Techniques

A practical guide to musical composition by Belkin A.

By Belkin A.

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The accompaniment signals the new section. (repertoire example) Berg Lulu-Suite, m. 244: The last note of the cadence, the G at the end of the descent in cello, harp and piano, is picked up by the basses, acting as the first (bass) note of the new phrase. • Overlap: overlap differs from elision in that it uses counterpoint. Whereas elision depends on a link of a common note or two within the same line, overlap uses counterpoint to introduce a new idea while the old is being completed. ) © Alan Belkin, 2008 43 st String Quartet #3: The end of the phrase in the 1 violin (m.

Schoenberg, Arnold. Models for Beginners in Composition. New York: G. Schirmer, 1942. Schoenberg, Arnold. The Musical Idea, and the Logic, Technique, and Art of its Presentation. New York: Columbia University Press, 1995. Olmstead, Andrea. Conversations with Roger Sessions. Boston: Northeastern University Press, 1987. Sessions, Roger. The Musical Experience of Composer, Performer, Listener. New York: Atheneum, 1968. Sessions, Roger. Questions About Music. New York: W. W. Norton, 1971. Smith Brindle, Reginald.

My friend Cindy Grande gave me many ideas to improve and clarify the writing. My colleague Sylvain Caron read the manuscript and commented in great detail, always with tact and perception. My colleagues Massimo Rossi and Marcelle Guertin each contributed valuable feedback. Julien Valiquette provided assistance in finding and analyzing appropriate musical examples. Guillaume Jodoin kindly tested the web version. © Alan Belkin, 2008 61 Bibliography Sophisticated, practical books about musical composition are exceedingly rare.

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