Fundamentals of musical composition 0571092764

Table of contents :
Cover
Title page
INTRODUCTION
EDITOR'S PREFACE
EXPLANATORY NOTE
GLOSSARY
PART 1 : CONSTRUCTION OF THEMES
I. THE CONCEPT OF FORM
II. THE PHRASE
Comment on Examples I-11
Examp1es 1-11
III. THE MOTIVE
What Constitutes a Motive
Treatment and Utilization of the Motive
Comment on Examples 17-29
Examples 12-29
IV. CONNECTING MOTIVE-FORMS
Building Phrases
Examples 30-34
V. CONSTRUCTION OF SIMPLE THEMES (1)
1. BEGINNING THE SENTENCE
The Period and the Sentence
The Beginning of the Sentence
Illustrations from the literature
The Dominant Form: The Complementary Repetition
Illustrations from the literature
Comment on Examples 40-41
Examples 35-41
VI. CONSTRUCTION OF SIMPLE THEMES (2)
2. ANTECEDENT OF THE PERIOD
Analysis of Periods from Beethoven's Piano Sonatas
Analysis of Other Illustrations from the Literature
Construction of the Antecedent
VII. CONSTRUCTION OF SIMPLE THEMES (3)
3. CONSEQUENT OF THE PERIOD
Melodic Considerations: Cadence Contour
Rhythmic Considerations
Comment on Periods by Romantic Composers
Examples 42-51
VIII. CONSTRUCTION OF SIMPLE THEMES (4)
4. COMPLETION OF THE SENTENCE
Comment on Examples 54-56
Illustrations from the Iiterature
Examples 52-61
IX. THE ACCOMPANIMENT
Omissibility of the Accompaniment
The Motive of the Accompaniment
Types of Accompaniment
Voice Leading
Treatment of the Bass Line
Treatment of the Motive of the Accompaniment
Requirements of Instruments
Examples 62-67
X. CHARACTER AND MOOD
Example 68
XI. MELODY AND THEME
Vocal Melody
Illustrations from the literature
Instrumental Melody
Melody versus Theme
Examples 69-100
XII. ADVICE FOR SELF-CRITICISM
Illustrations of Self-Criticism
PART II : SMALL FORMS
XIII. THE SMALL TERNARY FORM
The Small Temary Form
The Contrasting Middle Section
Illustrations from the literature
Comment on Examples 105-7
The Upbeat Chord
The Recapitulation
Illustrations from the literature
Examples 101-7
XIV. UNEVEN, IRREGULAR AND ASYMMETRICAL CONSTRUCTION
Examples 108-12
XV. THE MINUET
The Form
Illustrations from the literature
The Trio
Examples 113-19
XVI. THE SCHERZO
The A-Section
The Modulatory Contrasting Middle Section
The Practice Form
Illustrations from the litcrature
The Recapitulation
Extensions, Episodes and Codettas
Further illustrations from the literature
The Coda
The Trio
Examples 120-3
XVII. THEME AND VARIATIONS
Structural Constitution of the Theme
Relation between Theme and Variations
The Motive of Variation
Production of the Motive of Variation
Illustrations from the litcrature
Application and Elaboration of the Motive of Variation
Illustrations from the litcrature
Counterpoint in Variations
illustrations from the Iiterature
Sketching the Variations
Comment on Examples 126
Organization of the Set
Examples 124-7
PART III : LARGE FORMS
XVIII. THE PARTS OF LARGER FORMS (SUBSIDIARY FORMULATIONS)
The Transition
The Transition with an Independent Theme
Illustrations from the literature
Transitions Evolving from the Previous Theme
Illustrations from the literature
The Retransition
Illustrations from the literature
The Group of Subordinate Themes
Illustrations from the literature
The 'Lyric Theme'
The Coda
Illustrations from the literature
XIX. THE RONDO FORMS
The Andante Forms (ABA and ABAB)
Other Simple Rondos
Variations and Changes in the Recapitulation (Principal Theme)
IIlustrations from the Iiterature
Changes and Adaptations in the Recapitulation (Subordinate Group)
Illustrations from the literature
The Large Rondo Forms (ABA-C-ABA)
Illustrations from the literature
The Sonata-Rondo
IIlustrations from the literature
XX. THE SONATA-ALLEGRO (FIRST MOVEMENT FORM)
The Sonata-Allegro
The Exposition
The Principal Theme (or Group)
Illustrations from the Iiterature
The Transition
The Subordinate Group
Illustrations from the literature
The Elaboration (Durchführung)
Illustrations from the literature
The Retransition
The Recapitulation
Illustraûons from the literature
The Coda
Illustrations from the literature
Conclusion
APPENDIX
Fundamentals of Musical Composition (Author's Statement)
INDEX