By Belkin A.
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Additional info for A practical guide to musical composition
Also, the student focuses on clear links between his musical decisions and their effects on the listener. Finally, these principles are not limited to one specific style. The student who has absorbed fundamental writing skills, understood these principles and learned to apply them, should have reached a professional level of competence in controlling musical form. Of course, to reiterate our caveat from the introduction, this in itself is no guarantee of art, but it is a prerequisite to achieving greater things, at least within the western artistic tradition that concerns us here.
Th (repertoire example) Beethoven Quartet, op. 131, 4 movement, at the second Allegretto (this is a preparation for Var. 8, which is characterized by trills in vln. 1, and the main theme in octaves in vln. ): The trills gradually evolve from the previous motive in vln. 1. First the motive settles down on one note, E. Then the rhythm smoothes out, eliminating the quarter notes, and the minor second becomes a major second (E-F#). Finally the rhythm becomes even and the repeated notes are eliminated; the trill arrives as a simple acceleration.
This kind of ending (inspired by end of the second act of Wagner's Meistersinger) can only work when there has been a loud passage shortly before. th th (repertoire example) Mahler 6 symphony, 4 movement: The listener first gets has impression that the ending will be a loud climax. Then, a gradually diminishing passage follows, seeming to reach almost complete immobility. Finally, there is a brief explosion, which quickly dies down again. One can easily imagine the work ending at each of the preceding stages; Mahler goes beyond the basic requirements for closure, not so much to improve the sense of finality, as to heighten the dramatic force and emotional breadth of the music.