Belkin A. 's A practical guide to musical composition PDF

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Alan Belkin, 2008 60 Conclusion In this book we have attempted outlined some of the basic principles of musical form. Our approach has been largely psychological: we have tried to understand formal processes in terms of how they are designed to affect the listener's experience. Following a narrative model, we have characterized the musical experience at each stage of the listener’s progress through a work: beginning, development/elaboration, and ending. Our discussion has leaned heavily on basic psychological principles, which allow the composer to attract attention, to intensify and amplify the listener's experience, and to create closure.

St (repertoire example) Bartok, Concerto for Orchestra, 1 movement, before #76: this example, already referred to, rises to its climax, while covering an ever widening register. • increasing harmonic tension. rd (repertoire example) Bruckner, Symphony #9, 3 movement, m. 173 ff: In this stupendous buildup, rising chromatic sequences and increasingly rich harmony lead to the rich dissonances of m. 199 ff. • increasing textural density. (repertoire example) Dukas, l'Apprenti Sorcier: Orchestral density increases by stages.

Above and beyond the minimum requirements for closure, some works end in more spectacular ways. © Alan Belkin, 2008 51 Symphony #8: After the main climax of the work (m. 472-5), the music seems to be fading away, until the harp quietly interrupts the fade-out. Then, a sudden, loud final chord ends the symphony with a surprise. 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.

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A practical guide to musical composition by Belkin A.


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