FUNDAMENTALS OF MUSICAL COMPOSITION

*

ARNOLD SCHOENBERG

Also by Arnold Schoenberg

*

edi ted by Erwin Stein

\

AJU<OLD SCHoeNBERG: ~B'fTllRS

FUNDAMENTALS OF MUSICAL COMPOSITION

S'r.RI;!C1"Vl)..AL FUNCTIONS OF !J.ARMONY STY.I.~ I\ND roEA

THEORY 01' HARIltONY

EDlTED BY

GERALD STRANG

WITH THE COLLABORATION OF LEONARD STEIN

t1

foberantl folJer

LONDON." BOSTON

First po.blishcll in 19Q7 by Faber ana Faoor Limited

3 Que,e~n Sql(areLondQ'n WCIl;J 3AIl First p~blished .iI!. t~i~ edition 1970

Printed in England by Clay,s Ltd, St Ives pIc All rights reserved

/!!) Estate.of' Gertrude 'Schoenberg, [96:1

This book is so/d.sl/bjeci 10 the conditio/j'ii/at il ~liaH not, by way oftrade or otherwise, be lent, resold, lIired out oT'rilhfrwisC circulated wi/hoW (he P!!bliiher's prior' consen! in any form of binding or cover other than thar in. which i( is pub/ishe'd and withQut a simiJal' condition i7l(;luding this condili(JiI being imposed oil the SUbJNu.enl put~haSlir

A CIP recerd for this boo).: is. available from the British Library

IS)lN 0 5,1! 09276 4

14 16 IS .20 t9 17 IS 13

CO.NTENTS

INTRODUCTION EDITOR'S PREFACE EXPLANATORY NOTE

OU)SSARY

PART I CONSTRUCTION OF 'THEMES

I. THE CONCEPT O'P FORM

II. THE PHRASE

Comment on ExampJe$ 1"':£ I BlI:atnpkli I-II

III. THE MOTIV E

What. Constitutes a Motive

Treatment and Utilization ,ofllie Motive C~lllin,ent on Examples 17-29

~amples 12-29

J.V. CONNECTING -MOT-IVE-FORMS Building Phrases

E~amples 39-34

V. CONSTRUCTION OF SJMP'LE THEMES (I) I. BEGINNING THIl SENTENCE

The Peeiod and the Sentence

The Beginnhlg onlle 'Sentence

Illustrations from the Jjt'cnHilrt·

The Dominant 'FQ[m: -The Complementary Re~titiorl Illusti-'atio(ls rroIDthc~litetature

CClmme!;lt on ~ampk:s 41)-41

EX~!I;Iples 35-41

page xi

xiil

?;vi

3 4 5

8 9 9 9

U

20 20

20 21 21

21 22 22 23

vi

GONTEl'nS

VI. CONSTRUCTION OF SIMpLE THEMES P) 2. A:NTBCBDENT ,OF THe P,ERIOD

Analysis of Periods from Beethoven's Piano Sonatas Analysis of Other Illustrations frO!l1 the Literature Construction of the Antecedent

page 2{,; ';25

25, 26 21

VII. CONSTIHJCl'JON OF SIMPLE TFrEM ES (3) 3cQOl'lSEQUENT Of THE PERIOD

Melodic Considerations: Cadence Contour

Rhythmic Considerations

Comment on Periods by Romantic Composers Examples 42-$1

vrn. CQNSTRUCTION OF SIMPLE THEMES (4). 4. COMPLETJQNOf THE S.ENTENCE

Comment on Examples 54-56

, lIlu&tratioo's from the literature EXamples 52-,61

IX. 'THE ACCOMPANIMENT Ornissibility of the Accompaniment The Motive of the Aceompaniment Type;s of Accompaniment

V()iee Lending

Treatment of the Bass Line

Treatment of the Motive of the Accompaniment Re'quirements of Instruments

Examples 62-67

X. CHARACTER AND MOOD Exampie68

XI. MELODY AND THEME VQCal Melody

iUustrations from the lite.rature Instrumental Melody

Melody versus Theme

EXamples 69-100

XII. ADVICE FOR SELF-CRITICrSM Illustrations of Self~CJi!ticism

116 117

29 29

29 30 ]0 32

CONTENTS

PART II SMALL f.ORMS

xnr. THE SMALL TERNARY FORM The-Small Ternary Form

The O:mti'asliog Middle .Section

Illustrations from the literature Comment on Examples 105-7 The Upbeat Chord

The Recapitulation

Illustrations from the literature Examples 10 1-7

page 119 119 120 120 122 Tn 123 124 126

58 58

59 60 ~3.

XIV. UNEVEN, IRREGULAR AND ASYMMETRICAL CONSTR1!CTION 1'37

Examples 108-12

139

82 82 83 83 84 86 86 87 88

93 96

98 98 99

!OI 101 lOS

XV. THE MINUET The Form

Illustrations from the Jiterature The Trio

Examples 113-19

141 141 142 143 144

XVI. THE SCHERZO The A-Section

The Modulatory Contrasting Midd!e Section The Practice Form

Illustrations from the literature The Recapitulation

Extensions, Episodes and Codettas

Purther illustrations from the literature The Coda

The Trio

Examples 120--3

150 151 15J 151 153 154 J5~ iSS 151 151 158

XVII. THEME AND VARIATlONS Structural Constitution of the Theme Relation between Theme and Variations The Motive of Varia(ion

Production of the' Motive of Variation Illustrations from the.Iitcrature

Application andElaboration of the Motive of Variatien Illustrations from the literature

Counterpoiot in Varlatlons

illustrations from :the literature

167 167 168 169 169 169

170 170 172 11~

CONTENTS

viii,'

.Sketching the Varialloos C'ommeol'Glo .Ellarnple§, 1:26 Ot~niza!iQo 'of the"Set Examples 12'4--<7

PART III LAB;GE FORMS

~VlII, niB PARTS0F LA..RO'BR:FORMS (SU:SS'lDIARY FORM UJ.,ATION S)

'rlie Transition

The TrinsltioD with an Inde~ndeot Theme Illustrations fromthe illera ture

Transitions' Evolving (fom the' P(eviQus Theme Illusrtations frem the literature

The Retransitioli.

III u stra lions from the literatu re The Group of Subordina~Thj:mes Illustratioas from the literature The 'tyiic Th¢m~'

TheCodll

Illustratlons from 'the litef:alure

xrx. THE RONDO FORMS

The Andante.Forms (AD-A and ABAB) Other SimpleJ~.9tidos

Vari~,t.i9Ds !lncl CnangeS in t.he, R~apituli!tioll (Principal Theme)' Illuslrali6ns,frmll th~ HteMure

ChaJjipS and Adii,ptati,ons in the Recapitularioa (Subordinate Group) Illustrations from the Iitecature

The Large Rondo Forms{ABA.-'C-ABA) Illustrations from the literature

the Sonata-Rondo

Illustrations from the Iirerature

xx, THE S{)NATA:-ALLEGRO (FrRsT t,l0V'EiMENT FQRM.)

The Sonata-Allegro

The EI'Positibn

The Principal Theme (or Gr6!"lp) 'IlIuSt.rations frolll tl'je ilterature The Transition

the Subordinate Group lIJt,~i'rafiQns'rtom t~ literature The Elaboration (Dl!fcChfohrurrC) l1lU!1tf;lt1p!lS fr.oi"ti the lit.etij,t1.!r-e

P9gll1;73 1.73 11<1- 175

118 1(8 179 119 180 180 181 ]81

18-3 18:3' 184 [85 186

190 1'90 \.92 193 19;}

194 194 i95 J96 197 197

199

zoo 201 202 ,2dz 203 :204 204 206 207

The Retrunsition The R!:!;;apitulation

illustrations from the literature

The Coda

Illustrations from the literature

Conclusion

APPENDIX

Fundamentals of Musical Cornpositien (Author's Statement)

INDEX

lit

page 209 209. 210 212 21~ 213

214 214

ii6

INTRODU€TION

THIS present book represents the last of the· three lar-ge textbooks on music theory and practice planned by Arnold Schoenberg largely as the result of his teachings in the United States. Like the two other books,' Structural FUnctions of Harmony (Williams & Norgate, 1954) and Preliminary. Exercises In Counterpoint (Faber & Faber, 1963), this one was intended for 'the average student of the universities: as well as for the talented student who might become a composer (see Schoenberg'sstatement in the Appendix). As the author states, it was planned as a book of "technical matters discussed in a very' fundamental way'.

Fundamentals of Musical Composition combines two meth'ods of approach: (Ijthe analysis of masterworks, with special emphasis on the Beethoven piano sonatas; and (2) practice in the 'writing of musical forms, both small and large. As a book of analysis it amplifies much in thelater chapters of Structural Functions of Harmony, particularly Chapter xr, 'Progressions for Various Compositional Purposes'. As a method for prellminary exercises in composition it enlarges thernaterial of the syllabus> Models for Beginners in Composition (G. Schirmer, Inc., 1942).

In Fundamentals of MU$i.eal Composition, as in all of his manuals of musical practice dating back to his Harmonielehre (Universal Edition 1911; abridged English translation, Theory a/Harmony, Philosophical Library, 1948), Schoenberg's main pedagogical approach is not just one of theoretical speculation-although one will always find a basic theoretical foundation underlying his practical advice-a-but of exposing fundamental technical problems in composition and of showing how they might be solved in a number of ways. Through suchan approach the student is encouraged to develop his own critical judgement based on the evaluation of many possibilities.

LEONARD STEIN, 1965

EDITOR'S RREF4CE

THE Fundamentals of Musical CompositiQn:grew out of'Sc1ioenbel;,g's work with students of analysis and composition at the University of Southern Calit6rnlaana the University of Callfomia (Los Ans.eles). Work on it continued. iritennittenlly from: 1937 until 1948 . .At the thneofhls death most of thetexthad undergone: four moreor less complete revisions. During these years hundreds of special examples were\wirten to illustrate. the text. In the TIl1al versiOn a gr-eat many of them were replaced by' analyses of illustrations from tnusJaal literature, and many others were transferred to Structural Functionl of Harii'IIJhy.l

Since I had worked with Schoenberg on the book throughout the-entire period, Mrs. Schoen berg asked me to assume the ta~f of reconcUil:l:g the various "erskms and preparing it for publica~ion. The ,text Was substantially complete uptoand including, the chaptsron "Rondo Forms'; only revision of the English and eli minati on , of some duplications were necessary. T~e, final chapter was incomplete .. and-required reorgarrizatien because much ef its centent had been anticipated in the earlier chapter

on 'the Parts of target Forms'. .

From the very begInning the book was conceived in English, rather than in Schoenberg's native German. This created many problems of terminology and language' structure. He rejected mueh.of'the traditional terminology in both languages, choos;. ing, instead, to borrow or invent new tenus. For example, 'a whole hierarchy of terms was developed to differentiate the subdivisions-of a piece. Pert is used nan-restriCtively as a general term. Other terms, in approximate order of size or complexity, include: motive, 'unit, element, phrase, fore-sentence, afrer-eentenc«, segri1entl seation and division. These terme are used consistently and their meanings are self-evident Other special terms are explained in the text, I have chosen to keep someof the flaveur-of Schoenberg's Efiglfshcotistruc~ion, when it' is e1lp.ressi'i'ely e'ff~ctive" even though it may be 'at varif}oce with' the idiomatlc.

The aim of thisbook.is to providea basic text for undetgraduatewotk in CQmposition. Thus-the first half i.$ devoted tQqet~iled lreatll;l~n:t of. the technitalpvoblews which face the; beginner. It is,jnt~ndedtO he thoroughly practical, thougJ;t each reeommendation and 'each process described has been carefully verified byanalysis of the practice of master composers .. From 'this -pojnt, on, the basic concepts, structures and

xiv

EDITOR'S PREFACE

techniquesare integrated by applying them to the traditional instrumental forms, in approximate order of complexity.

Schoenberg was convinced that the student of composition must master thoroughly the traditional techniques and organizational methods, and possess a wide and intimate knowledge of musical literature If he wishes to solve the more difficult pro blems of contemporary rnuslc, In. this basic text there i~ little reference to music since 1900, though the student is encouraged to make full Use of the resources available up to that time. Nevertheless; the principles stated here can be readily applied to a variety of styles and ro contemporary musical materials. Certain aesthetic essentials, such as clarity of statement, contrast, repetition, balance, variation, elaboration, proportion, eonnexion, transition-these and many others are applicable regardless of style or idiom.

While primarily a textbook on composition, it will be evident that this volume can be used equally well asa text in musical analysis. As such, itemphasizes the composer's insight into musical organization; it is nota mere vocabulary of formal types. The examples are deliberately chosen to illustrate a wide variety of departures from the fictitious 'norm'. Only acquaintance with a wide range of possibilities gives the student enough freedom to meet the uDiqoe problems which each ~i:ndividual composition poses.

To simplify the student's analytical problems and reduce the number 'of lengthy musical examples, most of the references to mnsical literature are confined' to the Beethoven piano sonatas. The first volume of the sonatas, ,at least, must be considered a required supplement. IIJ later chapters references are broadened to include works of other composers which are readily available in miniature scoresi

It was .a privilege and a deeply rewarding educational experience to have worked with Schoenberg over these many years on the preparation of this book I have tried, in preparing this final version, to. secure the clear and faithful presentation of the "jdea~ which grew and matured during his experience with Ameriean compcsition students, idea,swhich,were verified pya broadand in~ensive study of musical, literature. All his life 'Schoenberg laboured to share with his students his knowledge of music. I hope that through this, his last theoretical. work on composition, another generatien or students may share his inspiration.

GERALD STRANG, 1%'5

EXPLANATORY NOTE

ALL citations of musical literature whic,h do not specify the composer refer to works 'by Beethoven. ] f tire title is not specified the reference is to his piano sonatas. Opus number and movement are specified thus: Op. 2/2-Ill means Beethoven, Piano Sonata, Opus 2, No.2, third movement.

Measure numbers are specified from the first accented beat ofthe passage, even though a

preceding upbeat is a part of the phrase. '

III numbering measures the firstjull measure is numbered one. Where there are alternative endings the second ending starts witb the same measure number as the first ending, With an added subscript, e.g. Op, 2/2-1, in which the first ending contains-rn. 114-17. The second ending accordingly 'begins with Pl. 114a, 115a" 1I6a and 117a. M. IlS-.21 complete, the second ending. The double bar lies within in. 121 ; hence, the first full measure after the double

bar is m. 122. "

Keys or tonalities are represented by capital.or s,maU letters to indicate major or minor: a means a minor key on A; F#: means a major key on F:Ii. Keys reacbed by modulation ate often paired with the Roman numeral indiceiing the relation of the tonic chord to that of the principal key: from C, modulation rnighr.lead to G (V), e (iii), AD (D VI),j(iv), etc,

The Roman numerals representing chords also reflect chord quality; J is major; vi is minor, etc. Substitute, or chromatic, harmonies, are often distinguished from the diatonic equivalent by a bar through tbe middle: 1:..'1 means a major chord on the third degree substituted for the diatonic minor chord, This same chord in a different context, might bereIerred to as V of vi, i.e. the dominant normally resolving to vi, as in the key of the. relative minor.

The distinction between a transient mcdulation and chromatic 'harmony is always tenuous. In general, only firmly established modulations lead to analysts in terms of a different key. However, when a chromatic passage -remains temporarily among chords associated with another key, the term region is used. Thus a reference to the-tonic minor region, or subdominant minor' region, indicates temporary Use ofchords derived from the corresponding key, but without fully establishing t):le new key by a cadence.!

The following abbreviations arc used throughout the book:

Var(s). ==; variation(s) Ex(s). = ~xaI'I\Pl~(s)

I For further explanation of region and modulali'ln, seeSchoenberg, Situc/urql F""ctiollS of Harmony,

Olnpter In. '

GLOSSARY

Original usage whole note balfnote quarter note ejghth note tone

tonality

degree (as V or vii) measure (m.)

voice-leading (Dr part-leading) authentic cadence

deceptive cadence (or progression)

EqUivalent English uS4ge semibreve

minim

ccotchet

quaver

note

~ey

chord built on a degree of the scale bar

part-writing

perfect cadence

. interrupted cadence