION. 3-Hi-#

fflj

ii^i^igi^

i*-f7|t

ift=Li

81

t;

&=F^L%Eejs

^^^^^^ig^^^ ^l

i^lg^p

^:-^gJ

:f=S^

i^i5=^^Eigs=^^ipll SEgg^g^-^ ^^

^piiSI

i::pi=p-^.

1=^:^^=.^

,_^ -i«i»,_^!q:^ — r I

'i^

i

i:|=^i=^=3=t i^^r*-M:

T

P^

— —-•-*-^|# i==l3^ ^=S ^

I

?*-gpi

^-

ii^E

^g:^^^

p^? S :^^^3ig£g|^fe=itf^ .:i^

^=

Pz*--

m^

^^i

i

—

GUIDE TO 13

Imitation in the seventh above^

'^

--&-^-

t==::;=BE=E

'

:t^

-F--^-

gstjE^i The

ggggjEgTeEa

j

1?

fc'

->

^^ P=?

-«•g:

^

-2-

±^2E

following are examples of imitations in the other intervals.

^m^m^ TTnison.

*—

?—

7C=:zp

y-

It

t:=

I

g^s:^ ,-J-x_^_..

Second below.

Second above.

ilgilS; -•zz:i=

-•—.^it

*--^_

^.

-•-

tiSizSz

f^-!l

EJ,=^

Third above.

,,L_^> ?£^fE^i^^^ i^-i=

25zfzri^l-q^

-*-•-# -•-,• -»-.

^l^i^^^gn^ Third below.

Fourth above.

'zE=^

5^

^=^--5

-^--•-i^-»-'-f-0-

ig^ll^^;

.E

53EE

-?-?^

UUSICAL COMPOSITION.

T=?-

,i

—

-f

?-

^

m

Foarth below.

Fifth above.

fa:

1—^—^— :—r-p::^-

iscS

m m

—

—

:

GUIDE TO

81

^^^^^^^^^ i^^^^^^^igi^ ^ P=Mim Sixth above.

-^-?-

-137:33:3:

-^

:*^

w

s

IZE

mi ^^ ^gi^

-0=f^

±zS=J:.

i^i^i^ig ^^^^t I 1=^: m^B

it

I

Sixth below.

--^^=t _,_^-

I

It has

been already

well as the motives.

said, that the imitations

F

m

—

a

a

can be transformed, as

Example

Imitation expanded

Imitation contracted.

ii-;2gi^i^={lg^^^i —

Imitation diminished.

Imitation aaicmented. 1 r "1

|ifgggg^g^S^^{^Q -•- -^-

:-2—-I

i

-#-1

!

-•---It -#-1

gZgS^t^EEJlg

MUSICAL COMPOSITION. Imitation varied, and at the same time contracted.

Imitation interrupted, and at the same time angmented.

^^S4^m i^t^

913

9=T-

-?—><-

EE

4z

Since in imitations, as in motives, not only one, but several means of

may be used may be formed.

transformation imitations

at once,

By

it

follows that

very variously mixed

imitations of larger principal phrases,

double periods can be formed. Allegretto I

nan troppo.

^^^

phrase, Principal pnrase. rrmcjpai

I

^—.^^

^

•

^

-#-'

i^^i^^i^iiilgi^i Eg

ggj:^^;fj£^E^^^^E^gE^i Imitation in the octave below.

:^^

53E

Et-li

^M

GUIDE TO

86

Observe, hero the accompaniment of the pnncipal phrase

is

again used

ts CDunter-phrase to the imitation.

Imitations for

may be employed Example

four hands.

to great

advantage also in piano-forte piecea

:

Moderato

i^i

cEifE'+p=i|tip X t:

:t=p Prime.

^^|3i^i3l^^^; i^sf^pgrg^feigs^g

g^

j

Secondo.

1^

Brfc

4=;a

:t=5: ^17—o— -z^:—-'-^— -i^-

m

6* -o—*-

^-e-

fsafeiig^ ^ i-^^^i3i^^=^f i 3=?-

gEgEig^gij

iSEE?:2

g^^l^i|g|^

i^i^

-t^tT

Andante.

I

3:=^

r^i^irprsr

Ml

ffiiss

Prime.

^ggrg^^^

iJ—5:

legato.

5.itat.-»

g^i{^=j^|g£ia^^fegi:J3g Secondo.

^!^ @

m

MUSICAL COMPOSITION.

WM

mm^m^

-(«-•-f--t=t:

Hzzt

m

-•-±±

87

33i';-Ji?^-;E?Ef>

s^p^

^j^

-0-^ =trc

^--^^g^

1^^ m

-^-

Counter-phrases should be written to the imitations in the following

Me sentences. Kcompaniment,

Also the other empty measures are to

which the beginning

to

be

filled

out with

given.

„2

1

I

is

^

is^Pig;iig;§p

4--

,- zzr.,.-^- -±ZM.

^=^=^

ipiiril^g^l^i

i ^^^

-2-

V--

s=^

If

ilp

^m^^s^^

JSi^iEip It-^i

^,-*—

-f«—

i^m^ij^ lps£^ ^ ^v-

i

.q-

GUIDE TO

88

P^^^^S^^ 8.

§3eE?

m

I

^^3^

fc^ M

10.

i^ -l«-#-

2-i--r-!-

i*—:*

«=^ g S igg^^S [3:i?=

13 :iiS

^i^il^lf!

p^^^^ |^3gig!|H ^^^^^g^gi nil.

-•^L

If

=1::=.-==

f^^^^PUg

i

li^i

i

^3l|=f| T(-» Jttjt±M

•-"-••^-»

Let the scholar now invent them.

If he does not succeed

be deterred

;

fit

principal phrases himself,

all at

H and imitate

once as he would wish, let him not

further trials lead to the goal at

last.

MUSICAL COMPOSITIOy.

«i9

Inverted Imitation Thus

far the imitation every time has

ment with the principal phrase the imitation BO

had the

had the same

;

;

and

But an

imitation.

had

tlie

same

ir

a similar

had

move

if

the principal phrase

if

the principal phrade had falling notes,

rising notes,

inverted or contrary movement

may

take

place in the imitation, where the ascending notes of the principal phrase

become descending ones

in the imitation,

of motives, where the intervals tion

may

make

and

sj'ce

versa, as in the inversion

The inverted Example

opposite steps.

also enter in all possible intervals.

imita-

Second above.

Unison. ztz.

3

!^S

I L^-

-#-!-•-

^rg^i^^i!.^

??E^^

Third above.

Second below.

-^

Third below.

^^

-»

P-

=i=P

-^

T-.—

i^rf:Jit*::=i

P

^^5*33^'=^=^^^ Fonrth below.

Fourth above.

m^^

» [8»]

£^

GUIDE TO

90

—^-^

g^il^E^sil

:

^

:t=iz

^

^

-^

»-*-

^-''-''k

^^

Fifth above.

Fifth below.

i

*i:n:

li

-i^-.

*

E^

§^=^Efef£g;;^^

-W=i^=f::

ll

Sixth above.

=iT5

tt

:3=Ji±=:=*=

^39^ Sixth below.

-3^

P

•—^•=i3=^=^^=jd=?-5 The same.

^^S^M^ _^---^.

Z-.Q..

i

MUSICAL COMPOSITION. fluventh aboTo.

91

Seventh below.

|i==^|^^s=|iJi^ii35^: pzipz-i^ PiSHEEESS:

£:=2=^

2Eg31g^

pi» V-;

Octave above'

-g-0-' -0-

u^=^

—

i"—

?^ m*rt

FPC=:t^

?Ef^E:

zT-rii:

ml

Octave below.

:A^^-E=p:Lp--_r:::*=•I±:f=•:i=3:;I:

i

:3H3 =1=4

l;^fc?*-=^

^=iP^igE^

9iit-^xz

Let the scbolar here invent some principal phrases

himself, for inverted

pnitation.

Examples with mixed

Imitations.

Mbderato.

Etjfp=^^^=|^|^^EJ^ii|^^^3

§S^^3^^^Si^SS^^^

'^^^^^^^^^^^^ ± • — *-?f a^^:^gJI^^E^^}^E3£g * —y— ^i 1

The

imitations 1, 2, 5,

fourth lelow octave.

;

and

6, enter in the fifth

and 4 in the sixth below, although

Bemark

also the expansions

below; 3 and 7 in tha

all

of them in the lowei

and contractions at 4,

3,

and

7.

GUIDE TO

D2 Allegro.

:d=:^-:

t

fe

:f=P=e=

i 3^3E The

m

i

'mi

^. -i,i=i

*^ijiz

zA-

=^=5^=

imitations here, for the

most

part, are inverted

^^m

and expanded.

Alleg retto.

^E^^3^p^ J).

;^3rtEE

^\

|Slii^J^:i^ ,

fefe;:^

Slip} l&c.

.;.,J?r.i'r,^.^.. •*-a-^-F-»-

=5^=

:iggpi^itn=^

m^e

±=1:

^i=gi^fe

Imitations 1 and oieiely imitates the

2 require no explanation. first

At 4

Bizteenths only at 5.

At 3

the lower voice

measure, but inverted, transposed and contracted

and then the upper voice brings of the lower.

L

Im/

j

in the figure in sixteenths again, instead

too only one

measure

is

imitated,

and

the figure

i(

MUSICAL COMPOSITION. Allegro

93

ciri spirito. #-!« ~»ft^

»-0-

.t£^r

^F?—

gJBam

i

V

33=

IS

II

^;^;g^^:|g^5j^^j #-^-«-^

EfcfcS53S ^rt=n. I I

^r"f—

--1=

Sl^il^5|l

— GUIDE TO

94

Si^^ :fciS^=±=d=|=* The entrances of the eye

and ear

If the

first

Canon

is

the

•

voice

*

*

I

p-

m

the imitations in this Allegro are not marked, because

will easily distinguish

imitated

is

canonical imitation, or

of a

:

in short,

Fugue, the most

Canon or a Fugue,

them.

by the other, note for note, it is called a A richly and broadly executed a Canon. artistic

thing in music.

The

composition

therefore, is not a matter for a dilettante

;

he

will

Such are the following

choose pieces which have easier forms.

Banoes. Every beginner

in

composition

is

strongly advised to prepare dances of variona

and flowing melodies, as well as rhythwhich consist of two, three, and even more parts. In these he will remark, that some kinds of dances Lave a determinate number of measures, from which there must be no variation, (as the Ecossaise, the Cotillon, &c ), while others on the contrary may have more or fewer kinds, since he will thereby acquire singable

mical variety.

The

first

thing

is

to choose good models,

measures, (Waltzes, &c.); but that in both cases the number of measures is alwajs an even number (8, 12, IB). Especial attention is required by the last measures of t part, and the jffirsf measures of the part that follows with regard to Modulation; ona must see into what keys he can pass. The peculiar rhythm of the National Dancei (Pclka, Polouaise, Francaise, Tyrolienne,

&c

)

is

also learned best from

gO(d models

MUSICAL COMPOSITION.

95

Variations. Heri." is tlje

best opportunity for praeti'.e witli a view to acquiring facility in Pigf

The

tlien>e to be varied must bavea simple and pleasing me(orf;-, else it will QOt admit of a sufflciently many-sided treatment. As the scholar writes merely foJ himself or for good friends, let him figurate his theme to his own heart's content,

uration

only do not let him hold those variations to be the best, in which the figuration is the richest; for if such pieces are to be judged by this measure, then the variations of Gelinek, for instance,

would stand

far

above those of Mozart and Haydn; and

yet the former are often nothing but a senseless

commended

humming, while

the latter are to be

as models to every composer.

No change must suppress the leading features of the principal melody; on the contrary these must be clearly heard in every variation. The process of varying might be, for example, the following. The melody flgurated, by adding to it passing and participant notes, as well as harmonic by -notes; the bass voice varied and with another harmony; the bass takes the theme, the upper voice another melody

—

—

as accompaniment;

— the middle voices take different figures, while the upper voice —But not only the tones, but also the tempo, the measure

delivers the theme, &c., &c.

and key must undergo changes, so that every variation may have another character^ Before the final variation, which has cheerful, soft, fiery, complaining, genial, &c. a quicker tempo, and also interpolated parcnt7i€ticpArases, like a Hondo, there comes usually an Adagio or Andante, either Major or Minor. The variations also may h« prefaced by an Introduction, in which there are allusions to the theme, that immediately follows; or it may consist merely of such short phrases, as we have already made acquaintance with when the subject of Periods was under consideration.

—

Marches. In these there

commonly

prevails a warlike, spirited character;

it is

felt

even

Id

funeral marches, which have a slower tempo, to be sure, but which always expresa

manly sorrow.

But the March requires more

variety of

harmony than

the Dance.

Song Uomposition. The composer must

possess the faculty of expressing every emotion of the heart by

That is what we call the character Through nothing can one acquire this faculty so soon and so well, as through the composition of Songs. Even in the speaking tone one may by his delivery mark the character and the intensity of feelings, and call forth the inward sympathy of those addressed by declamation; but all this may be done in a tones,—joy, sorrow, terror, rage, tenderness, &c.

of a piece of music.

which is as it were a higher degree of the Hence it will not do to make a melody to a text without any regard to its contents; the composer most first enter into the sense and spirit of the poem, before ho tin express by melody and harmony the feeling described by the words What tones, what chords will express the different emotions, cannot be taught; il can only be seen by examples. A rich harvest of such examples is afforded ui In the examination of any example, which he ma« espe<'lally by opera music. •elect, let the scholar first observe in what way the Melody alone expresses the text. far livelier sense by the singing tone,

speaking tone.

GUIDE TO

96

afterwards let him include the accompaniment, that he

may

see

what

this contrib-

enhanced effect of the melody. Then if he supposes various changes in the accompaniment, as in rhythm, harmony, accent, &c., he will be more strikingly convinced, that it has a great influence on the expression of the melody.— utes to the

One who is so practised a singer, that he can hit the note well, will find the writing down of a melody from hearing, or from his own imagination, so much the easier. For the plan or design of a Song composition, the following counsels may be

When

given.

way

the contents of the text have been thoroughly thought over in the first thing is to consider, to what kind of measure it is best

suggested, then the

And now

the text is written under music lines, and divided off, according measure chosen, by bars i. e. these bars are so placed upon th e note-lines, as if the melody were to be at once written down there. Then the Key is to be determined, according to the compass of the melody, i. e. according to ite lowest and its highest tone. When the melody stands complete upon the paper, then the accompaniment is prepared, by writing down upon note-lines under the text such fundamental chords, as seem to be most fit. Such fundamental chords give, as we have already seen, a stiff and helpless accompaniment, and therefore they require a further elaboration. Skill in this is acquired with most certainty by imitation of the various modes of accompaniment. suited

to the kind of

;

The Kondo. This is distinguished from other musical pieces by having a pn'ncijjaZ sentence, which, after various interludes or parenthetic passages, is frequently repeated, and

same farm.

The beginner may best

learn this in small and less developed Rondino and Bondoletto.) For his own work then let him choose a simple, pleasing theme. Would he afterwards attempt to write

in the

pieces of this kind, ^as the

Sonatinas, let

him take the

in precisely

the

easiest for models,

same way

and work

that he did

after

them, adhering to their rhythm,

when he commenced on

pattern melodies.

After he has written several Sonatinas in this way, be will succeed tbe better in hif

•wn

original attempt!.

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