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Music Composition 3di3 - Gardner
Music Composition 3di3 - Gardner
103
""u Mj %i ^
Ped.J P4d.^ Ped.J
Ped. J /V"/..
MUSIC COMPOSITION.
I04
the chords are well broughtout and die quotation is not contrapuntal.
The broken chord in the lefthand does duty for several voices and the
harmonic effectis the same as thoughseveral voices were heard simul-
taneously.
Ex.
173.
Chopin's Etude,Op. lo, No. ii, from which the above is taken,
quotation
is written throughout in arpeggio style.
Without breakinga chord,as many as twelve voices may appear, in
which case one in each hand playstwo
finger tones:
Ex.
174.
loco.
Two violins(first
and second),viola and 'cello,constitute the string
quartet. The firstviolin corresponds
to the sc^rano, the second violin
to the alto,the viola to the tenor and the 'celloto the bass.
The Violin.
)"
follows:
0 .
Ex.
176.
^=t
not
.O-
IBI
1V
""1^1 ^' I
The Viola.
d f IHI ^
jiand a f |^[ j.The practical
compass of the instru-
ment
follows:
Ex.
1 78. f-4"
The low and middle of the viola are notated in the C-def
registers upon
the third line and the upper registerin the G-clef.
All that has been said of the different effects upon the violin as well
as of the techniqueof writingfor this instrument is applicable
to the
viola.
d (9 "g
j,and a f "9* J. The lower and middle registers
are
notated in the F-clef; the middle registeris also notated in the C-def
on any staff degreebut usually on the fourth line;the upper register
is notated in the C-clef or the G-clef .
The notation in the G-clef at the
commencement or when the F-clef indicates
following tones an octave
Ex. St
-^-
m
179.
^
BINARY AND TERNARY FORMS.
107
That that has been said of the violin is true of the 'cellowith the
modification that the 'cellodoes not lend itselfto as rapidpassages as
the violin.
Duplication of Factors.
CHAPTER XVI.
Most dance music from the old dance of the Classical Suite to our
may occur, but too much transitionand transitionto remote keys (especi-
ally
in binaryform)Is likely to obscure the main in
keys short or simple
compositions.
These two forms (binary and ternary) serve as the basis for the more
'\"
|ii r ' ,^^
:i '^1^ I
Ex.
180.
kw
^u
s
t
1
^
A
InF-
BINARY AND TERNARY FORMS.
109
InC- In F-
^^
-InC-
B 2nd Period.
UL
m
"A
^
f 1 "
r
"
E="=" ^^ t V
m I
"
""*-
Ind- In F-
^^ 11
3=3:
t
^^
I r
no
MUSIC COMPOSITION.
i44g3
/'^iUJjiJ
(Ternary)
A "t Period in a minor, R. Schumann, Op. 68, No. 8.
AlUgrocon Mo.
Ex.
181.
n jiflIj
jj-i
-S
"
"
BINARY AND TERNARY FORMS.
Ill
A y^ Period in a minor.
!i 'TLU
JLL^jjvimw^^m
" "
no MUSIC COMPOSITION.
f^k
^
"
.^J f r ti if f f
i i i?
F-
(Ternary)
A ist Period in a minor. R. Schumann, Op. 68, No. 8.
Allegro con brio.
Ex.
181
BINARY AND TERNARY FORMS.
Ill
i *) *l j
"
*1 *1 \ j'.'^-ij
jT'iJT^
^^m\il'jj\ ^^\\^WMi
1^1
112 MUSIC COMPOSITION.
e minor-
PH"! r ? f
B
I
i ^5^
? ^^^^
I ^
*'-J*=^ ^ * "
-X fr
^^
f "^ r
G major-
^m ?
HLi' i
-54"
5 ";*."".
i fit
^
n-j TT3i"^r!l.
-e vii" V
e minor-
I^N=^i^^lr i r II. r ^^ f
"e minor-
tf ^^gj^T^^ M
r fj "
t i
" 1" ^X^XJ
fc E E
'
ITTT f I Ml^^
In the above example,the
firstperiod A is in the key of e minor. The second
periodB is in the key of the relative major but ends in the originalkey, e minor.
The third period (thesecond A) is in the key of e minor. The modulations are as
follows:from e to G and from G to e. At the fifteenth measure, there is a transition
from G to b returningto G in the sixteenth measure.
Diagram S.
Diagram 9.
For a of the
simpleapplication above structure see Schumann, Op. 68,
No. 20.
Gavotte I. J. S. Bach.
A in d minor.
tr
Ex. 1
r r
11,,,irfjt
t^fTr^g ;=t:
188. \3"
d V
B yarlo,"key..
"l^^ ir
d V
Second tiieme made up of
largely material of the firsttheme and containing
ji.
i^,"^ri',rrr
free transition commencing in a minor
A in d-minor
J
^,"
IXjH P Ir'"/f r'r J-7-^" J
-"-
r'tUuili/' r
JI First theme (entersin an inner voioe) varied
tr
IfiJ^ fW^
ji" I[lEr
f ^
fry i9-
/f\
I
Fine
I
Gavotte II (Musette)
A in D-major.
i
I First theme of Gavotte li
'ii6 MUSIC -COMPOSITION.
1st V 2nd
B in-D-majdr
and G.-major.
tr
A in D-major.
tr
Mn^^^
w
First theme of Gavotte II varied
slightly
jst \2nd .\
Gavotte I D,C,
al Fine
Notice that the first theme, A, of Gavotte i ends with dominant harmony
(Half Cadence) which is irregular.Notice, too, that the consequent
themes show less contrast than consequent themes in most music of the
nineteenth and twentieth centuries;the motives and figuresof all the
themes show considerable
similarityalthougheach theme has individu-
ality,
and the compositioncan hardlybe considered what we may call a
monothematic composition. For such a compositionsee Schumann's
rrawweref (AppendixB, No. 2).
Eju^lffM^
"
(Ternary.) Gavotte, C. Gurlitt, Op. 172
2. A
^ 1=4:
i I
ji J ij
J j_i jjTJ;^^ ""s^
S
^ w^ J 14;
^
*
^^
B
P J jjs^
^Sm^Uj:^^^f^fI\ q
^^ ^
":
"*-#-
i^=
Ktf ^^
^S
3. Harmonize Example 183.
Continue the work in AppendixA.
CHAPTER XVII.
A composition is frequently
precededby introductory
measures. A
long introduction may form a satisfactorily
completecomposition in
itselfsuch as are foimd in many overtures, sets of waltzes,
etc. The
introductory
measures usuallyforeshadow the themes,establishthe main
*
Copyright,1890,Arthur P. Schmidt.
ii8 MUSIC COMPOSITION.
Ex.
184.
Voice.
^I^"?
etc.
^^^^^p """ --
^^m Voice.
to
Adagio con tenerezza.
etc.
^MfWtx ^^
INTRODUCTION AND INTERMEZZO.
"9
F. ScHUBBRT, Am Meer,
Ex.
etc.
186.
'
^U j 'ij
%
nty =^
at^
!=": ^t"
^
-^.
r
j- j^ I J
1^
27-
/ //
3 a
""" =^ i^ *
^ X 1
"
/J/ Y ^"//
INTRODUCTION AND INTERMEZZO. 12 k:.
^^^-i
T
sa/
Notice the two themes before the the last half of the
intermezzo,
second theme is made up of material from the first theme thus making^
less contrast than is usual between themes. The intermezzo, however
furnishesvivid contrast. The restatement after the intermezzo is made
A Theme I in C-major.
Ex.
k *.
^ I I I
i
(^ ^"" #-
^m ^P" #-
{^m ^ ^ i \
133 MUSIC COMPOSITION.
If rtrtii 'frtH^m
*
I t
^ ^*
Notice that the second theme leads into the intermezzo. A group of
measures of this type marked Intermezzo might well be analyzed as
Extended Cadences (inthis case, extension of Theme II) and is so called
by some theorists.
The Episode has similar functions and is similar in character to the
Intermezzo. Episode,however, is more melodious and partakesthe
The
character of a subsidiary theme. Episodesoccur in Fugues and serve
as intermediate parts between the repetitions of a fugue theme. For an
measure.
are (i) to emphasize the motive, the final cadence, or other material,
(2)to convey the compositionback to the main key where the finaltheme
ends in a different key,and (3) to summarize the material of a com-
position.
MUSIC COMPOSITION.
124
Ex.
189.
" "
ICoda (emphasizingthe motive).
t
P^ ^
m T"
n-
i
k
aih^|i"Jiyir
f
i
ICoda (conveyingback to main key, F-major). [
THE RONDO AND THE VARIATION FORM.
laS
CHAPTER XVIII.
The Rondo is
compositionconsisting
a of a principal subjectan-
nounced
'
V
. , ." .piagnmi 10. .
-
.
A -S measures. B 4 mieasures.
"
" m -^
' *
D " *
"8 m^asiir^.
IIAS measures. 14 measures. A
Recurrence, of .
Cp/itrastingsection I, Recurrence of
PrincipalSubject. ia Bb and c." PrincipalSubject.
136 MUSIC COMPOSITION.
II.
A 8iiieasiifat(repeats).||
B measures. ||A la 8 measures, li C i4mBunn"
CHAPTER XIX.
piagram 12.
upon the main key roimds up the movement and givesus unity.
Subsidiary themes, episodes, passage work of rhapsodical, transitional,
or cadencial material, of themes (sometimesvaried,
repetition sometimes
verbatim),conclusion themes and codas are found
frequently in the
movement.
In analyzingan orchestnd score, notice must be taken of the fact that the clarinets,
horns,and trumpets are "transposing instruments" and are written tran^"osed;for
sounds b-flat therefore the tones are notated a major second higher
J
than they actuallysound. The written scale of c for an e-flatinstrument actually
sounds the scale of e-flat,
etc. All strings, flutes (inorchestrations),
oboes,English
horns,bassoons,tubas,and trombones (when in the bass or c-defs)are written "con-
cert,"
that is,accordingto the tones they sound. Trombones written in the g-def,
however, are treated as tn^nsposinginstruments in b-flat.
*The orchestral score to this Symphony should be in the hands of the student that he may analyze
the harmonic progressions
as well as to assist him in his
of the Form.
analysis An inexpensivemtnia"
Diagram 13.
CHAPTER XX.
Diagnun 14.
this case the themes are original.Such an overture as Suppe's Poei and
Peasant has more unity,however, than most operatic,national,and folk
"S-
The Fantasia is a
composition in which the composer givesfree scope
to his fancyor imagination. The form is whollyfree, but unityis main-
tained
Program Music.
What is our lifebut a series of Preludes to the unknown song, the firstsolenm note
of which is sounded by death? Love is the enchanted dawn of every life;but what
is the destiny where the first joys of happiness are not interruptedby some storm,
whose whose
fatal breath dissipatesits fair illusions, fatal lightningconsumes its altar?
And where is the wounded that does
spirit not seek, when one of its tempests is over,
to cahn its memories in the peacefullifeof the country? Yet man cannot long resign
himself to the kindly monotony which firstcharmed him in his companionship with
point of danger, regardless of the nature of the strife,in order to gain,by combat,
possession of his strength.
follows:
THE MIXED AMD FREE FORMS.
"35
Diagram t6.
xsT Theme
the theme (f) sounded by second violins and cellos with an echo I
in basses and bassoons at the end of each phrase. Moduktes to
2ND Theme
Development
next theme.
3BD Theme
Fkee Recapftulation
APPENDIX A.
m -""-
Llii-U^ m
/7\
Hif f ndu 3
^^m
/T\ n\
m "a^
f5"-
E
J=rt
"*' "
#
^M "^9-
^"^
f I** IJ II
/TV
^^ ^^
/TV "^
,
m tS*- i^ i
3.
/TN
4*J
IJ J J J IJ~^
"^"
/C\
^ ^^
^gLgli-i ^ ^^
/f\ /"IN
iff=d
i *
^^ "^-
P
MELODIES FROlf BACH'S CHbRALS.
137
^T\
6.
/TS /TS
^^ ^^ In r r I
/T\
/T\
/f\
'hTj J J|JHI
^
7.
/f\ ^T\
I ! J" ^ir-q
P #==? m f=f
"^"
3
/TN
/T\ /T\
j J J ll II
138 MUSIC COMPOSITION.
1 1.
44
^j J r rxjJ^Tlrn J J Ir r r ra
12.
l(J''
I' ' '
III rjJ J|X -fLcj
JJi-nTjjJ|J;j.]i
13.
MELODIES FROM BACH'S CHORALS. 139
15.
jij J /JJiJJ J a
/f\
Lrr ^^irrmv^m
^^
r^-^lf:t\('ril
r J ^';^iJ J J J I
^N
I40 MUSIC COMFOSlTK"N.
20.
^
Wt'.IJl^i ^
^S
22.
/ts
fe
^s 1=1:
/^
^^ ^ t=^ "
i9-
'
# IP # if
1"-
^ T.iiT.ri^-^
r..f ^ e t=$
m ^
23.
/*N
^^ '^ 3 g ^PP^^
T""-
^^
^N
3=t
|j',i"jj9j-J|itJ_f^^^
g i ""^ i^
"J^
MELODIES FROM BACH'S CHORALS. 141
i"f.*r
nr rif-rU 1 rir-cfi^
Jua
26.
t=t=t J
^rirrvcji^
/ts
r r r Ifr r 1
27.
jJJiJ
ijf/aj
MUSIC COMPOSITION.
M^
/T\ /TN
i m J I ;jj|j
2Z 1=
/TN
fc
i s
P
S
tt=t
m
/r\
^B
/"S
if
^ ^
i
W
J gJ ''
SO.
/TS
il^'Jir cj^
MELODIES FROM BACH'S CHORALS.
US
^^
\^yi-i'!i\n
S2.
y?\
m =t
"2^=
?=lt^
E
""^
Ty?T-
J
/r\
^ffl
" ^
:t
?2=p:
t=t ^
S4.
p ? rifir T f iri
/T\
2i ^ ^^
"44 MUSIC COMPOSITION.
ii'ii'h 11 I nil |i
I 1
,II
lij '
ll |l' HI 111|ii|ii|i
IIIJl'll
"Hi I iQi^i|ii||i
If I 'li II
i||i|i
'
fiiiii
'illIiiiiiiI^'Ti||
ifiJa^
f|jjjj|jj
41.
/T\
FdWi I il'i11,^^
MELODIES FROM BACH'S CHORALS.
"45
42.
(iJ |j J J ^ i r If f
43.
rn-'niJJjJij.'irirr
iijl'^ji^'
ij'/jffif
rir ririrrrifirrrM
46.
ifr^rffiJrr^irfrrii-rr
fr /rs
1^ "
^ "
"^
^^^iT^n ""- 3 ^
"J"^if
t" 11*r -^"^
r^*^' ^i*'
ir!*"""*'n
146 liffUSIC COMPOSITION.
47.
/FN
-J ^ ^\cfjir*^
* -^ fir r f ir r
rrTr r'rTff"^
"f.'''rrrrl^^rrJl'^
JJl^
49.
/P\
J J Ji^JiJ J J ^S i
TTN
^^ -""-
lE tS^
f fir f l-i^1
g '^
iftifffl'^ '^11
'fflfffl'^
^^
MISCELLANEOUS EXERCISES. 147
fj J J JiTT^r r ^ffi'^^
^i^i-
APPENDIX B.
MISCELLANEOUS EXERCISES.
I .
Harmonize the accompaniment
violinsolo with pianoforte
following
Andante. P. Mascagni.
ufarrT^fjiU
pp
6
"Hti-^
t-.f"
^
Id rrf
"
r cJiO
y
^^ f^.ir fir T
pp /
^m f
^ |ff
f |r~r|p"^
ifffW ffu f 1
/-("-
^
^ a
148 MUSIC COMPOSITION.
r m^' !"f,r f E
/
fi^' "'^^
^1
iT"
CJLT
Iji^r- l1 '
'
I'
^/w. ^ A^
IJJH^
||!,J__.^
iJKi ijj:\r\^'m
a tempo
i^^-^ri^^^^i^^^^i^
i5[[jlr
jTigf -^
/TV
[jicjrcjulu
c^ rfjir''^:
MISCELLANEOUS EXERCISES. Z49
^^
D.C. dl Fifu.
Allegretto, H. KjERULF.
p .
"
^f'^Jiljj^ ^^m
a tempo
F i;Jf ir ^jj}
\^^'j I i ^\h^ r
,
Adagio,
vocal quartet: -_
1 jj^i. "i9-
MISCELLANEOUS EXERCISES.
"SX
Ccftnpose
7. three or more contrastingsections (themes,intermezzi or
episodes)
to the following subject.Harmonize for pianoforte and supply
a Coda:
W. A. Mozart.
AlUgreitograzioso.
wm^
lfrgfJ#L;CfrrL;r^
Allegro, ^ ^ /""^ F (g r^
"11^\r TTTT^
" 1 r~~1
y f
s ^ t
r
/
-C^ ?=^
n^r r E tt=tt
rg'i rgt
I
MUSIC COMPOSITION.
iS"
APPENDIX C
1.
2z:
4: "^" -w 2z: I
2.
^ b 4 "g
-^-
"*^ i
3.
t^-r
vmr-^ "f*-*-
r riffn.-i
4.
^ ^^ ^s i
"iSi-^ -Oh-r
6.
u.
i
"
^ -'Mrrii "29-
-*^ a: ""-
T^
i=t "?^
6.
^B s:
-^ 221
:2:
I
7.
^^=^M=i ^
^ :^
Si
w 7SL t t i
m -BL -^-
E -^h
"A
t
m
-tS"- -""-
o.
(^ -*"
^=4:
^ 3 S f"-
i 3^ """-
^
ID.
^s S ^
3 i
3 """-
^m "^"-
TRIADS OF THE MINOR MODK
153
11.
^ i
f ^
IHJ J i ^m
f ^ E
13.
i=t
^ ^^ 3 I
^
14.
r firjiJ
F^t'ij^r j-ij^YrYWfm^ "
15.
3
p
^^ 1^
3 3^ ipi
17.
"I 8|
S "^^f 3 ^^
e^i T^ 2:
I
18.
8Q 8Q 8Q
^ p t 2z: i
10.
8| 31 6| 8|
19- ^-
9%^ ?
t^
s
f5" ^
ZZ s
20.
8" 8| "I 8|
^^ ?"
^^ ^
s
^-
E i
MUSIC COMPOSITION.
^54
21.
at 81 51 a| 31 sf "! a|
23.
.
I. o 2 S
z:
^^ f5"-
3 E -A.
-"^
24.
6 O O 2,
Se ^ ^-
-25^-
S ^ "^9-
i
-^
"^- -""-
25.
O OJ a| 8$ 3 it
,
3
a: -^-
s ^^
26. 8|
"t 81 O 8|
^V(*" y S
f\(' 1=^ ^ ^m
V. SEVENTH CHORDS AND INVERSIONS.
S, a o t a o a "
.
"^
t
^ ^ J 3 I
-"- e -tf"-
"^
:Z2:
28.
8" 51 If 6 t a o
k
2 Zi
1^1* 2^
it 12^ ^Tp^ 3z:
f^
i
4 "^ ^
29. o
a "'
6. "
^
a 8^^ 6 7 7
2z:xa: lig
S
(g^
+
" E 2z: I
30.
h 8 at U ' r
*'
O " " 7 Xt
n.i f'ljnr ^-
si^
32:
J -^N rl" II
TRANSITION.
^11
31.
7 7 7 13 6 0 6 i 8
jT
9:jf4f- .j|r^
p.|r "^-2^
-""-
^ 3 i
VI. TRANSITION.
32.
eb 8b 7b ab ^l' 9'
8 7b a 7 b eb 7b 8b 7p ab 5b jj-^b
%%
C major Gb F#
85 1%
fit fi$ 7 7 7 7
8( $ 8$ t 8( S 8$ % d 7
P^fe -^r
"i9-
I
-^- TSr
-"-
F# B E D 6
8b 8$
33.
7 7 ' a^"'i' 7b 8 7b eb 7b 7$
8f 8 8$ 8 5 "b 8q Sb 8Q 8b 80 8b 3Q 3X
^''' J L I" L I I i
r ^
^
l^"_|J
a-mmor g bb eb d#
8" 7$ 8( 8
A$ 5$ 6 lit ft l"il 7
8$ n 8 si ,st s$ 8 %
^9^ -fr^
;;e:
^ I
""- TW-
d" g# c# f# e a
34.
8 7 7b 8b \% "s S
^S 3 ^ Si
-""-
c B|" V A 11
II V,
V^ G V a C
Jadassohn.
35.
% .7b % fb
gg ^
f
"^ "
I
ft^
[^ ft*I f "p
o Bl. a Bl" O e
%
". "i "" " t
" 1%
*" 1% 8 2 %%
9~
I ^
"
" "S" w
p -(9
6 D
MUSIC COMPOSITION.
IS6
r I . s
36.
."I i t i 7
g^ 4 f
F
SE
.
"* ffiZZ
i
C-ma]or
87.
"t
I' 3 I
" Si I* Ml, I'
S r uj r ir r sr r '^ ^ '" ' ^ r i-^
A minor
^
9-"',J J|fr ^ ^3 ^
0 Major
30.
3 It it y Si "i I Xi
^^ # Ir r 1^
A minor
X 6 ^9\
eel
C G
u
X ^
ejr ox q| P 6. o
"" .
-tf^
D A
X 7 X 7 7
^
2 6^xX7 ^
O
0 6
I.
ib
8b
""^B "
Ay 7 A )fAA yI T
e G
J r r I
"J.I
A-minor
MUSIC COMPOSITION.
"S8
S 7 t U
X 6 X
X O X
i JJ ^
^!fjj
m
^ Lfir1^ r ^ ^^
D 6
'*'
X X 2_X7
^;t J J J
D G
^"J j Jir J
B
8-7
"iHt*Jlj
fijfirrrirF'n^lir
r^r
A"IV
DEFINITIONS.
"S9
50.
o'fetr-I f ^ m P
G V D 6 D
6
4 X 8-7
o o e 6 6 8-7 , 7
"^-
G D
o a. 4 o
I 0 9 %
4 7
m
E'|J J r f i
G G
APPENDIX D.
DEFINITIONS.
architectureof a composition.
MoNOTONic, Characterized by a single
"
main key.
Motive. A melodic germ.
"
A group of notes from which a period,
Parallel sths. A
any two voices situated a
7- in which
progression
fifth(ortwelfth,
etc.)apart proceedin parallel
motion to another fifth.
CoNSEcnriVE Fifths. A
progressionin which any two voices situated a fifth
"
.
Parallel A progression in which any two voices situated an
8ths. "
Opposed to homophonic.
Resolution. "
The of a
progression dissonant chord to another chord
such as permitsthe factors of the former to to their
proceedaccording
tendencies.
Tendency. "
A characteristic attribute of active tones.
Transition. "
A transient change of key.
Triad. "
A chord of three tones.
" "
Major Triad consists of a root (or fundamental) tone; its major srd and its
perfect 5th.
Minor Triad consists of a root tone, its minor 3rd and its perfect 5th.
.Diminished Triad consists of a root tone, its minor 3rd and its diminished 5th.
Augmented Triad consists of a root tone, its major 3rd and its augmented 5th.