EXTEMPORE PLAYING - online tutorial

40 Lessons in how to correctly play improvisations.

Home Main Menu Singing & Playing Order & Order Info Support Search Voucher Codes



Share page  Visit Us On FB

Previous Contents Next
LESSON XXVIII
The Period {resumed)
Music-making may be compared with discourse in connected speech. Language, in discourse, is made up of words, their correct juxtaposition, and sentences, simple and complex; the sentences being logically connected and contrasted, and combined by grouping into narratives, descriptions, or arguments.
Analogously, we have chords in their many separate forms, chord-connections, phrases giving a musical thought or sentence, phrase-grouping producing periods simple or complex, successions of phrases or periods forming 'tunes,' grouping of tunes forming movements.
The keyboard composer will not, at the outset, be expected to produce anything so well balanced and finished as the script composer; but if he keeps steadily in mind the various formal designs that are used in logical and coherent music, he will gain the power of expressing him­self with meaning.
The phrase, ending with a cadence, may be compared with a sentence in language; it expresses a musical thought, just as a sentence expresses a mental thought. But, as with words so with musical phrases, separate and de­tached sentences give a jerky and disconnected impression. Both are generally connected in such a way as to give unity, while not overlooking variety.
A normal period consists of two phrases with a more or less close connection, and may be compared with a two­fold verbal sentence in which the two parts are connected by such conjunctions as 'so' (parallel), 'and' (complement), or 'but' (antithesis).
A good and famous illustration of this formation is seen in the verses of the Psalms, e.g.,
"O come, let us sing unto the Lord: {parallel) let us heartily rejoice in the strength of our salvation."
[80]
Previous Contents Next






E-Book - An Annotated Compendium of Old Time American Songs by James Alverson III