Composers Handbook PDF

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

Mus. Doc. Cantab,
Professor
Author
of
of
Music,
"A
Westminster
Cyclopaedic
etc.
Southlands
and
of
Dictionary
Music,"
Colleges
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.
(OXON ET CANTAB)
D.C.L.
LL.P.
OF MUSIC IN THE UNIVERSITY OF CAMBRIDGE
PROFESSOR OF COMPOSITION AT THE
ROYAL COLLEGE OF MUSIC

KTC. ETC.
KNT.
PROFESSOR
J
(iii)
PREFACE.
T
THE
-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
object of this
1.
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
useful, not only to students,
practice
and
but to teachers.
it is
hoped that these tables will be found

other topics which have received
Among
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
Accompaniments,
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."
DECEMBER,
5683
1909.
RALPH DUNSTAN.
(iv)
CONTENTS.
PAGE
CHAPTER
I.
INTRODUCTION ........
On Composition in General ......

Materials of Composition .......
Usual Errors of Beginners .................................
Preliminary Study of Melody .............................
to begin Composition ......
When
How
Composers work
CHAPTER
II.
...................
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 ....................................
:
5683.
24
24
24
24
25
26
27
27
27
28
29
30
CONTENfS.
CHAPTER
III
PAGE
31
31
continued.
Iambic Metres
Short Metre
Common Metre
Long Metre
Trochaic Metres
Dactyllic, Amphibrachic,
Irregularities of Metre
and Anapaestic Metres

'
Cadences of Four-lined Minor Tunes

Specimens of Four-lined Minor Tunes
Selected Cadential Chords
CHAPTER
IV. TUNES TO
Five-lined Hymns
41
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
Hymns
Specimens of Cadence Plans

Eight-lined
Hymns
Typical Tunes
Selected Cadence Plans
Twelve-lined
CHAPTER
V.
Hymns
SONGS
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
CHAPTER
32
32
35
36
38
38
39
'.
42
42
42-43
43
43
44
45
46
47
48
48
49
49
50-52
53
.
57
57
57
57
57-59
59
59
60-66
66
68
68-70
71-76
77
78
78
VI. DUETS, TRIOS, ETC

General Rules of Two-part Writing
Three-part Writing
Unison Passages and other devices
Male-voice Music
79
79
83
85
87
MELODY IN
VII.
Factors of Melody
Melodic Direction
89
89
89
89
89
92
94
96
CHAPTER
GENERAL
Ascending Passages
Descending Passages
Repeated Notes
Prolonged Single Notes
Melodic Range or Extent
5683.
CONTENTS.
VI
CHAPTER
VII
continued.
Melodic Intervals
Time, Rhythm, Accent
Rhythmical Contents of Measures
Melodies based on Arpeggios
CHAPTER
VIII.
ECONOMY OF MELODY
Repetition
Imitation and Sequence
Ground Basses
Variations
Metrical Form
Regular Four-fold Sentences
Extended and Irregular Sentences
IX. Two OR MORE SENTENCES IN SUCCESSION

Two-sentence Paragraphs
CHAPTER
Simple Dance Forms

Three-sentence Paragraphs
Song Form
Groups of Sentences
in
Song- form
Form
Marches
Two-sentence March
Three-sentence March
Minuet and Trio Form of March
"
"
March
Mendelssohnian
Various Complete Dance Forms
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
How
the Strings are used

General Principles of String Accompaniments to Choral Music
Typical Illustrations
The Instrumental Bass
String Accompaniments of Solos, etc
Typical Illustrations
5683.
103
107
107
1
117
125
125
129
132
132
1
Special Exercises in Song

Minuet and Trio Form
Organ Accompaniment
97
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
179-208
209
210
21 1-214
215
CONTENTS.
Vli
PAGE
217
217
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
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
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
220
221
etc.
222
223
223
224
224
226
230
234
237
246
254
254
255
255
256
256
257
258
259
260
261
261-265
265
268
269
THE COMPOSER'S HANDBOOK.

CHAPTER
I.
INTRODUCTION.
"
Es
ist
Ende
des Lernens hein
"
"
("There
is
no end of learning.")
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
melodies, that
is
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.
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.
We
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.
National airs, too, will offer excellent opportunities of observing

the construction of simple and natural melodies which have stood the test of time and
criticism.
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
:
Intervals, Keys,
Scales.
and Key-relationship.
Transposition, Time-transcription, etc.
HARMONYf
(b)
Triads and their Inversions.
The Dominant 7th and its Inversions.

Simple Suspensions.
The Harmonization of Simple Melodies.
Cadences.
Modulation to nearly-related Keys.

The earnest student will, of
but inaccurate
harmony)
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
How
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
BC
of
Musical Theory
| See the Author's first Steps in
Curwen,
2s.).
Harmony (Curwen, as.).

and Pearce's Student's
i Oakey's Counterpoint (Curwen, as od.),
Counterpoint (Vincent,
zs.)
are
recommended.
Ought
to use
and the only answer that can be given
These questions are often asked

a matter of individual temperament."
;
is
is
that
"
it
" 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" engaged in composition the " ever-readiness of
him to give instantaneous and fluent expression."
"
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
necessary to begin by writing an

generally much chagrined or even
is comparatively worthless.
when told by competent critics that his work

Much knowledge of musical construction can be gained by
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
;
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
examples
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
rule that a piece of music should begin and end in the

for example, it
it may end in the tonic major
the piece begins in a minor key,

minor and end in G major.
If
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
it
proceeds by
(a)
leaps, or skips
Conjunct.
As a
rule, steps in
when
disjunct,
(&)
Disjunct.
melody are more pleasant than wide skips
Better than
v.
however, the notes belong
(unless very wide skips are used)
same
to the
If,
^m
chord, disjunct progressions are usually pleasing
l
Dominant chord.
Tonic 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.
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.
"
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
;
LEANING TONES
STRONG TONES
Dominant, or
SOH
ME
DOH
Mediant, or
Tonic, or
These
effects
are
Grand,
Leading-note, or
Submediant, or
Subdominant, or
Supertonic, or
bright.
TE
Piercing, sensitive.
LAH Sad, weeping.

FAH Desolate, awe-inspiring.
RAY Rousing, hopeful.
Steady, calm.
Strong, firm.
modified by pitch, duration, loudness, accent, repetition, and the accompanying
bar mony.
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,
30
the
either
momentary or complete.
The effect of a cadence depends mainly upon
cadential chord
i.e., whether chord
(1) The
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
:
(2)
(3)
(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.
SINGLE CHANTS IN MAJOR KEYS.

"
"
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
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.
interesting,
It is
if
possible.
32
Next
in favour for the
middle cadence
L
EXERCISES
Compose
is
the Subdominant chord (F)
single chants, in various major keys, with a
Subdominant
(F)
middle cadence.
33
Two
"
Tonic
"
cadences in a single chant would seem to be objectionably monotonous

"
"
Occasionally they occur with the same
crowning note
yet they are often used.
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.
:^:
|CL
Ezra:
R
(d)
Inverted Dominant cadence
(<?)
Inverted Dominant 71 li cadence
ya
T
(Sb)
g
am :tg
|~.>J
"
arz r: ^
Sd
7
(
S6,
Srf)
10
(/)
Cadence on a second inversion (very rare)
BARNBY.
IP-
ra
1
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
f,
:G>_
EXERCISES
and
Compose various
single chants
&=t
on the models shown above,
(a],
(d}.
The word "modulation"
is
used in this work with
its
general meaning of
"any change
of
Key
or Mode."
(b),
(c),
Devices for Securing Variety.
37
Among
(a)
11
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).
Sequential Melody.
_
Ascending Sequence
(rising
by a 3rd and
falling
by a 2nd).
IA_I
Scale passages in treble, bass, or tenor
\CJ
S.
In Treble.
ri
TO-O-
In Bass.
=r*
^
^
-&-
e
In Tenor.
*<ra
O'Q-
**
^r
f^t
t^ga
-<ra
j.
J=i
f-
In Bass.
tfd:
P^f
K-
These forms of cadence are permissible

(c)
in
such cases
The second phrase imitating the
i.e.,
first
!
:^zz?2:
-<s>-
-^>
L
-s>,
rip=
r-
"
rri
whenever the bass
1st
phrase.
is
fixed melody.
"
Crotch," Par 48.)
(See also
(See Imitation, Chap. VIII).
phrase a 2nd lower,
12
1st
phrase a 3rd lower.
Zll
Note the 1st phrase of Alto and
Tenor in 6ths.
1st
phrase of Treble.
P=F
Db
1st
=
]
phrase a 4th lower.
1^
J-
(d)
etc.
Beginning on an inversion of the Tonic or Dominant chord, on the Subdominant,

and third chants above).
(See also the second
ggt>
f
j.
S6
-0-rfr
f=F
Single Chants in
# Chromatic
Minor Keys.
13
cadential chords.
38 Of 100 representative single chants, in major keys, which

tabulated, the middle cadences work out as follows
we have analysed and
Dominant, with or without modulation

Tonic, or Inverted Tonic (D or Db)
Subdominant (F)
Submediant (L)
Inverted Subdominant (Fb)
.
(S)
25
23
18
16
5
Supertonic (R)
Various other cadences
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
The ordinary middle cadences

8e
(a) Dominant cadence
M)
(
Minor chants are

not so numerous as major ones.
with
occasional
imitation,
chants,
sequence,
major
modulate (transiently) to the Relative Major, than
Relative Minor.
as
to
are as follows
PURCELL.
fcfr
The Composer's Handbook,
14
(b)
Tonic (D) cadence
Relative Major
BLOW.
F^=
cWjigjb
41
Jd.
e3
-n
r r
^
Dominant
Relative Major
CROFT.
3^
(c)
(S)
cadence
TALLIS.
F=ii=3*==i3=B:
"77JY'
OS
r r
J J
'J
.1
(d)
Subdominant
Relative Major
cadence
(F)
COOI'ER.
B^lP
(e)
Tonic (L) cadence (minor)
r~r
1
TURTON.
r^
II
I
J.
:
Subdominant
IT
J--
:8-
(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.
40
Other cadences are rare
Inversion of the
Of 30 representative
follows
15
Dominant 7th
single chants, in
of the Relative Major.
minor keys, the middle cadences work out as
Dominant
8e
(
M)
Relative Major
Relative Major
Relative Major
Tonic (D)
Dominant (S)
Subdominant
Minor (L)
Subdominant Minor
Other cadences
7
6
'
3
2
(F)
Tonic
(R)
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.
off
double chant
by double bars.
42
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
Of the four cadences of a major double chant the

"
tonic
crowning."
(occasionally Plagal), and generally with a
last
44
Tonic cadence (with various
is
The
always a Tonic cadence

cadence is often a
first
"
crownings
").
"
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."
it
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
'
9-~f9rjr
^-P^^ff^T
=^r
Of 70 representative double chants
45
FIRST CADENCE
Tonic (D, Db, or DC)
(a)
in
29
Submediant (L)
Subdominant (F)
Dominant (S)
Supertonic (R or Rb)
P-^-
irr
r~~T]
r r
^L-~L~T^
"**-
&
<3
^Tr^-^
~"fl
major keys the cadences work out as follows

(b)
Other cadences
c?_
SECOND CADENCE
Dominant (S) often with modulation
:
to the
13
Dominant key
63
..
3
2
2
Tonic (D)
Dom.
Minor (**M)..
Other cadences
of
Rcl.
70
70
(r)
THIRD CADENCE
Tonic (D), 9; inverted (Db). 9

Supertonic, or inversion (R or R/
.
Subdominant (F)
Submediant (L)
Dominant (S)
18
16
13
n
6
6
Other cadences
70
The following
46
are specimens of
First cadence,
(a)
dom'nant
Tonic (plagal)
good construction
;
second,
Dominant (with modulation)
third.
Sub-
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
"
point
is
to the concluding perfect cadence.
Cadences in Double Chants.

First cadence,
(b)
Subdominant
Dominant
second,
17
third,
Relative Minor of Sub-
dominant, or Supertonic Chord without modulation.
DUPUIS.
^=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
First cadence, Tonic
(c)
second,
Dominant
third,
Submediant.
BOYCE.
First cadence,
(d)
Submediant
*^
second,
Dominant
third,
Submediant.
r^*
T-f
EXERCISES
(e)
cadence)
Write chants on models
cadence, Submediant
third, Dominant.
First
;
(c)
and
second,
(d).
Tonic
"
(different
"
crowning
from Final
LA WES
(/)
First cadence,
Subdominant
second,
Dominant
third,
Tonic (inverted).
COOKE.
#*=
^&$gi3
ZEZCCC:
r=g=h3
^J
=3
Een
i~c?m
*E-G>-
f^-^-gy
T~r
TO rr
:c
pcfc;
j
73-fS
-B-
-e>
5=!
G
l
tfe
--&=?i
EXERCISES
-*i- J
e
^2Gtr
(e)
and
(/).
18
Submediant
First cadence,
Dominant
second,
cUL^_â ,-^-J
ja=h":its=
-p
(A)
First cadence,
Dominant
J-J-J
8~*-
nr
flio
PI
of Relative
Minor
(inverted).
RUSSEI.L.
J Û
ff^fg-l-^P^
Lg_^_^:E^-pT-
Ld.
Subdominant
third,
Dominant
second,
third,
Subdominant.
JONES.
ill
EXERCISES
More modern
(g)
and
J a ,f
W&mrr
*-*
First cadence,
Tonic (inverted)
third phrase, imitation of -first
ELVEY.
f->
'
U_
11
r^
r r
-&-
-&-
(fc)
.C4
r^zionpc?:
-^ ,A
o P
fy~~o
o
(A).
treatment are the following

47
First
second, Dominant
cadence, Tonic (plagal)
(a)
phrase on Dominant of Relative Minor.
in
nr
^gjjfrTHK^T^tfM
second, Relative Minor
Minor of
third, Relative
Subdominant.
(c)
third,
First cadence,
Dominant
(inverted)
second,
Dominant 7th
of
Relative Minor
Dominant.
F.
^
aa
" Q
(d)
Various
"
S^*
PP
y j.
feminine
JAMES.
rr
:S_
s>
!
-fS-Q-
"
cadences, etc.
,
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

a fifth lower in the third and
phrases is
fourth phrases.
The other parts are constructed to " fit in " with thisrepeated
bass as melodiously as circumstances
permit.
49
very
Occasional unison passages (with or without chordal

accompaniment for the organ) are
effective.
(a)
N.B.
For mixed
choir.
|
The organ part may be varied at the player's discretion.

The student should now compose chants on these models
(48 and 49).
EXERCISES
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
:
(1)
Dominant
(2)
Subdommant
(S)
(F)
(4)
Tonic, 5th crowning (D)

Subdominant, inverted (Ft)
(5)
Submediant
(3)
(6)
(7)
(8)
(9)
(10)
Dom.
(14)
(15)
(16)
(17)
(18)
(19)
Supertonic (R)
Dominant, 3rd crowning
Dominant, 3rd crowning
ist inversion (R/>)
Dominant, jth crowning

Relative Minor (L)
Subdominant (F)
(S)
Tonic (D)
7
Rfc)
Supertonic 7th, ist inv.
Subdom., 5th crowning (F)
(
Dominant, 5th crowning
Dominant (suspended
are indicated
by
italic capitals
DOUBLE CHANTS
The cadences
(a)
of 30 representative
when
IN
(S)
is
o
i
............
(c)
Supertonic (R)
Supertonic (R)
Dom. 7th of Rel. Minor
Submediant
S<f)
7
(
"M)
(L)
ist inversion (Rb)
Supertonic,
Supertonic (R)
Dom., 3rd or 5th crowning
(S)
Mediant, with modulation (M)

Subdom., with modulation (F)
Submediant, 5th crowining (L)
Tonic, ist inversion (D6)
in
minor keys work out as follows
SECOND CADENCE
Dominant ( 8e A/) ............

Tonic of Rel. Major (Dj ......
Dominant of Relative Major (S)
Tonic (L} .................
Other .......................
12
............
Submediant (F)
....
Subdominant, Minor (R)
7th, 3rd inverison

(F)
Subdominant
a Modulation to the Minor.
(b)
Tonic, root ]>osition or inverted,

(L, Lb) ................
~
Dom., or Dom. 7th ( Be M, Be iM)
Tonic of Relative Major .(D)
(S)
(S)
MINOR KEYS.
Double Chants
FIRST CADENCE
Other Cadences
Dom
S)
4-3) (*S S)
there
(S)
Subdominant (F)
Submediant (L)
(S)
(20) Tonic, ist inversion (Db)
51
Dominant
(S)
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)
(L)
The chords
Dominant
Mediant (M)*
"Feminine" Dominant (Dc
7th, ist inversion
(13) Supertonic,
Supertonic (R)
Dominant
Supertonic (R)
Tonic, 3rd crowning (D)
Dom. yth, 3rd inversion
(n) Tonic, inverted (Db)

(12)
Tonic (D)
Tonic, with 3rd crowning (D)
Dominant, root crowning (S)

Dominant, 5th crowning (S)
(L)
Submediant (L)
Relative Minor
THIRD CADENCE.
SECOND CADENCE.
FIRST CADENCE.
17
7
2
3
r
30
THIRD CADENCE
Tonic of Relative Major (D) ..............

Subdominant (R or Rb) ..................
Tonic (L or Lb)
....................
Dominant of Relative Major (S) ..........
Dominant ( Be ) ........................
.... ..................
Submediant (F)
Other ..................................
7
6
6
'
4
4
2
I
30
52
Typical specimens
(a) ist Cadence, Tonic of Relative Major
:
2nd, Dominant
3rd,
Modulation to Sub-
dominant (Minor).
BATTISHILL.
Double Chants in Minor Keys.

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

of Relative Major.
Dominant
2nd, Dominant of
fT*
r:.
L .^,
Relative Major
g-^g
r?-H-
Tonic
(a), (fy,
3rd,
and
(c).
Submediant
JAMES.
iJ
2nd, Tonic of Relative Major
of
F.
j-^-.^J>J
ist Cadence,
(e)
^x_inzii
ca
~?
I.I s
Gt
L^^
I*--)
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
(g)
Dominant 7th
ist Cadence, last inversion of
Dominant
2nd,
3rd, Tonic of Relative
Major.
CROTCH.
-go- -8^
(h) ist
J-
J
&
..
Cadence, Submediant
2nd, Tonic of Relative Major
3rd,
Dominant
of Relative
Major.
a _
COOKE.
|
fa*
r>
"
g=^-f vr
H-
() ist Cadence, first

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

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

Feminine Dominant (Lc se M)
Dominant 7th ( 7se M)
Dominant
Dominant
Dominant
Af)
8e
se
(
(
(
Tonic (L)
8e
(
M)
se
Supertonic, ist inversion (Tb)
Dominant
Dominant 8e M)
Submediant (F)
Tonic (L)
Tonic (L)
Tonic (L)
Dominant
N.B.
Dominant
Dominant
When two
successive cadences
8e
(
(S)
M)
(S)
se
(
e
(
Be
(
Subdominant, ist inversion (Rb)

Subdominant (R)
M)
Feminine Dominant (Lc
(M)
Dominant
Dominant
Tonic

Dominant of Relative Major

Subdominant (R)
Dominant se M)
Submediant (F)
Dominant
Tonic (L)
M)
se
M)
8e
M)
Dominant 8e Af)
Submediant (F)
(
Dominant se M)
Subdominant (R)
se
M)
Subdominant
Tonic
M)
M)
M)
(L)
on the same chord, there
fall
(R)
(L)
Submediant (F)
Subdominant, ist inversion (Rb)
Dominant se M)
is
nearly
always a different
crowning.
EXERCISES
Compose Chants on any
(or all) of the
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
r~J
l-*
It should also be noted that when the Dominant (or

of finality disappears, except at the end of a phrase
l-a
,.
*J?
Dominant
:
7th) chord
is
inverted the sense
24
CHAPTER
III.
FOUR-LINED HYMN TUNES.

The student who has grasped the general
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
55
Double Chants
will
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.
MEASURE AND ACCENT.
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
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.
:
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,
of accent
(i)
DUPLE, OR TWO-PULSE, MEASURES

Order of Accents
STRONG
or
jjj,
4,
weak
etc.
weak
TRIPLE, OR THREE-PULSE, MEASURES g, %, |,

Order of Accents STRONG, weak* weak.
STRONG
STRONG, weak.
etc.
weak
-t
QUADRUPLE, OR FOUR-PULSE, MEASURES \ or $, \ or

Order of Accents STRONG, weak, medium, weak.
g,
|,
etc.
M
w
(2)
COMPOUND MEASURES.
Order of Accents
M w
w M w
COMPOUND DUPLE, OR
SIX-PULSE, MEASURES |, f, &, etc.

STRONG, weak; or STRONG, weak, weak, medium, weak, weak.
S ;w 5w |M ;w ;w
S
In slow music, the sicond accent of

Triple measures
SwwMww
is
generally
made
either stronger or
SwwMww
weater than
tl.e
third.
25
Accent.
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
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
"
When
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.
;
THE ACCENTS OF DIVIDED BEATS.
58
"
;
beat, like a measure, naturally divides into two
or three equal parts.
Any
of these parts
may
be again sub-divided into two or three equal parts
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
simple note
may
is
^,
and so on, at pleasure.

etc.), with a tendency to
;
or J> or J*, etc.), with a tendency
Thus
or a Triplet.
222
with
identical wit
compound beat may be divided into two equal

is
as
(^
or
[JM^J-SS^
T
A
a dotted note
be divided into three equal parts

3
(&
or
parts
Thus
or a Duplet.
identical with
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,
a miniature four-pulse measure, a miniature three-pulse measure, or even a miniature six-pulse measure."
The same
divided
it is
But when a weak beat

principle applies to all subsequent subdivisions.
its accents are of less value than those of a divided STRONG beat.
obvious that
Binary Divisions.
2-4 time.
wmwSwmwSwmwSwmw
Binary and Ternary Divisions.

3-4 time.
SwmwwSwmwmw Swwmwwmww
99 999 99 99 9W 999 999 999
M H HH{
w
==
'
i-!
W W M
9
S
wm
W
9
mwSwwmwwmww
999999999
~
999999
!-
is
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
Judas Maccabceus, No.
larglietto.
tr
53.
~
&c.
beat to each quaver.
CHORUS
Andante
sostenuto.
TENOR
SEE
WHAT
LOVE.
MENDELSSOHN.
-*
1=
Paul, No. 43.
--
&C.
zzit:
VL
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
|X
-I
Come,
stain
your cheeks with nut and ber
The slow movement

of Quintuple time.
So also the following
bars of 3-4 and 4-4

Allegretto.
Come,
ry,
stain
your cheeks with nut and ber
ry.
of Tschaikowsky's Pathetic Symphony is also a notable example

measures really consist of alternate bars of duple and triple time.
Such
example
of Septuple
measure consists
of,
and
written with, alternate
is
INCANTATION MUSIC.
BERLIOZ.
152.
:/>
/></>
-==./>
Childhood of Christ.
-=:*/> <s/:
METRE
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.
62
THE CHIEF METRES
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)
63
AGREEMENT OF VERBAL AND MUSICAL ACCENTS.
difficult to
Many would-be composers
adjust the accents of the music to those of the words.
find
it
28
In general, strongly accented syllables should

Medium 'accents count for this purpose as
versa.
fall
if
on strongly accented notes, and vice

and divided beats have their
strong,
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
it
=P
may
seem,
many
dZZj=
JL
d well-ing
those whose drear-y
Light of
Strange as
g.
'==ibEE^g^B
_ ^^* H
-*-
'
Bor-ders on
the
shades of
death, &c.
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
those whose drear- y
dwell-ing
Light of
those whose drear-y
dwell-ing
Light of
those whose drear-y
Light of
But
either of the following
would be quite correct
Light of
Light of
those whose drear-y
sing of
the
ders on
shades of
death.
the shades of
death.
shadesof
death.
the
Bor-ders
on
the
shadesof
dwell-ing
Bor-ders
on
the
shadesof
those whose drear-y
dwell-ing
Bor-ders
on
the
shadesof
death.
death.
death.
the
Bad.
realms of
the
blest.
Good.
We
ders on
those whose drear-y
Note also the following

Bad.
We
dwell-ing
Bor-ders on
dwell-ing Bor
t=*
Light of
Bor
We
sipgof
the realms of
the
blest.
GooJ.
sing of
the realmsof the
blest.
We
sing of the realms of the
blest.
THE STYLE OF MELODY ADVISABLE
64
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)
of the
"
work.
Many
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
The Harmony
of
Hymn
29
Tunes.
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.
"
"
Hymn-tunes should "be mainly
syllabic
(that is, with one note of the music to each syllable of
"
;
the words), but occasional

(a)
florid
SYLLABIC TUNE
passages are quite permissible.
Old 100th Psalm Tune.
whom
Praise God, from
(b)
all
MAINLY SYLLABIC, BUT OCCASIONALLY FLORID
Praise
flow,
bless-ings
Him
all
crea- tures here be
>
low.
"
E.
MILLER.
ry
died,
Rockingham."
=\-
'OIL
the
On
won- drous cross
which the Prince of
Glo
i-
^.
CQ:
My
in
rich- est
gain
count
Both these examples are excellent

bad taste "
but
And pour
loss,
but the following
style,
my
con- tempt on
is
popular 70 years ago,
pride.
now reckoned
"Daniel
ker while I've breath
Praise shall
While
life,
em
ploy
and
my
thonght,
no- bier powers
and being
Street."
6-8's.
And when
My
death
be
days
last,
Or
mor
im
ta
ty
past
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
"
harmony exercises to show off the composers' "cleverness than pieces of music intended for religious
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
The
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
"
'
'
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
An
IN
FOUR-LINED
HYMN
(a) FIRST CADENCE

Tonic (D)
Tonic inverted (D/>)
Dominant (S)
Dominant inverted (S6)
Submediant (L)
Subdominant (F)
Dom. yth, in various
7
(
S,
S6, etc.)
Various
"
(Dc S
Dominant
8e
(
TUNES.
analysis of the Cadences of 200 Major four-lined tunes gives the following results
feminine
"
(b)
Submediant
29
2
15
("M
positions
142
23
17
(L)
Cadences
Fc D)
of
SECOND CADENCE
with
or
without
Dominant,
change of key (S)
Tonic (D)
Feminine Cadence Tonic, Dominant (Dc S)
Dominant of Relative Minor
123
Relative
10
Minor
M)
Other Cadences
200
200
(c) THIRD CADENCE
Dominant (S)
Inverted Dominant (S/>)
Dominant 7th in various
positions
Tonic (D)
Inverted Tonic (Db, Dc)
S,
Sb, etc.)
Submediant (L)
Subdominant (F)
Feminine Tonic, Dominant (Dc S)
Dominant of Relative Minor 8eAf)
Supertonic (R and Rb)
(
Other Cadences
7
(
65
4
13
28
24
14
12
13
5
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
Metre
FOUR-LINED IAMBIC METRE.

The usual four-lined Iambic metres
(8.6.8.6.),
N.B.
(2)
In
all
(i)
and Long Metre
Iambics start with a short
hymn-tunes
(A)
it is
usual to
SHORT METRE
(see par. 62) are called Short
Metre
(6.6.8.6),
Common
(8.8.8.8).
(i.e.,
unaccented] syllable followed by a long (i.e., accented) syllable.

of each line of the words by a double bar.
mark the end
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
of typical Short Metre tunes
usual.
N.B.
(b)
St.
May
From
S.M.
"St. Augustine."
also be written
a Lutheran Choral.
With occasional dotted
or slurred notes
S.M.
George."
i33
Or
Dr.
GAUNTLETT.
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.
C.M.
H. WILSON.
nod
(c)
"Martyrdom."
"
(d)
&
r-
T g3
f^>
C.M.
Ilfracombe."
l^ri*!
(C)
LONG METRE
^-H5Ml
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'
Canon.
^=^-^1
(in
L.M.
the
same order
as above)
T. TALLIS.
Tunes
(d)
to
33
Iambic Metres.
L.M.
Luther's Chant.
ZEUNER.
C.
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,/-
fc
?&=3^^=
IQ:
^ni-^
t* 3
C^
S=^=i-ifon r
10
d?:
LONG METRE.
2
-i
^^
34
IS
ztrcdtcC.
o>
iî
IQI
_~
^rr^ ^
^^^
'
'
""
"
11
s
g^-j-jj-iz^-^Mi
*
=a:
J
=iU
Ê
rj
0=
1=0:
Q ion
^-
lia^z^rg^pg:
3= HP
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.
C.M.
Ordinal."
The
third line
a repetition of the
is
first
the fourth
is
a repetition of the second a
fifth lower.
S STANLEV.
C.M.
"Kent."
The
third line
is
an
effective ascending sequence of
Canon."
"Tallis'
two
notes.
L.M.
Y
8
r
r?
S-
<9
r
r
1
The
"
fl
^3
f
i
canon" occurs between
r r
j.
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.
treble
35
Trochaic Metres.
EXERCISES
Compose examples
of Short,
Common, and Long Metre
tunes on the models
shown.
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.")
FOUR-LINED TROCHAIC METRE.

The chief four-lined Trochaic Metres
69
"
and
and sevens
eights
N.B.
by a short
(A)
"
(see par.
62) are
"
four lines sevens
(7.7.7.7),
(8.7.8.7).
The Trochee
(i.e.,
"
is the reverse of the Iambus, starting with a long

unaccented) syllable.
FOUR LINES SEVENS.
(i.e.,
accented) syllable followed
7.7.7.7.
Christ, of all
my
hopes the ground,
my
Christ, the spring of all

joy,
Still in Thee may I be found,
Still
Specimens of typical tunes

"
(a)
"
(6)
/[
TfTj
H
V
Thee
my
7.7.7.7.
Innocents."
7.7.7.7.
7.7.7.7.
f-j
t>
powers employ.
Lubeck."
"Judah."
(c)
for
German Choral.
J.
V.
WATTS.
36
(b)
"Sicilian Mariners."
^^rf=L^
8.7.8.7.
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
Dr. CROFT.
10.10.11.11.
S
3
ê
10.10.11.11.
Montgomery."
&-
(C)
S. JARVIS.
I~Q~
DACTYLLIC AND AMPHIBRACHIC.

Jesus,
my
Shepherd,
my
want
shall
supply
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.
N.B.
The
third
and fourth
lines of this
Specimens of suitable tunes
hymn
are Amphibrachic.
TRIPLE TIME.
a;
-CZ^LS,
Dctz^:
zÊB
The Composer
38
Handbook.
QUADRUPLE TIME.
N.B. Dactyllic, Amphibrachic, and Anapaestic hymns are

but the true Anapaest (short, short, long) is rare in hymns.
EXERCISES
paragraphs 69 and
if
all
often
loosely called
"
'*
Anapaestic
The student should now compose hymn-tunes on the models given
in
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.
;
js
Sun
of
my
Thou Saviour
Soul,
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.)
FOUR-LINED MINOR TUNES.
71
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.
Of the older hymn-tunes, a large proportion were
The Cadences
72
follows
in
30 representative four-lined hymn-tunes in minor keys work out as
(a)
FIRST CADENCE
Tonic (L)
Inverted Tonic (Lb,
Dominant
8C
(
(b)
15
2
I.c)
M)
....

Tonic of Dominant Minor (M)
3
2
SECOND CADENCE
Tonic of Relative Major (D) ....
Dominant
Dominant
Be
(
M)
of Relative
Major
Tonic (L)
(S).
17
IT
i
i
30
30
(c)
THIRD CADENCE
Dominant
Be
(
M)

Subdominant
Tonic
(R)
(L)
Dominant yth
7se
(
A/)
13
4
(S)
4
3
2
2
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.
at. ijrmes.
39
The Co-mposcr's Handbook.
40
7. 7. 7. 7.
Norwich.
=i
L.
rr
>U
f-
rr
Û
^
^
rr
8.7.8.7.
Nuneaton.
i
A_A
..
a "
MASON.
B.
MILGROVE.
*=
3t
10.10.11.11.
Old 104th Psalm tune.
R
JJ
00
<.>
^P
rr;
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.,
they must" not be regarded as mere modal varieties of the latter), the fact cannot be ignored that there is
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,
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.
producing rather
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
KEY
G minor.
itisrti
42
CHAPTER
IV.
TUNES TO HYMNS WITH MORE THAN FOUR LINES.

74
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
of Cadences,
the
"
and
For the present the following
Key-relationship is "fully discussed in Chap. X.

Five attendant keys
will, perhaps, suffice
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 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,
;
the three relative majors.

(4) Bb major, and (5) Ab major.
75
FIVE-LINED HYMNS.
These are rather rare
cadence-plans are from modern tunes

(a)
hymn books
English
the following
MAJOR.
(1)
Tonic
Tonic
Dominant
(D)
(D)
;
Feminine
Tonic
(2)
Tonic
(3)
Tonic
(4)
Dominant
Dominant yth
Tonic Dominant
Tonic
(Dc S)
(D)
(D)
Tonic
Tonic.
(D)
(D)
Dominant
Tonic.
(D)
(S)
Tonic
(D)
(D)
(S)
Dominant
of
(feR)
Tonic
Tonic.
(D)
Tonic
(D)
Dominant
Dom. key
of
(R)
(S)
(D)
(b)
in
Tonic (Plagal).
(D)
(D)
MINOR.
Dominant
8e
(
Relative Major Tonic
M)
Tonic
(D)
Of these plans, while that
of the
minor tune
cannot be said to exhibit either variety or
Dominant
8e
(L)
is
Tonic.
Af)
(L)
except, perhaps, the ist and 3rd
good, the others
skill.
Five-cadenced Lutheran Chorals are, however, quite common.
The
following finely-
varied cadence-plans are from Bach's Choralgestinge.*

(a)
MAJOR.
(1)
Tonic
'
Tonic
(D)
(2)
Tonic
Dominant
Tonic
(F)
(5)
Subdominant
Tonic
Tonic
(D)
(7)
Tonic
(8)
8e
(
M)
Tonic
(D)
Two
(D)
of Relative
Supertonic
(D)
Minor
Minor
(8M)
Tonic
Tonic.
(L)
Dominant
(D)
(D)
(S)
(S)
vols., Peters'
(D)
(D)
Supertonic
Dom.
of Rel.
fle
(R)
Edition, No*. 21
Tonic.
Tonic.
(R)
;
Tonic.
Tonic.
Submediant
(S)
(S)
of Rel.
Dominant
Dominant
(ae
(S)
Dominant
Dominant
(D)
Dom.
(D)
;
Dominant
(D)
Tonic
(D)
Submediant (Major)
(S)
(D)
(F)
(6)
Dominant
Tonic.
(S)
(S)
Subdominant
(D)
Dominant
(R)
(F)
(4)
Supertonic
Tonic.
(L)
(L)
Subdominant
Submediant
(R)
Submediant
(D)
(3)
Supertonic
(D)
and
22.
Minor
M)
Tonic.
(D)
Five-lined and Six-lined
(b)
(9)
MINOR.
Tonic of Rel. Major
Tonic
(D)
(10)
Tonic
.
(n) Tonic
(13)
Dominant
("M)
Dominant
8e
(
8e
8e
M)
Dom.
of Rel.
(dejr,)
(L)
Major
Tierce de Picardie.
(iejL)
Tonic of Rel. Major
M)
Tonic of Rel. Major
(D)
Dominant
8e
(R)
Tierce de Picardie.
Tonic.
(S)
Subdominant
Tonic of Rel. Major
Major
(S)
(L}
;
of Rel.
(D)
Tonic
Dom.
M)
(L)
Dominant
(
Tonic
(-6M)
(L)
Dominant
(L)
Dominant
("M)
Dominant
(L)
(12)
43
Hymns.
Tierce de Picardie.
(D)
Submediant
M)
(deJL)
Tierce de Picardie.
de
(F)
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.
;
Write minor tunes to the following words on any of the cadence-plans 9 to 13 from
(2)
Bach (above)
Oh
the bitter shame and sorrow,

That a time could ever be
When
I let
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
lines
(A)
"
versification
"
;
of six-lined
and
(2)
lines
hymns
falls
arranged in
"
under two headings
two
sets of three."
THREE SETS OF Two.

Four-lines-sixes
(i)
The
three sets of two
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).
j
(
(2)
Return, ye ransomed sinners, home.
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
rest, till it finds rest in
"
it
be
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.
(b)
Tonic (D)
Dominant
Dominant
34
14
6
(S)
Tonic, inverted (Db, DC)
Subdominant (F)
Subdominant, inverted (b, Fc).
Submediant (L)
Dom. of Relative Minor 8e M)
5
3
Other Cadences
39
27
4
(S)
Tonic (D)
Other Cadences
70
4
2
SECOND CADENCE.
70
v i;)
THIRD CADENCE.
(J]
Tonic (D)
14
Submediant (L)
Dominant (S)
Dominant of Dom. key fe R)
Dom. of Rel. Minor 8e M)
Modulation to key of Mediant (M)
Subdominant (F)
13
FOURTH CADENCE.
Dominant, frequently with modulation to Dom. key (S)

Tonic (D)
Submediant (L)
Subdominant (F)
Dom. of Rel. Minor 8e M)
Other cadences
8
7
5
3
70
(e)
Dominant (S)
Subdominant
FIFTH CADENCE.
21
12
10
8
6
Tonic (D)
(
7
5
4
3
3
70
(F)
Submediant (L)
Dominant 7th
46
S)
Inverted Tonic (Db)

Supertonic (R)
Dominant of Relative Minor
4
8C
(
A/)
First inversion of Leading-note Triad (Tfc)
70
SPECIMEN TUNES.
"Southampton."
W. HAYES.
6.6.6.6; 8.8.
n"
'
Six-lined
Hymns and
German.
7.7.7.7.7.7.
'Dix.'
rrrr
^^
^^
f^
EXERCISES
(1)
Two
Compose tunes
(on the lines indicated) to six-lined
SETS OF THREE.
Eights and Sixes
Be
To
8.8.6
8.8.6.
my only wisdom here

serve the Lord with filial fear,
it
With loving gratitude

Superior sense may I display
By shunning every evil way,
And walking in the good.
;
(2)
W. H. MONK.
^ ô
metres.
(B)
5 ^B
Tr^T rr
Dr.
^-J
St. Matthias.
ff?irTTp
^pa:
"
45
Tunes.
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
My
days of praise shall ne'er be past,

While life, and thought, and being last,
Or immortality endures.
hymns
of the
above
Next
to the final cadence the principal point of rest will

with a change of key).
fall
at the end of the third line
(often, as before,
The cadences
of 20 tunes to these (and similar) metres
(a) FIRST CADENCE.

Tonic (D)
Inverted Tonic (Db, DC)
(6)
13
2
Dominant (S)
Subdominant
4
i
Dominant
work out
as follows
SECOND CADENCE.
10
(S)
Tonic (D)
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/)
(d)
(c)
18
.
20
FOURTH CADENCE.
6
Supertonic (R)
Tonic (D)
5
3
2
2
2
Subdominant (F)
Submediant (L)
Dominant (S)
Other cadences
(e)
FIFTH CADENCE.
Dominant
20
(S)
Inverted Tonic (Db)
4
3
Tonic (D)
Subdominant (F)
Submediant (L)
Dominant ;th ( 7 S)
2
2
2
20
SPECIMEN TUNES.
'Traveller."
8.8.6; 8.8.6.
H.
HOLCOMBE
(18th Century).
"
4
J ,1
ZÊ&i
I
-izr
M
S
f
-JMF
G>
J.
Six- lined Tunes.

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

either under (A) or (B).
77
It is
but
for cadential construction they all fall
hardly necessary to give specimens of six-lined minor hymn-tunes.

of twelve typical tunes will, however, be useful for
The following cadence analyses

The hymns are all of class
reference.
N.B.
(a]
hymns
Many
six-lined
(^4).
minor tunes have the
FIRST CADENCE.
Dominant
8e
(
last
two
(b)
M)
Tonic (L)
lines in the
Tonic Major Key.
SECOND CADENCE.
Tonic
Dominant

(L)
5
se
(
M)
4
2
i
12
12
(c)
Dominant
THIRD CADENCE.
se
(
(d)
M)

Tonic (L)
Dominant
of Relative
Tonic Major
Major
(S)
4
4
FOURTH CADENCE.

Tonic (L)
se
Dominant
Modulation to Dom. key (M)

Tonic Major
12
M)
4
4
2
i
i
12
4g
FIFTH CADENCE.
(e)

Tonic Major
4
3
2
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.
in
78 SEVEN-LINED HYMNS are not very

Lutheran Chorals).
The
chief metres are as follows
6.6.4
(i)
common
in
minor,
minor,
minor, and
English poetry (although fairly frequent
6.6.8.4.
Thou whose almighty word

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

of things created
of mankind doth appear,
clouds of glory seated
The trumpet sounds the graves restore

The dead which they contained before
Prepare, my soul, to meet Him.
!
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
of these kinds
Three
(a)
(i,)
Tonic
lines followed
Dominant
(D)
four.
by
Dominant
(S)
||
ist inv.
Tonic
Dom. 7th
1st inv.
Tonic 7th
Submediant
(tD6)
CSb)
(S)
(L)
||
(D)
(2)
Tonic
Dominant
(D)
(3)
Dominant
(S)
Supertonic
Dom.
of
fe
(R)
Tonic
||
Tonic
||
Dom.
R)
(D)
(S)
Dominant
(S)
Submediant
Tonic
||
Submediant
(L)
(D)
(L)
ist inv.
Tonic
||
(D)
Dom. 7th
CSb)
Dominant
(S)
'
Four
(b)
(1)
Tonic
(D)
(2)
||
by three.
Submediant
Tonic
Tonic
Dom.
||
Dominant
of Rel.
Dominant
(L)
||
Minor
Subdominant
Tonic
||
Supertonic
Dominant
||
Tonic
Dom.
Minor
of Rel.
(scM)
ist inv. of
Submediant
Tonic
||
(D)
;
Dominant
(L6)
(S)
||
(D)
(S)
(R)
Dominant
(L)
(F)
(D)
Submediant
(S)
Tonic
||
(S)
(seM)
(D)
Submediant
(L)
(S)
(D)
(3)
lines followed
Dominant
49
Hymns.
Eight-lined
(S)
||
(D)
(4)
Dominant 7th
Dominant
||
Submediant
Dominant
7
(
S)
(S)
Tonic
(L)
(S)
||
Tonic
(D)
Dom.
of Rel.
Minor
("Af)
||
(D)
EXERCISES
Compose various seven-lined hymn-tunes on the cadence-plans given
above.
79
EIGHT-LINED HYMNS.
These are very numerous in all sorts of metres

and are nearly all arranged in " four sets of two lines."
Iambic, Trochaic, Dactyllic,
etc.
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
;
"
/K
St. Matt!
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
Sometimes the third and fourth

and second
lines are
a repetition
(or
first
phrase with the
varied repetition) of the
first
'Austria."
82 It is not necessary to tabulate the favourite cadences of eight-lined tunes

cadence-plans are selected from standard settings
:
(a)
HAYDN.
8.7.8.7.8.7.8.7.
EIGHT-LINED MAJOR TUNES.

(I)
the following
Cadential Chords.
(9)
D*
51
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
ist Inversion of
Leading-note Triad.
Tonic Chord with minor 3rd
ist inversion.
Prepared 4th on the Dominant.
Feminine Cadences are marked DC S
EXERCISES
based on any or
(b)
all
Fc
etc.
The student may now compose major tunes
to various eight-lined
EIGHT-LINED MINOR TLTNES.
(1)
(2)
(3)
**M
8e
"M
D
=
8e
:
M
Db
2nd inversion
of
L
L
||
D
D
||
Rb
\\
B
:
(a)
**M
TONIC MAJOR, SEVENTH AND EIGHTH LINES.
Key F
(b)
minor.
TONIC MAJOR, FIFTH TO EIGHTH LINES.
Key E
(5)
minor.
SEc
L
L
L
Leading-note Seventh.
(4)
'M
Most eight-lined minor tunes modulate to the tonic major either

four lines
hymns
above cadence-plans.
of the
||
for the last
two or
last
Twelve-lined
Hymns and
53
Tunes.
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."
SIR F. BRIDGE.
7.6. (12 lines.)
=ff tr^-pte=&=fc> p-H

P^dE^
=FP4r=14i
-&- -&- -m-fZ-r*,^ . *
&n
-e>-
-&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
"
of
up against authority and experience."
85
Our consideration
Nun
danket Alle Gott
North Germany.
of
"
("
hymn-tunes may fitly conclude with one of Bach's settings of

Now thank we all our God "), the national hymn of thanksgiving
The Composer's Handbook
54
NUN DANKET ALLE GOTT.

8
VOICES.
m
'
ft
Accompt.
" r
for
Horns &Bass^&
'
i
t>
'
-3fZ
rr
r
1(2.
i.
-j-
Nun
Danket Alle
55
Gott.
.5.
^fUSg
nrHr
56
A
o
/r\
*>
57
CHAPTER
V.
SONGS.
86
a
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
is
Song
lay, a
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.
"
Folk-songs
songs of the people
"
may
be denned as
"
traditional
songs of which the origin
is
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."
have
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.
scientific side
but others, as for example Schubert's,
the whole
the artistic knowledge of the musician
;
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)
THE METRICAL AND MELODIC STRUCTURE OF BALLADS.
Metrical form is the arrange"

"
sections."*
measures (or bars) in regular
groups," which we will call
itself in successive portions each four measures
Melody has a strong" tendency to arrange
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
ment
of
marked by some
"
N.B.
(2)
(3)
Compound Times) a
"
two-bar section
"
may
take the place of the ordinary
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.
four-bar section
(1)
sort of cadence.
Tn slow music (or in

"
;
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.
Sub-section.
3rd Section.
Old English Song.
2nd Section.
1st Section.
Figure.
Figure.
Sub-section.
Figure.
4th Section.
The terms used
in describing
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
This difference does not

simple scheme adopted in this work.
application.
58
Note
also the following typical songs
4v
Section
1st
.(a)
BEGONE. DULL CARE.
(1)
...^...
3rd Section; contrasted
(c)
(d)
-=
(2)
4tb Section ^repetition of 2nd section

;
** i
THE BRITISH GRENADIERS.
Section
(a) 1st
Old English,
2nd Section^_yaried ending
(b)
(b)
16th Century.
2nd Section
4th Section
THE MINSTREL
(3)
repetition of (a).
repetition of (a)
BOY.
1st Section.
(6)
2nd Section
(c)
repetition of (a)
3rd Section
1^^
contrasted.
^fe
(d)
4th Section
repetôn of
(a)
fe
Sometimes the second section repeats the
the third with varied ending
with varied ending, and the fourth repeats
first
HOME. SWEET HOME.
English Song.
(b)
(a) 1st
(c)
ivw
Section..^
2nd Section
MJ.
3rd Section...
(d)
...^...
4th Section
repetition of (a) with different ending.
repetition of
(c)
with different ending.
Hi
Ballads of more than four sections are constructed on similar broad and simple lines
THE "GOLDEN
(a)
1st
Section
2nd Section (contrasted) ending
(6)
VANITY."
in
key
fc*
There was
(c)
3rd Section
a
;
ship
came from
the north country.
And
the
name
of the ship
was the
"
Golden Vani-ty,"
repetition of (a)
'.
*
And
(d)
they
feared
4th Section, based on
That
sails
up -on
she
(b),
might be
tak
en
by
the
Turk
ish
en
my
and extended by repeating words and adding a new phrase
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
Fri
when we
day morn,
set
We
(e)
there did e
spy
fair
And our
sail,
(d)
(c).
ship
not
comb and a
REFRAIN.
pretty maid, With a
:g-^4J=^g^r-p
y 5idig
=*=?z:Ejz=*=
comb and
And
the storm- y
blow
winds did
And
the land
ing
did
seas
roar,
boys, were up,
up
loft,
(j) repetition of (e)
And
jol- ly sailor
we,
repetition of (d)
(i)
(h) repetition of (c)
repetition of (6)
(g)
While the rag
her hand.
in
glass
land,
glass in her hand, her hand, her hand,
variation of (d)
With a
from
far
..
r-fc-s
lubbers lying
down
be-low, be-low, be-low,
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.
that
(b)
Complete (contrasted) sentence of four 2-bar sections
(c)
Repetition of
"
The
key G.
(a).
three-fold (or
"
Ternary Form
in
"
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.
"
breaks in the melody and

cadences with little connective passages, so as to secure continuity.
"
tone colour."
(5) It should add appropriate
(4)
It
may
with good
effect "fill
up
"
bridge over
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
with
in
Chapter XII.
"
its
but the hints
60

The following examples of settings by various composers illustrate these principles.
IT
WAS A LOVER AND HIS

c
F
was
It
lov
er
F
and
LASS.
his
lass,
With a
THOS. MORLEY.
hey,
Morley's
with a
(abt.
16001
with a
ho,
Harmony (slightly
altered)
1.
2.
J.
L.
HATTON.
I
3.
^^
Sir C.V.
STANFORD.
4.
hey
non.ny
no,
And a
hey
non. ny no
ni
no>
That
etc.
etc.
fj
Specimens
of
a)
Rather
61
Accompaniment.
A HUNTING WE WILL
GO.
DR. ARNE,17iO-78.
fast.
(SF
The dusk
y night
rides
down
the sky
And ush
the
ers in
morn,
Dr. F.
Sir C. V.
T.
SAWYER
STANFORD.
6.
7.
^m
Sir G. A.
8.
ffl
ing
we
will
L.
HATTON.
lnî
?EE
Then a hunt
J.
MACFARREN.
etc.
hunt
ing
we
will
etc.
go!.
^=^
etc'
ANNIE LAURIE.
OLD SCOTCH MELODY.
Slow.
J
Max.well.ton braes
are bon.nie,
Where ear
ly
fa's
the
And it's
dew,
.
Dr.
SAWYER.
9.
Sir C.v.
STANFORD.
10.
BOOSEY'S SONGS OF SCOTLAND.
11.
12.
g
there
that
An
nie
j ;
\t
Lau
rie
Gie'd
me
her pro
raise true
etc.
63
Essentials of Accompaniment.
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
not.
"
"
Figures
(5)
i,
2,
and
suggested by fragments of the melody are utilized
especially in Nos.
3.
"
"
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)
and
12.)
"
(9)
Colour
hunting horns,
is
etc., in
specially indicated in No. 7 (bars 4 and

the refrain of 5, 6, 7, and 8.
"
5)
and
in the passages suggesting
"
(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.
in
"
also the careful
phrasing
The accompaniment
voice part (which
is
of dissimilar tone-colour)
VOICE.
But
either of the following arrangements
VOICE.
is
permissible
VOICE.
:
Z^p-Q
In
(a)
the pianoforte part is complete, and the tone-colour homogeneous.

in 6ths with the melody.
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
Where
Jean,
heart
J
thee
ha'e
mon
days
been;
For Loch
Loch
ber
no
more,
some
ber
no
wi'
T
L**>
more,
We'll
may .be
J j
^-^
re
r_*^
turn
to
Loch.
65
Farewell to LocJwber.
s
a
^^
more.
no
ber
ÊEi
These
tears
that
shed
are
they
l=g
s^
r
a'
for
my
dear,
And
for
no'
dan
the
^^f
weir,
a
;.
borne
Tho'
on rough
seas
tend
ing
on
"
to
at
gers
far
dis
tant
A
r
shore,
May
JT
be
?Ê^
to
re
Loch
turn
to
^=
r^
-p-f-tf
^
ber
no
fir-
rr
more.
66
"
Add
Begone,
appropriate original pianoforte accompaniments to
Boy," "Home, sweet" Home," "The
dull Care," "The British Grenadiers," "The Minstrel
"
"
"
"
introductions
The Mermaid," and
(see Par. 89), with
Golden Vanity,"
Trelawny
EXERCISES
ad
(i)
lib.
(2)
Complete each of the following as a

(a)
Moderate.
(b)
Andante.
"
sentence
"
in ballad
form
ÊEg
(c)
(d)
(e)
5PF2
Allegro.
Maestoso.
Andante.
i^
Art Songs in Ballad
re
and
pose
sooth
67
Style.
ing plea
Lull
sure
with
thee
the
m
bfe:^:i=:*=zi:p
.ft.
rj
(^H~)vk
d
K
--i
I
I
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)
Con
HAIDEN-ROSLEIN (LITTLE HEDGE-ROSE).

SCHUBERT.
tenerezza.
(a)
Saw
Fresh in
F$
boy
all
its
Ros-lein
morning
Ros-lein of
fair,
So
pride
-fc=
m
#
he
quick
the
ly
hedge
turn'd a
row,
side
=2 fegîj *F=*=
=g^z3
=z*.-=JEnl5==
.
cj-
*ff
,_Jz^=3:
1=51

ritard.
(f)
And
Ros
A
(rt)
very
Two
with ar
lein
of
dour
seized
the
hedge
Ros
it.
Ros
lein,
Ros
lein,
lein
red,
row
common
(or
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.
SCHUBERT.
Moderate.
lime
tree
by the
gate
Leans o'er
way
ti
ny
stream,
rj
neath
its
pleasant sha
dow
dreamt
my
sweetest
For
dream.
(b)
Schubert's Linden-tree.
in love's first
there
rap
carv'd
ture,
my
dar-ling's
And
name,
'
"f
fe*:
joy or
in
there,
sor
For
row
or
help
counsel
came.
~~
gEE
"
ft?-
'
^J^-TP
>
^-5
Hgi-fcg
L^
n
u
F-
of instrumental interlude, based on the Introduction, but in the Tonic Minor

minor), lead to the 2nd verse
Four bars
(Key
2nd Verse
To
(E
minor)
once more
day
passed
When
it
night
had
veiled the skies,
m?
ven
in
the
dark
ness
dared
not
raise
my
And
eyes.
r^
Trihl*i
70
(Resumption
of
major.)
whis
the lime tree
yet
So
pered
sweet
ly
my
in
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
râ- >
3-
>
r*^s
-f^^fr
T^
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
many
points for the observant student to note in the construction of this fine song.
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
(a)
each complete stanza.

"
(g)
The
large
"
variety
number
of detail
investing the song with
"
"
"
ever-increasing interest
"
"
from_start to
finish.
"
modern
concert room
and
drawing-room
songs are of this
The student may find plenty of examples in songs by Sullivan, Cowen,
of
type of construction.
Barnby, and other composers.
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
It
Styles of
(i)
71
Song Accompaniment.
simple harmonized setting of the melody
THE SOLDIER'S BRIDE.

SCHUMANN.
&c.
on
If
ly
the
Em
per
or
8^=
*
This
may
knew
include occasional unison passages
THE REAPER.
Andante con
mott.
p-
There
is
MENDELSSOHN.
'
Reap-er
&c.
whom Death we
call,
He
is
mo/to legato.
Lord and the King o'er
all.
Or the melody may occasionally be given

hand
(or reiterated notes, etc.) for the right
to the left
&c.
hand with accompanying chords
THE BETTER LAND.

COWEN.
cr
(2)
Detached Chords.
These
may
closely follow the melodic outline
WHERE THE BEE
bat's back
do
&c.
SUCKS.
|M^__
On
FTT*
(**
do
fly,
fly,
^âted^pj^gse^-igfrtosz^^ji
f- ^
^~[^
r
.g.
-HI
J~~
&c.
fc
72
Or they may merely provide a
"
harmonic substratum
"
to support the
melody
COME, JOIN IN SONG.
-Jtur.
i
Come,
in
join
and a
song
merry, merry rounde
&c.
lay,
i
(3)
"
"
embroidery
light
of the
melody
&c.
MAY DEW.
STERNDALE BENNETT.
H
wood
the
O'er
the
o'er
lands,
mea
dows.
&c.
&c.
'
-
1
(4)
bass
Chords
in re-iterated notes, or in various
forms of arpeggio, generally with a steady
BEETHOVEN.
f*
To
Him
the stars their
homage
ren-der,
&c.
$^=
&c.
\\-
*^
t*
TO MUSIC.
--j
-Gf
Thou ho
m
t
ly
SCHUBERT.
how
art,
r^-*r
oft
in
hours of
sad
ness,
Styles of
73
Song Accompaniment.
THE ANGEL.
Moderate.
RUBINSTEIN.
=lE
An
hea
vens a
an
5=T
he
float
gel
eth
the
And
long,
JSL
Ii
zz|zr
&c.
-fflf
4r
iPî
J J
9r-9,
\-9r-9
W W
'
This,
though a duet,
is
included
among
S^j^Sj* ^^^F^t^Tfw-w
these examples, as the
same
style
is
equally suitable for a solo.
ON WINGS OF SONG.
Andante
MENDELSSOHN.
tranquillo.
fc
On
wings
of
song
-r
-r
those
fair
I'll
bear
thee
To
74
(5)
(a)
characteristic melodic or rhythmical figure repeated through several bars,

"
Linden Tree" (pp. 68-70). (b) Rhythmical figure
figures, see Schubert's
For melodic
THE IMPRISONED HUNTSMAN.
hawk
My
perch and hood.
of
tir'd
is
SCHUBERT.
My
&c.
'
F~
55
-^-=p: -1 !
^-
5t
J-1
m-m-
^3^
*I
*-
Sometimes two
distinct figures of
accompaniment are maintained
WHO
IS
=3?
-d-
one in each hand
SYLVIA?
SCHUBERT.
Who
&c
'
is
Syl
what
via
That
she.
is
-.
(6)
itself
"
"
counter-melody
the chief melody
forming a kind of duet with the solo part, or even becoming
REDEMPTION.
GOUNOD.
THE LOST CHORD.

SULLIVAN.
It
flood-ed thecrim-son
twi
-*-
Like the close of an an
light,
J.
J-
*
J-
J
^.
i^
--
gel's psalm,
J-i^:
&c.
'.
.1:8
^f^
'
<Q
-L*~
Styles of
75
Song Accompaniment.
"
The First Violet," the introductory instrumental theme
In Mendelssohn's
a duet with the voice
form
to
stanza
in the last
is
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
This style
is
particularly useful in
accompanying an instrumental
jjTii
j^l
(See also Schubert's
solo.
"
î
Linden
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
idea"
in alternation."
THE TALISMAN.
SCHUMANN.
Grave, non troppo lento.
S
God doth
Sometimes a
rule the glowing
"
"
figure
"
in Schubert's
Ave Maria."
"
Serenade in F."
of his
In other
is
God doth
East,
&c.
,.
rule the glorious West.
maintained without variation throughout, as
Similarly
Brahms
uses the rhythmic figure

of the
songs
specially striking phrase
become a " leading theme " (see Chap. XIV).
commences
as to
FS
Jj
of
in every
bar
melody is woven into" the accompaniment so often

Thus Schumann, in
The Two Comrades," which
song
two
trust-y
com
&c.
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."
77
Through-Composed Songs.
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
=r= ~ &
9
To
France there journey 'd two gren-a
The same instrumental passage (though sometimes varied

five times in the accompaniment while the little figure
diers.
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
of the
many
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.)
To complete
95
in oratorio
An
this chapter
and grand opera,
it
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.
Aria
is
The words
form.
consist
"
rest in the
Lord
"
(Elijah)
The ARIA DA CAPO,
is
a typical example of a concise Aria in this form.
GRAND
or
ARIA, introduced by Cavalli and A. Scarlatti, was one
by Bach and Handel.
of the chief forms of Aria used
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
Third part
(C).
mental prelude).
shorter than the
repetition
first
da capo
part,
and contrasted
in
key and
style.
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
is an aria lying midway between recitative and song

"
Comfort ye
(Messiah}.
or ARIOSO,
"
in
For other forms of Aria, see the Author's " Cyclopaedic Dictionary of Music."
SCENA
is
the
"
solo comprising recitative
largest
and
Examples
may be found
"
ye, Israel
in
and most brilliant of vocal solo forms." It

and generally ending with a regular aria.
is
a dramatic
arioso,
any Grand Opera;"
(Mendelssohn's Elijah), and Beethoven's
"
"
in Gounod's Faust.
e.g., the
" Jewel Song
Adelaide
are also of the nature of Scenas.
EXERCISES. The student may now compose songs in various

forms of accompaniment, to words selected by himself.
styles,
"
Hear
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,
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
96
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
chaste of
Daughter
La
dread
to
Lend gracious ear
na,
to our
song.
ORCHESTRAL BASS.
ii
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
so long as to
(2)
The
(a)
progressions of thirds or sixths
may
be used
but they should not be continued
become monotonous.
interval of a second
When
the lower note
^^
^H
:
good.
prepared (either tied or re-struck] and resolved downwards
JEÊEJE
^
A
is
is
=^=
:=
JB
*|*,*-^*-*
=*=F
^
**=
&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
(e)
When
the lower note
a diatonic or chromatic waving note*
is
the fourth of the scale (giving an implied domt. yth chord).
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.
;
is
The Composers Handbook.
80
The
following examples are not to be
commended
&c.
(3)
The
(a)
When
interval of a seventh
the higher note
is
is
good
prepared
(tied
or re-struck)
and resolved downwards
r -p
(6)
When
it is
a passing or waving note
&C.
r
(in either part)
&C.
i(c)
When
it
is
a dominant 7th.
&c.
81
Two-part Writing.
(6)
The diminished 5th may be used
as representing the
dominant 7th chord

*
in
as a passing or waving note

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

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

&c.
It
(a)
fifth of
may also be used

When the lower part
the chord
N.B.
(b)
is
"
"
an
The augmented fourth may be used
When it
is
and the objectionable
or broken chord
arpeggio
not the highest note of the passage
is
in the
same way.
prepared in the lower part (as
^9
an understood 7th) and properly resolved
-rj
J&c.
(c)
When
the fourth
is
prepared and resolved in the upper part

*
*
r~~
N.B.
nor (c) can, however, be recommended as in each case there are

better ways of arranging the parts.
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
be employed
may
Occasional unisons or octaves

or octaves are often of good effect.
(8)
and whole "passages"
in unison
MENDELSSOHN.
:>
N
-I
But wrath-ful
N .B.
their harm-less
at
mirth,
Old
rost.
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.
an occasional passage
be produced by the two parts moving in contrary
may
Other effective progressions
(9)
motion, or by contrapuntal treatment
(if
IQI
the composer can

l-^J-^
>
manage
l-i
it).
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
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.
be studied.
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
:&c.
_G*
the
to
list
ho
sweet
ly
tones.
_D_
*
g-re
C=
'fg
'g"g'
t'Lj
',""i
i
J
1J J
-j-
^^
r
i~r
g
rS
gzz=r:g_S
i^j:J J Jli-3BB&^j^
--w-5-î-1
&
&c.
-^--u-3---*-*-^*
* *
Note the 4th at

(a) f>
,.
MENDELSSOHN.
(6)
&C.
For
The passage from

passable.
(a)
get
to
me
(6)
not
and
vio
lets
blue, Join
requires the addition of the instrumental bass to
make
it
83
Three-part Writing.
TRIOS AND THREE-PART CHORUSES.

These may consist of three-part work throughout, or
101
may
be interspersed with
solos,
and two-part choruses.

Nothing need be said of the style of accompaniments beyond what has already been
as in the case of duets

discussed.
UNACCOMPANIED THREE-PART WRITING.
102
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
&&-*
-"'
Weak
3z
ending. pCKlZir
rr
ryrr'
6
(2)
The lowest part should not skip
to a second inversion, except from a note of the same
chord.
Good.
43
The lowest part should not skip from a second
inversion.
43
*
(3)
Good.
Bad.
[i
The few exceptions
N.B.
to this rule are given in
The lowest part may be repeated

the following
any good text book
(with a different chord), or
of
Harmony.
move
step wise, as
in
664
zr &c.
Efrpp^m
(4)
shown
Two
f,
f.
second inversions in succession are bad when the lowest part moves stepwise
Bad.
Bad.
I.
-Gk-~-
f
"
"
Lift thine eyes
(Mendelssohn's Elijah),
The student should analyse the
three-part writing.
out the features worthy of special attention
is
a fine example of pure unaccompanied

We give the last part, pointing
it.
whole of
1st
&
2nd SOPRANOS.
CONTRALTO.
(a\
(b)
(c)
(d)
(e)
(/)
(g)
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
;
omitted.
(/)
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)
(g)
by the A
(d)
(e)
chord
chord
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)
(n)
(o)
(q)
103
to (m) Sequence of 6ths
and
3rds.
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.
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,
85
Three-part Writing.
FLY, SINGING BIRD.

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

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

A
VOICES IN UNISON.
-p.
Allegro.
1
:=
-~=EE==fe=EEE^
Soprano and
alto in octaves is also
HOFMANN.
-G>-
-&
a favourite device with composers
86
LITTLE SNOWDROP.
REINECKE.
cres
&
ist
with-in
Not
CONTRALTO.
P.
do.
J=t
2nd SOPRANOS.
gloom-y
grave;
Here,
up -on
cres
"N^
^ ^jrf^^FW ^^~
p
light-
some
cen
hill,
&c.
do.
'.
q=: N
this
p=
cres
4*3-
cen
do.
&c.
Male -voice Music.
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'
JOS
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 ;
Drink to tiie on
Or leave a kiss
The
wine;
with thine eyes, Ard
ly
with
thirst that
the
in
from
And
cup,
soul
the
I'll
Doth
doth rise
ask
drink
di
J' J" J"

But might
vine;
of loves
The harp that once
Ta.ra's walls as
if
nee
tar sip,
thro' Ta.ra's halls,
that soul
The
were dead.
would not change for
soul of mu.sic
So
shed,
thine.
Now hangs
sleeps the pride of
as mute on
form.er days,
St
glo.ry's thrill is
o'er
And
hearts, that once beat high for praise, Now feel
that pulse
no more.
-i^^J
Gold
Sleep pret.ty
en slum.ters kiss
maid
en,
do
your
not
Smiles
eyes,
cry,
And
will
.wake you when you
sing
of
^ _
mine,
will pledge with

not
ah>
for
h'3 3citi;igs
lul
.la
rise;
by.
The
on earth? Oh,
heav'n
To
to
ther
Rn
me?
Where
hear?
wish'd to
What's this dull town
What
omoser's ffnndbnok
bin's
all
not
We
was't
wished
and mirth Made
joy
Ro
with thee,
cross the sea
What
near.
the
fled
they're all
shores a
speed with swell
town
this
bin
to see,
dair.
Yet
sail.
ing
EJ^^ltfjfTirct
till
there lin
gens on our lee
A phantom In.
sons shall turn un. true! Tho' fain to
In
the sky
the
moon
fly
is
nis
your love,
beam, ing
All
fail.
Oh. fear not.fear not, gen_tleghost your
ly coast,
They leave
their hearts with you.
through the night,
While
be. low
the
r-r-r-rtt^F^
earth
is
dream -ing
All
through the night.
In
souls, as
calm
ly shin-ing, Cheer the restless
mor
tal
days
de.clin
^^^r=t
May our
our
and
re. pin .ing,
Till
lost
in
ing,
89
CHAPTER
MELODY
VII.
IN GENERAL.
106 The student may well pause here to consider more fully the
We shall discuss
the methods of their artistic employment.
(4)
Melodic Direction
(B)
(C)
Melodic Range or Extent

Melodic Intervals
(D)
The
(E)
(F)
"
factors
"
of
melody and
Influence of Time,
Rhythm, and Accent

and
Rhythmical Contents of Measures

Melody Based on Arpeggios.
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
could end thee at a blow ,tho'
could
endtheeat
blow,
&c.
(b)
Descending passages
of melodic figures
may
also proceed either
by the
scale, or
by
skips, or
by a
series
BEETHOVEN.
Op. 28.
90
Many
irjcgninni
melodies consist largely of ascending and descending passages in alternation
~
fc
\W^3E
MOZART
-^-
ES5EE^5
rf-f
imÊJtea
BEETHOVEN.
"
(Sonata in Bb).
Op.
31,
No.
1.
"
"
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
or
or subsides
by descending
HANDEL.
6F
r
TJy
jvjC
^^.'
9 Q
-1
s||
il
STERNDALE BENNETT.
_P
VT~;
* m
BEETHOVEN.
'
S:
Op.
2.
13
CORELLI. Violin Sonata.
BEETHOVEN.
Op. 27.
f*
f*Ez
--
--
^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
:
91
Melodic Direction.
BEETHOVEN.
Op-
79.
1
BEETHOVEN.
The following
in contrary
motion
are examples of chromatic ascending

"
Op. 81a.
and descending passages proceeding
GOUNOD
;
(Redemption).
m * P m m
SB:
&c.
BEETHOVEN.
Op. 90.
g-
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.
pp
"
Dead March."
BEETHOVEN.
Andante.
iNlJ
BEETHOVEN.
Adagio.
SIR
A o
^;
As
"
Moonlight
Goss (Subject
Sonata.
'
round a
bout Je
ru
sa-lem.
SULLIVAN.
Seat
one day
ed
at
27.
of a Fugue).
<
moun-tains are
the
J.
"
Op.
J-
or
the
gan
was wea
ry
GOUNOD.
Andante.
and
" Lost Chord.
at
ill
ease,
Redemption.
*r-=p?=F
>
i
J-
J\J
J-a
J-
GOUNOD.
&
k-
jBT-g
Redemption.
-fa
^1
* g-i
p ta-hrH
Li
fefe
f-C4J
(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.
93
Allegro Vivace.
AUBER.
ip=:p=z:p:
If
gloom-y thought, a
gloom-y
Mansaniello.
:*!=:
thought your heart sur
pris
es,
Sing your songs, there's
=P=P-
....song
naught
like
ban
to
thought your heart sur -pri
ish
ses,
care to
Sing your
sleep;
songs.there'g naught like
If
song to
gloom-y
thought, a
ban
care to
-ish
gloom-y
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
one of the methods used in varying and

developing a simple melody.
in
G.
Symphony
also
Melody from HAYDN.
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
"
swell," ~=Z^Z
H^*"
MENDELSSOHN (Duet No.
2.).
cres.
Andante.
MENDELSSOHN.
"
(2)
repose
long sustained no+e at a
medium
or low pitch
is
Duet, No.
often employed as a
"
4.
point of
An - gels guard
dim.
__ 3
thy slum
Andante
bers
Good
sweet,
s;^
night
SULLIVAN.
tranquillo.
Peace
pp
the
to
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
"
(3)
cadenza
Passage as
written
As
it
might be performed
Two
cadenzas sung by Jenny Lind
ME
95
Prolonged Notes.
(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
--T--
\.
5-t-
ritard.
JL
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)
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
or an organ solo.
harmonic accompaniment
Moderate.
v__
IT
~r
7^
JJa
_J
dim.
dim.
_js*__
PP
'P
\~'~\^^~^^^^~'
x
I
|_J--
-*~J^__+__+__4
x-
f-
BARNEY.
"
2lfc
Sweet and low."
Larghetto.
*
~v
.-^
1
'P"
L'
1S=
~g
^^_
jp.
,\
*
P
|S
ist
-*^
-IT*
~
^:
iv
~T~^ld^H^
--'
Ir
|r
|>
,\
!;
^=ff
Note that the
u
ir
ttf
r--
j_
_^>
fs
:or:
?E^
t--
and 2nd bars
"-(-
of the
melody
are practically a repetition of the note G.
Sustained note in Tenor.

N
Js
(s
is
'>
96
N.B.
(6)
Similar effects
may be introduced at any point during the progress of
sometimes obtained by sustaining the
fine effect is
"
first
See also Sullivan's song

is
"
note
A ndante.
Orpheus with
his lute."
The
first
note of
"
"
of
a composition.
a melody
r=-
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),
effect of the
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
and conjunct movement
Negro melody, confined to the
first
three notes of the scale.
-^-ftr^s:
(6)
Extent of a 4th.
P Andante con
BEETHOVEN.
tnoto.
Quartet. Op. 18.
BEETHOVEN.
(c)
Extent of a 5th.
Old Latin
3^
Hymn
Tune.
Now known
Sonata, Op. 57
as "St. Luke's"
t=
MOZART.
j
Sonata
L.M.
G>
in A.
97
Melodic Intervals.
(d)
Extent of a 6th.
(e)
Extent of a 7th.
BEETHOVEN.
BEETHOVEN.
Sonata, Op. 106.
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
BEETHOVEN.
melody.
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.
Dim.
3rd.
Dim.
4th.
4th.
ifeqfeU
The
Dim.
IH*-
following progressions are not good

5th.
Dim.
4th.
Dim.
3rd.
&c.

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.
intervals (and other harsh progressions of melody)
Augmented
may
be
used in the following, and similar, cases

(a) In a Sequence (See Chap. VIII).
:
Aug.
i
3=H
(b)
In
&c.
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
thou son
with thee,
Hymn
~i
1?~
'Watchman,
(c)
In
the
is
melody
Be
li -
al
of Praise.
'
g_jrgg=
*
of
MENDELSSOHN.
4th.
Aug.
ug. 4t
:p=g=p=:H
:2
II
the night
far
spent?"
minor
of the
scale.
2nd.
Aug.
ug. and
Aug. 2nd.
'
-'
&c.
(d)
When
the two notes
forming
the interval are both in the
SIR
J.
same chord
F. BRIDGE.
Repentance of Nineveh.
Aug.4ths,
VOICE.
^
ACCOMPANYING CHORDS.
rJ
==t
Aug.
^
<
4ths.
'_'?
S*
99
Melodic Intervals.
Aug. 5ths.
(e)
When
melody (on which
the second note of the interval is

it resolves either directly, or by
Aug. 2nd.
Aug.
a semitone below some principal note of the
some ornamental
variation)
Aug. 2nd.
Aug. 4th.
5th-.
Maj. 7th.
This style
is
very
Maj. 7th.
common
Aug.
4th.
The augmented
St.
Aug. 4th.
ways
our
past
Aug.
un
der
P
-
stand
does
shall sure
so
tri
the same.
per
HANDEL.
ing.
4th.
From
And who
Paul.
fe
are
interval gives
to illustrate the verbal text
MENDELSSOHN.
His
A-
Aug. 5th.
in instrumental music.
piquancy and great prominence to the following note.

(/) To produce some special or striking effect, or
i-î
umph
ish.
Samson.
Maj. 7th.
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.
"
"
man
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,
and Principles
"
of
Harmony," published
10)
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
;
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
;
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)
contents of measures, or bars, including Syncopation,
The
Emphasis (Dynamics), and
Rhythmical Accent generally.

(e)
The -arrangement
Each
of these has
of Phrases, Sections, Sentences, Periods, etc.
an important influence
in
Musical Punctuation.
shaping the melodic outline and giving
it
significance.
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
And
lib.
The student should
(See also par. 60, page 26.)
exercise his ingenuity
The
by extending the
Speed, or Rate of Movement, of a piece of music greatly influences

Lento, Largo, Adagio, Andante, Moderato, Allegro, Vivace, Presto, etc.
(//)
e.g.,
so on ad
scale.
it.,
Minor,
f Major.
The
octave.
series.
its effect
Rhythmical Contents of Measures.
101
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,
:
M.
J=
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 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.
the
"
RHYTHMICAL CONTENTS OF MEASURES.
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
limited to
some eight
BEETHOVEN.
^
r>
^**
Sonata, No.
3.
102
BEETHOVEN.
The
of great variety
following are examples
Andante
'
am
espressivo.
'~
- ^"
^^l
h^BB^"
WAGNER.
MOZART.
Symphony
II
in C.
Flauto Magico.
103
Melodies based on Arpeggios.
Rests are of great importance in obtaining rhythmic variety.

"
silences
in the following
Note the
"
eloquent
BEETHOVEN.
Largo.
(F) MELODIES BASED ON ARPEGGIOS OF CHORDS.

successively, instead of simultaneously, they form what
When
is
Op.
7.
the notes of a chord are struck
called
an
"
"
(from Arpa,
arpeggio
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
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)^
broken chords
SE
Dominant yth
Tonic (D).
7
(
S).
D.C.
Swiss Melody.
The whole
of this
melody
is
founded on chords of the Tonic and Dom. 7th (D and

SCHUMANN,
"
Subdom.
(F).
Tonic
(D).
Dom.
('S)
_J
L_
yth
Tonic
(D).
BEETHOVEN, Op.
Tonic
(D).
S).
The Merry Peasant."
~~=z
Tonic (D).
KUHN.
22.
&c.
104
BEETHOVEN, Op.
Tome
31,
Dominant yth
(D).
B E ETH OVEN,
No.
7
(
Chord
&c.
(L).
WAGNER, Symphony
Tonic and Dominant 7th Chords (D and S)
=^M
S)
Sonata, Op. 5 7.
'
Fonic
3.
in C.
^tfiTilr^^^^^^^
4^-Hi^P
Tl
More abstruse chords.
IH
BEETHOVEN, Op.
53.
&c.
"
"
appoggiaturas,'
the notes of a chord are interspersed with
passing-notes,"
acciaccaturas," endless variety of melody may be obtained
When
and
"
I,
N.B.
Tonic Chord.
",T
f"
5^
^.Lp.^^t^
m
9
J<L
Instrumental accompaniments to vocal music are frequently constructed in this manner.
105
Melodies based on Chords.
BEETHOVEN.
Sonata.
Op.
No.
2,
i.
"
BEETHOVEN.
Op.
10.
&c.
MOZART.
Sonata in F.
&c.
BEETHOVEN.
Acciaccaturas on a Dominant Chord.
Op.
78.
-_^S&=3=
-=
^
&c.
Essential notes in the above extract.
fp~T
g
-I
'
&C.
Passage founded on the Dominant Minor gth
97se
(
M)
BEETHOVEN.
-*-^r-*--
--
*---
y-^-*--^-
*^-
Op.
57.
106
"
Mixture of Diatonic and Chromatic passing notes, changing-notes," &c.
'
Note the connection between the following plaintive melody and the harmonic substratum which seems to have in great part suggested it
:
SCHUMANN.
J=66.
Paradise and the Peri.
J
Just then
be- neat h
>
youth
some o
>
in despair, at this
j*
si
range
fî
trees,
lent hour.
Close by
i
,
Had
the lake. she
sto-len to
now heard
moan;
^m
die here, 'die a
-j
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.
ECONOMY OF MELODY.
107
made
artistic
Chap. II
interesting
Par. 68, Chap. Ill
The
108
and
following are
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.)
;
among
the most usual of these devices.
Counterpoint, Invertible Counterpoint, Canon, Fugue, and Thematic Developwill be discussed in subsequent chapters.)
(N.B.
ment
REPETITION.
(i) In
(a) Exact
I.
the
same key and Mode.

Blue Bells of Scotland."
ist Section.
3rd Section
Repetition.
Repetition of ist Section.
Contrast.
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
_______________
(2)
In
the Relative
Major
or
BEETHOVEN.
Op.
13.
BEETHOVEN.
Op.
27.
Minor.
minor.
22.2::
major (Relative.)
Tune" St.
Bride's."
^=^^^^^~^^===^^^ &
108
CORF.LLI.
Violin Sonata.
Largo.
[J
A
minor.
major.
GOUNOD.
minor.
There
Where
is
(3)
far
hill
Lord was
the dear
i \
green
With-out
way.
major.
Ah
Who
cru-ci-fied,
i
died
to
save
us
all.
T"
minor.
or
Minor.
Rather
rare, except for the final
last verse, of
wall
ty
minor.
"
major.
/^ Tom'c Major
ci
major.
^^
minor.
minor.
movement, or
mode composition.
major.
major.
major.
A
I
a minor
BEETHOVEN.
minor.
major.
"
Waldstein Sonata."
BEETHOVEN.
Op.
31,
No.
i.
major.
minor (two octaves lower).
BEETHOVEN.
Op. 31, No.
i.
109
Repetition of Melody.
(4)
In another
voice, or part, of the
harmony^
J-JL
&c.
MENDELSSOHN.
TREBLE.
CHORUS.
Elijah.
sBlessed are the
men who
fear
Him, they
ever
walk
in the
ways
ed, &c.
Bless
of peace.
TENOR.
Blessed are the
This kind of repetition
is
of the nature of
Canon or Fugue
but
it
is
men who
fear
Him,
mentioned here for the sake of
completeness.
($)
In another
key.
SCHUMANN.
Theme
KEY C.
KEY
"
Reaper's Song."
O (with added part above).

i
1-~
Return to Key C-
^B^
^^
T
TI&c. Eight
(6)
^
bars of different
Tt"'
Ti
In another Metre,
or
~^-
'
n^"?
T~f^
'
/ Lgl^'^'r^FT^f*
'
f^ ZZSZH
&c.
-r-wi-PB---^^
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=:nU
-==^^^4*
"
ist Section.
Home, Sweet Home."
Repetition.
3rd Section.
Repetition.
^
This kind of repetition
is
even more frequent than "exact
"
repetition.
110
The
measures
following extended
(a) ist
Section,
ist time,
(b)
to*
consists almost entirely of repetitions of the
melody
first
four
("Dal Tuo
Bass Solo
2nd time, Tenor Solo
Repetition, with varied ending in
~^-
-.-
Stellate.")
ROSSINI.
minor.
#*
3rd time, Soprano Solo.
Bb major.
CHORUS.
ist
Repetition in Bb major.
(c)
& 2nd times.

I
^^^*
fa/Ion/*** "Ru "Rorw^f if inn in

Cadence, Bb. Repetition in
Cl.
min*-i
minor.
CHORUS.
3rd time.
Repetition of
Repetition of
(e)
RP-*
(d)
.r- ZZ^-T:
(c)
in
"?">
(a) in
major.
major.
ffl^-q=y=fe=^^
(/)
Added
Repetition of
passage.
(/),
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:
Ill
Sequence.
Motive.
BEETHOVEN.
Op. 22.
st,
&c.
BEETHOVEN, Op.
Motive.
28.
22Z32ZZtQ:
&c
Descending Sequences.
Motive.
Motive.
iMotive.
From a song by
3E3=
PINSUTI.
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.
MOZART.
lr
"
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
BEETHOVEN.
Chordal Sequence.
Ti
l~~
" Mass in C.'
1:
==.$$=&
&c.
"
BEETHOVEN.
Mixed Sequence.
Sonata," Op. 106.
f-fff
As
t=
f.
in this instance, som* sequences are partly Real
and partly Tonal,
to
avoid wandering
too far into extraneous keys.
Sequential Imitations
may
be alternated with non-sequential phrases
17
Hj
IJ
STERNDALE BENNETT, May Queen.

Allegro.
Beautiful sequential and other imitative effects are often produced by employing
in Triple Time, Triple motives in Duple Time, etc.
See the following
Duple motives
Ac.
&c.
3E2
[
* 9
&c.
b=
For numerous examples, see Chopin's works
for the piano.
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
by
steps of a semitone
have constructed
from twenty to fifty
some other composers,
elaborate,
(or
is
varied,
more) measures
and
in
sequential imitation
113
Imitation.
r
&c.
S=ipz:
(6)
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.
OTHER KINDS OF DIRECT
part, or in another part, at

strict) as to interval, or free
Examples
of free imitation
&c.
^^rrtnifea^mrcfFf
\
Almost a
-*
irinizz &c.
SCHUMANN.
strict sequence.
Manfred.
Strict imitation in another part (or parts)
produces what
is
called a
"
Canon
"
or
"
SCHUMANN, Paradise and
Round."
the Peri.
gf=TJ^
fe
3=3=t3
The
nature
following are specimens of Canonic Imitation
not
&c.
strict
Canons
but of the same
BEETHOVEN, Op.
:B:
ffi^
:*=C*
â
CT-^r-rr
2.
^^
4
-^=^LL^~
&c.
114
(c)
INVERSE IMITATION.
replying to ascending intervals
_a
V
-&-
J
-&-
melody may be imitated
4-
and
same
or another part
by
vice versa.
h-
-0I
in the
similar descending intervals,
by
Inverse imitatio
of
upper part.
Inverse imitations.
Motive.
&c.
Inverse imitations.
Motive.
WAGNER, Symphony
in C.
&c.
Free Inverse imitation.
&c.
BEETHOVEN, Op.
53.
Inverse Imitation of ist bar.
CLEMENTI.
The lower part
is
an Inverse imitation of the upper.
115
Imitation.
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.
it is
Retrograde imitation.
It will
(e)
be seen that the whole melody reads the same backwards or forwards.
IMITATION BY AUGMENTATION OR DIMINUTION.
imitated in longer or shorter notes
melody may be repeated or
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.

to
to
(a)
(b)
(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).
A
A
A
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.
"
to end.
(e)
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
on
"ROUSSEAU'S DREAM."
R.DUNSTAX.
INTRODUCTION.
MM
Rousseau's Dream,
Ch. Cl. and 4ft Fl.
soft Fed.
senza Fed.
119
120
Solo: Orch.Oboe.
Andante.
Orchl. Oboe and Tremulant.
senza Fed.
Fed.
Allegro.
3
Sw.
jjanf
3'
2ft.
and Stopp'd D lap!
t
i
Do/I o/l i;i.
soft Fed.
ad lib.
r
I*
16ft.
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.
rr'r
-
reduce
rr
PPP
soft Fed.
Metrical Form.
METRICAL FORM
109
REGULAR FOUR-FOLD SENTENCES.
125
We
have already seen (Chap.
Ill,
"
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.
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
:
2nd Section.
1st Section.
J
;
4th Section.
3rd Section.
Jir=?i'jJI!jl75
0'
9
}-0 9
-0
Three melodies based on
(a)
this
'-r
LJ
-^-j-J-
in
L-}
rhythm
major.
(ft)
LJ J
V-0^--0-
-0
minor.
major.
(c)
-=g-
be noticed that the rhythmic construction

an important feature of musical design.
It will
"
variety
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.
;
Afterwards, the student should construct several sentences of his own, and thus gain the necessary
composing anthems, choruses, part-songs, and instrumental pieces.
facility for
126
(a)
Rather quick time.
/
\
S_
^
>i
~"1~*
J-
*^
J-|J
>j
*~I
j"J
[.N_Jl.k
> *
*~
0-
J
j
J
j
ii
Exercises in Metrical Form.
127
i-J-
-H-
-1-
J--fJ-
JU
00-
]0*
~5
JLJ.
8
J'
J~J^- _S_AJ^3
J
J--J-
-U
-N
J30U
A
J-
^
CS
Q-
* -3-J[
J,
j:
128
10
-J- -J
^-J.
Slower time.
Sentences of four two-bar sections
L2
-^
K-^-
_.^J.__J_j,_ _Ju"^5..J
.N
[j.-
.N--
.>[j
J'.N
13
J-
^J /J. J5
JJ JM
14
'
|S
JTT3
\-0*0-*-0
J
0*-
-J
J ^ J.
Extended and Irregular Sentences.
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
110
EXTENDED AND IRREGULAR SENTENCES.
"O
pT
--
rest in the
Lord"
MENDELSSOHN.
(Elijah).
2nd Section.
ist Section.
.0-
.0.
4th Section.
3rd Section.
5th Section.
m
j
&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.
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
EXERCISES
Compose various original five-section sentences, or extend
four-section sentences already written.
:
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
E3-J
>H
J
**
0*00~*
M
-00
'.
'.
n0-0-0-0-0
i"^"T^
'A
-\-0^
\
I"TJ
n"Tî
^0-0-0-0-0-0-0-\-0
3
iJ
\-0
i.
*-
130
r;
J-H
-^^
i
J
[
J3-J-J3j-
J-
S
, J
J. J
j
40
\-*~
j j
j_j^J._J>J-}-J333J
J-'JT3
J3J-
,gj^
^J_ U
<
131
Exercises.
10
1
û
.N jg j
JJ
J-
JM
J-
111
Sentences consisting of two sections are not
uncommon
"
Wedding March."
MENDELSSOHN.
tr
Sonata, No. 15, Op. 28.
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.)
The construction
Chapter.
of pieces of
more than one sentence
it is
BEETHOVEN.
not necessary that the first
example from Beethoven.

will
be discussed in the
See
next
132
CHAPTER
IX.
SIMPLE INSTRUMENTAL FORMS.
IN SUCCESSION.
TWO OR MORE SENTENCES
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
In a
114
(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
2nd Sentence.
TST
&'
This kind oicontinuation was
(2)
common
in old
music, but
is
now
rarely employed.
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
Sometimes a short coda
to be
is
"
in
good form."
Sec also "St. Matthew," Par. 81, Ch. IV.
added as an extension
of the
second sentence
BEETHOVEN.
In quick waltzes, scherzos,
ui length.
etc.,
with only one beat in each bar, the regular sentence
Op.
is
14.
32 bars
Two-sentence Paragraphs.
133
(a)
(a)
(b)
(c)
(d)
End
End
of first sentence.
of second sentence.
Repetition (an octave higher) of part of

to (e) Coda.
"
first
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.
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
eight-
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
SARABANDE
"Suitable for dancing
IN C MINOR.
C.
to."
17th Century.
NlCHELMANN
(1717-61).
tr.
IP
134
117
Bach kept
his Suites, etc.),
sentence for the first part of his dance forms (in

largely to the eight-bar
the length of the second part (to 16 bars).
but he generally doubled
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
.^
-J-^J-d
(2)
8 bars,
ist sentence, o
bars,
i
2nd sentence, 8
-J-
modulating to key
ke; G.
key C.
bars, ending in
PRESTO.
tr
In
two-part
harmony,
with
occasional
full
chords.
ist sentence, 16 bars,
2nd sentence, 16
I*
(4)
'*"
-
*I
modulating to Key
bars, ending in
Key
C.
F.
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.
GIGUE.
In
two-part
harmony,
with
occasional
full
chords.
2nd sentence, 16
(5)
MENUETTO
modulating to Bb major.
bars, ending in
minor.
(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
135
Three-sentence Paragraphs.
GAVOTTE.
(6)
In two-part
ist
harmony throughout,
sentence,
2nd sentence, 16
N.B.
16
or
bars,
modulating to
major.
bars,
ending
in
major.
Gavotte always commences with the third crotchet of the bar.
GAVOTTE.
(7)
In three-part harmony throughout.

ist sentence, 8 bars, modulating to B major.
2nd sentence, 16 bars, ending in E major.
BOURREE.
(8)
N.B.
Bourree commences with the
In two-part
harmony throughout.
16 bars, modulating to
major, or F# minor.
2nd sentence, 16 bars, ending in D major.
ist
sentence,
PT
last crotchet (or
Key
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.
SONG FORM.
119
A.
A
A
C.
sentence of eight or sixteen bars.

sentence of eight or sixteen bars in another key.
Repetition (with or without modification) of A.
D.
Short Coda ad
B.
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.
may
be extended to
five (or
more) sections
say,
"
:
(i)
pre-
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
"
"
We
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
as a
"
concise aria."
SONG WITHOUT WORDS
MENDELSSOHN.
(No. 22).
mg*u
"
-fr
^--
^g^
-bsH
Ht-P
(a)
(c)
(e)
(g)
phrase
is
S3
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)
The symmetrical and regular construction

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

of the second.
(c)
to
(e)
122
"
(/)
(A)
Short
(i)
to
(k)
(0
(k)
eight bars.
Note that the
Second sentence, key B four bars.

"
link
leading back to key E.
;
Extended to
"
six bars
(/)
to
a repetition
(g).
Repetition of first sentence (the third section being different).

Repetition of Prelude.
to end.
This form
"
may
be extended by adding
(a)
episodical
passages between " the sentences.
song-form."
(Lieder ohne Worte) are nearly all in
or
last section of this sentence is
An
introduction (as above)

"
(b) Connecting
"
Songs without Words
Mendelssohn's
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
:
Not
desirable.
(i)
Song without Words
Good.
for Pianoforte.
ist sentence, 8 bars, ending in
Key
A.
2nd sentence, 8
in
Key
bars,
chiefly
E.
ist sentence, with or

without modification.
Short Coda, 4 bars.
Repeat
138
(2)
Violin Solo.
"
Meditation."
mp
j^
ist sentence, 16 bars (or extend

to 20), chiefly in
minor.
2nd sentence, 16
Andante.
S3
'
I,
zC
'p'
major.
Short Coda.
N.B.
^-
Keep
to the
compass of the
violin from
I
1--;
(3)
Flute Solo.
"
G minor,
or in
EX1
>
major.
ist sentence in
Repeat
bars, chiefly
gb
tor=g|
Romanza."
^
.^
3E3!:
:JHi
~_
3i^
'
Key D.
2nd sentence, 16 to 20 bars,

Keys B[y, D minor, and A
rL~*~*
^<-
major.
Short link.
varied,
Repetition,
sentence.
&C.
ist
Short Coda.
The
N.B.
effective
cr.
most
com-
pass of the flute

is
(4)
of
from
Introductory Voluntary for Organ or Harmonium.

Moderate.
ist
sentence,
16 to 20 bars,
mainly in F major.
2nd sentence, 16 to 20 bars,
mainly in C major.
Repetition
of
ist
sentence,
same
differently
melody,
harmonized.
Coda on a tonic pedal.
"
"
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
other old dances (see Par. 116) the original Minuet consisted of two portions
Bach sometimes used this original form, as in the
(sentences) of eight bars, each repeated.

following (from No. 4 of the French Suites)
Tranquillo (J
108).
tr
Minuet and Trio Form,
139
tr
tr
N.B.
In his later Minuets Bach generally extended the second part to double the length of the
first
part.
As instrumental music became developed, a second Minuet in some related key and
of a quieter character was alternated with the first.
They were" marked
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.
The term "
trio
"
is
now
applied to
many
other middle portions contrasting with other portions
of a piece.
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
:
longer than the
first
Haydn and
repeated
(6)
Mozart,
is
as follows
Second portion, generally
repeated.
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.
II.
key
in
;
A CODA
is
sometimes added, to be played after
III.
MENUETTO.
Symphony
TRIO.
in
G minor,
MOZART.
140
^*-F
March Forms.
141
3:
g_f
EXERCISES
Write marches (slow or quick at
and F major, and B, E, A, and C minor.
:
on these models
discretion)
in the keys
of A, G, D,
They may be written

of expression
(b)
for pianoforte, organ, or
harmonium
at pleasure, in
and phrasing added.
The
"
three-sentence paragraph
"
or
good
full
chords, with
marks
"
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
Bb major, and D, F, G, and F# minor.

"
Form.
(c) The "Minuet and Trio
N.B. The old alternative Minuets might be both
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.
Allegro moderate.
MARCHE HEROIQUE.
i
r#
:5=zz
SCHUBERT.
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
Note the
in this
elision of
form the student

a bar here.
The
last
War March of
may be movec
note of one phrase
i.
made
the
the Priests
first
may
note of the next.
serve as
143
War March from
Athalie.
WAR MARCH FROM
ATHALIE.
144
ft)
-&ftr
,.
Dance Forms.
(a)
to
(k)
to (p)
(h)
145
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).
;
ist sentence
to
(k)
2nd sentence
(a)
to
(c).
(I)
(m) to (n)
(o) to (p)
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.
;
to
(q)
(s)
(r)
(u)
128 VARIOUS DANCE FORMS. Like the Minuet,

"
addition of an alternating
Trio."
many
major.
other dances are extended by the
EXERCISES
Complete each of the following for the pianoforte on the
them have been taken from good popular specimens.
:
out
lines
sketched
all of
(a)
An
BARCAROLE.
imitation of the Venetian Gondoliers' songs, in 6-8 time, and rather
slow.
&c
Grazioso.
2nd
part, responsive,
in related keys,
ist part, Da Capo.
See also Mendelssohn's
(b)
ist part, 8 or 16 bars,

ending in Key F.
"
Songs without Words," Nos.
BOLERO, or CACHUCA.
following rhythms are characteristic
6, 12,
and
29.
wr
The
Spanish dance, in 3-4 time, and not very quick.
f
C
r
r
and
r
r
r
|
BOLERO.
(A) ist part, 8 or 16

in
bars,
ending
Key D.
2nd
&c<
_=
part, responsive,
ending in Key G.
(B) Write a Trio of
similar construction
in
(C)
Da Capo
(c)
of
A ; and
BOURREE.
"
the
short
See No.
Coda
8,
"
C.
Par. 117, page 135.
Add a Trio
to the Bounce already composed,
key of G, commencing thus
:
Key
at pleasure.
in
three-part harmony,
and
in
146
(d)
GALOP.
German
very lively dance in 2-4 time, supposed to be of
origin.
(4) (i) 16 bars, modumajor.

lating to
Repeat, ending in
D major.
(B) (i) 16 bars, G
(2)
major
Repeat.
8 bars,
(2)
8 bars,
E
G
minor
major
repeat.
(C)
Da Capo
(e)
whole of A.
of the
GAVOTTE.
"
Add a
The
Trio
See No.
"
in
also in
following
GAVOTTE
7,
Par. 117, page 135.
C major and A minor
E major shows
to the
Gavotte already composed.
a more varied
"
"
key-plan
(A) (i) 8 bars, E major,
pp, ending in Tonic
(2)
Key.
Repeat
(3)
8 bars,
repeat ad
(4)
(C)
(i)
8 bars,
major, pp (ending in
minor
lib.
of
(i)
(2).
majo-).
in 8ves.
(2)
Repeat
(3)
8 bars,
(4)
Da Capo
Da Capo
Da Capo
and
(B) TRIO.
//.
minor
of
of the
repeat ad
lib.
(i).
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
(A)
||
(i)
f
16
||
bars,
Tonic key
Key
Key G minor
(2)
8 bars,
(3)
Da Capo
of
Bjj,
ending in
not repeated.
;
repeat.
(i).
(i) 16 bars, KeyE^, ending

(B) TRIO.
not repeated.
in Tonic key
;
Dance Forms.
(h)
POLONAISE or POLACCA.
Polish dance in 3-4 time
147
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,
8 bars, A minor,
ending in Tonic key
(^4) (i)
repeat.
(2) 8 bars,
E
(i)
repeated.
12 bars,
(B)
Fed.
(C)
Da Capo
(i)
of the
REDOWA.
C, G,
Fed.
major,
by the 8
followed
bars of
all
keys
repeated.
whole of A.
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.
Da Capo
(3)
of
(i).
Trio of similar
construction in F
(B)
D
(C)
minor, and F.
of A.
Da Capo
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.
Principal paragraph (or group of sentences).
C.
Repetition of A.
First Trio.
D.
Second Trio.
E.
F.
Repetition of A.
Coda, ad lib.
Mendelssohn's Cornelius March
is
a good example of this form.
148
CHAPTER
CANON.
COUNTERPOINT.
X.
MODULATION.
FUGUE.
PHRASING.
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
by this
now turn
is
his attention to the subjects discussed below.
"
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
more than
We
is
eight distinct parts
in
any
rate, singable melodies.
any number
generally useless and
is
or, at
the writing of beautiful
Canon and Fugue, and may be written
of parts
ineffective.
but part-writing
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
132
cannot allow
The student
is,
sufficient
therefore, referred to Oakey's Counterpoint
contrapuntists."
The following
what
are examples of
is
called
"
Free
"
Counterpoint
note against note.
(a) First Species :*
HANDEL.
~
.
Wor
thy
is
!
the
X.
Lamb
:
that
"FT
was
slain.
-JN.B.
(6)
Hundreds
of other
Second Species
examples
two
may
easily be found.
(or three) notes against one.
HUMMING SONG.
(~t
SCHUMANN.
149
Counterpoint.
&c.
SS
S
MAY, DEAREST MAY.
SCHUMANN.
HARMONIOUS BLACKSMITH.
HANDEL.
3 against 1.
Â ^^ ^^ R^~^P\
eatfl
^<"a"f
^^^~ ^pi~f*tf ^~* ^T^ _^tfn
3 =3*_
r-*^r- -J-îLJ-J-^
iji-^-
(_*
BEETHOVEN.
(c)
Third Species
Op.
7.
four (or more) notes against one.
AIR VARIED.
4 against
1.
HANDEL.
_B
_^
150
SCHEHERAZADE.
SCHUMANN.
-Q
)-m
rr
Tr
P ^
&c.
5 (and 3) against
* Fed.
Fed.
N.B.
CHOPIN.
1.
The demisemiquaver
16 against
1.
Fed.
rest counts as
Fed.
one of the
"
Fed.
Op.
32.
No.
2.
Fed.
BEETHOVEN.
Op.
2,
No.
3.
BEETHOVEN.
Op.
2,
No.
3.
Op.
7.
8."
BEETHOVEN.
Counterpoint.
(d)
Fourth Species
Syncopation.
BEETHOVEN.
Op.
FAST ZU ERNST.
(e) Fifth Species

AND 2ND TREBLES.
No.
2.
SCHUMANN.
^s^=Msss=fc^stetfc=
Fed.
1ST
10.
Florid Counterpoint.
BACH.
"Mass
in
minor.'
ALTO.
f&
TENOR
j j^*nr
=*=g==^p=
^ ^
.j
j.
!EgSÊ*jgE^= ESS
__,
=*
J.
^1
i-*-ti^^^
!
//
"
BEETHOVEN.
TREBLE AND ALTO.
i x.^
Mass
in D.
*-
g/->J^
f-\
:î^:(
1
152
jl=gE
I
rf*=
r
&c.
--
r-
133 DOUBLE COUNTERPOINT.*

composed simultaneously so that
bar,
The 2nd bar

and vice versa.
is
the
"
inversion
It is
etc.
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.
of the 1st bar
i.e.,
the treble of the 1st bar becomes the bass of the 2nd
be constructed to
Counterpoint invertible at the 8ve
Double counterpoint
nth, I2th,
"
either
may
constantly employed in fugal writing.

Example of Double Counterpoint in the
8ve.
"
invert
(or
and also
"
at
I5th)
is
in the 12th.
any interval, as 8th, loth,

the most usual and useful.
from MOZART'S
"
Requiem."
mm
Inversion in the 8ve.
jn:j^
Inversion in the 12th (Relative Major).
134
TRIPLE COUNTERPOINT.
upper part.
It
Three melodies, either of which

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

possible arrangements.
Finale, "Jupiter
IST VIOLIN.
Symphony," MOZART
tr
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
,
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
etc.
154
"
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" again
sth, 8th,
The whole movement is a masterpiece of ingenuity.
canon 4 in 2."
enter together, and it becomes a
are quite completed the second
theme
starts in the bass
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
are said to be
ad,
placitum.
canon has
free parts for various
instruments.
The
free parts
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
^^-J-44d^=J^=bU=î
^=J r?
r~NP*r^ ~T~^
'
r
r
&c.
A
(or triple,
Canon
"
"
by augmentation
quadruple,
Canon
"
is
one in which the notes of the consequent are double
is one in which the notes of the consequent are shorter (onethan those of the antecedent.
by diminution
half, one-third, etc.)
at the
etc.)
those of the antecedent.

"
In the following, by Cooke, the antecedent in the bass

in the treble by Diminution
same time,
is
given in the tenor by Augmentation, and
r7jj-J jjrj=3
&c.
=^
"
per Recte et Retro
same time, producing two parts in one.
Canon
"
is
one that
may
be sung forwards and backwards at the
Example from SIMPSON.
i
little
Many other varieties of

practical value.
Canon were invented by the old contrapuntists, but they have
(For Canonic Imitations, see Chapter VIII.)
156
138
FUGUE.*
Fugue
is
a composition developed from one or more short themes
accordance with the following principles
essential features of a fugue are
The
(i)
in
The SUBJECT
The
Subject
The Answer
(or
THEME),
(2)
the
ANSWER,
(3)
the COUNTERSUBJECT.
usually a short, definite theme of from two to eight bars in length.
is
the transposition of the Subject into the
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)
EPISODES
but not absolutely necessary
features of fugue are
connective passages, generally based on some fragment of the subject or
countersubject.
The bringing closer together of the entries of the subject and answer in
canonic imitation.
(2)
STRETTO.
(3)
Dominant or Tonic PEDAL
(or
Cherubini enumerates the following

(1)
(2)
"
ORGAN-POINT).
artifices
"
which
may
be used
in
fugue
Imitations of every kind.
Double
Triple, or
Quadruple Counterpoint.
(3) Inversion of the subject in contrary motion.
new
which
be combined with the
(4)
Introduction of a
(5)
Various forms of stretto.
(6)
Using subject and
(7)
Combining subject, countersubject, and
(8)
Augmentation or Diminution of the subject.
No
fugue ever contains
subject,
may
first
subject and
countersubject.
its
inversion together in contrary motion.
these "artifices,"
stretto
on a pedal.
and hardly any two fugues are cast
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
the same mould.
(see
all
The
Chap. XI).
"
"
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.
It
See
"
Fugu." Higgs: Novello
&
Co.,
is.
Awake
157
the harp.
AWAKE THE
HARP.
HAYDN.
Creation.
10 BARS
CHORAL INTRODUCTION.
,J
+1&f-=^
f^
ffÊTT
i-^-Ltt
aLJ7ij-//j
gc
s^^
-r/^T
J_l
.&
r^-g
J^^ JJ^J-J-^
^
TT^
A
^g^f
158
14 concluding bars based

partly on the Introduction
and partly on the Fugue.
Modulation.
159
SKETCH ANALYSIS OF THE ABOVE.

The EXPOSITION,
(I)
or
first
(a) Subject in Bass,
(d)
Answer in Tenor, Key A.

Subject in Alto, Key D.
Answer in Treble, Key A.
(e)
Subject in Bass,
(b)
(c)
These two
N.B.
enunciation of the theme by

Key D.
bars,
Key
to
(e)
all
the parts in turn
to
(a)
(/).
D, imitated a bar later in Alto.

give a
(/),
"Redundant Entry"
in the Bass,
and
also
serve as a connecting link.
The MIDDLE GROUP OF ENTRIES
(II)
Most of the
N.B.
(/)
(g)
(/)
(/).
entries in this part are in related keys,
and the whole
is
freer in style.
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)
(III)
to
(h)
(I)
(/)
Subject in Treble, A major.

Short episode. The accompaniment
"fills
in" here, and leads to thestretto.
FINAL GROUP.
(m) Regular stretto in
the parts, in reverse order to the entries in the
all
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.
MODULATION.
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
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
(a)
Number
of flats in signature.
7~
Cb
Gb
Db
Ab
A\>
E\>
B\>
"7
Eb
Bb
C
A
of sharps in signature.
34"
E
i~
F|
five
F#
C|
G$
DJ
A*
5^
ATTENDANT KEYS.
Of a major key
the key on the right and that on the

two, and also that of the principal key.
(i)
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.
"
Thus from key G to" key B we count D, A,"E, B, i.e., four sharp removes."
Similarly from key Bb
from A to Bb we count (along the left) D, G, C, F, Bb
two sharp removes
to key C we count F, C
"
"
etc.
removes
From key C to key E minor
five flat
The
methods
of
is
one sharp remove to the minor,"
modulation are
DIATONIC MODULATION.
(I)
common
three
"
By
Diatonic,
(i)
(2)
using a modulating
we
are leaving and that which

Example C major to E minor.
to the key
we wish
etc.
Chromatic,
"
(or
to enter
(3)
Enharmonic.
transmutation ")
chord
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.
CHROMATIC MODULATION. This may be accomplished

The following are among the most usual
(a) By the dominant 7th of the new key
(II)
ways.
in
an
infinite
number
of
Transient modulation to Bb.
A noteworthy
new leading-note
modulation of
By
kind
is
minor, and
that of " five
flat
removes," by retaining the old tonic as the
(b)
this
<",
to Db.
to Ab.
regarding a chromatic concord of one key as a diatonic concord of another

C major to Ab major.
Subdominant
of
Key C
submediant
major.
(L)
minor
triad
quitted
triad
of
as
Ab
161
Modulation.
minor
to
Afc>
major.
*
Neapolitan
6th
(TA&)
of
C minor quitted
of
major.
r-^
as ist inversion
Subdominant (Fb) of Ab
EEEEÊEEE=E=H
regarding a diatonic concord of one key as a chromatic concord of another
By
(c)
reverse of
(b)
the
major
to
major.
Tonic Triad (D) of Key C

quitted as chromatic concord
on the minor 6th ( ma LA) of
i=il
KeyE.
major to
minor.
First inversion of Tonic

Triad (D6) of Key Dfr quitted
as Neapolitan 6th (TA6) of C
minor.
w
-fc-^
(III)
-H
^==^=N
i
ENHARMONIC MODULATION.
methods are usual

(a)
This also admits of infinite variety.
The
following
By enharmonic
treatment of the diminished seventh
F minor
to
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)
to
By
B
quitting the
Dominant 7th
as
if it
were an augmented 6th
minor.
=t
I
The
Ffl at
is
quitted as
if it
were
to
major.
162
F major
to
major.
II
The Bb
N.B.
An augmented
at
is
quitted as
if it
were
AJ!.
6th can be so manipulated as to effect modulation into at least
17 other keys.
(C)
By
augmented 6th as
quitting an
if it
were a Dominant 7th
the reverse of
(b)
major to Gb major.
&&==
"*rs
The
BJJ at
is
quitted as
if it
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
Some
PHRASING.
The term " Phrase " is used with different meanings by

word to mean what we have preferred in this work to
theorists use the
different writers.
call
"
"
section."
"
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.
The
passage, therefore, consists of four phrases.
163
Phrasing.
MO'TIVE
a longer theme
is
pronounced Mo-teev'}
(also
is
developed.
(either
a short figure, passage, or theme, from which
FIGURE, as used in the above sense,

melodic or rhythmic)
is
distinct
any
and
significant
group of notes
BEETHOVEN.
Melodic Figures.
'
P-+-0
Rhythmic
W 9
[-0
14,
Symphony
in
2.
minor.
B^
BEETHOVEN,
Figures.
We have already
No,
'
MOZART,
Op.
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.
No hard and
"
"
can be laid down for
"
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
his
rules
articulation
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
XI.
RONDO FORM. PART-SONGS. CHORUSES. ANTHEMS. CANTATAS.

ORATORIOS.
141
OPERAS.
OVERTURES.
RECITATIVE.
A RONDO,
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
three times in the
RONDEAU.
(a)
mf
LES TENDRES PLAINTES.
J.
P.
RAHEAU
(1683-1764).
Andantino.
tr
-&
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.
;
music in which
It refers to
(as in
"
POLYPHONIC AND HOMOPHONIC Music.
143
Fugues, Canons,
Polyphony
is,
all
Polyphonic means
many-sounding."
the vocal or instrumental parts are of equal importance
etc.).
indeed, only another
are regarded horizontally.

Chords are, of course, produced
is melodic rather than harmonic.
name
for
"
florid
counterpoint," in which the parts
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
(2)
rhythm)
Homophonic,
Vertical
Harmonic,
Treble
the
chief
melody
(St.
(all
Matthew).
parts
same
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
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
of a song.
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
The
"
principal
form
"
melody
is
generally in the treble, but
form of the poetry to which it

"
"
through-composed
song
it
may
occasionally be in another part.
music
largely determined by the

varies from that of a simple ballad to that of an elaborate
(See Chap. V.)
of a part-song
is set,
is
and
like all other vocal
163
.
Thus
i ar
*,
the
popular
wiU
Oh
>h, who wiu
o'er the
o^
^^
Downs
so free
"
is
a harmonized ballad (with
materially differ from

"
"
sacred part-songs
in truth,
many modern
re,
Treble part of
*_9_ = -
i=<^
=3=
"Oh, who
will o'er the
E3^=EE^3=:
Downs?"
The Madrigal.
The student
lines, its
form
is
will
have no
difficulty in analysing this .piece.
167
Though constructed on such simple
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.
if
we
refer
possible,
The accompaniment
above
to all the
simply a duplication of the voice parts, and
is
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
SWEET LOVE.
AGAIN,
(MADRIGAL.)
S.A.T.B.
JOHN DOWLAND,
'
i
!
i
i
gpEBEpp
j?=fc3=
-pz f
.--5-
g-
1597.
168
ores.
I
sigh
weep
Glees
and Choruses.
169
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
sung by
Any
may be consulted
"
merrily we live " (Este).
Where the bee sucks
(W. Jackson).
"
Glorious Apollo
(Webbe).
When winds breathe soft" " (Webbe).
of the following typical glees
"
"
"
"
"
"
"
"
"
"
"
"
How
Thy
O "Harmony
voice,
O happy
Here
(Webbe).
fair
(Shield).
"
in cool grot
(Lord
" Mornington).
soft, ye winds
" (Paxton).
(Mazzinghi).
shepherds, tell me
"
the
times
Five
(Storace).
taper's
by
" light
Breathe
Ye
The Red-Cross Knight

"
(Callcott).
Hark, the lark
(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.
"
"
N.B.
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.
"
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
When, however,
(See Par. 63, Chap. Ill), and this holds universally" in musical composition.
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.
"
of singers,"
146
The
most of what may be called the "regular

following include
"
ejaculatory phrases."
forms"
of choruses
as distinguished from
(i)
harmonized Choral or Hymn-tune.

I
the
BACH'S
i-*l
St.
Matthew Passion, No.
16.
/T\
:=f
-F
am
&T- if
^*
*J WJi*"T~
trai
tor,
No
sin
than
mine
is
r ^J3
ft
I
great
er
Would 'st
170
TN
3E5*E
?
r-*r
me
cast
in
*
j
>
*):
my
all
to
hell,
j
*
rr^'i
With
-J
c
FT"
mind
griefs re
^
The
me,
r
fet
hea_- vy
worst
my
bind
ters
would me
soul
Of
me,
well.
rit
jjaj.
=SS
I
I
See also Mendelssohn's
Hymns
Legend
an example
is
(2)
St.
are used in a similar

of
Paul, Nos. 3 and
way
9.
in Stainer's Crucifixion ;
"
gladsome Light
"
in Sullivan's Golden
extended hymn-form.
Choral with instrumental prelude, interludes, etc. (sometimes with an elaborate

Frequently the interludes are developed from phrases of the
accompaniment throughout).
Choral.
One
of the finest
examples
the concluding chorus of Bach's Christmas Oratorio
is
2nd phrase.
pnrase.
1st
<r-
phrase of Choral.
-j=
Instrumental
2 bars
Interlude.
prelude,
12 bars.
12
Ji
-J
fcss
^ppts^r^
(ffife
3rd phrase.
Jj
m
-
4th phrase.
1-
41 bars
.;
ff-i:
r^rj-
r^FpP^P
2\ bars
Interlude.
Interlude.
^sss^sfe^
5th phrase.
3 bars
Inter -
<
lude.
All the vocal phrases
6th phrase.
5 bars
Inter lude.
have orchestral accompaniment
11 bars
Post-
^M^^
in
lude.
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.
:
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)
(5)
The
X.)
chorus
St.
last
Paul.
stately Introduction
Examples
"
in homophonic style
followed by a Fugue.
"
Father, whose almighty power," Handel's Judas ;
Worthy is the Lamb," Handel's
Messiah.
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
much used
a favourite and effective form of chorus

"
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.
:
the
Awake,
"
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).
;
(7)
the chief key
is
(a)
(b).
ist
Theme,
Examples:
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.
is
"
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)
theme
upper
"
in oratorio.
pure in heart," Sullivan's Golden Legend,

Other examples may easily be found.
beautiful
The
is
essentially a short
unaccompanied
older composers sometimes constructed choruses on a Ground Bass, a short

repeated over and over again in the bass (or instrumental bass) with varied
(or passage)
(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
study
may
be consulted for general
"
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.
"
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.
to ii
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
is
following
of
list
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
O
O
was
glory," Wise.
in the spirit,"
Blow.
give thanks," Purcell.

praise the Lord," Aldrich.
God
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.
is
Hear
my
The Wilderness," Goss.

150
The following
also represent different types of
"
"
"
"
"
"
"
"
"
"
"
"
anthem which may be
of interest
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
is
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).
O
O
What
are these ?" Stainer (Novello).
Lord,
how manifold," Barnby
(Curwen).
Ye shall dwell in the land," Stainer (Novello).

"
O heavens," Sullivan (Boosey).
" Sing,
Like as a father," Hatton (Curwen).
"
Ponder
words," Sawyer (Novello).
my
HYMN ANTHEMS
"
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
and Operas.
Oratorios
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.
COMMENCES.
to St. Cecilia's Day," Handel

Acis and Galatea," Handel
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
(B)
a short
Ending
recitative,
"f
Beethoven wrote four overtures to
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
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
work.
The
fourth
is
in
major.
in a different key.
WORK.
COMMENCES.
Matthew Passion," Bach

Joshua," Handel
Joseph," Handel
Hercules," Handel
Susanna," Handel
Jephtha," Handel
Esther," Handel
Athaliah," Handel
Semele," Handel
St.
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,"
La Sonnambula,"
II
ENDS.
Schumann
Bellini
Barbiere," Rossini
Queen," Sterndale Bennett
May
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
ENDS.
C minor
D
D
F
D
D
D
D
D
D
D
D
D
major
major
major
major
major
major
major
major
major
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
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.
(l)
As
usually printed.
And
ffp
r'
cry
un
her
to
175
"he Composer's
176
(l)
fL
As
printed.
tiff
*~i
f'F
Handbook.
177
CHAPTER
XII.
ACCOMPANIMENTS IN GENERAL.
(SEE ALSO CHAPTER V.)
156
ACCOMPANIMENT FOR STRINGED ORCHESTRA.

The stringed orchestra consists of ist violins, 2nd
157
THE
(A)
violins, violas (also called altos or

"
The Strings."
Collectively they are called
and double-basses.
tenors), violoncellos,
VIOLIN.
N.B. The ist and 2nd violins play on the same kind of instrument, the and
the second line of the music.
The
violin has four strings
The highest
Violin
ist
but
string
is
*s
called the ist (or E) string, the next the
2nd
(or
write any note for the ist violin
A) string,
Any
etc.
from
not advisable in early exercises to go above
E
2nd Violin
from
tuned thus
The student may
violins playing
note from low
to about
is
the best range for early work.
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.
is
easy
when one
;
may be also marked Violino Primo, Violino l mo Vno

be marked Violino Secondo, Violino 2 do Vno 2 do or Vn 2, etc.
In scores, the ist violin
and the 2nd
violin
may
(B)
THE
VIOLA.
The
four strings are tuned thus
mo
,
or
Vn
im,
etc.,
gj_
xl
.j
DA
~
But
as the alto clef
is
used, these notes appear thus
C
The easy range
range appears thus
It is
is
from the
low
C-
up
to
about
[]^~
In the alto
clef this
to
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
THE VIOLONCELLO.
(C)
The
viola
four
the
E|=j
of
strings
are
violoncello
an
Eas Y range up to
J:
C
The tenor
octave
lower
clef is
of
the
=î=
^(jgj;
~F
G
than those
G~~
sometimes used
for
high notes (and the treble
clef occasionally for
very
high notes).
Double-stopping
is
not
much wanted
an octave
in simple music, but
is
always good
.0.
er
when
the lowest note

Fifths are also easy.
The
(D)
violoncello
is
is
one of the three lower strings
generally called the
THE DOUBLE
The
'cello
"
(plural 'Celli
On
both,
or, Anglicised,
" 'Cellos
").
fJjp=
four-stringed bass, tuned
i"
r--^
The
effect.
[|
three-stringed bass, tuned
(2)
|^@=^ =|^~p
BASS.
Double-basses are of two kinds

(i)
"
Q "
F(^j
notes sound an octave lower than written.

"
"
"
"
or
Contrabasso
is generally marked
Basso
in scores.
all
The double-bass
or
"
The
N.B.
Bassi
158
"
'cellos
and basses may play from the same
or a separate line
How
may
line
which
is
then marked
"
'Cello e Basso,"
be allotted to each.
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
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.
of full chords,
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.
On
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)
allowed
and
effective
179
String Accompaniment,
EXAMPLES OF TYPICAL METHODS OF STRING ACCOMPANIMENT.

(160)
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.
Violin II
Viola.
Voices.
Bassi.
fjEM
180
BEETHOVEN. Mann
Violin
Violin
^
I.
F.
II.
r
I
in
C.
*
fj
i===F
Viola.
Voices.
/"l
m
Tel!.
Mass.,.
(SSS
^
^
fj'
^
/C'.
^
r
y^-
^^
^
I-
etc.
Siring Accompaniment.
181
WEBER. Der Fnischuts.

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

Violin
Violin
praise to
Him who giv
araise to
Him who giv
eth
eth
MENDELSSOHN. Elijah.
ere.to.
Violins
i&
2.
Viola.
Lord
Voices
i>
r,,d,thp
Lord
is
3*
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
j*
Voices.
Violin
I.
Violin II
Viola.
Bassi.
Allegro.
shown :-
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.
V1U1JU1S
1&2.
Viola.
in c.
186
MENDELSSOHN. Hymn of
Violin
Violin
Praise.
^ffM ru=&
I.
II.
Viola.
S.
Al.les.was O.demhat
lo.be den
Hernn
Halle .lu
jah lo.be den Hernrt
jah.Halle .In
jah lo.be den Hernn!
-v
A.
Al.les.was O.demhat lo.be den Hernn.Hal
le
T.
was
B.
lu
O.dem hat
lo.be den Hernn,Hal-le
f;
lu.jah,
r
was
O.demhat, lo.be den Hernn.HaUe
ff
lu
Halle .lu.jah
lo.be den Hernn!
jah,Halle .lu .jah lo.be den Hernn!
^f
<*^
Organ/
Bassi.
(B.)
Doubling the voice parts with modifications of rhythm, syncopation, repeated notes, etc
BEETHOVEN. Mass
Violins
1
&2.
Viola.
Voices.
Bassi.
in c.
188
HANDET, Joshua.
Violin.
Soprano
voices.
ts
tow'rs,
Glo
the
ry
to
pond'rous
ru
God,
in,
the
the
strong
pon
d'rous ru
I.
Violin
in
the tott'ring
walls,
falls.
MOZART. Requiem Mass.
Andante.
Violin
cem.ent.ed
Viola.
^
rVoices.
Do
min.e
ti
bi,
Do
min.e,
m
lau.dis
of
fe
ri.mus
E
Bassi.
gr
eÊF
F=?
189
Prestissimo. J 132.
Violin
BEETHOVEN. Choral Symphony.
Violin II
Viola.
Voices.
Bassi.
190
SPOHR. last Judgment.

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

Violin I
Violin
Viola
S.
T.
B.
Bassi.
pizz.
"Jr
~~~~
1^
-.
h^
(9
The Composer
192
Handbook.
connective
with occasional arpeggios, passing notes,
and sustained notes agamsl
sustained notes in the vocal parts,
but
line the voice* generally,
ted notes against

in the vocal parts.
notes
repeated
MOZART. Ave Verum.
Violin
I.
Soprano.
Bassi.
lotto voce N. B.
Only the Soprano part
is
given here.
BEETHOVEN. Kyrie,from Mas*
Violin
I.
Violin
IT.
Viola.
S.
A.
T.
B
e
Bassi
lei
son,
lei
cresc.
in C.
Siring Accompaniment.
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.
(5)
HANDEL. Messiah
(a)
Violin
I.
Violin
R
-B-r
Viola.
"7
^rk
s.
-i^=
all
the
an
gels
of
wor
God
all
to
(6)
the
an .gels
of
God
of
God
^&
Let
from Treble;
(b)
Him
ship
Him
pr^r-^f
>
ship
to (O
all
the
from Alto;
an .gels
(d) to
(e)
3$
wor
Him
ship
from Tenor.
HAYDN. Creation.
Violin
Violin
I.
II.
Viola.
Jehovah'spraiseforev.er
shall
en .dure,
A.
ev
er
shall
praise for ever shall

fr
* Note
en_ dure
men, Jehova's praise
endure
Jehovah'spraise,
Je.ho
for
van's
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','
This
is
etc.
composers It makes the accomwith

the voices.
without clashing materially
a favourite form of accompaniment with nearly
paniment animated and telling,
all
FOR HE THE HEAVENS.

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

Violins
And we roar'd
hur
cresc.
Basso
199
STERNDALE BENNETT. May Queen
J .112.
Violin
I.
S3! ^m
Ft 3*1
Violin n.
5?
Viola.
P
hath pass'd
way
^
And
Voices.
Cello.
hath pass'd a
the cloud
pizz.
Basso.
Fl
F^
=F=Fi
3
That was
hea
vy
on
the
J "3
May
And
the
And
the
r
way
That was
^=f
hea
vy,
hea
vy
on
Note that the 2nd Violin, Viola and 'Cello are in unison for the firsi five bars.
the
May:
The Cotnposer's Handbook.
200
STERNDALE BENNETT. May
Queen.
Violins
Viola.
Law
Chorus.
doth
for
claim
pun
J.
Cello.
Basso.
SB
i
.
r
ment,
The
Law
doth
claim
for
pun
ish
ment,
ish
(9)
Detached chords, either following the voices or quite
independent.
201
MENDELSSOHN.
Violin
Elijah.
I.
Violin
rent
And
might
pizz
Violin
I.
Violin
II.
moun
Viola.
i^
3 HE
Bass
Voices
And half
of the rest of usmaim'd for life
r
l/P
pizz.
fh^
in the crash of the
^ r r
**
I
STANFORD. The Revenge
pizz.
^^
tains
wind
the
can
non.ades
The
20k
(l6)
An
Cotrrf>ost'r's
h Mid >ook.
Independent accompaniment, either in imitative figures or descriptive in character.
STANFORD The Revenge.
203
String
CONFUTATIS.
Andante.
Violins.
Viola.
Voices.
Bassi.
Note the fine effect of the unisons.

The other accompanying instruments simply double the voices.
MOZART: Requiem Mass.
204
STANFORD. The Revenge

Violins
1
&2
Viola.
Soprano.
Tenor.
Bassi.
mp
m
a:
FT
*
P3
iqf
*=
P
And
iqf
I*
I*
the state
ly
^m
Span
ish
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)
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
GOD.
MENDELSSOHN.
Violin
I.
Violin II
Viola.
Elijah.
208
161
Ttie Composer's
Handbook.
EXAMPLES OF THE FREE TREATMENT OF THE PARTS

In addition to mere
progression are
IN DOUBLING VOICES.
"embroideries" of the vocal parts, the following freedoms of
common.
Ascending Scale.
VOICE.
==*==
INSTRUMENTAL BASS
Or
(2).
Or
(3).
(1).
=5t
"
VOCAL BASS.
The Heavens
HANDEL.
m -p--P-
IST
&
.
?
..
HAYDN'S Creation.
2ND VIOLINS.
/
(c)
' () (*)
are telling."
iaSS^te
pfpB=t^^^
TREBLES.
The won-der
INSTRUMENTAL BASS.
of
His
work,
-is--
The notation
(1798).
of this passage
Note the consecutive 2nds at
from
Haydn
(a), (6),
(c),
is
"
"
particularly
daring
for the
date
when
it
was written
(d), (e).
Descending Scale.
VOICE.
VOCAL BASS. V
BACH.
INSTRUMENTAL BASS.
"
For unto us."

HANDEL'S Messiah.
2ND VIOLIN.
VOICES.
The
ev-er-last-ing Father,
"And He
shall purify."
HANDEL'S Messiah.
*fe
The Instrumental Bass.
209
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,
may
It
must contain
imply
independent, on the lines indicated above (pp. 192-207).

163
THE INSTRUMENTAL
This, as
BASS.
we have seen,
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
The general
bass voice
(i.e.,
").
Thus the following
is
good
==
VOICES.
INSTRUMENTAL BASS suitable

.p.
(a)
for PIANO,
(6)
(b
HARMONIUM, ORGAN, or STRINGS.
.(c)
(d)
(e)
l^H^^^-^-F-r-L^
(a)
to
N.B.
(b)
doubles Alto
(c)
to
(d)
doubles Tenor
last 3
such cases to use only the 'cello

bringing in the double-basses with the bass voice as at (e).
(d)
It is usual in
semiquavers independent.
(or 'cello
and
viola) to
double the alto or tenor,
Similarly, for piano or organ, single notes are mostly used in doubling alto or tenor
lib. at the bass entry (e).
with octaves ad
But the following doublings
are reckoned
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.
(a)
to
(b)
(c)
to
(d}
is
not
bad
now
the lowest part
as
from
(a)
to
210
EXAMPLES OF INSTRUMENTAL BASSES.

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

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

O REST IN THE LORD.
MENDELSSOHN.
Flute
Elijah.
BTflr
solo.
Violin
I.
Violin
II.
Viola.
Voice.
rest
in
the
wait
Lord,
pa
tient
ly
for
the
Lord,
Bassi.
and
Him,
iii-1
The addition of
He
shall
give thee
thy hearts de
sires;
rest
in
Bassi
the Flute-part gives colour;
it
does not otherwise affect the string parts.
Violin
I.
Violin
II.
eg^
HAYDN.
*i
Creation.
P g-V 3 ?
EB
Viola.
ilr
Soprano
L;
voice.
And
Bassi.
coo
coo
ingi
calls
the
ten
der
String Accompaniments of Solos.
213
HAYDN.
Violin
I.
Violin
II.
Creation.
Viola.
Soprano
; ;
voice.
Most
beau
ti .
ful
ap
With
pear
ver
dure young
pizz.
Bassi.
Note the pizzicato bass against the flowing violin parts.
ly
slop
inghills,the
gent
ly slop .ing
hills,-
21A
Violin
Violin
I.
II.
Viola.
Solo.
For
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."
cornet,
168
Some of the following wind instruments are

euphonium, and perhaps tenor horn.
also generally available
P
r
Jf
i
vJJ
\\
3:
flute, clarinet,
THE FLUTE.
8va.
-<^>-
The eight-keyed
flute
has
from
compass
higher with exceptional players.
Except
'^/
in solo passages the lower notes
-^~
to
F>z:
even
or
tr~
can hardly be heard, and the very high ones
are difficult for amateur players.
For ordinary work the student
169
in
is
advised to keep within the range from about
THE CLARINET (or CLARIONET).

Clarinets are made at different
(producing the notes
"
pitches.
exactly as written ")
On
account of
is little
its
piercing tone, the clarinet
used.
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
to about
E
N.B.
These notes sound a major and lower on Bb instruments, and a minor 3rd lower on
A instruments.
b&
-Q-
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
Music (Curwen).
15
of
more advanced
treatises, see the
Appendix
or
RÊ
=F1
of the author's Cyclopedic Dictionarv of
218
The tones from

and
"
"
not so good.
"
the
for nourishing the
It is
chalumeau
The
harmony.
"
medium
clarinetto register," the tones bright
(from
:)
are rich
register,"
and
full,
register,"
From
the least effective part of the clarinet range.
"
register
"
In combination with other instruments, they form good
slightly nasal in character.
holding notes
is
called the
fly
and
clear,
and very
requires to be used with
much
The
effective.
caution.
The
"
super-acute
clarinet,
which
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
"
in military
thing
"
registers are difficult to finger
clarinetto
THE CORNET.
170
The cornet properly Cornet a

The most usual size is pitched
band.
it in A, Ab, or even G.
The Bb
written notes
cornet, like the
the
The range
cornet, a
of
the
Bb
in
clarinet,
minor
cornet
is the treble instrument of an ordinary brass

''
Bb, with additional tubes (or
crooks") for setting
pistons
produces all its sounds a major 2nd lower than the

than the written notes.
yd lower
is
(as
written)
from
notes are rather poor in quality and should only be used for
players
it is
not advisable to write above
some
The lower
upwards.
special effect
for
amateur
or
THE EUPHONIUM.
171
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
is
is
The
upwards.
*F*
euphonium
The upward compass
lower.
^^_
is
downwards
very extensive.
E or even a few notes
to
An
ordinary player can easily reach
or
F
172
with four valves easily extends
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
with strings a tenor horn in
th lower than the written notes,
F is
of Instruments.
best.
The tenor horn
219
in
produces
all
sounds a perfect
thus
_Written.
Sounds produced.
173
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
etc.
N.B.
Only the compass advised
for orchestral use is given.
FLUTE.
CLARINET.
-F1
E)
or-
7~to
_n
E
CORNET.
TENOR HORN.
:to
EUPHONIUM,
3 VALVES.
EUPHONIUM, 4 VALVES.
FIRST VIOLIN.
220
SECOND (OR THIRD) VIOLIN.

Ito
-I
e*
G
--
-O-
VIOLA.
or
:to
VIOLONCELLO.
CFG
DOUBLE BASS (CONTRABASSO).
TRANSPOSING INSTRUMENTS.
174
"
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,
.
it
if
the following passage were allotted to the clarinet (or cornet) in B[>
^=
__
would be written
in the
Key
^?:-
of
(which
is
a tone higher than the key of
Clarinet (or Cornet) in Bb-
Similarly,
it
if
the following passage were given to the tenor horn in
would be written thus
C), as follows
Transposition Table.
22i
TRANSPOSITION TABLE.
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
keys
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
higher.
1
Signature 2
2 sharps more) than for the Strings
flats less (or
Jt
Clarinet and Cornet in A.
Write
all
notes
Two
degrees higher.
A
Tenor Horn
Write
all
Signature 3
instruments not used
flats
more
Bb much
(or 3
sharpsêss^tha^for
the Strings.
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
Clarinet
and Cornet
Bb instruments
instruments
in A.
->r
Tenor Horn
rarely used
better (as below).
TI
in F.
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.
but
it is
clarinet
and the
cornet.
The concert flute, being a non-transposing instrument, has the

as the strings.
same key signature
222
HOW
175
TO USE THE
WjND INSTRUMENTS.
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
in
strings (as sho\
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
If the five
fairly
If only two or three instruments are available, the composer

as far as possible on the principles enumerated below.
N.B.
for
them
rather a
his ingenuity to writ
of ten instruments.
impossible to give all the effective combinations
of usual arrangements.
It is
is
must use
The
followii
list
not necessary to have ten separate
(1) It is
and independent parts
(five for
wind and
five for strings).
(2)
Either of the wind instruments

all
the strings
may
(a)
by
(b)
by a selection of the strings
(c)
by
(d)
by some
strings
The solo instrument may also

practically as if it were a 50/0 voice.
solo.
This
may
be accompanied
and some
(or all) of the
of the other
(or all)
play a
other wind instruments
wind instruments without
strings.
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)
(5)
wind instruments may play a duet,

any of the ways already suggested.
selection of
or else accompanied in
The whole wind band may
(in
unison or octaves),
trio, etc., either
alternate with the whole string
band
unaccompanied,
(after the
manner
of a double-chorus).
(6)
by any one
(7)
"
(8)
The
strings
may have
all
Two
or
more
and the leading melody

unison or octaves).
the essential parts,
more) of the wind instruments
(or
string parts
may
(in
may
be doubled
be doubled by wind instruments.
All (or any) of the wind instruments

"
"
or
reiterated notes."
may
"
nourish
"
the
harmony by means
ot
holding notes
(9) Some wind instruments

holding or repeated notes.
(10)
solo, duet, etc.,
wind instruments
N.B.
(or
may
may
play
(or double)
be given to strings and the accompaniment furnished by
by wind instruments and the other
Whatever number
give as far as possible a complete

reference to the strings.
melodic passages while others have
strings).
wind instruments may be employed they should in themselves

harmony (either in one, two, three, or more parts) without
of
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.
223
Orchestral Sketches.
176
ORCHESTRAL SKETCHES.
Before writing out the parts in

on four staves as below
full
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.
The piano does not blend quite
perfectly with the orchestra, but
it
is
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
We
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.
Composer's Handbook.
A LOUD PIECE. The
(1)
instruments forming one mass of tone.
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.
at
laid down.
Ordinary
Piano
arrangement.
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
'
f^F
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.
is in B', its
notes must be written one
1st Violin.
to
2nd
Violin.
.'>ni
Violin.
The strings are essentially in 4-part har

increase the fulness of the chords.
Bassi.
Or plain notes,at pleasure.
ony, with occasional ''double stoppings"
A Loud
225
Piece.
Cs
Cort.
Horn.
^s s
A)
rail.
Euph.
pi
Ist.V.
rall.
3rdV.
rail.
Viola.
Bassi
ra//.'
The Composer' a Handbook.
226
(2)
HARMONIZED MELODY OF QUIET CHARACTER.
JENNY JONES.
WELSH MELODY.
5
Ordinary
Piano
arrangement.
>nf
Flute.
Clarinet
Bk
in
Cornet
in
Bk
The brass fills up in 3-part
harmony of sustained notes.
Tenor Horn
in
F.
Euphonium.
1st Violin.
2nd Violin
3rd Violin.
m
^
Viola.
Cello arco
kJ
Cello e Basso.
'
Basso
*-
71
r r
pizz.
>
^T
^T
Note the good effect of the pizz notes here.
Jenny Jones.
r-4
4
-p.
Pf.
227

228
Easy and effective "shake
violin doubled
wind instruments
for "colour"
Jenny Jones.
Unison passage for full band
Cort.
Variation of the melody.
229
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.
Pf.
fz
Note detached
chords except
for Pi.and Cl.
231
232
ad lib
Pf
Fl.
Fl. C!.
and Cornet
play melody.
Cl.
Cort.
glower
/^\
a tempo
CHORUS.
233
Hearts of Oak.
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
Clarinet
Cornet
Horn
in F.
Euphonium.
ff{f
Slow and expressive.

1st Violin.
2nd Violin.
3rd Violin,
Viola.
Cello e Basso,
iakrpt oilcnt
Annie Laurie.
Pf.
<
Cello
e
Basso.
235
236
lute doubles Cornet(8ve higher) for tone colour.
237
A March.
(5)
A SIMPLE MARCH.
S maestoso
Condensed
arrangement.
^fff
Flute.
Clarinet
/.. 8
Cornet
in
Horn
Bk
mf
maestoso
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
March.
239
1.
Mi;
Pf.
I
IT
Fl.
Cl.
^^
Cort.
Horn.
^ ^
Euph.
IstV.
2ndV.
3rdV.
Viola
Bassi
JT3.JJ J
ffl^F^
n
T
I
Sg
^^
240
fo5r.^.nfl &
Pf.
Fl.
Cl
Cort
Horn
Euph
p
istV
2nd
V.
F
:r
f^f
i
3rdV.
Dtp
Viola
^^
^ p
s
Cello arco
Has si
tup
Basso
March.
241
Repeat from A
Pf
<
Viola.
Bassi
to
242
TRIO.
Pf.
Fl.
tt
Cl.
Cort
Horn
SOLO.
Pî
Euph
IstV.
3rdV
f
Viola
Bassi
243
March.
poco
J.
J'j
rit.
IJ
Pf.
f
Fl.
f
Cl.
f
Cort.
Horn.
^
^=tf=E
Euph.
IstV.
2ndV.
3rdV.
Viola.
Bassi
>
rit.
244
Pf
Bassi
fa tempo
245
March.
Repeat 1st part (from
to (A)
F*
Pf.
am
i
Fl.
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"
p
Sketch.
J4
Flute.
Clarinet
**
in
Bk
^
Horn
J.J*
^fca
Cornet
in
ig
Bl>.
in F.
>j-r
Euphonium.
Violin
I.
g?
/*
A
Violin
II.
Violin IH.
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
Si
Sk.<
^ f
If-
Fl.
Cl.
Cort.
^*
i
Horn.
Euph
IstV.
3rdV
Viola
Cell<
Bass(
@^
S 3 W^
P m
^
fS
^^ ^ ^^ ^
248
ato
frg
Sk
"
cresc.
Fl.
cresc.
5
cresc..
Cort.
cresc.
^
^
Horn.
cresc.
Euph.
IstV.
cresc.
^-r-
cresc.
8rdV.
cresc.
ii
Viola
Bassi,
Basso
Waltz Movement.
249
Fine.
pp
din
250
Fl.
Cl.
Cort.
f
Horn.
Euph
Ist
3rd\
Viola
Bass
251
Waltz Movement.
&
fz
r^
Fl.
Cl.
Cort.
r
Jz
Horn.
Euph.
IstV
2ndV
IT
7"
3rdV.
Viola
*-*
fz
Bassi
>
252
Fl.
Cl.
Cort.
cresc,
Horn
P
Euph
cresc.
m
f
&
cresc.
*
P
._
17
3rdV
Vicla
^ ^s^
cr<?.?e.
cresc.
Bassi.
Basso pizz.
crett
[
253
Waltz Movement.
D.C.
Sk.<
Fl.
Cl.
D.C.
Cort.
Horn.
ff
Euph.
IstV.
Hi
3rdV
ff
Viola.
Bassi
fff
ff
W
^S
254
CHAPTER
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.
FORM
IN
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
of these features has been gradually modified and developed by the introduction
"
which one composer after another has added
artifices" modes of expression
Each
of various
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
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.
I.
EXPOSITION
II.
III.
DEVELOPMENT. (See Thematic Development below.)

RECAPITULATION the repetition of the Exposition, either exactly
:
some variation
as before, or with
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.
(6)
Rondo,
Octet, etc.),
(7)
(8)
of key,
Sonata
(including
Song, and
(9)
Concerto,
Symphony, Quartet, Quintet,
Sextet,
Septet,
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)
The plan
and
for the classic orchestral
symphony.
First-movement."
of the
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,
"
"
is a
First-movement
prefaced by "a rather long Introduction
"
or Development portion.)
Free Fantasia
and usually has little of the
GENERAL CONSTRUCTION.
I,
EXPOSITION
The
DEVELOPMENT
II,
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
I.
Introduction
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
The Repetition
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.
III.
I,
(a]
or with modifications,
183
ROMANTIC Music
Romantic means
(or Reprise) of
(b)
PROGRAM Music
IMITATIVE Music
WORD-PAINTING.
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
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
as Classics
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
"
"
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
"
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,
;
...
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
The leaping
mi
au,
of frogs, the buzzing of
The howling
of Cerberus.
flies, etc.
GLUCK'S
au!
Handel's Israel in Egypt.
Orfeo.
Voices.
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
257
Word-painting.
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-
dim.
PP
-^Gi
Whisper thy love
me
to
* - 9 Ly
A
T -*---*1
Praise ye the Lord with a
"
(as in
PPP
:=SE
|zrq
It is equally ridiculous, in general, to try to

paint"
the following arrangement of the last part of the tune
"
itzpzi
L -J
r-t
E^~-
&c.
f-3
loud
each separate word or phrase
Melcombe
")
P Lanqui shingly,
when
will
our
all
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.
"
beasts the ground is trod,"
a little grotesque (as for example when at the words
"By heavy
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
Samson.
So
mean
tri
umph
dis -dain.
"
disdain
"
258
When
184
not carried to vulgar excess, word-painting
LEADING THEMES.
"
Leading Theme,"
action,
a valuable means of expression.
(pronounced Light' -moteef'} is a typical theme,

of some person,
or motive, recurring repeatedly throughout a work, and representative
figure,
is
or Leit-motiv
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.
(See Imitative Music, p. 256.)

"
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
Ob.
Lento.
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
"
& Co., Novello & Co., and other publishers.)

THEMATIC DEVELOPMENT.
"
"
By Thematic Development is understood the varied
figure, to bring out some of its infinite resources.
Hartel, Schott
185
or
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
:
Motive.
*
I.
m=j:
SIMPLE MELODIC CHANGES
Melody removed
(1)
to
or to another key
another part of the scale,
(2)
Intervals contracted
(4)
Melody inverted
Intervals expanded
(3)
^ ^M
3
(5)
Melody inverted and expanded
(7)
(9)
(6)
Inverted and contracted
II.
SIMPLE RHYTHMIC CHANGES
Theme augmented
(8)
Augmented and varied
Notes diminished
(10)
Time
(12)
Notes divided into shorter ones.
:-
(11)
Lengthened by repeating a bar
(or bars).
Varied by arpeggios, addition of passing-notes, &c.
signature changed
(13)
"T
(14)
Varied by
rests,
syncopations, &c.
(15)
Embellished by grace-notes
te^-H^
Any
of the
resulting themes
above
may
^=^-{\ sr=S
fr-j-i
(7 to 16) may also be contracted or extended in interval and the

be transposed, inverted, or transformed.
260
HARMONIC CHANGES.
The Theme or any
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
may
of its modifications,
in different
Harmonized
or minor
ways
(3)
Haydn,
MODES.
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
and
its
higher octave.
AUTHENTIC MELODY.
A Plagal Mode, or melody, is one whose notes

lower Dominant and its higher octave.
lie
wholly
(or principally)
between the
PLAGAL MELODY.
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)
MODERN MODES
(i)
Major Mode
by the Dominant
the ordinary Major Scale.
(2)
chord.
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
These eight modes (with a few others added subsequently) are the Modes or
"
used in what
is
called
"
Plain-song."
TABLE OF THE CHURCH MODES.

PLAGAL MODES.
AUTHENTIC MODES.
Dorian
I.
* r
III.
Final,
Phrygian
EffiEEEEEi
Dominant. A.
Final,
II.
Dominant, C.
Hypodorian
Final,
Dominant, F.
Tones "
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
recognised status in Gregorian music.
Any ot the modes may be transposed higher or lower as long as the order of intervals
maintained.
these
had
little
N.B.
is
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.
;
i.e.,
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
major
triads.
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.)
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
following examples are worthy of the student's attention
of this
DORIAN (or RAY) MODE r to r

Final, Ray; Dominût, Lah.
mode may be found in old national and folk-songs.
1
I.
"Martyrs"
(Transposed.)
+G>^ff-\
;s
;_
._
:r
:-
|t
||
The same, harmonized by Simon Stubbs, Melody
:1
:s
|t
in the Tenor.
(1621).
(Transposed a tone lower than in Ravenscroft).
__a
(Scottish Tune).
|i
Many examples
JEî
IT
pj
UZE?.
t_Q_Q
J--
:-
|r
:
||
Ravenscroft's Psalter
262
"
The subject
the Dorian mode
And
of Handel's fugal chorus,
I will
exalt
Him
"
(Israel in Egypt]
is in
Bb
The
:-
(ta)
fine
Latin tune
"
Vexilla Regis," in the Dorian mode, includes the permissible
From
Gregorian Notation.
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
;
THE HYPODORIAN MODE
II.
to
1,
"
(Transposed a 4th higher).
Ray
Final,
Dominant, Fah.
"
Urbs Jerusalem Beata," from the Salisbury Hymnal."
:a:
r_g"
Is
ry"Q
cj
f2
III.
Ir
||
x->
CJ
rd
d||l|drrrdfs8f||lsfnfsfnrd
THE PHRYGIAN
(or
ME) MODE
Q-/
to
"
is
r||
me ; Dominant, Doh.
Egypt
constructed on this mode (and its
Final,
was glad when they departed," Handel's Israel in Egypt,

plagal Hypo-Phrygian).
/Li*
||frnfslsfn
263
The Church Modes.

to t
THE HYPO-PHRYGIAN MODE
Final, me; Dominant,
TE LUCIS ANTE TERMINUM.
IV.
Words from
"St. Gregory," by
From
COPELAND.
t,
the Vesperale
Romanum
(1702).
Lah.
EfeEErz3=E
zjz=
&
The
ve
hgj
15:
-gj
f~2
N.B.
The se
what
characteristic of
V.
M
is
Light
'fe
Q~
'P'-
Thou
art,
r-
-f
::=:
Q~
chord which always concludes a Phrygian or Hypo-Phrygian composition

"
"
in ordinary text books. of harmony.
Phrygian Cadence
THE LYDIAN
Song
;r
is
called the
most notable instances

"
~^
Jj
of
Light
i^
^~
:z>
:g:
(or
FAH)
MODE
of the use of this
of gratitude, in the
to f
mode
Final,
Fah
Dominant, Doh
One
occurs in Beethoven's String Quartet in
of the
minor.
Lydian mode, offered to the Divinity by a convalescent."

hrj
Gt
b^
mm
^-^r &
264
==
*=e=
<s___
as the 4th of the scale ; also that Beethoven extends

It is, indeed, as much Hypo-Lydian as pure
region.
Note the peculiar effect of Blq

melody downwards into the Plagal
his
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.
of
"
Pater Superni Luminus," a Latin melody in the 6th
THE MIXO-LYDIAN OR
VII.
"
seen to be a melody in
is
(with Bb).
-i*
This
Mode
(Son)
major.
MODE
s to s
1
;
Final,
Veni Creator Spiritus," Old Latin Melody.
J.
J.
Dominant, Ray*.
by
J. S.
i
|
-s-
J.
-J-
"
"
the
one of the
Salisbury Hymnal." Said to be
Mixo-lydian tunes in existence."
" Sanctorum Meritis."
From
Words from Helmore's "Hymnal Noted."
The
r.
tri
Their love
umphs
that
ot
-
nev^
iLA^=^
-i
BACH.
^F
1-C2.
>5
Soh
Setting
Ê^gg
1
"
Bfc
finest
The Church Modes.
265
:o
':-3
For
these
j 4
s^s=
the
lurcn
Church
j-
L-
l^p?=ll
u
nn>j.i
-i
to10-
~r.
day
aay
-J-J.
Pours
t'ours
forth
lortn
ner
her
J-7
j:
joy
ous
lay,
=Ê3--g=l|=3 3
t
VIII.
THE HYPO-MIXO-LYDIAN MODE
"
Trinity Melody."
(Transposed.)
y~
the
"
r to r 1
Mechlin Manual."
Final, Soft
Arranged
(in
Dominant, DoW.
modern
style)
by R. DUNSTAN.
b=rJî
zai
g3~^
gj^j a
187
From
c&~
îÛSUr
J
r^r
=st:
MUSICAL FORMS NOT PREVIOUSLY DISCUSSED

)
(/.,
^Wwtwn'da.)
Also
spelt
Akmam,
ÎnrgraCrmences with rshorTuna^tld note.

H
&c.
*-
Att*m*ig*e,
Almain,
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)
each
Fa
la,
la.
A short song, or a madrigal, with a fa la refrain at the end of
Morley's ballets are good specimens.
or Fal
line or stanza.
J.
l
SAVILE, 1667.
Various Musical Forms.
Romance sans
Roman'za
paroles (F.).
sen'za paro'le
267
(I.)
words.
Romanze'ro
Romanes'ca
(/.).
suite of
"
romantic
"
pieces for pianoforte.
Also called a Galliard.

Romanesque.)
for two persons, said to be a precursor of the Minuet.
(/.).
story or song without
(F.,
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
(/.).
serenade.
little
"
Stab'at Ma'ter Do'loro'sa (L.)
The Lamentation of the Blessed Virgin Mary."
hymn on the Crucifixion, by Jacoponus, I4th cent.
(14)
famous
the best settings of the Stabat Mater are those of Palestrina, Astorga,
Pergolesi,
Rossini, Verdi, Dvorak, and Stanford.
Among
Haydn,
Suite de pieces (F.).
Suite (F., pron. Sweet}.
(15)
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.
in the
Bach
French Suite, No.
5,
major
Allemande, Courante, Sarabande, Gavotte,
Bourre'e, Loure, Gigue.
Handel
Handel
Suite
Suite
(variations), Presto.
Handel
Suite
u,
3,
Allemande, Courante, Sarabande, Gigue.

major
minor
Prelude, Fuga, Allemande, Courante, Air and 5 Doubles
7,
minor
B[?
Ouverture, Presto, Andante, Allegro, Sarabande, Gigue,
Passacaille.
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
(16)
work
for
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
brilliant,
showy
short toccata.
etc.
light comedy with dialogue, pantomime, topical songs,
(F.).
(20)
originated in popular convivial or topical street songs, etc
Vaudeville
It
Toccatel'la.
"to play").
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.
&c.
(3)
WAGNER.
Overture,
"
Flying Dutchman."
HAYDN.
(4)
Op.
&c.
Ac.
HAYDN.
(5)
74.
Op.
64.
MOZART.
(6)
Pianoforte Sonata in
r &&c.
CHOPIN.
(7)
Op.
27,
&c.
No.
2.
S.
(8)
BENNETT.
Overture.
&c.
CHOPIN.
(9)
Op.
62, No.
i.
BISHOP.
(10)
" Should he
upbraid."
&:.
(n)
&C.
BEETHOVEN. Pianoforte Sonata, Op. 27, No.
i.
MOZART.
(12)
Quartet
&c.
(13)
HAYDN.
Symphony
in
&c.
HAYDN.
D.
Symphony
in
C.
Ac.
(15)
CHOPIN.
&c.
Op. 32, No.
1.
CHOPIN.
(16)
Op. 57.
Ac.
(17)
HAYDN.
Op.
103.
&c.
(18)
SULLIVAN.
"
My
dearest Heart."
&c.
(19)
in
&c.
EBERLIN.
Ac.
(20) (a)
HANDEL.
Chaconne
in
G.
F.
Beauty in Music.
269
&c.
MOZART.
(21)
B ^
*
F
FÊ
^'~*
i
Symphony
fEt
in C.
&C.
(22)
Variation of No. 15.
CHOPIN.
Op.
32,
No.
1.
^^-m
CHOPIN.
(23)
Op.
32,
No.
2.
&C.
The
following start with a short preliminary note (or notes)
"
(24)
Hope
told a flatt'ring tale."
BEETHOVEN.
(25)
"
SCHUBERT.
Quintet in Eb-
The Fishermaiden."
&c.
These suggestive extracts, which might be multiplied to almost any extent, serve to
"
"
of a melodic idea.
potentialities
illustrate
some
of the infinite
The student may exercise his ingenuity by inventing other

and with variety of accent and rhythm.
"
variants
"
of
r d, in several different
keys, in different times,
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.
BEAUTY
189
IN Music.
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.
Variety
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
of
si on.
Essential
"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
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.
and
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,
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
But melodic form
we may go
Svm
honic
Form
'
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.
Move-
Gradual Development.
is
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.
m *ê
to the
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.
"
Programme
Music,
Against what
'
'
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
called
programme music
'
"
Beauty
of Subject-
matter.
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."
'
Moods and
Emotions.
'
Impulses from
within.
'
'
Index.
271
INDEX
PAGE
Accent
99
24
25
27
59
59, 63
66
82
24,
Metrical
Divided Beats
Verbal and Musical
s of
s,
Accompaniment
Essentials of an
Art Songs
Duets
of
of
Organ
Styles of
to Ballads
215
-77
59
to 3-part Writing
84
General
s in
177-216
178, 179-216
210-214
265
27, 36, 37
27, 36, 38
String
String, of Solos
Allemande
Amphibrachic Metre
Anapaestic Metre
Answer
156
Anthem
Aria
72
78
Arioso
78
103
Arpeggio
Art Songs
66
57,
Articulation
163
Ascending Passages
Attacco
Attendant Keys
89
168
42, 159
Augmentation
Augmented
115, 155
Intervals
98
260
68
Authentic
Ballad Form, Extension of
Ballads
,
Accompaniment
57~59
59
57
145
209
208
to
Metrical Structure of
Barcarole
Bass,
The Instrumental
Vocal and Instrumental

in Music
Bolero
Bouree
,
Beauty
Cachuca
Cadences
Feminine
,
i35
7,
Harmony
169-171
160
260
of
Clarinet
261
217, 219
Common
Metre
Composition in General
Composition, Materials of
Compound Measures
Conjunct Melody
Contrabasso
Contrary Motion
Cornet
31, 33
i
24
6
178, 220
82, 91
218, 219, 234
Counterpoint
Countersubject
Country Dance
Courante
Dactyllic Metre
148-152
156
265
134
27, 36
Dance Forms
134, 145
89
Descending Passages
Development
Thematic
254, 255, 259
Diatonic Modulations
259
160
Diminished Intervals
Diminution
115, 155
6,
Disjunct Melody
Dorian Mode
Double Bass
Chants
Chorus
261
1 78, 220
15-23
171
Counterpoint
152
88
Duets and Trios
Economy
of
79,
Melody
Effect of Measure on
Eight-lined
97
Melody
Hymns
107
26
49, 52
145
Enharmonic Modulation
161
M5
Episode
156
Inverted
9
- Tables of
13, 15, 16, 20, 23, 30, 38, 41, 42, 44,
46, 47, 48, 50, 52
Cadenza
94
Canonic Imitation
Cantata
15
26
Eights and Sevens
145
16, 30, 38, 53
12, 18
34>
265
Changeable Chant
Character of Measures
Choruses
Chromatic Modulation
Church Modes
269
Canon
PAGE
Cavatina
53
"3
173
Errors of Beginners
Euphonium
35
2
218, 219
of String Accompaniments .... 179-216

Exercises, 8, 9, 10, 13, 15, 17, 18, 19, 21, 22, 23, 33,
Examples
35, 38, 41, 43, 45, 47, 48, 49, 52, 66, 78, 86,
87, 117, 125, 129, 134, 137, 138, 141, 142,
145, 214, 269
Exposition
a Fugue
Extended and Irregular Sentences
of
254, 255
159
129
272

PAGE
Extension of Song
Form
137
263
265
142
Fah Mode
Fa la
Fanfare
Feminine Cadence
Hymns
Five-lined
Florid
Folk-Song
in General
Form
Metrical
Minuet and Trio

Sonata
138, 141
Song
135, 141
255
in
General
Economy
Anthem
Full
Galop
Gavotte
Gigue
...
Glee
Grand Aria
Gregorian Tones
Ground Bass
Harmonic Substructure
of
Melody
Style for
Hymn-tunes
Nocturne
Octuple Time
Homophonic Music
Horn
How
115
Organ Accompaniment
Hymn- Anthem
172
Hypodorian Mode
Hypolydian Mode
Hypomixolydian Mode
Hypophrygian Mode
Iambic Metre
Imitation
Imitative Music
Instrumental Bass, The
Inverse Imitation
Leading Themes
Leit-Motiv
Long Metre
Lydian Mode
Madrigal
Male-voice Music
March
Materials of Composition
Mazurka
Measure
,
s,
Effect of, on Melody

Character of the
Melodic Faculty, The

Melodic Direction
Extent
5683
262
264
265
263
-7, 31
i
i,
19, 34, 811,
10
256
209
135, 141
165
265
265
156
23
162
262
- Phrasing
Phrygian Mode
Piano and Orchestra
223
.
.59, 66, 70-77, 8z, 84
93
178
260
Pizzicato
146
147
165
1 74
134
256
94
163
153
153
27
261
Polonaise
Polyphonic Music
Prelude
Presto
Program Music
Prolonged Notes
Punctuation
Quadruple Counterpoint
Quintuple Counterpoint
-
Time
Ray Mode
Recapitulation
Recitative
Recte et Retro
74
132, 140
Pianoforte Accompaniments
Pivot Note
73
223
177
223
215
1 56
Part-songs
Passion
Passion Play
Pedal
Perfect Cadence, The
Polka
89
89, 96
27
173
Paragraph, Two-sentence
Three-sentence
Plagal
146
24
26
26
58
265
Point
Overture
114
10,
258
258
31-33
263
167
87
140, 237
76,
Oratorio
Orchestra and Piano
String
Orchestral Sketches
Composers work
57,
159-162
265
265
163, 258
Opera
78
260
29
165
218, 219
10, 133,
Motet
Motive
172
146
135, 146
134
169
264
260
Modes
Musical Rudiments
National Songs
Harmony
134
138, 141
Mixolydian Mode
255
156-159
103-106
24
57,125
Minuet
and Trio Form
Morris Dance
Fugue
27
Form
Modulation
Free Fantasia
103-106
28
262
Me Mode
36
35
208
Doubling Voices
107
Mental Effects
Metre
Metrical Accent
125
Sevens
103
of
Harmonic Substructure of
of, for Hymn-tunes
Four-fold Sentences
in
89-106
Style
Four-lines Eights
Freedoms
97
6, 89,
based on Arpeggios
,
255
42
29
217, 219
57
254
57, 125
Melody
Flute
Melody
57, 163
Movement Form
163
Intervals
12, 18
Figure
First
Melodic Figures
254, 255
98,
19,
74
155
Index.
273
PAGE
Redowa
47
159
57
*
Song without Words

Stabat Mater
266
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
Retrograde Imitation
115
Styles of
Rhapsody
266
Subject
Sub-section
Redundant Entry
Refrain
Removes
of
16
Key
Repeated Notes
92
Repetition
Reprise
107
255
Requiem
99
Rhythm
Song Accompaniment
101
Sudden Modulation
Rhythmic Figures
163
Suite
Romance
Romanesca
266
Syllabic
Rhythmical Contents
of
Measures
Romantic Music
267
255
Rondo
Round
!53
Sarabande
*34
l6 4
Scale Passages
ll
Scena
78
2 55
Scherzo
Scoring for Small Orchestra
Strings
217-253
179-216
57
57
129
Section
Sentence
s,
Extended and Irregular
125
Four-fold
in succession
Septuple Time
Sequences
Tonal and Real
",
32
27
34, II0
Sequential Imitation
II2
Serenade
267
Services
Seven-lined Hymns
Shaping a Melodic Idea
48
268
Short Metre
Simple Measures
Single Chants
,
Six-lined
Hymns
Anthem
Sonata Form
Solo
Finale of a
Songs
Song Form
5683
3*, 33
24
5-* 5
7
Major
Minor
Slow Movement
72
*3
43
255
J
72
2 55
255
57-78
I 35- I 4 I
156
57
162
267
29
Melody
Symphonic Poem
267
267
Symphony
Tenor Horn
218, 219
Tens and Elevens

Thematic Development
Three-part Writing
Three-sentence Paragraph
Through-composed Song
Toccata
Tonal and Real Sequences
Tonality
Transposing Instruments
- Table
135, 141
267
in
5
220
220
152
Triple Counterpoint
Trochaic Metre
Trumpet Metre
Twelve-cadenced Tune
27, 35
43
53
79
Two-part Writing
Two-sentence Paragraph
132, 140
Unison Passage:;. .'....

Unusual Beginnings
19, 82,
85
12
Variations
Varied Repetition
Vaudeville
Verbal and Musical Accents
Anthem
Violin
Violoncello
Waltz
117
109
267
27
172
177, 220
I77> 2I 9
178, 220
246
Waving-note
Wind
37
259
83
57, 77
99, 100
Time
Verse
Viola
7-77
Instruments,
Word-painting
How
to use
79
223
257
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TOPICS
How
The short pianoforte piece Extension of melody Themes and subjects

Form and Development Climax and Coda Slow movements, Scherzos, &c.
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ACCOUNT OF THE TONIC SOL-FA METHOD. By J OHN CURWBN.
principles, the
method cf
pianist
(5235.)
Price 4/6
and pianoforte teacher must
have this work.

Price 1/6
MUSICIAN, THE. By RIDLEY PRENTICE. (5307.) InSixGrades.
students. Helps
each Grade
postage ad. A guide for pianoforte
of beautiful music.
towards the better understanding and enjoyment
the classical composers are analysed
Considerably over 100 pieces by all
form. The interest of the learner is excited and the
ts to musical
stimulated. Theoretical knowledge is thui

intelligence constantly
with daily practice. The work accombrought into vital connection
"
"
an entire course of study. Bach Grade
the
through
pianist
panies
on an average from two to three
is complete in itself, representing
The pieces are arranged in progressive order. Thr
years' work.
a sixth edition having been called fo'.
uccess of the work is proved by
J.
CUBWEN & SONS
(5004.)
8 pp., id.
Paper
Mr. Taylor
(5383.)
discussion and opinions.
of the minor
urged that the key-note
mode should be
called
Doh.
36 pp., 6d.
STORY OF TONIC SOL-FA

of
(5498).
notes by J. SPENCER
Historical
the Tonic Sol-fa College.
Tenth
edition.
30 pp., ad.
TESTIMONIES TO THE TONIC SOL-FA
METHOD
Opinions
(55ao).
of Schools, and workerc
of leading musicians, scientists, Inspectors
Sheets
i, 3 and 4,
of the system.
in many spheres, on the usefulness
each 50
for
i/-.
TONIC SOL-FAISTS
METHOD
TONIC SOL-FA
Opinions of clergymen,
16 pp.,
of the system.
4 pp.
TONIC SOL-FA
for
of the
in the
explanation
W. ROSTON
(5537).
IN THE CHURCH OF ENGLAND (5538.)

church organists, and others on the value
2<i.
The mental effects, the principles,

and opuu ns.
method, the modulator, exercises
TONIC SOL-FA LEAFLET

and notation
An
Minor Mode, by
AND THE MINOR MODE
and defence of the Lah notation

BOURKE. as pp., 6d.
LONDON
teachinc, and examples.
MINOR NOTATION OF THE TONIC SOL-FA SYSTEM
CURWEN, President
of all grades.
Mus.Doc.Cantab.
C.
by SEDLEY TAYLOR, M.A., with
for the Pianoforte.
(3318-)
FLETCHER. (5166.) Price a/6;

"
" Handon which the Criterion
shows how to organise and train troupes of ringers,
bell Ringers play
and gives exercises and tunes arranged for the bells.
By
Explains the
postage ad.
The
edition.
FAY.
Second
VAMPING.
in
CONSTRUCTION, TUN
AMY
SOMERVXLL.
each study are pointed
the Scales and Arpeggios contained

By PERCY A.
in the Pianoforte Syllabus of the Associated Board.
In Four Books: Lower Division,
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SCHOLES, A.R.C.M.
Division Intermediate Grade, Advanced Grade, i/- each.
his pupil,
ARTHUR
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Various.
HANDBELL RINGING.
out in the practical notes.
CANDIDATE'S SELF-EXAMINER
by
TECHNIQUE.
PART I. Two-part exercises

additions, by RIDLEY PRENTICE.
(School of Touch). Price 3/-. PART II. Complete School of Scales
Price 3/6.
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SPENCER CORWEN.
TOUCH AND TECHNIC FOR ARTISTIC PIANOFORTE PLATING. By

Dr. WM. MASON (of New York). (5545.) Edited, with numerous
STANDARD COURSE, THE. By JOHN CORWEN.

Second edition,
J.
A series o'. technical exercises for each day

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The minimum of work is provided for pianoforte
Teaches sight-singing by
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1901.
MINUTES'
Pri e a/6
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by Mrs.
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many
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Hints, voice exercises,
flFTf STEPS IN SIGHT-SINGING.
B.
PROGRESSIVE PRIMER FOR THE PIANOFORTE. By H. A. DONALD.

Price 1/4
An attractive book for little
(3381.;
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director of a choir that has
competition
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and accompaniments.
its
By
I.
II.
(5373-)
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Junior Grade. HI. Intermediate Grade.
IV. Senior Grade.
Price 6d. each; postage id.
These large cards, 13 by 10 inches, lie on the pianoforte desk, and
give the daily routine of practice for technic suited to each grade.
Posted in
They are designed by a professor of long experience.
cardboard tube.
for
Fourth edition, enlarged.
By R.
PRACTICE CARDS FOR PIANO STUDENTS.
VOICE TRAINER, THE.
in
AT SIGHT.
T. WHITE. Mns.Doc.Oxon. (5617.)

Price 1/6; postage ijd. Bye-training for pianists and the culture
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PLATING
VOICE PRODUCTION IN SINGING AND SPEAKING, based on scientific

By WESLEY MILLS, M.A., M.D., F.R.C.S., Protestor cf
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VOICE-TRAINING EXERCISES FOR BOYS.

Price i/postage id. By the
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"
right-reading,
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training on hygienic principles,
Seventh edition. Price 4/6 ; postage 46.
price i/-
Cloth, a/0
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postage jd. There is no music in this book, but it is crowded with

information on points that are constantly cropping up in
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The ten chapters deal with musical ornaments, the " invenpractice.
Sixth edition.
SPEAKING VOICE
By H. FISHER, Mus.Doc
Works
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MOVEMENT
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Lecture by SEDLEY TAYLOR, M.A.,

33 PP-, 60-
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Vocal Culture.]
WORKS ON VOCAL CULTURE

VOCAL DRILLS FOR CHOIRS.
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ART OF BREATHING, THE
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TO TRAIN CHILDREN'S VOICES
MECHANISM OF THE HUMAN VOICE

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One
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MIXED VOICE AND THE REGISTERS
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GRIFFITHS.
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pamphlet on an important subject. Exercises described. Price 6d.
SOLO SINGER, THE (3444). By SINCLAIR DUNN. Advice to intending
NASAL RESONANCE
Specially helpful in choice of songs.
Price
For mixed voices.
By H. ERNEST NICHOL, Mus.B. A
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course of
By Mrs. EMIL BEHNKE.
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The development and preservation of the
training for speakers.
voice.
Cloth, 4 '6; postage 4d. Seventh edition.
AND SPEAKING
By WESLEY
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"
"
STANDARD COURSE VOICE EXERCISES
of
Consisting
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the
"
Standard Course," comprising

For use in classes.
Chest, Klang, Tuning, and Register Exercises.
Tonic Sol-fa. First and Second Sets, }d. each.
CULTURE FOR CHORAL SOCIETIES
Bxercises in
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VOICE DEVELOPMENT (5572). By

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G. F. ROOT.
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For
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SPEAKING VOICE, THE
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Studies
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VOICE
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Cloth, 2/6. Second edition.
basses, and altos.
olo-singers.
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CHORAL TECHNICS
By L. C. VENABLES. A series
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Voice Exercises from CURWEN'S
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most successful and authoritative books on the

paper, 1/6
By
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BOY'S VOICE. THE (5031). By J. SPENCER CURWEN. Numerous hints

from leading choir-trainers. How to get into a choir school. What
postage 4d. Fifth
songs to sing. Choir management. Cloth, z/6
HOW
CHORAL DRILL EXERCISES
"
One
MILLS, M.A., M.D., F.R.C.S. Based on scientific principles.
the most original and comprehensive works on the subject.''
Nineteen chapters, 63 illustrations. Price 7/6 net (no reduction).
EXERCISES FOR THE ADULT VOICE.

DAILY STUDIES IN SPEAKING AND READING
By W. H.
(3093).
text-book for pupil teachers, corresponding with the

demands of the Board of Education. Price i/- ; postage id.
GRIFFITHS.
of
EXERCISES IN VOICE PRODUCTION AND ENUNCIATION (or Speakers

and Readers (5373). By Dr. DUNSTAN. Cloth, 1/6
postage i\<\.
Postage 3d.
FIFTY VOICE EXERCISES (3130). By CONCONK. The first and :.ost

known set of Concone. The feature of this edition is the Tonic Sol-fa
VOICE TRAINER, THE
By JAMES
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A. BIRCH.
Hints and exercise
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Both notations, i/-. Fifth edition.
for solo-singers,
EXERCISES FOR THE CHILD'S VOICE.

CHURCH AND CATHEDRAL CHORISTERS' SINGING METHOD
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teach boys how to read music and to train and develop their voice>
t<
Price z/6
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Unison, S.C., and S.S.C.
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CURWEN'S SCHOOL VOICE EXERCISES

needs or has time for
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is
Enlarged edition.
Exercise-
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By HENRY
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J.
DART
For the training of voices in schools and parish church choirs. Thi
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highly successful voice trainer. Staff, price i/- ; postage id.
VOICE-TRAINING EXERCISES FOR BOYS

GILBERT.
By
G.
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(3376).
By
BERNAR
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chain
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FORTY SINGING LESSONS FOR LOW VOICES
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'..
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PROGRESSIVE VOCAL STUDIES
B.
By
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MANSELL RAMSFV.
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Voice part
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PROGRESSIVE VOCALISES
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Tonic Sol-fa only, gd.
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MANUAL OF VOICE PRODUCTION
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II,
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SOLO SINGER'S VADE MECUM, THE
($443)By SINCLAIR DUNN. A

collection of Voice Exercises, as used by all the principal voiceWith accompaniments. Voice score in both notations.
trainers.
Price
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VOCALISES FACILES
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(3633).
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notation under Staff. Breathing places marked. Price z/- ; post. zd.
BORDESE.
VOICE TRAINING EXERCISES (3373)ANNIE I. STAPLETON. With Studies

and Style. Staff, z/- Tonic Sol-fa,
;
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z/-
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STAFF NOTATION COURSES.

ELEMENTS.
GUIDE TO SIGHT-SINGING
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By R.
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School or Primary Certificate of the Incorporated Staff Sight-Singing
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book, with minute instructions and about 130 exercises. Price 6d.
STAFF NOTATION, THE

In Staff notation.
Sol-fa
method.
(3476).
By JOHN CURWEN.
For examinations
practical introduction to the Staff on the Tonic

With new appendix containing hints and abundant
exercises in translating
from one notation
LONDON
J.
to the other.
Price 6d.
CURWEN & SONS
STAFF NOTATION THEORY
(5480). By W. R. PHILLIPS. With exercises

For Student Teachers' Examinations under the Board of Education
Price 6d.
postage id.
TEXT BOOK FOR ELEMENTARY STAFF NOTATION
By
(552.0.
WALTER JAMES KIDNER.
Especially adapted for Tonic Sol-faists

preparing for the First Grade Staff Certificate of the Tonic Sol-fa
Price i/- ; postage i}d.
College.
TEXT BOOK FOR INTERMEDIATE STAFF NOTATION

same Author.
(5526).
Ltd.,
By
the
Prepares for the Second Grade Staff Certificate of

Price i/- ; postage i}d.
the Tonic Sol-fa College.
24 BERNERS STREET, W.

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(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

graduated Course of Instruction in Practical Composition.

also the tendencies of

useful, not only to students,

hoped that these tables will be found

special attention are Songs, Two-part and Three-part Writing, Pianoforte

not avowedly a treatise on Musical Form,

the smaller forms of

while the analyses of the larger forms (Sonata, Symphony,

Cyclopaedic Dictionary of Music."

On Composition in General ......

SINGLE AND DOUBLE CHANTS

and Anapaestic Metres

Cadences of Four-lined Minor Tunes

HYMNS WITH MORE THAN FOUR LINES

Three Sets of Two

Specimens of Cadence Plans

Folk-Songs and Art-Songs

VI. DUETS, TRIOS, ETC

IX. Two OR MORE SENTENCES IN SUCCESSION

Simple Dance Forms

The usual Regular Forms

XII. ACCOMPANIMENTS IN GENERAL

the Strings are used

Special Exercises in Song

XIII. SCORING FOR SMALL ORCHESTRAS

Examples of Simple Scoring

THE COMPOSER'S HANDBOOK.

des Lernens hein

but if they come into

The Composer's Handbook.

Usual Errors of Beginners.

The Melodic Faculty and How to Cultivate it.

substance, life and soul.

Schumann, and Mendelssohn.

National airs, too, will offer excellent opportunities of observing

NECESSARY PRELIMINARY REQUIREMENTS

Transposition, Time-transcription, etc.

Triads and their Inversions.

The Dominant 7th and its Inversions.

Modulation to nearly-related Keys.

* See the Author's

| See the Author's first Steps in

Harmony (Curwen, as.).

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

The Composer's Handbook.

and the only answer that can be given

These questions are often asked

according to rule during the afternoon."

SINGLE AND DOUBLE CHANTS.

necessary to begin by writing an

when told by competent critics that his work

The most indispensable requisite of musical design is Tonality (or Key-ship).

The Composer's Handbook.