The Theory And Practice of Musical Form, On the Basis of Ludwig Bussler's "musikalische Formenlehre"
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Compose, according to the methods here explained, enlarged principal subjects of the Sonata-form up to the entrance of the Intermediate Group.
For this purpose utilize, as far as possible, material already on hand.
ENLARGEMENT OE THE PRINCIPAL SUBJECT.
185 ' The student is especially cautioned not to compose these exercises in the form of meagre melodic abridgment (as in many of our illustra- tions), afterwards adding the harmonization,— but, like a true artist, to have constantly in his mind a...t the same time melody and harmony as forming a whole, as also the presentation of his ideas by means of the particular instrument (or instruments) which he chooses for the purpose.
Here follow some examples from Beethoven, given in their en- tirety, in order to stimulate the student's imagination.
MODELS.
Pbincipal Subject, F-majob, Quartet, Op. 18.
267.
Allegro con brio.
fr*5^3*i£i^Hj*^^ Thesis.
a ma^-EMtm ^ fFp ^ f ^ fe^ JU _IJ^fM4 SV> HfTE ^nA f Antithesis (lengthened).
i i^a^a — i^m — ' ^jj^ j.^a g= g# !f^^ i i^g fe ii ,
What to read after The Theory And Practice of Musical Form, On the Basis of Ludwig Bussler's "musikalische Formenlehre"?
You can find similar books in the "Read Also" column, or choose other free books by Cornell, J. H. (John Henry), 1828-1894 to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
Compose, according to the methods here explained, enlarged principal subjects of the Sonata-form up to the entrance of the Intermediate Group.
For this purpose utilize, as far as possible, material already on hand.
ENLARGEMENT OE THE PRINCIPAL SUBJECT.
185 ' The student is especially cautioned not to compose these exercises in the form of meagre melodic abridgment (as in many of our illustra- tions), afterwards adding the harmonization,— but, like a true artist, to have constantly in his mind a...t the same time melody and harmony as forming a whole, as also the presentation of his ideas by means of the particular instrument (or instruments) which he chooses for the purpose.
Here follow some examples from Beethoven, given in their en- tirety, in order to stimulate the student's imagination.
MODELS.
Pbincipal Subject, F-majob, Quartet, Op. 18.
267.
Allegro con brio.
fr*5^3*i£i^Hj*^^ Thesis.
a ma^-EMtm ^ fFp ^ f ^ fe^ JU _IJ^fM4 SV> HfTE ^nA f Antithesis (lengthened).
i i^a^a — i^m — ' ^jj^ j.^a g= g# !f^^ i i^g fe ii ,
What to read after The Theory And Practice of Musical Form, On the Basis of Ludwig Bussler's "musikalische Formenlehre"?
You can find similar books in the "Read Also" column, or choose other free books by Cornell, J. H. (John Henry), 1828-1894 to read onlineMoreLess
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