6.  We  have  now  gone  through  the  various  matters  needed  to  enable
the  student  to  acquire  the  art  of  composition  ;  all  that  remains  is  to
commend  the  following  examples  to  his  careful  study,  and  to  express,
in  conclusion,  an  earnest  hope  that  this  work  may  help  towards
the  improvement  of  musical  composition  and  musical  criticism  in
this  country.
EXAMPLES.
No.  1. — A  regular  Melody  ly  Haydn.
^


r^r  I  -i,^!  g:


^^


^


By  the  brackets  it  will  be  perceived  that  this  melody  consists  of  two
similar  and  corresponding  periods  of  eight  bars  each.
Each  period  is  divided  into  two  phrases  of  four  bars  each.
Each  phrase  is  made  up  of  two  strains  of  two  bars  each.
The  fii-st  phrase  ends  with  an  imperfect  cadence  on  the  fifth  of  the
dominant,  on  the  down-beat.
The  second  phrase  concludes  with  the  tliird  of  the  tonic,  but  at  the
up-beat.
The  third  phrase  suggests  first  a  transition  into  B  minor,  and  then
finishes  with  the  third  of  the  dominant  on  the  up-beat.
The  foiu'th  phrase  winds  up  the  melody  with  a  perfect  tonic  cadence.
This  melody  is  therefore  in  all  respects  perfectly  regular.
No.  2. — The  "  Old  Hundredth "  tune  {equal  notes  version).
j'  j\'i  ^\^i  jij  ,\\j\\n-^'''  f'l'-M^


This  tune  is  perfectly  regular.  It  cannot  be  subdivided  into  strains,
but  consists  of  two  periods  of  eight  bars  each,  these  being  subdivided
into  phrases  of  four  bars.
The  only  imperfection  is  the  perfect  tonic  close  at  the  end  of  the
third  phrase  :  were  the  tune  harmonised  it  would  be  well  to  accompany
this  close  with  either  an  inverted  chord  of  G,  or  with  the  chord  of
E  minor.
66  THE  PRINCIPLES  OF  FORM  AND  GENERAL  COMPOSITION.
No.  3. — Melody  hy  Mozart.
