The Composer's Handbook

Presented to the
LIBRARY of the
UNIVERSITY OF TORONTO
from the
ARTHUR PLETTNER
ISA
McILWRAITH
COLLECTION
THE
COMPOSER'S
A
..OF
HANDBOOK
(Curwen's Edition, 5683.)
GUIDE TO THE PRINCIPLES
MUSICAL COMPOSITION.
By RALPH DUN STAN,

Mus. Doc. Cantab,
Professor
of
etc.
Music,
Westminster
and
of
Southlands
Colleges
Author
of
"A
Cyclopaedic
Dictionary
Music,"
etc.
SECOND EDITION
LONDON
J
CURWEN & SONS
Ltd.,
24
BERNERS STREET, W.
Price Five Shillings net cash.
DEDICATED,
BY KIND PERMISSION, TO
SIR
CHARLES VILLIERS STANFORD,

ML'S.D.
KNT.
(OXON ET CANTAB)
D.C.L.
LL.P.
PROFESSOR
J
OF MUSIC IN THE UNIVERSITY OF CAMBRIDGE
PROFESSOR OF COMPOSITION AT THE
ROYAL COLLEGE OF MUSIC

KTC. ETC.
(iii)
PREFACE.
T
THE
object of this
1.
:
-r
work is fourfold To provide teachers with a large number of varied and suggestive exercises from which a selection may be made to suit the requirements of classes or individual pupils. 2. To provide students who cannot secure the help of a competent teacher with a
graduated Course of Instruction in Practical Composition. 3. To serve as an introduction to the study of musical form. 4. To serve as a handbook of reference in connection with all the principal features of elementary musical composition. The author's experience as a teacher has convinced him that condensed and didactic " statements of facts and theories are of little use to the elementary student. Line upon " will alone avail to produce an abiding impression. Hence line, and precept upon precept " the general principles of composition what the late Rev. John Curwen called the Common" have been steadily kept in view, enforced by constant reiteration, and places of Music illustrated by numerous examples from the works of past and present composers while, to prevent the student's attention from being diverted to side issues, no attempt has been made to deal with those extraordinary and exceptional developments of music which lie beyond average attainment, nor with the exaggerated and bizarre efforts of those composers who endeavour to take music out of its proper sphere. The Table of Contents indicates the general scope of this work but it may be mentioned that Cadences, which are always particularly difficult for the beginner to manage Several tables have effectively, are treated with special fulness in the first four chapters. been prepared to show exactly what cadences the older composers were in the habit of using,
; ;
and
also the tendencies of
modern
practice
and
it is
useful, not only to students,
but to teachers.
Among
hoped that these tables will be found other topics which have received
Accompaniments,
special attention are Songs, Two-part and Three-part Writing, Pianoforte Accompaniments for Strings, and Scoring for Small Orchestras.
Although
this
is
not avowedly a treatise on Musical Form,

;
all
the smaller forms of
while the analyses of the larger forms (Sonata, Symphony, composition are fully discussed out the lines of study necessary for their more complete to are sufficient point etc.),
investigation.
The Author begs to express his warmest thanks to his friend, Dr. Hamilton Robinson, F.R.C.O., A.R.A.M., Professor of Harmony and Composition at the Guildhall School of Music, for kindly reading the whole of the proofs of the following pages, and for suggesting numerous emendations and additions which have greatly enhanced their value. Thanks
are also due to Sir Charles V. Stanford, and to Messrs. Novello and Co., for permission to include in Chapter XII a number of examples of string accompaniment selected from the " full score of The Revenge ; to Sir Frederick Bridge, and to the Proprietors of Hymns Ancient " and Modern," for permission to insert the hymn-tune St. Beatrice," on page 53 and to Messrs. Curwen and Sons for permission to utilise several extracts from the Author's
;
"
Cyclopaedic Dictionary of Music."
RALPH DUNSTAN.
DECEMBER,
5683
1909.
(iv)
CONTENTS.
PAGE
CHAPTER
I.
INTRODUCTION ........
On Composition in General ...... Materials of Composition ....... Usual Errors of Beginners .................................
When
Preliminary Study of Melody ............................. to begin Composition ......
How
Composers work
II.
...................
........
CHAPTER
SINGLE AND DOUBLE CHANTS
............................................................ Tonality Chief Rules of Melodic Progression ...................................... Mental Effects ...........
Cadences ............................................ 7 ...................... Single Chants in Major Keys ........ 7-1 Usual Cadences ..................................... Modulations possible ............................ Devices of Sequence and Imitation ................... Feminine Cadences .................................. Table of Middle Cadences .......................... ............................... Single Chants in Minor Keys Usual Cadences ...................................... ......... 13-15 15 Table of Middle Cadences ................................ Changeable Chants .................................................... Double Chants in Major Keys .............................. 16 Table of Cadences ....................................... ......... Specimens of Good Cadence Plans ................................ 16-19
Devices of Imitation, etc ........................................... Additional Tabulated Cadence Plans ................................ Double Chants in Minor Keys .......................................... Table of Cadences ................................................
19
20 20 20 Typical Specimens .............................................. 20-22 Model Cadence Plans .............................................. 23 23 Special Notes on the Perfect Cadence ....................................
CHAPTER
III. FOUR-LINED HYMN-TUNES ................................ Measure and Accent .................................................. Metrical Accent Simple Measures ...................................... Compound Measures ..... ............................. Accents of Divided Beats .............................................. Character of the Measures .............................................. Unusual Measures .................................................... Metre in Poetry ..................................................... Verbal and Musical Accents ... ..................................... ............................. Style of Melody advisable in Hymn-Tunes Style of Harmony advisable in Hymn Tunes .............................. Cadences of Four-lined Major Tunes ....................................
:
24 24 24 24 25 26 27 27 27 28 29 30
5683.
CONTENfS.
CHAPTER
III
continued.
Iambic Metres Short Metre Common Metre Long Metre

Trochaic Metres
Dactyllic, Amphibrachic, Irregularities of Metre
PAGE 31 31
and Anapaestic Metres

'
Cadences of Four-lined Minor Tunes Specimens of Four-lined Minor Tunes Selected Cadential Chords
32 32 35 36 38 38 39
41
CHAPTER
IV. TUNES TO Five-lined Hymns
HYMNS WITH MORE THAN FOUR LINES
Cadence Plans
Six-lined
Hymns
-.
Three Sets of Two Analysis of Cadence Plans Two Sets of Three Analysis of Cadence Plans Analysis of Cadence Plans, Minor Six-lined Tunes
Seven-lined
Eight-lined
'.
Hymns Hymns Hymns

SONGS
Specimens of Cadence Plans

Typical Tunes
Selected Cadence Plans
Twelve-lined
42 42 42-43 43 43 44 45 46 47 48 48 49 49 50-52 53
.
CHAPTER
V.
Folk-Songs and Art-Songs

Ballads and Through-composed Songs Structure of Ballads Specimens of Ballad-form Accompaniment suitable to Ballads
Essentials of an Accompaniment Examples of various styles of Accompaniment
Art-Songs in Ballad-form Extension of Ballad-form Analysis of Schubert's Linden Tree

Styles of Pianoforte Accompaniment Through-composed Songs
The Aria The Scena
57 57 57 57 57-59 59 59 60-66 66 68 68-70 71-76 77 78 78 79 79 83 85 87
CHAPTER
VI. DUETS, TRIOS, ETC General Rules of Two-part Writing Three-part Writing Unison Passages and other devices Male-voice Music
CHAPTER
MELODY IN VII. Factors of Melody Melodic Direction
GENERAL
Ascending Passages Descending Passages Repeated Notes Prolonged Single Notes Melodic Range or Extent
5683.
89 89 89 89 89 92 94 96
VI
CONTENTS. VII
continued.
CHAPTER
Melodic Intervals Time, Rhythm, Accent Rhythmical Contents of Measures Melodies based on Arpeggios
97
1
103
107 107
1
CHAPTER
VIII.
ECONOMY OF MELODY
Repetition Imitation and Sequence Ground Basses Variations Metrical Form Regular Four-fold Sentences Extended and Irregular Sentences
117 125 125 129
CHAPTER
IX. Two OR MORE SENTENCES IN SUCCESSION Two-sentence Paragraphs
132 132
1
Simple Dance Forms Three-sentence Paragraphs
Song Form Groups of Sentences
in
Song- form
Special Exercises in Song Minuet and Trio Form
Form
Marches Two-sentence March

Three-sentence March Minuet and Trio Form of March " " March Mendelssohnian Various Complete Dance Forms
135 135 137 137 138 140 140

141
141
142 145 148 148 153 156 159 162

164 164 165 165 169 169-171 172 173 174 174
177 177 177 178 178
CHAPTER X
Counterpoint
Canon Fugue
Modulation
Phrasing
CHAPTER XI
Rondo Form
Polyphonic and Homophonic Music
Part-songs, Madrigals, Glees
Choruses
The usual Regular Forms Anthems and Services The Cantata, Oratorio, and Opera The Overture
Recitative
CHAPTER
XII. ACCOMPANIMENTS IN GENERAL Accompaniment for Stringed Orchestra The Strings

the Strings are used General Principles of String Accompaniments to Choral Music Typical Illustrations The Instrumental Bass String Accompaniments of Solos, etc
How
Typical Illustrations
Organ Accompaniment
5683.
179-208 209 210 21 1-214 215
CONTENTS.
Vli
CHAPTER
XIII. SCORING FOR SMALL ORCHESTRAS Wind Instruments How to Write for Transposing Instruments Transposition Table How to use the Wind Instruments in combination with the Strings, or alone, Orchestral Sketches The Piano and the Orchestra
PAGE 217 217
220
221
etc.
Examples of Simple Scoring A Loud Piece
A Quiet A Loud
A A
Piece Piece with alternated Soft Passages Cornet Solo
Simple March
First
Movement
of a Set of Waltzes
222 223 223 224 224 226 230 234 237 246
254 254 255 255 256 256 257 258 259 260
261
CHAPTER XIV
Concluding Remarks on Form in General Sonata Form Romantic Music Program Music Imitative Music
.
Word-painting Leading Themes Thematic Development The Church Modes Harmony of the Church Modes Examples of the Church Modes
Musical Forms not previously discussed Shaping a Melodic Idea
Beauty
5683.
in
Music
261-265 265 268 269
THE COMPOSER'S HANDBOOK.

CHAPTER
INTRODUCTION.
"
"
I.
Es
ist
des Lernens hein
Ende
.
"
("There
is
no end of learning.")
melodies, that
is
.
.
.
Schumann.
;
but if they come into If, while at the piano, you attempt to form very well The fingers must do what your mind of themselves, you may be still more pleased. the head desires not the contrary. " If you begin to compose, work it out in your head. Do not try a piece on your instrument, except when you have fully conceived it. " If heaven has bestowed on you a fine imagination, you will often be seated at your piano in solitary hours, as if attached to it you will desire to express the feelings of your heart in harmony, and the more clouded the sphere of harmony may perhaps be to you, the more mysteriously you will feel as if drawn into magic circles. Beware, however, of abandoning yourself too often to the influence of a talent that induces you to lavish powers and time, as it were, upon phantoms. Mastery over the forms of composition and a clear expression of your ideas can only be attained by constant writing. Write, therefore, more than The you improvise. By means of industry and perseverance you will rise higher and higher. Schumann. spirit will not become clear to you until you understand the forms of composition."
little
. .
Composition in General. 1 Musical composition is, undoubtedly, the highest branch of the Art of Music and the last few years have witnessed a remarkable increase in the number of earnest students of this
;
subject.
2 Composition is, and should be, studied not so much with a view to publication " Providence protect us," says the late Sir G. A. Macfarren, from the reams of rubbish " which would ensue upon such a contingency but mainly with a view to self-culture and increased musical perception. Where it does not engender self-conceit the practice of composition is of the utmost value in enabling the student to understand and appreciate the beauties of form, construction, and style of the works of the Great Masters. 3 It might be supposed, considering the extensive treasures which the composers of the past have left us, and the enormous number of compositions of every kind constantly emanating from the press, that there would remain little for the would-be composer to glean from a field which already appears to be over-worked in every direction. But though it would seem that the resources of simple melody are almost exhausted, there is still room for originality and true creative power. 4 In an article in the Musical Times, Sept., 1894, it was shown that even with such a short musical form as the Anglican Single Chant, which consists in its simplest statement of ten notes, no less than sixty million different melodies are possible, without "regarding the multitudinous differences formed by passing and auxiliary notes, harmonies, and rhythmical accentuation." Supposing only one in a hundred of these tunes to be musically interesting, we have a possible And if this be true of such a simple and restricted form repertory of 600,000 single chants. of melody, with what overwhelming force does it apply to longer and more important
"
compositions. 5 Apart, however, from mathematical calculations, it can be safely said that though the number of creative composers must necessarily be few, the number of imitative composers may be legion. And it must be remembered that even the greatest composers have begun by being " more or less imitative. Not one great composer, not one great sculptor or painter, has ever the world to his feet who has not laid his foundations upon the work already done by brought the best of his predecessors. Composers do not, as a rule, spring ready-made out of the head of Jupiter if they do', it is because they have already absorbed what is best in Jupiter's
. .
brains. Bach without Schiitz and Buxtehude, Beethoven without Haydn and Mozart, Wagner without Gluck and Weber the instances are countless and incontrovertible would have been impossibilities" (Sir C. V. Stanford}. " Their work was only made possible by the work " of those who went before them Their individuality and genius developed (Sir Hubert Parry). with advancing knowledge and the technical skill acquired by means of study and practice.
The Composer's Handbook.
We
believe that most musically endowed persons can learn to compose music, with correctness and some amount of success, up to a certain fair standard, if they will take the same pains to construction as would be indispensable ascertain the rules and principles underlying musical in the study of English grammar and syntax for purposes of literary composition.
Materials of Composition. " to make bricks without straw," so 6 Just as the ancient Israelites found it impossible the would-be composer of the present generation will find it impossible to make any progress The in musical composition without some adequate knowledge of the materials for his work. in the musical field have been accumulating these materials from the earliest toilers of list long and they now lie ready to the student's hand if he will only exercise the periods of history, and industry necessary to collect them. patience 7 The two great essentials of composition are TUNE (or Melody) and TIME including
:
and Rhythm. knowledge 8 Accessory, but important, features are (a) Harmony, Cadence, Modulation (b) Counter(d) Thematic Development (c) Design or Form (e) Dynamics point, Imitation, Canon, Fugue and Expression (/) Compass and Capabilities of Voices and Instruments (g) Accompaniment and Orchestration (h) Style. 9 In its broadest sense, any successive musical sounds may be said to constitute melody " " " notes in succession notes in combination." For Harmony, thus, Macfarren Melody, the purposes of musical effect, however, other conditions have to be fulfilled besides mere sucArtistic melody implies order and design, based in the first instance on well-defined cession. Tonality, Scale-structure, and Key-relationship. and prior to the year 1600 A.D., melodies were 10 During the early ages of Christianity, " " Old Church Modes," or The Gregorian Tones." mostly founded on what we now call the and chords about intervals a central of and governing tonic, or key-note, poising grouping The experiments made in was either entirely unknown, or at best, but vaguely ]>erceived. harmony and composition during the I7th century gradually led to the establishment of the scales but even now the old modes are frequently used in church present major and minor music, and they are occasionally employed in secular music. The essential and natural relationships of the various major and minor scales are now 11 so well understood that advanced modern composers Wagner, Strauss, and Debussy, for obscure their tonalities often them purposely vague in order intentionally making example to obtain special effects, which, to audiences of a hundred years ago, would have been perfectly
of Scales, Keys, Accent, Metre,
;
;
unintelligible.
Usual Errors of Beginners. 12 Vagueness and incoherence of a quite different and non-artistic character may frequently This is generally the result of ignorance, or be found in the music of the young composer. imperfect realization, of the mental effects of notes, chords, and keys. 13 Among the usual errors of beginners may be mentioned (a) The confusion of major and minor modes (b) The introduction, without motive or consistency, of notes foreign to the prevailing scale (c) Un-melodious and difficult leaps in the melody (d) Constant repetition of the same worn-out formulas (e) Notes too high or too low for the voice or instrument to which they are assigned (/) Absence of plan or design in the melody, harmony, arrangement of keys, and general structure of the composition.
:
The Melodic Faculty and How to Cultivate it. 14 Though we can lay claim to melodists like Sterndale Bennett, Henry Smart, Arthur Sullivan, and others, the gift of spontaneous and sparkling melody of a high order is not one
of the striking characteristics of English composers. Notwithstanding this, the number of persons gifted with melodic instinct and able to conceive and construct tunes quite pleasing and natural, is far greater than would be imagined. Unfortunately this gift is, in the majority
of cases, allowed to remain undeveloped, most young composers being content with a very low standard of attainment, preferring to get something " in print " of " their own composing," however trivial and incorrect, to the laborious and self-criticising study necessary for really
good work.
15 Musicians who are able to conceive such little tunes as we have spoken of possess within themselves the most essential qualification for composition, and those who are destitute of this
Composition in General.
faculty will never succeed as composers, except in the most mechanical and mathematical The true composer has always melody surging up, as it were, from the depths of his way. nature. Happy he who is able to catch the fleeting outline, and to give it form and
substance, life and soul. 16 Premising, then, that the melodic faculty is a necessary preliminary to composition, and that the untaught musician will, as a rule, only evolve commonplace and trivial tunes, what can be done to improve and beautify these rudimentary instincts ? The young composer, unless he has a good voice and can sing readily and accurately at sight, should learn He should then play through as some solo instrument such as the violin, flute, or clarinet. of the melodies of etc. of the classical masters as he airs, solos, particularly songs, many can get hold of and especially the melodies of Handel, Haydn, Mozart, Beethoven, Schubert,
;
Schumann, and Mendelssohn.

criticism.
National airs, too, will offer excellent opportunities of observing the construction of simple and natural melodies which have stood the test of time and
In this delightful study he should notice how the flowing outline is constructed not merely 17 as a succession of notes and intervals, but as a series of phrases, sections, and sentences, marked out by cadences more or less pronounced, and made expressive by means of rhythmic variety, In proceeding from Handel contrast, imitation, sequence, points of climax and of repose, etc.
to later composers the student will also notice with interest the tendency more and more to He should further notice how develop extended melodies from little germs, figures, or motives. music and words are fitted to each other in regard to accent. It will be clearly seen that good melodies are not often the result of chance, but of more or less careful design. 18 By such a course of excellent practice the musician of perception and sensibility will he will become saturated with melody of quicken his critical and discriminating faculties the highest kind and he will gain a most valuable knowledge of melodic construction. 19 Thus, while the faculty of melody-making is inborn, it can be immensely improved and " the invention of Pauer (" Musical Forms ") says that developed by study and practice. a beautiful, singing, and expressive melody is one of the surest signs of genius but even the greatest genius will be anxious to purify, strengthen, and vary the melody by means of art
; ;
and science."
Other Preparatory Studies.
How much ought one to know before attempting the composition of simple pieces? Composition need not be deferred until all the materials of composition are completely mastered (see Pars. 7 and 8) nor should it be begun without some preliminary knowledge.
20
;
NECESSARY PRELIMINARY REQUIREMENTS (a) MUSICAL RUDIMENTS* Thorough knowledge of all the Major and Minor
:
:
Scales.
Intervals, Keys,
and Key-relationship.
Transposition, Time-transcription, etc.

(b)
HARMONYf
Triads and their Inversions.
The Dominant 7th and its Inversions. Simple Suspensions. The Harmonization of Simple Melodies.
Cadences.
Modulation to nearly-related Keys.

course, gradually add to his stock of chords (from some standard text or inexperienced knowledge of a large number of chords and discords often adds to the beginner's difficulties and as much very fine music has been written with no other harmonies than those enumerated above, the beginner will do well to start modestly. Counterpoint, too, though net at first essential, is a very desirable study. It enlarges the composer's conception of musical composition and adds very considerably to his resources. J
book
of
The earnest student will, of but inaccurate harmony)

;
Composers Work. How do composers work? Should I begin with treble or with bass? an instrument, or compose on paper, or mentally?
21
* See the Author's
.4
How
Ought
to use
BC
of
Musical Theory
Curwen,
2s.).
| See the Author's first Steps in
i Oakey's Counterpoint (Curwen, as od.),
Harmony (Curwen, as.). and Pearce's Student's
Counterpoint (Vincent,
zs.)
are
recommended.

These questions are often asked a matter of individual temperament."
;
and the only answer that can be given
is
that
"
it
is
" varied Schumann's views are given at the head of this chapter. Handel long periods of cessation He may be said to have improvised from composition with the most wonderful rapidity of production. many of his works on paper. Rinaldo was written in fourteen days the Messiah in twenty-four enabled He was always teeming with ideas, to which his perfect command of all the resources of counterpoint " When ever-readiness of him to give instantaneous and fluent expression." engaged in composition the " " wonderful power of concentration." was seconded by great industry and his inspiration Haydn, " " notwithstanding the immense number of his compositions," says that he " never was a quick writer." He and the sketched all his compositions at the piano usually during enlarging mornings elaborating them
;
according to rule during the afternoon." Mozart was always thinking-out melodies and storing his memory with them, so that in the years of his manhood he was able to produce the most beautiful and perfect music with a readiness of resource quite " in his It is said that he composed the overture to Don Giovanni entirely and completely unprecedented. " " " the before the first a score head and wrote out the parts without making during night performance. He wrote all his compoSchubert had more musical ideas than he could afford music paper for He often sketched first the melody sitions with the utmost rapidity, and often without premeditation. " " until satisfied with the whole. touched up then added and and bass He kept sketch books in which " every Beethoven, brilliant at improvisation, was slow in writing. he even kept one at his bedside for use in thought that occurred to him was written down at the moment " These sketches were revised again and again before they took final shape. The more they were the night." " " and there is hardly a bar in his music of elaborated the more fresh and spontaneous did they become ; which it may not be said with confidence that it has been re-written a dozen times." Many composers make preliminary sketches of their compositions on two staves, with just the melody and a suggestion of the accompaniment (or perhaps a bass with or without figures). " them." Some composers set aside regular times for composition others work as the fit takes " How do I work? Concerning the composition of his latest opera, Mascagni is reported to have said is all That the work I do. I read the libretto repeatedly through, study it, and learn it almost by heart. When out walking, in my room, while I am travelling, The melodies gradually come to me of themselves. I seize it, and afterwards at the piano play it through, and then the music suddenly a melody comes to me. But work at it I cannot. I always wait Thus bit by bit the opera is completed. fully. shapes itself more " for the mood (1908).
! ; ; ;
As far, therefore, as advice can be given, it would be well for the beginner to jot down If a suitable bass any idea that occurs to him (either while at the piano or mentally). suggests itself (and to the real composer some sort of bass nearly always comes with the melody), this bass should also be noted. The preliminary idea should then be revised (mentally, or on " worked paper, or in both ways), until it appears to be suitable for its purpose, and afterwards " into a up composition.
22
at once
Let us suppose, for example, that the following melody and bass suggested themselves for a Double
Chant
tt=-i "
>
^3
-C?_^>
=
;
EEE
This is at once seen to be a weak production, the melody being very monotonous, and the bass even more so but two or three alterations in the melody and a more varied bass (with suitable alto and tenor) would transform it into a passable composition
:
CHAPTER
II.
SINGLE AND DOUBLE CHANTS.

23 The average young composer seems to think and anthem, a church service, a song, or an overture
;
it
is
annoyed
;
writing chants and hymntheir forms are simple and well-defined, and the experience gained in composing them tunes can be readily turned to account in attempting more elaborate works. 24 The Single Chant is the shortest regular musical form. It consists of two phrases of melody in 2-2 time three bars followed by four bars
:
when told by competent critics that his work Much knowledge of musical construction can be gained by
necessary to begin by writing an generally much chagrined or even is comparatively worthless.
examples
In the strict form of the Chant, only semibreves and minims are used, as in (a) ; in less strict florid (slurred) passages are occasionally written, as in (b) and (c). The first note of each phrase is called the Reciting Note, which is continued ad lib. to suit the words, and followed by the rest of the phrase in strict time. Each phrase ends with some sort of Cadence. (See
par. 30.)
25
The most indispensable requisite of musical design is Tonality (or Key-ship). Play the following two or three times on the piano or harmonium
:
(a)

The harmony
to the musical ear.
of each of these illustrations is quite correct ; but only (d) sounds entirely satisfactory Each of the others ends in a different key from that in which it begins.
Hence the general

If
the piece begins in a minor key, minor and end in G major.
rule that a piece of music should begin and end in the for example, it it may end in the tonic major
;
same key. may begin
in
26 This rule holds for all short pieces of music, and is generally observed in such comas sonatas and symphonies. paratively long compositions but It was formerly thought to be essential in extended works like masses, operas, and oratorios " " in concluding a work of two or three hours' duration in a different key shock to the ear as there is no (See Chap. XI.) from that of the opening movement, the rule is no longer binding for such works.
;
27 It is not often good to begin a (short) piece in a minor key and end in the relative It is even Examples may be found, but the beginner is advised not to imitate them. major. less desirable to begin a (short) piece in a major key and end in the relative minor. In all early exercises, therefore, the student is advised, (a) if he begins in a major key, to end in the same major key ; and (b) if he begins in a minor key, to end in the same minor key. Modulations which may occur during the course of the piece are discussed later.
is supposed to know the usual rules of melodic progression should specially be noted in writing chants and hymn-tunes points Melody is conjunct in character when it proceeds by steps (of a second)
28
The student
the following
disjunct,
when
it
proceeds by
(a)
leaps, or skips
Conjunct.
(&)
Disjunct.
As a
rule, steps in
melody are more pleasant than wide skips
Better than
v.
however, the notes belong (unless very wide skips are used)
If,
^m
chord, disjunct progressions are usually pleasing
to the
:
same
l
Tonic chord.
Dominant chord.
;
In vocal melody, the major yth is generally difficult and unpleasant in effect the octave is, however, quite easy and good wider intervals than the octave are rarely required in vocal music, though they may be employed consonant intervals being better than dissonant. In instrumental music much greater freedom of progression is allowable. The interval of the minor 7th is generally good in effect. Good. Bad. Good. Bad. Good.
;
Diminished intervals may be used, provided, generally, that the next note after the diminished interval be some note within the interval, thus Dim. 5th. Dim. 4th.
:
The
following progressions are bad Dim. 5th.
Dim.
4th.
Single Chants in
Major Keys.
" The congenial tones of a melody give it "its character and general spirit." Curwen. Thus a melody " one which is tones of the scale is generally bold and energetic which is based largely upon the strong " " one in which the is less vigorous, but more flowing and expressive tones based largely on the leaning third of the scale (m) is much dwelt upon is sweet and calm, etc. " " Mr. Curwen gives the following proximate mental effects
;
augmented intervals should at present be avoided. The above rules hold for each of the four parts soprano, alto, tenor, and bass. " " mental effects 29 The character of a melody depends to a considerable extent upon the or in other made the most of notes way any strongly emphasized "specially prominent (as by " Mr. Curwen calls these the congenial tones of the melody. frequent occurrence).
All
N.B.
STRONG TONES
Dominant, or
Mediant, or Tonic, or
LEANING TONES
ME DOH
SOH
Grand,
bright.
Steady, calm. Strong, firm.
Leading-note, or Submediant, or Subdominant, or Supertonic, or
TE
LAH Sad, weeping. FAH Desolate, awe-inspiring. RAY Rousing, hopeful.
Piercing, sensitive.
These
bar mony.
effects
are
modified by pitch, duration, loudness, accent, repetition, and the accompanying
30
the
In every kind of composition, the skill of the composer is very largely estimated by way in which he manages his cadences. In general, a cadence answers to a punctuation mark, and indicates a point of repose,
either
momentary or complete. The effect of a cadence depends mainly upon cadential chord i.e., whether chord (1) The
:
(2)
(3)
of the Tonic, Dominant, Subdominant, &c. Its approach i.e., the chord or chords preceding it. Its position in the composition i.e., near the beginning, at the middle, or near
:
(4)
(5)
the end, etc. Its crowning note i.e., whether root, third, fifth (or even seventh) appears in the treble. " of the cadential chord The " position i.e., root position, first inversion
:
(a position, b position), etc.
full close In a single chant the final cadence should be a or, (" perfect cadence ") " The middle cadence, however, admits of considerable plagal cadence." occasionally, a freedom of choice both as to the cadential chord and its approach. " " The most usual middle cadence is a half close or Dominant cadence (S) Grand Chant HUMPHREYS.
31
SINGLE CHANTS IN MAJOR KEYS. " "
all
chants are in
time, the Time-signature
is
generally omitted.
EXERCISES Compose single chants in the major keys of C, F, G, D, Bb, A, Eb, E, and the middle cadence of each. Vary the "approach" and Ab, using the "half close" for " end with a Plagal cadence (as in No. 3, above). chants the of Some may crowning."
:
not necessary to try to write extremely original melodies ; but each part should be ma \c The " commonplaces of music," as Mr. Curwen calls them, should first be mastered If the composer is endowed with genius or marked originality without far-fetched attempts at originality. control over the recognized musical forms. it will soon manifest itself as he gradually acquires and in these, and all subsequent exercises, The harmonies should be simple, and diatonic in style aimed at by judicious employment of congenial tones. (See Par. 29.) The variety of character should be choice of suitable reciting notes greatly influences the character of a chant.
N.B.
It is
interesting,
if
possible.
32
Next
in favour for the
middle cadence
is
the Subdominant chord (F)
L
EXERCISES
middle cadence.
:
Compose
"
single chants, in various major keys, with a
Subdominant
(F)
33
Two
"
Tonic
yet they are often used.
cadences in a single chant would seem to be objectionably monotonous " " Occasionally they occur with the same crowning note
:
TALLIS.
r
-5>-
-GIJ.
-e>-
-5>-
=
!
In general, however, a different crowning
is
preferable
Gregorian/
34
Another favourite cadential chord
is
that of the Submediant (L)
:-
WOODWARD.
.a.
-JOT
Middle Cadences.
Gregorian.
EXERCISES Compose single chants in various major keys with a Submediant (L) middle also write a few examples with a Tonic (D) middle cadence. cadence 35 The following are illustrations of cadences occasionally used (a) Inverted Tonic cadence (Db)
:
1-
(i)
Inverted Subdominant cadence (Fb)
(c)
Super tonic cadence (R)
=g :
-J.
^:
R
Ezra:
|CL
:^:
(d)
Inverted Dominant cadence
(Sb)
(<?)
Inverted Dominant 71 li cadence
7
(
S6,
Srf)
ya T
g am :tg
I |
|~.>J
arz r: ^
"
Sd
10

Cadence on a second inversion (very rare)
:
(/)
BARNBY.
ra
1
IP1
EXERCISES Compose single chants middle cadences on the models given above.
:
in various
major keys with inverted
(or other)
36 A single chant does not admit of many modulations ;* and even if it did, they would be out of place. Transitory modulations to the Dominant key, the Subdominant key, the other closely-related keys are, however, possible and Relative Minor,
:
(a)
Modulation to the Dominant key
TRAVERS.
(b)
Modulation to the Subdominant key
FELTON.
Modulation to the Relative Minor
Modulation to the Relative Minor of the Subdominant
ALDRICH, OR TURNER.
**
rr
:G>_
f,
&=t
on the models shown above,
(a],
(b),
(c),
EXERCISES
Compose various
is
single chants
and
(d}.
The word "modulation"
used in this work with
its
general meaning of
"any change
of
Key
or Mode."
Devices for Securing Variety.
11
37
Among
(a)
Sequential Melody.
other devices for securing variety, the following may be enumerated (See Sequences, Chap. VIII.) Descending Sequence (falling by a 3rd and rising by a 2nd).
_
Ascending Sequence
(rising
by a 3rd and
falling
by a 2nd).
IA_I
\CJ
S.
Scale passages in treble, bass, or tenor

In Treble.
ri
TO-O-
In Bass.
=r*
-&-
e
In Tenor.
*<ra O'Q**
I
^ ^
^r
f^t
-<ra
t^ga
^
In Bass.
j. ftfd:
J=i
P^f
K-
These forms of cadence are permissible

(c)
in
such cases
i.e.,
whenever the bass
is
fixed melody.
" Crotch," Par 48.) (See also
The second phrase imitating the
first
!
phrase.
(See Imitation, Chap. VIII).

j
1st
phrase a 2nd lower,
:^zz?2:
-<s>-
L -s>-
-^>
rip=
r-
rri
"
12

1st
phrase a 3rd lower.
Zll
Note the 1st phrase of Alto and Tenor in 6ths.
1st
phrase of Treble.
Db
1st
P=F
phrase a 4th lower.
1^
=
]
Jggt>
(d)
etc.
(See also the second
Beginning on an inversion of the Tonic or Dominant chord, on the Subdominant, and third chants above).
f
j.
S6
-0-rfr
f=F
Single Chants in
Minor Keys.
13
# Chromatic
cadential chords.
38 Of 100 representative single chants, in major keys, which tabulated, the middle cadences work out as follows
:
we have analysed and

25 23 18 16
5
Dominant, with or without modulation Tonic, or Inverted Tonic (D or Db) Subdominant (F) Submediant (L) Inverted Subdominant (Fb)
.
.
(S)
Supertonic (R) Various other cadences
4
9
TOO
The student should now compose several major chants on the models EXERCISES and should also invent middle cadences, imitations, sequences, exemplified in paragraph 37
:
etc., of his
own.
SINGLE CHANTS IN MINOR KEYS.

Single chants in minor keys are constructed on the same general lines but they have a greater tendency etc. have major chants to modulate to the
39
as to
Minor chants are not so numerous as major ones. with occasional imitation, chants, sequence, major modulate (transiently) to the Relative Major, than Relative Minor.
:
The ordinary middle cadences 8e (a) Dominant cadence M)

(
:
are as follows
PURCELL.
fcfr
14
The Composer's Handbook,

Relative Major
(b)
Tonic (D) cadence
BLOW.
F^=
Jd.
cWjigjb
41
{
e3
-n
r
CROFT.
3^
r
r r
i
^
(c)
Relative Major
Dominant
(S)
cadence
TALLIS.
F=ii=3*==i3=B:
"77JY'
.
OS
'J
r r J J
.1
(d)
Relative Major
Subdominant
(F)
cadence
COOI'ER.
B^l P
r~r 1
TURTON.
(e)
Tonic (L) cadence (minor)
r^
:
3
II
I
IT
J--
J.
:8-
Subdominant
(R) cadence (minor)
5 r-r^r
LANGDON.
The
3rd
was
often omitted from the last chord of old compositions in minor keys
Double Chants.
15
40
Other cadences are rare
Inversion of the
Dominant 7th
of the Relative Major.
Of 30 representative
follows
:
single chants, in
minor keys, the middle cadences work out as

8
Dominant
8e
(
M)
Tonic (D)
Relative Major Relative Major Relative Major
Dominant (S) Subdominant

(R)
7 6
'
(F)
Tonic
Minor (L) Subdominant Minor Other cadences
3 2
I
30
EXERCISES The student should now compose several models given and also plan out new varieties of his own.
:
single chants in minor keys on the
41 A Changeable Chant is one in which by an interchange of key-signatures notes are made to serve either as a minor or major melody
:
the same
G minor.
In some changeable chants, only the treble
is
exactly imitated in the Tonic major;
in
others, all the parts are constructed to be imitated (as in the illustration given).
EXERCISES
The student may now
exercise his ingenuity in composing changeable
chants in various keys.
DOUBLE CHANTS.
42
off
double chant by double bars.
is
twice the length of a single chant, consisting of four phrases
marked
As regards cadences, imitations, and other devices, there is vastly more scope in the conand the student who has carefully followed the struction of a double than of a single chant instructions already given will have little difficulty in composing really good examples of this musical form. 43 It is hardly necessary to observe that the double chant should begin and end in the
;
same key. More extensive modulations are possible than before but character (i.e., to the same keys) as those used in single chants.
;
as a rule they are of the
same
16

last
is
Of the four cadences of a major double chant the " tonic crowning." (occasionally Plagal), and generally with a
44
Tonic cadence (with various
"
The
first
always a Tonic cadence cadence is often a

"
;
crownings
").
it
cadence so near the beginning In a four-cadenced melody there is no objection to a Tonic " A perfect cadence " with tonic crowning is, perhaps, the least desirable form. establishes the key."
The second, or middle cadence is usually on the dominant chord (often with a complete modulation to the dominant key). It should not be exactly the same as The third cadence may be varied at discretion.
the final cadence.
The third and fourth cadences may both be tonic cadences but they should be varied in crowning, " " of the tonic chords. position approach, or It is indeed possible to have four tonic cadences. This, however, requires great skill in constructing " to cover the cadential monotony," and it is by no means advised the melody and harmony so as
;
'
r -^ ^ g -fin=--r_^zi rî
i
^^
i
i
r r
"**-
9-~f9rjr
=^r
c?_
^-P^^ff^T
irr
P-Î
r~~T]
^L-~L~T^
<3
I
&
~"fl
^Tr^-^
45
Of 70 representative double chants

(a)
in
major keys the cadences work out as follows

(b)
FIRST CADENCE Tonic (D, Db, or DC)

:
29
13
SECOND CADENCE Dominant (S) often with modulation

:
Submediant (L) Subdominant (F) Dominant (S) Supertonic (R or Rb)

Other cadences
.
to the
Dominant key
Rcl.
63
3 2 2
Tonic (D)
Minor (**M).. Other cadences

of
Dom.
..
70 70
(r)
THIRD CADENCE
Tonic (D), 9; inverted (Db). 9 Supertonic, or inversion (R or R/

.
18 16
13
Subdominant (F) Submediant (L) Dominant (S)

Other cadences
n
6 6
70 46
The following
(a)
:
are specimens of
good construction
;
First cadence,
Tonic (plagal)
second,
Dominant (with modulation)
third.
Sub-
dom'nant
ROBINSON.
a well-cadenced chant, the Subdominant chord at the end of the third phrase giving special The admirable balance of cadences also quite covers the want of imitative devices and the seeming monotony of having three reciting notes on C. Many excellent chants are cadenced on this model and the student is advised to write several exercises based on it.
"
This "
is
point
to the concluding perfect cadence.
Cadences in Double Chants.

First cadence,
17
(b)
Subdominant
second,
Dominant
third,
Relative Minor of SubDUPUIS.
dominant, or Supertonic Chord without modulation.
^=r=
_
EXERCISES Write major chants in various keys on these models, (a) and (b). Note the effective melodic imitation in Wesley's Chant, and the inverse imitation in the bass of Dupuis and third phrases). Note also the four different reciting notes (by descending steps) in Wesley.
:
(first
(c)
First cadence, Tonic
second,
Dominant
third,
Submediant.
BOYCE.
(d)
First cadence,
Submediant
second,
Dominant
third,
Submediant.
*^
r^*
T-f
EXERCISES
(e)
:
Write chants on models

;
(c)
and
(d).
First
;
cadence)
cadence, Submediant third, Dominant.
second,
Tonic
"
(different
"
crowning
from Final
LA WES
(/)
First cadence,
Subdominant
second,
Dominant
third,
Tonic (inverted).
COOKE.
]
#*=
!
r=g=h3
i~c?m
^&$gi3 ZEZCCC:
f^-^-gy
i i
*E -G>I
-e>
TO rr
:c
T~r
^J
:
=3 Een
pcfc;
j 73-fS
i
-B-
5=!
G
l
-*i- J e ^2Gtr
i
--&=?i
tfe
EXERCISES
(e)
and
(/).
18

First cadence,
Submediant
second,
Dominant
third,
Subdominant
(inverted). RUSSEI.L.
cUL^_â ,-^-J ja=h":its= -p
PI
Minor
;
8~*-
Ld.
nr flio
J Û ff^fg-l-^P^ Lg_^_^:E^-pTJ-J-J
;
(A)
First cadence,
Dominant
of Relative
second,
Dominant
third,
Subdominant.
JONES.
ill
J a ,f
,
-^ ,A
EXERCISES

in
(g)
and
:
(A).
treatment are the following 47 First second, Dominant cadence, Tonic (plagal) (a) phrase on Dominant of Relative Minor.
;
More modern
third phrase, imitation of -first
ELVEY.
.C4
11
o P fy~~o o
W&mrr
r^zionpc?:
-&-&-
U_
*-*
f->
'
r^
r r
nr
^gjjfrTHK^T^tfM
;
(fc)
First cadence,
Tonic (inverted)
second, Relative Minor
third, Relative
Minor of
Subdominant.
(c)
First cadence,
Dominant
(inverted)
second,
Dominant 7th
of
Relative Minor
F.
third,
Dominant.
^ aa
JAMES.
PP
" Q
S^*
y j.
(d)
i
feminine
"
cadences, etc.
rr
:S_
s>
!
-fS-Q-
Various
"
BLOUNT
Imitative Devices in Double Chants.
19
J.
THOMSON.
EXERCISES Compose chants in various major keys on the models given above and construct other cadence plans of your own. 48 It has already been remarked that " devices " of imitation, etc., are common in double chants.
:
id^3^==F
|_.
c===tn=n=cr
/
,
|
__,
CROTCH.
In this chant, each " part " of the third phrase is the same as in the first phrase, but the notes are and, similarly, the fourth phrase consists of the notes of the second phrase in reverse order The imitations are said to be per recte et retro, or " retrograde.''
,
m reverse order
In this example the whole of the bass of the first two phrases is repeated a fifth lower in the third and fourth phrases. The other parts are constructed to " fit in " with this bass as melodiously as circumstances permit.
49 very
effective.
(a)
Occasional unison passages (with or without chordal accompaniment for the organ) are
For mixed
choir.
|
N.B.
EXERCISES
The organ part may be varied at the player's discretion. The student should now compose chants on these models (48 and 49).
:
20
50 Without modulating into remote keys or using "extreme" modern discords, over 10,000 Double Chants could be constructed in major keys (without reckoning differently-cadenced "
differences of crownings "). It is therefore obviously impossible to do more in a work of this kind than point out some of the best (as above). The following Cadence-plans of a number of fine modern chants may also be suggestive; the student should construct chants on them, and invent other plans of his own
:
FIRST CADENCE.
(1) (2)
(3)
SECOND CADENCE.
Tonic (D) Tonic, with 3rd crowning (D)
THIRD CADENCE.
Supertonic (R)
Dominant
(S)
Subdommant
Submediant
(F)
Dominant
(S) (S)
(S)
(4)
(5)
Tonic, 5th crowning (D) Subdominant, inverted (Ft)

(L)
Dominant
Dominant
(S)
Dominant, root crowning (S) Dominant, 5th crowning (S)

(S)
Supertonic (R) Dominant, 3rd crowning Dominant, 3rd crowning
(6) (7) (8)

(9)
Supertonic (R) Tonic, 3rd crowning (D) Dom. yth, 3rd inversion
Mediant (M)* "Feminine" Dominant (Dc
Subdominant (F) Submediant (L)

S)
Dom
(10) (12) (14)
Submediant (L) Relative Minor
(L)
(n) Tonic, inverted (Db)
Dom.
7th, ist inversion

ist inversion (R/>)
(S)
(13) Supertonic, (15)

(16) (17)
Dominant, jth crowning Relative Minor (L) Subdominant (F)
(18) (19)
Tonic (D) 7 Rfc) Supertonic 7th, ist inv. Subdom., 5th crowning (F)
(
Dominant (S) Dominant (S) Dom. of Relative Minor (" e Af) Dominant (S) Dominant (S) Dom., with modulation (S) Dom. of Relative Minor 8 Af) Dominant, root crowning (S) Dominant (S) Dominant, 5th crowning (S)
(
Subdominant
7th, 3rd inverison (F)
7
(
S<f)
Supertonic (R) Supertonic (R) Dom. 7th of Rel. Minor
7
(
Submediant
"M)
Supertonic, Supertonic (R) Dom., 3rd or 5th crowning
(L) ist inversion (Rb)

(S)
Dominant, 5th crowning
(S)
(20) Tonic, ist inversion (Db)
Dominant (suspended
by
italic capitals
4-3) (*S S)
is
Mediant, with modulation (M) Subdom., with modulation (F) Submediant, 5th crowining (L) Tonic, ist inversion (D6)
The chords
are indicated
when
there
a Modulation to the Minor.
DOUBLE CHANTS
51
IN
MINOR KEYS.
in
The cadences
(a)
of 30 representative
Double Chants
minor keys work out as follows

(b)
FIRST CADENCE
12
SECOND CADENCE
17 7 2
Tonic, root ]>osition or inverted, (L, Lb) ................ ~ Dom., or Dom. 7th ( Be M, Be iM) Tonic of Relative Major .(D)
.
.
o
i
............ Submediant (F) .... Subdominant, Minor (R)
4
i
Dominant ( 8e A/) ............ Tonic of Rel. Major (Dj ...... Dominant of Relative Major (S) Tonic (L} ................. Other .......................
3
r
Other Cadences
............
30
(c)
THIRD CADENCE
7 6 6
4 4
2
I
Tonic of Relative Major (D) .............. Subdominant (R or Rb) .................. Tonic (L or Lb) .................... Dominant of Relative Major (S) .......... Dominant ( Be ) ........................ .... .................. Submediant (F) Other ..................................
'
30
52
Typical specimens (a) ist Cadence, Tonic of Relative Major
: ;
2nd, Dominant
3rd,
Modulation to SubBATTISHILL.
dominant (Minor).
Double Chants in Minor Keys.

ist
21
Cadence, Tonic
2nd,
Dominant
3rd,
Dominant
,
of Relative Major.
COOKE.
:c2z
B-
xd-^-L^_
=:
I
MORLEY.
(c)
ist
Cadence, Tonic
2nd,
Dominant Minor
3rd,
Tonic of Relative Major.
3EEEfeEEg S^^lg^g=fl=0 o Q J-J
3.
1-
f"3
I*--)
fT
^M
fEXERCISES
:
S
I
~? I.I s Gt L^^
-i
ca
^x_inzii
-&e,
J-si--sL
-e-
Q
r<3
Q O
i
G>
-*i-
Compose Double Chants in Minor Keys on the cadence-plans

Dominant
2nd, Dominant of
Relative Major
of
(a), (fy,
and
(c).
(d) ist Cadence, of Relative Major.
3rd,
Submediant
F.
JAMES.
fT*
r:.
L .^,
g-^g
r?-H-
j-^-.^J>J
iJ
(e)
ist Cadence,
Tonic
2nd, Tonic of Relative Major
3rd, Tonic.
CAMinGE.
8-IH?
^L_^
(/)
ist Cadence,
Tonic
2nd,
Dominant
of
Relative Major
3rd, Tonic of Relative
Major.
COOKE.
EXHRCISHS
Compose Chants on the models
(d), (e),
and
(/).
22

ist Cadence, last inversion of
(g)
Dominant 7th
2nd,
Dominant
3rd, Tonic of Relative
Major.
CROTCH.
-go- -8^
J-
J &
..
(h) ist
Cadence, Submediant
2nd, Tonic of Relative Major
3rd,
Dominant
of Relative
Major.
a _
i
COOKE.
|
"
i
g=^-f vr
H-
fa*
r>
() ist Cadence, first

first
inversion of Tonic
2nd,
Dominant with Suspended 4th
3rd,
inversion of Tonic.
ATTWOOD.
EXERCISES
Compose Chants
in the style of
(g),
(A),
and
(t).
53
The
following
is
an unusual example
it
begins and ends with a Major Tonic chord :-
PURCELL.
Ij
!
T&>I
I
ggqo
-s-
- -G-r^-^J^TI
T1
-r
'
rr
Cadence Plans.
23
the best modern Minor
54
The
following model cadence-plans are selected Irom
among
Double Chants.
FIRST CADENCE.
Tonic, ist inversion (Lb)
SECOND CADENCE.
Dominant
7se
(
THIRD CADEMCE.
8e
(
M)
Dominant Dominant
Tonic
(L)
se
(
M)
(R)
yth, ist inversion
M6)
Subdominant
Tonic of Relative Major (D) Tonic of Relative Major (D) Feminine Dominant (Lc se M) Dominant 7th ( 7se M) Tonic of Relative Major (D)
Dominant se M) Subdominant (R)

(
Tonic of Relative Major (D) Dominant of Relative Major
(S)
Dominant
Tonic (L)
8e
(
M)
(S)
Dominant Dominant
Tonic
(L)
8e
(
M)
Af)
(Sfc)
se
(
Dominant Dominant Dominant

Tonic (L)
se
( (
(
M) se M) 8e M)
8e
of Relative Major, ist inv. Tonic, ist inversion (Lb)
Dom.
Dominant Dominant
M)
M)
se
Dominant of Relative Major Subdominant (R) Dominant se M) Submediant (F)

(
Supertonic yth, 3rd inversion
7
(
Td)
Tonic of Relative Major (D)

se
(
Dominant 8e Af) Submediant (F)

(
Subdominant, ist inversion (Rb) Subdominant (R)
Feminine Dominant (Lc
M)
Subdominant
Tonic
(L)
(R)
Supertonic, ist inversion (Tb)
Dominant
Tonic (L)
se
(
M) M) M)
Dominant 8e M) Submediant (F)

(
Dominant Dominant
Tonic
successive cadences
e
(
Tonic (L) Tonic (L)

Be
(
Dominant
N.B.
crowning.
(M)
When two
:
(L)
Submediant (F) Subdominant, ist inversion (Rb) Dominant se M) Tonic of Relative Major (D) Tonic of Relative Major (D)
(
fall
on the same chord, there

(or all) of the
is
nearly
always a different
EXERCISES
Compose Chants on any
above plans.
The Perfect Cadence. It has been said that many modern composers are afraid to write a perfect cadence It to while at the end of be mention here that a number of cadences well, therefore, may perfect successive phrases should be avoided as weak and monotonous, it must not be supposed that the "perfect cadence formula" Dominant (or Dominant yth] chord followed by Tonic chord always implies a full stop or a sense of finality. Passages like the following abound in the best music
!
:
r~J
,.
fr1f~&T"^l
^"J
l-*
r~J
l-a
,.
*J?
It should also be noted that when the Dominant (or of finality disappears, except at the end of a phrase
Dominant
:
7th) chord
is
inverted the sense
24
CHAPTER
55
III.
FOUR-LINED HYMN TUNES.

Double Chants
principles underlying the construction of applying them to hymn-tunes. An analysis of several hundreds of hymn tunes shows that they are, on the whole, much less varied chants are more often composed by educated musicians cadence than chants probably for two reasons
will
The student who has grasped the general

have
little difficulty in
in for the use of skilled choirs hymn-tunes are largely the composition of less learned musicians, and are Modern tunes are, however, much more varied in cadence than primarily intended for congregational use.
: ;
older ones.
It is presumed that the student has been pursuing his harmony studies, and has now a larger stock of chords at his disposal than when he started composing Single Chants. It is further necessary, before starting with hymn-tunes, to consider the subjects of
MEASURE, ACCENT, and METRE.
The division of melody into bars or measures is not merely " its principal function cutting up the music into portions of equal length " Accent is the stress is to indicate the periodic succession of regular groups of accents." often implied or understood, rather than forcibly expressed by laid on particular notes joudness to distinguish them from other notes.
56
for the
MEASURE AND ACCENT.

purpose of
"
There are two kinds of accent which should particularly engage the attention of the composer (i) the accent given to a note by its position in the bar (or measure), e.g., the first note in every bar takes the strong this is called Metrical Accent. (2) The accent given to a note from its position in connection accent, etc. this is called Rhythmical Accent. with other notes (e.g., the first note of a group, figure, phrase, etc.) The Metrical and Rhythmical accents in a melody may coincide in most simple pieces, hymn-tunes, anthems, part-songs, etc., they do so but in elaborate compositions they often fall at different points, giving Metrical accent, with rare exceptions, is regular and unvarying, rise to most beautiful and unexpected effects. and subject to simple mathematical and mechanical laws. Rhythmical accent, on the contrary, is capable of infinite variation, and is subject only to the fancy and intelligence of the composer and performer.
:
of accent
We can easily distinguish three degrees (i) SIMPLE MEASURES. the strong accent, given to the first beat of every bar (or measure) (2) the weak accent, falling on the last beat of every measure (and on other beats of long bars) (3) a medium accent, falling on the third beat of quadruple (or four-pulse) measures, etc.
57
METRICAL ACCENT,
;
(i)
DUPLE, OR TWO-PULSE, MEASURES

Order of Accents
or
jjj,
4,
etc.
STRONG, weak.
STRONG
weak
TRIPLE, OR THREE-PULSE, MEASURES g, %, |, Order of Accents STRONG, weak* weak.
etc.
STRONG
weak
weak
-t
g,
E
etc.
QUADRUPLE, OR FOUR-PULSE, MEASURES \ or $, \ or Order of Accents STRONG, weak, medium, weak.
|,
M
w
(2)
M w
w M w
COMPOUND MEASURES.
Order of Accents
SIX-PULSE, MEASURES |, f, &, etc. STRONG, weak; or STRONG, weak, weak, medium, weak, weak.
COMPOUND DUPLE, OR
S ;w 5w |M ;w ;w S
SwwMww
is
SwwMww
tl.e
In slow music, the sicond accent of Triple measures
generally
made
either stronger or
weater than
third.
Accent.
25
COMPOUND TRIPLE, OR NINE-PULSE, MEASURES
|, |, &, etc. Order of Accents STRONG, medium, weak; or STRONG, weak, weak, medium, weak, weak, medium, weak, weak.
S :w jw |M ;w ;w |M :w :w
SwwMww Mww
J
COMPOUND QUADRUPLE, OR TWELVE-PULSE, MEASURES
^, |, etc. Order of Accents STRONG, weak, medium, weak; or STRONG, weak, weak, medium, weak, weak, medium, weak, weak, medium, weak, weak.
IM
IM
IM
SwwMwwM
wwMww
"
time taken quickly, the compound measures are practically simple measures with each when taken slowly, the accents would be slightly varied divided into three parts instead of the usual two hence, we have given two arrangements for each of these measures.
;
When
"
;
58
THE ACCENTS OF DIVIDED BEATS.

Any
of these parts
beat, like a measure, naturally divides into two
or three equal parts.
may
be again sub-divided into two or three equal parts

is
In all Simple times the beat divide into two equal parts. In all Compound times the beat to divide into three equal parts.
a simple note
is
(&
or
or
^,
and so on, at pleasure. etc.), with a tendency to

;
a dotted note
(^
or J> or J*, etc.), with a tendency
simple note
may
be divided into three equal parts

3
3
or a Triplet.
Thus
_
^
with identical wit
or a Duplet.
[JM^J-SS^ T
A
compound beat may be divided into two equal

is
222
parts
Thus
identical with
as
By the laws of metrical accent, a divided beat (or pulse) is accented in the same way a whole measure similarly divided. " A pulse may be so accented as to become a miniature two-pulse measure, As Mr. Curwen puts it,
The same
it is
a miniature four-pulse measure, a miniature three-pulse measure, or even a miniature six-pulse measure."
divided
obvious that
But when a weak beat principle applies to all subsequent subdivisions. its accents are of less value than those of a divided STRONG beat.
Binary and Ternary Divisions.
3-4 time.
is
Binary Divisions.
2-4 time.
wmwSwmwSwmwSwmw
SwmwwSwmwmw Swwmwwmww 99 999 99 99 9W 999 999 999 M H HH{ w
==
S
'
i-!
W W M
9
W
9
999999 !-
wm
mwSwwmwwmww 999999999 ~
26
In slow triple measures notes have the same metrical accent- values. Theoretically, no two successive the first, may be regarded as a little stronger than divisions, therefore, one of the weak accents, generally But in quick music this distinction is practically impossible. the other.
and
59 It will be seen, therefore, that all divisions and subdivisions of measures are regulated Of course, it would be quite impossible even if it were by a law of force (or dynamics). shades of difference in the performance of music. minute these all out to desirable They bring and it is of the utmost importance that the composer should understand nevertheless exist All metrical accents are what physicists call them, especially in setting words to music.
;
"
potential."
of speed, or rate of move60 CHARACTER OF THE MEASURES. Subject to the modifications " " than the more elegant and prosaic ment, measures with even divisions are more solid and " the greater the The student will hardly need to be told that diversified triple varieties. be the of melodic and he will make the effect," variety greater may variety of metrical accent " " As a rule, the simple measures are more appropriate his choice of measure accordingly. for sacred music than the compound measures, but there are many exceptions to this rule. The effect of measure even on such a simple melody as that of the major scale may be
seen in the following (a) With equal notes.
Unusual Measures.
27
61 OTHER MEASURES. In addition to the kinds of measure already enumerated, the only other measure in common use is an Octuple, or Eight-pulse, Measure ; i.e., with eight beats in each bar. It is, practically, a variety of Quadruple measure obtained by dividing each beat into two. It was frequently used by Handel, and it has also been employed by later writers
:
Andante
larglietto.
Judas Maccabceus, No.

tr
53.
~
&c.
beat to each quaver.
CHORUS
Andante
sostenuto.
SEE
f
WHAT
m
zzit:
1
LOVE.
MENDELSSOHN.
.
Paul, No. 43.

L
TENOR
1=
-*
-/
VL
-
&C.
See what love hath the Fa
ther bestow'd on us.
Accpt.
JS
112
|, etc., and with Septuple Experiments have been made with Quintuple measures, but not often with much success. The only generally satisfactory measures, 1, |, etc. metrical arrangements are by 2 and 3, and their multiples. " Gypsies' Glee." W. REEVE.
,
;
Allegro.
jx
-I
|X
Come,
stain
your cheeks with nut and ber
ry,
Come,
stain
your cheeks with nut and ber
ry.
The slow movement

of Quintuple time. So also the following
Such example
of Tschaikowsky's Pathetic Symphony is also a notable example measures really consist of alternate bars of duple and triple time.
of Septuple
measure consists
of,
and
is
written with, alternate
bars of 3-4 and 4-4

Allegretto.
INCANTATION MUSIC.
152.
BERLIOZ.
Childhood of Christ.
:/>
62
-==./>
/></>
-=:*/> <s/:
IN POETRY. The syllables of poetry are arranged in successive groups called " Each " foot " comprises a definite arrangement of long and short syllables, answering feet." broadly to a measure of music with its STRONG and weak accents.
of poetry are " lam'bic; short, long; or weak, strong (u Awake, my soul, and sing." (b) Trocha'ic; e.g., ) " The Tro'chee is the converse of the lam'bus. Come, my soul, thy suit prepare." strong, weak ( u) e.g., " u u) Over the mountains and over the waves." (2) (a) Dactyl' lie ; strong, weak, weak ( " We sing of the realms of the blest." (c) Anapee'stic; (b) Amphibrach'ic ; weak, strong, weak (u u) " He is gone o'er the mountain." The Am'phibrach and An'apaest may be weak, weak, strong (u u ) regarded as varieties of the Dac'tyl.
(1) (a)
; ;
; ;
METRE
THE CHIEF METRES
63
AGREEMENT OF VERBAL AND MUSICAL ACCENTS.
Many would-be composers
find
it
difficult to
adjust the accents of the music to those of the words.
28

In general, strongly accented syllables should Medium 'accents count for this purpose as
fall
if
versa.
strong,
on strongly accented notes, and vice and divided beats have their
:
shown in par. 58). relatively strong and weak parts (as Let us suppose that the composer is about to set the following lines to music Light of those whose dreary dwelling Borders on the shades of death, etc.
:
Let us also suppose that he decides to set the syllables to notes of equal length that the following melody occurs to him as suitable
say, crotchets
and
Light of
g.
JL
dZZj=
d well-ing
=P
-*-
'==ibEE^g^B _ ^^* H
'
those whose drear-y
Bor-ders on
the
shades of
death, &c.
Strange as
it
may
seem,
many
persons with innate feeling for melody could not appropriately add
bars to this fragment. It is obvious that each of the following metrical accents of the music
:
would be bad, as the verbal accents do not agree with the
m
Light of
those whose drear- y
dwell-ing
Bor
ders on
the
shades of
death.
Light of
those whose drear-y
dwell-ing
Bor-ders on
the shades of
death.
Light of
those whose drear-y
dwell-ing Bor
ders on
the
shadesof
death.
^
death.
death.
the
blest.
But
either of the following
would be quite correct
t=*
Light of
those whose drear-y
dwell-ing
Bor-ders
on
the
shadesof
Light of
those whose drear-y
dwell-ing
Bor-ders
on
the
shadesof
death.
Light of
those whose drear-y

:
dwell-ing
Bor-ders
on
the
shadesof
Note also the following Bad.
Bad.
We
Good.
sing of
the
realms of
the
blest.
We
sipgof
the realms of
GooJ.
We
64
of the
sing of
the realmsof the
blest.
We
sing of the realms of the
blest.
IN HYMN-TUNES. Breadth and simplicity are two " most essential requisites of a hymn-tune. The composer should avoid mere tuney music on the one side and a too severe and learned style on the other. He should constantly study the best available models in this (and in all his subsequent) "
THE STYLE OF MELODY ADVISABLE
work.
beginners write in the style prevalent, perhaps, in the country village where they reside, and from old MS. collections of tunes and anthems which have been accumulating from These collections, though of great interest to the musical antiquarian who has generation to generation. sufficient knowledge to discriminate between the " wheat and the chaff," are often worse than useless to
select their patterns
Many
The Harmony
of
Hymn
Tunes.
29
the young composer. They are generally marred by errors of harmony and mistakes of the copyist to imitate these comand they nearly always represent a phase of musical art antiquated and worn-out In music as in most other things customs and modes of expression positions is futile in the extreme. and though the genuine work of art may be imperishable, the great mass of are constantly changing contemporary music at any period must of necessity die a natural death.
; ; ;
The finest type of hymn-tune is undoubtedly that of the Lutheran Chorals (of Germany) next to these rank the tunes of the early English Psalters. " " be mainly Hymn-tunes should " syllabic (that is, with one note of the music to each syllable of "
;
the words), but occasional

(a)
florid
passages are quite permissible.
SYLLABIC TUNE
Old 100th Psalm Tune.
Praise God, from
whom
all
bless-ings
flow,
Praise
Him
all
crea- tures here be
low.
(b)
MAINLY SYLLABIC, BUT OCCASIONALLY FLORID
"
m
the
>
Rockingham."
=\-
E.
MILLER.
'OIL won- drous cross

^.
i-
On
which the Prince of
Glo
ry
died,
CQ:
My
in
rich- est
gain
count
but
loss,
And pour
style,
con- tempt on
my
is
pride.
Both these examples are excellent bad taste "

:
but the following
popular 70 years ago,
now reckoned
6-8's.
"Daniel
Street."
ker while I've breath
And when
death
Praise shall
em
ploy
my
no- bier powers
My
days
be
past
While
life,
and
thonght,
and being
last,
Or
im
mor
ta
ty
en
dures.
65 THE STYLE OF HARMONY ADVISABLE IN HYMN-TUNES. The first condition of true Art APPROPRIATENESS. The harmonies and progressions employed in hymn-tunes should " " should t>e avoided. therefore be solid and dignified, and over chromaticism
is
" " harmonized to death It is the fault of too many modern hymn-tunes that they are they are more " cleverness than pieces of music intended for religious harmony exercises to show off the composers' " To paraphrase the words of an old writer, They seem to have come down hot from the organ worship.
;
like
"
loft,
and can be neither profitable to man nor pleasing to
his
Maker."
modern harmony naturally predispose the young composer to overload his melodies with pungent and striking chords and as the number of concords is limited and the number of But this is a fatal error. discords unlimited, it is often thought that discords are superior to concords.
infinite resources of
;
The
"
discords set off Concords are the foundation of harmony, the substantial food of music, so to speak the concords Further, discords vary considerably in their dissonant effect some they are the seasoning.' A sucare noble and sonorous (as Dominant yths) others harsh, and essentially displeasing to the ear. the cession of concords becomes monotonous a succession of discords soon tends to disagreeable unrest best effects of harmony are produced by a due admixture of both." (From the Author's Cyclopedic
; ' ; ;
'
'
Dictionary of Music.)
To know just when to introduce a strong discord, or an effeminate waving chromatic, requires a good deal of experience and judgment. As a rule, however, the great bulk of all music of a quiet nature should be based upon smooth diatonic harmonies. Strong discords, rugged harmonies, broken melodies, disjointed are very appropiite in setting such works, say, as the rhythms, abrupt changes of key, uneasiness of tonality, " whose characters appear bathed in tears, with murderous tragedies of Êschylus, Euripides, and Sophocles, " but they are weapon in hand, terror and pity on either side, preceded by despair and followed by woe decidedly out of place in the chant, hymn-tune, anthem, or church service
;
30
The
"

Old Hundredth,"
for
example, might be harmonized as follows
plNQo
I
but harmonies almost It is to be hoped that no sane musician would arrange it thus for church use as inappropriate may be found in many modern tune books. " In a tune book now before the writer, in which the Old Hundredth" is quite properly harmonized with only one discord (and that a passing Dominant 7th in the last chord but one), there is a modern tune of 48 of them of the most harsh and far-fetched character. And this chords, 28 of which are discords many " " " " tune is set to a hymn dealing with sweetness," mildness," and love," peace." Another danger arising from the excessive use of chromatic chords lies in the fact that, though effects are cheaply obtained, the actual progressions of the harmonies are, especially in the hands of inexperienced " While, at first sight, the harmonies composers, exceedingly limited they therefore tend to run in a groove." appear rich and varied, they are in reality often trite and commonplace, being mere repetitions of worn-out formulas.
;
;
66
CADENCES
IN
FOUR-LINED
HYMN
TUNES.
(b)
An
analysis of the Cadences of 200 Major four-lined tunes gives the following results
(a) FIRST CADENCE Tonic (D) Tonic inverted (D/>)
SECOND CADENCE
142 23
17
123
5
Dominant (S) Dominant inverted (S6) Submediant (L) Subdominant (F) Dom. yth, in various
7
(
29
2
15
4
with or without Dominant, change of key (S) Tonic (D) Feminine Cadence Tonic, Dominant (Dc S) Dominant of Relative Minor
positions
("M
8
5
6
(L)
S,
S6, etc.)
Various
"
feminine
"
Submediant
Cadences
Various other cadences
10
(Dc S
Fc D)
of
Dominant
8e
(
Relative
Minor
3
M)
Other Cadences
200
200
(c) THIRD CADENCE Dominant (S) Inverted Dominant (S/>) Dominant 7th in various
positions
7
(
S,
Sb, etc.)
Tonic (D) Inverted Tonic (Db, Dc)
65 4 13 28
n
24
Submediant (L) Subdominant (F) Feminine Tonic, Dominant (Dc S) Dominant of Relative Minor 8eAf) Supertonic (R and Rb)
(
14
12
13 5
Other Cadences
200
Iambic Metres.
31
be seen that the favourite cadence at the end of the first line is a Tonic Cadence the key), and that at the end of the second line a Dominant Cadence (very frequently The Third cadence is much more varied, especially a perfect cadence in the key of the Dominant] in modern tunes. " when two The student must carefully remember what has before been stated that or three cadences of the same kind are used in succession, contrast is usually secured by different crownings of the cadential chords and varied approaches in the bass."
It will
(to establish
.
67
FOUR-LINED IAMBIC METRE. The usual four-lined Iambic metres

(8.6.8.6.),
(see par. 62) are called Short
Metre
(6.6.8.6),
Common
Metre
(2)
and Long Metre

it is
(8.8.8.8).
(i.e.,
N.B.
In
all
(i)
Iambics start with a short

usual to
:
hymn-tunes
mark the end
unaccented] syllable followed by a long (i.e., accented) syllable. of each line of the words by a double bar.
(A)
SHORT METRE
6.6.8.6.
happy, happy place, Where saints and angels meet There we shall see each other's face,
;
The
"
And all our brethren greet. are now generally written in simple times quadruple and triple being the most Hymn-tunes " beat note may be either a minim (which many theorists prefer) or a crotchet.
The following are specimens (a) With equal notes
:
usual.
of typical Short Metre tunes
"St. Augustine."
S.M.
From
a Lutheran Choral.
N.B.
May
also be written
(b)
With occasional dotted
or slurred notes
St.
George."
S.M.
Dr.
GAUNTLETT.
i33
Or
HI
32

(B)
COMMON METRE
8.6.8.6.
my soul, some heavenly theme Awake, my voice, and sing The mighty works, or mightier name, Of our eternal King.
Begin,
Specimens of typical
(a)
Common
"French."
Metre tunes C.M.
(in
the
same order
as above)
J
Or
ftc.
(6)
"Winchester Old."
C.M.
G. KlRBYE.
nod
(c)
"Martyrdom."
C.M.
H. WILSON.
r-
&
T g3
f^>
"
(d)
Ilfracombe."
C.M.
l^ri*!
(C)
^-H5Ml
LONG METRE
8.8.8.8.
Eternal are Thy mercies, Lord Eternal truths attend Thy word Thy praise shall sound from shore to shore, Till suns shall rise and set no more.
; ;
Specimens of typical Long Metre tunes

(a) Tallis'
(in
the
same order
as above)
Canon.
L.M.
T. TALLIS.
^=^-^1
Tunes
Luther's Chant.
to
Iambic Metres.
L.M.
C.
33
ZEUNER.
(d)
z{z:
-o
EXERCISES Complete the following melodies in the metres harmonizing them in four parts. SHORT METRE.
:
indicated,
afterwards
COMMON METRE.
2
R=t
f
gj
f3Z,/-
^^
?&=3^^=
fc
IQ:
S=^=i-ifon r
-i
^ni-^ t* 3
C^
10
d?:
LONG METRE.
2
34

4
ztrcdtcC.
IS
rj 0=
I
3= HP
1=0:
lia^z^rg^pg:
I
1
o>
iî
IQI
^rr^ ^
f
^^^
'
'
""
_~
"
11
^-
Q ion
J =iU Ê
i
=a:
~
s g^-j-jj-iz^-^Mi *
3 n>zj
.
J rJ_U
68 Points of Imitation, Sequence, etc., are not so common in hymn-tunes as in chants but occasional correspondence or repetition of melodic outline particularly between the to add to the first and third, and the second and fourth lines of the tune may "be employed " " " breadth of the and interest of the composition, provided always that the simplicity Occasional unison passages are also effective. tune be not sacrificed.
;
EXAMPLES OF IMITATIONS,
"
Tallis'
ETC.
Ordinal."
C.M.
The
"Kent."
third line
is
a repetition of the
first
the fourth
is
a repetition of the second a
fifth lower.
C.M.
S STANLEV.
The
"Tallis'
third line
is
an
effective ascending sequence of
two
notes.
Canon."
L.M.
Y
8
<9
r
r?
S-
r
r
1
e
r
j.
fl
treble
^3
f
i
r r
i
and tenor, which have exactly the same notes (the tenor following the treble four beats later (see the *). The other parts (alto and bass) arc said to be " free"; they merely " " fill up the harmony. Note, however, that they are in similar style to the canonic treble and tenor, and include occasional passages taken from them. Further examples of these and similar devices may be found in any collection of hymn-tunes.
The
"
canon" occurs between
Trochaic Metres.
35
tunes on the models
EXERCISES
shown.
Compose examples
of Short,
Common, and Long Metre
It is generally advisable to have some special words in view, as the prevailing sentiment of the words " A The words, too, will often suggest melodies of appropriate style. should be reflected in the music. A solemn bold and spirited tune set to a hymn of penitence and submission jars upon the feelings. neutral tune adapted to a hymn of praise destroys joyfulness and injures worship." (Curwcn, or " merely
.
Musical Theory.")
69
and
"
FOUR-LINED TROCHAIC METRE. The chief four-lined Trochaic Metres

eights N.B.
and sevens
"
(see par.
62) are
"
four lines sevens
"
(7.7.7.7),
(8.7.8.7).
(i.e.,
The Trochee
(i.e.,
by a short
(A)
is the reverse of the Iambus, starting with a long unaccented) syllable.
accented) syllable followed
FOUR LINES SEVENS.
7.7.7.7.
Christ, of all
my
hopes the ground,
Christ, the spring of all joy, Still in Thee may I be found,

Still
my
for
Thee
my
powers employ.
Specimens of typical tunes

"
(a)
Lubeck."
7.7.7.7.
German Choral.
"
(6)
Innocents."
7.7.7.7.
(c)
"Judah."
H V
f-j t>
7.7.7.7.
J.
V.
WATTS.
/[
TfTj
36
"Sicilian Mariners."
-

(b)
8.7.8.7.
^^rf=L^
Tens and Elevens.

Specimens of suitable tunes
(a)
37
"David."
From HANDEL.
^=
(2)
TENS AND ELEVENS.
O O
worship the King, all glorious above gratefully sing His power and His love Our Shield and Defender, the Ancient of Days, Pavilioned in splendour, and girded with praise.
;
;
Specimens of typical tunes
10.10.11.11.
Dr. CROFT.
ê
Montgomery."
10.10.11.11.
3
S. JARVIS.
&-
I~Q~
(C)
DACTYLLIC AND AMPHIBRACHIC.

Jesus,
Down in green pastures He makes me to lie He leads me beside the still waters of rest My soul He restores to the fold of the blest.
;
my
Shepherd,
my
want
shall
supply
N.B.
The
third
and fourth
lines of this
hymn
are Amphibrachic.
Specimens of suitable tunes
TRIPLE TIME.
a;
-CZ^LS,
Dctz^:
zÊB
38
The Composer
Handbook.
QUADRUPLE TIME.
N.B. Dactyllic, Amphibrachic, and Anapaestic hymns are but the true Anapaest (short, short, long) is rare in hymns.
all
often
loosely called
"
'*
Anapaestic
EXERCISES paragraphs 69 and

if
The student should now compose hymn-tunes on the models given
in
js
70. A few four-line metres are in use in addition to those given above, but they will cause no difficulty the general principles of accentuation are observed. the most frequent irregularity In all kinds of hymns irregularities of metre are of frequent occurrence the employment of Dactyls in Iambic lines, and this is particularly common at the beginning of the line ; e.g.
;
Sun
of
my
Soul,
Thou Saviour
dear.
'""Sactyl.
tunes to Iambic metres commence, therefore, with a strong accent. (Examples may be found Composers, as a rule, pay most attention to the first verse of a hymn ; it would, however, be better to ascertain the regular average metre of the hymn, as a whole, so as not to upset the proper accentuation more than is absolutely necessary.
Many
in
any tune book.)
71
FOUR-LINED MINOR TUNES.

Of the older hymn-tunes, a large proportion were
;
in minor keys thus in Este's Psalter minor. The earlier tune are Methodist books the tunes also one contained a large half ^1592) number of minor tunes but latterly the proportion has considerably decreased. In several parts in modern English collections, however, minor of Wales the love for minor tunes still lingers the present proportion in standard collections is tunes are becoming more and more rare about one minor tune to fifteen or twenty major tunes.
; ; ;
72
follows
The Cadences
:
in
30 representative four-lined hymn-tunes in minor keys work out as
(a)
FIRST CADENCE
15
I.c)
(b)
SECOND CADENCE
Be
(
Tonic (L) Inverted Tonic (Lb,
Tonic of Relative Major (D) ....
2 7
Dominant
8C
(
M)
....
. .
Dominant Dominant
Tonic (L)
M)
Major
(S).
.
17 IT
i i
of Relative
Dominant of Relative Major (S) Tonic of Dominant Minor (M)
3 2
I
30
30
(c)
THIRD CADENCE
Be
(
Dominant
M)
(S)
Tonic of Relative Major (D) Dominant of Relative Major
13 4
4
3 2 2
Subdominant
Tonic
(L)
(R)
7se
(
Dominant yth
A/)
Other Cadences
73 It is not necessary to go as fully into the construction of minor hymn-tunes as we have done with regard to major ones the following typical specimens of the chief metres are given for study and imitation
; :
Specimen Minor Tunes.
39
at. ijrmes.
40
The Co-mposcr's Handbook.

Norwich.
7. 7. 7. 7.
L.
MASON.
=i
rr
A_A
A
Nuneaton.
.. a "
i
rr
f-
>U
r
u
3t
Û ^ ^ rr
8.7.8.7.
B.
MILGROVE.
*=
Old 104th Psalm tune.
10.10.11.11.
R JJ
rr;
H
J
<.>
00
*
^P
r^ ^!
oo
Jj
id
PTr
Exercises.
41
The student will note that whereas tour-lined major tunes generally remain major throughout (often without any change of key), minor tunes rarely remain minor throughout. There is nearly always a modulation to the relative major, especially in the second line. Note also that the second line is often " " " " " the first line St. Bride's and Norwich "). repeated in the relative major (see N.B. Although minor keys are complete in themselves and quite independent of major keys (i.e., not be regarded as mere modal varieties of the latter), the fact cannot be ignored that there is they must " As Mr. Curwen points always a strong tendency for a minor tune to modulate into the relative major." out in his Musical Theory, a modulation from minor to relative major brightens up a minor tune much in the same way as a modulation to the Dominant (" transition of one sharp remove ") brightens up a major
tune.
One
frequently,
producing rather
of the chief faults of beginners in writing minor pieces is to modulate to the relative major too " a mixture or medley of the two keys " than a well-considered modulation.
To conclude this chapter we append the cadential chords exactly as they stand from a number of quite recent hymn-tunes. The student may exercise his ingenuity by composing original tunes embodying them. N.B. The lengths of the notes must be arranged to suit the requirements of the rhythm and metre. Otherwise, no change should be made in the chords.
=:gz=o~n
itisrti
KEY
G minor.
42
CHAPTER
74
IV.
TUNES TO HYMNS WITH MORE THAN FOUR LINES.

of Cadences,
with more than four lines provide increased facilities for well-planned schemes also for more extensive changes of key. " Five attendant keys." Major hymn-tunes rarely modulate beyond the
Hymns
and
the
"
fully discussed in Chap. X. Key-relationship is " Five attendant keys will, perhaps, suffice
:
For the present the following
brief definitions of
The major keys with Tonic a perfect 5th higher and a ATTENDANT KEYS. (i) OF A MAJOR KEY. and the three relative minors (including that of the principal key). Thus the attendant perfect 5th lower minor. keys of C major are (i) G major, (2) F major, (3) A minor, (4) E minor, and (5)
;
(2)
OF
MINOR KEY.
the three relative majors. (4) Bb major, and (5) Ab major.
The minor keys with Tonic a perfect 5th higher and a perfect 5th lower and Thus the five attendant keys of C minor are (i) G minor, (2) F minor, (3) Eb major,
;
75
FIVE-LINED HYMNS.
(a)
These are rather rare

:
in
English
hymn books
Dom. key
Tonic
(D)
;
the following
cadence-plans are from modern tunes
MAJOR.
(1)
Tonic
(D)
Tonic
(D)
Dominant
(S)
Dominant yth
;
of
Tonic.
(D)
(R)
Tonic
(D)
of
;
(2)
Tonic
(D)
Feminine
Tonic
(D)
;
Tonic Dominant
(Dc S)
Tonic.
(D)
(3)
Tonic
(D)
Dominant
Tonic
(D)
Dominant
Tonic
(D)
Dominant
(S)
Tonic.
(D)
(feR)
;
(4)
Dominant
(S)
Tonic
(D)
Tonic (Plagal).
(D)
(b)
MINOR.
Dominant
8e
(
Relative Major Tonic

(D)
of the
Tonic
(L)
Dominant
8e
(
Tonic.
(L)
M)
skill.
Af)
Of these plans, while that
minor tune
is
good, the others
except, perhaps, the ist and 3rd
cannot be said to exhibit either variety or
Five-cadenced Lutheran Chorals are, however, quite common.

varied cadence-plans are from Bach's Choralgestinge.*
(a)
The
following finely-
MAJOR.
(1)
Tonic
(D)
'
Tonic
(D)
Supertonic
(R)
;
Submediant
(L)
Tonic.
(D)
;
(2)
Tonic
(D)
Submediant
(L)
;
Supertonic
(R)
Dominant
(S)
;
Tonic.
(D)
;
(3)
Subdominant
(F)
Dominant
(S)
Dominant
(S)
Submediant (Major)
(ae
Tonic.
(D)
(4)
Subdominant
(F)
Tonic
(D)
Dominant
(S)
Dominant
.
Tonic.
(D)
;
(S)
(5)
Subdominant
(F)
Tonic
(D)
Dominant
(S)
;
Submediant
(L)
Tonic.
(D)
(6)
Tonic
(D)
Tonic
(D)
Dominant
(S)
;
Dominant
Supertonic
(R)
;
of Relative
Minor
Tonic.
(D)
(8M)
; ;
(7)
Tonic
(D)
Dominant
(S)
Tonic
(D)
;
Tonic.
(D)
;
(8)
Dom.
of Rel.
8e
(
Minor
Tonic
(D)
Supertonic
(R)
Dom.
of Rel.
fle
(
Minor
Tonic.
(D)
M)
Two
M)
vols., Peters'
Edition, No*. 21
and
22.
Five-lined and Six-lined
Hymns.
43
(b)
MINOR.
;
(9)
Tonic of Rel. Major

(D)
Tonic
(L)
Dominant
8e
(
Dom.
of Rel.
(S)
;
Major
Tierce de Picardie.
(dejr,)
M)
(D)
(10)
Tonic
(L)
.
(n) Tonic
(L)
(12)
Dominant ("M) Dominant

(-6M)
;
Tonic
(L)
Tonic of Rel. Major
Tonic.
(L)
Tonic
(L}
;
Dom.
of Rel.
(S)
Major
Tierce de Picardie.
(iejL)
(13)
Dominant ("M) Dominant

8e
(
Dominant
8e
(
Tonic of Rel. Major

(D)
;
Tonic of Rel. Major

(D)
Tierce de Picardie.
(deJL)
M)
(R)
(
Subdominant
Dominant
8e
Submediant
(F)
Tierce de Picardie.
de
(
M)
:
M)
L)
EXERCISES (i) Write major tunes to the following words on any of the cadence-plans i to 8 from Bach (above)
Dear Lord and Father of mankind, Forgive our foolish ways

;
Reclothe us in our rightful mind In purer lives Thy service find, In deeper reverence, praise. Whittier.
;
(2)
Write minor tunes to the following words on any of the cadence-plans 9 to 13 from
:
Bach (above)
Oh
the bitter shame and sorrow, That a time could ever be

I let
When
the Saviour's pity

!
Plead in vain, and proudly answered, Monod. All of self, and none of Thee
76
(i)
SIX-LINED HYMNS.
arranged in
"
The
versification
of six-lined
lines
three sets of two
"
;
hymns
falls
and
(2)
lines
arranged in
"
under two headings
two
sets of three."
(A)
(i)
THREE SETS OF Two.

Four-lines-sixes
j (
and two eights; 6.6.6.6; 8.8. ("Trumpet" Blow ye the trumpet, blow The gladly solemn sound Let all the nations know To earth's remotest bound The year of jubilee is come
! ;
!
metre).
Return, ye ransomed sinners, home.
(2)
Six-lines-sevens.
Rock
of Ages, cleft for me, Let me hide myself in Thee Let the water and the blood, From Thy riven side which flowed, Be of sin the double cure, Cleanse me from its guilt and power.
;
(3)
Six-lines-eights
(first
metre).
Thou hidden love of God, whose height, Whose depth unfathomed, no man knows, I see from far Thy beauteous light, Inly I sigh for Thy repose
;
My
At
heart
is
pained, nor can
it
be
rest, till it finds rest in
Thee.
"
in stanzas arranged as above should points of repose be at the ends of the second, fourth, and sixth lines. Assuming that the final cadence will " always be a Tonic cadence (and generally perfect "), the other most restful cadences will be the second and fourth. In major tunes a modulation to the key of the Dominant (" transition of one sharp remove ") frequently occurs in the fourth line (and sometimes in the second).
It is obvious that the chief
"
44
The
tunes to these (and similar) metres analysis of the cadences of 70 representative

:
works out as follows

(a)
FIRST CADENCE.
34 14 6
5 3
(b)
SECOND CADENCE.
(S)
Tonic (D)
Dominant
Dominant
(S)
Tonic, inverted (Db, DC)
Tonic (D) Other Cadences
39 27 4
Subdominant (F) Subdominant, inverted (b, Fc). Submediant (L) Dom. of Relative Minor 8e M)
(
70
4
2
Other Cadences
70
v i;)
THIRD CADENCE.
14
13
(J]
FOURTH CADENCE.
46
7 5 4 3 3
Tonic (D)
Submediant (L) Dominant (S) Dominant of Dom. key fe R) Dom. of Rel. Minor 8e M) Modulation to key of Mediant (M) Subdominant (F)
( (
8 7 5 3
Various other cadences
Dominant, frequently with modulation to Dom. key (S) Tonic (D) Modulation to key of Mediant (M) Submediant (L) Subdominant (F) Dom. of Rel. Minor 8e M) Other cadences
:
(
70
(e)
70
FIFTH CADENCE.
21 12 10 8 6
5

Tonic (D)
(F)
Submediant (L) Dominant 7th
S)
Inverted Tonic (Db) Supertonic (R) Dominant of Relative Minor
4
8C
(
A/)
3
i
First inversion of Leading-note Triad (Tfc)
70
SPECIMEN TUNES.
"Southampton."
6.6.6.6; 8.8.
W. HAYES.
n"
'
Six-lined
Hymns and
7.7.7.7.7.7.
Tunes.
45
German.
'Dix.'
rrrr
^^
-
^pa:
ff? irTTp
"
St. Matthias.
~
*
^^
5 ^B Tr^T rr
3
Dr.
W. H. MONK.
f^
^-J
^ ô
EXERCISES
metres.
(B)
(1)
Compose tunes
(on the lines indicated) to six-lined
hymns
of the
above
Two
SETS OF THREE.
;
Eights and Sixes
8.8.6
it
8.8.6.
Be To
my only wisdom here serve the Lord with filial fear,

;
With loving gratitude Superior sense may I display By shunning every evil way, And walking in the good.
(2)
Six-lines-eights (second metre). I'll praise Maker while I've breath ; And when voice is lost in death, Praise shall employ nobler powers.
my my
my
days of praise shall ne'er be past, While life, and thought, and being last,
My
Or immortality endures.
Next
(often, as before,
to the final cadence the principal point of rest will with a change of key).
of 20 tunes to these (and similar) metres
(6)
fall
at the end of the third line
The cadences
work out
as follows
(a) FIRST CADENCE. Tonic (D) Inverted Tonic (Db, DC)
SECOND CADENCE.
(S)
13
2
Dominant
10
4
i
Tonic (D) Modulation to key of Mediant (M) Dom. of Dom. key ( fe R, 7fe R) Other cadences
.
4
2
2 2
20 20
THIRD CADENCE. Dominant (S) Dominant of Rel. Minor SC A/)

(c)
(
(d)
FOURTH CADENCE.
6
5 3 2 2 2
18
. .
I
i
Supertonic (R) Tonic (D)
Modulation to key of Mediant (M)
20
Subdominant (F) Submediant (L) Dominant (S)

Other cadences
(e)
FIFTH CADENCE.
(S)
20
Dominant
Tonic (D)
7
4 3
2 2
Inverted Tonic (Db)
Subdominant (F) Submediant (L) Dominant ;th ( 7 S)
2
20
SPECIMEN TUNES.
'Traveller."
4
I
8.8.6; 8.8.6.
H.
HOLCOMBE
"
I
(18th Century).
,
J ,1 ZÊ&i
-izr
M
S
J.
f
-JMF
G>
Six- lined Tunes.

"
Innsbruck."
8.8.6; 8.8.8.
H. ISAAC, 1490 (Harm, by
J. S.
BACH).
i=
Fr pr-r
:
rrrt^^r^Wyi
FT' J^Q
-*
EXERCISES
Compose
six-lined tunes
on the above models. hymns

;
Various other six-lined metres are employed in either under (A) or (B).
but
for cadential construction they all fall
77
It is
The following cadence analyses The hymns are all of class reference.
N.B.
(a]
hardly necessary to give specimens of six-lined minor hymn-tunes. of twelve typical tunes will, however, be useful for
(^4).
Many
8e
(
six-lined
minor tunes have the
last
two
(b)
lines in the
Tonic Major Key.

5
FIRST CADENCE.
SECOND CADENCE.
(L)
se
(
Dominant
M)
Tonic
Tonic (L) Tonic of Relative Major (D) ....
4
3
Dominant
M)
4
2
i
Tonic of Relative Major (D) .... Dominant of Relative Major (S)
12
12
(c)
THIRD CADENCE.
se
(
(d)
FOURTH CADENCE.
4 4
2
. .
Dominant
M)
Major
(S)
Tonic of Relative Major (D) .... Tonic (L)
4 4
2
i
Tonic of Relative Major (D) .... Tonic (L)
Dominant
se
(
M)
Dominant
of Relative
Tonic Major
Modulation to Dom. key (M) Tonic Major
i
i
12
12
4g

(e)
FIFTH CADENCE.
4
3 2
I
Tonic of Relative Major (D) Tonic Major
Dominant se M) Subdominant (R)

(
Tonic
(L)
Dominant
of Relative
Major
(S)
12
EXERCISES Compose six-lined tunes in the keys of minor, with cadences arranged at discretion.
:
minor,
minor,
minor, and
in
78 SEVEN-LINED HYMNS are not very Lutheran Chorals).
common
in
English poetry (although fairly frequent
The
chief metres are as follows

(i)
6.6.4
6.6.8.4.
Thou whose almighty word

Chaos and darkness heard.
And
Hear
us,
took their
flight,
pray. the gospel day Sheds not its glorious ray, Let there be light.
we humbly
And where
(2)
8.7
8.7
8.8.7.
!
Great
God
The end The Judge
what do I see and hear? of things created of mankind doth appear,

; ! !
On
clouds of glory seated
The trumpet sounds the graves restore The dead which they contained before Prepare, my soul, to meet Him.
!
of these kinds
exhaustive analyses of the cadences employed in setting hymns the following are specimens of cadence-plans (and the student will find several other suggestive arrangements in Bach's Choralgesange, already referred to).
It is not necessary to give
;
(a)
Three
lines followed
by
four.
(i,)
Tonic
(D)
Dominant
(S)
Dominant
(S)
||
ist inv.
Dom. 7th
1st inv.
Tonic 7th
Submediant
(L)
CSb)
(tD6)
Tonic
(D)
||
(2)
Tonic
(D)
Dominant
(S)
Dominant
(S)
||
Tonic
(D)
Submediant
(L)
Tonic
(D)
Tonic
(D)
||
(3)
Supertonic
(R)
Dom.
(
of
fe
Dom.
Dominant
(S)
||
Submediant
(L)
ist inv.
Dom. 7th
CSb)
Dominant
(S)
'
R)
Tonic
||
Eight-lined
Hymns.
49
(b)
Four
;
lines followed
||
(1)
Tonic
(D)
Dominant
(S)
by three. Submediant
(L)
Dominant
(S)
||
Subdominant
(F)
Dominant
(S)
Tonic
(D)
||
(2)
Tonic
(D)
Tonic
(D)
;
||
Dom.
of Rel.
Minor
Tonic
(D)
;
||
Supertonic
(R)
||
Dom.
of Rel.
Minor
Tonic
(D)
||
(seM)
(scM)
(3)
Submediant
(L)
Dominant
(S)
||
||
Submediant
(L)
Dominant
(S)
ist inv. of
Submediant
(L6)
Dominant
(S)
Tonic
(D)
(4)
Dominant 7th
7
(
Dominant
(S)
||
Submediant
(L)
Dominant
(S)
||
Tonic
(D)
Dom.
of Rel.
Minor
S)
("Af)
Tonic
(D)
||
EXERCISES
above.
Compose various seven-lined hymn-tunes on the cadence-plans given
79
EIGHT-LINED HYMNS.
Iambic, Trochaic, Dactyllic,
etc.
These are very numerous in all sorts of metres and are nearly all arranged in " four sets of two lines."
80 Eight successive cadences allow of infinite variety, the chief cadences being at the end of the second, fourth, sixth, and eighth lines. Next to the final cadence that at the end of the fourth line (coming at the middle of the tune) is perhaps the most important.
In all the old English Psalters and in all Lutheran Chorals the cadence at the end of each line of any tune was very definite nearly always on a major chord and the final note of each cadence was marked with a pause, /r>. In modern English hymn-tunes the pauses are discarded, and the cadences especially at the ends of the first and third (and fifth and seventh) lines made " less reposeful " in character. Our hymn-singing has thereby gained in rhythmical swing and proportion, but it has lost considerably in dignity
and impressiveness. It has also become more and more customary to avoid set cadences at the ends of lines, and to use " " " at those points chords of motion rather than chords of rest." Thus all discords imply progression, " and Discords going on," any discord used at a cadential point prevents the feeling of a full stop. at the ends of lines are, however, somewhat opposed to the spirit of classical psalmody, and they should be used sparingly and with judgment. There is some danger of the modern hymn-tune becoming what has "
been called
ear- tickling sensationalism."
There is much scope for symmetry of rhythm and outline, imitation, sequence, and 81 other artistic devices in an eight-lined tune. Many fine old tunes have the first half complete in itself this being succeeded by two lines in some contrasted key (or keys), with a return to the original key in the seventh and eighth lines a well-defined and effective form
;
:
"
St. Matt!
/K
50
first
are identical, and are the same as the Note that the fourth and eighth phrases " " Note also the two notes omitted. throughout the whole tune. unity of style
first
phrase with the
Sometimes the third and fourth and second

:
lines are
a repetition
(or
varied repetition) of the
first
'Austria."
8.7.8.7.8.7.8.7.
HAYDN.
82 It is not necessary to tabulate the favourite cadences of eight-lined tunes cadence-plans are selected from standard settings
:
the following
(a)
EIGHT-LINED MAJOR TUNES.

(I)
Cadential Chords.
51
(9)
D*
52

(14) (15) (16) (17)
(18)
(19)
(20) (21) (22) (23) (24)
F6, Fc = ist and 2nd Inversion of Subdominant Chord. S = Dominant Chord. 7 S = Dominant yth. Sfr = ist Inversion of Dominant Chord. 7 7 7 Sfc, Sc, Sd = ist, 2nd, and 3rd Inversions of Dominant 7th. L = Submediant Chord L = Tonic Chord of Relative Minor. U> = ist Inversion of Submediant Chord. de L === Submediant Chord (major 3rd). 7de L = Submediant Chord (with major 3rd and minor 7th).
;
T6 = m D6
(25) *S
Leading-note Triad. Tonic Chord with minor 3rd ist inversion. Prepared 4th on the Dominant.
ist Inversion of
Feminine Cadences are marked DC S
Fc
etc.
EXERCISES
based on any or
(b)
The student may now compose major tunes

of the
to various eight-lined
hymns
all
above cadence-plans.
EIGHT-LINED MINOR TLTNES.

(1)
L
8e
"M
L
L
8e
(2) (3)
M
Db
L L
\\
||
D D
Rb
M
B
'M
7
M
SEc
**M
D
=
D
of
||
**M
L L L
2nd inversion
Leading-note Seventh.
Most eight-lined minor tunes modulate to the tonic major either

four lines
:
for the last
two or
last
(a)
TONIC MAJOR, SEVENTH AND EIGHTH LINES.
Key F
(4)
minor.
||
(b)
TONIC MAJOR, FIFTH TO EIGHTH LINES.
Key E
(5)
minor.
Twelve-lined
Hymns and
Tunes.
53
Sullivan's well-known tune to 83 Hymns of more than eight lines are not numerous. Onward, Christian soldiers," and the following fine tune by Sir Frederick Bridge (inserted by permission of the Proprietors of Hymns Ancient and Modern) are excellent examples of the
"
treatment of hymns with twelve lines
'
St. Beatrice."
7.6. (12 lines.)
SIR F. BRIDGE.
=ff tr^-pte=&=fc> p-H P^dE^ =FP4r=14i
-&- -&- -m-fZ-r*,^ . *
-e>-
&n
-&i
-&Jt^ .-
The student who has carefully followed the construction of chants and hymn-tunes The examples given, and the hardly need more instruction on the subject of cadences. After a time he will analysed tables, will suffice to guide "him in all his subsequent work. He will then no longer be bound by regulate the succession of cadences instinctively." " but his freedom will be the freedom of knowledge and not the licence of ignorance precedent
84
will
;
setting itself
up against authority and experience."

of
("
"
of
85
Our consideration
danket Alle Gott
Nun
"
North Germany.
hymn-tunes may fitly conclude with one of Bach's settings of Now thank we all our God "), the national hymn of thanksgiving
54
The Composer's Handbook
NUN DANKET ALLE GOTT.

8
VOICES.
m
'
ft
Accompt.
for
" r
Horns &Bass^&
'
i
t>
'
-3fZ
rr
r
i.
1(2.
-j-
Nun
Danket Alle
Gott.
55
.5.
nrHr
^fUSg
56
A
o
/r\
*>
57
CHAPTER
SONGS.
86
a
lay, a
V.
anything which may be sung, or uttered with musical modulations of the voice poem poetry in general. Specially a song is a musical composition for a solo voice, either with or without
Song
is
accompaniment
87 Songs represent the most ancient and universal form of music, ranging from the simple unaccompanied ballad to the highly developed works of a Schubert or a Schumann. They are broadly divided into Folk-songs and Art-songs.
"
unknown or obscure." Art songs are the works of skilled musicians, able " to supplement natural musical Some art-songs are manifestly overdone on the feeling by the resources of musical art and science."
scientific side but others, as for example Schubert's, the whole the artistic knowledge of the musician
;
;
Folk-songs
songs of the people
"
may
be denned as
"
traditional
songs of which the origin
is
all the spontaneity of the folk-song together with " suffused with the highest genius." Hence being Schubert's best songs represent the highest achievements yet attained in this branch of music.
have
With special reference to their structure, songs may be arranged in three classes Ballads, (2) "Through-composed songs," (3) Songs intermediate in character between ballads and through-composed songs. (N.B. "Through-composed" is the German Durchcomponi(e)rt.) A ballad has the same music for each stanza (commonly called verse) of the words it may also (A) " " " have a chorus or refrain." Practically all folk-songs and national songs are of this character. (B) A through-composed song has different music for each stanza, the style of " the music varying with " Erl King the varying sentiment of the words. and " The Typical songs of this class are Schubert's " " " are also Nun most songs through-composed. Young descriptive character have some of their stanzas set to the same music, while others (C) Songs of intermediate " " are contrasted. Most modern drawing-room" and concert songs (as Cowen's Children's Home," Sullivan's " " Lost Chord," etc.), and many German Lieder," are of this type.
88
:
(i)
ment
Metrical form is the arrange" " sections."* measures (or bars) in regular groups," which we will call to arrange itself in successive portions each four measures tendency Melody has a strong The " four-bar section " may therefore be called the " typical factor of (or bars) in length. metrical form." The section may begin at any part of a bar, and the end of it is generally
89
THE METRICAL AND MELODIC STRUCTURE OF BALLADS.
of
marked by some
"
sort of cadence.
N.B.
four-bar section
(1) (2) (3)
and occasionally a measure of, say, 12-8 time forms a complete section A Section may be divided into Sub-sections. A Sub-section may consist of " Germs," " Motives," or " Figures." Two or more (generally four) Sections form a Sentence.
;
Tn slow music (or in "
Compound Times) a
"
two-bar section
"
may
take the place of the ordinary

of
itself.
(folk-songs, national songs, etc.) consist of One Sentence of Four Sections. section is often a repetition (or varied repetition) of the first the third section while the fourth may be a repetition of the first (or is generally contrasted in melodic outline second), or it may be of the nature of a Refrain.
Most ballads
The second
YOU GENTLEMEN OF ENGLAND.

1st Section.
Old English Song.
2nd Section.
Sub-section.
Sub-section.
3rd Section.
Figure.
Figure.
Figure.
4th Section.
The terms used

application.
in describing
This difference does not simple scheme adopted in this work.
mus'cal form are, unfortunately, unsettled, as authorities dp not always agree as to their meaning and affect the facts, but only the terminology the student will not have any difficulty in following the
;
58
Note
.(a)
also the following typical songs

(1)
BEGONE. DULL CARE.

...^...
(b)
Old English,
1st
Section
2nd Section^_yaried ending
4 v
(c)
3rd Section; contrasted

,
(d)
4tb Section ^repetition of 2nd section

;
-=
(2)
** i
16th Century.
;
THE BRITISH GRENADIERS.

(b)
(a) 1st
Section
2nd Section
repetition of (a).
4th Section
repetition of (a)
(3)
THE MINSTREL
BOY.
1st Section.
(6)
2nd Section
1
repetition of (a)
K
1^^
(c)
3rd Section
contrasted.
^fe
(d)
4th Section
repetôn of
(a)
fe
Sometimes the second section repeats the the third with varied ending
:
first
with varied ending, and the fourth repeats

English Song.
;
HOME. SWEET HOME.

(b)
(a) 1st
Section..^
ivw
MJ.
2nd Section
repetition of (a) with different ending.
(c)
3rd Section...
...^...
(d)
4th Section
repetition of
(c)
with different ending.
Hi
Ballads of more than four sections are constructed on similar broad and simple lines
:
THE "GOLDEN
(a)
VANITY."
in
1st
Section
(6)
2nd Section (contrasted) ending
key
fc*
There was
(c)
a
;
ship
came from
the north country.
And
the
name
of the ship
was the
"
Golden Vani-ty,"
'.
3rd Section
repetition of (a)
*
And
(d)
they
feared
she
(b),
might be
tak
en
by
the
Turk
ish
en
my
4th Section, based on
and extended by repeating words and adding a new phrase
That
sails
up -on
the
Low
land,
Low-
land.
That
sails
upon
the
Low
land
sea.
This may be called a sentence of four 2-bar sections with the last section extended to four bars, or a sentence of five 2-bar sections. The nomenclature matters little if the construction is intelligently understood.
Accompaniment
of Ballads.
59
THE MERMAID.
One
(c).
Fri
day morn,
when we
set
(d)
sail,
..
And our
ship
not
far
from
land,
We
(e)
there did e
spy
fair
pretty maid, With a
comb and a REFRAIN.
glass in her hand, her hand, her hand,
variation of (d)
:g-^4J=^g^r-p y 5idig =*=?z:Ejz=*=

With a
(g)
comb and
glass
in
her hand.
While the rag
ing
seas
^
did
roar,
repetition of (6)
(h) repetition of (c)
And
(i)
the storm- y
winds did
blow
And
we,
jol- ly sailor
boys, were up,
up
loft,
repetition of (d)
(j) repetition of (e)
r-fc-s
down
be-low, be-low, be-low,
And
the land
lubbers lying
And
the landsmen were
all
down be
low.
This melody consists of two successive sentences (each of five sections), the second being merely a varied repetition of the first. TRELAWNY. Old Cornish Ballad, (a) Complete sentence of four 2-bar sections in key C.
(b)
Complete (contrasted) sentence of four 2-bar sections
in
key G.
(c)
Repetition of
(a).
that
"
The
Ternary Form
three-fold (or "
"
is
Ternary ") construction of this melody is of special interest. very common especially in instrumental music.
It will
be seen later
90 ACCOMPANIMENT SUITABLE TO BALLADS. A beautiful melody is beautiful without any But an appropriate accompaniment like the setting of a jewel may " set accompaniment. " off and enhance the beauty of the melody. " " If the is overdone, or in bad taste, the effect instead of being improved is impaired. setting
As the pianoforte is the instrument most frequently employed in accompanying songs, the following remarks apply specially to that instrument.* ESSENTIALS OF AN ACCOMPANIMENT. (i) It should be in a style adapted to the general character of the melody and words. Thus a bold, vigorous song calls for a robust style of " " but a sad plaintive song requires accompaniment full bright chords with plenty of go a softer and more delicate treatment. " (2) It should support and sustain the voice, without drowning or fidgetting" it. (3) It may heighten the effect of the melody and bring out its hidden beauties by the " " use of little of accompaniment suggested by fragments of the melody or its general figures
;
style of
rhythm.
It
breaks in the melody and cadences with little connective passages, so as to secure continuity. " tone colour." (5) It should add appropriate
(4)
may
with good
effect "fill
up
"
"
bridge over
"
its
Considerable knowledge of the piano is necessary to secure anything like tone-colour given below indicate something of what can be done.
Accompaniments
for other instruments are dealt
but the hints
with
in
Chapter XII.
60
The Composer's Handbook. The following examples of settings by various composers illustrate these principles.
IT
WAS A LOVER AND HIS

F c
.
i
LASS.
THOS. MORLEY.
(abt.
F
and
his
lass,
^
hey,
16001
It
was
lov
er
With a
with a
ho,
with a
altered)
Morley's
Harmony (slightly
1.
2.
J.
L.
HATTON.
I
3.
^^
Sir C.V.
STANFORD.
4.
hey
non.ny
no,
And a
p
hey
non. ny no
ni
no>
That
etc.
etc.
fj
A HUNTING WE WILL
a)
(SF
Specimens
of
Accompaniment.
61
GO.
DR. ARNE,17iO-78.
Rather
fast.
The dusk
y night
rides
down
the sky
And ush
ers in
the
morn,
Dr. F.
T.
SAWYER
Sir C. V.
STANFORD.
6.
7.
m
?EE
^m
J.
L.
HATTON.
lnî
8.
ffl
^
.
^
will
Sir G. A.
MACFARREN.
etc.
Then a hunt
ing
we
hunt
ing
we
will
go!.
etc.
W
^=^
^
i
etc'
ANNIE LAURIE.
Slow.
OLD SCOTCH MELODY.
J
Max.well.ton braes are bon.nie,
Where ear
ly
fa's
the
dew,
.
And it's
Dr.
SAWYER.
9.
Sir C.v.
STANFORD.
10.
i
BOOSEY'S SONGS OF SCOTLAND.
11.
12.
g
there
that
\t
Lau
.
j ;
rie
An
nie
Gie'd
me
her pro
raise true
etc.
Essentials of Accompaniment.
63
:
Careful study and comparison of the above brings out the following points diatonic chords are used there are no far-fetched harmonies. (1) As a rule, only simple used in a bar sometimes only one, and rarely more than three. are chords Not many (2) " " and there is no attempt to provide Many notes of the melody are utilized as passing-notes a separate chord for each note of the melody a fault very common with beginners. riot necessary to write continuously in four-part harmony, or to have two parts (3) It is
;
each hand. Unison passages, two-part or three-part harmony, full chords, octaves in the left hand, detached chords, arpeggios, etc., may be used (and alternated) at discretion. The two hands may run together in octaves (as in No. 8), but consecutive fifths are as
in
objectionable as in ordinary four-part harmony. The right hand may play the melody note for note (as in the first few bars of No. 2), (4) or it may follow the chief notes of the melody (as in No. 3), or it may have quite an independent or it may have a combination of these three methods, sometimes following the voice part
;
and sometimes
"
(5)
i,
not.
"
Figures
3.
suggested by fragments of the melody are utilized
especially in Nos.
" " the cadences and providing bridging over Passages of accompaniment are used for and 12. especially in 2, 3, 10, n, continuity " " the accompaniment is kept steady active the melody is but where (7) Wherever notes or repeated notes occur in the melody, the accompaniment provides the necessary long " it is a recognised This is noticeable in practically all the extracts principle activity." of nearly all kinds of accompaniment. of accompaniment adopted at the beginning is generally kept up until (8) The style there is some marked change in the style of the melody. (Note particularly Nos. 9, 10, n,
(6)
;
;
2,
and
and
12.)
(9)
"
Colour
"
is
hunting horns,
etc., in
specially indicated in No. 7 (bars 4 and the refrain of 5, 6, 7, and 8.

" "
5)
and
in the passages suggesting
in
(see Chap. X) in most of the illustrations. whether duplicating the voice part or not, and whether should be complete in itself, unison, or in two-part harmony, or in three-part harmony, etc. Thus the following is bad, as the bare fourths of the pianoforte are not covered by the
Note
N.B.
also the careful
phrasing
The accompaniment
voice part (which
is
of dissimilar tone-colour)
VOICE.
But
either of the following arrangements
is
VOICE.
permissible VOICE.
:
Z^p-Q
In
the pianoforte part is complete, and the tone-colour homogeneous. in 6ths with the melody.
(a)
In
(b)
the accompaniment
moves agreeably
It need only be said in addition that a short prelude (generally based on some striking It is most frequently section of the melody) is sometimes added by way of introduction. 4 bars in length.
64
FAREWELL TO LOCHABER.
OLD MELODY.
words by
ALLAN RAMSEY
Arranged by R. DUNSTAN.
VOICE.
PIANO.
well
to
Loch
ber,
fare
well
to
my
Jean,
Where
heart
some
wi'
J
thee
I
J
.
j
no
ha'e
mon
days
been;
For Loch
ber
r
more,
T
L**>
J j ^-^
re
.
i
V
I
r_*^
to
Loch
ber
no
more,
We'll
may .be
turn
Loch.
Farewell to LocJwber.
65
s
a
.
^^
no
ÊEi
tears that
I
ber
more.
These
shed
they
are
l=g
m
r
tend
s^
r
a'
for
my
dear,
And
no'
for
the
dan
gers
at
ing
on
^^f
weir,
Tho'
borne
on rough
seas
to
"
far
dis
tant
a
;.
A
r
r
?Ê^
shore,
May
be
to
re
turn
to
Loch
ber
no
more.
JT
fir-
^= r^
-p-f-tf ^
i
rr
66
Begone, appropriate original pianoforte accompaniments to Home," "The Boy," "Home, sweet dull Care," "The British Grenadiers," "The Minstrel " " " " " introductions The Mermaid," and (see Par. 89), with Golden Vanity," Trelawny
EXERCISES
(i)
Add
"
ad
lib.
(2)
Complete each of the following as a

(a)
"
sentence
"
in ballad
form
Moderate.
(b)
Andante.
ÊEg
(c)
Allegro.
(d)
Maestoso.
i^
(e)
Andante.
5PF2
Art Songs in Ballad
Style.
67
re
pose
and
sooth
ing plea
sure
Lull
thee
with
the
m
bfe:^:i=:*=zi:p
.ft.
,
i
*
--i
d K
rj
(^H~)vk
|
Note the ballad-like structure of the melody a sentence of four two-bar sections, each divided into sub-sections and the extreme simplicity of the accompaniment. Practically, only two chords are used, The whole song is an example of the " simplicity viz., those of the Tonic and Dominant (or Dominant yth). of genius," combined with the highest type of melodic beauty.
The melody may be said to be a sentence almost equally simple. The fourth section ends with a " surprise " cadence in the key but the same accompanying chords as a fifth of B, and is repeated with a varied melody Note also that a section section (ending this time on the Tonic chord with a pause /-r-.) a repeat of the last two bars of the melody is added at the end for the pianoforte. The next example
is
of seven two-bar sections.
(3)
HAIDEN-ROSLEIN (LITTLE HEDGE-ROSE).

SCHUBERT.
Con
tenerezza.
(a)
Saw
boy
Ros-lein
fair,
Ros-lein of
the
hedge
row,
Fresh in
all
its
morning
pride
So
he
quick
ly
turn'd a
side
F$
^
1=51
I
=2 fegîj *F=*= =g^z3 =z*.-=JEnl5==

.
-fc= m #
*ff ,_Jz^=3:
cj-

(f)
ritard.
And
with ar
dour
seized
it.
Ros
lein,
Ros
lein,
Ros
lein
red,
Ros
lein
of
the
hedge
row
A
(rt)
very
common
(or
Two
extension of ballad form is the following more) stanzas set to the same melody, either as an exact repeat or with slight
:
modifications.
the whole forming in a different key (b) One stanza (or perhaps two) set to a fresh melody a complete contrast to (a). to the melody of (a). often with a new or modified accompaniment (c) A return at discretion. with a Coda The whole wind (d) up may " " is a noteworthy illustration of this form Linden Tree Schubert's
:
DER LINDENBAUM (THE LINDEN
TREE).
(Words translated from the German by PAUL ENGLAND.) Eight bars of Introduction, suggestive of the wind sighing through the branches, and the tender reminiscences of the poet, precede the ist verse
:
1st Verse.
Moderate.
SCHUBERT.
A
S
lime
tree
by the
gate
way
Leans o'er
ti
ny
stream,
rj
neath
its
pleasant sha
dow
dreamt
my
sweetest
dream.
(b)
For
Schubert's Linden-tree.
there
in love's first
rap
ture,
carv'd
my
dar-ling's
name,
And
'
"f
fe*:
there,
in
joy or
sor
row
For
help
or
counsel
came.
~~
3
gEE
"
n u
ft?-
'
>
^J^-TP
^-5
Hgi-fcg
L^
F-
Four bars
(Key
of instrumental interlude, based on the Introduction, but in the Tonic Minor minor), lead to the 2nd verse
:
2nd Verse
(E
minor)
To
day
once more
passed
it
When
night
had
veiled the skies,
m?
ven
in
the
dark
ness
dared
not
raise
my
eyes.
And
f
r^
Trihl*i
70
(Resumption
of
major.)
yet
the lime tree
whis
pered
So
sweet
ly
in
my
ear
Come,
Then follows the third verse in contrasted style, in E minor and C major, with a stormy accompaniment based on the introduction, gradually leading to the fourth verse in E major,
Pt>
Wî
3-
râ- >
r*^s
>
T^
-f^^fr
r~
the last section being extended by a couple of bars, and the whole ending with six bars for the pianoforte taken from the Introduction.
There are
(a)
many
The ballad-like and regular metrical structure. (b) The general simplicity of the harmonic structure yet with occasional more abstruse chords. and the characteristic little (c) The clever use of the passage connecting the sections at (a), (b), etc. used for the same purpose at (c), (d), (e), (/). figure The effective contrast obtained by employing the Tonic Minor for the first half of the second stanza. (d) (e) The increasing richness and interest of the accompaniment at each repetition of the chief melody. " " The secured (i) by utilizing the introductory material for each of the interludes and for (/) unity the concluding instrumental passage and (2) by keeping to the same form of accompaniment throughout
;
;
points for the observant student to note in the construction of this fine song.
each complete stanza. "

(g)
The
"
variety
of detail
investing the song with
"
ever-increasing interest
"
from_start to
finish.
large
number
type of construction. Barnby, and other composers.

It
modern concert room and drawing-room songs are of this The student may find plenty of examples in songs by Sullivan, Cowen,
of
"
"
"
"
92 The essentials and general principles of accompaniment have been discussed in Par. 90. remains to consider the various STYLES OF ACCOMPANIMENT. Although no exclusive rules can be laid down for accompaniments the following general classification will be of assistance to the student
:
Styles of
Song Accompaniment.
:
71
(i)
simple harmonized setting of the melody
THE SOLDIER'S BRIDE.

SCHUMANN.
&c.
If
on
ly
the
Em
per
or
knew
*
This
8^=
:
may
p-
include occasional unison passages

mott.
1
THE REAPER.
Andante con
1
'
^
whom Death we
call,
MENDELSSOHN.
&c.
There
is
Reap-er
He
is
Lord and the King o'er
all.
mo/to legato.
^
to the left
:
&c.
(or reiterated notes, etc.) for the right
Or the melody may occasionally be given hand
hand with accompanying chords
THE BETTER LAND.

COWEN.
cr
FTT*
:
&c.
(2)
Detached Chords.
These
may
closely follow the melodic outline
WHERE THE BEE

|M^__
SUCKS.
(**
On
r
bat's back
do
fly,
do
fly,
^âted^pj^gse^-igfrtosz^^ji f- ^ ^~[^
.g.
-HI
J~~
&c.
fc
72
Or they may merely provide a
"
harmonic substratum
"
to support the
melody
COME, JOIN IN SONG.

-Jtur.
i
^
merry, merry rounde
-
&c.
Come,
join
in
song
and a
lay,
i
(3)
&c.
"
light
"
embroidery
of the
melody
MAY DEW.
STERNDALE BENNETT.
H
O'er
the
m
wood
-
lands,
o'er
the
mea
dows.
&c.
&c.
'
-
1
(4)
Chords
in re-iterated notes, or in various
forms of arpeggio, generally with a steady
bass
BEETHOVEN.
f*
To
Him
the stars their
homage
ren-der,
&c.
$^=
&c.
\\t*
TO MUSIC.
-Gf
*^
SCHUBERT.
--j
Thou ho
ly
art,
how
oft
in
hours of
sad
ness,
m
t
r^-*r
Styles of
Song Accompaniment.
73
THE ANGEL.
Moderate.
=lE
An
an
-
RUBINSTEIN.
gel
5=T he
float
eth
the
hea
vens a
long,
And
JSL
Ii
-fflf
4r
zz|zr
&c.
iPî
\-9r-9
9r-9,
J J
S^j^Sj* ^^^F^t^Tfw-w
This,
W W
!
'
I 1
i I
I 1
though a duet,
is
included
among
these examples, as the
same
style
is
equally suitable for a solo.
ON WINGS OF SONG.
Andante
tranquillo.
MENDELSSOHN.
fc
On
wings
of
song
I'll
bear
thee
To
-r
-r
those
fair
74
(5)
(a)
For melodic
characteristic melodic or rhythmical figure repeated through several bars, " Linden Tree" (pp. 68-70). (b) Rhythmical figure figures, see Schubert's
:
THE IMPRISONED HUNTSMAN.
SCHUBERT.
My
hawk
'
is
tir'd
of
perch and hood.
My
&c.
F~
55
^
^-
-^-=p: -1 !
5t
P
J-1 m-m-
^3^
I *
^
*-d-
=3?
:
Sometimes two
distinct figures of
accompaniment are maintained

IS
one in each hand

SCHUBERT.
WHO
SYLVIA?
&c
Who
'
is
Syl
via
what
is
she.
That
-.
(6)
"
"
counter-melody
:
forming a kind of duet with the solo part, or even becoming
itself
the chief melody
REDEMPTION.
GOUNOD.
THE LOST CHORD.

SULLIVAN.
It
flood-ed thecrim-son
twi
-*-
light,
Like the close of an an
J.
J-
* J-
J ^.
i^
--
gel's psalm,
J-i^:
&c.
'.
.1:8
^f^
'
<Q
-L*~
Styles of
Song Accompaniment.
is
75
" The First Violet," the introductory instrumental theme In Mendelssohn's a duet with the voice form to stanza in the last
:
employed
INTRODUCTION.
Andante con moto.
__ __.&c.
^=F
:zz=zzz=z
Last stanza.
in importance to the solo part (7) A descriptive or dramatic accompaniment equal sometimes even more important is often employed in Through-composed songs (see page 77).
Additional Remarks.
Sometimes a melody is repeated in ballad style at each repetition, as in the following, from Beethoven
:
with a more highly-elaborated
accompaniment
(1)
-1
&c.
&c.
76
Ac.
&c.
î^-^s^, pfB-5r J
jjTii
j^l
î
Linden
This style
is
particularly useful in
accompanying an instrumental
solo.
(See also Schubert's
"
Tree," pp. 68-70.)

of an
" " " active Essentials Most composers are careful not to overload the voice when it has an part (see Accompaniment," p. 63, No. 7). In many cases the voice and accompaniment carry on the musical
in alternation."
idea"
THE TALISMAN.
Grave, non troppo lento.
SCHUMANN.
S
God doth
rule the glowing
,.
&c.
East,
God doth
rule the glorious West.
Sometimes a
"
figure
"
is
maintained without variation throughout, as
" in Schubert's Ave Maria." " Serenade in F." of his
Similarly
Brahms
uses the rhythmic figure

of the
FS
Jj
in every
bar
as to
songs specially striking phrase become a " leading theme " (see Chap. XIV). commences
In other
the accompaniment so often melody is woven into Thus Schumann, in " The Two Comrades," which
song
of
&c.
two
trust-y
com
rades
introduces this opening phrase (with variations of pitch and key) into the accompaniment over twenty times during the course of the song. In an extended song several styles of accompaniment may be used in turn, but it is not good to be " The more beautiful the constantly changing the form of accompaniment without definite purpose. melody, the less it needs in the way of embellishment."
Through-Composed Songs.
77
93 It might, perhaps, be supposed that a through-composed song, to justify its name/ should be entirely free from formal restraint that it should merely follow the caprice of the composer. " Such a song is, however, rarely written it would be a kind of musical chaos, without " of the finest In most there is and void." some form, through-composed songs persistent " " " which characterises the whole work and gives " unity " to what melodic phrase or figure There is also a general adherence to regular, metrical might otherwise lack coherence. arrangement, and there is often some recurrence of the chief themes.
;
Schumann's
"
The Two Grenadiers
"
starts with the following instrumental passage
Fed.
which
is
based on the opening bars of the vocal melody
:-
\J
9 To
=r= ~ &
France there journey 'd two gren-a
-
diers.
The same instrumental passage (though sometimes varied five times in the accompaniment while the little figure
;
so as to be scarcely recognizable) occurs four or
is
used seven times.
chords and ever-increasing interest, until it culThe song proceeds, with its inimitably expressive " The Marseillaise." The whole form is markedly " free," minates in a setting of the French patriotic hymn, " " is never lost. but the sense of clear design
Similarly the key to Schubert's indicated in the first three bars
:
"
Erl King
"
its
"
atmosphere," as
it
is
now
called
is
clearly
while his
"
" Young Nun
is
largely developed
from the following phrase
These three songs should be carefully studied they are perhaps the finest of all through-composed " Among other songs of this class worthy of attention may be mentioned Clay's Sands of Dee," songs. and several of Liszt's songs, in addition to the great masterpieces of Schubert, Schumann, and Brahms.
;
N.B.
It
should be said that in advanced songs of this nature
all sorts of
chords, discords,
and modu-
lations find fitting place.
Volumes might be written on the fascinating subject of It is hoped that songs." to carry on his study of them with intelligence, and enough has been said to "enable the student " " " essentials and accidental details of structure and treatment. to distinguish between
94
"
78
For the musician of limited means, the following works (from which aie selected) are recommended
:
many
of the
above
illustrations
" A Golden Treasury of Song (Vols. I and II), Boosey and Co., 2/6 each Schubert's Twenty-four Favourite Songs," Augener and Co., 2/-. Students who wish to pursue the subject further should also study all the songs they can get hold of by Schubert, Schumann, Mendelssohn, Beethoven, Brahms, Franz, Grieg, Jensen, Hugo Wolf, and other noted song composers.
;
"
"
is necessary to refer to two special forms of song used the Aria and the Scena. (The student may, however, defer consideration of these forms until Chap. IX has been studied.)
95
To complete
this chapter
it
in oratorio
and grand opera,
viz.,
a vocal solo with instrumental accompaniment, generally three-fold in The first part of the Aria is most frequently of two sentences. the second part is in mainly in the principal key, and set to the first sentence of the words some contrasted key (or keys), and is set to the second sentence the third part is a repetition In modern Arias a coda is frequently added. or modified repetition, of the first part.
An
Aria
is
form.
The words
consist
"
rest in the
Lord
"
(Elijah)
is
a typical example of a concise Aria in this form.
The ARIA DA CAPO,
or
GRAND
ARIA, introduced by Cavalli and A. Scarlatti, was one
of the chief forms of Aria used
by Bach and Handel.

:
GENERAL PLAN. (A) First part (i) Instrumental prelude (or ritornello) announcing the principal melody (3) short modulations into closely related (2) principal melody (vocal) (5) instrumental postlude. (4) return to principal key keys
;
(B).
Second part
:
shorter than the

repetition
first
part,
and contrasted
in
key and
style.
Third part (C). mental prelude).
da capo
of the first part (generally omitting the instru-
" He was despised " (Messiah) is a fine example of the Aria da Capo ; though, on account of its length, the second part and the repetition of the first part are generally omitted. Practically all Handel's opera solos are examples.
An ARIA DI BRAVURA is an aria abounding in difficult passages, runs, etc., to exhibit " " the singer's skill and the compass and flexibility of the voice as Why do the nations? " " and It is the favourite form of aria in Italian Rejoice greatly (Messiah). opera.
;
An ARIA PARLANTE,
a kind of spoken melody, as
or ARIOSO, "
in
is an aria lying midway between recitative and song " Comfort ye (Messiah}.
For other forms of Aria, see the Author's " Cyclopaedic Dictionary of Music."
SCENA
is
the
"
largest
solo comprising recitative
and
in
arioso,
and most brilliant of vocal solo forms." It and generally ending with a regular aria.
" "
is
a dramatic
ye, Israel
Examples may be found "
(Mendelssohn's Elijah), and Beethoven's
any Grand Opera; "
in Gounod's Faust. e.g., the " Jewel Song Adelaide are also of the nature of Scenas.
"
Hear
EXERCISES. The student may now compose songs in various forms of accompaniment, to words selected by himself.
styles,
and with suitable
Short lyric or dramatic poems of about three stanzas in length are advised at this stage.
The words should have a good rhythmic swing and " character or diction.
lilt,"
and should not be too severely

"
classical in
" Suitable pieces may be found in Beeton's " Book of Poetry English (2 vols., Ward, Lock & Co.), " Songs and Ballads (The World's Classics), Palgrave's " Golden Treasury" (Macmillan), and other collections, and in the poems of Longfellow, Tennyson, Shelley, Walt Whitman, Heine, Schiller, &c.
79
CHAPTER
DUETS, TRIOS,
96
;
VI.
&c.
DUETS AND TWO-PART CHORUSES. These are practically identical they may consist of two-part work throughout, or the two-part wo:k may be interspersed with solos (for either part). A two-part chorus may well have a more full and heavy accompaniment than a duet for two solo voices otherwise
;
the styles of accompaniment are the same as those already given for vocal solos (Chap. V.)
" " 97 a good opportunity offers to point out to composers that, Here," to quote Berlioz, in vocal pieces accompanied by instruments, the harmony of the voices should be correct, and treated as though they were alone."
is an admirable rule, and the student should do his best to observe it. Berlioz gives the following example of bare fourths in the voices covered only by the " " basses of the orchestra, and he does not hesitate to call the passage an error of Gluck's
This
IPHIGENIA IN TAURIDE.
VOICES.
* *
GLUCK.
_L
Daughter
chaste of
dread
La
to
na,
Lend gracious ear
to our
song.
ii
ORCHESTRAL BASS.
98
GENERAL RULES OF TWO-PART WRITING.

In writing for voices unaccompanied, or with an ad
lib.
accompaniment, the following
rules should be observed.

(1)
Any
The
(a)
progressions of thirds or sixths
may
be used
but they should not be continued
so long as to
(2)
become monotonous.
interval of a second
is
When
|
the lower note
is
good. prepared (either tied or re-struck] and resolved downwards

\
JEÊEJE ^ A
^^ ^H
:
:=
=^=
^
^
JB
*|*,*-^*-* =*=F
^
**=
I
&c.
r
(b)
As a passing-note, when the lower note proceeds by step downwards from the unison
._L_*_J.
(c)
As a passing-note when the higher part proceeds by step upwards from the unison
*
(d)
When
it is
a diatonic or chromatic waving note*
(e)
When
the lower note
is
the fourth of the scale (giving an implied domt. yth chord).
is
A waving note (in French a broderie), included by Macfarren among pass ng notes, and called by some theorists an auxiliary note, used by a step higher or lower between any two notes of the same pitch as shown in the examples.
;
80
The Composers Handbook.
The
following examples are not to be
commended
&c.
(3)
The
interval of a seventh
is
good
(tied
(a)
When
the higher note
is
prepared
or re-struck)
and resolved downwards
r -p
(6)
&C.
r
(in either part)
:
When
it is
a passing or waving note
&C.
i(c)
&c.
When
it
is
a dominant 7th.
Two-part Writing.
81
(6)
The diminished 5th may be used

dominant 7th chord *
in
as representing the
as a passing or waving note and such passages as the following *

;
:
it is
also allowed
1:
*f
Two
fifths of
r
J
1
&c.
&c.
in two-part writing
any kind in succession (when each part rises or falls) are decidedly bad though they can be sometimes tolerated in accompanied music
(7)
The augmented 4th may be used when the parts move from
it
in contrary
motion
THE MAY-BELLS AND THE FLOWERS.

MENDELSSOHN.
x v
See
!
is
&c.
>
is
"
flow'rs of
v y
rich
and
rar
est
hue,
But the
perfect 4th
hardly ever good except as a passing or waving note.

&c.
It
(a)
may also be used When the lower part

is
fifth of
the chord
or broken chord arpeggio not the highest note of the passage

is
an
"
"
and the objectionable
N.B.
(b)
The augmented fourth may be used

is
in the
same way.
When it
prepared in the lower part (as
an understood 7th) and properly resolved
^9
When
-rj
is
J&c.
(c)
the fourth
prepared and resolved in the upper part * *
r~~
nor (c) can, however, be recommended as in each case there are better ways of arranging the parts.
N.B.
Neither
(b)
many
Except as shown in the fourth bar of (c) above (which is decidedly bare), two fourths should never be used in succession and a two-part piece should never begin or end with the bare fourth. The following method of writing a second part to a melody unfortunately rather common in schools is particularly bad although with other parts added below it would make a good alto
;
* *
FT^fr^WTrrrf
82
Occasional unisons or octaves or octaves are often of good effect.

(8)
may
:>
be employed
and whole "passages"
in unison

N
-I
MENDELSSOHN.
But wrath-ful
at
their harm-less
mirth,
Old
rost.
N .B.
(9)
an occasional passage
In setting a low-pitched melody for two voices it is often better for them to take in unison than to write a very low, growling, and ineffective second part.
Other effective progressions
may
(if
>
be produced by the two parts moving in contrary
motion, or by contrapuntal treatment

IQI
the composer can

l-^J-^
manage
1
1
it).
l-i
IT
J m *-\-~
99 All the rules and suggestions given above may be summed up in the following comprehensive rule bare fourths are particularly The two parts should always suggest complete chords be avoided. to therefore and specially objectionable,
:
To
be studied.
gain an adequate idea of the resources of two-part writing, Bach's Two-part Inventions should They may be obtained through any bookseller for about is. 6d.
100 When there is a pianoforte (or other) accompaniment, composers do not stringently adhere to the above rules, as the following examples show
:
THE ANGEL.
RUBINSTEIN.
=3--
r
They
3
list
_G*
:&c.
r
to
T
the
r
g-re
f
ho
-
sweet
ly
tones.
C=
'g"g'
'fg
g rS gzz=r:g_S
l
_D_ *
&c.
r
i~r
i
',""i
i i i i ,
J 1J J
-j-
i^j:J J Jli-3BB&^j^ --w-5-î-1
t'Lj
-
^^
&
&C.
Note the 4th at
-^--u-3---*-*-^* * *

(a) f>
,.
(6)
MENDELSSOHN.
For
get
me
not
and
vio
lets
blue, Join
The passage from

passable.
(a)
to
(6)
requires the addition of the instrumental bass to
make
it
Three-part Writing.
101
83
TRIOS AND THREE-PART CHORUSES. These may consist of three-part work throughout, or
may
be interspersed with
solos,
as in the case of duets

discussed.
and two-part choruses. Nothing need be said of the style of accompaniments beyond what has already been
102
UNACCOMPANIED THREE-PART WRITING.
This will give no trouble if two-part writing is well understood. The addition of the third part allows of much fuller harmony, and there will be little danger of writing bare fourths. Great care must, however, be exercised in the use of | chords (second inversions). SUGGESTIONS (i) Do not begin or end with a | chord.
:
Weak
beginning, t
&&-*
rr
-"'
3z
Weak
ending. pCKlZir
ryrr'
6
(2)
The lowest part should not skip
to a second inversion, except from a note of the same

Good.
chord.
Good.
*
(3)
43
6
43
6
#
inversion.
The lowest part should not skip from a second

Bad.
[i
N.B.
The few exceptions
to this rule are given in
any good text book
of
Harmony.
step wise, as
The lowest part may be repeated

the following
:
(with a different chord), or
move
shown
in
Efrpp^m
f,
f.
(4)
Two
second inversions in succession are bad when the lowest part moves stepwise
Bad.
664
4
zr &c.
Bad.
I
-Gk-~-
I.
f
" Lift thine eyes (Mendelssohn's Elijah), The student should analyse the three-part writing. out the features worthy of special attention
:
"
is
whole of
(d)
a fine example of pure unaccompanied We give the last part, pointing it.
(e)
(/)
1st
&
2nd SOPRANOS.
(a\
(b)
(c)
(g)
CONTRALTO.
84
r^
(a)
(b)
(c)
;
; ;
^r=^
lowest note approached by skip from F$, 3rd of same chord. | chord the 3rd is omitted to give a better second soprano part. Incomplete dominant 7th (last inversion) or first inversion of 7th on the supertonic ( 7 Rfe) with the 5th (Blj) Tonic pedal in second soprano lowest 'note approached and quitted by step. Or last inversion of 7th on supertonic (E understood). approached and quitted by step. completed at Incomplete dominant 7th (first inversion)
^
omitted.
(d)
(e)
(/)
chord chord
(g)
by the A
;
in first soprano.
The E in second soprano changes the chord to approached by skip from root (D). (K) | chord a prepared 4th on the dominant (resolved on next quaver in first soprano). first inversion of dominant 9th on Fj (leading to B minor). Diminished 7th on A* (/) the following D. (k) Anticipation of
;
(I)
to (m) Sequence of 6ths
and
3rds.
;
(n)
(o)
(q)
first inversion of dominant major gth. 7th added on approached by step, and resolved on same note at (/>) Substitute low A for the D in alto and note the unfinished effect.
7th and 5th on leading-note
last
quaver
of bar.
103
In accompanied three-part music, composers and editors are not so strict in the treatment
of 2 chords in the vocal parts.
WHEN
EVENING'S TWILIGHT.
Arranged from HATTON.
When
eve
ning's twilight
gath
~~
-
ers
round
NIGHT SINKS ON THE WAVE.

H. SMART.
Night
sinks
on
the
wave,
Three-part Writing.
85
FLY, SINGING BIRD.

ELGAR.
b^=pr-d=^b
=S==pi=gii=:
^FlT
-?Sec.
Fly,
singing
bird,
fly,
PILGRIMAGE OF THE ROSE.

SCHUMANN.
J
J
Spring!
-fs
J.
P> --
rd- v
Oh,
we
hold
thee
blest!
&c.
Lgî
^.
1^0--^
104
Unison passages are frequent
in three-part choruses for equal voices
:-
SONG OF THE NORNS.

A
VOICES IN UNISON.
-p.
Allegro.
1
-~=EE==fe=EEE^
:=
HOFMANN.
-G>-
-&
Soprano and
alto in octaves is also
a favourite device with composers
86
LITTLE SNOWDROP.
cres
REINECKE.
do.
ist
&
2nd SOPRANOS.
J=t
gloom-y
L
with-in Not CONTRALTO.
grave;
Here,
cres
up -on
this
light-
some
hill,
&c.
cen
do.
"N^ ^ ^jrf^^FW ^^~
P.
'.
q=: N
p=
4*3-
cres
cen
do.
&c.
Male -voice Music.

JOS
87
MALE-VOICF Music. The arrangement of male-voice music is on similar lines. As, however, bass voices is student advised to consul* different the. somewhat treatment from contraltos, require especially the following works, which perfectly i'h'Strate the best methods of writing for <nen'
voices (in frorn one to eight parts). " " for male voices, and Mendelssohn's cantata To Hie Sons ;>/ Art, his Fesigiânge EdenhaU." also Luck and Schumann's of Antigonf (All published by NovrHo.) QLdiput ;
h'3 3citi;igs
of
Drink to tiie on Or leave a kiss
ly
with thine eyes, Ard

.
I
I'll
with
in
the
cup,
And
will pledge with not ah> for
^ _ mine,
wine;
The
thirst that
from
the
soul
doth rise
Doth
ask
drink
di
J' J" J"

vine;
But might
of loves
nee
tar sip,
would not change for
thine.
The harp that once
thro' Ta.ra's halls,
The
soul of mu.sic
shed,
Now hangs
as mute on
Ta.ra's walls as
if
that soul
were dead.
So
sleeps the pride of
form.er days,
St
glo.ry's thrill is
J
o'er
And
hearts, that once beat high for praise, Now feel
that pulse
no more.
-i^^J
Gold
.
en slum.ters kiss
your
eyes,
Smiles
.wake you when you
rise;
Sleep pret.ty
maid
en,
do
not
cry,
And
will
sing
lul
.la
by.
The
omoser's ffnndbnok
r
to
J
me?
Rn
.
J
I
What's this dull town
bin's
not
near.
What
was't
wished
to see,
What
wish'd to
hear?
Where
all
the
joy
and mirth Made
this
town
heav'n
on earth? Oh,
they're all
fled
with thee,
Ro
bin
dair.
To
ther
shores a
cross the sea
We
speed with swell
ing
sail.
Yet
EJ^^ltfjfTirct
till
there lin
gens on our lee
A phantom In.
nis
fail.
Oh. fear not.fear not, gen_tleghost your
sons shall turn un. true! Tho' fain to
fly
your love,
ly coast,
They leave
their hearts with you.
In
the sky
the
moon
is
beam, ing
All
through the night,
While
be. low
the
r-r-r-rtt^F^
earth
is
dream -ing
All
through the night.
In
our
mor
tal
days
de.clin
ing,
^^^r=t
May our
souls, as
5
and
re. pin .ing,
Till
calm
ly shin-ing, Cheer the restless
lost
in
89
CHAPTER
MELODY
VII.
"
IN GENERAL.
factors
106 The student may well pause here to consider more fully the We shall discuss the methods of their artistic employment.
(4)
(B)
(C)
"
of
melody and
Melodic Direction
Melodic Range or Extent Melodic Intervals

;
(D)
(E)
The
Influence of Time,
(F)
Rhythmical Contents of Measures Melody Based on Arpeggios.
Rhythm, and Accent and

;
Melody comprises (a) Ascending Passages, (b) Descending (A) MELODIC DIRECTION. Passages, (c) Repeated Notes, (d) Prolonged Single Notes. either proceed scale-wise, or by skips or, as it were, by (a) Ascending passages may " " with a general ascending tendency a series of flights
;
:
HANDEL
(Samson).
&c
Though
I
could end thee at a blow ,tho'
could
endtheeat
blow,
&c.
(b)
Descending passages
:
may
also proceed either
by the
scale, or
by
skips, or
by a
series
of melodic figures
BEETHOVEN.
Op. 28.
90
Many
irjcgninni
melodies consist largely of ascending and descending passages in alternation
~
fc
MOZART
-^-
(Sonata in Bb).
\W^3E
ES5EE^5 rf-f
imÊJtea
6
BEETHOVEN.
Op.
31,
No.
1.
or or subsides
"
" " aim In most passages of this nature there is some high note which seems to be the " either the breaks off into music another kind of figure, and when this is reached climax
;
by descending
HANDEL.
6F
r
TJy jvjC ^^.' 9 Q

-1
i
'
s|| il
* m
STERNDALE BENNETT. _P VT~;

:
S:
BEETHOVEN.
Op.
2.
13
CORELLI. Violin Sonata.
BEETHOVEN.
f*
Op. 27.
^Fff.^Fr^tffe^^f
Sometimes the ascending or descending passage is given to the bass, or a middle part, " " the highest melody being an accompaniment, or added counterpoint
:
f*Ez
--
--
Melodic Direction.
91
BEETHOVEN.
Op-
79.
1
BEETHOVEN.
Op. 81a.
The following
in contrary
motion
are examples of chromatic ascending "

:
and descending passages proceeding
GOUNOD
;
(Redemption).
m * P m m
SB:
&c.
BEETHOVEN.
g-
Op. 90.
ores
cen
do.
dim.
,
&c.
rtz
*
As the emotional idea underlying an ascending passage is increasing intensity of expression generally accompanied by an increase of force and speed and that of a descending passage decreasing intensity of expression generally with a decrease of force and speed the composer must be guided in the choice and development of such passages by the character of the effect he wishes to produce.
92

"
the repetition of a note is not Macfarren's statement that understood. too be not must literally melody but monotone The slow music the repetition of a note is dignified, solemn, and expressive. (i) In " such Hence of accumulation is passages frequently imply a intensity." underlying idea
(c)
REPEATED NOTES.
"
crescendo.
HANDEL.
"
Dead March."
pp
Andante.
^
Adagio.
BEETHOVEN.
Op.
27.
iNlJ
BEETHOVEN.
J-
"
"
Moonlight
Sonata.
SIR
J.
Goss (Subject
of a Fugue).
^;
A o
As
o
the
<
'
round a
-
moun-tains are
bout Je
ru
sa-lem.
" Lost Chord.
SULLIVAN.
Seat
ed
one day
at
the
or
gan
was wea
ry
and
ill
at
ease,
Andante.
GOUNOD.
Redemption.
*r-=p?=F >
i
J-
J\J
J-
J-a
GOUNOD.
Redemption.
k-
&
g
-fa
^1
* g-i p ta-hrH
Li
jBT-g
f-C4J
fefe
(2) 7w music of a lighter kind, repeated notes give life and animation to the melody " " without adding to the difficulty of performance. The so-called patter-songs consist, largely,
of rapidly iterated notes.
BEETHOVEN.
Allegro.
eves.
Op.
14.
f
fl
PP
Allegretto.
BEETHOVEN.
Op.
r=&c.
Repeated Notes.
Allegro Vivace.
93
AUBER.
Mansaniello.
ip=:p=z:p:
If
:*!=:
thought your heart sur
-
gloom-y thought, a
gloom-y
pris
es,
Sing your songs, there's
....song naught
like
=P=P-
to
ban
ish
care to
sleep;
If
gloom-y
thought, a
gloom-y
thought your heart sur -pri
ses,
Sing your
songs.there'g naught like
song to
ban
-ish
care to
sleep.
(3) In instruments of little sustaining power, as the mandoline and the street piano, rapidly repeated notes are used instead of longer single notes. Thus
&c
Instead of
&c.
Repetition
is
also
Melody from HAYDN.
one of the methods used in varying and developing a simple melody. in G. Symphony
94
SINGLE NOTES. (i) Without regarding the ordinary succession of (d) PROLONGED which notes and short may be found in almost all pieces of music, there are often notes long sustained to an unusual length, and generally placed in some specially effective position of the These sustained notes generally denote a climax, and are usually voice (or instrument).
delivered in the form of a
Andante.
"
swell," ~=Z^Z
H^*"
MENDELSSOHN (Duet No.

cres.
2.).
MENDELSSOHN.
Duet, No.
4.
"
(2)
:
long sustained no+e at a

3
medium
or low pitch
dim.
is
often employed as a
"
point of
s;^
repose
__ 3
pp
An - gels guard
thy slum
bers
sweet,
Good
night
Andante
tranquillo.
SULLIVAN.
Peace
"
(3)
to
the
qui
el
It was long customary in operatic solos for the singer to introduce an elaborate " before the final cadence. The note preceding the cadenza was marked with " " just " " a hold pause (fermata), or
cadenza
Passage as
written
As
it
might be performed
Two
cadenzas sung by Jenny Lind
ME
Prolonged Notes.
95
(4) Embellished cadences are also used in instrumental solos and in violin concertos, Formerly they were always left to the skill and discretion of the pianoforte concertos, etc. performer, who either improvised the cadenzas on the spur of the moment or prepared them Modern composers, who are sparing in their use of these ornaments, almost beforehand. Passages invariably write their cadenzas in full, exactly as they wish them to be performed. like the following (from Beethoven, Op. no) are evidently of the nature of cadenzas, though not so called Andante. Piu adagio. Adagio. Adagio.
:
RECIT.
I I
! I
\.
5-t-
1 (
JL
--T-ritard.
c cantabile.
^8
dim
"
The cadenza may be said to take the place of the long sustained note which so frequently forms the " climax of intensity in a composition. (See p, 94.)
(5)
or an organ solo.
prolonged note is very common at the close of a vocal composition, a violin solo, In this position great effect is given to the sustained note by variety of
:
harmonic accompaniment
Moderate.
v__
dim. _js*__
dim.
'P
PP
^
I
^
Larghetto.
IT
~r
_J
JJa
7^
|_J--
-*~J^__+__+__4
\~'~\^^~^^^^~' x
I
x-
f-
2lfc
BARNEY.
"
Sweet and low."
* ~v
.-^
1
~g ^^_ jp.
,\
r--
-IT*
~
^:
iv
~T~^ld^H^
Ir
'P"
L'
|S
ttf
* P
u ir
,\
-*^
--'
|>
|r
!;
j_
t--
_^>
fs
1S=
^=ff
ist
?E^
:or:
"-(-
Note that the
and 2nd bars

N
r
of the
melody
Js
I
are practically a repetition of the note G.

.
Sustained note in Tenor.

I
(s
is
'>
96
N.B.
(6)

Similar effects
fine effect is
may be introduced at any point during the progress of

"
first
a composition.
:
sometimes obtained by sustaining the
note
"
of
a melody
A ndante.
r=-
See also Sullivan's song

is
"
Orpheus with
his lute."
The
first
note of
"
Angels ever bright and
fair
"
generally sustained in the same manner.
in the lower parts (alto, tenor, (7) Repeated and prolonged notes are very common where they are introduced without any special melodic purpose. They have often great value, however, in binding the harmony together, and adding breadth to the general
bass),
composition. be seen, therefore, that though repeated and sustained notes have little place " in counterpoint, and are, strictly speaking, not melodic progressions," they form a most factor in of and actual composition (both melody harmony). important The character of a melody is greatly influenced (B) MELODIC RANGE OR EXTENT. Melodies confined to a small part of the scale are usually quiet by the extent of its compass. and soothing. Many of Beethoven's finest melodies are remarkable for their limited range
It will
effect of the
and conjunct movement
Negro melody, confined to the
first
three notes of the scale.
-^-ftr^s:
(6)
Extent of a 4th.
P Andante con
tnoto.
BEETHOVEN.
Quartet. Op. 18.
BEETHOVEN.
Sonata, Op. 57
(c)
Extent of a 5th.
Old Latin
Hymn
Tune.
Now known
as "St. Luke's"
L.M.
3^
t=
MOZART.
j
Sonata
G>
in A.
Melodic Intervals.
97
(d)
Extent of a 6th.
BEETHOVEN.
Sonata, Op. 106.
(e)
Extent of a 7th.
BEETHOVEN.
Sonata, Op.
2,
No.
2.
*?
of more disjunct movement, and of more vigorous treatment. In vocal music, the range of most of the finest melodies rarely exceeds an octave ; a range of a loth or nth should not in general be exceeded, except in "bravura" or "show" songs written for the special purpose of exhibiting the flexibility, compass, and other characteristic
Wider range allows
features of exceptional voices.
" " effective In instrumental music, the composer must be guided by the compass of the instrument, and the general style of his music. In solos for wind instruments, it is wise to avoid both extremes of high and low notes but no one can write really well for instruments of any kind who does not thoroughly understand their mechanism and capabilities.
;
Example of wide range P Adagio.
in
melody.
BEETHOVEN.
Op.
31,
No.
2.
The ordinary intervals available in simple melody have (C) MELODIC INTERVALS. already been given (par. 28, Chap. II). Exceptional intervals are used as follows
:
(i) Diminished intervals of all kinds may be used, provided, generally, that the next note after the diminished interval be some note within the interval, thus
:
Dim.
3rd.
Dim.
3rd.
Dim.
4th.
Dim.
4th.
ifeqfeU
&c.
The
Dim.
following progressions are not good

5th.
Dim.
4th.
Dim.
3rd.
IH*-

intervals are in their nature unmelodious. They are generally (3) Augmented avoided in pure vocal writing, partly because of their difficulty in performance, but more effect. especially on account of their harsh, disjunct
Exceptions.
Augmented
intervals (and other harsh progressions of melody)

:
may
be
used in the following, and similar, cases (a) In a Sequence (See Chap. VIII).
Aug.
i
1
3=H
(b)
&c.
In
Recitative.
Recitative is intermediate between speech and true melody. Therefore, augmented and diminished intervals, want of regular rhythm, and abrupt changes of harmony, are all appropriate to this particular form of musical composition
:
Aug. 2nd.
Aug. 4th. 4
til
JI
What have
to
do
with thee,
4th. Aug. ug. 4t
~i
thou son
of
Be
li -
al
MENDELSSOHN.
Hymn
'
of Praise.
:p=g=p=:H :2
5
1?~
'Watchman,
(c)
g_jrgg=
*
is
*
far
II
the night
spent?"
scale.
In
the
melody
of the
minor
'
2nd. Aug. ug. and
Aug. 2nd.
-'
&c.
(d)
When
the two notes
forming
the interval are both in the
same chord
SIR
J.
F. BRIDGE.
Repentance of Nineveh.
1
VOICE.
^
Aug.4ths,
^
,
ACCOMPANYING CHORDS.
rJ
==t
Aug.
^
<
4ths.
'_'?
S*
Melodic Intervals.
Aug. 5ths.
99
(e)
When
melody (on which
the second note of the interval is it resolves either directly, or by
a semitone below some principal note of the
some ornamental
Aug. 2nd.
Aug.
5th-.
variation) Aug. 2nd. Aug. 4th.

:
i
i-î
A-
Maj. 7th.
Maj. 7th.
Aug.
4th.
Aug. 5th.
This style
is
very
common
in instrumental music.
The augmented
interval gives
piquancy and great prominence to the following note. (/) To produce some special or striking effect, or
to illustrate the verbal text

St.
MENDELSSOHN.
Aug. 4th.
Paul.
fe
His
P
-
m
ing.
ish.
ways
are
past
our
un
4th.
der
stand
Aug.
From
the same.
And who
does
so
shall sure
per
HANDEL.
Samson. Maj. 7th.
tri
umph
dis
dain.
The student should remember that all these exceptional progressions are effective in proportion to the moderation with which they are employed. When constantly introduced they cease either to astonish or to charm, and music becomes ugly and disagreeable instead of beautiful and pleasing.
(D) TIME, RHYTHM, ACCENT. Rhythm, in modern music, is the framework upon which melody is constructed. In all the larger forms of musical composition it is of paramount importance, as it not only suggests melodic outline, but shapes, moulds, transforms, and intensifies it to a remarkable degree.
and Principles "
of great learning and sagacity," who wrote a Treatise of the Natural Grounds in 1731, gives the following curious paragraph concerning rhythm. I did not intend to meddle with the Artificial Part of Musick The Art of Composing, and the Metric and Rhythmical Parts, which give the infinite variety of Air and Humour, and indeed the very Life to Harmony ; and which can make Musick, without Intervals of acuteness and Gravity, even upon a Drum and by which
Dr. Holder,
of
"
man
"
Harmony," published
10)
the Sharp, which take the Greater Intervals within Diapason,^ as Thirds, Sixths, and Sevenths Major, are more brisk and airy and being assisted with Choice of Measures last spoken of, do dilate the Spirits, and The Flat, consisting of all the less Intervals, contract and rouze 'em up to Gallantry and Magnanimity. damp the Spirits, and produce Sadness and Melancholy. Lastly, a mixture of these, with a suitable Rhythmus them in a Middle Way." gently fix the Spirits, and compose
;
of Musick are perform'd, and the Kinds of Air distinguish'd ; as, Almond, Corant, chiefly the wonderful Effects some with Sprightliness, Some with Sadness, attack the Fancy of the Hearers Jigg, &c., which variously which is also improv'd by the Differences of those we call Flat* or Sharp, f Keys and some' a middle way
;
: ;
Time in music covers the following points or duration, of notes (relative and absolute) and rests. (a) The length, rate of movement, at which the music is performed. or The speed, (6) kind The of measure, or metre, including the regular or periodic recurrence (c)
:
of metrical
accents.
(d)
The
contents of measures, or bars, including Syncopation,
Emphasis (Dynamics), and

Musical Punctuation.
it
Rhythmical Accent generally.

(e)
The -arrangement
of these has
of Phrases, Sections, Sentences, Periods, etc.

in
Each
significance.
an important influence
shaping the melodic outline and giving
as measured by a clock or other mechanical contrivance, has little (7) Absolute time, " " of notes and rests is based upon comparative, or time-table the musical place in music From the dignified, but monotonous, effect of a succession of relative, periods of duration. notes of equal length we can obtain infinite variety by mere arrangement of long and short
;
notes.
few arrangements of a major
scale.
(See also par. 60, page 26.)
And
(//)
e.g.,
so on ad
lib.
The student should
exercise his ingenuity
by extending the
series.
;
Speed, or Rate of Movement, of a piece of music greatly influences Lento, Largo, Adagio, Andante, Moderato, Allegro, Vivace, Presto, etc.
it.,
The
its effect
Minor,
f Major.
The
octave.
Rhythmical Contents of Measures.
101
M.
J=
M. J = 100, Approximation to absolute time is indicated by the metronome, thus be observed time should in actual it that exact metronomic but is etc. impossible 72,
: ;
The composer's directions for accelerando, rallentando, piu mosso, meno mosso, performance. etc., the musical feeling of the conductor or performer, with the natural tendency to accelerate ascending passages and to retard descending ones, and to dwell upon certain important and the varying moods excited by the character of the music all help to give effective notes an artistic interpretation to the composition, and all prevent that strict adherence to the But care must be metronome which a mere musical mechanic considers to be essential. " Thus Schumann says, Play strictly taken not to go too far in deviating from strict time. Do The playing of many a virtuoso resembles the walk of an intoxicated person. in time. not take such as your model."
the the rate of movement influences the character of music by modifying Speaking generally " while in addition to this, slow music of notes (see par. 29, p. 7) mental effects naturally suggests quiet, grave, solemn, dignified emotions, and quicker music suggests more animated, cheerful, joyous, or even restless ones.
"
While the composer's choice of measures or ten varieties, the resources of rhythmical arrangement of the contents quiet and placid composition requires less rhythmic of these measures are inexhaustible. " " " " or The rhythmic of each successive form plan variety than one more energetic. measure may, indeed, be without variation or all sorts of devices may be employed to secure See the following examples variety until each measure has a different rhythm.
(E)
is
RHYTHMICAL CONTENTS OF MEASURES.

some eight
limited to
BEETHOVEN.
Sonata, No.
3.
^
r>
^**
102

BEETHOVEN.
The
of great variety following are examples

espressivo.
am
Andante
'
'~
- ^"
^^l
h^BB^"
WAGNER.
Symphony
in C.
MOZART.
II
Flauto Magico.
Melodies based on Arpeggios.
103
Rests are of great importance in obtaining rhythmic variety. " silences in the following
:
Note the
"
eloquent
Op.
Largo.
BEETHOVEN.
7.
(F) MELODIES BASED ON ARPEGGIOS OF CHORDS. successively, instead of simultaneously, they form what
When
is
the notes of a chord are struck
called
an
"
"
arpeggio
(from Arpa,
the harp).
Chord.
Arpeggios.
'
&c.
There is such a close and intimate connection between harmony and melody that one i.e., if the composer conceives a melody, its natural and approgenerally suggests the other and if Jie devises a progression priate harmony seems to spring into existence at the same time " " melodies immediately, or after some consideration, suggest of chords, various crowning themselves as graceful outlines to his mental picture.
; ;
"
The
broken chords
following are examples of melody constructed almost entirely of arpeggios or " as they are also called From a " School Song." 7 Tonic (D). Tonic (D) chord. pominantj7thJ S)^
:
SE
Dominant yth
7 (
S).
Tonic (D).
D.C.
Swiss Melody.
KUHN.
The whole
of this
melody
is
founded on chords of the Tonic and Dom. 7th (D and

SCHUMANN,
"
S).
The Merry Peasant."
~~=z
Tonic (D).
&c.
Subdom.
(F).
Tonic
(D).
Dom.
('S)
L_
yth
(D).
_J
BEETHOVEN, Op.
22.
Tonic
Tonic
(D).
104

BEETHOVEN, Op.
31,
No.
3.
Tome
(D).
Dominant yth
7 (
S)
B E ETH OVEN,
Sonata, Op. 5 7.
'
&c.
Fonic
Chord
(L).
7
Tonic and Dominant 7th Chords (D and S)
WAGNER, Symphony
in C.
=^M
More abstruse chords.
^tfiTilr^^^^^^^
4^-Hi^P
~
Tl
IH
BEETHOVEN, Op.
53.
&c.
and
"
" " appoggiaturas,' the notes of a chord are interspersed with passing-notes," acciaccaturas," endless variety of melody may be obtained
When
3
Tonic Chord.
",T
,
I,
f"
5^
^.Lp.^^t^
m
9
I
J<L
N.B.
Instrumental accompaniments to vocal music are frequently constructed in this manner.
Melodies based on Chords.
105
BEETHOVEN.
Sonata.
Op.
3
2,
"
No.
i.
BEETHOVEN.
Op.
10.
&c.
MOZART.
Sonata in F.
&c.
Acciaccaturas on a Dominant Chord.
BEETHOVEN.
Op.
78.
-_^S&=3=
-=
Essential notes in the above extract.
^
&c.
fp~T
g
-I
'
&C.
Passage founded on the Dominant Minor gth
97se
(
M)
BEETHOVEN.
Op.
57.
-*-^r-*--
--
*---
y-^-*--^-
*^-
106
" Mixture of Diatonic and Chromatic passing notes, changing-notes," &c.
'
1
:
Note the connection between the following plaintive melody and the harmonic substratum which seems to have in great part suggested it
J=66.
SCHUMANN.
Paradise and the Peri.
J
Just then
-j
be- neat h
some o
range
trees,
Close by
the lake. she
now heard
moan;
>
>
j*
si
-
fî
i ,
^m
-
youth
in despair, at this
lent hour.
Had
sto-len to
die here, 'die a
lone.
&c.
ia=fg^^^=gi=:;
&c.
itei
Similar examples abound in the works of all the great composers. Indeed, it would be hardly too much to say that nearly all the best modern melody is founded almost directly on chord progressions. As Sir Hubert Parry observes, " Commonplace progressions will lead to commonplace melodies."
107
CHAPTER
VIII.
ECONOMY OF MELODY; GROUND BASS; VARIATIONS; METRICAL FORM;

MUSICAL SENTENCES.
107
ECONOMY OF MELODY.
artistic
;
made
108
Chap. II
interesting Par. 68, Chap. Ill
and
The student has already seen that a long melody is generally (See Pars. 37 and 48, by devices of repetition, imitation, etc. Par. 81, Chap. IV Pars. 89-91, Chap. V.)
;
The
(N.B.
following are
among
the most usual of these devices.
ment
Counterpoint, Invertible Counterpoint, Canon, Fugue, and Thematic Developwill be discussed in subsequent chapters.)
I.
REPETITION. (i) In (a) Exact

ist Section.
the
same key and Mode.

Blue Bells of Scotland."
Repetition.
3rd Section
Contrast.
Repetition of ist Section.
For other vocal examples, see Par.

Instrumental Examples
:
89,
Chap. V.
MOZART.
Sonata in F.
Manfred.
SCHUMANN.
&c.
In instrumental music, the repetition
is
often in a different octave
_______________
BEETHOVEN.
Op.
13.
BEETHOVEN.
Op.
27.
(2)
In
the Relative
Major
or
Minor.
minor.
22.2::
major (Relative.)
Tune" St.
Bride's."
^=^^^^^~^^===^^^ &
108

CORF.LLI.
Violin Sonata.
Largo.
[J
A
minor.
minor.
major.
GOUNOD.
There
is
green
hill
far
way.
_
With-out
ci
ty
wall
major.
Where
the dear
Lord was
cru-ci-fied,
Who
i
died
to
save
us
all.
Ah
major.
minor.
F
i \
major.
"
D
T
minor.
^^
T"
(3)
/^ Tom'c Major
A
minor.
or
Minor.
Rather
rare, except for the final
movement, or
last verse, of
a minor
m
G
minor.
A
I
mode composition.
major.
major.
minor.
BEETHOVEN.
"
Waldstein Sonata."
major.
major.
BEETHOVEN.
Op.
31,
No.
i.
major.
BEETHOVEN.
Op. 31, No.
i.
minor (two octaves lower).
Repetition of Melody.
109
(4)
In another
voice, or part, of the
harmony^
&c.
J-JL
CHORUS.
TREBLE.
MENDELSSOHN.
Elijah.
sBlessed are the
men who
fear
Him, they
ever
walk
in the
ways
of peace.
Bless
ed, &c.
TENOR.
Blessed are the
men who
fear
Him,
This kind of repetition

completeness.
($)
is
of the nature of
Canon or Fugue
but
it
is
mentioned here for the sake of
In another
:
key.
SCHUMANN.
"
Theme
KEY C.
KEY
O (with added part above).

i
Reaper's Song."
1-~
Return to Key C-
^B^
^^
T TI&c. Eight
^
bars of different
'
~^-
Tt"'
Ti
"? n^
T~f^
'
'
/ Lgl^'^'r^FT^f*
H f^ ZZSZ
&c.
-r-wi-PB---^^
(6)
In another Metre,
or
Rhythm.
:|
will
(6) VARIED. Repetition may be varied in an infinite number of ways, some of which be subsequently discussed. In the present connection it is only necessary to mention
Repetition with altered ending or continuation.
SCHUMANN.
"
Pilgrimage of the Rose."
^^^^:p=^q=:n U
-==^^^4*
"
Home, Sweet Home."
ist Section.
Repetition.
3rd Section.
Repetition.
^
This kind of repetition
is
even more frequent than "exact
"
repetition.
110
The
measures
:
following extended
melody
consists almost entirely of repetitions of the
first
four
(a) ist
Section,
("Dal Tuo
minor.
Stellate.")
ROSSINI.
ist time,
Bass Solo
2nd time, Tenor Solo
3rd time, Soprano Solo.
(b)
Repetition, with varied ending in
Bb major.
to*
~^CHORUS.
(c)
-.-
#*
Repetition in Bb major.
ist
& 2nd times.

I
^^^*
fa/Ion/*** "Ru "Rorw^f if inn in Cadence, Bb. Repetition in
Cl.
min*-i minor.
CHORUS.
3rd time.
(d)
Repetition of
(a) in
major.
(e)
Repetition of
(c)
in
major.
RP-*
.r- ZZ^-T:
ffl^-q=y=fe=^^
(/)
"?">
Added
passage.
Repetition of
(/),
varied ending.
Repetitions of long (or short) portions of melody, with variation of rhythm, and other modifications, come under the general head of Imitation, A sequence is the repetition, at a higher or lower pitch, of some fragment (a) SEQUENCE. of melody or harmony. The "pattern" set for repetition is also called the "germ" or "motive" of the sequence, and may consist of two or more notes and the repetitions generally proceed this is in regular order, up or down. There is no rule as to the number of such repetitions discretion but a sequence carried to great length is so entirely mechanical entirely a matter of " that it resembles measuring out music by the yard."
II.
IMITATION.
pitch, accent, or
Ascending Sequences.
Motive.
Motive.
*"-
Motive.
Motive.
^=K=f:
Sequence.
Motive.
Ill
BEETHOVEN.
st,
Op. 22.
x
&c.
Motive.
BEETHOVEN, Op.
28.
22Z32ZZtQ:
&c
Descending Sequences.
Motive. Motive.
iMotive.
From a song by
PINSUTI.
3E3=
i=j:
A Sequence may be confined to the melody alone (Melodic Sequence) imitated in every part of the harmony (Harmonic Sequence)
:
or
it
may
be
Harmonic Sequences.
lr
MOZART.
"
Sonata
in
minor."
TONAL AND REAL SEQUENCES. Many sequences are confined to the notes of the scale or key in which they begin, the imitations not being necessarily quite strict as to interval Real Sequences are those in which every interval and chord these are called Tonal Sequences. " " " " of the Thus most Real Sequences lead to constant germ or motive is exactly imitated.
;
change of key.
Real Sequences.
rfcz
I I
J- J- J-
jJ'
112
Chordal Sequence.
l~~

BEETHOVEN.
" Mass in C.'
Ti
==.$$=&
1:
&c.
Mixed Sequence.
I
BEETHOVEN.
"
Sonata," Op. 106.
f-fff
f.
t=
As
in this instance, som* sequences are partly Real
and partly Tonal,
to
avoid wandering
too far into extraneous keys.
Sequential Imitations
-
may
i
be alternated with non-sequential phrases
17
Hj
Allegro.
IJ
STERNDALE BENNETT, May Queen.
Duple motives
Beautiful sequential and other imitative effects are often produced by employing in Triple Time, Triple motives in Duple Time, etc. See the following
:
Ac.
3E2
[
&c.
* 9
&c.
b=
for the piano.
For numerous examples, see Chopin's works
Sometimes these passages are "phrased"

construction
;
(see Chap. .X) according to their sequential at other times the regular metrical accents only are intended.
Schumann and other modern composers

interesting sequences by imitating passages of length. striking feature in Beethoven, and
have constructed from twenty to fifty
elaborate,
(or
is
varied,
and
in
more) measures
some other composers,
sequential imitation
by
steps of a semitone
Imitation.
113
r
&c.
S=ipz:
(6)
OTHER KINDS OF DIRECT
part, or in another part, at strict) as to interval, or free
IMITATION. A melody may be imitated either in the same The imitation may be exact (or any interval higher or lower. i.e., major intervals may reply to minor intervals, etc.
:
Examples
of free imitation
^^rrtnifea^mrcfFf
\
&c.
-*
irinizz &c.
Almost a
strict sequence.
SCHUMANN.
Manfred.
Strict imitation in another part (or parts)
produces what
is
called a
"
Canon
"
or
"
Round."
the Peri.
SCHUMANN, Paradise and
gf=TJ^
fe
3=3=t3
The
nature
:
&c.
following are specimens of Canonic Imitation
not
strict
Canons
but of the same
BEETHOVEN, Op.
:B:
2.
ffi^
:*=C*
â
CT-^r-rr
^^
4
-^=^LL^~
&c.
114
(c)
INVERSE IMITATION.
A
by
melody may be imitated

similar descending intervals,
J
in the
same
or another part
by
replying to ascending intervals
and
J
vice versa.
_a
V
\
J
-&I
J
-0I I
4I
h-
-&-
Inverse imitatio
of
upper part.
Motive.
Inverse imitations.
&c.
Motive.
Inverse imitations.
WAGNER, Symphony
in C.
&c.
Free Inverse imitation.
&c.
BEETHOVEN, Op.
Inverse Imitation of ist bar.
53.
CLEMENTI.
The lower part
is
an Inverse imitation of the upper.
Imitation.
115
it is
This kind of imitation is of no great artistic value, though (d) RETROGRADE IMITATION. The order of notes in a melody is reversed, and a sometimes employed in classical music. new melody thereby produced.
Retrograde imitation.
It will
be seen that the whole melody reads the same backwards or forwards.
(e)
IMITATION BY AUGMENTATION OR DIMINUTION.

:
melody may be repeated or
imitated in longer or shorter notes

Motive.
&c.
Motive.
MOZART.
Op.
11.
rt:
BEETHOVEN.
"
Leonora Overture," No.
3.
t
I &C.
A GROUND BASS. A Ground, Bass, or Basso Ostinato, is a portion of melody con(/) One of the finest examples is Bach's stantly repeated in the Bass, with varied upper parts. The harmonization Passacaglia in C minor for the organ. Choruses, 9). (See also Chap. XI of a Ground Bass in several different ways is a valuable exercise for the student.
;
The following
purposes.
is
a simple and effective scheme of treatment, suitable for practice or for examination
116

Moderate
Variations.
117
SCHEME OF CONSTRUCTION OF THE ABOVE EXAMPLE.

(a)
(b)
to to
(b).
(c).
A A
simple melody, with accompanying parts in slightly varied rhythm. distinctly different melody, with rather more elaborate harmony, passing-
notes, suspensions, etc. free counterpoint in Tenor, with accompanying imitative passages, etc. (c) to (d). fresh rhythm, with fuller and more abstruse chords. (d) to (e).
short Coda, in full harmony, // (reduced to six bars as a contrast to the " of the preceding portions). EXERCISES Harmonize each of the following Ground Basses on the lines suggested above, with such varieties of treatment as may appear suitable. Add a short Coda to each.
"
(e)
to end.
A A A
:
eight-bar squareness
(I)
__...
.._
(g)
VARIATIONS.
variation, or
"
double,"
is
the presentation of a simple theme in
varied form.
Most of the original Doubles were merely variations of the melodic outline by means of as, for example, Handel's Chaconne increasingly elaborate figuration and embellishments in G (of his harpsichord works) which has 62 variations. " " The more modern Theme (or Air) with Variations of Haydn, Mozart, and Beethoven, and there is no limit to the devices which harmonic and also includes rhythmic transformations, " " text as it is felt that the original theme is in some way the of each be as long may employed and Beethoven's Pianoforte and Variations Bach's Theme variation. 30 Variations, (complete, Breitkopf and Hartel, 2/6) are specially worthy of attention. Very fine Variations have also been written by Brahms, Elgar, Parry, etc. Variations afford scope for the development of the composer's ingenuity, and the following is an example of fairly simple work which the student may imitate at his discretion.
;
N.B. The piece was arranged to be played on a large modern organ, and with indications of the stops used.
is
here given in short score,
118
VARIATIONS
INTRODUCTION.
on
"ROUSSEAU'S DREAM."
R.DUNSTAX.
MM
Rousseau's Dream,
Ch. Cl. and 4ft Fl.
119
soft Fed.
senza Fed.
120
Andante.

Solo: Orch.Oboe.
Orchl. Oboe and Tremulant.
senza Fed.
Fed.
Allegro.
3
Sw.
2ft.
3'
and Stopp'd D lap!
16ft.
jjanf
t i Do/I o/l i;i. soft Fed. ad lib.
r
I*
Rousseau's If ream.
Jr^n^rjr-r
WF-I
m-r-r
m-r-
j_j^4
j.
JETWVMBW
i22
Cl ICtt.Diap. and small 8ft
Coupled to Sw. senza Fed
Orchl. Fl. 8ft. with Tremulant.

t
Rousseau's
Dream
Allegro molto.
Solo (or
Ch.), Ob., Clar., Fl. 8ft., PI. 2ft.
Sw. Full to Reeds.
IT
Soft Fed. to Sw.
M
'
I.
add Tuba
Moderate.
Full Fed. without
Reeds (coupled)
add Fed. Reeds.
124

(radually reduce Organ.
I
r
rr'r
-
rr
reduce
PPP
soft Fed.
Metrical Form.
125
" Pars. 89-91, Chap. V) that melody has a strong tendency to arrange itself in groups of " four bars which we have called Sections and further that the most usual Complete Musical Sentence consists of four of these sections.
109
METRICAL FORM
REGULAR FOUR-FOLD SENTENCES.
We
have already seen (Chap.
Ill,
and
The following is the 110 The rhythmic varieties of Sections and Sentences are infinite. rhythmical basis of a classic melody, on which we have constructed three different melodies
:
1st Section.
2nd Section.
J
;
3rd Section.
4th Section.
-0
Jir=?i'jJI!jl75 0' 9 }-0 9

1
-0
V-0^--0-
'-r
rhythm
LJ J
LJ
in
-^-j-J-
L-}
Three melodies based on

(a)
this
major.
(ft)
minor.
(c)
major.
-=g-
It will
"
variety
be noticed that the rhythmic construction an important feature of musical design.

:
of the various sections
shows
"
uniformity with
EXERCISES The student should now exercise his ingenuity in constructing two or three Sentences in various keys on each of the following rhythms, all selected from classical composers. They need not be harmonized but harmonic substructure should, in general, be kept in view.
;
Endeavour neither to think of words nor of any particular instrument, but to write what is called pure (or absolute) music. " " All sorts of devices may be used and examples of ascending and descending passages, repeated The cadences should be carefully planned out, and as much variety of notes, etc., should be introduced. melodic outline obtained as possible. Slurs, etc., should be added at discretion.
;
facility for
Afterwards, the student should construct several sentences of his own, and thus gain the necessary composing anthems, choruses, part-songs, and instrumental pieces.
126

Rather quick time.
(a)
/
\
S_
^
i
J-
J-|J
>j *~I
j"J
s
i
[.N_Jl.k
s
i
>i
~"1~*
*^
> *
i
*~
i
ii
0-
J
j
J
j
Exercises in Metrical Form.
127
i-J-1-
-H-
J--fJ-
JU
]0*
00-
JLJ.
J'
8
~5
J-
J~J^- _S_AJ^3
J
J--J-
-U
-N
J30U
A
I
^ CS
Q-
3
[
* -3-J-
J,
j:
128
10
-J- -J
^-J.
Slower time.
Sentences of four two-bar sections
L2
-^
K-^-
N
J
.N
[j.-
.N--
.>[j
_.^J.__J_j,_ _Ju"^5..J
13
J'.N
i
I
J-
J ^ J.
^J /J. J5
JJ JM
14
'
|S
JTT3 \-0*0-*-0
J 0*-
-J
Extended and Irregular Sentences.

110
129
A five-section sentence is often made by end of the fourth the at cadence a section, repeating that section (with or perfect avoiding without variation), and then closing with the perfect cadence
EXTENDED AND IRREGULAR SENTENCES.
:
"O
ist Section.
rest in the
Lord"
(Elijah).
MENDELSSOHN.
2nd Section.
pT
-3rd Section.
.0-
.0.
4th Section.
5th Section.
m
j
i
&c.
Another method of Observe that the fifth section is a varied repeat of the fourth. " " " " Coda or Codetta at the end of a constructing five-section sentences is to add a little
four-section sentence.
EXERCISES Compose various original five-section sentences, or extend four-section sentences already written.
:
some
of the
Sentences of six, seven, eight, or even more sections are sometimes written. student will be able to find examples in any classical works.)
(The
Variety is also secured in long works by making sections and sentences overlap, by We give a few rhythmical extending an occasional section, by contrapuntal imitations, etc. plans of irregular sentences all from classical sources on which melodies should now be
constructed.
J-
H- J
N
E3-J
>H J ** 0*00~*
'.
'.
M -00
i
iJ \-0
i. *-
n i"^"T^ 0-0-0-0-0
'A
i \
-\-0 ^
0-0-0-0-0-0-0-\-0 ^
3
I"TJ
n"Tî
130
r;
J-H
-^^
i
i
J
[
J3-J-J3j-
Jj
S , J
J
[
J
[
J3J-
J. J
j
j_j^J._J>J-}-J333J
^J_ U
<
J
j
,gj^
40
\-*~
J-'JT3
j j
Exercises.
131
10
1
I
û
.N jg j
JJ
J-
J-
JM
uncommon
"
tr
:
111
Sentences consisting of two sections are not
Wedding March."
MENDELSSOHN.
Sonata, No. 15, Op. 28.
BEETHOVEN.
N.B. When a number of sentences follow one another sentence should end in the key in which it begins. (See the above also Par. 115, page 133.)
it is
not necessary that the first
example from Beethoven.

will
See
The construction
Chapter.
of pieces of
more than one sentence
be discussed in the
next
132
CHAPTER
TWO OR MORE SENTENCES
IN SUCCESSION.
IX.
SIMPLE INSTRUMENTAL FORMS.
112 We have seen that sentences vary in length, but that the most usual consist of 8 or In dance music of all kinds, in marches, and in much other instrumental music hardly 16 bars. for some special effect (or, in long instrumental other length of sentence is employed, except any works, to vary what would otherwise become monotonous).* For the sake of 113 Many pieces of music are made up of two sentences in" succession. two-sentence paragraph." reference we will call a complete musical idea of two sentences a 114 In a
(i)
"
two-sentence paragraph" the second sentence may be An additional sentence in the same key, without any special thematic reference to the first sentence
:
:
THE CARMAN'S WHISTLE.

1st
Arr.
BYRD
(1546-1623).
Sentence.
^5
m
2nd Sentence.
s
TST
This kind oicontinuation was
(2)
i
common
in old
^
&'
now
rarely employed.
music, but
is
sentence partly contrasted and partly imitative the imitation (or repetition) of part of the first sentence coming usually towards the end of the second
:
BONNIE DUNDEE.
1st
Sentence.
55
*'
This kind of paragraph
is felt
to be
is
"
in
good form."
Sec also "St. Matthew," Par. 81, Ch. IV.

of the
Sometimes a short coda
added as an extension
second sentence
BEETHOVEN.
Op.
14.
In quick waltzes, scherzos,
etc.,
with only one beat in each bar, the regular sentence
is
32 bars
ui length.
Two-sentence Paragraphs.
133
(a)
(a)
(b)
(c)
End End
of first sentence. of second sentence.

first
(d)
Repetition (an octave higher) of part of to (e) Coda.
sentence.
115 In a two-sentence paragraph the first sentence may end with a perfect cadence in the original (principal) key, or it may modulate to a closely related key. In vocal music in instrumental pieces the second (ballads, etc.), the first method is rather more common
;
"
"
method
lined
is
much more
frequent.
eight-
The keys to which modulation may be made are tabulated in connection with The following are the most usual hymn-tunes (Chap. IV). (a) MAJOR PIECES (1) To the key of the Dominant (major). (2) To the key of the Mediant (minor). (3) To the key of the Relative Minor. (b) MINOR PIECES (1) To the key of the Relative Major. (2) To the key of the Dominant (Minor). N.B. If a piece commencss in a minor key, the second sentence sometimes ends
:
in the
Tonic Major.
116 Almost all old dance-forms before Bach (1685-1750), and many later dances, are " two" sentence paragraphs each part being repeated, probably " to make the tune longer "
:
Old Air
"Suitable for dancing
to."
17th Century.
SARABANDE
IN C MINOR.
C.
NlCHELMANN
(1717-61).
tr.
IP
134
117
Bach kept
his Suites, etc.),
but he generally doubled
sentence for the first part of his dance forms (in largely to the eight-bar the length of the second part (to 16 bars).
both parts.) (Later composers gradually lengthened " " in various major two-sentence paragraphs a number of EXERCISES (a) Compose at or not, pleasure. and minor keys. They may be harmonized each of the following as a short pianoforte piece, repeating each sentence
:
(b)
Complete
:
as in Par. 116
(1)
COURANTE.
*
In three-part harmony.
,s
.^
8 bars, ist sentence, o bars,

i
-J-^J-d
-J-
2nd sentence, 8
bars, ending in
modulating to key ke; G. key C.
(2)
PRESTO.
tr
In
two-part
chords.
harmony,
with
occasional
full
ist sentence, 16 bars,
modulating to Key
C.
2nd sentence, 16
bars, ending in
Key
F.
I*
'*"
-
*I
In three-part harmony. ist sentence, 8 bars, modulating to B minor and ending with a Tierce de Picardie. 2nd sentence, 8 bars, closing in E minor.
(4)
GIGUE.
In two-part
chords.
harmony,
with
occasional
full
modulating to Bb major.
2nd sentence, 16
bars, ending in
minor.
(5)
MENUETTO
(Minuet).
In three-part harmony, with occasional fuller chords at discretion, ist sentence, 8 bars, ending in D minor. 2nd sentence, 8 bars, modulating to F major, and returning to D minor.
The student will have noticed that when a sentence starts with an incomplete bar the incomplete bars being equal in value to one whole bar.
last
bar
is
also incomplete
the
two
Three-sentence Paragraphs.
135
(6)
GAVOTTE.
In two-part
ist
harmony throughout,
8
or
bars,
sentence,
16
bars,
in
modulating to
major.
2nd sentence, 16
ending
major.
N.B.
Gavotte always commences with the third crotchet of the bar.
(7)
GAVOTTE.
In three-part harmony throughout. ist sentence, 8 bars, modulating to B major. 2nd sentence, 16 bars, ending in E major.
(8)
BOURREE.
In two-part
ist
harmony throughout.
PT
16 bars, modulating to major, or F# minor. 2nd sentence, 16 bars, ending in D major.

sentence,
Key
N.B.
Bourree commences with the
last crotchet (or
quaver) of the bar.
118 PARAGRAPHS OF THREE SENTENCES. The "three-sentence paragraph" is one of the " commonest of simple musical forms. It is used for voluntaries, Songs without words," organ " " short violin solos, and incidental pieces of all kinds. It is usually referred to as Song Form " is third a Lied-Form The sentence or modified (German, "). generally repetition, repetition,
of the first sentence.
119
SONG FORM.
A. B.
C.
sentence of eight or sixteen bars. sentence of eight or sixteen bars in another key. Repetition (with or without modification) of A.
A A
D.
Short Coda ad
lib.
This form exhibits three of the most important features of a good musical design " t{ liminary statement," (2) repetition." digression," (3)
(A) The principal sentence or from sixteen to twenty bars.
"
:
(i)
pre-
may
be extended to
five (or
more) sections
say,
from eight to ten bars,
has afterwards to be repeated as C it generally ends in the principal key. If, however, it must be so modified in C as to end in the principal key in that sentence. (B) This sentence may also be extended, or it may be curtailed. It may be entirely contrasted in style, or it may be responsive (i.e., of similar rhythmical and melodic nature, but without expct repetitions of portions of A). It should always be in a different key from the first sentence and if it further modulates during its course, the principal key of the first sentence should be avoided. (C) If the original key is minor, its repetition here may be in the Tonic Major key. or it may be a reminiscence of any portions of A or B (or D) The Coda may be an extension of C
As
it
modulates,
it
both).
136
as a
rest in the Lord have already referred (Par. 95, Chap. V) to Mendelssohn's " " as just described. We give It is a good illustration of Song-form another illustration even more regular
120
"
We
"
"
concise aria."
SONG WITHOUT WORDS

"
(No. 22).
MENDELSSOHN.
mg*u
1
1
-fr
^--
^g^
Ht-P
(a)
(c)
-bsH
;
-s
S3
(e)
(g)
phrase
is
First sentence, key F eight bars. Second sentence, keys minor and minor eight bars. Exact repetition of first sentence (/) eight bars. Coda five bars. The first phrase is reminiscent of the second (h) a repetition of the last two bars of the first sentence.
to to to to
(6)
(d)
sentence
the second
The symmetrical and regular construction

121
of this
melody
is
"
clear as daylight."
:
The next
illustration
shows some
slight modifications
(No.
SONG WITHOUT WORDS
9).
MENDELSSOHN.
(b)
~~r~
\
V^
t~^~\
~~N
^*"^~i
- r*a-
"
^~
Exercises in Song-form.
137
(*)
(0
(a)
(c)
to (6) Prelude.
to (d) First sentence, key of the second.

(e)
eight bars.
;
Note that the
last section of this sentence is
a repetition
to
to
(/)
(A)
(i)
Short
(k)
"
Second sentence, key B four bars. " link leading back to key E.
Extended to
six bars
(/)
to
(g).
(k)
to end.
Repetition of first sentence (the third section being different). Repetition of Prelude.
122
or
"
They exhibit all sorts of devices for securing variety and continuity, and the student may analyse them with advantage at this stage. " " 123 If groups of sentences paragraphs be substituted for simple sentences in the three main divisions of "song-form," and introductory and other instrumental passages added, we get the " Grand Aria " (or Aria da Capo) described in Chap. V, Par. 95.
124 EXERCISES IN SIMPLE SONG-FORM. Continue each of the following as suggested, adding phrasing and expression marks at pleasure.
N.B. In writing pianoforte music it is not necessary to keep rigidly to the rules of four-part vocal " Notes of chords harmony, although, as Weber remarks, they should be the foundation of all music." may be freely doubled in either hand, and many other freedoms are allowed. It is, however, not desirable to let the bass move in octaves with any upper part (except of course in unison passages), though it may be " " in the left hand at pleasure doubled
:
episodical passages between " the sentences. song-form." (Lieder ohne Worte) are nearly all in
This form "
may
be extended by adding
(a)
An
Mendelssohn's
introduction (as above) "
(b) Connecting " Songs without Words

;
Not
desirable.
Good.
(i)
Song without Words
for Pianoforte. ist sentence, 8 bars, ending in
Key
in
A.
bars,
chiefly
2nd sentence, 8
Key
E.
Repeat
ist sentence, with or without modification. Short Coda, 4 bars.
138
Violin Solo.

"
(2)
Meditation."
mp
j^
'
ist sentence, 16 bars (or extend to 20), chiefly in minor.
Andante.
2nd sentence, 16
D
I
bars, chiefly
S3
zC
'p'
I,
Repeat
or in
major. ist sentence in
G minor,
major. Short Coda.
û
>
N.B.
1--;
Keep
to the
[
EX1
I
compass of the violin from

"
gb
tor=g|
(3)
Flute Solo.
Romanza."
.^
Key D.
3E3!:
:JHi
3i^
~_
rL~*~*
'
^<-
2nd sentence, 16 to 20 bars, Keys B[y, D minor, and A

major. Short link.
Repetition, sentence.
varied,
of
ist
&C.
Short Coda.
N.B.
cr.
The
effective
is
most com-
pass of the flute
from
(4)
Introductory Voluntary for Organ or Harmonium.

Moderate.
ist
sentence,
16 to 20 bars,
m
;
mainly in F major. 2nd sentence, 16 to 20 bars, mainly in C major.

Repetition
of
ist
sentence,
differently melody, harmonized. Coda on a tonic pedal.
same
on his own The student should now compose a number of pieces in song-form or he may imitate any of the numerous models to be found in the works of good initiative
composers.
125 MINUET AND TRIO FORM. The Minuet (German, Menuett ; French, Menuet ; Italian, Minuetto, or Menuetto), was a graceful, rather slow dance in triple (generally 3-4) time, invented about the middle of the I7th century.
"
"
Like
many
(sentences) of eight bars, each repeated. following (from No. 4 of the French Suites)
other old dances (see Par. 116) the original Minuet consisted of two portions Bach sometimes used this original form, as in the
:
Tranquillo (J
108).
tr
Minuet and Trio Form,

tr tr
139
N.B.
part.
In his later Minuets Bach generally extended the second part to double the length of the
first
As instrumental music became developed, a second Minuet in some related key and marked of a quieter character was alternated with the first. They were generally " " " " " " " Menuetto 2." Afterwards Menuetto 2 and was called the Trio Menuetto i possibly because it was originally written in three-part harmony.
N.B.
of a piece.
The term "
trio
"
is
now
applied to
many
other middle portions contrasting with other portions
The Minuet and Trio formed a part of many of the old Suites, and became with Haydn Beethoven developed the Minuet into a regular movement in the Sonata, Symphony, etc.
the Scherzo.
The MINUET AND TRIO FORM, as exemplified I. MINUET (a) First portion, 8 to 24 bars
:
in
;
Haydn and
;
Mozart,
is
as follows
repeated
(6)
Second portion, generally
longer than the

II.
first
:
repeated.
key
TRIO Sometimes in the same Exactly similar in construction to the Minuet. sometimes in a nearly-related key. DA CAPO of the Minuet generally without repeating the two separate portions. III.
;
A CODA
is
sometimes added, to be played after
III.
MENUETTO.
Symphony
in
G minor,
MOZART.
TRIO.
140
^*-F
March Forms.
141
3:
g_f
m
on these models
good
full
of A, G, D,
EXERCISES Write marches (slow or quick at and F major, and B, E, A, and C minor.
:
discretion)
in the keys
They may be written

of expression
(b)
for pianoforte, organ, or
harmonium
or
"
at pleasure, in
chords, with
marks
and phrasing added.

"
The
three-sentence paragraph
"
song-form."
SEE THE CONQUERING HERO.
HANDEL. Judas Maccabceus.
Repetition of 1st part. " 7
EXERCISES
Write marches
as
above
on
this model, in the
keys of
Ej?,
Ab, C, and
in the same key but in modern pieces in this form the Trio is nearly always in a different key. Major pieces generally have their Trio in the key of the subdominant. Minor pieces are not so regular.
;
Bb major, and D, F, G, and F# minor. " Form. (c) The "Minuet and Trio N.B. The old alternative Minuets might be both
Allegro moderate.
MARCHE HEROIQUE.
i
SCHUBERT.
r#
:5=zz
142
FINE.
3BS
-fe
Military marches are generally
the form of this
ofan
N0
-
by
and Trio lorm, in the keys EXERCISES Write marches-as above-in Minuet E minor. G, and E major, and C, F, G, and " of Minuet and Trio form. " The Mendelssohnian March is an extension
:
of C, F,
(rf)
The following to any marches guide
analysis of the favourite

in this
form the student

a bar here.
War March of may be movec

i.
"
the Priests
may
serve as
Note the
elision of
The
last
note of one phrase
made
the
first
note of the next.
143
War March from
Athalie.
WAR MARCH FROM
ATHALIE.
144
ft)
-&ftr
,.
Dance Forms.
(a)
145
to
(h)
(k)
to (p)
First paragraph threefold. ist part (a) to (c) 2nd part (d) to (/) an abbreviated repetition of 3rd part (g) to (h) Trio of three sentences (in the subdominant key).
;
;
(a)
to
(c).
ist sentence
(k)
to
(I)
2nd sentence
(q)
(s)
to
(u)
a repetition of first sentence (K) to (/). 3rd sentence Connective passage. to (t) Third paragraph repetition of (a) to (c) to end. Coda. () to (v) First sentence of Trio (given twice) in the principal key of First four bars of (a) (x) to (y) The same, an octave higher (z) to (i) Peroration based on fifth and sixth bars of (a). (2) to end.
;
(m) to (n) (o) to (p)
(r)
major.
128 VARIOUS DANCE FORMS. Like the Minuet, " addition of an alternating Trio."
:
many
other dances are extended by the
out
all of
EXERCISES Complete each of the following for the pianoforte on the them have been taken from good popular specimens.
(a)
lines
sketched
BARCAROLE.
An
imitation of the Venetian Gondoliers' songs, in 6-8 time, and rather
slow.
Grazioso.
&c
ist part, 8 or 16 bars, ending in Key F.
2nd
part, responsive, in related keys, ist part, Da Capo.
See also Mendelssohn's
"
Songs without Words," Nos.
6, 12,
and
29.
(b)
BOLERO, or CACHUCA.
A
:
following rhythms are characteristic
The Spanish dance, in 3-4 time, and not very quick. f C r r and r r r |
(A) ist part, 8 or 16 in bars, ending
wr
2nd
BOLERO.
Key D.
part, responsive,
&c<
_=
(C)
ending in Key G. (B) Write a Trio of

similar construction
in
Da Capo
(c)
of
A ; and
Key
C.
short
Coda
8,
at pleasure.
BOURREE.
"
See No.
"
Par. 117, page 135.

in
the
Add a Trio to the Bounce already composed, key of G, commencing thus

:
three-part harmony,
and
in
146

GALOP.
(d)
very lively dance in 2-4 time, supposed to be of
German
origin.
(4) (i) 16 bars, modumajor. lating to
Repeat, ending in D major. (B) (i) 16 bars, G

(2)
major
(2)
Repeat.
8 bars,
8 bars,
repeat.
(C)
E G
minor major
Da Capo
(e)
of the
whole of A.
See No.
"
in
7,
GAVOTTE.
"
Par. 117, page 135.

to the
Add a
The
Trio
C major and A minor
Gavotte already composed.

" "
following
also in
-
E major shows
a more varied
key-plan
(A) (i) 8 bars, E major, pp, ending in Tonic
(2) (3)
GAVOTTE
Key. Repeat
8 bars,
//.
minor
of
repeat ad
(4)
lib.
Da Capo
(2).
(i)
and
(B) TRIO.
(2)
(3) (4) (i)
8 bars,
A
;
major, pp (ending in
repeat ad
lib.
majo-).
Repeat
8 bars,
in 8ves.
minor
of
(i).
Da Capo
(C)
Da Capo
of the
whole of A.
Coda
at pleasure.
MAZURKA. A lively Polish national dance in triple time, quicker than the Polonaise (/) or Polacca, but considerably slower than the Waltz.
Characteristic
rhythms
| I*'-* f
||
f-* 3
j
||
f
16
f
bars,
;
||
(A)
(2) (3)
(i)
Key
Bjj,
ending in
Tonic key
8 bars,
not repeated.
;
Key G minor
of
(i).
repeat.
Da Capo
(i) 16 bars, KeyE^, ending (B) TRIO. not repeated. in Tonic key
;
Dance Forms.
147
(h)
POLONAISE or POLACCA.
Polish dance in 3-4 time
and moderate tempo.
Chopin's Polonaises are the best classical examples of this form, and they should be carefully studied. Schubert's Polonaises are also however, intended for the concert room, and not for dancing. noteworthy.
They
are,
(^4) (i)
8 bars, A minor, ending in Tonic key
repeat. (2) 8 bars,
E
(i)
major,
;
followed bars of
by the 8
all
repeated. 12 bars, (B)

Fed.
(C)
keys
*
of the
Fed.
C, G,
repeated.
Da Capo
(i)
whole of A.
REDOWA.
lively
Bohemian dance now
in 3-4 time
originally in alternating 2-4
and 3-4 time.

(A) (i) 8 bars, KeyC; repeat. (2) 8 bars, Key G;
repeat.
(3)
Da Capo
of
(i).
(B)
Trio of similar construction in F
D
(C)
Da Capo
minor, and F. of A.
129 Other dance forms, as the Cracoviak, Pavan, Quadrille, Rigadoon, Saltarelle, Schottische, Strathspey, Tarantella, Varsoviana, and the various kinds of Waltz, are constructed on similar lines, and the student will have no difficulty in finding models if he desires to compose any
of them.
It should be mentioned here that many marches, dances, and similar compositions are extended by " having two Trios. The whole form then becomes 5-fold," and is of the nature of a Rondo. (See Chap. XI.)
A. B.
C.
Principal paragraph (or group of sentences).

First Trio.
Repetition of A.
D.
E. F.
Second Trio.
Repetition of A. Coda, ad lib.
is
Mendelssohn's Cornelius March
a good example of this form.
148
CHAPTER
COUNTERPOINT.
CANON.
X.
MODULATION.
PHRASING.
is
FUGUE.
130 It is assumed that the student has been pursuing his harmony studies, and time able to handle effectively all the more usual chords and progressions. He may
his attention to the subjects discussed below.
by this now turn
the art of combining melodies." Counterpoint may be defined as of is an artificial Strict counterpoint composition supposed to be based on the system works of the composers of the i6th century. Counterpoint had its origin in attempts to add accompanying parts to the Plain-song The word is derived from the Latin punctus contra punctum (point of the early Church. " " those in another. (i.e., notes) in one part against points point), the setting of
131
COUNTERPOINT.
"
against
The
It includes in
essence of counterpoint
is
the writing of beautiful

in
or, at
any
rate, singable melodies.

;
Canon and Fugue, and may be written

eight distinct parts
sufficient
is
any number
more than
132
generally useless and
of parts ineffective.
but part-writing
The student
space to discuss the rules of Strict Counterpoint in this work. and Pearce's Student's Counterpoint Although no great composer ever rigidly adhered to the rules of strict scholastic (see p. 3). counterpoint as laid down in text-books, it must not be supposed that counterpoint has little value in practical composition. The ingenious devices and spirit of counterpoint are found " and most of the greatest composers have been in nearly all good music profound
We
cannot allow
is,
therefore, referred to Oakey's Counterpoint
contrapuntists."
The following
are examples of
what
is
called
"
Free
"
Counterpoint
(a) First Species :*
note against note.
HANDEL.
~
.
Wor
I
thy
I
is
!
the
X.
Lamb
:
that
I
"FT
was
slain.
-JN.B.
(6)
Hundreds
of other
:
examples
may
easily be found.
Second Species
two
(or three) notes against one.
HUMMING SONG.
(~t
SCHUMANN.
Counterpoint.
149
SS
S
MAY, DEAREST MAY.
&c.
SCHUMANN.
HARMONIOUS BLACKSMITH.
3 against 1.
HANDEL.
(_*
Â ^^ ^^ R^~^P\ eatfl ^<"a"f ^^^~ ^pi~f*tf ^~* ^T^ _^tfn 3 =3*_ r-*^r- -J-îLJ-J-^
iji-^-
BEETHOVEN.
Op.
7.
(c)
Third Species
four (or more) notes against one.
AIR VARIED.
4 against
1.
HANDEL.
_B
.
_^
150
SCHEHERAZADE.
SCHUMANN.
-Q
_
)-m
a
rr
P ^
Tr
&c.
5 (and 3) against
1.
CHOPIN.
Op.
32.
No.
2.
Fed.
* Fed.
Fed.
Fed.
Fed.
Fed.
BEETHOVEN.
Op.
2,
No.
3.
BEETHOVEN.
Op.
2,
No.
3.
N.B.
The demisemiquaver
1.
rest counts as
one of the
"
8."
16 against
BEETHOVEN.
Op.
7.
Counterpoint.
(d)
Fourth Species
Syncopation.
BEETHOVEN.
Op.
10.
No.
2.
FAST ZU ERNST.
SCHUMANN.
Fed.
(e) Fifth Species AND 2ND TREBLES.
:
^s^=Msss=fc^stetfc=
Florid Counterpoint.
BACH.
1ST
"Mass
in
minor.'
ALTO.
f&
TENOR
j j^*nr
^ ^
.j
j.
i x.^
=*=g==^p=
!EgSÊ*jgE^= ESS
TREBLE AND ALTO.

=*
BEETHOVEN.
__,
"
Mass
in D.
J. ^1
!
i-*-ti^^^
g/->J^
1 I
*I
f-\
:î^:(
//
152
jl=gE
!
rf*=
r
&c.
r-
--
133 DOUBLE COUNTERPOINT.* composed simultaneously so that
either
counterpoint added to a given theme or two melodies may serve as a higher or lower part to the other. BACH. Prelude in C minor.
bar,
The 2nd bar and vice versa.

etc.
is
the
"
inversion
"
of the 1st bar
i.e.,
the treble of the 1st bar becomes the bass of the 2nd
Double counterpoint nth, I2th,

It is
be constructed to Counterpoint invertible at the 8ve
may
"
invert
"
at
is
(or
I5th)
any interval, as 8th, loth, the most usual and useful.

from MOZART'S
"
constantly employed in fugal writing. Example of Double Counterpoint in the
8ve.
and also
in the 12th.
Requiem."
mm
jn:j^
Inversion in the 12th (Relative Major). Inversion in the 8ve.
134
TRIPLE COUNTERPOINT.
It
upper part.
Three melodies, either of which admits of six different arrangements

:
may
be bass, middle part or
Overture, Messiah.
HANDEL.
J
4=
See Sir F. Bridge's
"
&c.
-1
Double Counterpoint and Canon," Novello
&
Co., M.
153
BACH.
Fugue
in
minor.
interchangeable, admitting
Adapted from ZIMMERMANN.
of
&
136
"lliJrkzinzzzinn
li-m
BACH.
1 i
Fugue
in
Bb minor.
&c.
QU.NTUPLE COUNTERPOINT.
IST VIOLIN.
Five interchangeable melodies-iao possible arrangements.

Finale, "Jupiter
Symphony," MOZART
tr
_
j
BASSO.
s
A
P,r r T Perpetual Canon or Infinite Canon is one which " ids are a special kind of Infinite Canon at
^^^
n
,
etc.
be repeated ad the unison
may
lib
es
and methods of construct,
" see Sir F. Bridge's
Doub,e Counterpoint and Canon," NoveUo
&
Co., , S
154
are quite completed the second

theme
starts in the bass
" and is imitated at the 4th, 8ve, and nth above." the and I2th. At at the isth bar, both themes treated The first theme, extended, is then sth, 8th, " again The whole movement is a masterpiece of ingenuity. canon 4 in 2." enter together, and it becomes a
DONA
NOBIS.
BACH.
Mass
in
minor.
=t
)
1st
Theme.
*.
3E
2nd Theme.
2nd Theme
Strict Infinite
(varied)
Canons are not now much used, but

"
"
free
canonic imitations
"
are of
frequent occurrence.
An
"
accompanied
ad,
canon has
free parts for various
instruments.
The
free parts
are said to be
placitum.
Canon.
155
2 in
is a fine example of an accompanied canon The first part of the Credo in Haydn's Imperial Mass in at the under 5th (the treble in octaves with tenor and the alto in octaves with bass)
:
VO.CES.
.
=F
I
Jz=J=
i ACCOMPT.
^g|"
:
;
=3=
d=^
4-^=^=4=^^=4=+=! It j J_ ^=3 T^j-J

J r r
^^-J-44d^=J^=bU=î ^=J r? r~NP*r^ ~T~^

'
&c.
A
(or triple,
Canon Canon
"
"
by augmentation
"
etc.)
is
one in which the notes of the consequent are double
quadruple,
by diminution
half, one-third, etc.)
is one in which the notes of the consequent are shorter (onethan those of the antecedent.
is
those of the antecedent. "
at the
same time,
In the following, by Cooke, the antecedent in the bass in the treble by Diminution
given in the tenor by Augmentation, and
r7jj-J jjrj=3
&c.
=^
" per Recte et Retro same time, producing two parts in one.
e
"
is
Canon
one that
may
be sung forwards and backwards at the
Example from SIMPSON.
i
little
5
Canon were invented by the old contrapuntists, but they have
Many other varieties of practical value.
(For Canonic Imitations, see Chapter VIII.)
156
138
FUGUE.*
Fugue
is
a composition developed from one or more short themes

:
in
accordance with the following principles
The
(i)
essential features of a fugue are
The SUBJECT
Subject
is
(or
THEME),
(2)
the
ANSWER,
(3)
the COUNTERSUBJECT.
The
usually a short, definite theme of from two to eight bars in length.

the transposition of the Subject into the
The Answer
is
Key
of the
Dominant.
is the part which accompanies the Answer at its first It is entry. of the subject, and is usually written in Double Counterpoint, so that continuation a generally Some it may be used regularly above or below the Subject and Answer at each successive entry.
The Countersubject
fugues, however, have no regular countersubject.
Other prominent
(1)
but not absolutely necessary
features of fugue are
EPISODES
connective passages, generally based on some fragment of the subject or
countersubject.
(2)
STRETTO.
The bringing closer together of the entries of the subject and answer in canonic imitation.
Dominant or Tonic PEDAL
(or
(3)
ORGAN-POINT).
artifices
Cherubini enumerates the following

(1)
"
"
which
may
be used
in
fugue
Imitations of every kind.
(2)
Double
Triple, or
Quadruple Counterpoint.
(3) Inversion of the subject in contrary motion. (4)
Introduction of a
countersubject.
new
subject,
which
may
be combined with the
first
subject and
(5)
Various forms of stretto.
(6)
(7)
(8)
Using subject and
its
inversion together in contrary motion.

stretto
Combining subject, countersubject, and
on a pedal.
Augmentation or Diminution of the subject.

fugue ever contains
all
the same mould.
in exactly following short fugue from a chorus in Haydn's Creation exemplifies the general principles of fugal construction. The chorus as a whole will be referred to later
No
these "artifices,"
and hardly any two fugues are cast
The
(see
Chap. XI).
It
" " see page 159 is the may, perhaps, be said that the Exposition only part of a is which constructed In the all later each fugue regularly composers. by portions, composer develops the themes according to his own discretion and ability.
See
"
Fugu." Higgs: Novello
&
Co.,
is.
Awake
the harp.
157
AWAKE THE
HARP.
HAYDN.
Creation.
10 BARS CHORAL INTRODUCTION.
+1&f-=^
,J
f^
ffÊTT
i-^-Ltt
P
J
aLJ7ij-//j
gc
r^-g
s^^
-r/^T
J_l
.&
J^^ JJ^J-J-^ ^ TT^

A
.
1
^g^f
158
14 concluding bars based partly on the Introduction and partly on the Fugue.
Modulation.
159
SKETCH ANALYSIS OF THE ABOVE.

(I)
The EXPOSITION,
(b)
(c)
or
first
(a) Subject in Bass,
enunciation of the theme by Key D.
all
the parts in turn
(a)
to
(/).
(d)
(e)
Answer in Tenor, Key A. Subject in Alto, Key D. Answer in Treble, Key A.

Subject in Bass,
bars,
(e)
Key
to
(/),
D, imitated a bar later in Alto.

give a
N.B.
These two
"Redundant Entry"
to
in the Bass,
and
also
serve as a connecting link.

(II)
The MIDDLE GROUP OF ENTRIES

Most of the
(/)
(/)
(/).
N.B.
entries in this part are in related keys,
and the whole
is
freer in style.
(g)
(h)
(/)
Subject in Treble, B minor. " ist three notes Subject in Bass, E minor Augmented." ist note prolonged. Subject in Tenor, G major ist note prolonged to three beats. Subject in Bass, F# minor
; ; ;
(k)
(I)
Subject in Treble, A major. Short episode. The accompaniment
"fills
in" here, and leads to thestretto.
(III)
FINAL GROUP.
(m) Regular stretto in
all
the parts, in reverse order to the entries in the
Exposition. Note the ingenious canonic imitations between Bass, Treble, and Alto. Dominant Pedal in the Bass. (n) Final entry of the subject in the Treble, Key A
;
N.B. A fugue complete in itself would, of course, end in the principal key. Here, however, Haydn makes a pause on the dominant chord in order to bring in the concluding part of the chorus in the principal key with more freshness.
key or mode. " a change of Mode, from Major to Minor, N.B. Mr. Curwen defines Modulation as " he calls a change of key (from Major to Major, or from Minor to or from Minor to Major " " " while a change of both key and mode is a Transition Transitional Modulation." Minor) " " modulation covers all these various meanings. In common usage the term
139
MODULATION.
Any change
;
of
but to abandon a key modulation is one of the most striking effects in music to skip to and fro, merely to leave a place in which you which has scarcely been propounded in short, to modulate for the sake of modulation, are incapable of maintaining a footing betrays an ignorance of the art and a poverty of invention." Moore, The older composers (including Bach and Handel) rarely modulated beyond the five *' attendant keys." Modern composers modulate much more freely and extensively. The affinity relationship of keys may be seen in the following " Chart of Keys " (relative minors being given below their relative majors in italic capitals)
fine
;
;
"
Number
7~
of flats in signature.
5
Number
i
of sharps in signature.
"7
1
Eb
i~
Cb
A\>
Gb
E\>
Db
B\>
Ab
Bb
C A
D
B
34" E
C
5^
F#
C|
F|
G$
DJ
A*
(a) (i)
ATTENDANT KEYS.
Of a major key
;
the key on the right and that on the two, and also that of the principal key.
five
left,
the relative minors of these
Thus the five attendant keys of C major are G major, F major, A minor, attendant keys of Eb major are Bb major, Ab major, C minor, G minor, and
E
F
minor, and minor.
minor.
The
160

;
the key on the right and that on the left, the relative majors of (2) Of a minor key these two, and also that of the principal key. Thus the five attendant keys of C minor are G minor, F minor, Eb major, Bb major, and Ab major. E major, and D" major. By glancing at The five attendant keys of F$ minor are C* minor, B minor, A major, " five attendants of any major or minor the above chart, the student will have no difficulty in finding the
key.
OF KEY. The number of removes of any one key from any other may be (b) REMOVES found by counting along the right of the Chart for sharp removes, and along the left for flat removes. B we count D, A,"E, B, i.e., " four sharp removes." Similarly from key Bb Thus from key G to " key from A to Bb we count (along the left) D, G, C, F, Bb two sharp removes to key C we count F, C
"
five flat
etc. removes From key C to key E minor
;
"
is
"
one sharp remove to the minor,"

(i)
etc.
The
(I)
three
methods
of
modulation are
Diatonic,
(2)
Chromatic,
"
(or
:
(3)
Enharmonic.
chord
DIATONIC MODULATION.
By
using a modulating
transmutation ")
common
to the key
are leaving and that which Example C major to E minor.

:
we
we wish
to enter
Here the chord marked * is approached as the chord of the Submediant in C major and quitted " " The modulation is said to be established as the chord of the Subdominant in E minor. by the Perfect Cadence in the new key.
N.B. In a diatonic modulation to a minor key the minor 6th of the new key should be introduced as soon as possible.
(II)
ways.
CHROMATIC MODULATION. This may be accomplished The following are among the most usual (a) By the dominant 7th of the new key
:
in
an
infinite
number
of
Transient modulation to Bb.
<",
minor, and
A noteworthy
new leading-note
:
modulation of
this
kind
is
that of " five
flat
removes," by retaining the old tonic as the
to Db.
to Ab.
(b)
By
regarding a chromatic concord of one key as a diatonic concord of another C major to Ab major.
Subdominant
of
minor
triad
of
triad
Key C
(L)
quitted
as
submediant
major.
Ab
Modulation.
161
minor
to
Afc>
major.
*
Neapolitan
6th
(TA&)
of
C minor quitted
of
?
as ist inversion Subdominant (Fb) of Ab
r-^
major.
EEEEÊEEE=E=H
(c)
By
(b)
:
regarding a diatonic concord of one key as a chromatic concord of another

-
the
reverse of
major
to
major.
i=il
Tonic Triad (D) of Key C quitted as chromatic concord on the minor 6th ( ma LA) of
KeyE.
major to
minor.
w
-fc-^
:
First inversion of Tonic Triad (D6) of Key Dfr quitted as Neapolitan 6th (TA6) of C minor.
-H
^==^=N
i
(III)
ENHARMONIC MODULATION.
:
This also admits of infinite variety.
The
following
methods are usual

(a)
By enharmonic
treatment of the diminished seventh

to
F minor
minor.
__!_
The Db
at
is
repeated as Cj.
By means of the diminished 7th, modulation can be effected from any key (major or minor), some of the modulations being chromatic and minor) into any other key (major or " Lectures on Harmony," or any standard treatise on Macfarren's others enharmonic. (See
harmony.)
(b)
By
B
quitting the
Dominant 7th
as
if it
were an augmented 6th
to
minor.
to
major.
=t
The
Ffl at
I
#
is
quitted as
if it
were
162

F major
to
major.
II
The Bb
at
is
quitted as
if it
were
AJ!.
N.B.
17 other keys.
(C)
An augmented
quitting an
6th can be so manipulated as to effect modulation into at least

if it
By
augmented 6th as
major to Gb major.
were a Dominant 7th
the reverse of
(b)
m
The
BJJ at
&&==
"*rs
if it
is
quitted as
were Cb-
(d) By a progression of semitones in contrary motion until the required key is reached partly chromatic and partly enharmonic in character From Lavignac. J v From Lavignac. s J LJ.X
:
'
^^^^^=^=K=
4.
&c.
of a
into
SUDDEN MODULATION. In modern music especially at a pause, or at the beginning new sentence, paragraph, or movement composers do not hesitate to plunge at once a new key however remote without any intervening "common" or "modulating"
:
chords
C.
Fine examples of every kind of Modulation may be found in Beethoven's pianoforte sonatas. Spohr's Last Judgment may also be studied for striking illustrations of chromatic and enharmonic treatment.
140
PHRASING.
Some
theorists use the
The term " Phrase " is used with different meanings by word to mean what we have preferred in this work to
"
different writers.
call
"
Others more logically define a phrase as a definite musical thought or idea," or as a passage of melody complete in itself and unbroken in continuity." In this sense a phrase may be a Motive, a Figure, a Sub-section, or a whole Section, and it may vary in length from two or three notes to quite a long passage of melody. Thus, in the following, each of the portions (a), (b), (c), (d) is complete in itself, and hardly
susceptible of further subdivision.
section." "
The
passage, therefore, consists of four phrases.
Phrasing.
163
MO'TIVE
is
(also
pronounced Mo-teev'}
is
a short figure, passage, or theme, from which

is
a longer theme
developed.
(either
FIGURE, as used in the above sense, melodic or rhythmic)

:
any
distinct
and
significant
group of notes
No,
2.
Melodic Figures.
BEETHOVEN.
Op.
14,
'
I
I
I
' ! I
MOZART,
Symphony
in
minor.
P-+-0
W 9
[-0
B^
BEETHOVEN,
Rhythmic
Figures.
We have already
seen that any rhythmic figure
may be
the basis of an unlimited
number
of melodic figures.
The term PHRASING covers

This includes (a) the more or less emphatic delivery of phrases (1) Musical punctuation. sub-sections, figures, subjects, or sections) with regard to their relative impor(whether motives, " " " " release attack of each phrase, and its tance (by slightly cutting short the final (b) the
;
note).
This includes the proper delivery of the individual notes and marks indicating "musical articulation" are generally added modern composers, as for example, in the following carefully by BEETHOVEN.
(2)
Musical articulation.
(especially in instrumental music)
Staccato sempre.
Op.
2,
No.
2.
legato.
ff.
&c.
MENDELSSOHN.
Violin Concerto.
the student must be guided largely by perception. An examination of Beethoven's pianoforte sonatas and any of Schumann's pianoforte works (which are models of ingenious and delicate phrasing) will, however, be of great assistance. " " The style of phrasing will also be largely determined by the general character of the music and the nature of the instrument for which a composer is writing. Thus a broad and vigorous passage requires broad treatment probably no articulation marks at all while a dainty violin or pianoforte solo may have almost every note marked.
fast
No hard and
"
rules
"
can be laid down for
"
articulation
"
his
own
We have already said that composers generally add marks for articulation " they add those for "punctuation." rarely Occasionally, however, a tick (/) shows the beginning of a phrase. or a curved line (like a slur or legato-mark) is drawn above the whole phrase, and articulation marks also given
; ;
:
"
*~
~"
^=
'
164
CHAPTER
ORATORIOS.
141
XI.
RONDO FORM. PART-SONGS. CHORUSES. ANTHEMS. CANTATAS.

OPERAS.
OVERTURES.
RECITATIVE.
three times in the
or RONDEAU, is a composition in which a principal theme occurs at least same key, with contrasting portions called Episodes between the repetitions. The following early example shows the construction in its simplest outlines
:
A RONDO,
RONDEAU.
(a)
LES TENDRES PLAINTES.

-&
J.
P.
RAHEAU
s
i
(1683-1764).
tr
Andantino.
mf
Polyphony and Homophony.
165
142 Haydn, Mozart, and Beethoven considerably extended the resources of the early Rondo, and frequently employed it as the last movement of a Sonata (see Chap. XIV). Instrumental Rondos are now rarely written but the compact form of the original Rondo as exemplified above is often used in choral music.
;
143
(as in
POLYPHONIC AND HOMOPHONIC Music.

It refers to
music in which
etc.).
is,
all
Polyphonic means many-sounding." the vocal or instrumental parts are of equal importance
"
Fugues, Canons,
Polyphony
indeed, only another
name
for
"
florid
counterpoint," in which the parts
are regarded horizontally. Chords are, of course, produced is melodic rather than harmonic.
by the combined melodies, but the general conception
The "Golden Age" of pure polyphony was the i6th century. Homophonic means It refers to music in which the treble (or highest part) is of paramount like-sounding." importance, the other parts being of the nature of chordal accompaniment and generally of the The music is regarded vertically rather than horizontally, same rhythm as the chief melody. the general conception being harmonic. " " " " N.B. and would almost be better terms. Poly-rhythmic Homo-rhythmic
"
In the best classical choral Modern music is more often homophonic than polyphonic. and instrumental music the best features of polyphony and homophony are combined. EXAMPLES (i) Polyphonic, Contrapuntal, Horizontal parts independent and equally
: :
interesting
Opening Chorus of BACH'S Passion
(St.
Matthew).
(2)
Homophonic,
Harmonic,
Vertical
Treble
the
chief
melody
(all
parts
same
rhythm)
1st
Chorus of GOUNOD'S Redemption.
Homophonic music is more easily appreciated by the ear, and more direct and emotional objective in its effect. Polyphonic music is more subtle and involved, less emotional, but more intellectual subjective It should not, however, be said that either is better than the other. in character. Each style has its own excellences, nearly all great composers being masters of both.
144
of a song.
PART-SONGS, MADRIGALS, GLEES, etc. A Part-song, as its name implies, is of the nature " It may indeed be called a song harmonized in three or more parts for choral
singing."
It is essentially homophonic in style (although occasional imitative passages may be included), and consists practically of one principal melodic part with chordal accompaniment for the other voices.
N.B.
The
"
principal
melody
is
generally in the treble, but

is
it
may
occasionally be in another part.
The
form
"
of a part-song
is set,
form of the poetry to which it " " through-composed song
largely determined by the varies from that of a simple ballad to that of an elaborate (See Chap. V.)
like all other vocal
music
and
163

. i ar *, the popular
Thus
wiU Oh >h, who wiu

re,
materially differ from " " sacred part-songs in truth,
o^
o'er the
^^
Downs
so free
"
is
a harmonized ballad (with
many modern
Downs?"
Treble part of
"Oh, who
will o'er the
*_9_ = -
i=<^
=3=
E3^=EE^3=:
The Madrigal.
167
The student
lines, its
will
have no
difficulty in analysing this .piece.
Though constructed on such simple
form
is
perfect.
It is not necessary to give illustrations of all the various types of part-song the student to the following examples of different forms, which he should analyse and, imitate " Sweet and low (Barnby), Curwen & Sons, id. Curwen & Sons, 2d. O hush thee, my babie " (Sullivan), " in dew (Cowen), Boosey & Co., id. Fancy dipped her pen " (Sullivan), Novello & Co., 3d. Joy to the victors " Novello & Co., 3d. (A. Fairy Song " Zimmermann) (Leslie), Novello & Co., 4d. Lullaby of Life " March of the Regiment (De Rille), Curwen & Sons, 6d. " March of the Patriots (A. Adam), Curwen & Sons, 3d.
:
we
refer
if
possible,
The accompaniment
to all the
above
is
simply a duplication of the voice parts, and
may be omitted. "Free," obbl'gato accompaniments are, however, sometimes added; as in "The Song of the Vikings," Eaton Faning (Novello & Co., 6d.), Elgar's "Swallows" and "The Snow" (Novello), etc.
The MADRIGAL is a vocal composition, generally in imitative counterpoint three to eight parts, especially characteristic of the iyth and i8th centuries.
in
from
In style it is essentially polyphonic in having each part independently interesting and melodious, but the music is not usually very florid, and involved intricacies of rhythm (as in Bach's choruses, for example) are rare. It is best without any kind of accompaniment ; and " busy." long rests should be avoided, the voice parts being generally kept
COME
S.A.T.B.
AGAIN,
SWEET LOVE.
'
(MADRIGAL.)
JOHN DOWLAND,
i i
1597.
i !
gpEBEpp
j?=fc3=
-pz f
.--5-
g-
168
ores.
I
sigh
weep
Glees
and Choruses.
169
sung by
a piece for three or more solo voices. an English form of composition, its best period being from 1760 to 1830. It has now been practically superseded by the part-song. but whereas the Madrigal is best In many respects the Glee is allied to the Madrigal a chorus, the Glee is intended for a solo voice to each part.
The GLEE
is
It is peculiarly
Any
of the following typical glees
N.B.
(Cooke). " (Danby). Awake, Êolian lyre " towers The cloud-cap't (Stevens). " " From Oberon (Stevens). " " morn (Spofforth). Hail, smiling " " The bells of St. Michael's tower (Knyvett). " " Ossian's Hymn (Goss). " " Winds gently whisper (Whittaker). All obtainable from Messrs. Curwen, Novello, or Boosey, from id. each.
" "
" " " " " " " " " " " "
may be consulted " merrily we live " (Este). Where the bee sucks (W. Jackson). " Glorious Apollo (Webbe). " When winds breathe soft (Webbe). "
How
Thy
voice,
O happy
Ye
Here
Breathe
soft, ye winds " (Paxton). (Mazzinghi). shepherds, tell me " the times Five (Storace). taper's by " light
(Shield). " in cool grot (Lord " Mornington).
fair
O" Harmony
(Webbe).
The Red-Cross Knight "

Hark, the lark
(Callcott).
The Glee should properly be unaccompanied.

Glees have, however, been written. (Curwen, 2d.), and Attwood's "Hark! the curfew's solemn
Many accompanied
" " Bishop's Chough and Crow sound" (Boosey, id.) are good
examples.
of singers,"
" The word Chorus has a variety of meanings it may mean a company " a refrain of a song the choir as distinct from the soloists and instrumentalists," " in composition it means or ballad," etc. something to be sung by a choir or choirs." A chorus represents the combined feeling of a number of persons, and may correspond Its form depends on the nature of the words which may be to any mood or emotion. and on the sentiment to be expressed. It varies, therefore, from the either poetry or prose ejaculations of the crowd (as in Bach's St. Matthew Passion, Mendelssohn's Elijah, Nos. 10, 23, etc.), to long-sustained reflective movements or highly- developed songs of praise and Hence a chorus may be in any one of the regular forms, or it may be entirely adoration. " When set to poetical words it can hardly help "descriptive" and " through -composed." sense in some formal," as long as the accents of the music conform to those of the words. being in musical composition. When, however, (See Par. 63, Chap. Ill), and this holds universally " balance of phrase and metre," or the result it is set to prose words, care must be taken to have will be musical chaos. Speaking broadly, the more irregular the construction of the words There are, of course, the more regular ought the construction of the musical sentences to be. numerous exceptions to this rule, which can only be determined by long experience the beginner is advised to follow the rule carefully.
145
CHORUSES.
"
;
146
The
(i)
as distinguished from
most of what may be called the "regular following include " ejaculatory phrases."
harmonized Choral or Hymn-tune.
I
forms"
of choruses
^
i
BACH'S
i-*l
I
!
St.
Matthew Passion, No.

I
16.
/T\
-F
am
the
trai
:=f
&T- if ^* *J WJi*"T~
I
r ^J3 ft
I
tor,
No
sin
than
mine
is
great
er
Would 'st
170

TN
3E5*E
?
r-*r
cast
r
in
-
r
fet
-
r
ters
me
to
hell,
With
hea_- vy
* j
j *
rr^'i
-J c
*):
>
FT"
^
The
worst
bind
me,
Of
all
my
griefs re
mind
me,
my
soul
would me
rit
well.
s
See also Mendelssohn's
St.
jjaj.
=SS
I
Paul, Nos. 3 and
9.
Hymns
Legend
is
are used in a similar

of
way
in Stainer's Crucifixion ;
"
gladsome Light
"
in Sullivan's Golden
an example
(2)
extended hymn-form.
accompaniment throughout).
Choral.
Choral with instrumental prelude, interludes, etc. (sometimes with an elaborate Frequently the interludes are developed from phrases of the
One
of the finest
examples
is
the concluding chorus of Bach's Christmas Oratorio

2nd phrase. pnrase.
<r1
1st
phrase of Choral.
-j=
ff-i:
Instrumental
prelude,
12 bars.
2 bars Interlude.
.;
12
(ffife
3rd phrase.
1I
fcss ^ppts^r^
4th phrase.
Ji -J
m
-
j J
r^rj-
.
2\ bars
Interlude.
41 bars
Interlude.
r^FpP^P
^
^sss^sfe^
5th phrase.
6th phrase.
3 bars Inter lude.
<
5 bars Inter lude.
11 bars
Post-
^M^^
in
lude.
All the vocal phrases
have orchestral accompaniment
the style of the Prelude.
For other examples see Mendelssohn's St. Paul, Nos. 16 and 29 (second part), and Mendelssohn's Hymn of Praise, No. 8 (first the simple choral, unaccompanied, and then the choral in unison with figured orchestral additions).
Choruses.
171
(3) A Fugue, Double Fugue (two subjects), or Triple Fugue (three subjects). " And He shall purify," " And with His stripes," " He trusted in God," Handel's Messiah. Examples Double Fugue, " We worship God," Handel's Judas Triple, " Quam olim," Cherubini's Requiem in C minor.
:
chorus
Canon, or series of Canonic Imitations. Mass. (See p. 155, Chap. Examples The first part of the Credo, Haydn's Imperial " of Bach's Mass in B minor. See what love," Mendelssohn's (See p. 154, Chap. X..)
(4)
:
X.)
St.
The
Paul.
last
(5)
A
A
stately Introduction
"
:
Examples
Messiah.
in homophonic style followed by a Fugue. " Father, whose almighty power," Handel's Judas ; Worthy is the Lamb," Handel's
three-fold form consisting of (i) an introduction homophonic (6) (2) a fugue or homofugal exposition, or some other form of imitative treatment polyphonic (3) a Coda phonic generally a modified repetition of the Introduction.
;
;
This
is
a favourite and effective form of chorus

"
:
much used
in
modern music.
" Creation (see p. 157, Chap. X.) Be not afraid," harp," Haydn's Examples " " Mendelssohn's Elijah. Rise up, arise," and O great is the depth," Mendelssohn's St. Paul. The night " is departing," Mendelssohn's Hymn of Praise. A modification of this form is the fine Choral Epilogue " which closes Sullivan's Golden Legend.
Awake, "
the
Another three -fold form, so frequent in Mendelssohn as to be named after him, developed imitatively; (b) 2nd Theme, developed imitatively (c] combination of (a) and " " Blessed are the men," and "He watching over Israel (Elijah).
;
is
(a)
ist
(b).
Theme, Examples:
(7)
the chief key
is
Rondo-like Form, in which a principal paragraph (or series of paragraphs) in alternated with other paragraphs (in the nature of Episodes) in other keys.
"
:
Awake, thou that sleepest," Stainer's Daughter of Jairus. Example of the nature of part-songs, madrigals, etc., are often employed in cantatas Choruses (8)
and operas, and occasionally

The
part-song.
(9)
in oratorio.
is
beautiful
pure in heart," Sullivan's Golden Legend, Other examples may easily be found.
"
essentially a short
unaccompanied
The
theme upper
(or passage)
older composers sometimes constructed choruses on a Ground Bass, a short repeated over and over again in the bass (or instrumental bass) with varied
:
(See Chap. VIII.) Notable examples are The " Crucifixus," Bach's Mass in B minor ; " Envy, eldest born," Handel's " Saul ; The many rend the skies," Handel's Alexander's Feast ; " Ah, wretched Israel " (from the nth bar) Handel's Judas.
parts.
(10) The Gavotte, Waltz, and other dance-forms, the March-form, and the Minuet and Trio form, are also used for choruses. A DOUBLE CHORUS is a chorus for eight parts singing together, or for two separate fourpart choirs singing sometimes together and sometimes in alternation. " See Baal, we cry to thee," Mendelssohn's Elijah, and the fine double choruses in Handel's Israel
in Egypt and Solomon.
In addition to the choruses mentioned above, the following
may
be consulted for general
study
Thanks be to God," Mendelssohn's Elijah ; a chorus mainly descriptive, with a picturesque accompaniment, and some very fine modulations. " How lovely are the messengers," Mendelssohn's St. Paul ; fugal and imitative, but not a strict
fugue.
"
to ii
Hallelujah Chorus," Handel's Messiah ; instrumental and homophonic vocal introduction, bars i homophonic episode, bars 33 to 41 exposition of second exposition of first fugal theme, bars 12 to 33 with fugal theme, bars 41 to 51 sequential episode, bars 51 to 69 counter-exposition of second fugal " theme, stretto-like imitations, bars 69 to 88 Observe the coda-like termination, bars 69 to end. economy of material," and the very few discords that are used in this sublime chorus. " Note the gradual development of the fugue, Fixed in His everlasting seat," Handel's Samson. interrupted by choral interjections, and finally carried on by the accompaniment. " The heavens are telling," Haydn's Creation ; the " Hallelujah Chorus," Beethoven's Mount of " " Praise His awful Name," Spohr's Last Judgment ; and Olives ; Happy and blest," Mendelssohn's StPaul, are also magnificent examples of construction.
; ; ; ; ; ;
"
147
ANTHEMS AND SERVICES.
An anthem may
sung as
anthems
or
it
be merely a chorus: most of the choruses named above are occasionally may consist of chorus with solo portions, duets, etc.
172
148 The church anthem is a peculiarly English form, developed by the requirements of the It is analogous to the German church-cantata and the English Protestant church service. The words are generally from the Bible but of recent years Hymn- Anthems Italian motet. have been largely used, especially in Nonconformist churches. A " Full Anthem " "consists entirely of chorus. A " Verse Anthem" begins with a portion to be sung by a single voice to each part. of solo. A " Solo Anthem contains one or more portions " " " Many anthems are a combination of Solo," Verse," and Full."
;
149
The
following
is
list
of
what may be
called
"
typical classical
anthems
"
:
" I will exalt Thee," Tye. " I will call and cry," Tallis. " Bow Thine ear," Byrd. " Lord, for Thy tender mercies' sake," Farrant. " Hosanna," Gibbons. " Hear, O heavens," Humphreys. " Praise the Lord, O my soul,' Creyghton.
Awake up my
I
glory," Wise.
was
O O
in the spirit,"
Blow.
give thanks," Purcell. praise the Lord," Aldrich.

is
gone up," Croft. crying," Weldon. praise God in His holiness," Weldon. 1 will love Thee," Clarke. O clap your hands," Greene. O give thanks," Boyce. Praise the Lord, O Jerusalem," Hayes. The Lord descended from above," Hayes. Call to remembrance," Battishill. Grant, we beseech Thee," Attwood. In exitu Israel," Wesley. Methinks I hear the full celestial choir," Crotch.
God
Hear
my
The Wilderness," Goss.

150
The following
"
"
also represent different types of

is
anthem which may be
of interest
"
" "
" "
"
"
"
Fear not, O Land," Goss (Curwen). Saviour of the world," Goss (Novello). taste and see," Goss (Curwen). I was glad," G. J. Elvey (Curwen). Judge me, O God," Mendelssohn (Curwen). O give thanks," G. J. Elvey (Curwen). Send out thy light," Gounod (Metzler & Co.). The Lord is my Shepherd," Macfarren (Novello).
come," G. J. Elvey (Curwen). thy Light Be glad, O ye righteous," H. Smart (Novello). Blessed be the God and Father," S. S. Wesley (Curwen).
Arise, shine, for
O O
Ye shall dwell in the land," Stainer (Novello). " O heavens," Sullivan (Boosey). " Sing, Like as a father," Hatton (Curwen). " Ponder words," Sawyer (Novello).
" "
What
are these ?" Stainer (Novello).
Lord,
how manifold," Barnby
(Curwen).
my
:
HYMN ANTHEMS
A
" Hymn of the Homeland," Sullivan (Curwen). " Sullivan (Boosey). " Lead, kindly Light," The radiant morn," Woodward (Novello). " Sun of my soul," Dunstan (Novello). " Abide with me," Dunstan (Novello). " Nearer, my God, to Thee," Dunstan (Vincent).
151 SERVICES consist of settings and Nunc Dimittis, in anthem form.
of the Venite,
Te Deum,
Jubilate, Benedictus, Magnificat,
As the words are not arranged in poetical feet and stanzas, special care must be taken to preserve a good key-plan, a symmetrical balance of melodic phrases, and a clear metrical form in regular sections and sentences. But the attempt to secure this regularity must not " lead to cramming too many words into a bar, which gabbling." produces the effect known as
Oratorios
"
and Operas.
173
" make their first essay in composition by setting Sir John Stainer, Not music. the words of the Magnificat to having gone through a gradually expanding course of study of odds and ends/ form,' the result is that they produce always a remarkable conglomeration of musical sections and sentences of all sorts of length, awkwardly stitched together without any bond of union, a mere
How many
young men," says
'
'
piece of patchwork."
CANTATA, ORATORIO, or OPERA consists of a number of choruses, solos, duets, etc. It often commences with a Prelude or Overture, and generally contains Recitative. The rule requiring a composition to commence and end in the same key or if commencing in a minor key to end with the Tonic Major is sometimes observed in a long It is remarkable that nearly all work of this kind, but it is not by any means obligatory. Handel's great oratorios end in the key of D major, and that Mendelssohn's Elijah and St. Paul also both end in D major.
152
in succession.
(A)
Beginning and ending in the same key.
WORK.
to St. Cecilia's Day," Handel Acis and Galatea," Handel
COMMENCES.
ENDS.
Ode
Israel in Egypt," Handel Christmas Oratorio," Bach The Magic Flute," Mozart
Requiem," Mozart Fidelio," Beethoven Elijah," Mendelssohn Hymn of Praise," Mendelssohn Der Freischutz," Weber
Stabat Mater," Rossini Lohengrin," Wagner Joseph," Macfarren King David," Macfarren The Revenge," Stanford Voyage of Maeldune," Stanford Repentance of Nineveh," Bridge Callirhoe," Bridge The Dream of Gerontius," Elgar
* After
major Bb major C minor* D major Eb major D minor C major f D minor Bb major C major G minor A major E major Bb major G minor F minor A minor C major D minor
this
major Bb major C major D major Eb major D minor C major D major Bb major C major G minor A major E major Bb major G major F major A major C major D major
fourth
is
a short
recitative,
"f
Beethoven wrote four overtures to
work.
The
in
major.
(B)
Ending
in a different key.
WORK.
St.
COMMENCES.
ENDS.
Matthew Passion," Bach Joshua," Handel Joseph," Handel Hercules," Handel Susanna," Handel Jephtha," Handel Esther," Handel Athaliah," Handel Semele," Handel
Samson," Handel Messiah," Handel Judas Maccabaeus," Handel Solomon," Handel
Creation," Haydn Athalie," Mendelssohn
Walpurgis Night," Mendelssohn St. Paul," Mendelssohn Last Judgment," Spohr Mount of Olives," Beethoven
Paradise and the Peri,"
Schumann
La Sonnambula,"
II
Bellini
May
Barbiere," Rossini Queen," Sterndale Bennett
Redemption," Gounod
Faust," Gounod
Golden Legend," Sullivan Eden," Stanford
E minor Bb major E minor Bb major A minor G minor Bb major G major C minor G major E minor G minor Bb major C minor F major A minor A major D minor Eb minor E major G major E major E major C major F minor Gb major D major
C minor
D D
F
majoi majoi major Bb major C major C major D major C major C major G major Bb major G major C major D major C major E major G major
D D D D D D D D D
major major major major major major major major major
174

N.B.
Mass
in
f,
Bach's Mass
A SERVICE, MASS, or other similar work usually begins and ends in the same key e.g., Schubert's But there are some notable exceptions as Spohr's Mass in C, Beethoven's Mass in D, etc. in B minor ending in key D, and Mozart's (?) i2th Mass (in G) ending in key C.
;
; :
The Instrumental Prelude may be a short Introduction, or an Overture in formal style The following are the chief forms of Overture " ist movement, Grave ; 2nd movement, a LULLY," or FRENCH OVERTURE, (1) Handel's Minuet. a and Samson. followed sometimes Messiah, ; Examples Judas, by Fugue " ist movement, Allegro ; 2nd movement, SCARLATTI," or ITALIAN OVERTURE, (2) Slow ; 3rd movement, Allegro or Presto. Example Handel's Athaliah. OVERTURE. In the form of the ist movement of a SYMPHONIC or CLASSICAL, (3) sonata (see Chap. XIV) or symphony, but without repetition of the ist part, and generally less Beethoven's Examples Mozart's Don Giovanni, Figaro, etc. developed in the Free Fantasia. The overture to Mozart's Zauberflote is a fine example of a classical four overtures to Fidelio.
153
:
overture combined with a Fugue.
A loosely connected string of melodies from the work; (4) POTPOURRI OVERTURE. most overtures to light and comic operas. " " A symphonic poem treating and blending themes PRELUDE. WAGNERIAN (5) " to prepare the hearers for the coming action." Examples occurring in the musical drama, All Wagner's later operas.
as
:
154
RECITATIVE
or
MUSICAL DECLAMATION.
"
Recitative is the name commonly given to the Musica Parlante (i.e., spoken music ") The earliest kind of recitative invented by Peri, Caccini, Cavaliere, etc., about the year 1600. (Recitati'vo sec'co) consisted of a voice part with a very simple accompaniment, indicated by a figured bass From PERI'S Euridice (the first opera).
:
3rr~
=?.
Recitniive.
175
(l)
As
usually printed.
And
cry
un
to
her
ffp
r'
176
"he Composer's
Handbook.
(l)
As
printed.
fL
tiff
*~i
f'F
177
CHAPTER
XII.
ACCOMPANIMENTS IN GENERAL.
(SEE ALSO CHAPTER V.)
156
ACCOMPANIMENT FOR STRINGED ORCHESTRA. The stringed orchestra consists of ist violins, 2nd
and double-basses.
(A)
tenors), violoncellos,
violins, violas (also called altos or " The Strings." Collectively they are called
157
THE
VIOLIN.
violins playing
N.B. The ist and 2nd violins play on the same kind of instrument, the and the second line of the music.
from
The
violin has four strings
tuned thus
The highest
ist
string
is
called the ist (or E) string, the next the
2nd
(or
A) string,
etc.
Violin
The student may
write any note for the ist violin
from
but
*s
not advisable in early exercises to go above
E
2nd Violin
Any
note from low
to about
is
the best range for early work.
is
It Double-stopping is the sounding of two or more notes together on the same violin. of the notes is an open string and the other note is on the next string above But it is not wise for and in addition all 5ths, 6ths, yths, and 8ves are playable. or below the beginner to write much double-stopping unless he has a practical knowledge of the instrument.
easy
when one
;
In scores, the ist violin
and the 2nd

(B)
violin
may
may be also marked Violino Primo, Violino l mo Vno be marked Violino Secondo, Violino 2 do Vno 2 do or Vn 2, etc.
,
mo
,
or
Vn
im,
etc.,
THE
VIOLA.
xl
The
four strings are tuned thus
gj_
.j
DA
~
But
as the alto clef
is
used, these notes appear thus
^
G
[]^~
C The easy range

range appears thus
is
A
clef this
from the
low
C-
up
to
about
In the alto
to
It is
not often necessary to go above
D
Double-stopping is often used on the viola especially in slow passages, and when the 1st and 2nd violins play together in unison or octaves. " " In English scores the viola is sometimes called ttie in French scores it is generally called Tenor "
;
the
Alto."
178

(C)
THE VIOLONCELLO.
four
strings
of
The
viola
the
violoncello
are
an
octave
lower
than those
of
the
E|=j
J:
C The tenor
Q
\
Eas Y range up to
^(jgj;
=î=
~F
G~~
clef occasionally for
A
for
clef is
sometimes used
is
high notes (and the treble

in simple music, but
very
high notes).
Double-stopping
not
much wanted
an octave
.0.
is
always good
er
effect.
when
the lowest note Fifths are also easy.
is
one of the three lower strings

"
'cello
|^@=^ =|^~p
The
(D)
violoncello
is
generally called the
"
[|
(plural 'Celli
or, Anglicised,
" 'Cellos
").
THE DOUBLE
BASS.
:
Double-basses are of two kinds

(i)
The The
three-stringed bass, tuned
fJjp=
I
r--^
i"
(2)
four-stringed bass, tuned

all
F(^j
Q "
On
"
both,
The double-bass
N.B.
Bassi
"
notes sound an octave lower than written. " " " " or Contrabasso is generally marked Basso in scores.
The
'cellos
and basses may play from the same
line
which
is
then marked
"
'Cello e Basso,"
or
or a separate line
may
be allotted to each.
158
How
THE STRINGS ARE USED.
viola, and the 'cello correspond to the Roughly speaking, the ist and 2nd violins, the " " an octave lower. Like double the bass four voices of a mixed choir, while the double-basses thus they may be in the voices of a choir the various strings may be combined in many ways
;
unison (and octaves)
harmony
some may
in two-part harmony in three-, four-, five-, six-, seven-, or eight-part be silent while others are playing, etc. They also play successions
;
may
of full chords,
without special referenoe to strict part-writing. " " " In addition to being This is bowed," the strings may be plucked by the finger. When bowing has to be resumed after a pizzicato passage, called pizzicato, and is marked pizz.
it is
marked Col
;
arco, or Arco.
Sometimes the 'Celli and Bassi are marked pizz. while the other strings are using the bow and frequently the double-basses are marked pizz. while the 'celli are playing Col arco, as the pizzicato on the double-bass is specially useful in light accompaniments where a deep
but not heavy tone
159
is
needed.
GENERAL PRINCIPLES OF STRING ACCOMPANIMENTS TO CHORAL Music.

;
These are essentially the same as for pianoforte accompaniment (see Par. go, Chap. V) but they require certain modifications to suit the special characteristics of the instruments. (1) The style of accompaniment should suit the general character of the vocal music.
(2)
The accompaniment should
in general
support and sustain the voices without over-
powering them.
(3) The harmony of the strings should be complete in itself, whether the strings are in unison, in two-part harmony, or in many parts. Two or more of the parts may have (4) Many liberties of part-writing are allowed. occasional unisons or octaves.
allowed
account of the differences of tone colour, many liberties of part-writing are also between a string-part and a voice-part, which would be harsh between two voices (or even between two string- parts). N.B. The voices may occasionally be used alone and the strings may occasionally be used alone. The two masses of tone in alternation are often very effective.
(5)
On
and
effective
EXAMPLES OF TYPICAL METHODS OF STRING ACCOMPANIMENT.

(160)
String Accompaniment,
179
N.B. Most of the following examples are from Scores in which other instruments are also used in the accompaniment; but the addition of these instruments does not materially affect the method of using the strings.
(l)
Simply doubling the voice parts:-
HANDEL.
Violin
I.
fjEM
Violin II
Viola.
Voices.
Bassi.
180
BEETHOVEN. Mann
Violin
in
C.
^
I.
\
r
I
* fj i===F
Violin
II.
F.
J
?
Viola.
f
Voices.
m
Tel!.
/"l
Mass.,.
(SSS
^
^
fj'
^
/C'.
^
r
^^
^
I-
etc.
y^-
Siring Accompaniment.
181
WEBER. Der Fnischuts.

Violin
I.
Violin
II.
wa cher
.
dem
stern.lein
den
Rest
hat
ge
geb
en,
le,
ben,
der
wa cher
.
dem
stern. Jein
den
Rest
hat
ge
geb
en,
t
le
.
i
den
z
Rest
hat
=
z
ge
.
ben,
der
wa.cher
dem sternJein
geb
en,
182
Cwvpostr
Handbook.
MOZART, ftequiem Mass.
Violins
1&2
Viola.
S.
String Accompaniment.
SPOHR. Last Judgment.

Violin
I
Violin
praise to
Him who giv
eth
araise to
Him who giv
eth
MENDELSSOHN. Elijah.
ere.to.
Violins
i&
2.
Viola.
^
Lord
i>
3*
Voices
r,,d,thp
Lord
is
God O
Is
ra.el
hear!
Our
God
is
one
Organ.<
ff
Bassi.
A' >? Doubling the voices at the unison are complex, or highly contrapuntal.
^
/"
is
generally the best method whenever the voice-parts
For though the following might he accompanied as
shown :-
j*
Allegro.
Voices.
Violin
I.
Violin II
Viola.
Bassi.
Stri ng
A ccomp anim en
185
It confuses the is difficult to compose and of little real value. listeners. on the An confers little and pleasure accompaniment simply doubling the voices, singers or even detached chords, as in the following, would be much more effective.
Yet such an accompaniment
2)
Doubling the voice part's
at the octave
(excepting the basses) :-
BEETHOVEN. Mass
m.
r
j
in c.
V1U1JU1S
1&2.
Viola.
186
MENDELSSOHN. Hymn of
Praise.
Violin
I.
^ffM ru=&
Violin
II.
Viola.
S.
Al.les.was O.demhat
lo.be den
Hernn
Halle .lu
jah lo.be den Hernrt
-v
A.
Al.les.was O.demhat lo.be den Hernn.Hal
le
lu
jah.Halle .In
jah lo.be den Hernn!
T.
e
was
O.dem hat
lo.be den Hernn,Hal-le lu.jah,
f;
Halle .lu.jah
lo.be den Hernn!
B.
r
was
O.demhat, lo.be den Hernn.HaUe
ff
Organ/
lu
jah,Halle .lu .jah lo.be den Hernn!
S
i
^f
J
<*^
Bassi.
(B.)
Doubling the voice parts with modifications of rhythm, syncopation, repeated notes, etc
BEETHOVEN. Mass
Violins
1
in c.
&2.
Viola.
Voices.
Bassi.
188
HANDET, Joshua.
Violin.
Soprano
voices.
ts
Glo
ry
to
God,
the
strong
cem.ent.ed
walls,
the tott'ring
tow'rs,
the
pond'rous
ru
in,
the
pon
d'rous ru
in
falls.
Andante.
Violin
I.
MOZART. Requiem Mass.
Violin
Viola.
^
rVoices.
Do
min.e
ti
bi,
Do
min.e,
E
Bassi.
gr
eÊF
m
lau.dis
I
of
fe
ri.mus
F=?
189
Prestissimo. J 132.
Violin
I
BEETHOVEN. Choral Symphony.
Violin II
Viola.
Voices.
Bassi.
190
SPOHR. last Judgment.

pizz.
Violins
1A2.
J.
g
^J
1 1
t
Jz
Viola.
^m
pp
All
pizz.
: :
^L
g-T
the
f
Chorus
glo
g
.
r
10
S FT
ex
.
ry
Lamb
that died,
alt
ed now
at
i
Bassi.
pizz.
..
c., e
7t~^
101

Violin I
Violin
Viola
S.
T.
B.
Bassi.
pizz.
"Jr
~~~~
1^
-.
h^
(9
192
The Composer
but line the voice* generally,
Handbook.
ted notes against in the vocal parts. notes repeated
connective with occasional arpeggios, passing notes, and sustained notes agamsl sustained notes in the vocal parts,
MOZART. Ave Verum.
Violin
I.
Soprano.
Bassi.
lotto voce N. B.
Only the Soprano part
is
given here.
BEETHOVEN. Kyrie,from Mas*
in C.
Violin
I.
Violin
IT.
Viola.
S.
A.
T.
B
e
.
lei
son,
lei
Bassi
cresc.
Siring Accompaniment.
(5)
193
Doubling the voices in unison (or 8ves), but selecting passages sometimes from one part and sometimes from another to make the 1st Violin part more interesting.
HANDEL. Messiah
(a)
Violin
I.
Violin
R
-B-r
Viola.
"7
^r k
s.
^
I
-i^=
all
the
an
gels
of
God
wor
ship
Him
pr^r-^f
all
t
the
an .gels
of
God
ship
Him
>
to
(6)
^&
Let
(b)
*
all
the
an .gels
(d) to
(e)
of
God
wor
3$
ship
Him
from Treble;
to (O
from Alto;
from Tenor.
HAYDN. Creation.
Violin
I.
Violin
II.
Viola.
Jehovah'spraiseforev.er
shall
en .dure,
A.
ev
.
er
shall
en_ dure
men, Jehova's praise
for
praise for ever shall

fr
endure
Jehovah'spraise,
Je.ho
van's
* Note
the unisons here.

.
N. B. The bass, being merely doubled by the orchestral basses, is omitted from the above extracts This kind of accompaniment was much favoured by Handel. Provided the string parts make a good complete harmony of their own they need not slavishly follow any particular voice parts. (As shown later, the strings need nd, follow any voice part at all, but be quite independent.)

(6)
Voice parts ornamented "figured','

is
etc.
all
.
This
a favourite form of accompaniment with nearly
paniment animated and telling,
composers It makes the accomwith the voices. without clashing materially
FOR HE THE HEAVENS.

HAYDN.
Violin I
Creation.
Violin II
Viola.
Voices.
Bassi.
195
THANKS BE TO GOD.
MENDELSSOHN. Elijah.
Violins
1&2.
Viola.
r
Voices.
g
I
frv-a-^-
Bassi.
The Violin part is mostly an arpeggiated arrangement of the three upper voice parts, specially emphasizing the notes of the Soprano voice.
Tfo Composer's Handbook.

(7)
but "filling up" the harmony when that of the voices Generally doubling the voices,
A
is "thin'.'
Pr~
MENDELSSOHN. Elijah
Violin I
Violin II
Viola.
S.
bar
vest
now
is
ver
The
And yet
jEJE=LJ=Lyi cometh no
pow.er
to
r
summer days
are gone,
aîd yet
no pow.er cometh to
help
ua,
197
help
us!
harvest now
is
ver, the
summer days are
gone,
and yet no pow.er cometh to
and yet no pow
er
com
eth,
com
eth
to
help
us,
no pow.er
(8)
An arpeggio
or figurated accompaniment supporting the voices, but not doubling
thern:-
MENDELSSOHN.
Vi.olins
Elijah.
1&2.
Viola.
Voices.
He watching o
ver
Is
ra.el
slumbers not nor sleeps;
Bassi.
198
STANFORD. The Revenge.

Violins
And we roar'd
cresc.
hur
Basso
199
J .112.
Violin
I.
STERNDALE BENNETT. May Queen
f
Violin n.
S3! ^m Ft 3*1
hath pass'd
a
.
5?
Viola.
P
way
^
Voices.
And
the cloud
hath pass'd a
5
Cello.
Basso.
pizz.
Fl
f
3
I
W
That was
=F=Fi
F^
J
May
J "3
And
the
hea
vy
on
the
r
way
That was
hea
.
vy,
hea
vy
on
the
May:
And
the
^=f
Note that the 2nd Violin, Viola and 'Cello are in unison for the firsi five bars.
200
The Cotnposer's Handbook.
STERNDALE BENNETT. May

Violins
Queen.
Viola.
Chorus.
Law
doth
claim
for
pun
ish
J.
Cello.
Basso.
SB
i
. J
r
ment,
The
Law
doth
claim
for
pun
ish
ment,
(9)
String Accompaniment. Detached chords, either following the voices or quite independent.
201
MENDELSSOHN.
Violin
I.
Elijah.
Violin
rent
the
moun
tains
And
might
wind
pizz
Violin
I.
b
pizz.
^
=
STANFORD. The Revenge
Violin
II.
i^
^^
And half
Viola.
I
3 HE
can
.
Bass Voices
of the rest of usmaim'd for life
in the crash of the
non.ades
r
l/P pizz.
fh^
**
I
^ r r
20k
(l6)
The
Cotrrf>ost'r's
h Mid >ook.
An
Independent accompaniment, either in imitative figures or descriptive in character.
STANFORD The Revenge.
203
String
CONFUTATIS.
Andante.
Violins.
MOZART: Requiem Mass.
Viola.
Voices.
Bassi.
Note the fine effect of the unisons. The other accompanying instruments simply double the voices.
204
STANFORD. The Revenge

Violins
1
&2
Viola.
Soprano.
Tenor.
Bassi.
mp
m
a:
*=
And
iqf
I*
FT
iqf
P3
P
the state
.
ly
Span
ish
I*
^m
205
MENDELSSOHN.
Elijah.
ff
Violin I. Violin II.

Viola.
Note the vigour given
to this
passage by the unisons and uctaves.
Tkt Composers Han-ibook.
OTHER NOTEWORTHY EXAMPLES OF STRING ACCOMPANIMENTS.

(a)
Scale passages for 1st and 2nd Violins in unison.
MENDELSSOHN.
Elijah.
Violins
1
&2.
Viola.
-f
The*
rush
they
rush
a -long!
Chorus.
Bassi.
Thanks
^^^
6)
String Accompaniment. Strings in unison (and Sves), voices in harmony.
207
DISDAINFUL OF DANGER.
HANDEL.
Judas.
Voices.
Strings.
c) Alternating imitative passages between 1st and 2nd Violins. N. B. The short rests give much vigour and point to the separate
passages.
THANKS BE TO
Violin
I.
GOD.
MENDELSSOHN.
Elijah.
Violin II
Viola.
208
161
Ttie Composer's
Handbook.
EXAMPLES OF THE FREE TREATMENT OF THE PARTS

In addition to mere
IN DOUBLING VOICES. "embroideries" of the vocal parts, the following freedoms of
progression are
common.
Ascending Scale. VOICE.
==*==
(1).
INSTRUMENTAL BASS
Or
(2).
Or
(3).
=5t
"
The Heavens
IST
.
?
are telling."
VOCAL BASS.
HANDEL. m -p--P-
&
i
HAYDN'S Creation. 2ND VIOLINS. / (c) ' () (*)

^
..
iaSS^te
of
INSTRUMENTAL BASS.
TREBLES. The won-der
pfpB=t^^^
His
work,
-is--
The notation
(1798).
of this passage
from
Haydn
(c),
is
"
particularly
"
daring
for the
date
when
it
was written
Note the consecutive 2nds at

Descending Scale. VOICE.
(a), (6),
(d), (e).
VOCAL BASS. V
BACH.
INSTRUMENTAL BASS.
For unto us." HANDEL'S Messiah. 2ND VIOLIN.
"
"And He
shall purify."
HANDEL'S Messiah.
*fe
VOICES.
The
ev-er-last-ing Father,
The Instrumental Bass.
209
must contain
imply
independent, on the lines indicated above (pp. 192-207).

163
be mentioned here that the University "Exercises" for Mus.B. Degree five-part choral work with independent string accompaniment. This does not in nine distinct but that the accompaniment should be "free," i.e., writing parts,
It
may
THE INSTRUMENTAL
This, as
BASS.
often doubles the bass voice. It may, however, be an independent part (either occasionally, or throughout a whole movement).
rule for the treatment of an instrumental bass is that " it may double the the lowest part of the vocal harmony whether bass, tenor, or alto), or it may be quite independent (providing a real bass to the whole of the parts) ; but it should never double any part above the actual bass (except in unison passages
we have seen,
The general
(i.e.,
bass voice
").
Thus the following

VOICES.
is
good
==
HARMONIUM, ORGAN, or STRINGS.
(d)
(e)
;
INSTRUMENTAL BASS suitable

(a)
for PIANO,
(6) (b
.p.
.(c)
l^H^^^-^-F-r-L^
(a)
to
(b)
doubles Alto
(c)
to
(d)
doubles Tenor
last 3
semiquavers independent.
such cases to use only the 'cello bringing in the double-basses with the bass voice as at (e).
It is usual in
(d)
N.B.
(or 'cello
and
viola) to
double the alto or tenor,

as
with octaves ad
Similarly, for piano or organ, single notes are mostly used in doubling alto or tenor lib. at the bass entry (e).
from
(a)
to
But the following doublings
are reckoned
bad
(a)
(c)
doubles Alto which doubles Tenor. (d) to (e) doubles Treble. doubles Tenor. (/) to (g) (h) to (i) doubles Alto. (K) to (I) doubles Tenor. (m) to (n) doubles Treble, (o) to (p) doubles Alto.
to
(b)
is
not
now
the lowest part
to
(d}
210
EXAMPLES OF INSTRUMENTAL BASSES.

VOCAL BASS.
HANDEL.
INSTRUMENTAL BASS.
This looks like an independent part
but
it is
really
a variation of the vocal bass.

BACH.
VOCAL BASS.
This
is
partially independent.
VOCAL
BASS.
BACH.
INSTRUMENTAL BASS.
-P
j
Siring Accompaniments o/ Solos.
211
TYPICAL STRING ACCOMPANIMENTS OF SOLOS.

O REST IN THE LORD.
MENDELSSOHN.
Flute
solo.
Elijah.
BTflr
Violin
I.
Violin
II.
Viola.
Voice.
^
rest
in
the
^
Lord, wait
pa
tient
ly
for
Bassi.
Him,
and
iii-1
He
shall
give thee
thy hearts de
sires;
rest
in
the
Lord,
Bassi
The addition of
the Flute-part gives colour;
it
does not otherwise affect the string parts.
Violin
I.
eg^
HAYDN.
1
*i
Creation.
P g-V 3 ?
Violin
II.
S
ilr
EB
Viola.
Soprano
voice.
L;
And
coo
^
the
coo
ingi
calls
ten
der
Bassi.
String Accompaniments of Solos.
213
HAYDN.
Violin
I.
Creation.
Violin
II.
Viola.
Soprano
voice.
; ;
Most
beau
pizz.
.
;
a
ti .
ful
ap
pear
With
ver
dure young
Bassi.
Note the pizzicato bass against the flowing violin parts.
ly
slop
inghills,the
gent
ly slop .ing
hills,-
21A
Violin
I.
Violin
II.
Viola.
m
For
.
Solo.
sake
not
in
this
dread
EXERCISES. The student should now arrange for strings some of the accompaniments of the anthems mentioned in Chapter XI, and of the He songs, etc., mentioned in Chapter V. afterwards write vocal pieces of his own and add string accompaniments to them.
my
N.B. Full ucores are rather expensive. wo should advise Mendelssohn's Elijah.
For the student w'lo
?n
only afford, say, one good work,
Organ Accompaniment.
215
ORGAN ACCOMPANIMENT.
Except that Arpeggio passages are in general ineffective on the Organ -especially accompaniments- it is not necessary to add anything to the principles already laid down.
for
Specimens of all sorts of accompaniments available for the Organ will be found in the Anthems tabulated in Chapter XL, and in good Church Services. Smart's Te Deutn in F
is noteworthy for its independent Organ accompaniment to the voices in unison. Stanford's Morning, Communion, and Evening Service in Bt> (Novello) may also be studied with
advantage.
Extracts from S.S.Wesley's Nicene Creed. Organ part edited by Dr. Garrett.
P
Solo.
Chorus.
Organ.
2U*
Jf
it
217
CHAPTER
XIII.
SCORING FOR SMALL ORCHESTRAS.

166 It is beyond the scope of this work to treat of the full orchestra used for a symphony The student who has occasion to write for one is therefore referred to Prout's or oratorio. Instrumentation (Novello), Clarke's Manual of Orchestration (Curwen), Corder's The Orchestra (Curwen), and other standard works.*
167 It may, however, be helpful to show how to write for, say, a school band or a small amateur orchestra, in which there are generally plenty of violins, one or two violoncellos, and
perhaps a double-bass.
N.B. Viola players are not often available we have therefore in all the following This will be examples written a 3rd violin part which may be used when violas are wanting. seen to be practically the same as the viola part (also given), with slight modifications when the " latter goes below fiddle G."
;
P
r
Jf
i
M
\\
vJJ
3:
cornet,
Some of the following wind instruments are euphonium, and perhaps tenor horn.
also generally available
flute, clarinet,
168
THE FLUTE.
8va.
-<^>-
The eight-keyed
Except
flute
has
compass
from
5
'^/
to
F>z:
or
even
higher with exceptional players.

in solo passages the lower notes
-^~
tr~
can hardly be heard, and the very high ones
are difficult for amateur players.
For ordinary work the student
is
advised to keep within the range from about
169
in
THE CLARINET (or CLARIONET). Clarinets are made at different

"
(producing the notes
pitches. exactly as written ")
On
account of
used.
its
piercing tone, the clarinet
is little
The clarinet in Bp, producing all its sounds a major 2nd lower than the written notes, the clarinet in A (producing all its the favourite clarinet in orchestral and military bands sounds a minor yd lower than the written notes) is (or should be) used in the orchestra for those keys which have many sharps in the signature (see below, Par. 174).
is
;
The compass
of the clarinet
is
(as written)
from
^
E
to about
N.B.
These notes sound a major and lower on Bb instruments, and a minor 3rd lower on
-Q-
A instruments.
b&
or
We should advise the beginner not to use any notes higher than r^""^ re ver the as very shrill. upper notes are
* For a
list
RÊ
=F1
of
more advanced
treatises, see the
Appendix
of the author's Cyclopedic Dictionarv of
Music (Curwen).
15
218
The tones from

and
"
fly
called the
"
chalumeau
register,"
are rich
and
full,
slightly nasal in character.
In combination with other instruments, they form good
holding notes
"
for nourishing the
harmony.
The
"
medium
register,"
not so good.
is
It is
the least effective part of the clarinet range.
From
effective.
the
"
clarinetto register," the tones bright
and
clear,
and very
The
"
super-acute
"
register
(from
:)
requires to be used with
much
caution.
The
clarinet,
which
in military
thing "
clarinetto
bands takes the place of the ist violin in the orchestra, can play practically any" medium " and but passages like the following, rapidly changing to and from the "
registers are difficult to finger
:
170
THE CORNET.
The cornet properly Cornet a The most usual size is pitched
pistons
in
is the treble instrument of an ordinary brass '' Bb, with additional tubes (or crooks") for setting
band. it in A, Ab, or even G.
The Bb
written notes
;
cornet, like the
Bb
clarinet,
the
cornet, a
minor
yd lower
is
produces all its sounds a major 2nd lower than the than the written notes.
written)
The range
of
the
cornet
(as
from
upwards.
The lower
notes are rather poor in quality and should only be used for
it is
some
special effect
for
amateur
players
not advisable to write above
or
171
THE EUPHONIUM.
is
is
;
This instrument is made in various sizes. For brass bands the euphonium in Bb for orchestral purposes the euphonium in C is better, as no transposition generally used necessary, and sharp keys are easier to finger.
The euphonium
with three valves
has a compass
from
h>
~~F~ |d
*F*
upwards.
The
euphonium
with four valves easily extends
downwards
to
E or even a few notes
lower.
The upward compass

or
is
very extensive.
An
ordinary player can easily reach
^^_
F
172
THE TENOR HORN.

;
This is a very easy instrument to play it is inexpensive and it forms a good middle In brass bands the tenor horn stands generally in Eb but part to the cornet and euphonium.
; ;
Compass
for use
of Instruments.
219
in
with strings a tenor horn in

thus
F is
best.
The tenor horn
produces
all
sounds a perfect
th lower than the written notes,
_Written.
Sounds produced.
173
etc.
We
have already discussed the
"
strings,"
their compass, capabilities, combination,
For convenient reference we now give a table showing the easy compass of all the instru" ments hitherto mentioned, naming them in the order in which they should appear in a full " the of the score page downwards). (from top
N.B.
Only the compass advised
for orchestral use is given.
FLUTE.
CLARINET.
E)
-F1
7~to
or-
_n
E
CORNET.
TENOR HORN.
:to
EUPHONIUM,
3 VALVES.
EUPHONIUM, 4 VALVES.
FIRST VIOLIN.
220
SECOND (OR THIRD) VIOLIN.

Ito
-I e* G
D
-Oor
VIOLA.
-:to
VIOLONCELLO.
CFG
DOUBLE BASS (CONTRABASSO).
174
TRANSPOSING INSTRUMENTS.
"
in C." Non-transposing instruments are said to be Instruments which produce sounds higher or lower than the written notes are called " In writing or arranging a score it is customary to save the players transposing instruments." of such instruments the difficulty of transposing their own notes by writing out their parts in another key. Thus, for the clarinet and cornet in B[? all the notes are written a tone higher ; for the clarinet and cornet in A, a minor yd higher ; and for the tenor horn in F, a perfect $th In general, also, the proper key-signature is added to save the use of unnecessary higher.
accidentals.
Thus,
.
if
the following passage were allotted to the clarinet (or cornet) in B[>
__
^=
^?:-
it
would be written
in the
Key
of
(which
is
a tone higher than the key of
C), as follows
Clarinet (or Cornet) in Bb-
Similarly,
if
the following passage were given to the tenor horn in
it
would be written thus
Transposition Table.
22i
TRANSPOSITION TABLE.
keys
The following table shows the necessary transpositions and alterations of key-signature trans P sme ^truments mentioned in this chapter in connection with all the usual
ifficult y in
here shown.
dealing with other keys
when he has grasped the
principles
Clarinet and Cornet in Bb.
Write
-
all
notes
One degree
r^-A
W
1
higher.
Signature 2
flats less (or
2 sharps more) than for the Strings
Jt
Clarinet and Cornet in A.
Write
all
notes
Two
degrees higher.
Signature 3
flats
more
(or 3
sharpsêss^tha^for
the Strings.
A
Tenor Horn
Write
all
instruments not used
Bb much
better (as above).
in F.
notes Five degrees higher.
Signature
1 flat less (or
sharp more) than for the Strings.
All the Strings.
_^_U33Z
"
Clarinet and Cornet in
"'
j j
Bb instruments
rarely used better (as below).

;
instruments
Clarinet
and Cornet
in A.
->r
TI
H
1
Tenor Horn
in F.
but
N.B. Where there is a choice between using a Bb or an A instrument the Bb is generally preferred; not wise to use keys with more than about four sharps for a clarinet or cornet, owing to the difficulties When the strings are in the key of D, A, or E (or more sharps) it is uswvlly better to use the of fingering.
it is
clarinet
and the
cornet.
The concert flute, being a non-transposing instrument, has the as the strings.
same key signature
222
175
HOW
TO USE THE
WjND INSTRUMENTS.
strings (as sho\
in
Assuming that the student is able to compose and arrange pieces for rules for the addition of wind parts. Chap. XII), we now give a few simple
If the five
fairly
wind instruments we have discussed are all available, they provide (i) as a whole, and (2) two separate groups (a) wood-wind, and (b) bn wind-band complete
N.B.
If only two or three instruments are available, the composer as far as possible on the principles enumerated below.
must use
his ingenuity to writ
for
them
It is
is
rather a
list
of ten instruments. impossible to give all the effective combinations of usual arrangements.
The
followii
(1) It is
not necessary to have ten separate
and independent parts
(five for
wind and
five for strings).
(2)
Either of the wind instruments

(a)
(b)
(c)
may
play a
solo.
This
may
be accompanied
by
all
the strings
by a selection of the strings by

strings
and some
(or all) of the
other wind instruments
(d)
by some
(or all)
of the other
wind instruments without
strings.
The solo instrument may also practically as if it were a 50/0 voice.
have occasional passages without accompaniment, and should bs regarded
(3) Two or more of the wind instruments may play the same part and may be accompanied in any of the ways suggested above. (4)
(in
unison or octaves),
selection of
or else accompanied in
(5)
wind instruments may play a duet, any of the ways already suggested.
trio, etc., either
unaccompanied,
The whole wind band may The

(or
alternate with the whole string
band
(after the
manner
of a double-chorus).
(6)
strings
may have
all
the essential parts,

(in
by any one
(7)
more) of the wind instruments

or
and the leading melody unison or octaves).
may
be doubled
Two
more
string parts
may
be doubled by wind instruments.
"
(8)
holding notes
All (or any) of the wind instruments " " or reiterated notes."
may
"
nourish
"
the
harmony by means
ot
(9) Some wind instruments holding or repeated notes.
may
play
(or double)
melodic passages while others have
(10)
solo, duet, etc.,

(or
may
of
be given to strings and the accompaniment furnished by

strings).
wind instruments
N.B.
by wind instruments and the other
Whatever number
give as far as possible a complete reference to the strings.
wind instruments may be employed they should in themselves harmony (either in one, two, three, or more parts) without
Thus, if only flute and clarinet are used, they should not have progressions of 4ths, Similarly, if the three brass instruments be employed, second inversions of chords should be used with discretion. When (See rules for two- and three-part harmony, Chap. VI). " all the five instruments are used distributed," and together, the parts should be carefully allowance should be made for comparative loudness of tone. Thus, a note // on the cornet would " " have more weight than the same note // on a ute or clarinet.
etc.
Orchestral Sketches.
223
176
ORCHESTRAL SKETCHES.
full
Before writing out the parts in on four staves as below

:
score the beginner
may
very properly
make a sketch
Fl.j^5--J7l
CL-^-j^l,
WIND.
STRINGS.-,
He should then write out the parts on the score, each in its proper clef, etc., without He will then have the whole musical picture under his eye," and should in the rests. filling see if any instruments have been unduly neglected or overused, filling-in or crossing-out at
'
discretion.
He should also see if the parts are interesting to the players. Every part cannot be at all but the addition of a few notes or rhythmic phrases, or a slight times specially interesting will often rearrangement, considerably improve a part from the player's point of view without interfering with the general design.
;
If at this stage the composer copies the parts and can have them tried over by his band, he will probably find that many points come short of his expectations, and, on the other hand, that some features which do not seem to be of much account "on paper" sound really well. The careful worker will alter and amend, and this is the kind of experience that produces good writers for the orchestra many of the very greatest composers trained themselves in this way.
;
177
THE
PIANO.
perfectly with the orchestra, but
it
is
The piano does not blend quite
practically
It keeps the players indispensable in the early stages of forming and training an amateur band. the middle parts. together in tune and time, helps them to acquire confidence, and nourishes It also helps to supply the place of missing instruments.
As the band improves
in intonation the piano
may
be gradually dispensed with.
now give a number of illustrative examples of simple scoring in various styles. 178 Intricacies of orchestration are purposely avoided, and only such passages and combinations suggested as may fairly be within the reach of a beginner.
We
Composer's Handbook.
(1)
A LOUD PIECE. The
instruments forming one mass of tone.
at
which may be also used as a pianoforte accompaniment (orpartMs given A pianoforte sketch the top of each score, and there is an alternative part for 3rd Violin if there is no Viola available. A few explanatory notes are added to the earlier examples to illustrate some of the principlesalready
N.B.
laid down.
^
Ordinary Piano
arrangement.
m
m
i
m
f^F
Flute.
The 5 wind instruments give complete 4-part harmony, the Cornet doubling the melody of the 1st violin, and the flute doubling it an 8ve higher.
i*v4^ Clarinet
in
'
?
J*
Cornet
in
Bk
The brass instruments give a fairly-complete 3-part

effectively doubling the bass part.
tAVJOo
lenor Horn
in
F.
Euphonium.
AC^. If the only available Euphonium degree higher in key A.
1st Violin.
is in B', its
notes must be written one
to
The strings are essentially in 4-part har increase the fulness of the chords.
ony, with occasional ''double stoppings"
2nd
Violin.
.'>ni
Violin.
Bassi.
Or plain notes,at pleasure.
A Loud
Piece.
225
Cs
Cort.
Horn.
g
pi
^s s
rail.
rall.
A)
Euph.
Ist.V.
3rdV.
rail.
Viola.
Bassi
ra//.'
226
(2)
The Composer' a Handbook.
HARMONIZED MELODY OF QUIET CHARACTER.
JENNY JONES.
WELSH MELODY.
5
Ordinary Piano
arrangement.
>nf
Flute.
Clarinet
in
Bk
Cornet
in
Bk
The brass fills up in 3-part harmony of sustained notes.
Tenor Horn
in
F.
Euphonium.
1st Violin.
^
m
2nd Violin
3rd Violin.
m
^
Cello arco
Viola.
kJ
Cello e Basso.
'
Basso
71
r r
pizz.
>
*-
^T
^T
Note the good effect of the pizz notes here.
Jenny Jones.
227
r-4
4
-p.
Pf.

228
Easy and effective "shake
violin doubled
wind instruments
for "colour"
Jenny Jones.
229
Unison passage for full band
Cort.
Variation of the melody.
230
(3)
HARMONIZED MELODY OF ROBUST CHARACTER.
HEARTS OF OAK.
Maestoso.
Song
arrangement.
Flute.
Clarinet
in
A.
Cornet
in A.
Brass in 3-part harmony (making 4 with Fl andCl.)
Horn
in
F.
Euphonium.
1st Violin.
2nd Violin.
3rd Violin.
Viola.
Cello e Basso.
Hearts of Oak.
231
Pf.
fz
Note detached chords except
for Pi.and Cl.
232

CHORUS.
ad lib
/^\
a tempo
Pf
Fl.
Fl. C!.
and Cornet
play melody. Cl.
glower
Cort.
Hearts of Oak.
233
ad lib.
fâ tempo
16.
234
(4)
CORNET SOLO
ANNIE LAURIE.
Slow and expressive
Ordinary
Song
arrangement
Flute.
Not* that ifl the wind instru ments generally, everything with that would interfere
t
iakrpt oilcnt
Clarinet
Cornet
Horn
in F.
Euphonium.
ff{f
Slow and expressive.

1st Violin.
2nd Violin.
3rd Violin,
Viola.
Cello e Basso,
Annie Laurie.
235
Pf.
<
Cello
e
Basso.
236
lute doubles Cornet(8ve higher) for tone colour.
A March.
(5)
237
A SIMPLE MARCH.
S maestoso
Condensed
arrangement.
^fff
Flute.
Clarinet
/.. 8
Cornet
in
Bk
m f
3
maestoso
Horn
in F.
f
Euphonium.
f
1st Violin.
2nd Violin.
3rd Violin.
Viola.
Bassi.
238
Pf.'
I
Fl.
Cl.
Cort.
Horn.
>ys
Euph
lst\
2ndV
3rd
V,
Viola
Bassi
A
1.
March.
239
S
Pf.
Mi;
I
IT
Fl.
Cl.
^
i
^^
Cort.
Horn.
^
^ ^
S
i
Euph.
IstV.
2ndV.
^
S
3rdV.
JT3.JJ J
Viola
ffl^F^ n T
I
Sg
Bassi
^^
240
fo5r.^.nfl &
Pf.
Fl.
Cl
Cort
Horn
Euph
p
istV
m
:r
F
f^f
i
2nd
V.
3rdV.
Dtp
Viola
^^
Has si
tup
^ p s
Cello arco
Basso
March.
241
Repeat from A
to
Pf
<
Viola.
Bassi
242
TRIO.
Pf.
Fl.
tt
Cl.
Cort
Horn
SOLO.
Euph
Pî
IstV.
3rdV
f
Viola
Bassi
March.
243
poco
rit.
J.
Pf.
J'j
IJ
f
Fl.
f
Cl.
f
Cort.
Horn.
f
Euph.
^=tf=E
IstV.
2ndV.
3rdV.
Viola.
Bassi
>
rit.
244
Pf
Bassi
fa tempo
March.
245
Repeat 1st part (from
to (A)
F*
Pf.
am
Fl.
^
s
Cl.
=
Cort.
Horn,
Euph.
Repeat 1st part (from
or(R)
IstV.
2ndV.
3rdV.
^^
Viola
^^
Bassi
r-*nriJ3
246
(a)
FIRST MOVEMENT OF A SET OF WALTZES
r-t"
Sketch.
m
J4
J.J*
ig
Flute.
H
**
^
Clarinet
in
Bk
^
>j-r
Cornet
in
Bl>.
^fca
Horn
in F.
Euphonium.
Violin
I.
g?
A
Violin
II.
/*
Violin IH.
m
|
I
Viola.
'Cello.
Basso.
* In a waltz it is usual to give the 2nd Violin and Viola this form of accompaniment, inmteurs find it very uninteresting. We have therefore suggested a different rhythm.
r r
"l*
but
Waltz Movement.
247
^
Sk.<
Si
If-
^ f
Fl.
Cl.
Cort.
^*
i
Horn.
Euph
IstV.
@^ S 3 W^ P m
3rdV
Viola
^^ ^ ^^ ^
fS
Cell<
Bass(
248
ato
frg
"
Sk
cresc.
Fl.
cresc.
5
cresc..
Cort.
cresc.
Horn.
cresc.
Euph.
^ ^
^
i
^-r-
IstV.
cresc.
cresc.
8rdV.
cresc.
^
/
Viola
ii
Bassi,
Basso
Waltz Movement.
249
Fine.
pp
din
250
Fl.
Cl.
Cort.
f
Horn.
Euph
Ist
3rd\
Viola
Bass
Waltz Movement.
251
&
r^
m
Fl.
fz
g
r
Cl.
Cort.
r
Jz
m
=
Horn.
Euph.
IstV
E
7"
2ndV
IT
3rdV.
S
i
1
Viola
*-*
^
fz
y
-
Bassi
>
252
Fl.
Cl.
Cort.
a
&
cresc,
Horn
P
Euph
cresc.
m f
*
P
._
cresc.
17
3rdV
P p
m
^
[
Vicla
^ ^s^
cr<?.?e.
cresc.
Bassi.
Basso pizz.
crett
Waltz Movement.
253
D.C.
Sk.<
Fl.
Cl.
D.C.
Cort.
Horn.
2
ff
Euph.
IstV.
Hi
3rdV
Viola.
i
ff
ff
fff
?
W
^S
Bassi
254
CHAPTER
FORM
IN
; ;
XIV.
GENERAL SONATA FORM ROMANTIC Music PROGRAM Music IMITATIVE Music WORD PAINTING THE LEITMOTIV THEMATIC DEVELOPMENT MODES VARIOUS MUSICAL FORMS SHAPING A MELODIC IDEA BEAUTY IN Music.
; ,
in the preceding chapters will 179 The student who has grasped the principles enunciated " " Balance of Phrase (produced either have noted that musical design is largely based upon " of or outline similarity rhythm), Symmetrical arrangement of by similarity of melodic " Well-devised Key-Plan." Musical Sentences," and
180
to the
Each
of various
of these features has been gradually modified and developed by the introduction " which one composer after another has added artifices" modes of expression
common
stock.
work of this nature to enumerate and classify all these developments, " but the following topics, selected (and occasionally amplified) from the Author's Cyclopaedic " are worthy of attention, and are here given by way of recapitulation, Dictionary of Music
It is impossible in a
of suggestion,
and
of reference
FORM IN GENERAL. Form is the design, plan, or structure of a musical composition, 181 " Stainer and Barrett. the shape and order in which musical ideas are presented."
The
I.
chief factors of musical
form are
the orderly setting out of melody in portions of definite lengths, with a proper balance of keys and cadences, and with appropriate harmonies and accompaniments.
EXPOSITION
II.
III.
DEVELOPMENT. (See Thematic Development below.) RECAPITULATION the repetition of the Exposition, either exactly
:
as before, or with
some variation
mode, tempo, or development. includes Unity of design (i) Mechanical Symmetry, and (2) Msthetic Symmetry. The principal musical forms are (i) Aria, (2) Canon, (3) Fugue, (4) Minuet, (5) Overture.
of key,
(7)
(8)
(6)
Rondo,
Sonata
(including
(9)
Concerto,
Symphony, Quartet, Quintet,
Sextet,
Septet,
Octet, etc.),
Song, and
Suite.
The higher forms have reached such a point of elaboration that much study is necessary For the simpler forms of comto analyse and appreciate their structure and development. position, however, the only indispensable requisite is a proper balance of keys, together with some amount of metrical proportion.
Musical form, as we now understand it, is of quite recent date. The old Latin melodies except that they were written to hymns of formal construction and based on definite church modes had very little of what can be called "form." Most of them appear to modern ears " aimless wanderings among sounds." as With the growth of counterpoint, the motet and madrigal assumed symmetry and proportion, and were at their best towards the end of the i6th century. In the meantime the secular music of the people began to foreshadow certain essentials of form, especially in regard to definite tonality, balance of melodic outline, and metrical
uniformity.
The growth of modern forms dates from the invention of the New Style of composition, about the year 1600. The Aria da Capo, invented by B. Ferrari (1597-1681), and used by Cavalli, was perfected by A. Scarlatti (1650-1725). The Fugue gradually developed reached its highest point with J. S. Bach. Bach (and Handel) also brought the Suite to its full developThe Sonata the " classical form " par excellence was moulded by Haydn upon ment. S. C. E. Bach, and others, and Bach, J. perfected by Mozart and Beethoven. The beauty and symmetry of this form were at once universally recognised, and its effect has ever since been felt in the shaping of all kinds of compositions, both instrumental and vocal. Since the time of Beethoven the chief addition to musical forms has been the application of the Leit-motiv to dramatic composition. (See page 258.) especially by Wagner
Sonata Form.
255
SONATA FORM. as a whole (1) The general plan of a sonata The smaller sonata comprises three movements (i) The Allegro (with or without an " The larger or " Grand Sonata (3) The Finale. introduction) (2) The Slow Movement ; comprises also a Minuet and Trio (or, in more modern works, a Scherzo}. The plan of the ist movement is sketched below. The Slow Movement may be in any Beethoven's Slow Movements the Song-form (see page 135) is sometimes employed. form " are often great Romances with many varied strophes, each repetition of the theme being more and more richly ornamented." Lavignac. The Finale may be a Rondo (see Chap. XI), a Theme with Variations, or an Allegro like the ist movement (but more animated and less formal). The Minuet or Scherzo (when added) generally comes as the 3rd movement. but the ist and last should be the The keys of the different movements are varied same the last may be the Tonic Major if the first is Minor.
182
:
Andante, G minor Presto, G major Beethoven, Pianoforte Sonata, Op. 79 G major. Mozart, Symphony in G minor Allegro, G minor Andante, Eb major Beethoven, Symphony No. 5 Finale, G minor. Minuet, G minor, G major, and G minor
Examples
Vivace,
;
:
Allegro,
C minor Andante, Ab major Scherzo, C minor, C major, C minor Finale, C major. N.B. The Sonata Form is also generally used for classic instrumental duets, trios,
; ; ;
octets, nonets, etc., quartets, quintets, sextets, septets, "

(2)
and
for the classic orchestral
symphony.
The plan
of the
First-movement."
It was foreshadowed by This is the essential and distinctive feature of a sonata. D. Scarlatti, Corelli, and others, and especially by C. P. E. Bach. Haydn was, however, the first "great" composer to see its vast capabilities and to mould it into clearly-defined and " Mozart and Beethovei hence it is often called Haydn-form." well-proportioned shape
;
brought the form to perfection. (N.B. The Symphonic Overture

it
does not repeat the
first
part,
" " a rather long Introduction is a First-movement prefaced by " " or Development portion.) Free Fantasia and usually has little of the
I,
GENERAL CONSTRUCTION.
I.
EXPOSITION
II,
DEVELOPMENT
III,
RECAPITULATION.
(with or without principal (b) (a) (optional). or (c) Bridge, auxiliary or subsidiary themes), in the principal key of the movement. Transition, leading to (d) The second principal subject (with or without subsidiary themes), or in Minor movements, that of the in some related key (usually that of the Dominant
Introduction
The
first
subject
The end of this part is marked by a double bar with Relative Major). (e) Short codetta. " repeats," but performers do not always play it a second time. Themes or parts of themes occurring II. Free Fantasia or Development portion. in I are developed (see Thematic Development p. 259), repeated, interwoven, etc., at the This part or (occasionally) entirely new themes are introduced. composer's discretion is generally a little shorter than I, and the principal key of the piece should be avoided
;
it
leads directly into

III.
(a]
the first principal subject, either exactly as in modified so as to lead to (c) The second or Transition, Bridge, principal subject, this time in the principal key of the movement (or often in the Tonic Major if the principal key is minor), (d) Coda.
(or Reprise) of
I,
The Repetition
(b)
or with modifications,
183
legendary, mythical, supernatural, fanciful, imaginative, mystic, novel, strange, weird, extravagant, fantastic, free from rule, opposed to classical. " In general, it means the striving after individuality, novelty, and personality of musical expression as opposed to the repetition of classic forms." Hughes. " The Romanticists of to-day are the Classicists of to-morrow." Baker. Thus the early Romantic composers, Weber, Chopin, and Schumann, are now regarded
as Classics
ROMANTIC Music Romantic means
PROGRAM Music
IMITATIVE Music
WORD-PAINTING.
the Neo-romanticists (new-romanticists) being Berlioz, Liszt, and Wagner. ; " " Idealism may be realism." Romantic music may comprise both " idealism and " " defined as absolute music," i.e., music which depends solely on itself for its effects and is
Realism is the attempt independent of words, scenery, acting, or other extraneous conditions." to represent or imitate natural sounds, and even suggest movement, light, darkness, etc., and is not at all a modern invention.
256

"
" The passion for realism in art, and especially in the art of music, seems universal pure we prefer that which humbly waits upon legend or poem, the character music the mass of us cannot grasp Between music pure of a crazy knight-errant, or the proceedings of a day in a composer's household. and free (as the C minor symphony of Beethoven, for example), and that which is the slave of a programme, Abstract music, the fine flower of the art, we now seem to be in danger of there is no comparison. a sign of non-attainment certain to be removed as culture progresses." Daily Telegraph, losing,
;
" of events, program Programme) music endeavours to illustrate some an ideal basis and it rests on is free from bald, best the In examples scenes, or emotions. realism and sensational word-painting, but in other instances it is often "imitative music run mad." Till Eulenspiegel (Richard Strauss) is a notable example of successful program music.
Program
(or
...
Dec., 1906.
IMITATIVE Music.
Imitative music is the imitation of natural sounds, as thunder, the singing of birds, the rushing of the wind, etc. Elaborate treatises have been written attempting to prove that all music is derived by imitation As nearly all these sounds may, however, be classed either as noises or from various natural sounds. and, further, as these definite inflections ; as music is based on scales of definite tonality and relative pitch musical scales are nowhere found in nature, it is evident that the art of music is only remotely connected It is true, that by judicious selection, the notes of the major and minor scales can be picked with such sounds. " out of the Chord of Nature," but this discovery (?) was not made until the scales had been in use for
;
generations.
in music has long been a matter of How far realistic imitations are allowable " " " on the violin, The Battle of Prague " on The Imitation of a Farmyard controversy. the piano thought by many uneducated lovers of music to be wonders of art and skill are " Pastoral Symphony," which mere vulgar clap-trap. Yet Beethoven's regarded by critics as " " " " or music is essentially the same in principle, under the name of Descriptive Program attracts large audiences of educated musicians. The undoubted popularity of descriptive music may perhaps be accounted for by (i) the comparatively small number of listeners with sufficient musical education and taste to enable them to thoroughly appreciate and enjoy the beauties of " " and (2) the natural law of association which delights in connecting pure absolute music " "the sounds heard with some special object, place, event, action, idea, feeling, or program as a much many people judge painting by whether they recognize the place or person depicted. The following are celebrated examples of realistic imitation " La Bataille a Quatre " Jannequin, 1545. The cackling of a hen part-song by A. Scandelli, 1570.
;
:
"Cat's Fugue."
A. KRIEGER, 1667.
&c.
Mi
au,
flies, etc.
mi
;
au!
The leaping
Voices.
of frogs, the buzzing of

of Cerberus.
Handel's Israel in Egypt.
The howling
GLUCK'S
Orfeo.
Strings.
The crowing
of the cock.
HAYDN'S Seasons.
6
The
roaring of the lion.

tr
HAYDN'S Creation,
The sinuous worm.
HAYDN'S
Creatioti
Word-painting.
257
The cuckoo,
nightingale,
and quail
Beethoven's Pastoral Symphony.

tr.
Nightingale.
PQ
Kotzwara. The Battle of Prague The braying of the ass Mendelssohn's Overture Midsummer Sullivan's Golden Legend. The Bells of Strasburg Cathedral
;
"
"
Night's Dream.
WORD-PAINTING.
Word-painting is the attempt to describe individual words in sounds. " In setting words to music it is a recognized principle that the general verbal " " " ment should be depicted by the general musical style and expression. The following would evidently be absurd
:
senti-
PP
dim.
-^Gi
Whisper thy love
to
* - 9 Ly A T -*---*1
:=SE |zrq
L
r-t f-3
PPP
itzpzi L -J
E^ ~-
&c.
me
Praise ye the Lord with a
loud
(as in
It is equally ridiculous, in general, to try to paint" the following arrangement of the last part of the tune
"
"
each separate word or phrase

")
:
Melcombe
P Lanqui shingly,
when
will
all
our
wan
d'rings cease,
Where all
is
love,
and
joy,
and peace.
The painting of separate words, is, however, often inevitable in descriptive or dramatic " " whenever it suited their music, and the greatest composers have freely used word-painting it is perhaps occasionally and while is full of word-painting Creation Haydn's purpose. " a little grotesque (as for example when at the words By heavy beasts the ground is trod," " the bassoons and double bassoon enter // on the word trod," as if the heavy feet would go through the earth's crust), yet on the whole it is charming and effective. Purcell has introduced a quaint example of word-painting in King Arthur, where the " " as follows whole chorus have to depict their quivering with cold
;
:
Handel's works abound in fine examples of legitimate word-painting, as at

in the following
:
"
disdain
"
Samson.
So
mean
tri
umph
dis -dain.
258
When
184
not carried to vulgar excess, word-painting

or Leit-motiv
is
a valuable means of expression.
figure,
(pronounced Light' -moteef'} is a typical theme, of some person, or motive, recurring repeatedly throughout a work, and representative
LEADING THEMES. " Leading Theme,"
action,
mood, or sentiment.
;
A Leitmotiv may consist of two or three notes, or it may be an extended theme. It or it may be developed, transformed metamorphosed be may repeated without variation (See Thematic Development, p. 259.) in every possible way that ingenuity can devise. " " before the time of Wagner (as in Weber's used were themes Leading Although Der Freischutz, or the Idee fixe of Berlioz's Symphonic Fantastique), he used them so that it is with his name they are chiefly associated. characteristicaliy and consistently " In fact, any suggestions Wagner may have received from other composers were so slight that the leading-motive in the modern sense may unhesitatingly be said to be his invention." A Leitmotiv must not be regarded either as a mere label to be crudely displayed whenever the person, action, etc., which it typifies is referred to nor as a piece of vulgar word-painting. imitators of Wagner.) (Hence the failure of so "many would-be " of quality, character, mood, etc., and rarely a realistic It should be a suggestion
;
imitation.
a leading-motive is a musical searchlight or X-ray which illuminates and enables us to look deep into every character, thought, mood, purpose, idea, and impulse in G. Kobbe. the drama." " " theme with which Tristan und Love-potion Compare the yearning, fascinating whole of the the forms which Isolde opens (and work) key
With Wagner
(See Imitative Music, p. 256.) "
Lento.
Ob.
PP
with the
"
'Cello.
Death motive,"
Moderate,
ssi
\
Thematic Development.
259
It is beyond the scope of this work to attempt rules or suggestions for the treatment The student is, therefore, referred to the music-dramas of Wagner Leading themes." Tristan and Isolde, The Meister singer, The Nibelungen Ring, especially Lohengrin, Tannhauser, " " to these works are published by Messrs. Breitkopf & Guides and Parsifal. (Analytical
of
"
Hartel, Schott
185
or
& Co., Novello & Co., and other publishers.) THEMATIC DEVELOPMENT. " " By Thematic Development is understood the varied figure, to bring out some of its infinite resources.
repetition of a theme, motive,
Thematic transformations roughly fall into three classes Melodic, Rhythmic, and Harmonic and these may be combined in countless ways. " The following, taking the first phrase of God save the King " as a motive, are among the most usual methods
:
*
I.
(1)
Motive.
m=j:
to
:
SIMPLE MELODIC CHANGES

another part of the scale,
Melody removed
or to another key
(2)
Intervals contracted
(3)
Intervals expanded
(4)
Melody inverted
3
(5)
^ ^M
:-
Melody inverted and expanded
(6)
Inverted and contracted
(7)
II. SIMPLE RHYTHMIC CHANGES Theme augmented

:
(8)
Augmented and varied
(9)
Notes diminished
(10)
Time
signature changed
(11)
Lengthened by repeating a bar
(or bars).
(12)
Notes divided into shorter ones.

3
3
(13)
Varied by arpeggios, addition of passing-notes, &c.
"T
(14)
Varied by
rests,
syncopations, &c.
(15)
Embellished by grace-notes
I
te^-H^
^=^-{\ sr=S
fr-j-i
Any
of the
above
resulting themes
may
(7 to 16) may also be contracted or extended in interval and the be transposed, inverted, or transformed.
260
III.
be (i) Changed to the relative major Treated contrapuntally (in any of the five (2) or in free Canonic Imitation. (5) Treated fugally species) or freely (4) Treated canonically, (7) Supported other themes (in double, triple, or quadruple counterpoint) with Combined (6) by various forms of accompaniment. be found in the instrumental Examples of every kind of Thematic Development may Schubert, Mendelssohn, Schumann, Wagner, and Brahms. Mozart, Beethoven, works of
of its modifications,
HARMONIC CHANGES. The Theme or any

Harmonized
;
may
or minor
in different
ways
(3)
but, specially, the order and arrangement Mode means a key or scale An Authentic Modes are of two kinds Authentic and Plagal. of the steps forming a scale. lie wholly (or principally) between the Tonic (or Final] notes whose is one Mode, or melody,
186
Haydn, MODES.
and
its
higher octave.
AUTHENTIC MELODY.
A Plagal Mode, or melody, is one whose notes lower Dominant and its higher octave.
PLAGAL MELODY.
lie
wholly
(or principally)
between the
From the Tonic to the Fifth above. Authentic Part of the Scale. From the Tonic to the Fourth below. Plagal Part of the Scale. A final cadence, consisting of the Tonic chord preceded Authentic Cadence.
(A)
by the Dominant
(2)
chord.
MODERN MODES
(i)
Major Mode
the ordinary Major Scale.
Minor Mode
the ordinary Minor Scale.
These have already been fully discussed.
GREGORIAN TONES or ECCLESIASTICAL MODES). Eight (B) CHURCH MODES (also called four Authentic, said to have been introduced different scales were in use in early church music and four Plagal, said to have been added by Gregory the Great. St. Ambrose
;
by
used in what
These eight modes (with a few others added subsequently) are the Modes or "
is
"
Tones "
called
Plain-song."
TABLE OF THE CHURCH MODES.

AUTHENTIC MODES.
I.
PLAGAL MODES.
II.
Dorian
Final,
Dominant. A.
Hypodorian
Final,
Dominant, F.
* r
III.
Phrygian
Final,
Dominant, C.
EffiEEEEEi
The Church Modes.
261
The Final, answering to our Tonic (or key-note), was the same for any Plagal mode The Dominant (or Reciting Note) was a 5th above the as for its relative Authentic mode. the Dominant on B, and then C was taken instead it fell unless Final in Authentic modes, of a Plagal mode was a 3rd lower than the Dominant of the Relative Authentic mode (unless In Mediaeval music, B[? was occasionally allowed in the fell on B, when C was taken). this
;
3rd Dorian and Hypodorian modes (and later in the Lydian and Mixo-Lydian), showing an approach From about the i6th cent, other modes were added ôlian (Final, A), to modern tonality. Locrian (Final, B), Ionian (Final, C), also Hypoaeolian, Hypolocrian, and Hypoionian; but
these
is
recognised status in Gregorian music. Any ot the modes may be transposed higher or lower as long as the order of intervals maintained.
had
little
N.B.
i.e.,
HARMONISING THE CHURCH MODES. In the early days of harmony only plain triads and first inversions of triads were used Second inversions (c positions) were occasionally used as early as the and b positions.
;
i6th century. discords were gradually introduced, Passing-notes, suspensions, and prepared essential " " but unprepared essential discords were regarded as long after they had been profane music. in instrumental used freely The final chord of any mode was either a major triad, or the third of the chord was omitted and in hymn-tunes a major triad was also used at the end of each phrase (or line
;
of words). N.B. include every
Many of Bach's chorals are old modal (Latin) melodies. His harmonies are very free, and known artifice, but his cadences (in accordance with ancient custom) are almost exclusively
(See his Choralgesdnge, already referred to, page 42.)
major
triads.
In strict plain-song the old rules as to chords and cadences are still regarded as binding, although many composers do not adhere to them in arranging and harmonizing the ancient
melodies.
The
I.
following examples are worthy of the student's attention

1
of this
DORIAN (or RAY) MODE r to r Final, Ray; Dominût, Lah. mode may be found in old national and folk-songs.
; ;
Many examples
(Scottish Tune).
(Transposed.)
:
"Martyrs"
+G>^ff-\
;s
;_
f
|
._
:r
d
||
|i
|t
:-
:s
:1
|t
:-
: ||
|r
The same, harmonized by Simon Stubbs, Melody

(1621).
(Transposed a tone lower than in Ravenscroft).
in the Tenor.
Ravenscroft's Psalter
J--
__a
JEî
IT
UZE?.
pj
t_Q_Q
262

"
of Handel's fugal chorus,
The subject the Dorian mode

:
And
I will
exalt
Him
"
(Israel in Egypt]
is in
Bb
(ta)
The :-
fine
Latin tune
"
Vexilla Regis," in the Dorian mode, includes the permissible
Gregorian Notation.
From
the
"
Vesperale
Romanum
"
(1702).
Palestrina has left a famous setting, This melody has often been utilized by composers " Forth the royal banners go." and Gounod makes prominent use of it in his Redemption to
;
II.
THE HYPODORIAN MODE
1,
to
"
Final,
Ray
Dominant, Fah.
(Transposed a 4th higher).
" Urbs Jerusalem Beata," from the Salisbury Hymnal."
:a:
Is
cj
f2
Ir
x->
||
rd
||frnfslsfn
r_g"
ry"Q
n
f
CJ
Q-/
d||l|drrrdfs8f||lsfnfsfnrd
(or
r||
III.
THE PHRYGIAN
ME) MODE
to
Final,
is
was glad when they departed," Handel's Israel in Egypt, plagal Hypo-Phrygian).
me ; Dominant, Doh. Egypt constructed on this mode (and its
"
/Li*
The Church Modes.

IV.
to t THE HYPO-PHRYGIAN MODE Final, me; Dominant, TE LUCIS ANTE TERMINUM.
:
263
Lah.
t,
Words from
"St. Gregory," by
COPELAND.
From
the Vesperale
Romanum
(1702).
EfeEErz3=E
&
The
ve
zjz=
15:
hgj
:z>
^~
Jj
~^
;r
Q~
'P'art,
:g:
of
;
1
-f
Thou
i^
Light
-gj
f~2
:
Light
r-
'fe
Q~
::=:
N.B.
characteristic of
The se what
M
is
called the
chord which always concludes a Phrygian or Hypo-Phrygian composition " " in ordinary text books. of harmony. Phrygian Cadence
(or
is
V.
THE LYDIAN
FAH)
MODE
to f
Final,
Fah
Dominant, Doh
One
most notable instances

"
of the use of this
mode
occurs in Beethoven's String Quartet in
of the minor.
Song
of gratitude, in the
Lydian mode, offered to the Divinity by a convalescent."

hrj
Gt
b^
mm
^-^r &
264
==
o
his
*=e=
<s___
Note the peculiar effect of Blq melody downwards into the Plagal
as the 4th of the scale ; also that Beethoven extends It is, indeed, as much Hypo-Lydian as pure region.
Lydian.
d to dl THE HYPO-LYDIAN MODE Final, Fah ; Dominant, Lah. " " modes are rare, as the " discretionary and Melodies in the Hypo-Lydian Lydian pure mediaeval times converted these modes into the ordinary major scale.
VI.
:
N.B.
"
Bfc
of
"
Pater Superni Luminus," a Latin melody in the 6th

-i*
Mode
(with Bb).
m
F
major.
(Son)
This
VII.
"
is
seen to be a melody in
THE MIXO-LYDIAN OR
MODE
s to s
1 ;
Final,
Soh
Dominant, Ray*.
Setting
Veni Creator Spiritus," Old Latin Melody.
by
J. S.
BACH.
Ê^gg
1
>5
1-C2.
^
J.
^F
-s|
J.
J
r
J.
-J-
" Sanctorum Meritis."
From
" " the one of the Salisbury Hymnal." Said to be Mixo-lydian tunes in existence."
finest
Words from Helmore's "Hymnal Noted."
The
r.
tri
umphs
that
ot
-
Their love
nev^
iLA^=^
-i
The Church Modes.
265
':-3
-i
:o
-
r
day aay
Pours t'ours
forth lortn
l^p?=ll u nn>j.i
~r.
For
these
the
lurcn Church
to10-
ner her
joy
ous
j 4 s^s=
j-
L-
-J-J.
lay,
J-7
j:
=Ê3--g=l|=3 3
t
VIII.
"
THE HYPO-MIXO-LYDIAN MODE

From
the
r to r 1
Final, Soft
(in
Dominant, DoW.
style)
"
Trinity Melody." (Transposed.)
Mechlin Manual."
Arranged
modern
by R. DUNSTAN.
zai
g3~^
I
b=rJî
y~
I
T
r^r
c&~
gj^j a
îÛSUr
=st:
187
MUSICAL FORMS NOT PREVIOUSLY DISCUSSED

)
(/.,
^Wwtwn'da.)
Also
spelt
Akmam,
Att*m*ig*e,
Almain,
ÎnrgraCrmences with rshorTuna^tld note.

H
&c.
Examp.es ,rom Hande, :-
*-
ife3^
s^
266
The Allemande consisted of two parts each repeated and the length of any one of Handel specially favoured bars (or 7, 9, these repeated portions varied from 6 to 27 bars. he occasionally used 8 or 16. Both with Bach and Handel the Allemande is written 13) The Allemande, Prelude, and Air are the only movements in imitative contrapuntal style. in a Suite not taken from dance forms. Cavati'na (/.). (2) Specially, a melody of one move(i) A short simple song. (2) ment only (occasionally preceded by a recitative) without a second strain and Da Capo, in 2-4, 3-4, or 6-8 time, and in strains A rustic dance, generally Country Dance. (3) " Sir Roger de Coverley." or sections of 4 or 8 measures e.g., the well-known The partners in this dance are arranged in two opposing lines hence, perhaps,
Contre-danse.
(4)
Fa
la,
or Fal
each
line or stanza.
la. A short song, or a madrigal, with a fa la refrain at the end of Morley's ballets are good specimens.
J.
SAVILE, 1667.
Various Musical Forms.
267
Romance sans
words.
paroles (F.).
Roman'za
"
sen'za paro'le
(I.)
story or song without
Romanze'ro
(/.). (/.).
suite of
romantic
"
pieces for pianoforte.
Also called a Galliard. Romanesque.) for two persons, said to be a precursor of the Minuet.
(F.,
^
Romanes'ca
clr.nce in
3-4 time,
Serenade (F., Serenade; I., Serena' ta; G., Serena' de ; Stand'chcri). "Evening " music." air concert of a quiet character performed under the window (i) An 4 open of the person addressed." (2) An instrumental piece of similar character. (3) A pastoral cantata. (Handel's Acis and Galatea is a Serenata.) (4) A piece of chamber music in several movements a kind of Suite. " " Standchen is only used with meanings (i) and (2).
;
Serenatel'la
(14)
(/.).
little
serenade.
famous
" Stab'at Ma'ter Do'loro'sa (L.) The Lamentation of the Blessed Virgin Mary." hymn on the Crucifixion, by Jacoponus, I4th cent.
Among
Haydn,
in the
(15)
the best settings of the Stabat Mater are those of Palestrina, Astorga, Pergolesi, Rossini, Verdi, Dvorak, and Stanford.
Suite (F., pron. Sweet}.
Suite de pieces (F.).
set, cycle,
or series of pieces
same key. The suite was the precursor of the sonata and the symphony. It was a succession of dance movements, sometimes introduced by a prelude. The chief dance forms employed were the Allemande, Courante, Sarabande, and Gigue to these might be added the Gavotte, Bourree, Modern Orchestral Suites do not necessarily keep to the same key Minuet, Passepied, etc. The Suites of Bach and Handel are among the most important works of this throughout. kind. Examples of construction Bach French Suite, No. i, D minor Allemande, Courante, Sarabande, Menuet i, Menuet 2, Gigue.
;
:
Bach
French Suite, No.

:
5,
G
;
major
Allemande, Courante, Sarabande, Gavotte,
Bourre'e, Loure, Gigue.
Handel
Suite
u,
3,
B[?
Suite (variations), Presto.

:
Handel Handel
D
G
Allemande, Courante, Sarabande, Gigue. major minor Prelude, Fuga, Allemande, Courante, Air and 5 Doubles
;
Suite
7,
minor
Ouverture, Presto, Andante, Allegro, Sarabande, Gigue,
Passacaille.
(16)
work
for
A F., Symphonie ; I., Sinfoni'a.} Symphony. (G., Symphonie', Sinfonie' ; an orchestra in the form of a Sonata, but (generally) with fuller development and greater
breadth of treatment.
The symphony is the most important form of instrumental composition. Beethoven " " still remaining unequalled. noble nine stands pre-eminent as a writer of symphonies, his " " are Schubert, Mendelssohn, Schumann, Spohr, Other great Mozart, Haydn, Symphonists
Brahms, and Tschaikowsky. A Symphonic Poem. (G., Sympho'nische Dich'tung ; F., Poeme symphonique.) (17) It is based upon a work for orchestra of the dimensions of a symphony, but in free form. " Rd. Strauss Poem." program or poem ; Liszt has been called the Father of the Symphonic is at present (1909) its most famous exponent. Symphonic Ode. A symphonic work for chorus and orchestra. (18)
"to touch," Tocca'ta. (/., from Tocca're, (19) piece in the nature of an improvization. Bach's organ toccatas are fine examples.
Toccati'na
;
"to play").
brilliant,
showy
Toccatel'la.
A
A
short toccata.
It
etc. light comedy with dialogue, pantomime, topical songs, (F.). (20) originated in popular convivial or topical street songs, etc
Vaudeville
268
188.
SHAPING A MELODIC IDEA.
Of the nature of thematic development is that varied treatment of an essentially simple melodic progression which gives it a special shape and character. Thus the following passages mostly the initial notes of well-known themes are all r d (the first phrase of "Three based on (or announced by) the simple progression Blind Mice").
(i)
BEETHOVEN.
Pianoforte Sonata, Op. 8ia.
(2)
BEETHOVEN.
Overture,*" Leonora," No.
i.
EE3E
&c.
(3)
&c.
(4)
WAGNER.
Overture,
"
Flying Dutchman."
HAYDN.
Op.
74.
&c.
Ac.
(5)
HAYDN.
Op.
64.
(6)
MOZART.
Pianoforte Sonata in
r &&c.
(7)
&c.
CHOPIN.
Op.
27,
No.
2.
(8)
S.
BENNETT.
Overture.
&c.
(9)
CHOPIN.
Op.
62, No.
i.
(10)
BISHOP.
" Should he upbraid."
&:.
&C.
i.
(n)
BEETHOVEN. Pianoforte Sonata, Op. 27, No.
(12)
MOZART.
Quartet
in
F.
&c.
(13)
&c.
HAYDN.
Symphony
in
D.
HAYDN.
Symphony
in
C.
Ac.
(15)
&c.
1.
CHOPIN.
Op. 32, No.
(16)
CHOPIN.
Op. 57.
Ac.
&c.
(17)
HAYDN.
Op.
103.
(18)
SULLIVAN.
"
My
dearest Heart."
&c.
&c.
(19)
EBERLIN.
(20) (a)
HANDEL.
Chaconne
in
G.
Ac.
Beauty in Music.
269
&c.
&C.
(21)
MOZART.
Symphony
in C.
(22)
Variation of No. 15.
CHOPIN.
Op.
32,
No.
1.
B ^
* F
FÊ
^'~*
i
fEt
^^-m
(23)
v
CHOPIN.
Op.
32,
No.
2.
&C.
The
(24)
following start with a short preliminary note (or notes)
"
Hope
told a flatt'ring tale."
(25)
BEETHOVEN.
Quintet in Eb-
SCHUBERT.
"
The Fishermaiden."
&c.
of the infinite
These suggestive extracts, which might be multiplied to almost any extent, serve to " " of a melodic idea. potentialities
"
illustrate
some
keys, in different times,
The student may exercise his ingenuity by inventing other and with variety of accent and rhythm.
variants
"
of
m
;
r d, in several different
such exercises help to Other simple progressions may afterwards be treated in a similar manner develop the sense of melodic grace and beauty, and to present what might otherwise be commonplace ideas
in original
and attractive forms.

IN Music.
189
BEAUTY
This chapter and this work may fitly close with some extracts from an article by Mr. Joseph Bennett (Daily Telegraph, March 28, 1908)
:
Beauty
of
Form,
Melodic Grace.
.
Connected Progressions.
"In what does musical beauty consist? Taking music as a matter of expression, it is clear that there must be beauty of form, and beauty of form In what in art is as imperative and absolute as we find it to be in nature. does j t cons i s t? Obviously in a power to charm, to excite pleasing sensahas been served. tions, and ensure their continuance till the purpose in view music Beauty of form demands note that I am referring strictly to abstract melodic grace, a balanced movement ; progressions so natural in point of connection that we receive them as inevitable, and as much variety of
Variety
si on.
of
Essential
These of all the parts. expression as is compatible with the essential unity never music of beautiful masters the which neglected. Expres- are the points great Their infinite changes of melodic detail all lay within the scope of the melodic a scope which they found ample for all desired principles just laid down Unity. effect in the nature of sensuous gratification
270
"
The graces which make up beauty of form are now regarded as of less account than was the case in the days of the great masters. A new spirit has arisen, fostered by the seeming hopelessness of composing melodies equal in grace and charm to those of past days. To this spirit has been sacrificed, in large and apparently growing measure, the most precious of the qualities It has come to be thought that the themes which render music beautiful.
their setting forth, so characteristic of the old time, are profitless for present use, and that other means of arresting attention and winning repute must be adopted. Hence, the old melodic school is apparently dying out, as the older contrapuntal school did before it, leaving examples due to individual taste, but little more. What have we in place of the broad and graceful themes, such as that which so impressively opens the slow movement of Mendelssohn's violin concerto? We have, in large measure, mere snatches of tune, fitful, elusive, unsatisfactory to those who demand a speaking melody,
and
but, it must be granted, capable of witching effects when, in number and variety suited to the convenience of the composer, they are handled with skill. It is, of course, a matter of personal taste, concerning which there can be no disputing, but, as a lover of art in its purest and most exalted expressions, I lament the change through which we are losing the symmetry, the ordered " " the linke'd sweetness long drawn out of what is now called stateliness, and old-fashioned melody.
Shaping
of
Move-
not all that lies within the term musical form.' There are the various forms of treatment by which movements are shaped, For an example and, generally, the larger creations of the art determined.
is
"
But melodic form
'
Svm
honic
Form
Gradual Development.
most developed symphonies of the classic school. Standing these masterpieces, at least one point should never be passed ver The grand symphonic form was a slow creation, taken up by a succession of great men who developed it with loving care, from the primitive simplicity of Haydn to the definite elaboration of Brahms.
to the
we may go
m *ê
-
n ht
Perfect
Freedom
of
Abstract Music.
Much beauty in music is due to the perfect freedom of abstract art within the lines of form. That freedom is an almost unique endowment. Poetry enjoys it, but the full measure is given to music alone, because only that art exercises it absolutely without limit or restriction, in a field which extends over all the realms of feeling, and much of the domain of thought.
I have nothing to say, except that it is necessarily inferior in character, and therefore in status, to pure music. It has its place and its vocation it pleases a great many people, and tempers many absurdities with a sufficient allowance of cleverness to make the music acceptable.
is
"
"
Against what
'
called
'
programme music
'
Programme
Music,
'
Beauty
matter.
of Subject-
Moods and Emotions.
Impulses from
within.
Besides the beauty of phrase and theme, and that of treatment, good music has that beauty of subject which lies outside of, and apart from, a It is said that Haydn, in preparing a symphony, took some story, programme. or sequence of events, and worked upon it, without making the argument I do not know the I question if authority exists, public. authority for this but if that was the master's practice he was, of course, a composer of unavowed programme-music, and I have to add that, all works of that class being as beautiful as his, such music would need no defence. But still, it would be that there are necessary J to insist, for the conservation of the supremely r J good, , subjects unwritten and unspoken subjects which arise from moods and emotions which often, without taking definite form and purpose, move Here humanity to gusts of passion, or lap it in sweet and tender feeling. * s the gathering-ground of the composer of pure music, where he may be happy in the knowledge that he can lay his hand upon nothing base and unworthy unless, indeed, he so desire, which, in the circumstaances, is inconceivable. I wish our composers, would, more often than they do, utilise these impulses from within."
' '
;
"
'
'
Index.
271
INDEX
PAGE
Accent
Metrical
s of
s,
PAGE
Cavatina
265
15 26
Divided Beats Verbal and Musical
Accompaniment
,
Essentials of an
of of
, ,
Art Songs Duets
99 24 25 27 59 59, 63 66 82
24, 7
Changeable Chant Character of Measures Choruses Chromatic Modulation Church Modes

,
169-171 160 260

261
217, 219
31, 33
i
Harmony
of
Clarinet
Organ
Styles of to Ballads
to 3-part Writing
215 -77
59
84
Common
Metre Composition in General Composition, Materials of Compound Measures
s in
,
General
String
String, of Solos
Allemande
Amphibrachic Metre Anapaestic Metre Answer
177-216 178, 179-216 210-214 265 27, 36, 37 27, 36, 38

156
1
Conjunct Melody Contrabasso Contrary Motion Cornet

Counterpoint Countersubject Country Dance Courante Dactyllic Metre
24 6 178, 220
82, 91
218, 219, 234
Anthem
Aria
Arioso
72
78 78
148-152 156 265 134 27, 36

134, 145
Dance Forms
Descending Passages
Arpeggio Art Songs

Articulation
103
57,
89
254, 255, 259
66
163
Development Thematic
,
Ascending Passages Attacco Attendant Keys
89 168
42, 159
Diatonic Modulations
259 160
6,
Diminished Intervals Diminution

Disjunct Melody
97
6
115, 155
Augmentation
115, 155
Augmented
Intervals
Authentic Ballad Form, Extension of Ballads

,
98 260 68
Accompaniment
to
Metrical Structure of
Barcarole
Bass,
,
The Instrumental
Vocal and Instrumental in Music Bolero Bouree
57~59 59 57 145 209 208

269
145
Dorian Mode Double Bass Chants Chorus

Counterpoint
261 1 78, 220
15-23
171
79,
Duets and Trios
152 88
Economy
of
Melody
Melody
Effect of Measure on
107 26
49, 52
Eight-lined
Hymns
Beauty
Eights and Sevens
35
161
Enharmonic Modulation
Episode
Errors of Beginners
i35
7,
M5
156
2
218, 219
Cachuca Cadences Feminine

,
145 16, 30, 38, 53 12, 18
Euphonium
Examples
Inverted 9 - Tables of 13, 15, 16, 20, 23, 30, 38, 41, 42, 44, 46, 47, 48, 50, 52 Cadenza 94
,
of String Accompaniments .... 179-216 Exercises, 8, 9, 10, 13, 15, 17, 18, 19, 21, 22, 23, 33,
35, 38, 41, 43, 45, 47, 48, 49, 52, 66, 78, 86,
87, 117, 125, 129, 134, 137, 138, 141, 142,
145, 214, 269
Canon
Canonic Imitation Cantata
.
34>
53
Exposition
254, 255
"3
173
a Fugue Extended and Irregular Sentences

of
159 129
272

PAGE
Extension of Song
Form
Fah Mode Fa la
Fanfare
137 263 265 142

12, 18
Melodic Figures
Intervals
6, 89,
163
97
103
Melody
,
in
General
of
89-106
107
based on Arpeggios
Feminine Cadence
Figure
First
Economy
Style
57, 163
Movement Form
255
42 29 217, 219 57 254 57, 125
138, 141
Harmonic Substructure of of, for Hymn-tunes
Five-lined
Florid
Hymns
Me Mode
Mental Effects Metre Metrical Accent
103-106 28 262
7
Melody
Flute
27
Form
, ,
Folk-Song in General
Metrical
24
Form
Minuet and Trio Form
Mixolydian Mode
57,125
134
138, 141
Minuet and Trio Sonata
255
135, 141
Song
Modes
Modulation
Morris Dance
10, 133,
264 260
Four-fold Sentences
Four-lines Eights
125
Sevens
Freedoms
in
Doubling Voices
36 35 208
Motet Motive
Musical Rudiments National Songs
57,
10,
159-162 265 265 163, 258

3
Free Fantasia
Fugue
Full
255 156-159
172 146 135, 146 134 169
Anthem
Galop Gavotte
Gigue
Glee
...
Nocturne Octuple Time
58 265 27 173
1
Opera
Oratorio Orchestra and Piano
String Orchestral Sketches
,
73
Grand Aria Gregorian Tones Ground Bass Harmonic Substructure
78 260
115
of
Organ Accompaniment
Point Overture
Melody
103-106
3
223 177 223 215 1 56

1
Harmony
,
74
Style for
Hymn-tunes
Homophonic Music Horn
29 165 218, 219

3
Paragraph, Two-sentence Three-sentence

,
132, 140
135, 141
How
Composers work
Hymn- Anthem
Hypodorian Mode Hypolydian Mode Hypomixolydian Mode Hypophrygian Mode Iambic Metre
Imitation Imitative Music Instrumental Bass, The Inverse Imitation
i
172
262
264 265 263

-7, 31
i,
Part-songs Passion Passion Play Pedal Perfect Cadence, The
- Phrasing Phrygian Mode Piano and Orchestra

Pianoforte Accompaniments Pivot Note
Pizzicato
.
165 265 265 156 23 162 262
223
.59, 66, 70-77, 8z, 84
19, 34, 811,
10
256 209
114
Plagal
93 178 260
146 147 165 1 74 134 256 94 163 153 153 27 261
254, 255
98,
19,
1
Leading Themes
Leit-Motiv
Long Metre Lydian Mode

Madrigal Male-voice Music
March
Materials of Composition
258 258 31-33 263 167 87 140, 237

76,
Polka
Polonaise
Polyphonic Music Prelude

Presto
Program Music
Prolonged Notes Punctuation
Mazurka
Measure
,
s,
Effect of, on Melody Character of the
146 24 26 26
2
Quadruple Counterpoint Quintuple Counterpoint

-
Time
Ray Mode
Recapitulation Recitative
Melodic Faculty, The Melodic Direction Extent
89 89, 96
Recte et Retro
74 155
5683
Index.
273
PAGE
Redowa
Redundant Entry
Refrain
47 159 57
*
Song without Words Stabat Mater
Removes
of
Key
16
Repeated Notes
Repetition Reprise
92 107 255
Requiem
Retrograde Imitation
266
115
137 267 Stretto 156 177 Stringed Orchestra String Accompaniments, Examples of ... 179-216 General Principles of 178 of Solos 210-214 s, How they are used 178
,
Styles of
Song Accompaniment
7-77
156 57 162 267 29
Rhapsody
266
99
of
Rhythm
Rhythmical Contents
Measures
Subject Sub-section
101
Sudden Modulation
Suite
Rhythmic Figures
163
Romance Romanesca
Romantic Music
266
267 255
l6 4
Melody Symphonic Poem

Syllabic
Rondo Round
Sarabande
Scale Passages
Symphony Tenor Horn

Tens and Elevens Thematic Development
Three-part Writing Three-sentence Paragraph
267 267
218, 219
!53
*34
ll
78
37 259 83
135, 141
57, 77 99, 100
Scena
Scherzo
Scoring for Small Orchestra
2 55
Through-composed Song
Strings
217-253 179-216
57 57 129
125
I
Time
Toccata Tonal and Real Sequences Tonality Transposing Instruments - Table
Triple Counterpoint
267
Section
in
5
Sentence
s,
,
Extended and Irregular

Four-fold
220 220
152
27, 35
in succession
32
Septuple Time Sequences

,
",
27 34, II0
Tonal and Real
m
T
Trochaic Metre Trumpet Metre Twelve-cadenced Tune
43 53
Sequential Imitation
II2
Serenade
Services
267
72
Two-part Writing Two-sentence Paragraph
79
132, 140
19, 82,
Seven-lined Hymns Shaping a Melodic Idea
48 268
3*, 33
Unison Passage:;. .'.... Unusual Beginnings

Variations
85
12
Short Metre Simple Measures Single Chants

,
,
24 5-* 5
7 *3
Varied Repetition Vaudeville Verbal and Musical Accents

Verse Viola
Violin
117 109
Major Minor
Anthem
Six-lined
Hymns
Slow Movement
Solo
43 255
J
Anthem Sonata Form

,
72
Violoncello
267 27 172 177, 220 I77> 2I 9 178, 220 246

79 223
2 55
Waltz
Waving-note
Finale of a
Songs Song Form

5683
255 57-78 I 35- I 4 I
Wind
Instruments,
How
to use
Word-painting
257
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1
By G. BERNARD GILBERT,
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ACCOUNT OF THE TONIC SOL-FA METHOD. By J OHN CURWBN.
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MINOR NOTATION OF THE TONIC SOL-FA SYSTEM

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AMY
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Price */ 6
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EXERCISES, SCALES, AND ARPEGGIOS
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36 pp., 6d.
STORY OF TONIC SOL-FA

CURWEN, President
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Presented to the

(Curwen's Edition, 5683.)

GUIDE TO THE PRINCIPLES

By RALPH DUN STAN,

CURWEN & SONS

Price Five Shillings net cash.

CHARLES VILLIERS STANFORD,

OF MUSIC IN THE UNIVERSITY OF CAMBRIDGE

PROFESSOR OF COMPOSITION AT THE

ROYAL COLLEGE OF MUSIC

also the tendencies of

useful, not only to students,

not avowedly a treatise on Musical Form,

the smaller forms of

Cyclopaedic Dictionary of Music."

Preliminary Study of Melody ............................. to begin Composition ......

SINGLE AND DOUBLE CHANTS

Iambic Metres Short Metre Common Metre Long Metre

and Anapaestic Metres

IV. TUNES TO Five-lined Hymns

HYMNS WITH MORE THAN FOUR LINES

Hymns Hymns Hymns

Specimens of Cadence Plans

Folk-Songs and Art-Songs

Art-Songs in Ballad-form Extension of Ballad-form Analysis of Schubert's Linden Tree

The Aria The Scena

57 57 57 57 57-59 59 59 60-66 66 68 68-70 71-76 77 78 78 79 79 83 85 87

MELODY IN VII. Factors of Melody Melodic Direction

117 125 125 129

IX. Two OR MORE SENTENCES IN SUCCESSION Two-sentence Paragraphs

Simple Dance Forms Three-sentence Paragraphs

Song Form Groups of Sentences

Special Exercises in Song Minuet and Trio Form

Marches Two-sentence March

135 135 137 137 138 140 140

142 145 148 148 153 156 159 162

XII. ACCOMPANIMENTS IN GENERAL Accompaniment for Stringed Orchestra The Strings

179-208 209 210 21 1-214 215

PAGE 217 217

Examples of Simple Scoring A Loud Piece

Piece Piece with alternated Soft Passages Cornet Solo

261-265 265 268 269

THE COMPOSER'S HANDBOOK.

des Lernens hein

The Composer's Handbook.

Schumann, and Mendelssohn.

Transposition, Time-transcription, etc.

Triads and their Inversions.

Modulation to nearly-related Keys.

The earnest student will, of but inaccurate harmony)

| See the Author's first Steps in

i Oakey's Counterpoint (Curwen, as od.),

Harmony (Curwen, as.). and Pearce's Student's

The Composer's Handbook.

and the only answer that can be given

SINGLE AND DOUBLE CHANTS.

necessary to begin by writing an generally much chagrined or even is comparatively worthless.

The Composer's Handbook.

Hence the general

the piece begins in a minor key, minor and end in G major.

same key. may begin

melody are more pleasant than wide skips

following progressions are bad Dim. 5th.

Steady, calm. Strong, firm.

The Composer's Handbook

The Composer's Handbook