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ELEMENTARY
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MUSICAL COMPOSITION
EDMONDSTOUNE DUNCAN
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http://archive.org/details/elemusicompOOduncan
ELEMENTARY
Musical Composition
IN
TEN LESSONS
BY
EDMONDSTOUNE DUNCAN
Author of "The Life of Schubert," "The Story of English Minstrf.lsv," "History of Music," "Melodies and how to Harmonize them," "The Story of the Carol," etc.
G.
SCHIRMER,
LONDON
18,
NEW YORK
3,
BERNERS STREET, W.
CONTENTS.
Lesson
I.
Pack
Rhythm
Cadence
as a starting-point
in
II.
6
9
16
III.
Early Harmony
Instrumental Beginnings
IV.
V.
Vocal Melody
20 25 29
VI.
Instrumental Patterns
VII.
VIII.
IX.
Accompaniment
Counterpoint.
An old
subject
new taught
36
Counterpoint Continued
Free Counterpoint
43 48
X.
PREFATORY NOTE.
MUSICAL COMPOSITION
^'i
is
usually
so
laxly
taught,
welcome
to
many
students
who
are
skilled master.
The
mastery.
he intends to attain to
necessity
It
for
teacher,
the
valuable
to
ally.
will
enable him,
the
instinct
by
of
a graduated series
lessons,
develop
directly
Invention, which
is
The
text offers a
;
of students
but
it
or,
failing
one,
with the
Guiding
suggested
If
essential
to
some,
to
view in mind.
some of
students
become disheartened
approached.
unless
many formidable
mind
techni-
The
writer has in
a pupil
who
his
After a
stiff
methods of
dream.
up
his
This
me
I
to
is
work
to reconsider all
my
methods.
The
the result.
say,
To
ations
the Master,
would
watch
Supplement,
check, or
even
here set
down
as
individual cases
My
scheme
in its entirety
first ten.
IV
PREFATORY NOTE.
require.
may
will
initial
application,
Turn then
Songs,
to
the
lighter
studies,
such
as
the
composition of
all
even
Nursery
songs,
all,
Part-songs,
Dance
Pupil
to
pieces,
Above
faculty,
To
it
the
yield
Never
The
task
is
formidable,
but
of
will
industry.
The
ability to express
what
is
in
us,
free
utterance
it
is
possible.
of Music.
Some
hide
in a napkin, others
it
to
high usury
to
the humblest of us
Carefully
may make
its
a source
is
of
of
lasting
gain
himself.
cultivated,
harvest
priceless quality.
The
reach
;
sources of Inspiration
are
happily beyond
an investigator's
The soul that rises with us, our Hath had elsewhere its setting
life's
star
afar.
the imperial
palace
itself
is
invisible
to
human
steps.
eye,
we
fruitless,
unordered
Therefore
is
Method, from
field
and onwards
maturity,
should
who
are
EDMONDSTOUNE DUNCAN.
Sale, Cheshire.
July, igij.
LESSON
I.
LESSON IN COMPOSITION.
HE
fabric
of
Music
rests
upon a
threefold
foundation
of
Each of these
gives
our subject.
Rhythm determines
or
the
per-
Time,
meates
all
its
impetus.
It
activity
and
a part of
life
itself.
It
human
it
some rhythmic
Rhythm
sea, in
Forest-trees dimly
forth.
It
is
to
some
rugged
verse.
calls
it
little
child
it.
moulds
to
his
wish.
The
orator
is
helpless without
Its
Musical
definition
has
become
of great
significance.
It
is
importance
at the outset
that
our
sense
of
clear
it
name
in,
the time-signature
or appreciate
characteristic
music heard
unfamiliar
for the first time, just as easily as they will scan verses of
poetry.
Our
first
step
is
to
test
is
the
Student's
well-
appreciation
of
Time and
Rhythm.
Where
this
already
in
developed we must go
Musical Dictation.
further,
actual
group of well-contrasted
good national
^^^
Au
I
French Romance.
SEEEE?Ez
som bre
-
=:fEi
dans Ten-cein-te
d'un bois
e
val
le
e,
V
r
^ -G^
-
S3:^=t =P=^
-F
-
:p
e
,.
:i?-t;i::iJ^r=:t?=d
-
,&E
Tin
-
pais,
miere
so
le
each
oit
no
p^^
cence
et
la
-^
paix.
-M
^fciS ^
vi
-
?-2:
La
voit
c'est
en
An
gle
V
f^-=N:
V
-^
ter
re,
un
me
^^m^M
le
re
dont
de
sir.
toit
de
I
lais
-9
m
la
ar
iE
-
-r=F=
ser
sa
fil
-
EEt
le
^1
et
sur
ter
se
heu-reuse,
puis
mou
rir.
An English
Air.
^^^ m
iizzti*:
The
Spring
^^=^=1 P^^JE^EEE^
is
'-'i=-V-
^^
ban
-
com- ing
re
solv'd
to
ish
The
i s$^
fai
king
of
the
ice
with
^
his
iE^
bu
-
tur
lent
train.
With
her
->i3=t2 t^=^
-
p=
ry
^^^^^^^^
bids
wand she
I
them van-
ish,
And welcomes
the sun-shine to
-^iS=P^
earth a
-
ST
gain.
=3=t3
-
-p:
win
-
-m
^
kir
-
Then maid
ens fore
go
the
try
tie,
Lace
ev-'ry
And
twine each
lat-tice
with
LESSON
I.
COMPOSITION.
:ts=qs;
:E
wreath
of
S J^^J ^
hon-our the
ad- vent
J
ful
J
Spring.
myr-tle
To
of
joy
Old
I
Air.
1
\m M_4
ri
n y
*
fr
'
*^
m ^
m
-
m ^
the
m
1 1
UJ-^ __
A m
m * P
J ^
ov
-
*
er
'
V ^
waves
Ov
er
moun-tains
And
the
I
*
Un
-
-^
der
the
i
foun- tains
-Gt-
s
Un-der
And
un
der
the
graves;
^^
floods...
-^
d
-
^^
est,
IV
ez:
V=^
bey
;
that are
deep
Which
Nep-lune
Ov
I
er
? ^
rocks that
airs
rx
steep
are
est
Love
5
find
-&out
the
will
way.
The
may be sung
should be marked.
line of
poetry,
is
it
definition
in the
given.
seen
where I, V and IV respectively refer to full close, half close, and close on the subdominant. A complete definition of rhythm must include time. A conductor's baton marks the primary pulsations, while the numerous subdivisions, sounded (say) by trumpets, violins, or even drums, are merely a part of the whole
examples above given
scheme
an
extension of the
common
idea.
To
state the
same thing
rhythm describes not only the regular units in all barred Music, but also the characteristic pulsations, or group of pulsations, which do not necessarily recur, and often are even antagonistic to the
differently,
regular
time.
will
To
render
the
common March
is,
movement
they
in the
The word Time, however, satisfactorily distinguishes the regular pulsations, which Riemann describes as Metre, a term more appropriate to Prosody.
as those
in
which preceded
it,
offers a
Troubadour melody,
most part
equal notes.
S
^=^
-^
^
Such rhythmic movements
-us-
-Gh
fl
monotony, and
they are therefore often brought into contrast by periodic disturbance of Our next example shows a complete the ordinary pulsations. departure from the natural rhythm, in the upper part.
^ I
It
^
r
^^ 3t=it
?^
is
may be observed
and
sort
These may of
how
far
he
is
equipped
music.
in the
It
down
of
may be now
at
harmony, or
up a course of least the study of harmonization of melodies. In any ground covered by this book may be proceeded with,
to
him
take
:<2
3
-
am
jol
ly
hunts
man,
My
voice
is
shrill
and
P
I
If^l :2
clear,
-o-
Well known
to
drive the
stag,
And
the
droop-ing dogs to
m
cheer,
T^-
An
"
hunt
ing
we
will
go,
will
go,
will
I,
*:
go.
i
And
a
^-hunt
-
122:
-<s>-
z:^:
I
go.
ing
:e
will
LESSON
I.
COMPOSITION.
"Good Morrow."
^u
l^E^di
Sg^
Good
mor
-
-P=F^
row,
'tis
f=
Val
en- tine's day,
}=
-
Saint
All
m^ m
w^^^^
|-*t
in
-/
the
ing
piime,
And
I,
maid
at
r-
=^^=^
your
m=W=W
To
be
1=^^
-
i
-
win
dow,
your
Val
en
tine.
did love."
^^^ ^
In
"I
when
^
I
P
love,
:p=3C
-
youth,
i^
:^
sweet,
As
time
^^
did
re-quires for
Me
thought 'twas ve
ry
t
my
be
-
-<&-
P
be
hoof,
for
my
-=^ ^1 1
Methinks
it
^rrFTf=r^
me -thinks
it
hoof,
is
is
not mert.
"Why
ask you?"
1
i F^=^
Spring
fe
be
-
2^:
#
bright
flow'rs,
guil
elh
and
of
fers
^ ?^E
Na
-
^!
V i
love
:*=i
be ours
tare smiles
and care
be-guiles, If
Why
ask
you
Paul's
Wharf.
1
iprfzifc
n ^ ]/ Vl s ^
'
<
-j^
fa)
^> 4
^
1 1
m
'
r
1
^
J
the
1
boat
off.
-'
n ^
IS
r n
1
m
'
G>
-*
Gai
H
ly
step
to
at Paul's wharf,
O
G^-
f-
f^-t-
--f=^
haste now, comrades, dip
r
EQ
*-
flow -ing,
1
'
~^^^^^^f^f
Slow 'gainst our row-ing, So
cross o'er the
wa
ter
LESSON
II.
CADENCE
HE
IN
nearest
translating
following,
this
though not put forward as the original or inevitable process of Composition, will nevertheless commend itself for it immediately provokes the student's obvious reason inventive
;
definite lines
on which
that
to proceed.
given
on page
set
of Sawyer's
time being.
The
should be
down on
paper.
mark
Thus
1:2:
^
:z2_
'J
__
;
In yonder
wood
Z2:
22:
:=]
jolly hunter.
mark the natural rise and fall of the voice, in Most verses are sufficiently picturesque to delivering such words. admit of such a process and while avoiding exaggeration or absurdity, Having constructed a really effective scheme may be contrived.
The
next step
is
to
bar-lines
before
the strongest
accents,
into
regular
lengths.
in
This
is
easily
advance.
Our
move
We
i ^^iv-r w
^21
i
bun
-
Blow
thy
horn,
ter,
Come, blow
thy
horn
on
m
V
Put
-G>-
i
In
bigh;
yon
der
wood
there
lietb
doe,
In
5
faith
-S^-r
not
die.
she
will
Come,
blow
thy
born,
f=r
ter,
^
Come,
test,
^
ter.
blow
the
thy
horn,
jol
ly
bun
to
second
its
identical
commonplace
origin in
as
it
may appear
beside an inspired
air,
has nevertheless
an
which
it
reproduces.
S N
When
SN
N S
that I
was a
little
tiny boy.
\J
SJ
^
!
^
ho
!
With a heigh
the wind
W and the
rain,
-i
A foolish
3fe=Jzz^zJ=,UJr=^
For the
rain
it
With a heigh
!
\j
'^
SSI
S S
ho
For the
rain
it
z^^J=J^J=,W=^=i
A
more
rational
one would be
When
that I
was a
little
tiny boy.
zzit
^^
ti
-
-N-
?2_
-&
With a heigh
!
When that
3^
ho
!
was
ht
tie
ny
boy.
the
I
-^
^=1:
wind
>^
and the
m
1
g^j^^
A
fool
-
7*=^
but
i=qsi
m
N"
1
rain,
ish
thing
was
toy,
For the
'
frr^
m
1
J
rain,
^ r-J
'
-J--ihry
^-^ \ ^
IN
\
iday,
d'-r-*
"1
-
With a
For the
rain
it
rain
eth
ev
'ry
day.
Thus
from
in
usually be found that small developments suggest themselves. both our examples 4-4 time is a refinement of the simple
it is
I
based.
i
Then
the opening of
No
was changed
rn
to
because of
its
more
notes to the words " but a toy " gain considerably in their contracted
form
-^^
-<s-
in
place of
out.
^
is
effective
dozen such
experiments
nice
to
may be
usefully carried
if
its
The Metric
only the
chart may, of
discriminate
without
All
principle
that
matters.
words and phrases must be new word, however, does not It will often be found effective to let of necessity imply a new note. The Rhythm must be unimportant words share the same sound. Where students find difficulty in directly derived from the words. defining this in their experimental efforts they may finally be referred In any case to the musical settings in the Sojig Book employed. comparison with music which may be assumed to be of spontaneous growth, and which certainly is not the product of any artificial system, cannot fail of being both interesting and instructive. Words suitable for a continuation of the Lesson
equivalent in the
carefully reproduced in the melody.
SAW^VER^S
To
all
you
ladies
4 28 50 56 160
Since
first I
saw your
I
face
...
How
should
know
LESSON
III.
EARLY
HARMONY.
LESSON
III.
EARLY HARMONY.
HE
should
be begun as
if
soon as possible.
It
is,
of course,
advantageous
tary material of
it
by no means indispensable. Composition may be approached from a practical point of view ; that is to say, he who is engaged in playing, reading and hearing good music, may take a nearer way to the
is
practice of
harmony than by
basses.
following
his
the
usual
plan of
filling
up
endless
figured
Stanford's "National
of
some 200
airs
let him take C. Song Book" (Boosey), where a choice collection are effectively harmonized in simple but masterly
For
text-book,
Sir
fashion.
Our
turn,
first
step
is
common
cadences, placing, in
treble.
Perfect Cadences.
Imperfect Cadences.
^"^=M~^~j
^
A
I
"1
1 i i=S=i
m
I
ku=
1
L
I
^
IV
Plagal Cadences.
S
I
^
r
I
TD
IV IV
The
Their foundation
lO
the
Roman numbers
If the process
their
be extended and each chord-note be taken in the harmonic possibiUties are considerably widened by the admission of the Inversions. 6-3 and 6-4.
Bass,
our
Perfect Cadence.
(Inversions).
Imperfect Cadence.
(Inversions).
1^
^^
Y
I
fei
t
22:
5 3
m
6
tEE^E^.
6
6
I
Plagal Cadence.
(Inversions).
Mnz^i
T
m6
^
6
I
Z2
6 4
:ii
IV
IV
IV
the use of these few chords,
let
When some
them
be
freedom
to
is
gained
other
in
transposed
keys,
such
as
the
Dominant and
Subdominant, G major and F major. Then they must be transposed to the tonic minor C minor, a perfectly simple process, since only the 3rd and 6th notes need be flattened.! The Dominant Seventh (which in practice is merely a fuller Dominant Triad) may be added to our scheme, which is completed by the inclusion of the Supertonic and Submediant triads and their
inversions.
We
last,
less
important
Their place
relieves
triad.
be as
relief
chords;
to say,
the
Supertonic
the
Dominant
triad,
They
An
experiment
is
show
LESSON
III.
EARLY
HARMONY.
Inversions ol
II
Dominant Seventh.
-G>,
Dominant Seventh.
T2L
m^M
A
j:^.
(S>-
^tp=p:
m.
Pg
-y5>-
~r:y
rr^'
SEiE
-S-
rir r
:Szi
-<s^
m ^
II
-f^:qI:
i?:^:
:P2:
-f
12:
VI
IV
neutral
in
will be found For transposition purposes, all that is necessary, to determine the key, is a major or minor 3rd in the Tonic chord which resolves all such chords. Let it be premised that single chords on strong accents are usually sufficient to determine the character of melodic or rhythmical passages, whether these move alphabetically or by skip.
The
Dominant Sevenths,
themselves,
d=J=fd=^:
-f
6
i
I
^_
f
4
courts
Handel.
Speed
to
your
own
my
flight.
^
The
as possible,
^^^E^^%^
r
f
much freedom such turns as do not explain themselves,
and
in defining all
might be demanded
both
in playing
12
may be found
Harmony
books, under
the
heading
How Happy
^j^
could
be with either."
*TF
it
g^^^^^ ^^gC^^
:
-B^
^
ii:
-^
-^
-*4--
*
-^-
s
*
^-
ii=^
^
k n;?-^
:f:
13--
jg
^^
-^
Air
^i=f^
^^
:g2:
-^-
* t
#
3i=ez
^
:P
fc Ha
^^
:
-#
^=1^
5t3C
^^
-*^
l3E
ii:
^^geE
-^
i
I
3zz
^H
it
g
^
-=+
-*i
^
^
fg:
-R^2:
IeI^
5e
:'=l
^=-"1*
-=1-
s "f
:3:
^:|E P^
SS 23=^
5^
LESSON
III.
EARLY
HARMONY.
Air
13
"Barbara Allen."
From
the above-given
illustrations
of rudimentary harmony,
in-
tended to be played on a pianoforte, it will be seen that in the choice of such simple chords there is plenty of room for taste and skill.
To
place
just
cadences, and also of the rhythm and expressive power of the melody.
Always aim
to play.
part clear, of
good
effect,
and easy
principle
For example,
passing-notes
may be
used where
effective.
The whole
is
already within
:
his
grasp.
Witness such
Blj
ruazi
rPfrfffff^
14
kind shown.
These may be
usefully
Book (Vincent
Augener
&
Co.).
*l-
"Ye
^5=^^
liz^
s=*-
-0
~"y
'
-^
fe^s^
t u- ^
.
^^d
IS qz=J^^z=N=i^
^=^
-^1
-y^-V:
l=f-
:fc=ft=t
IN
^
^
i~"S-
v^
^i:
-h-
P^^:
"O'
-s-
^eS^^
^^1
Se
fc E^Ei^a
i^Ei^E^^E^
e^
Traditional Melody
XZi^
fe^;^
fc
^=^:
^E^
-*---v
:*zJ:^E*:
rjfcifj
S^^l
LESSON
III.
EARLY
Air
-H
\
HARMONY.
I5
Gossip Joan."
fBS-
^
5Ei
"Good Morrow,
iq:
ll^iE^
:33
r-
lt'=m'=^
S^=^^
-^
'^
:tt iprii:
5S
.
1_,
:^^=^:
^i:
;i
Air
"Babes
in
the Wood."
fe
:fc=^ 3ES^^3
^^gE^^g^te^^^JEEEg^^^^^g^^
:^
i6
LESSON
IV.
INSTRUMENTAL BEGINNINGS.
f^^^NSTRUMENTAL
in
is
direct offshoot of
we
retracing
some
of the steps
Thus, before the late Troubadours of the fifteenth century, instruments did little but reproduce measured vocal notes, rhythmless
and characterless apart from the voice. Gradually chords were broken and little ornaments introduced the compass of individual instruments was drawn upon with a view to particular expression, and vocal writing, which had dominated the whole body of instruments, including the Organ, was slowly superseded by a new and independent style, opposed,
;
it
replaced.
Two
Rhythm and
the emanci-
pation of Melody.
From
something appropriate to do, accompaniments grew into individuality and expressiveness. The result naturally led to the development of a distinct instrumental genre, and with the arrival of Monteverde, Music was no longer the thrall of the voice. Let us consider some of the methods by which measured notes may be intensified and galvanised, so to speak, into rhythmical life. By merely adding to the number of notes, ^that is, by quickening their rhythmical value, a distinct step is taken in the direction of
increased
animation.
This
is
1^
:
iiztq:
i
it
which does not excite or stimulate, and comparing length of note played tremolando
Trent.
by a body of
violinists,
when
it
at
LESSON
and arouses
applied
with
attention.
IV.
INSTRUMENTAL
The
principle
BEGINNINGS.
notes*
17
of repeated
may be
varying
degrees
of
Sapp^Ep^pppg^^l
3
3'
3'
Maestoso andante.
^^
=^.tE^
Beethoven.
Schnell.
Schubert.
PV
-^^^^-^^^^^n
is
The
opening
The Erl-King
effect.
worthy of note.
Such
repetitions
of chords
pianofor/te
or
single
both of
arpeggi,
effect.
and orchestral
of &c.,
is
The
division
chords
into
Alberti Bass,t
another
fruitful
source of instrumental
and
to the Finale of
with
in
Bass which
By
If
we go
further,
may be formed having a single note whole groups of notes may be formed
Probably
first
in the
The
Alberti Bass
Arpeggio given
No.
3)
above.
i8
round any
and fashioned
to almost
any device.
It is
Here
ihe expansion
Examples of Repetitions:
1
Examples of Arpeggi, &c.
(1)
:
auxiliary note
(8)
|]
|gjJjij7j^i
-m-
(9)
~0'
-0-
-m-
-m-
-m-
-m-
In the following exercises separate the chords into groups after the
pattern of each of tbe above phrases
four notes are given, one
first
usmg
In
may be
:
omitted.
:eEIy
-
Or:
3Ed^ lai
LESSON
Exercise
1.
IV.
INSTRUMENTAL
BEGINNINGS.
19
Ex.
2.
Ex.
3.
Many examples
the works of the Old Masters.* For example, compare the first Prelude and the two Preludes in G major in Bach's 48 Preludes and Fugues. It is perhaps just worth observing that even drum rolls, which depend entirely upon rhythm, have become highly developed. Then there are the Mordents, Turns, Trills, and other such graces that are simply stereotyped figures of a sort with which this chapter is in a
degree concerned.
Nor
into
life.
need only to mention such examples as the long trills in Beethoven's Op. iii, last movement, and the vital turn in the Lovetheme of Berlioz's Romeo and Juliet^ as also its many characteristic uses in Wagner's Tristan.
We
If
it is
found necessary to extend the practice of this class of exercise, (and mere is not enough), Mozart's and Beethoven's Variations Jor
number
may
be applied to any
theme
if
It is still better (and very much quicker) planned harmonic succession. a pupil can be got to extemporise such developments in the teacher's presence.
or well
20
LESSON
V.
VOCAL MELODY.
LTHOUGH
Melody* has
some sense an
individual existence.
It is
not
to be regarded as a mechanical definition of verbal cadence, though it has much in common with it. Our first experiments
tend to show us that mere reproduction of well-moulded emphasis is There must be some charm, some grace of not in itself sufficient. expression, an attribute of Music itself that is almost indefinable,
almost elusive.
sums the
are,
is
The word Style, without lending us any real help, Melody for its own sake, a sequence essential conditions.
:
have something to do with the matter. The principal of evolution One thing leads to characteristic of the invention of Melody.
another, and though words check, guide, help, restrain, they only do
so to a limited extent.
heart of Poetry,
offers us
it
good declaIt
is
and
reveals
almost limitless expressive power, agile and free as the song of birds,
of infinitely greater sonority and compass, with a wide choice of rhythm
and an
as
It
paramount,
is
more
is
justly
co-equal
with
of
instrumental
melody.
Though
aiming
clear,
its
scope
almost
limitless,
for
Without
and
expressive.
Much
Song
determined
in these first
few bars.
first
practical step
is
therefore the
study of effective vocal openings, and the practice of The process is a valuable one, and its thorough forming similar ones.
deals in
little else.
LESSON
mastery
will
V.
VOCAL
MELODY.
21
will assist
in
The
effort
become
so
natural that
its
very ease
will
Take
Purcell's well-known
sickness "
its
no
is
because
it
is
The formation
couplet in poetry.
verse, the lengths
of a song-opening
is
rhymed
In music, as in
chief considera-
and form part of one texture. In the example quoted a single line of poetry becomes a complete musical sentence. The rhythmical scheme is an extremely realistic reproduction of the
tion
is
poetical idea.
The
^
1
I
Dominant.
I
I I I
I
I
I I
rn
I
I
To
fly
in
vain.
Done
it
had been no
:
less correct,
but com-
paratively trite
and lacking
at
-
in
imagination
-
ness
to
fly
in
vain.
^^=id=4#^
Careful examination of the following Song-openings, which are
&c.
all
of
an
effective type,
shows that
first
may
22
either maintain a
Tonic character (perhaps with a veiled perfect cadence), or turn in the direction of the Dominant. A few prefer the Subdominant direction. Minor phrases either follow the same plan or modulate to their relative majors. The balancing phrase, completing the sentence, while subject to the guidance of the words, may be of
identical or contrasted length.
As
common
Such
is
procedure
it
gravitates
no
real
rule,
Let the
syllable,
He
(at the
is
and
fiorature.
We A
purposes of comparison.
zzq:
God
pros
-
X2:
no
ble King,
Our
lives
and
safe -ties
all.
Dominant.
II Ill !-<^ M J
J:
TIJ-
1_|
l!
l_ !_
1^
z:^
p:?^
C^
God
SUBDOMINANT.
:,|UJ=^
:!=c^:
Our
lives
and
safeties
all.
I^
4=5
Come, sweet
lass,
1^=5^=?^
This
mer
ry weath-er Let's
^
to
-
i^d
;
geth-er
E
Come,
sweet
lass,
-e>-
E
Let's
play
up
on
the
green.
Tonic
J=J:
J^I-J^N^^
-^
Come,
sweet
lass,
Dominant.
S S S N
This merry weatlier
:
Let's together
LESSON
V.
VOCAL
MELODY.
23
Tonic.
:J=J:
N S
S
WL
It^
Come,
sweet
lass,
Dominant.
N
cz:
Let's
play
^^?^^ :fc^
Come,
live
^^--
<^-
with
me,
and
be
my
love.
And
m=^
we
will
all
&c.
I
the plea
-
sures
prove.
Dominant.
z?:^:
i^^iut.
~^
_?z^
Come,
live
with
me and
be
my
love.
Relative Major.
And we
fc ii=i=fe
Who
is
^^^i^
Syl
-
Leveridge.
via
what
is
she.
That
|^^^3^E^|^Ei|
l*=r"
all
our
swain's
com
mend
her?
"^^
Tell
Bishop.
-^
my
heart,
me,
why
morn
ing
prime.
DiBDIN.
4^ ^ ^^^ ^l3Ei^E^iS?E?E^^
^
1
^-
"
1
me
from thee. &c.
A-dieu,
dieu,
my
on
ly life.
My
hon- our
calls
24
m
P
fe3 ?3:
How
clear
-J-^-
fc:i=t=:fc^^
stars
^^i
still
-
-s>-
shine the
in
the
ness
of
night,
S:iJz=E=z3EZ
They
oft
t^^f^
11^=*:
steal our
=1:
=i^^=iv i^zzi:
a
-
^^m
way
by
their light.
slum - ber
Wagner.
*t w
ii:
S=M:
By
si
-
1^
lent
hearth
I*
fe^
'i=t
-S-
How
little
Of what we
When
waves do mount, and winds do blow But we have hearts of steel, (p. 245).
Hail, gently,
summer,
to this isle,
Where And
Come, Come,
(p. 93).
call
music on song
(p. 54).
One summer
Come, cheer up, my lads, to our country be firm, As kings of the ocean we'll weather each storm,
(p.
175).
The
Rose
Vulcan, contrive
me
such a cup
(p. 13).
As Nestor
us'd of old.
Words from
ChapUt
LESSON
VI.
INSTRUMENTAL
PATERNS.
25
LESSON
VI.
INSTRUMENTAL PATTERNS.
ROUPS
briefly
of notes formed
upon
single Principal
Notes (already
together,
considered)
short
may now be
for
usefully
strung
producing
pattern.
rhythmical
in a series
The
material
such as might be contrived foi In the first exercises of this kind a skeleton (or outline) a Violin. The exercises are to showing the Principal Notes may be employed.
of vigorous
and contrasted
be carried out as
selected
far as possible in
become
necessary, since
or at
least,
any one
exactly
maintained
may
all
lead
to harsh,
awkward
modify,
progressions.
at
The
the
of
expense of
this
arise.
Specimens
a
modification
are
seen
(^),
and
in
the
second Model.
Two
These may, few outlines are given below. plemented by taking any well-defined theme,
Variations
for
necessary,
say,
be supfrom Beethoven's
also lend
Pianoforte.
Many
of the Suite
movements
student
and
Bach.
The
enterprising
will
soon
He
will further
The
process
Every encouragement should be given to such invention. itself is invaluable, since it sets up the habit of mind by
short,
effective
PRINCIPAL NOTES.
{a)
id)
FlGURES.
L
-Gt-
{a)
-G>-
<&-
-s>-
-^ =1:
id)
(3)
2.
ja)
26
3.
4.
(a)
(i)
^-m-^-m-'
s|s
:i:
=3-*
modification of
((^).
5.
(a)
fe P^p^^=^33^^^^fl^=^^^^^
6.
(a)
lg^^=^
Or
=1C-^)
P=?=
i
-
m-
Or
T^^^
7.
P5
{-5)
^-
()
S3? l=t
8. (o)
f^
i
^
-1^
<^
^ J r^
^*
^I^PI
I
!
9.
(a)
(^)
^
10.
(a)
(^)
3=3:
11.
(^)
(^^)
12.
(a)
fi^:^^
^^^
^.ca-^
LESSON
15.
(a)
VI.
INSTRUMENTAL
(^)
/'
PATTERNS.
27
wrfffri
14.
(a)
/-^
^^f^^V^
T~l
/'
"
- ^1
V
15.
((2)
'-ri
-(^)
I ' \
1-^
-m
--m-^
1-*
^^
6
1-
16.
-j
(a)
I
1
1
("^
^^
J=t=Jz=izzn
i 1
MODEL,
iE
--
-==
I
I
I I
1-1
1
\
n"'"n^
i I
I
ffl
1
I I
p.1^
I
I
Fh"
J=p:
^ r
^*=^:
=p:
-^
Outlines.
No.
1.
No.
2.
jp=p=
P
3^3
:o:
33
-
^-JJ
0-
No.
3.
itizB:
*i^i^
28
A Second MODEL.
Ex.
3, exactly in
p^fejgi^
Modijiea.
Or
$ i
g=^.-^-r-g^;b
--d
^=P i^^=s^^
:p=s^
:"Ezr:
^^^
:p--%:
tr=
f^
^
LESSON
ACCOMPANIMENT.
VII.
29
LESSON
VII.
ACCOMPANIMENT.
CCOMPANIMENTS,
now
first
once extemporised or
full
filled
up on the
nothing to
much
lighter
assistance.
We
let
shall
now
For a
first
experiment
us take the
-V-
/^
\-\
T
19
\
f
J
f' <'
#
fl
f f
^-^-^
4 2
-4^
s~,
^
r
m k
k m m
1
-^
m
^
?
^
I
f-
>
^
r
i^
7^
;^,
i
^=f=f=^
J^Z5^
s^
y
^-
^*
^
:i
g^^i^
3^^
30
parts,
By
the simple
is
itself, and of real support to the voice-part. good accompaniment should give a melody rhythmic support and harmonic colour, while providing a real playable part for the performer. Over-elaboration is generally a fault and in such a melody as the present, would be an error of taste. The piano part must merely hint at chaste and expressive harmonies. In composing this class of accompaniment, a student is recommended to test his work carefully on the pianoforte, rejecting anything which sounds ineffective. Finally, if possible, try his work in conjunction with the voice-part.
^^ ^^^
Andante.
|fc:?^=I^
-Jii=:4i
i^
-
1fc?= 3tZ^
the
cup,
fe^
I
I'll
m
will pledge with
Drink
to
me on
kiss
ly
Or
leave a
with
in
And And
not ask
for
SJ-m-
~m- -m-
-m~ -m- -- -
-X
azzi^:
-^
-^s=|=(:?:)rz
mine,, wine.
^
thirst
fcd
the
^s
doth
rise,
The
that from
soul
Doth
p^^^,^M^^^3^^^i^g^^^^
U
ask a
m
drink di
-
v=s
1^^^ F
But might
I
vine;.
of
Jove's
1 t^jjgasg^Eg^sa
d=
-M
^m
*
-r---
^^
d^
'^-
LESSON
VII.
ACCOMPANIMENT.
31
yg
f-^* ^ J ^^
nec
-
^
I
i=Efl
thine.
tar
sup,
^o-r
l=*St
.--
:s=iq^:
'0-0-
-^-- -0'
-->
;u
-m-4^-4-.
=^
^r
:=f^
i^fl
demands
in
Such types
definite
will
manner
afford.
which
they emphasize the Tonic or Dominant triads at the outset, and the
glimpses
illustrations
rhythm
casually
few
xt
fc|;
Con moto.
DiBDIN.
d:
X::t:
i^^^i^i^
ly
life,
dieu,
dieu,
my
on
My
^=CZ^
p-=^=p=
P^=H^
iSE^
=M^=
-^Xrr.^
m^
i-iJ-
ZI
I
hon
-
our
calls
me
from
thee
S=a f?^ES3E3E^E^E^Efe3
^t ?
n
;o
&c.
a~r~''^:^
lz
32
m^BEE^EEE^E^
I
E:
were
:E
so
i
high.
i 1
grown
EE
f
-^BEES
Repeated chords are of good
design or slight figurate relief
pattern of
carefully
effect,
rl:
41
\-
-^-
accompaniment managed.
is
some rhythmical is introduced. Both this and the former apt to degenerate into monotony unless
especially
if
Godfrey Pringle.
13^
szc
The leaves
te^e=r=
fa-ding and fal
-
of the for
est are
ling.
N-N-
gz33-JEiHs33^n t^^m^E^,
f^ [^
-N
&c.
WfHow
clear
:VNshine the
stars
SCHUBERT.
in
their
soft
^
a
-
zure
^
psfe
-s>-
Etwas geschwind.
g=f^
%-
*=:t
-m -m *3z:
9-
deeps.
:rIt=*:
3^
-^
i
4i -^
&c.
fc=e
^-
LESSON
VII.
ACCOMPANIMENT.
:
33
good
harmonic
identical chords at
by repeating
^ ^^^
:^
1:2.
^
your
-<5,-
&
iB
^
pp
Fed.
Gold
en
slum
bers
kiss
eyes.
%
Fed.
Pg ^
Simile.
-^
-^
ii^
^
:*=
man
?
i^^^|E3E|E^S
m^
P#
m^hear
the Spanish
^^^^^m
^^==1^
How
la
-
Will you
dy,
she woo' d
/-
an English-
ti:
f:
sosL
'A
H^-
1^
Without attempting to exhaust the materials of pianoforte accompaniment by giving stereotyped phrases since here, as in every department of musical composition, much must be left to the imagination the student may be recommended to study such examples as are quoted, and to collect effective openings of pronounced pattern. Some of these, like the following, are common property, and only by skilful use can be made individual or interesting
d2riT=
^:
^ 1^^
E5
fe^
2:lt4
&c.
-f^
34
The
be
recommended
for practice.
They may
of
supplemented
:
collection
National
melodies
"Gather YE Rosebuds."
5S3!:
atzt
^;^=^
=i: :^^j=M=m:
S'
S^
hx
~ai
^
'
19fjr
~s
:P=^
-I
I'
^a
Traditional Air.
:1^
^^s^^^Mi
*
^^^.
-N-^
^-
^=^=4^-4^^^^ iidzzg:
^'=E-
-m-
^
'w
:i=*:
-TS-^=1^
SEE
w~r
^^s
fe
:?5:
m
*
^S^h.^.
&
-?5*h
^^
-f^
vg-
iS
:ti
^=-^
^F=*-
:[i-V::p:
I^Zit
3=
^
Minstrelsy of
Harmonised versions of most of these songs will be found in England,"' Vols. 1 and 2 (Augener & Co.).
"The
LESSON
VII.
ACCOMPANIMENT.
-
35
^
IeP^^^^^^
"Peaceful slumbering."
-F=
-m
m-m-
t|:^^^4r d d
'
^^
>y-
^ ^ =t^
I,
i=^=^^S
i5
-n-
=^=5^ g3E^E^^^I?^Ei
I,
^ :d=a: ^ ^^^^^E:^^.
-<s>-
I=
q:
3Z^ i
-e>-
-^
^ si^^
-Pizz:
<:>
36
LESSON
VIII.
COUNTERPOINT.*
OUNTERPOINT,
At every turn the student is faced with the necessity for such skill. Music does not reveal itself clad in full detail.
Just as in building a ship, vague plans are gradually brought to accurate
the keel
is laid,
structure rises
its
composition has
origin
perhaps in a single
workmanship and invention before its perfect form is realised. There are two kinds of counterpoint. The first is that which may The be seen in the works of Palestrina, Bach, Beethoven and Wagner. second is of the Schools Scholastic and serves the purpose of leading It teaches self-restraint, since it deals strings to all young beginners. only in diatonic progressions, definite texture, set patterns, and is It enforces exclusive of all manner of harsh or extravagant intervals. the best use of limited opportunities, and its practice is essential to
every musician.
is
Work example each day, or not less than one two days. Keep up such disciplinary exercises for upwards of twelve months. Work each Canto Fermo first in four-part first species. Make it a
recommended.
in every
a single
example
shall
Canto Fermo
workings
gradually,
in
species,
since
clues
to
successful
returning
to
and
even
two-part
counterpoint.
There are so many excellent treatises that it seems almost unnecessary to name W. Pearce's volumes on Counterpoint, Strict and Free (Vincent Music Co.); Sir F. Bridge's Primer (Novello) Dr. Prout's "Counterpoint," Augener or Cherubini's great volume any of which may be employed.
*
Dr. C.
LESSON
C.F,
-5>-
VIII.
COUNTERPOINT.
-<^1221 5>-
37
-e>-
iq:
-<9-
-e>-
Z2:
-e^
-o-
-Q-
^^3i=^-
-0_
-(S>-
.i2_
-<s-
-G>1221
iq:
-o
i f
-<f5>-
-<s>-<5>-
:s:
-Q122:
-<s>-
-s>-
s:
-<5>-
-GS^
-Q-
-Q_
:&
-o
-5>-
:q=:i]
-s>-
C.F.
I-
-e^-<s>-
Z2:
-G>-
-e-
122:
-8-
-<5^
-G>-
-O
-S
-S)-
"g2"
:s2:
-<S>-
<^-
iSi
-<s^-
iq:
i=tg=
-5-
C2:
-<s>-
'O'
tfe-
I I
-o-
^-
^i^l^Qi
SEHEi?;
:S:
C.F.
-e?-<S>
1^21
-^^-
:q:
IsT Species.
::q.
Q_
-o-
^s-
-^o-
-e^
E
:qzz:
-1 iq;
o-
.s>-
-<s>
iq:
-<?Ea
hS^
-t^-
r^.
T^
-&-
:^:
-I
1
-^ -^
JOZL
38
C.F.
Q-e>-
-9-
:a:
-s-
:q:
e>>
1st Species.
^::
.^_q?i._if!-r-^_^
:^
:p=iz:^
^-*
-F-
zj:
3rd Species.
-<s-<s>-
zzziq:
_i
G
'C?"
zzziz?^:
(S>-
^^-
- ^ P
^ii:
1:
-S>-
iq:
-<s-
-H
&^
<s>-
#1d-i
itz:
zz?2:
C.F.
Q-
-S>-rS>-
i
-e>
z=^z=.t:^-
o-
,22: -e>'
:p=
-sS>-
:q:
-<S>-
;e2
^-r
1^
-<s>-
-s>-
:^:
^^"-zot-
i^^zz:^:
:C2:
-<s>-
iftp:
iq: :q_
".q:
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(Memorandum on
Strict Counterpoint.
I.
S. M.).
LESSON
6th Species.
VIII.
COUNTERPOINT.
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few
further
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Keep
the counterpoint
very essence.
parts
Freedom
in a wise restraint
The
Mere arpeggi have no place in move with definite purpose. Ornaments and change-notes should be sparingly used. Above all, the
to
tell.
must be made
counterpoint.
harmonic structure must be good. In the fifth species, a vigorous Remember that a few examples movement should be aimed at. thoroughly done are worth twenty times the number carelessly worked. With such considerations kept constantly in view, and plenty of practice, the student cannot fail to set up good and useful methods of thought, which will readily serve him in other and widely different branches of composition, which in due course we shall hope to explore.
1.ESS0N IX.
COUNTERPOINT.
43
LESSON
IX.
COUNTERPOINT
g'g^',g OUR-PART
contrast
(co?itinued).
florid scholastic Counterpoint depends upon and independence. Owing to the free movement of the three added parts, restricted only by the movement of the canto fermo and the ordinary limitations which have already received illustration, simple four-part harmonizations, though still of use, can only serve as the roughest sketches, which must often
in
mastering
florid
additions
is
as
fermo be treated in two parts the 5th then let it serve as a Bass species being added above and below adding two upper parts. Our next step is to place the canto fermo
each canto
;
Let
in
the middle;
five
finally
adding three
florid
parts.
By
this
scheme,
some
It
its
is
or six
varieties
far better
possibilities
thoroughly tested.
is
An example
When
with
be encouraged
He
will
promote emulation while up a true standard of taste. For this purpose we recommend 5uch Fugues as Nos. 13, 17, and 30, of the Forty-eight Preludes and Fugues, and ithe whole of the Choral Preludes for Organ.
vigour, since Bach's Counterpoint never fails to
it assists in building
new
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sometimes chances that a well-written contrapuntal part may be inverted exactly as it stands. More commonly, however, small modifications become necessary. In the example just given, we can invert every note ; but as the 5ths at " A " and " B " by this process
will
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be seen that the three added parts are of equal importance, contrasted and independent. Though the flat seventh is used in the second half, the example is correct without its
In our
last
example,
it
will
aid.
An
alternative
for
part.
the
last
five
bars,
offers
more vigorous
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48
LESSON
X.
FREE COUNTERPOINT.
T
'*99 9^w9^d.
high time that a thoroughly free order of Counterpoint be admitted in Enghsh practice; a kind which allows of the
is
use
of
at
the
that
same
the
so
whole system tends to bridge over the gulf fixed between scholastic counterpoint and practical composition, while it also assists in counteracting the tendency of an obsolete system in the direction of cramped
and
rigid authority.
We recommend
modulation.
the following
scheme
2nd
harmony.
4th Species, as before, but with the chromatic system behind
5th Species, complete freedom,
shall
it.
Strings
or Voices declared.
first
Piano, Organ,
Let one such exercise be worked after a group of the regular formal
exercises.
Our
(though tonally
much
Then
used.
As the object of
this
kind of exercise
and
mind
studies may have induced, especially the feeling which students so commonly have that strict counterpoint does not offer fair scope and is merely of arbitrary value, every possible chord or melodic passage may now be admitted. At first sight one might imagine that mere chaos
would
his
result.
But
far
from
this
own
first
LESSON
to himself
X.
FREE
COUNTERPOINT.
49
and afterwards to his teacher, progressions of harmony and melody which though no longer judged by scholastic standards are nevertheless subject to the laws of Taste, logic and common-sense.
1st Spfxies,
Free Harmonies.
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kommen
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Theme
2nd
Species.
FREE
LESSON
X.
COUNTERPOINT.
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for
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The Choral
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entitled
(Vol.
17,
p.
979).
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preliminary practice
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themes in exchange for the old Cantos, which resemble mosaics and have little or nothing in common with modern work. Nearly all the old Chorales (especially the Lutheran) are ready to hand, and while being in long measured notes they also possess something of the emotional qualities which modern art requires. Where the themes are too long, take one or two hnes: The added Three parts will often serve Counterpoint need not be too elaborate. Chromatics, though admitted, should only be introas well as four. duced for effect. Though we aim so far at producing merely a musical EXERCISE, the student cannot be too ambitious in a good sense. We shall hope to continue the subject at some future time.
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