^•■^^r'-y-r'.y-^'r-^t^J-J^ Cornell University Library MT 40.W84 1887 Guide to musical composition,for tliose w 3 1924 022 479 798 ^nmll Utitotsiitg pilrt^tg BOUGHT WITH THE INCOME PROM THE SAGE ENDOWMENT FUND THE GIFT OF Henrg HI. Sage 1891 ^ Luyiu^i^^^L. ■A, 6896-1 Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022479798 GUIDE KUSIGAL COMPOSITION, FOE THOSE WHO WISH, DT A SHORT TIME, WITHOUT THE AID OF A TEACHEa. TO AUIJDIKE THE POWIR OP |nte% pCtkMts, Um Of PROVIDING 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: OHICAGO: PHIIiA: EOSTOIT: C H. Biison & Co. Lyon & Healy, J. E. Ditson & 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 little piece of music ? Pretty thoughts often float before me ; but if I try to write them down and make a little musical whole of them, I commonly am stopped short after the first four measures, where my fancy leaves me in the lurch. If to the first thoughts T add new ones, they will not fit together rightly. Then I wonder at the composers of larger works. It is incompre- hensible to me, how one can think out such innumerable thoughts, and fit them all together into one consistent whole. I remark, to be sure, that in such works many a thought, once there, comes up again, but as it were in a new dress. For the study of a School of Thorough Bass I have no time ; moreover, such a work, without the special guidance of a teacher, would probably remain a book with seven seals for me. Besides, it is not at all my purpose to form myself into a composer proper ; I only wish to have just so much light in this matter, as to enable me at times to write musical trifles for my own satisfaction, or at the most for good friends." These words are taken from the letter of a friend, who tur.'isd to me in this predicament. I often have the same- fnquiry made of me by word of mouth, and information asked of me, which leads me to infer the quite erron&oua notion of many dilettanti, namely, that a piece of music coa ■ sists for the most part of a string of wholly new thoughts To prove the contrary, in the most obvious and striking man 1* fV PREFACE ) aer, I have made them give me 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 first on the piano, and partly writing them down with- 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 periods are developed out of a few notes. Of course I could not make the matter wholly clear and com- prehensible to such inquirers all at once '^ but I promised them to lead them to a spring, from which the greatest masters in the art had drawn, a real magic fountain, which so fructifies the inventive fancy of those who drink from it, that they find one musical thought continually crowding out another. Where is this fountain ? Quick, let us go to it 1 Gently, friends I Before we reach it, we must first go over a small mountain, and then we must not drink too hastily, for that is dangerous. The name of the magic fountain I can give be- forehand ; it is called Thematic Treatment. Thus did this " Guide " originate. May it find friendly reception in wider circles, and lead many to the fountain. But a knowledge of the theory of Harmony is presupposed. Whoever wants this knowledge can easily obtain it through my " Introduction to the Theory of Harmony," of which thia * Guide ' is a sort of second part, or further development. H. W CON"TJE:NrTS. L Pattern Melodies for Imitation ... i IL Structure of Musical Pieces € Periods^and their Members 7 III The Theme r 8 Principal ways of Transforming a Theme 9 1 , Transposition 9 • F.xpansion 10 3. Contraction • • 10 4. Augmentation 11 6. Diminution • 11 6. Repetition II 7. Omission 12 8. Changing the Order of Tones • • • • 12 9. Reversing the Order of Tones 13 10. Combining Fragments of different Motives 13 11. Inversion 13 IV, Combinatian of several Modes of Transformation 14 V. Consideration of some Periods with regard to their Thematic Treat- ment ,- 15 Exercises 18 Periods of the Scholar's own formation • 22 VL Harmonic Accompaniment of Melodies 23 Figural Voices 27 Harmonic Accompaniment of the Scholar's own ! 44 Melodies as Exercises for Harmonic Accompaniment 4S n CONTENTS. VII Periods of different length • 51 Shortening of Periods 62 Short Introductory Phrases 6S mi. Cadences M. 1. The FuJ Cadence * 66 2. The Half Cadence 67 3. The Plagal Cadence 67 4. The Deceptive Cadence •• • 67 Imitation 69 Inverted Imitation • 83 Mixed Imitations ■ 85 Canon, Fugue 88 Dances 88 Variations • 89 Marches 90 Song Composition 9C Bondo • ' 91 Sonatiaa • ■ M GUIDE TO MUSICAL COMPOSITION. I. Pattern Melodies for Imitation. The chief thing in Music is Melody. He who can invent beautiful and expressive melodies, has in his power the most important art of a composer. Taking the Rhythm of one melody for a pattern, many othen may be formed in imitation of it. For example : %^^^^^^^^t3^^^ ^^ig^lg^i^^g Tt:«__^ |gd^-Nf{^|giSgpf}ggp^3g ^i^^i^^gi^i^ ^^pi^i^niiSlip Such rhythmical imitations, to be sure, are no real melodic formations in 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, is no melody. The melodic steps or intervals must be easily comprehended, and such as appeal to the feeling. To make the matter easier to the beginner, the commencing measures to some imitations are here given , but be must also try, without a given beginning, to form melodies aflei each melodic pattern. GUIDE TO Allegretto. ^ - •-T-^- £E :|=?=p: ^i^Ep psa i s ! I F » TTTVi -p— (»—(*; 1^^ ?^=PS ^e-^ I -^— ^-T-PS-i P- =t===H=t: -&c. &c. -R^- -I F=T-t= e=-'?= ==££& -&c. &c. SEIfr -• — P :t=^ 11 &c. &c. iE£gpgr ^p ^iJg p> s }jgp! i n Moderaio. ^E^BE =-F=^ =*=*: :^ ^ i i4-,-^ :J: &c. &U. ^^gg^^^^^l^ &c. &c. p^i^i^i^E^ ^^t &c. &c &c. &c. otu. otu. M occ. ac. I Allegro. jEfet=^^'riS^f3 ^^ fc:t :E=S^ ^E^^£EJEEp^E^£ EEJE^3Eg pg^sI MUSICAL OOMPOSITION, I iis^ -•^i=)i^ 9 T={ "SEE ME^ii^ i .- &c. s^e , ' &e. &3. i Allegretto. :EEE^i^^S fit ^e;i^ I =^53e ^ 5-*"iir ii -^ — •- &c. - | L J .-3IE P— »- &E -*— -• — *- S=3i^ '^^^S^pep^' ^i^ I zfz±2B. &c |=§i If BHt^S£ -P= -#- I ^=?J=E EeEe S^t^FP^fe &e. i^SSlf Andante. :^? gr^^^ ggj:§^ s^^^ I fe^prf^iE IE iaizzzc itizaint 3r3=? t=t ll^S^j^g^lg:}^ 10 GUIDE TO fe^ &o Ef^EEtHEi:?^: &c Moderato. A _ 1^ A_ ^^^ii s •— • f rf- SE: ^_^ -*— J- i ^tt ^_-r^ =F==r>- ^ :| &c. gg^^gj^j .51^ rE :i=t A &c- f^il^gf^^l^i^ i !EtE^ A &c. ■■■ ■'■-i ^^ wm-* — ^-^m^ ( >-- ^-'- I -^-m- ^^m -^—0- ^ A ■^^^^^. 3=t I J « ■_ I? — * — ^t The following melodic patterns should be imitated fovir times without a given beginning. Allegretto. ^^m ^^^^^ -^-f-!*- :?r,_. P^S^ I Allegretto. isl^te -^^-^- _^_'-,_ ipit igE^lgj ^H rtzt rp=P=P= ip£=S; »—' —»-,^-g ^ MUSICAL COMPOSITION. n Allegretto. r^rfiif:&':fri:fi m Allegretto. *-f-f- g^si^li^^^ ^^F=F^ HP -^-0 . A Allegretto. $ .I -f-!-*- fr-f -^— »-+-» it^ig =P # ?- Bli -• • 0- I IhsS £ -•-^- 3=41 :!=^ i „ Allegro, ■•— p-# — 0—^-0- ■r F F-»- ^^^l^^ip^i^^ Moderato ^^^m^^^m^m -0-f-0^ r-ri- ^^^^m^^^m ir^=t=F Allegro scherzando. HSliSsSi^iiiil^ Allegretto. ^^t^ -Jz::. ::&=j2i ^-#-? 3§ii F=r^F PI ^^^^m^^^^fei L!: GUIDE TU Allegre ^ri=r piB ^^i^pi pfe^ pg Moderaio. ^m -m-0- lz:z^3ES^. ?=t aigi^s t i Allegro scherzando. _^.«^ -^!^ -^-•-. ;j3gse^ AU^agretto. s^eIMe^s.^^ i^i II. structure of Musical Pieces. If we examine the structure of a piece of music more closely, we find that it consists of smaller or larger mew Jer«,(tone-groups,) strung together. Usually such a member consists of eight measures ; in the technical lan- guage of music it is called a Period. Such 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 2 measures into twice 1 measure. The half-period of 4 measures is called a Phase ; the half-phrase of 2 measures is called ( Section ; and the half-section of 1 measure is called a Motive. MUSICAL COMPOSITION. lo 1 1 mil it be remarked that the word Motive is also often used in a wdei lense, as meaning a whole Melody. Thus there are variations upoL opera motives ; that is, the themes of the Variations are taken from opera music But here we use the word Motive throughout in the first-named «ense as indicating the smallest division of a Period. PERIODS AND THEIR MEMBERS. -^-0-m~ j; ^Ji^g^li^lg t^=x ■^ 3^1 Phrases p^iii ?3 --T-:U^- ■.5s:fc»: ■F:^ -^-•-#- t- -P=i= :*iti m Sections. 1 ^igi g^iggijiiii^Slt Motives. 1 :» m s^gss 1*1* E=E^: I f -^5-»-»- -I F-#- i^Jji:'^' In periods commencing with upward beats, the up-beat is considered as an incomplete Motive, which belongs with the equally incomplete closing Motive. That two such incomplete motives make up together a whole, is clearly heard upon a repetition of the period. t^^E^ir'f^n =1=^ ^^^Sl ;^i^SEg^tL'J -0W i iHnf =?— ^• -#— P— •- it=t: EES: £ Many of these periods with up-beats may also be divided otherwise, \hat is to say, so that every motive may have an up-beat, but of equal ralue. For example : Motives. 1 m E:j^fegEgEgEgE;;iEgEE^5^:^ ^f=f ig:-fe; ;tif:zlzc-rtir.=piiic:ztt: :t=tt :t=S^: it5= m^ ::Cr; t=ijiz:3t=l\ti i-E^E ^^t^E^ 3:^ Motives. I z±z :.zy--z=-zt,zri : gEl-^ ^|Eg±£ggE| 5E:g= fc--^gE|:(;Ea- ^ 1 y it-^-i-V -^-T=^- -« — ^- g^fe^^3| III. The Theme. It is seldom that a piece of music has but a single Period ; neariy all pieces contain several periods ; but the _first period contains the principal thought, which is repeated in different parts of the other periods, either in whole or in part. Such a principal thought is called the Theme. But the repeated thought should not be employed always in its first form ; it should be alte'^ed, transformed, but always so that it may still be recog- nized. In this way its appearance every time excites a new interest The art of working up a theme in this way, is called thematic treatment. The theme itself contains such work ; for we have already remarked tha. Hume of its motives are precisely alike, and that others are verysimUar MUSICAL COMPOSITION. 16 Such different forms are inexhaustible, as we shall soon see ; therefore il would be impossible to represent them all. The PEiNciPAi WATS OP TRANSFORMING A Theme are the following : 1. Transposition. A Motive is transposed, when it stands upon different degrees or stepi of the scale, but with the same intervals oreserved. Motive. Transpositions. P ^=P ^^ -0=*- Motive. i Transpositions. e^:E i Motive. Transpositions. E :*=t: -cri- ^- iipS t— 1= ^- Motive. ■a:=t:=|:3f: Transpositions. ^1 ;»=p: t^tr^u=£ E#-5?= .»_■ — , Sip Motive Transposition. Motive. Transpositions. &c. ^^sm^^^^M^si\ -fl — g— Motive. Transpositions. &c. =1=5-*-J-J-J- 1 — 1* F I'-^-p--, r v-r ^ r \ V / * J • ' p " ^ • 1 1 1 1 1 1 •/ I Also several motives taken together may be transposed. For example Transposition. 2 Motives. It: =r^^^ E zss\—-i=.wz - I ^- 33i 4:=P -l-^- 2 Motives. :ts=t±:fz :t=:t Transposition. te-jirrpiripz ^iSi^P^ 16 GUIDE TO i 2 Motives. ?^fcp Transposition. zW=i- m Half Period. Transposition. [lE^EES ^ -P*^ J=Pfp: giiigi^ig Half Period. Transposition. g^^=Efei^^siigfe^ Half Period. m-Js 4w 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 Motive are not altered; but here the notes are spread farther apart, i. o., the Motive is expanded. Motive. Expanded. 1^-*' ESf Motive. Expanded. '^m^^m^^i^i Motive. Expanded. Motive. Expanded. b.- ^^^&fe g:^ifjg|ffe(EE-j!:fJ^£^ Motive. Expanded i Expand a= • l»bi^— 3. Contraction. Here the intervals of a Motive are made smaller, or contracted MUSICAL COMPOSITIOA, n Motire. Contractions. Motive. Contracted Motive. Contracted. Motive. Contracted. i^iPj^i^^gi^^ 4. Augmentation. Here the intervals of the Motive are not changed, but the length oi time-value of the notes is augmented. i Motive. ^J-^EE Augmented. SHI 5^; Motive. Augmented. I =Et ZflZZIi^Zft =t i £ -' i ^ J^ 5. Diminution. This is the opposite of the preceding ; for the value of the notes of th« Motive is diminished instead of being augmented, while the intervals remain unchanged. 2 Motives. Diminished. ^^i=P3^l^ S5531 |S 2 Motives. Diminished. ^ ^ -t — r- rt =ff=?= 6. Bepetition. Many motives may be variously remodelled by the repetition of fraj- inents or members of the Motive [2*1 Id GUIDE TO I si=S^ Motive. Repetitiona. ^^fegEfefeSS ■tij— Si5"'s3"- -^-^j— "--^-^-^j- E!Et 1 7. Omission. One or more members may be omitted from a Motive. i 2 Motives. Omissions. -M—f—T-W •=?- i^^^lgi^P^^S^H^E Motive. Omissions. ±^ rtt ^?=^ PI ;] |i s ¥ :T g=E 8. Changing the Order of Tones. The members of a Motive, especially such as form a chord together maybe tniercAang'edji.e., introduced in a different order, but without altering the rhythm. This may occur within a narrower or a wider Section. Change of tones. i^#iiip^g^ii^i^E Motive. Change of tones. Motive. Change of tones. fe^^^^^^^ MUSICAL COMPOSITION. d. Reversing tlie Order of Tones. A Motive, or several Motives may bo taken backwards, i. e. from tlM Bnd to the begiuniug, without altering the rhythm. i Section. Reversed. «_,- i Section. :«i|ii -^:a- st ^^ Reversed- ' — ^ — ■*- i *• 10. Combining Members of different Motives. By this means of transformation many new Motives may be formed Half Period. I '^m r n \ J-L M. I±=^ tz=Mz -*—*- E3^5=i= i Combinations from measures, 1 and 3, 2 and 3, 3 and 1, 3 and 2, 3^S s 1= "^A -*- -*- -^ -^-- f^ -*- -^- ^ 1 and 3, 3 and 1, 3 and 2. * — *—•—■—* — *— • — d-^ -i^ — ^— • — ■ — ^— *■ 11. Inversion. Motives may also be so changed, that their intervals shall make inverted Bteps, or move in the opposite direction. This is 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 we commence inverting the intervals at the first note of the Motive, and not at the last. Motive. Inverted. 2 Motives. Inverted. ^^ C isi t=: -tt Zizzzw:, t-t;i: ^^ 20 GUIDE TO 2 Motives. Inverted. I^SHseg-l^pipSfS 2 Motives. i Inverted. :p:>i^^rp: :£i|:: i ■Mai- Inverted. Half Period. ZJfZlfi- ntm -0-0- ^E^' ^^ EE^ IV. Combination of several Modes of Trans- formation. Frequently not only one, but two, three, or even more means of trans- formation are applied to a Motive at the same time. Thus we can trans- pose a Motive and at the same time contract it, or we may transpose and at the same time expand it. In the same way Motives may be at once transposed and inverted, transposed and diminished, transposed and re- peated, &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 example shows. Motive. transposed & inverted, | reversed, | transposed & reversed. -0-n- I Motive. E ::t: =#-^= -0—0- transposed and reversed. '^^ S££ re; -W-0- -J^ -jtz=± m Motive. transposed and reve rsed. ^^iEj- S '^m Lengthened by transposed repetition, and the figares in sixteenths inverted. ^^^^m^^^^^m Transposed, inveried, and lengthened by repetition. rfUSICAI. COMPOSITION, 21 Motive. transposed & expanded, || transposed & reversed. g g^Eisga Transposed, contracted and inverted. |[ Transposed, contracted, diminished with repetition. Transposed, inverted, contracted and incomplete. -W=lt- 2 V. Consideration of some Periods with regard to their Thematic Treatment. We have already remarked that not a single Period consists of purely new motives, but some motives are only transformations of others, which we will call original motives. In the following Periods, which are mostly taken from well known works of Mozart and of Haydn, the original mo- tives must be pointed out, with allusion also to their transformations. Allegro. I l?E Ir— 1^=^- j^ Original motive. • f- i ^^dm^^m^m^ The whole Period has five original motives ; the first we find trans- posed in the third measure, and the second transposed in the fourth meas- ure. In the sixth measure we have the third original motive repeated, but enlarged by two new members (a and rjf) at the close, in order to connect it more agreeably with the following fourth motive. ^ |i=p: 0-—f-0- t=i: ^^^mi Oriii'-ial motive. 22 GUIDE TO I ;itt*=i=^."=F=^P- This whole Period is developed out of two motives. The second meas- ure is a transposition of the first original motive, and we find i)oth repeat- ed in the fifth and sixth measures. Measures 3, 7 and 8 contain transpo- sitions of the two last members of the first original Motive, namely the crotchet and quaver. Properly this period has only one original motive ; for, strictly taken, the e in the second original Motive is only a participant note, and the two semi-quavers may be resolved into the harmonic note d, in which case this motive would be only a transformation, like measures 3, 7 and 8. Vivace assai. ^i^i Original Motive. S^33^S EE ^^ :t=p:: 0- nt i What may be made out of so simple a melody with only a single origi- nal motive, may be seen in Haydn's Symphony, No. 10. Presto. m =t ES^ -0—fi- =tit= Original Motive. m^mM it E&'£ Here only tne first original motive has been transformed ; measure 4 has been transposed, contracted and inverted ; measure 5 repeated liter- »lly, and measure 6 transposed. Andante. ^ -f— » FT Sii ipi! Original Itotive. 1 MUSICAL COMPOSITION. 23 g^gg g^^g^^^^ EE= t Measures 3 and 4 are transformations of the first two original motives ; measure 5 is a transformation of the first original motive. 1. e., partlj transposed, eontraxsted and inverted ; and measure 6 is, half of 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. 1 The second original motive only half deserves this name, because the second half is only a transposition of the first. This motive is transformed in the fourth and sixth measures, where the two eighths make inverted and expanded steps. Measures 3 and 5 are transformations of the first original motive. Allegro con spirito. _i- p i i -i. • „^— • I •te Tt Section. A^^^=rr^: :^ p.4--^ gL-j3^M ^i ^M^^^ ^^^3 =^^ Such periods as the last are better divided into sections than inld 24 GUIDE Tt motives, since each section makes a little whole. The first is the origin^ section ; 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 (measure 7) is a new thought introduced. We might make a period of sixteen measures of it, by ohap^ng the * into I measure, and the feeling actually divides it so. Motives. w^sm LT 13 14 15 __ 16 We shall soon become 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. 23 6= ^^ Allegro m olto. •y-p~r-y— M- ^ - r <— — — f- ^. Ji — ~~ l2_-»3q=£^^^£^t^n-'-.- -•-.•-•-^-•- Allegro. ite3^= ==!=: -^ — *-•■ ::1=:t=:t zM—izzi: :1==i L^: II I i« * — M- s^ Allegretto. ^ES^ iE^iiigi ^^ ^ I -p — 1«- Se Vivace. ^^ ---- — _!_• . . . -^ 5:f- :t:^L^-r. ^^ '^^m t^^=^^ -,-f^^^ -0—P-0 — m~0-' — I — ■ — I — — ^~0 — a ^'^^ — T- m r Allegro. fe^Efe !s££t:3igc:^=g -^^--F-fr-t i Fr-r3 -h^'^4 ggiili^^ip^li i [3J P.6 GUIDE TO Moderato. ^f^ Egp^j^ ;i^^ ^ j|P^}j^ *=^ ^^^ ^i^^ §m^ t Presto. gHEESse^ES^iSSi: ^m Largo. -^- -^- ^^iiiiE ,=fi=t: -P-?- rfo/. i ^3: S^ 1-3=* 4 E*=-E3E3 •— ^- ^r=r3 N-=5z Adagio, .0 — 0^0 ^. -.=r-.^. sssiei E&: -«-•- P i^eiSlij^ Alle gretto. =§^=1 TyroUenne.' fea^i^^i^i^i^iiii^si MUSICATi COMPOSITION. 21 E=b^3EfEEiEEe3=P; I 0- i i gs ••— p- -•-— — I — h Allegretto^ ^ f, A^ji^Jl,.. ■iif^g^^i^iSE i zf i^^i ^-f-f -f-. ^'f -f-f- f-. ^-,"-1* -" ^^^E^: ^ 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^ 28 GUIDE TO AUegr tei^: ±±3:. p=?=±»zrp= ■^^^^^ r^--7y #-»-. # 5 i- — Allegretto. l^^igg^gssgg^jBfeESi^ga =t^: ^=^" ;^^zrd=r ff^ ^ i t Allegro ■^-^ 3=SS -0- t=3t=jt:^^jL ^E^ lirt- P=i=Pt k- E2e:^: '^^^mmm. m^^^^^. tf^ -p^=»- ■t=Xr n Some Periods of the Scholar's own Formation. Hitherto the scholar has worked after certain melodic patterns, simply imitating the pattern melody, measure for measure, without knowing the means of transforming the melody. Here he is no longer to work after such models. In the following exercises only the commencing motives will be given hira, and out of these he is to form periods of eight meas- ures ; the invention, transformation and succession of the other motives if left wholly free to him. Several periods should be formed &om one and the san e beginning. For example. Commencement - :| Allegretto. ptii^ Period 1. MUSICAL COMPOSITION. 29 ii^ii^^^fi^^ Period 2. A A. ^^^^^mi^^ Period 3. m^i^^^^^^^m ■^s^- t^ ^^m Period 4. A— _i.-n_k,i_ A A Period 5. A . A w^^^m^^^^^ Period 6 E^ ^^ E^feg^ zL^E^Ei^^ ^^=i5= Commencement ; 1. Allegretto. tssaf - 2. FJVoea [3«] ^ ^ 30 GUIDE TC 3. Allegretto^ ^ ^ 4 Allegretto. 5. Moderato. i *— »»- S3 m 0^0- 6. Allegretto. ;^3 2=t S— 5: l?3E 1 7. Moderate. I-- EEE -s — # — •- jp^t =£ ::jzi^ i 8. Allegretto. ~^-zl- fc -0—0-0- :E^ 9. Allegro. 10. JToZier. ± EE l=[ -4-=*- ^s^ 11. Galoppade. 12 Moderato. 13. Andantino. 14. Allegretto. 15. Allegretto. 16. Allegretto. 17. Allegretto. 18. Andante. rg^g^gg^pEggiigl :t::--t -P-1-! 19. FiVace, 20. ilforscA. fe±:i? P=#: $^ :ee3e =t: s^i Choose now out of various musical pieces several more such beginnings {(IT the formation of periods ; but choose them from pieces with which you are not familiar, and then compare your work with the original, in order to avail yourself of the necessary improvemec's. This done, then invenc the beginning also. Melodies will flow more and more easily from your imagination, and you will gain more and more dexterity in the thematii tnatment. MUSICAL COMPOSITION. 31 VI. The Harmonic Accompaniment of MelodJos In the invention of a Melody, a person who is at all musically calti vated has in his thought at the same time the Harmony to it, at least itj fundamental chords. 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 (Domi- nant) . So too will we begin with setting a second part as an accompani- ment to a melody ; not all at once to a whole Period, but first to one measure, and then to two and four measures. The following three notes, we will suppose, require a Oiie-voice accom paniment. i EfefE?^ In the first place we must know to what chord each of these tonfi belongs. The first and third note (c and c) belong to the Trichord of < I major, and the middle note (rf) to the Dominant chord of this Trichord Hence an interval out of these two chords must be chosen for the accont panying voice ; but which ? We will try them all one after another, am let ihe sense of hearing judge which intervals will serve our purpose. I -a- f All these combinations sound not disagreeably ; but some of them Bound empty, namely the Octaves e-e, c-c, d-d, the fifth g — d, and still more the fourth g — c. Such empty consonances we must avoid a? much as possible, at all events not use them in unfit successions of tones The accompaniment of the above three melodic notes, both in a correcl and a false tone-series, would be as follows : Correct. 2 .. J ^-.,^-J_J-)-^-j-4-4-Tr-^U-J-,r-J-4-l-Tr-J-^-! i, J-4-l-t 52 GUIDB TO False. 9 10 11 12 13 U 15 ff- 171 r-^- I Tr- -r -r- What is there false, then, from 8 to 15 ? In 8 the octave d ; in 9 this same octave, with the fourth g-c ; in 10 the two octaves d and c ; in 11 the progression from fto c, because the seventh must always move but one step downward, and here f should go to e ; in 12 the octave e ; in 13 and 14 the same octave, and also in 15, besides the progressiop from J to e, because h is here the hadincf-note to c. — In 3, to be sure, an octave (_d) occurs ; but in this progression of the two voices, where one moves downward and the other upward, it is not faulty, nor does it sound badly. Such a progression of the parts is called Contrary motion Of this more hereafter. We may also accompany the three melodic notes e, d and c with tones from other harmonies, for e and c belong also to the Trichord of A minor, and d to the Dominant chord of this Trichord. For instance : PS J. -^ i In the- following examples, the- accompanying harmony is so obvious 1 to need no explanation. pl *=i ^r'^r ^-^- m. ri>-r- ^ ^ :J-Jd rr'^rffrr'-^T- m MUSICAL COMPOSITION. 33 ^ ri=Jz 3-:r=i^3^3E E^EEJ n^- "■ rrr^T Ft" T Pigural Voices. To illustrate what is meant by this we will take the last example. E=E 1^=:^: £ l=E^li=E=E=^ il^i ^ :^ :3: -m 1^=14 -*— ^- I ^P -• — w- ^--t-r -0 — fi- }$ 7:i—i=z± -r -•- -3- ~w f^= ii=t: Here both voices proceed in simple tones. Now if these voices are dissolved into richer note-forms, — ^if, for example, a fourth is turned into 2 eighths or 4 sixteenths, &c., we have jigurated the voices. But it must not be understood that the eighths and sixteenths are to come always upon the place of their principal notes, in this way : EEfegg^^EE^: ;=frtt ip:p;p:pi The enriching or embellishment of a voice is effected by participant notes, passing notes, harmonic notes (in broken harmony), syncopated notes and suspensions. In composing a figural melody, one must first think of the principal notes, which should stand in the place of the fig- ares ; and if one would set a proper accompaniment to a figural melody, he. 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 34 GUIDE TO nave a suflSciont knowledge of syncopations and suspensions. FiguraHo« is an excellent means of transformation, which contributes remarkably to the animation and coloring of a piece of music ; and hence it is of great importance to a composer. The following 15 examples show, in what a variety of ways the princi- j«l notes of the upper voice may be figurated. ^Sgggggggg^^^^Sg=g^ ¥^ zjizizpsr. -I r-»-f^-r a^^^pg^^feEi^gEEj ;k ^^^^^^^^^m^ $ m r^ it=* ^^^^^^3S=^s^^m I e: :5^3 H- -d- -*- -i ^ ^ ^-•— ^ — •-»+•• SEtE£,Ei:E^[ -fC0=?=Z =P;;i=P— •-a-L, ^ |ri^3 |=^p|pi^^ S=3 = ^ -p-tfi -rr-w- -i=^ t •_,_p_ • rT=" 1 -p.-^ &c. U-t^ t-;2;:.- \ 1" rif h^i- — • — 1 — -•- -i:::jt=: rJ-JiUr s^=«L_ --i=::t :^J^ MUSICAL COMPOSITION. 6 33 &c. lipMpgiE^^^i gpSJ^Batl^Egf^iagggpg &c. &c. i i 3^^S &e. &c ^Mi ip^Pi^f f ^^3 Szg^:^ &c. fillip ¥ 12 .-^ &o. &c. i ili^iig^i^Pif 13 14 i^^ii^ji^pSE3^^ S6 GUIDE TO 15 |B3; g^_E^^=pgjggE^: ^ 1 Bemarks on these 15 Examples. Ex. 1. The first eighth of every quarter is a participant note ; the harmonic principal note strikes in every quarter as the second eighth. 2. The first and third quarters are not figurated ; the second and fourth have participant notes, as in Ex. 1. 3. In the first and third quarter the second eighth is a passing note ; the second and fourth quarters are not figurated. 4. In the second and fourth quarter the harmonic principal note ia answered by a harmonic accessory note ; the first and third quarters aro not figurated. 5. The 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. So too with quarters 3 and 4. 6. Each triplet begins with a harmonic principal note, which strikes in again after the passing note. 7. In the first quarter the first eighth is a harmonic principal note, which is repeated again as a sixteenth, and then followed by a passing note ; so too with the third quarter. Quarters 2 and 4 begin with a hai> nionic accessory note, answered by the harmonic principal note. 8. 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 principal note. 9. Quarters 1 and 3 begin with an eighth pause, followed by the har monio note ; the first eighth in quarters 2 and 4 is a participant note. 10. The harmonic principal notes strike in after, because they aie pushed out of place by syncopation. MUSICAL COMPOSITION. 31 11. E ery quarter begins with a harmonic principal ncte; the figuri of the 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 also with the figure of the fourth quarter. 12. Here § time is used instead of t. The second and fourth tones of the lower voice are shortened into eighths. In the upper voice the harmonic principal notes strike after, as second and fifth eighths. 13. The harmonic principal note, striking after, is followed by a passing note. 14. The harmonic principal note is followed by two passing notes, between which the principal note is again struck. 15. In the first 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] 38 GUIDE TO ip f^i^^gg p Eapi^p mi^^ =£^^^ ^^=1 *=!^3ESEE:^=^*Ei iil :^=t: =C--qi J±tH^3£ ^^ g|£JgEfl gj^3E8g±^M gg{ §11-1 S ^ ^ 3 _ ^ 3 3 ^3 sO / §1 l^ii i ^=p: ir^z ■e:^ ■t=t it=f: -i»=p: ii-jsSE $^^ ^ ^ #^ -^rL^gg^igg^i :^" :e=i5ii::.gz MUSICAL COMPOSITION. 39 ^^ Mz^- 7^::z^m <-!•-»- p;#- ptc=r-h=i-p- :3^:: =E^^^;=i eS iiEE iEEEt^t^E -p-#- fefEL=^^^3^]gl3=3 iS ±3E^EE =C-?- IEe ^1 =p= -^ if= « , -p -'- — ^- =1= =t=: ^m i ^^^^^^Ip^a si |g| 40 G U I D E T O Examples with the lower part figurated. 1 i ^— t mmm g*f^-fe?fe -4- — k *--f* i^i i ^3 1 fCEZ^ZiZWZ S^ES HrftP^ 3^ q;q: iit 5z=5z -S-yW ( V—»- Ejzt e -*—_-•-# ?^E -f— •- =F— f f— •- 1 i -p— t-gd- i^i jipMlgpgis^Bi^^i 5. The parts of No. 4 exchanged, so that the upper hecomes the lunder, and vice versa. lagg^jsapaj gig^^^g ^pf pti SbeE ^^ ) il.^i^^^Jg£^|^ii MUSxCAL C0MPOSiri'»N. "h* pa. is exchanged. 41 m^i^^i!^^M^^Mw^i e-3H3£EJEEE^53^g ^=P=?r B 8. Harmonic principal notes. ^m^mmmm^^^ 9. The parts exchanged. E^i^m^^fsm m^^i tE^m :fi=f=i—fi- t- :t=t::t r-:i=\: i 10. The parts fvoices) of No. 8 both figurated. -0- -0- ^ 11. The voices of No. 9 both figurated. fffejifefig-fgi^jSj 12. Harmonic principal notes --•|»-fe»n-a^ ' —^■ CONTRARY MOVEMENT. 13. The voices exchanged. t=h ^--'-■•- ^mm^^^^^^^ s^^^^^^^S^^ £4*] (2 GUIDE TO 14. The upper voice of No. 12 figurated. P -•-— 1« ^-T f !«-• ^^ r— T— a~' ^ ^-T ^ r—m-r-'i — ■ — - ■ »-■ ^E R= P t=l ^^| ^,t£E 1 ifczi IS The lower voice of No. 12 figurated. ^^m[^E^m -?— ?- ■» — • — •- ,^=^;,i^^m^^^^^ 16. The upper voice of No. 13 figurated. Mm^^^^^sBs^ 9i= f?^^ = i E^E -I" ?— ?- i 17. Oreo: jg^l^HEgggl -?— y- s:-=»-P-i»-| i I p=:i- =?=^ ^E3ES 4=ir 18. The lower voice of No. 13 figurated. iig3^ =}r>=pg=i^E^ ^p^^ .SEfafejipja--;;^ =P=?fnc: EEE ^— ?— y- i 19. The lower voice of No. 12 figurated. U . ~m * 1 — -I •- » :tE±=5z ig^Efei:EpiB^}P^^^ii^^i [ MUSICAL COMPOSITION. iS so. Both voices only pEirtially in contrary movement. g fe^^ - ^ pggpg^^rg^ 7^»- 2i . The following passage in thirds shows the principal notes of No. 20. p^^ ^m ^^m ^m^ 22. The following harmony also may be placed under the upper voice of No. 20. ^s^ig igps^ijg^i^^gg^ zpi.rr 9ie£ m 23. The same melody founded on the following passage in thirds. iEH: ::i^ ::1=*: 3:&5i^£^j;^Si EE 3£± ^^SeSI^^ 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 44 GUIDE TO in both voices Also tbe cross-lines show that the first foui -eighths ft one voice are repeated, liy transposition, in the last four-eighths of th« other voice. Such repetition in the other voice is called imitation, i which we shall speak more fully in due time. In contrary movement there often occur tones, progressing st«p by step, which form several consecutive dissonances. Such progressions must be used but seldom, and in a quick tempo, since in a slower movement their dissonances, being longer heard, would sound too harsh. For example. m^ m -t- fH»: i^ g^^ lir-* If tones of a hrohen harmony occur in the figurated voice, they must be so placed as not to form false fifth and octave progression! Cmnsecutive fifths and octaves.) Cantabile, ri=p=p=irp: ^^^gj. i£?BS -till I .y _J L I I I I i_ Faulty. feiS^&J^i —--0-^-0- =P*=tlt iPgS:! MUSICAL COMPOSITION, 4S i Pf^^ m #:p-*- SB ?f|£.^ gg|3E=E ^ittrf-r.- giiS^ffi iteji^ :Et pT_zpizzp: ^_i 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. Similar faulty progressions are found in the other measures. In the figurated voice which stands above the faulty one, octaves occur also, to be sure, because the harmony is full, and the upper voice has holding tones; but the octaves strike after, do not progress to another octave, and are not struck simultaneously with tones of the upper voice A good musical ear soon detects such faults. Both voices flgurated by broken harmony. ,^^^^ fei v^rxz ^lls E:E ^m^^m^^^^MM If in the figurated voice two tones of broken harmony come always upon one tone of the other voice, then the after-tone, which is taken from the omitted tones of the chord, must be so chosen as to indicate the harmony distinctly. — If a third is struck after an octave, as after the octaves c and / in the first and fourth measures of the following example, it is not faulty. We might give c as the lower voice to all the four notes of the first measure, and by a tie prolong this c through the first two-eighths of the second measure, as indicated it the close of this period i\S GUID E TO E^mm^^^Mi ^^^^ ^^ii p^-» — •- m £iF f-^! — I- # - ^-1 J^EE ^ r-tt Passages with broken harmony frequently occur in Piano-Forte works, as figures of accomphniment, where not seldom the fifth (or Dominant) plays the principal part in the after-strokes. It facilitates the seeking out of harmonic principal notes, particularly notes, &c. to imagine the broken harmony as struck together. § Andante. U k :=E A fzM: fc-^ * -"-^=i 1* — ^-* m^^ ^^^ Scherzo. i A S a^=Ei^EtE«E'3=57l^S l=^^g-^g^=E :^^E^E^ l« 1^1 g^ g^i^^^^=-. (^3^ -»— ^ =t7 =f:=4 IS S»^=»=P- ?=^ 3E* =3^ Id: ^ MOSICAL COMPOSITION. 41 Allegro moderato. -^wr» ^e^Se^ rE2 •— ^ m -•--•- -•--•■ ffi^g^-'ge^i^'^^ zjnw -•— # i -#- -^- -« =t=t=t :*-• i M^^m „ ^v-f; -"«-,-«- -•- -•- h,0- -0- i#- -»- -^,-n ^-»'-f^ Moderato. ^^m s^ iS-, — #-_ ±=^-.Wt:zt--tzK ^m^^. -%'^ ^■ =B; ^=^ 1 ii 1 ?^ =?=?^ The figures of accompaniment only partly broken. For example : Allegro sckerzando. Staccato. :±;: :E 11 i -r — r f^i^^^g^l^ 5ii^ ±=S=i=3=?: ::rt t^l.^ 18 GUIDE TO Allegro. s^^^^^i^^^pE^ gg^^b^^ -■f-f ^ Accompaniment with chords not broken. For example : Walzer. fe»-'a J^^ ^^tgj^ 3EE ^^^izs-i-^s3izs-t=i3:zi=s—l—i-_s—-i=^ X -•- -••- I ifcnf: -^•^•- EEEEf^S ::pi^^ -r-F-P-a-*- ^ffi: B^^S ^— J — ^ i - »! a! Ji- ii=fcz:^iirM — A ii — l-a — ^—r-±--l 9- zsz zt ziTiiz {'t-^ -^ -• Allegretto. ^P Jg^E B^^ ^l ^ig j ^< iiHiiiiiiSsi^ -5— 5-^-i-iS^ -•- -•- -•- -•- ^^Ifl^g^^l^ '^^^i^p^g^pi MUSICAL COMPOSITION. 49 Allegretto. With the bass immoveable, or Organ-point, Pastorale. ^^^^^^^m- m *-^- ^j-jt. n-J- E=^iE^^:E^feEE^ _i^^ ^^ ^iOil ^^^ ^^ m^^ -r- -^--^-J. In larger compositions the Organ-point often occurs in this way through Irhole periods ; for instance, in the Finale of Haydn's well-known D major Bymphoily, from the beginning through two consecutive periods. It is leldom found of such length in piano compositions, but all the more fre- |uently therefore in a few measures. Allegro. I S^ A- ^ B '^=s^S^ -^ — ^-^-S-T-J: -t a^^^ps^ #-!- #— n The bass in the second and third measure has the Organ-point, although ^[ivsn in eighths. so GUIDE TO Allegretto. Si rp-i -W-0 I ^ ift^i^gSi ^ ^gg^^^g?^gf^#^; i i -*^-M-0- ZESI^ «: 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 reflect through what fundamental chords it can be done. These chords he will find, if he will fasten his eye distinctly on the principal notes of the melody, and not be led astray by accessory notes (participant notes, &c.,) especially if in figurated passages he knows how to find out the ground-notes quickly. But then too he must have regard to tne measure, tempo, rhythm and character of the melody which is to be accompanied. The most beautiful melody may be ruined by a poor and inappropriate accompaniment ; and B poor melody can be made interesting by an apt accompaniment. Somi examples will confirm this. MUSICAL COMPOSITION. 51 Wah. mm^m^ zw=zr- i^ .j_ .j_ m:^ ^3Eh; fe ^ 3^::rt i.^^A_.^ 4 -#- jgglpgggjSlgg^g^^^ sgi^ipiMr^^r^lif i telE S^ -i — r rE =!«=F= ip=t:: ii =l=t -?— ^ §BP te -^ -(•- ;^^E &^ i — ^- x=x.- -^EB =t=t .E^ ^^glgiiiili ;h-y-M^ =i::|=]z The accompaniment at a does not please ns, because it is better suited «o an Andante. That at h is better, because it is more waltz-like ; yet there is something in this that goes against the feeling ; the melody moves purely in quarter notes, and now 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 reason it is the best of the three. But there is still a better one. The icelody is taken from the so-called Sehnsiuiht {Le Desir) waltz, ascribed to Beethoven ; there it has the following accompaniment : 62 G U 1 D E T O With deep feeling. i^S^^^S i |gi^ ■y— ^- 4=f:=t: U^-. isi^iii :J:zzJz=iq!Li ^i -r^i^; :f^-Sp^ !§^te -» — »- -^ 1«- 33^EE -• — •- -^ — («- i^Ei We find something similar in melody and accompaniment in many piano lompositions ; for instance, in the weU-knowh "Fairy Danees"of Eeissiger. Moderaio. DoLce. f5 5 ^1 Ilk »i — *■ M^ P I • I i I I tal*B -rr-rr-y\-r''y~r' I I ■ I I III I &c. II ■ ' ' ■ ■ '^ ' -0- Tempo di polacca. ^^ m^' b±: :J: t: -t i. 1 >. r-» »— •— T-^ F ^- *. ■*- ^^^ gg ::?=ii= it=±if :»=i«r -^« — ^ 4=it= -• — »- \ sal a % % £ • •-«-•'! a • -S: 'T'T -t-S-SS-S- Til* -<•- H« • -5- -5^-B*^ The accompaniment at d alone is of the right kind ; at a, i aud c the Wonaise charaotor is entirely lost. MtrsiCAL COMPOSITION. 53 if a mslody consists of broken harmony, the ground chords are ob nous, e, g. Allegretto. Allegretto Z^ ,i _ _. ft ^ Or: i -; — f-* ^i— T-— 5=5^ ^l^JEl fc - ^-?— ?- 1^ ^±E{^^^Ei -g-y- f i On the other hand the seeking out of the principal notes sometimes occasions some difficulty to beginners, when the melody is figurated in scales or runs. But when .the principal notes are once singled out, the ground chords are easily determined. In the following examples the principal notes are marked by x. Ete^ ":+rE^ ~W^ 5=P .^Ztf-l £^ m ^p^-^i Ground chords. Figurated accompaniment. il^^^ip^^ -3t-i -^ 1r X - » i; m ._x Ground cliords. J3: 3E -ESS ■• ^ — 14— i-"--^ -i- 1 I I I .^4— "■ [5*1 V -r > -»- It is understood of itself, tliat it is not a matter of indifference whether the fundamental chord be used in this or that position or inversion ; much ■nore must it be carefully considered whether the original chord or one »f its inversions best suits the place to be accompanie'' else there will be faulty reduplications and progressions, e. g. Allegretto. Dolce. -I h- EH a -^^M^M 1^^ i ^ P^ m t==^=?3 -^Z. s ± t 'zgr- The accompaniment' at 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 fifths, (J>\>—f, c — g). The chords spring up and down without connection, and the sevenths rise, instead of falling, &o. But one who has any sort of notion of modulation and a true ear, will not proceed from one chord to another in so awkward a manner. Against the succession of tones at b there is nothing to be said, only the whole sounds too thin. In the first measure the second quarter (Jl?) is not a faulty octave, because the melody also introduces b'? in the sewnd •ighth, for the bass voice has already given the third to it, and the mi.bdj has first a participant note. MUSICAL COMPOSITION. 55 With the accompaniment at c, one might be satisfied, but the following fi certainly still more to the purpose. The bass note in the second and third measure makes an Organ-point. Allegretto. -—^ ,_^ ^ Doles. -^ ' ^ , -P- -^- -^- « i *- fc=qr=;&::^ H^l SE i Melodies as Exercises for Harmonic Accompaniment. Moderato. #=2 ^=» ££ te^Sii^ f^i^.^B^^E^^r^'i^ Accompanied first with Fourths merely, then with Eighths, then with Sixteenths, &c. &C. &C. »^-*- ki^— &c. &c. Allegro moderato. ■JtJt. •-# i=p=r=P;tit: iz*:'zFi S^?^3^^^ t^ With Eighths merely. i I I - »^Eii3: &c. Andante. ^i^ •Bi^iEEfE^iE? With Fourths and Eighths, for example- aE* m ii^ &e. 56 GUIDE TO Moderato. /VV m SEglBSSSEglE t-W^i^ W=¥T^'- > .» /VV ggf-r^ I /VV With fonrths merely, e. g. &c. -f-»- Beginning of the accompaniment. mm %r^ Adagio espressivo. &c. pEga^ a^f ^p p^ gg g rt fe#i^jp|i«p-ipg EE?firi: raZi. o tempo. 3i7^z-3z: s^^^^m g^S: ;gii— "Jt^: Two-part accompaniment throughout ; Beginning asg^gspis^G^gi Allegro molto. -3^»-i£ -a-f. £:^!^ ;?;i- £9^^: :^--:; ■*-rL i a Two-part accompaniment; Beginning: ~ jj^ig^iaj^ ^issg^ MUSICAL COMPOSITION 57 Scke'i zo. One-part accompaniment; Beginning: §»E^ ill: To give rules for all cases, as to what kind of accotapaniment is best suited to this or that melody, is a pure impossibility, since these cases are infinitely various. An attentive perusal of good compositions for the piano helps one to a sure judgment in the matter, and to the nscosssry skill in composing. 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, and set a fit accompaniment to it. It will then be very interesting and instructive to compare his own work with anotherV ; but it is 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 mind at the same time, the right mode of accompaniment also will suggest itself But in most cases, in the begin- ning the accompaniment will cost him some pains. Let him not lose courage ! By constant reflection and endeavor he will at last succeed in finding the right accompaniment. Our greatest masters have not made their works without some pains, and all at once so pure and perfect as they lie before us ; but they have first made plans and sketches, which they afterwards elaborated in various ways. Neither beautiful melody nor accompaniment fly into one's hands so instantaneously as many seem CO ima^ne. VII. Periods of diflferent Length. We have already said that all pieces of music, from the smallest to the largest, consist of Periods. The smaller have only one period, the largei several, which are strung together. Heretofore we have had to do onlj with periods consisting of eight measures ; but there are period? of mort OT fewer measures. For example : 58 GUID B TO Periods with four measures. Andante. '^-^J~ iSi F-i-*- The feeling halves these measures, and makes of them an eight-hat period. i \ - \ ^-»-f- ^^i^S ^^^^^^1 ^- ^ -*- I nere too again the feeling makes eight measures. fc; L^i_ -i«-»- 3-.E^ -Ff SS^:!!E!^3^ 53^33^3- '-iS^£-'-^if- Periods with sixteen measures, Allegro, i^^g^Sl^^igil Here the case is the reverse ; the feeling divides this melody into eighl bara, by changing the | time into | or S> ^^ fe 3E5 i 3= ^ :t:=t!=U: 52^-=F=F=P= MUSICAL COMPOSITIOX, 59 Besides such periods of four and sixteen measures there are two other kinds. 1. An eight-bar period is lengthened by the addition of mother motive, section, or phrase ; or, 2. it is shortened by taking «way one or more measures. In this way arise periods of 9, 10, 11, 12 measures, and so on, or of 7 measures and less. One may ask : What is the use of this ? Would it not be simpler vf we formed all periods of an equal compass, one as well as another of eight bars ? — It would be simpler, to be sure, but too simple. The feeling craves variety, not merely in rhythm and succession of tones, as has been already shown, but also in the length of periods, especially in larger pieces of music, which otherwise would easily become tame and monotonous. But the principal period remains always that of eight bars, since in it the leading thoughts, the theme, of a composition are presented, and the other divisions of musical thoughts are to be regarded only as transformations of that one. Moreover, a shortened period is 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 B flat major. Allegro. juiegro. ^,~ _^_ ^ — ^ — ^ Solo. m^^^^m^ 0^m\ m ^ ii irpziW :pzi|2«— i; 2HEf35 m^' ^^M^ .0 OU IDB TO After the preceding eight-bar period has been fspeated by dii orchestra , there follows again a second Solo : Solo. Jj. . ^ •> 1 a ~ 1 A ^M^^g^^ =t: »J R fi " s - -'^Jm. iisialli^-^l^ '1*=^ iiia=J:. ^g^^i^j^i^l 10 11 13 i£i^3^= i2=5:=t ?zi?rS: ■''^ 13 14 15 Here follows agata the first Solo. ^^^ g^S a^gigjB JESEEa This second Sob consists of a lengthened period oiffteen measures, of which the first 8 measures form the natural principal period, and MUSICAL COMPOSITION. 61 the last 7 the prolongation. That it really is only a prolongsnon, and not a new period of 7 measures, is obvious to hearing, through out. If we play merely the principal period, stopping with the first eighth of the eighth measure, — pause 5 eighths, and then let the first Sola immediately follow, — we feel that a mediating transition between tha two periods is wanting. Could we not remodel the eighth measure 'nto such a transition, so that the lengthening of the period would become unnecessary? We will try it, and remodel this bar thus: i -?— ^ This would be better, at any rate, than the first attempt, where we fall into the house with the door, as it were ; but yet the entrance of the first Solo comes too soon for our feeling, which desires a longer mediation. We will therefore make some further trials, by forming periods of from 9 to 16 measures. 1) Of 9 measures: After the 7th measure, let the 14th and 15tb follow. 2) Of 10 measures : and 15th follow. 3) Of 11 measures; directly from 7 to 12. 4) Of 12 measures : 5) Of 13 measures : 6) Of 14 measures : 7) Of 16 measures After the 7th measure, let the 13th, 14th, Leave out 8, 9, 10, and 11, and pasi Skip from 9 to 13. Strike out measures 9 and 10. Strike out the 12th measure. Repeat the 13 th measure. Mozart's lengthened period {.i fifteen measures is still the best. Let us now consider the prolongation with regard to its thematia treatment, or the working of the theme. Measures of 9 and 11 are repetitions of measure 7, and measure 10 is varied after measure 8. Measures 12 and 14 are transformations of the second motive of the first Solo, as 13 and 15 are of the fifth motive. — With truth, then, was it said above : The prolongations flow out of the principal period, and are to be regarded as transformations of the same. At least i( is m for the most part. The means here employed for lengtheninji the period are easily detected. S2 GUIDE TO I Period of twelve measures : AUegro. i^ ^ =p^p= i v. ssfiflgiliiie^lifi^gi p^ i=^ 8 9 10 11 " — 18 ^: ^E g ^ Strike out measures 6 to 9, and we have the eight-bar period. But it would be a pity to sacrifice these four measures, for the reason that they contain an imitation, of which the fifth measure makes the begm- ning. We shall make acquaintance with such imitations in a following chapter. Leave off the first four measures, and we also have a period of 8 measures. But in this case the Bass quarter (y and a)- in the fifth measure must be left out. Period of fourteen measures : Allegro assai. IS ft3E §:*S= Ca-CSSS kataaaiuS ^SSS i^^ -^— •— ^. MUSICAL COMPOSITION, 63 ■;— , > — » — fj — — — • — • — • — •j;- —0^0 — • • — — 01 1 — |-i|-— U-i-fA—0-i-^f-l-l~\-^ H I ' '■ ■ I t ■ ■ . . 1 . . . I 10 ■0—0—^ fei E£ 3eE t-^E^ mp^!^^^^^^^^^^ » 12 "Ts JO 12 14 ^l^!3_^_gj__^ ^ r^_y ^,^g=^^ I The eight-bar period appears, if we leave out measures 6 to 11. Let the student seek out for himself the means used for lengthening this period. Period of ten measures : Alle gro. mf 1 2 |?=C J> I 'J^ '0-¥- * 6^-3^1 ^^^^^^^] 64 GtJlUE TO — ii .b . ^ ^ ' - girn i ** — ^^ — 1- I I r — I I '■ $ -?— =£k tiz^i^fiCs .0-0. ■•-'-ri. ^?^ :t m ^ms 9 • ^ :t=t =?^- 10 =t It ^e£ A period of eight measures is left, if measures 9 and 10 fall away and we end with the third quarter of the eighth measure, that is, with the second b flat; or if measures 5 and 6 are left out. — What are the means of prolongation here employed ? ■ — Period of ten measures. M Presto. IfRtt =?=?= «= ^^^ ■i-^-0 -f. M • • • m -^ 9 10 — • — s — « — a 1^ -^ * _-4- —I ' -4^-m- m — •- MUSICAL COMPOSITION. 65 To make an eigbt-bar period out of tbis, we must drop measures 3 and 8, whicb would give tbis form to tbe melody : I A^ ^ %^^^|g .-»,-»- £E»isa= -^^m -ne Or we migbt condense measures 2 and 3 into one, and also measures 7 and 8, wben we sbould bave tbe following melody : ^^m^^^^^^ In botb cases, bowever, tbe accompaniment would bave to be cbanged. Measures 2 and 7 appear in measures 3 and 8 as transposed repetitions, and it was tbis tbat caused tbe lengtbening of tbe period. But it must be borne in mind, tbat we bave bere been merely showing bow a lengtb- ened period can be transformed into one of eight bars, which is by no means saying that it should be so transformed ; and Father Hatdn, out of whose symphonies the above period is taken, would turn round in bis grave, if we should lay bands on his masterworks in tbis way. Prom this old master the scholar can learn tbe best use of all tbe means of transfor- mation, and bow one may thereby develop a greiat and beautiful eomposi ti^n out of a simple melody. Jjengthened period-formations veiy frequently occur in musical piecM w concluding pas$ages. For example : 66 GUIDE TO Alhgro non moUo. •^ / 1 ^ 2 3 ffegg^^^aggi^^itg^l sas « ^ 6 ;S -^--tuj: i^=i=3: fcJ3i3::d^d:ii ^:«r ^'''-Jt' iz-fqz'-.^^Mqz /ivLengthened. -K-- ^_/; \"°"S"' °"°"- —0- -0- —0 0^ 8 '^J)-'^ -'.z^- ~»^^.- -rj- P^i. ■m^^^^^. The connecting passages between 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. mt -^- -0- -^- i4-i -0.^.0 gJTf. f-f-t ,-f:?=r-^. Pif =f^^' iiE ^ ^ g WU8ICAL COMPOSITION. m $mm^^^^^m 0.0 Gl -•-p. 8 Connecting passage. S:S iiiit ^^^^m •i-"--^- ^^-0—»- ^ il — JL T - -f-0 •=f=rfE 3^^3E: .«_ _»- _^ -^- '»^ -ii — h ^^^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. •Periods of 12 measures are also formed by repeating the second phrast »r half of the eight-bar period, commonly with slight alterations ; thus ■ Waher. _,_ ^^_^_ -, -• »-T-»-»-»- -•- -'- -f' -'- -»-•--•-•-»- -»-•--•-•-•- -m- -»~ -0-0- a::Ei5I G8 GUIDE TO 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. isEgii -i— l«-T-i iprir^TC '^^m f 1 4 m^^^EE^ ^-? V=^—i-^- -wn: ^m^^^^gggis 'P 5 Ie^^I^^ f\\\ :p=i: ia^E^E :p=ri=*r Pf^-.- -^- -m. -ft. -^- -# «j. -^ #-^ fe giS?3F ^p§^ i 'y f"-r= j^= ice !SE i: That is- the beginning of a well known Sonata of Clementi, which many certainly have played, without remarking that there are not 16, but •nly 15 measures.— MUSICaL COMPOgiTION. 69 May it not be a period lengthened out to 15 bars, like that whicii wa» udduced as an example from the Mozart Concerto, and^ therefore not at all ft shortened one? And why is the eighth measure doubly numbered, l?here the figures 8 and 1 are placed in brackets?^ — In the eighth bar lies the knot, or rather the solution of the knot. As iu Mozart we heard at onoe the prolongation, by which the transition DO another period was to be mediated, so we here see and hear now in Clementi, very clearly, that with the 15th bar the period is formally closed, inasmuch as a sign of repetition follows, and upon closer consider- ation the feeling tells us, that with the eighth bar a new period begins. The end of the first period coincides with the beginning of the second period in one and the same measure, so that the conclusion of the first period is as it 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 ; and so too the second measure in the fourth, which likewise is 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. If now we consider the conclusion of this Allegro, we remark precisely the same thing. . j» 1 "^ • a ^^ s 4 ^ =1: §gg=J3=^ 5 -1 - . i^£=i=fi pg^ Q! ^ ^EZE 6 cresc. ^11 e| ^^ — - 10 GUIDE TO I ^^^^mmm^ i^^s ' ' mt j — y — -- 2—?- i -*-• P=i= ?L,- ifiZn* ^ SF This conclusion is a transformation of the first two periods : Measures 1 to 4 transposed ; 5 and 6 transposed and inverted ; 7 also transposed, but containing only the principal of the figured notes in the first period ; ^d so on. Would we see the ground of such abbreviation, we have only to bring the first period into its complete eighfebar form, somewhat as follows : ^^^^^^0^ &c. ^i This conclusion in the eighth measure breaks the connection of the two periods by a full stop, which is quite unwelcome to the feeling. 0» the sontrary, by the omission of the eighth bar, the whole acquires a liveliei flow. — Such abbreviations occur very frequently, and therefore we have spoken of them at such length. Abbreviations by the introduction of General Pauses. Example : M Allegro, ■k leEi3^3=,.^ai^3:i:^3^^S ¥. !•- p m^m^^ ^^^^^ ^ MUSICAL. COMPOSITION. 71 m ^^: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 often. The listener is surprised, all the more, if after the pause the piece takes an unexpected turn. Such pauses sometimes occur even in dance music. Many pieces, small and great, are introduced by short, phrases. These are not shortened periods, but merely little introductions, after which the first period commences. They have something 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! E^= /-.- .0. -f- :tt-E r_^tLT ^:= l»5Sa3 .!:mm^ 1= -M^- :E^E^E Moderato. ^S-^^ — g— g+s^^=lt-*-4-F^3=H=-FF=t r .0 — 0- -e-, — 0- -S-: r^ 3P^ ^ &c. 72 GUIDE TO Galopp illtegi:? mf 1 2 _ &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. 1. The Full Cadence. It consists of two chords, of which the first is the Dominant- Seventh Chord, and the second the Tonic Trichord, i. e. the Trichord, which has its seat upon the Tonic or key-note of a piece of music. In C major. (Dominant 9, Tonic c.) In A minor. Dominant e, Tonic a.) a. 0. a, 0. ^^1 i=* At a. the upper voice' of the first chord Vises one step into the Tonic of the second chord; at b., on the contrary, the upper voice of the first chord descends a step into the Tonic of the second. The Bass moves throughout in its fundamental tones. This kind of concluding sequence is called a perfetit taH cadence. From these the imperfect fiill cadences are to be distinguished, where the upper and lower voice, either alone oi both at once, make other progressions. In the following example at a, the upper voice proceeds to the third of the Tonic, or remains standing on the fifth of the same ; at b. the Bass steps are imperfect, i. e. they do Dot give the ground-tone of the Dominant; at e. both of the outsidi roiccs aie imperfect. MUSICAL COMPOSITION. 73 pfplS^^lil^lpf ^i[ sgiimii^g^sg mi 2. The Half Cadenoe. This arises, when the Dominant-Trichord follows upon any choid belong ing to the scale. Example : ^m 1 r EbE3 =p=f 3. The Flagal Cadenoe. This is one in which the Tonic Trichord is preceded by the fnebtrd of the Suhdominant. Example : mm^, '^ ii vv^ &c. m 4. The Deceptive Cadenoe. After the Dominant chord the ear commonly expects the Tonic Trichord : now if instead of this expected chord another follows, it is a deceptive cadence, i. e. one in which our expectation is deceived or betrayed. Used in the right place such cadences have a good effect ; but the composci must dfial sparingly with them, or they will lose their charm and cease tc be agreeable. Here follow some examples of the most common way of ising them. The expected chords are placed in bracketE. [7] 74 GUIDE TO ^^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 one from another ; for many periods have no cadences, but flow into the next following, as we have already seen in the abbreviations of periods ; and not unfrequently caden- ces occur in the middle of a period. Thus : Allegro. I a-F -f-n t~^ dolce. -^- P y£ i^i ^mm^^^^^ a=i 9fcA S ml 4- t £ =P Wo feel that 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. 75 section is a transposed repetition of the fii-st ; so also is the (hird, onlj frith a little addition of three notes If we do not reckon this additii n, the fourth section becomes an iin«ltered repetition of the third. The 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 it would be disturbed. So we find it in all periods ; whoever takes sufficient note of that, has the most infallible sign for the distinguishing of periods, and can neither be led astray by caden- pes, nor by prolongations and abbreviations. — It will be well now to re-examiue, from this point of view, the lengthened and shortened periods abeady given as examples. The very first example out of Mozart's Concerto will appear now in another light; the predominant motives, with their transformations, will strike the eye more clearly, and we shall feel the unity of the whole period of 15 measures. IX. Imitation. In speaking of the ways of transforming a melody, it was shown, that motives or parts of motive^ can be repeated, either literally, or trans- formed by transposition, expansion, contraction, &c. If a piece of music consist of two parts or voices, a musical thought can be transferred from one voice to the other. Such a repetition is called an Imitation. There must be as many kinds 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 beginning to compose is advised to make himself as much at home in it as possible. At the entrance of the imitation the voice which has first uttered the thought to be imitated, does not become absolutely silent, but continues to be heard, if only in a few tones occasionally, which indicate the funda- mental harmony. If the first voice is silent, when the imitation enters then it is no longer a two-voiced, but only a one-voiced phrase, and therefore no imitation, but only a transposition. The second voice, which is heard during the imitation, is called the Counter-phrase (Antithesis ) To distinguish it from this we will call the passage to be imitated th« 76 GUIDE To trineipal phrase (Thesis.") The principal phr^ ii^ ■Ji *-#:p iipff-irrip^i-i-KKjq: P 3EE ^E^S^y cji-2 -— yf-»— I-»-g=»-T-» I 1[ MUSICAL- COMPOSITION. 79 ^mm^^^ m 8. The second imitation, two octaves lower, sounds as if a third voico made the imitation. S *-^-» TH^t g^: rtr- =*=m m ^^^^m mii i^i^ In the two following examples all the imitations enter in the seventh helow. It might seem as if these were transpositions, and no imitations ; but this is not the case, for the entrance of the imitation is simultaneous with the close of the principal phrase, by which the fundamental harmony is indicated, if only by a single quarter note. pgi?EJ^~^' ^^^^^^^^^^^^^ fc*z -#-•- =F=Et: W^ u ^^i^ P:« 'I^' §fe i^^ggji^H^^^^^Si 80 GUIDE TO ^E gJigaEgE^^ Sl^^lgg gf ^^^P p^g^^^gggzg^^^ ; !^ ^ 11 Imitations also in tbe seventh below. i '-^^^'^- :td:it 12. A passage of sixths used for different fignral imitations in the (Seventh below. s$ m n 1= &^^ -JF=^ m W^El F^=rF- ^^ ji=lzt -ii—»-* P-JJ — L & ■ #-?= > - -p- t^^ *r-^ :p=»: ^^ t=^ *. _ '^m^ MUSICAL COMPOSITION. 81 3-Hi-# i*-f7|t ift=Li t; ii^i^igi^ fflj &=F^L%Eejs ^^^^^^ig^^^ ^l i^lg ^p :f=S^ ^:-^ gJ i^i5=^^Eigs=^^ipll SEg g^ g^-^ ^^ i::pi=p-^. 'i^ 1=^:^^=.^ ^piiSI -i«i»,_^!q:^ ,_^ — I r T i i:|=^i=^=3=t i==l3^ P^ i^^r*-M: ^ — I — ^- ^=S -•-*-^|# ?*-gpi ii^E ^g:^^^ p^? S :^^^3ig£g|^fe=itf^ .:i^ ^= Pz*-- ^^i m^ i GUIDE TO 13 Imitation in the seventh above^ --&-^- '^ t==::;=BE=E fc' 1? j gggg jEgTeEa ' gstjE^i -F--^- -> :t^ ^^ -«•- -2- P=? g: ±^2E ^ The following are examples of imitations in the other intervals. TTnison. ^m^m^ 7C=:zp t:= ?— y- It I *— — g^s:^ ,-J-x_^_.. Second below. ilgilS; Second above. -•zz:i= -•— .^it tiSizSz f^-!l *--^_ -•- EJ,=^ ^. Third above. 25zfzri^l-q^ ?£^fE^i^^^ i^-i= -*-•-# ,,L_^> -•-,• -»-. ^l^i^^^gn^ Third below. Fourth above. 'zE=^ ^=^--5 5^ -^-■-•-i^- 53EE -?-?^ -»-'-f-0- ig^ll^^; .E UUSICAL COMPOSITION. iscS ,i T=?- m m ^ m -f — ?- Foarth below. Fifth above. fa: 1— ^— ^— :— r-p::^- — 1 — M — K — h- ■ "7 :=t Fifth below. ^1^ 3*3= 81 GUIDE TO ^^^^^^^^^ i^^^^^^^igi^ P= Mi m Sixth above. ^ -^-?- -137:33:3: w :*^ s IZE -0=f^ ±zS=J:. mi ^^■ -^ i^i^i^ig ^gi^ it ^^^^t I I Sixth below. 1=^: --■^^=t m^B _,_^- I F — m — a a — It has been already said, that the imitations can be transformed, as well as the motives. Example : Imitation expanded Imitation contracted. ii-;2gi^i^={lg^^^i Imitation aaicmented. r 1 — "1 Imitation diminished. |ifgggg^g^S^^{^Q I :-2— -- i -•- -^- -#-1 ! -•---It -#-1 gZgS^t^EE Jlg 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- 4z -?—><- EE Since in imitations, as in motives, not only one, but several means of transformation may be used at once, it follows that very variously mixed imitations may be formed. By imitations of larger principal phrases, double periods can be formed. Allegretto nan troppo. I Principal phrase, I rrmcjpai pnrase. ^^^ ^— .^^ ^ • ^ -#-' i^^i^^i^iiilgi^i Eg ggj:^^ ;fj£^E^^^^E^gE^ i :^^ Imitation in the octave below. 53E Et-li ^M 86 GUIDE TO Observe, hero the accompaniment of the pnncipal phrase is again used ts CDunter-phrase to the imitation. Imitations may be employed to great advantage also in piano-forte piecea for four hands. Example : Moderato :t=p i^i cEifE'+p=i|tip X t: Prime. ^^|3i^i3l^^^; i^sf^pgrg^ feigs^g j g^ Secondo. 1^ Brfc 4=;a m :t=5: 6* ^17— o— -z^:— -'-^— -i^- -o— *- fsafeiig^ ■^-e- ^ i i-^^^i3i^^=^f 3=?- gE gEig^gi j g^^l^i| g|^ iSEE?:2 -t^tT i^i^ I Andante. r^i^irprsr 3:=^ Ml Prime. ffiiss ^ggrg^^^ iJ— 5: legato. 5.itat.-» g ^i{ ^=j ^ |g £ia^^fegi:J3g Secondo. ^!^ @ m MUSICAL COMPOSITION. 87 WM -(«-•- -f--t=t: Hzzt mm^m^ m -•-±± 33i ';-Ji?^-;E?Ef> 1^^ s^p^ -0-^ =trc ^j^ ^--^^g^ -^- m Counter-phrases should be written to the imitations in the following Me sentences. Also the other empty measures are to be filled out with Kcompaniment, to which the beginning is given. 1 „2 I ^ 4-- ,- zzr.,.-^- -±ZM. is^Pig;iig;§p ^=^=^ i ^^^ V-- ipiiril^g^l^i If -2- -f«— ^,-*— . ilp ^m^^s^^ s=^ JSi^iEip i^m^ij^ lps£^ It-^i i ^ ^v- .q- 88 GUIDE TO 8. P^^^^S^^ I §3eE? m fc^ ^^3^ i M 10. ^ -l«-#- «=^ S 2-i--r-!- i*—:* 13 g [3:i?= igg^^S :iiS ^i^il^lf! nil. p^^^^ -•^L If |^3gig!|H ^^^^^g^gi =1::=.-== f^^^^PUg i li^i i H ^3l|=f| T(-» Jttjt±M •-"-••^-» Let the scholar now invent fit principal phrases himself, and imitate them. If he does not succeed all at once as he would wish, let him not be deterred ; further trials lead to the goal at last. MUSICAL COMPOSITIOy. «i9 Inverted Imitation Thus far the imitation every time has had tlie same ir a similar move ment with the principal phrase ; if the principal phrase had rising notes, the imitation had the same ; and if the principal phrade had falling notes, BO had the imitation. But an inverted or contrary movement may take place in the imitation, where the ascending notes of the principal phrase become descending ones in the imitation, and sj'ce versa, as in the inversion of motives, where the intervals make opposite steps. The inverted imita- tion may also enter in all possible intervals. Example : Unison. Second above. ztz. 3 !^S I ??E^^ -#-!-•- L^- ^rg^i^^i!.^ Second below. Third above. -^ =i=P £^ Third below. ^^ i^rf:Jit*::=i -» P- -^ T-.— P ^^5*33^'=^=^^^ Fourth above. Fonrth below. m^^ » [8»] 90 GUIDE TO — ^-^ : :t=iz g^il^E^sil ^ ^ ^^ ^-''-''k ^ »-*- -^ Fifth above. i Fifth below. *i:n: li -i^-. §^=^Efef£g;;^^ * E^ -W=i- ^=f:: ll Sixth above. =iT5 tt :3=Ji±=:=*= ^39^ Sixth below. -3^ P i •— ^•=i3=^=^^=jd=?-5 The same. ^^S^M^ _^---^. Z-.Q.. MUSICAL COMPOSITION. 91 fluventh aboTo. Seventh below. |i==^|^^s=|iJi^ii35^: Pi pzipz-i^ SHEEESS: £:=2=^ 2Eg31g^ V-; pi» Octave above' -g-0-' -0- i"— — u^=^ ?^ *rt m zT-rii: ?Ef^E: FPC=:t^ ml Octave below. :A^^-E=p:Lp--_r:::*=•I±:f=•:i=3:;I: :3H3 =1=4 l;^fc?*-=^ i 9iit-^xz ^=iP^igE^ 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^^^ '■^^^^^^^^^^^^ a^ ^:^ gJ I^^E^ ^}^E3£g ± * — • — *-?f 1 — y— ^i The imitations 1, 2, 5, and 6, enter in the fifth below; 3 and 7 in tha fourth lelow ; and 4 in the sixth below, although all of them in the lowei octave. Bemark also the expansions and contractions at 4, 3, and 7. D2 GUIDE TO t Allegro. :d=:^-: 'mi i m ■^. -i,i=i fe :f=P=e= *^ijiz i 3^3E zA- ^^m =^=5^= The imitations here, for the most part, are inverted and expanded. Alleg retto. ^E^ ^3 ^p ^ ^\ J). ;^3rtEE |Slii^J^:i^ fefe;:^ , L Im/ Slip} •*-a-^-F-»- .;.,J?r.i'r,^.^.. :iggpi^i =5^= l&c. tn=^ m^ e ±=1: ^i=gi^fe Imitations 1 and 2 require no explanation. At 3 the lower voice oieiely imitates the first measure, but inverted, transposed and contracted j and then the upper voice brings in the figure in sixteenths again, instead of the lower. At 4 too only one measure is imitated, and the figure i( Bizteenths only at 5. MUSICAL COMPOSITION. Allegro ciri spirito. 93 #-!« ~»ft^ »-0- V .t£^r ^F?— gJBam i II ■IS 33= ^;^;g^^:|g ^5j ^^j EfcfcS53S #-^-«-^ ^■rt=n. --1= I I Sl^il^5|l ^r"f— ^ pfifj • ft^ -i =i^ =1 — ,— h»-t -T' Wk — =y _fS.-" — »— -4- -•— ■ -f- — "i^ • — 1-. • ffi '^ 1 1 r J T= — -4— SL-T d I- . I :?^ ^- ^^ESZ3 fc3= F=F=;i .^1 ii^M^t rfe^ :4:= ^J=i ^ : i-;i-aL ii^_j._i-t!^r^._^ £^a Si i^g^^^i^SH > ■ — g . ■ -p:t= -^-••-•« iEEEEEE 94 GUIDE TO Si^^ • * * I p- :fciS^=±=d=|=* m The entrances of the imitations in this Allegro are not marked, because the eye and ear will easily distinguish them. — If the first voice is imitated by the other, note for note, it is called a canonical imitation, or in short, a Canon. A richly and broadly executed Canon is the Fugue, the most artistic thing in music. The composition of a Canon or a Fugue, therefore, is not a matter for a dilettante ; he will choose pieces which have easier forms. Such are the following : Banoes. Every beginner in composition is strongly advised to prepare dances of variona kinds, since he will thereby acquire singable and flowing melodies, as well as rhyth- mical variety. The first thing is to choose good models, which 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 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 uration 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, 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 humming, while the latter are to be commended 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 pass- ing 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 delivers the theme, &c., &c. — But not only the tones, but also the tempo, the measure and key must undergo changes, so that every variation may have another character^ cheerful, soft, fiery, complaining, genial, &c. Before the final variation, which has 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 imme- diately 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 tones,— joy, sorrow, terror, rage, tenderness, &c. That is what we call the character of a piece of music. 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 far livelier sense by the singing tone, which is as it were a higher degree of the speaking tone. 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 espe<'lally by opera music. In the examination of any example, which he ma« •elect, let the scholar first observe in what way the Melody alone expresses the text. 96 GUIDE TO afterwards let him include the accompaniment, that he may see what this contrib- utes to the enhanced effect of the melody. Then if he supposes various changes in the accompaniment, as in rhythm, harmony, accent, &c., he will be more strik- ingly convinced, that it has a great influence on the expression of the melody.— 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 given. When the contents of the text have been thoroughly thought over in the way suggested, then the first thing is to consider, to what kind of measure it is best suited And now the text is written under music lines, and divided off, according to the kind of 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. 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 in the same farm. The beginner may best learn this in small and less developed pieces of this kind, ^as the Rondino and Bondoletto.) For his own work then let him choose a simple, pleasing theme. Would he afterwards attempt to write Sonatinas, let him take the easiest for models, and work after them, adhering to their rhythm, in precisely the same way that he did 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!. '',''"mM»ii^m^m>^P^