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

——

.

-•

—

»-

-^«

it=±if

\

%

% -t-S-SS-S-

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

*-

— 4=it=

:»=i«r

Til*

-

|?=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

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-

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— 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