By Alan Belkin

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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. ) String Quartet #3: The end of the phrase in the 1st violin (m.

New York: Atheneum, 1968. Sessions, Roger. Questions About Music. New York: W. W. Norton, 1971. Smith Brindle, Reginald. Musical Composition. London: Oxford University Press, 1986. © Alan Belkin, 1995, 2008. Legal proof of copyright exists. The material may be used free of charge provided that the author's name is included.

9: As the shimmering texture of the opening dies away, the trumpet enters quietly, beginning a long solo passage, like a song mysteriously emerging out of a whirlwind of activity. Alternation: Instead of simply ending the first idea and starting the second one, it is possible to move back in forth between fragments of both two or three times. Often it is also helpful to gradually diminish the length of the first idea's presentations while expanding those of the second. Sonata for Viola and Piano: The end of the lyrical phrase is marked by a change to staccato articulation, in m.

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A Practical Guide to Musical Composition by Alan Belkin


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