By Alan Belkin
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Additional resources for A Practical Guide to Musical Composition
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.
Varying the transitions into and out of the main theme. varying the proportions of the sections. adding a coda to create a stronger ending. Binary Binary forms come in many varieties: The two parts may be symmetrical or not; the first part may have a conclusive cadence ("sectional binary") or an open cadence ("continuous binary"); the second part may or may not bring back elements from the first section to round off the form. It is typical of the form that both sections develop the same material.
Finally the rhythm becomes even and the repeated notes are eliminated; the trill arrives as a simple acceleration. A few more trills descend into the main body of the variation. Repeat with a new turn: this offshoot of period structure (question/answer) consists of a repeated phrase, which however goes off in a new direction at its second presentation. The repetition starting the new phrase supplies unity. This technique is very 36common in classical sonata movements, especially when leaving the first theme.