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ELEMENTARY
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EDMONDSTOUNE DUNCAN
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Digitized by the Internet Archive in
2012 with funding from
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http://archive.org/details/elemusicompOOduncan
:
:
ELEMENTARY Musical Composition IN
TEN LESSONS BY
EDMONDSTOUNE DUNCAN Author of "The Life of Schubert," "The Story of English Minstrf.lsv," "History of Music," "Melodies and how to Harmonize them," "The Story of the Carol," etc.
PRICE ONE SHILLING AND SIXPENCE.
G.
SCHIRMER,
LONDON 18,
NEW YORK
BERNERS STREET, W.
3,
EAST 43rd STREET.-
BOSTON: THE BOSTON MUSIC CO. [Printed in England.]
CONTENTS.
Lesson I.
II.
Pack
Rhythm
as a starting-point
Cadence
in
1
Speech translated into Song
6
III.
Early Harmony
IV.
Instrumental Beginnings
16
Vocal Melody
20
Instrumental Patterns
25
Accompaniment
29
V.
VI.
VII. VIII. IX.
X.
Counterpoint.
An old
9
subject
new taught
36
Counterpoint Continued
43
Free Counterpoint
48
PREFATORY NOTE.
MUSICAL COMPOSITION ^'i
^\^a
iiBFy /^j'
usually
is
which have stood
the test of experience, cannot but be
welcome
students
who
are
beyond the reach of a
plan of the work embraces
which a composer must vigorously attack
a graduated series
Invention, which
The
of
but
;
lessons,
essential
it
to
with the teacher,
lies
its
some,
the steps seem laboured,
let
it
easily
set
the Master,
My
is
unless
The
approached.
instinct
scheme
of
failing
with the
one,
If
some of
the fact that even clever
many formidable mind
writer has in
techni-
who
a pupil
Composition as "the dream of
his
course of lessons, founded upon some of the severe
me
to
I
is
work
to reconsider all
my
up
methods.
his
The
the result.
would
say,
watch
diverge from the detailed system
first ten.
or,
view in mind.
to consider,
of inventive faculty in a pupil.
ations
*
this
become disheartened
present series of Lessons
To
the
study, the pupil was so discouraged that he gave
This
dream.
directly
be remembered that the great practical
set out with enthusiasm, describing
methods of
by
enable him,
suggested
students
stiff
teacher,
merely irksome, are
others
to
which a teacher has
After a
a
Guiding
difficulty
life."
will
for
lessons to suit individual cases.
throughout these pages, always with
calities zx% carefully
he intends to attain to
It
develop
to
* the chief essentials
all
necessity
ally.
skilled master.
wide scope, which must appeal to a large number
student himself, to apply lines,
valuable
his
many
to
the motive force of Musical Composition.
is
text offers a
of students
if
doing away with the
Far from
book should prove
the
taught,
laxly
that a systematised group of Lessons,
The mastery.
so
in its entirety
vigilantly the earliest manifest-
Supplement,
here set
down
comprises 100 Lessons.
as
check, or
even
individual cases
Here are contained the
PREFATORY NOTE.
IV
may
A
require.
too long protracted use of any system, especially that
of the Variation form, difficult and searching in
such
studies,
Part-songs,
To
Dance Pupil
the yield
will
to
composition of
the
as
keep the inventive
it
Turn then
only tend to produce despondency.
will
pieces,
faculty,
all
initial
its
Songs,
application,
the
lighter
Nursery
songs,
to
even
Above
of which here find a place.
all,
once awakened, unceasingly employed.
— Never
industry.
The
Despair.
The
task
formidable,
is
what
ability to express
is
in
but
us,
of
thought, feeling, and descriptive power, comes very slowly to many. It
must be strenuously cultivated before
free
Some
hide
Everyone has some put
high usury
to
it
gain
lasting
gift
to
;
of Music.
cultivated,
Carefully
is
possible.
in a napkin, others
it
may make
the humblest of us
himself.
utterance
its
it
a source
harvest
is
of of
priceless quality.
The reach
sources of Inspiration
happily beyond
are
;
The soul that rises with us, our Hath had elsewhere its setting
And cometh from But
if
the imperial
palace
need not blindly grope with it
is
are
to
maturity,
life's
star
invisible
to
afar.
itself
is
fruitless,
that a sensible consideration of
and onwards
who
an investigator's
should
unordered
Method, from
human
eye,
Therefore
steps.
the very beginning,
be exceedingly helpful to those
drawn towards the imaginative
field
of Composition.
EDMONDSTOUNE DUNCAN. Sale, Cheshire. July, igij.
we
•
ELEMENTARY MUSICAL COMPOSmON.
LESSON
I.
LESSON IN COMPOSITION.
HE
fabric
Music
of
upon a
rests
Rhythm, Cadence, and Harmony. a starting-point
Time, meates
human it
all
its
activity
our subject.
for
a part of
is
life
reveals itself in inanimate things
;
in the
a bubbling fount of sparkling water.
rugged
rhythm which the wind
verse.
A
helpless without Its
Musical
moulds
child
it
definition
has
become
importance
many young people
the time-signature
unfamiliar
is
to
some
seen in the poet's
The
wish.
of,
it
of great
great
orator
significance.
at the outset
rhythm be gradually developed into a
music heard
It
sway
sea, in
is
it.
therefore of the utmost
In
forth.
his
to
Rhythm
call
ebb and flow of the
Forest-trees dimly
calls
per-
It
law, synchronizing
This same thing we
with health, hope and happiness.
the
would seem that the
It
itself.
impetus.
or
of
gives
Rhythm determines
some rhythmic
heart throbbed in obedience to
little
Each of these
pulsation, gravity, restraint
and
foundation
threefold
clear
that
our
sense
is
of
and conscious possession.
grows quite spontaneously, and they
or appreciate
It
and describe any
will
name
characteristic
in,
for the first time, just as easily as they will scan verses of
poetry.
appreciation
of
Our
Time and
developed we must go Musical Dictation.
good national
A
first
step
Rhythm.
further,
is
then
to
Where
the
test
this
is
already
and make our lesson one
group of well-contrasted
collection, will serve our purpose.
airs,
Student's
in
well-
actual
drawn from any
ELEMENTARY MUSICAL COMPOSITION
^^^ Au
fond d' une
French Romance.
I
±=:fEi
SEEEE?Ez£ som bre
val
-
le
-
dans Ten-cein-te
e,
-
d'un bois
e
V r
•I
S3:^=t =P=^
^ -G^ -
:p
Une hum-ble chau
pais,
-
miere
so
-
i
—
,&E
,.
:i?-t;i::iJ^r=:t?=d
-F
le
-
each
e
-
Tin
oit
-
-
no
-
I
p^^ cence
et
^fciS ^
la
-^±
-M
paix.
La
vi
?-2:
voit
-
An
en
c'est
gle
-
-
V
V f^-=N:
ter
-
un
re,
-
me
e
-
^^m^M
-^
re
dont
de
le
e
sir.
-
de
toit
-
I
-9
m
ar
sur
la
ter
I
iE
£
-r=F= ser
sa
se
-
^1
EEt -
fil
le
heu-reuse,
et
mou
puis
-
rir.
An English
^
m^^^
iizzti*: Spring
is
com- ing
re
solv'd
-
Air.
^^
'-'i=-V-
^^=^=1 P^^JE^EEE^
The
-
lais
ban
to
-
The
ish
V
i s$^
king
the
of
ice
with
wand she
ry
-
his
tur
-
iE^ bu
lent
-
bids
them van-
ish,
And welcomes
earth
ST a
-
gain.
her
the sun-shine to
I
-^iS=P^
With
train.
^^^^^^^^
p=»
»-•>i3=t2 t^=^ fai
^
Then maid
•-p:
—
-m
=3=t±3 -
ens fore
-
go
the
win
-
try
«:
^ kir
-
tie,
V
Lace
ev-'ry
bod- ice with bright green string,
And
twine each
lat-tice
with
LESSON
I.
— COMPOSITION.
S J—^^—J ^
:ts=qs;
:E wreath
To
myr-tle
of
hon-our the
ad- vent
joy
of
-
i
J
J ful
Spring.
Old
Air.
I
yn
*
'
*^
fr
m ^
*»
\m M_4 ri
^
UJ-^ — —__
m •
Ov
1
mA
1
moun-tains
the
er
-
m
m ^ •
1
m* P
^
J ^
And
ov
.
1
* -
m
'
V ^ waves
the
er
I
I
* Un
-
-^
? ^ rocks that
airs
may be sung
should be marked. poetry,
definition
is
it
der
-
the
Which
est,
Nep-lune
s
-
est
Love
will
A
IV ez:
V=^ bey
Ov
;
-
er
I
5 find
-&way.
the
out
or played, while the student decides both the
Finally, let such (or similar airs)
only remains
given.
Un-der
graves;
o
and committed to paper. The As these occur systematically
dictation exercises,
line of
-
steep
time and the rhythm.
un
^^
rx
are
And
d
deep
that are
floods...
The
I
s
-Gt-
foun- tains
the
der
^^
i
i
-^
be treated as
closes (or cadences) at the
ends of each
for the teacher to see that a
simple method of marking such closes
correct is
seen
where I, V and IV respectively refer to full close, half close, and close on the subdominant. A complete definition of rhythm must include time. A conductor's baton marks the primary pulsations, while the numerous subdivisions, sounded (say) by trumpets, violins, or even drums, are merely a part of the whole in the
examples above given
scheme
— an
extension of the
;
common
idea.
To
state the
same thing
rhythm describes not only the regular units in all barred Music, but also the characteristic pulsations, or group of pulsations, which do not necessarily recur, and often are even antagonistic to the differently,
regular
time.
movement
will
To
render
the
point quite clear,
a
common March
show the two classes of rhythm * at one, that
coincide in equal notes.
Our example, which may be treated
is,
they
in the
The word Time, however, satisfactorily distinguishes the regular pulsations, which Riemann describes as Metre, a term more appropriate to Prosody. *
ELEMENTARY MUSICAL COMPOSITION same manner for the
as those
most part
in
which preceded
Troubadour melody,
offers a
it,
equal notes.
^
S ^=^
-us-
Such rhythmic movements
-«^
-Gh
as the last given tend to
fl
monotony, and
they are therefore often brought into contrast by periodic disturbance of Our next example shows a complete the ordinary pulsations. departure from the natural rhythm, in the upper part.
^ I
SS
r
It
^
^^^ F^^ "r^r^
may be observed
that
in
A
and
sort
dictation of the simple
?^
r
such cases the primary time
all
invariably finally established.
^^3t=it is
few further airs are added for analysis already
These may of
suggested.
course be supplemented or curtailed at the discretion of a master. In the course of
equipped
in the
music.
It
harmony, or
lesson, the student will prove
this
how
elementary knowledge pertaining to the writing
may be now
him
he
is
down
of
far
up a course of least the study of harmonization of melodies. In any ground covered by this book may be proceeded with,
at
case, the early
necessary for
take
to
parallel with such studies.
The Stag Chase. I
3
:<2
am
a
jol
hunts
ly
-
If^l :2±
P
clear,
-
man,
Well known
to
I
An
"
drive the
hunt
a
i
I,
*: go.
voice
is
shrill
and
-o-
stag,
m cheer,
My
a
the
droop-ing dogs to
T^-
we
ing
hunt
will
go,
122:
^--
And
And
will
ing
:e
will
will
--
I
z:^:
-
go,
go.
LESSON
I.
— COMPOSITION.
5
"Good Morrow."
Sg^
^u
mor
Good
mm^
-/
w^^^^
row,
-
morn
en- tine's day,
-
-
-
To
Val
your
be
en
-
tine.
-
"In youth when "I
youth,
In
i^
As
sweet,
^^
time
did
Me-
hoof,
thinks
it
Me
love,
my
be
hoof,
-
ry
-
P
-<&-
my
for
be
^rrFTf=r^
not meet, me-thinks,
is
thought 'twas ve
-
t
re-quires for
-¥=^ ^1 1
:^
:p=3C
§i
d
I
did love."
I
i
P
^
when
at
i
1=^^
dow,
•
maid
a
I,
m=W=W
=^^=^ win
And
piime,
ing
|-*t
^^^ ^
All
r-
1
your
Val
Saint
'tis
— S•—^ ^^^i ^=E =3^s
the
in
}=
f=
-P=F^
l^E^di
me -thinks
it
not mert.
is
"Why
ask you?" 1
i F^=^
fe be
Spring
-
guil
^ ?^E Na
-
tare smiles
and
elh
-
of
-
bright
fers
V i
^!
;
and care
#
2^:
:*=i be ours
love
be-guiles, If
flow'rs,
Why
'
1
-j^
^> 4
fa)
iprfzifc
-
1
<
^
1
r
1 1
1
—J
n ^
IS
—
^
-'
1
1
1
m '
?
Wharf.
Paul's
n ^ ]/ Vl s ^
you
ask
m
r n
1
— G>
1
1
'
1
1
Gai
-
ly
step
to
boat
the
at Paul's wharf,
—EQ
f^-
H
f-
-t-
-*
--f=^ haste now, comrades, dip r
•.
'
r
oars and push
Soft tides are
off.
;•
*-
O G^-
flow -ing, 1
~^^^^^^f^f Slow 'gainst our row-ing, So
cross o'er the
wa
-
ter
with song and with laugh.
ELEMENTARY MUSICAL COMPOSITION.
LESSON
CADENCE HE
SPEECH TRANSLATED INTO SONG.
IN
nearest
translating
II.
way to musical composition seems to be by simply Speech into Song. Such an artificial plan as the
though not put forward as the original or inevitable process of Composition, will nevertheless commend itself for it immediately provokes the student's obvious reason inventive following,
this
;
power and gives him
definite lines
Take a simple song, such as Graded Song Book (Vincent), and music
for the
In the
first
The
time being.
exercises of this kind
on which
to proceed.
given
that
on page
should be
result
mark
_
u
wood
down on
paper.
:
^
1:2:
w
__
Come, blow thy horn on high
In yonder
set
Thus
Blow thy horn, hunter,
_
of Sawyer's
the quantities over the words,
then give an equivalent in musical notation.
'J
1
carefully scan the verses, ignoring the
:z2_
;
there lieth a doe,
In faith she will not die.
Z2:
Come, blow thy horn, hunter,
Come, blow thy horn,
22:
:=]
^
jolly hunter.
mark the natural rise and fall of the voice, in Most verses are sufficiently picturesque to delivering such words. admit of such a process and while avoiding exaggeration or absurdity, Having constructed a really effective scheme may be contrived.
The
next step
is
to
;
a definite rhythmic scheme, place the
accents,
and measure the music
into
bar-lines
regular
before
lengths.
done since poetry determines such measurements plan
is
then to
move
in
the strongest
This
is
easily
advance.
Our
the musical notes in accordance with the vocal
SPEECH TRANSLATED INTO SONG.
L?:SSON II.— CADENCE IN
cadence, indicated by the rising and following result
i ^^iv-r w
bun
horn,
thy
Come, blow
ter,
-
yon
In
she
faith
not
Come,
second
a
to
has nevertheless
blow
test,
the
its
origin in
thy
horn,
identical
as
an
it
\J
SJ
^
^
With a heigh
A foolish
For the
was a
!
little
V
ho
rain
it
_
W and the
*
rain
ho
it
ly
^
^
bun
ter.
may appear
beside an inspired
air,
p. 152).
S N
SN
1
1
rain,
N S
I
-i
3fe=Jzz^zJ=,UJr=^
\j
'^
—
SSI
1
1
S S
I
z^^J=J^J=,W=^=i
raineth every day.
this
S
the wind and the rain,
!
Tlie conventional accentuation has been purposely taken.
one would be
born,
raineth every day.
— !
-
thy
intelligent appreciation of the verses
thing was but a toy,
With a heigh
For the
blow
tiny boy.
the wind
!
In
doe,
process yields the following,
1
that I
jol
(Sawyer's Song Book,
reproduces.
a
lietb
Come,
die.
commonplace
which, crude and
When
on
-S^-r
will
ter,
it
there
f=r
•
which
wood
der
-
5
Put
horn
thy
i
bigh;
V
then get the
i
-G>-
w
We
lines.
^21
Blow
m
falling
:
:
When
that I
was a
little
tiny boy.
A
more
rational
ELEMENTARY MUSICAL COMPOSITION
^^
•zzit
When that
I
^=1:
a
m
>^
wind
was
I
and the
ht
tie
-
-
ti
ny
A
-^
fool
ish
-
'
frr^
—m —
^
^
^— r-J
1
J—
in
m
i£=qsi
For the
toy,
-
— —d'-r-—*
IN
N"
"1
1
rain
it
the
!
With a
day,
rain
ho
-
ev
eth
'ry
-
day.
usually be found that small developments suggest themselves. both our examples 4-4 time is a refinement of the simple
rn
J
a
\
For the
rain,
duple upon which
from
but
^-^ \ —^
-J--ih-
!
7*=^
i-
wind and the It will
was
'
ry
Thus
With a heigh
boy.
thing
3^
-&
g^j^^
rain,
1
-N-
?2_
to
it is I
J
based. i
Then
because of
the opening of
more
its
No
effective
^
2
was changed
rhythm, and the
notes to the words " but a toy " gain considerably in their contracted
-^^
form
experiments
may be
place of
in
-
usefully carried
course, be soon dispensed with,
nice
discriminate
to
without
if its
out.
A
The Metric
dozen such
chart may, of
the ear of the student be sufficiently aid.
It
is
only the
principle
that
Let the relative importance of the words chosen find a just
matters.
words and phrases must be new word, however, does not It will often be found effective to let of necessity imply a new note. The Rhythm must be unimportant words share the same sound. Where students find difficulty in directly derived from the words. defining this in their experimental efforts they may finally be referred In any case to the musical settings in the Sojig Book employed. comparison with music which may be assumed to be of spontaneous growth, and which certainly is not the product of any artificial system, cannot fail of being both interesting and instructive. Words suitable for a continuation of the Lesson equivalent in the
music.
All
striking
carefully reproduced in the melody.
A
:
SAW^VER^S
GRADED SCHOOL-SONG BOOK. Page.
To
all
you
4
ladies
Hebe From Oberon Fair
Since
first I
How
should
saw your I
face
...
your true love
know
28 50 56 160
LESSON
III.
— EARLY
LESSON
HARMONY.
III.
EARLY HARMONY.
HE
practice of adding simple chords to well-chosen melodies
be begun as
should
advantageous
if
tary material of
soon as possible.
It
of course,
is,
a student has already mastered the elemen-
Harmony, chords and
their progressions, but
by no means indispensable. Composition may be approached from a practical point of view ; that is to say, he who is engaged in playing, reading and hearing good music, may take a nearer way to the it
is
practice of
endless
harmony than by
figured
following
the
plan of
usual
filling
up
let him take C. Song Book" (Boosey), where a choice collection are effectively harmonized in simple but masterly
For
basses.
his
text-book,
Sir
Stanford's "National
of
some 200
airs
fashion.
Our turn,
first
step
is
to master the three
each note of the chords in the
common
treble.
Imperfect Cadences.
Perfect Cadences.
^"^=M~^~j
cadences, placing, in
^
1 i i=S=i
ku=
A
m
I
1
I
V
I
^
V
I
I
V
I
The
L I
Plagal Cadences.
^ "1
S
r
TD IV
V
I
IV
I
i
IV
three cadences already enable us to harmonize every degree of
the scale, and further give us well-recognised
from one degree of the scale to another.
harmonic progressions is shown by
Their foundation
ELEMENTARY MUSICAL COMPOSITION.
lO
Roman numbers
the
which mark the Bass notes according to
their
place in the scale.
be extended and each chord-note be taken in the harmonic possibiUties are considerably widened by the admission of the Inversions. 6-3 and 6-4. If the process
our
Bass,
Perfect Cadence.
Imperfect Cadence.
(Inversions).
(Inversions).
1^
m
fei
^^ Y
t
tEE^E^. 6
6
22:
6
5 3
V
V
4
V
V
I
I
Plagal Cadence. (Inversions).
Mnz^i
T
^
mIV
When some be
freedom
transposed
IV
is
to
IV
I
gained other
in
:ii
6 4
6
6
them
Z2
the use of these few chords,
such
keys,
as
the
let
Dominant and
Subdominant, G major and F major. Then they must be transposed to the tonic minor C minor, a perfectly simple process, since only the 3rd and 6th notes need be flattened.! The Dominant Seventh (which in practice is merely a fuller Dominant Triad) may be added to our scheme, which is completed by the inclusion of the Supertonic and Submediant triads and their
—
inversions.
We
place these triads
to our elementary material. that
is
to say,
the
last,
because they are
Their place
Supertonic
Submediant the Subdominant
relieves
triad.
the
They
less
be as
will usually
Dominant
important
relief
triad,
chords;
and the minor
also belong to related
scales. *
These weak progressions are merely a matter of convenience.
t
An
experiment
are employed, one
is
in setting the key-signatures will
show
that though three flats
regularly corrected to form a leading-note.
LESSON
III.
— EARLY
HARMONY.
II
Inversions ol
Dominant Seventh.
Dominant Seventh.
—
-G>,
m^M
^tp=p:
w
A
Pg
m.
T2L
~r:y
j:^.
rir r
rr^'
-y5>-
:Szi
SEiE
-
-«S»-
m ^
(S>-
-f^:qI:
-f©
:P2:
12:
IV
VI
II
The
i?:^:
Dominant Sevenths,
will be found For transposition purposes, all that is necessary, to determine the key, is a major or minor 3rd in the Tonic chord which resolves all such chords. Let it be premised that single chords on strong accents are usually sufficient to determine the character of melodic or rhythmical passages, whether these move alphabetically or by skip.
neutral
in
themselves,
equally effective in a minor as in a major resolution.
^
d=J=fd=^:
^_
i
-f
f
I
6
6
I r
r
4
Handel. Speed
to
^ The
your
own
courts
my
flight.
^^^E^^%^ r
f
much freedom such turns as do not explain themselves,
secret of this process lies in allowing the air as
as possible,
and
in defining all
also in avoiding any tendency to write successions of heavy chords, as
might be demanded
in four-part choral harmony. By constant practice, and hearing, a pupil will train himself by an almost infallible method to add effective chords to any straightforward diatonic melody. His ear will soon learn to reject the foolish mistakes, which
both
in playing
ELEMENTARY MUSICAL COMPOSITION.
12
may be found
tabulated in the
Harmony
books, under
the
heading
CoNSEcuTivES and Forbidden Progressions. Air—"
be with either."
I
^j^
it
^
3
£:
ii:
V
jg
k n;?-^
-*4-«-
* t±
13--
-^-
:f£:
#
-B^
*
^
^-
*
-^
-^
ii=^
I
could
g^^^^^ ^^gC^^
*TF
®s
How Happy
^^
^i=f^
^^
^
-^
I
:g—2:
-^-
3i=ez± :P
Air
fc Ha
^^
i
£:
ii:
p
^
5e£
^:|E P^—
-*^
-^
g
it
IeI^
5t3C
^^geE§
^H
:'=l
^=-"1* -=+
•
-*i
^
SS£ 23=^
^^
^=1^
^
-#«
l3E
*'We be Soldiers three."
-=1-
s "f
5^
i
—
I
:3:
3z£z±
^ ^
fg:
s
-R-
1
^2:
LESSON
III.
— EARLY
HARMONY.
13
"Barbara Allen."
Air
From
the above-given
illustrations
of rudimentary harmony,
in-
tended to be played on a pianoforte, it will be seen that in the choice of such simple chords there is plenty of room for taste and skill.
To
place
them properly demands a
appreciation of the natural
just
cadences, and also of the rhythm and expressive power of the melody.
Always aim to play.
at
making the Piano
good
part clear, of
effect,
Students should be encourged to experiment.
passing-notes
may be
freely
used where
For example,
The whole
effective.
and easy principle
of modulation, touched upon in the transposition of perfect cadences
and dominant sevenths,
is
a succession as the following
already within
Q
I
his
grasp.
Witness such
:
B
^
Blj
C
A
ruazi
rPfrfffff^
1
ELEMENTARY MUSICAL COMPOSITION.
14
A
few melodies are added suitable for harmonic treatment of the
These may be
kind shown.
Book (Vincent
supplemented from Sawyers Song & Co.), and the
usefully
Co.), Hullah's Song-book (Macmillan
author's Minstrelsy of England (2 Vols.;
Augener
"Ye
Air
&
Co.).
Belles and ye Flirts."
^^^S^S^H^^^^^ i^^ ^ 2^5^
*l-
-^-
^5=^^
s=*-
liz^
^
fe^s^
^—^—d
-0—
»
~"y
•'
-^
^=^
_, 1^^ l^3S^ pg-^.^^^]^^^^^^^^ ^E ^^^s^ t u- ^
.
gqgzzji
IS qz=J^^z=N=i^
-^1—
-y—^-V:
:fc=ft=t
l=f-
^
IN -s»-
"O'
fc E^Ei^a
fc
^eS^^
^=^:
-h-
^^1
^i:
Traditional Melody
e^
i^Ei^E^^E^
fe^;^
3
v^
^
P^^:
Air— *'0 rare Turpin."
XZi^
^E^
Se
i«~"S-
-*---v
3
:*zJ:^E*:
rjfcifj
S^^l
LESSON
^
fBS-
5Ei
r-
'^
III.
— EARLY Air -H
iq:
lt'=m'=^
"Good Morrow,
5S
Gossip Joan."
ll^iE^
\—
1_,
-^
Air
fe
I5
S§^=^^
:tt —iprii: .
HARMONY.
:33
:^^=^:
"Babes
in
^i:
the Wood."
:fc=^ 3ES^^3
^^gE^^g^te^^^JEEEg^^^^^g^^
:^
;i
— ELEMENTARY MUSICAL COMPOSITION.
i6
LESSON
IV.
INSTRUMENTAL BEGINNINGS.
f^^^NSTRUMENTAL in
is
direct offshoot of
a
analysing essential differences
retracing
some
of the steps
we
Vocal music, and
are conscious of lightly
which ages slowly developed.
Thus, before the late Troubadours of the fifteenth century, instruments did little but reproduce measured vocal notes, rhythmless
and characterless apart from the voice. Gradually chords were broken and little ornaments introduced the compass of individual instruments was drawn upon with a view to particular expression, and vocal writing, which had dominated the whole body of instruments, including the Organ, was slowly superseded by a new and independent style, opposed, ;
Two
principal objects were gained
in a sense, to the fabric
it
in this gradual process,
namely, the birth of
pation of Melody.
From
replaced.
Rhythm and
the emanci-
the simple desire of giving the instrumentalist
something appropriate to do, accompaniments grew into individuality and expressiveness. The result naturally led to the development of a distinct instrumental genre, and with the arrival of Monteverde, Music was no longer the thrall of the voice. Let us consider some of the methods by which measured notes may be intensified and galvanised, so to speak, into rhythmical life. By merely adding to the number of notes, ^that is, by quickening their rhythmical value, a distinct step is taken in the direction of increased
animation.
This
is
seen by taking a long-sustained note
1^
iiztq:
:
i
which does not excite or stimulate, and comparing length of note played tremolando
it
with the same
:
Trent.
by a body of
violinists,
when
it
at
once throbs with nervous energy
LESSON and arouses applied
IV.
The
attention.
principle
degrees
varying
with
— INSTRUMENTAL of
BEGINNINGS.
of repeated
17
may be
notes*
speed, allowing of every variety of
rhythm, from a gentle undulatory movement to the fiercest of fortissimos. Lento Moderato.
Sapp^Ep^pppg^^l 3'
3
3'
3
Beethoven.
Maestoso andante.
^^
5
I
=^.tE^ Schubert.
Schnell.
-^^^^-^^^^^n
PV
The opening
powerful dramatic current of rhythm instantly set up by the
of chords pianofor/te
The
The Erl-King
triplets in
or
single
Alberti Bass,t
of
&c.,
is
Such
repetitions
chords is
both of
effect.
into
another
groups of separate notes,
fruitful
For good examples we may turn there
worthy of note.
notes are practicable for the purposes
and orchestral
division
is
to
arpeggi,
source of instrumental
effect.
the Vorspiel of Parsifal^ where
a fine series of long-drawn harp-chords,
and
to the Finale of
the Moonlight Sonata^ where the second theme, which pulsates
and expressive power, succeeds accompanies it. life
By
in
spite of the Alberti
with
Bass which
the addition of a single grace-note, or certainly by the aid of a
may be formed having a single note whole groups of notes may be formed
few passing-notes, a distinct figure for its basis.
*
t
Probably
The
If
first
Alberti Bass
we go
further,
employed by Dr. John Bull is
in the
identical with the pattern of
Fitzwilliam Virginal Book.
Arpeggio given
(at
No.
3)
above.
ELEMENTARY MUSICAL COMPOSITION
i8
round any
particular one,
and fashioned
any device.
to almost
then we have the very secret of Figure making.
Here
ihe expansion
It is
of a single sound into a well-shaped suggestive and lively idea.
Examples of Repetitions:
—
1 Examples of Arpeggi, &c.
:
(1)
Ornamental examples introducing an
auxiliary note
:
—
(8)
(7)
|gjJjij7j^i
|]
(9)
~0'
6
-0-
-m-
-m-
u
m
-m-
-m-
«
m
m
-m-
m
m
«—
In the following exercises separate the chords into groups after the
—
usmg
the Repetitions, then
the Arpeggi, and finally the Ornamental phrases.
Observe that where
pattern of each of tbe above phrases four notes are given, one
may be
choice of two positions, thus
:eEIy »-
3
first
omitted.
In
such
cases
there
is
:
Or:—
3Ed^ lai
LESSON Exercise
Ex.
2.
Ex.
3.
IV.
— INSTRUMENTAL
BEGINNINGS.
19
1.
Many examples
of systematic treatment by arpeggi, &c., occur in
the works of the Old Masters.* For example, compare the first Prelude and the two Preludes in G major in Bach's 48 Preludes and Fugues. It is perhaps just worth observing that even drum rolls, which depend entirely upon rhythm, have become highly developed. Then there are the Mordents, Turns, Trills, and other such graces that are simply stereotyped figures of a sort with which this chapter is in a
degree concerned.
Nor
are such things really inanimate since they
come back suddenly
We
need only to mention such examples as the long trills in Beethoven's Op. iii, last movement, and the vital turn in the Lovetheme of Berlioz's Romeo and Juliet^ as also its many characteristic uses in Wagner's Tristan. into
*
life.
If
it is
found necessary to extend the practice of this class of exercise, (and mere is not enough), Mozart's and Beethoven's Variations Jor
transposition into other keys
Pianoforte will furnish a
if
number
of suitable figures, which
may
be applied to any
It is still better (and very much quicker) planned harmonic succession. a pupil can be got to extemporise such developments in the teacher's presence.
theme
or well
ELEMENTARY MUSICAL COMPOSITION.
20
LESSON
V.
VOCAL MELODY.
LTHOUGH
primarily an expression of definite words, Vocal
Melody* has
in
some sense an
individual existence.
It is
not
to be regarded as a mechanical definition of verbal cadence, though it has much in common with it. Our first experiments
tend to show us that mere reproduction of well-moulded emphasis is There must be some charm, some grace of not in itself sufficient. expression, an attribute of Music itself that is almost indefinable,
The word Style, without lending us any real help, Melody for its own sake, a sequence essential conditions.
almost elusive.
sums the
carried out, a suggestive pattern developed
:
these, small aids as they
have something to do with the matter. The principal of evolution One thing leads to characteristic of the invention of Melody.
are, is
another, and though words check, guide, help, restrain, they only do
so to a limited extent.
Vocal Melody not only
mation, chaste rhythm, perfection of expression, heart of Poetry,
and
reveals
its
offers us it
good decla-
goes right to the
inmost emotional significance.
It
is
of
almost limitless expressive power, agile and free as the song of birds, of infinitely greater sonority and compass, with a wide choice of rhythm
and an
ever-varying degree of intensity.
those of artistic appropriateness. as
paramount,
more
is
justly
Its
It
knows no bounds save
place in Music, once regarded
co-equal
with
that
of
instrumental
melody.
Though
its
scope
is
almost
limitless,
good Vocal Melody deals
the most part in well-sustained phrases of definite compass.
aiming
at the
for
Without
production of actual subjects, such as those of instru-
mental music, the opening statement of a Song should as a rule be clear,
definite
Song
is
and
determined
expressive.
Much
in these first
of the character of the whole
few bars.
A
first
practical step
is
study of effective vocal openings, and the practice of The process is a valuable one, and its thorough forming similar ones.
therefore the
*
Scholastic Counterpoint, considered in a later lesson, should help in the study
of vocal melodv since
it
deals in
little else.
— LESSON mastery
— VOCAL
MELODY.
21
forming a quick habit of thought, by which the
in
will assist
V.
The
words of songs may be readily cast into musical shapes.
become
will
natural that
so
its
very ease
Take
overrate the value of his performances. "
attempt from Love's
1
no is
because
less
is
it
sickness "
;
effort
forbid the student to
will
Purcell's well-known
air,
beginning arrests the attention
its
a well-balanced musical thought than because
it
a finely-conceived utterance of the words.
The formation
of a song-opening
very like that of a
is
One verse is answered by another. may be similar or contrasted. The
couplet in poetry. verse, the lengths
rhymed
In music, as in chief considera-
and form part of one texture. In the example quoted a single line of poetry becomes a complete musical sentence. The rhythmical scheme is an extremely realistic reproduction of the tion
is
that they cohere
The
poetical idea.
M
N
^
notes literally lend wings to verse.
1
I
attempt from Love's sickness
Dominant. 1
I I
Done
I
I
I
I
I
I
I
rn
I
I
in the following way,
paratively trite
I
and lacking at
-
in
I
1
I
it
To
fly
had been no
imagination
tempt from Love's sick
-
in
vain.
less correct,
but com-
:
ness
to
fly
in
vain.
^^=id=4#^ Careful examination of the following Song-openings, which are
an
effective type,
shows that
first
phrases (of two or more bars)
&c.
all
of
may
ELEMENTARY MUSICAL COMPOSITION.
22
Tonic character (perhaps with a veiled perfect cadence), or turn in the direction of the Dominant. A few prefer the Subdominant direction. Minor phrases either follow the same plan or modulate to their relative majors. The balancing phrase, completing the sentence, while subject to the guidance of the words, may be of either maintain a
As
identical or contrasted length.
common
a
towards the Dominant or Tonic close. but there
is
no
real
rule,
Such
procedure
nor anything approaching to one.
He
student, however, practise with tried weapons.
himself with from two to three notes
modern custom recommend that
gravitates
it
the stereotyped custom,
is
(at the
since
is
also
in first analyses the
most) to any single
against the use of rosalias
be placed side by side with the words,
Let the
should also content
and
syllable,
fiorature.
We
rhythmical scheme of music
A
purposes of comparison.
for
few are so offered.
X2:
zzq: God
pros
-
no
per long our
ble King,
-
Our
lives
and
safe -ties
all.
Dominant.
II Ill !-<^ M J—
z:^
1_|
l_ !_
I
p:?^
l!
C^
1^
God
prosper long our noble King,
Our
lives
SUBDOMINANT.
J:
TIJ-
:,|UJ=^
:!=c^:
I^
and
safeties
1^=5^=?^
4=5 Come, sweet
lass,
mer
This
-
ry weath-er Let's
E Come,
sweet
all.
^ to
-
geth-er
E Let's
play
up
-
on
the
green.
Tonic -^
Come,
sweet
lass,
Dominant.
J^I-J^N^^
;
-e>-
lass,
J=J:
i^d
S S S N This merry weatlier
:
Let's together
I
LESSON
V.
— VOCAL
MELODY.
23
Tonic.
:J=J:
I
WL
Come,
It^
sweet
lass,
Dominant.
N
S
N
S
Let's
cz:
upon the green.
play
^^--
^^?^^ :fc^ Come,
with
live
and
me,
1
—
my
be
<^-
And
love.
m=^
&c.
I we
will
the
all
plea
-
sures
Come,
live
with
prove.
Dominant.
~^
i^^iut.
z?:^:
S
_?z^
me and
be
my
love.
Relative Major.
-J-l J >J- _* a'_i_ _C3 =at izazziBZizaizzii^it I
And we
1
'
will all the pleasures prove.
Leveridge.
^^^i^
fc ii=i=fe£ Who
is
Syl
via
-
what
?
is
That
she.
|^^^3^E^|^«Ei| l*=r"
all
our
me,
-
mend
her?
Bishop.
"^^ Tell
com
swain's
-^ my
why
heart,
morn
-
ing
prime.
DiBDIN.
4^ ^ ^^^ — ^l3Ei^E§^iS?E?E^±^ ^—• —
A-dieu,
^-
1
a
-
dieu,
1
1
"
my
on
-
ly life.
My
hon- our
calls
me
from thee. &c.
ELEMENTARY MUSICAL COMPOSITION.
24
Schubert.
m
^^i
fc:i=t=:fc^^
fe3 ?3:
-J-^-
How
P
shine the
clear
stars
t^^f^
S:iJz=E=z3EZ
the
in
=1:
slum - ber
steal our
oft
-
ness
a
-
night,
of
^^m
=i^^=iv i^zzi:
11^=*:
They
still
-«s>-
way
by
their light.
Wagner.
*t w By
I*
1^
S=M:
ii:
si
hearth
lent
-
fe^
'i=t
-S»-
Couplets, &c., for Melodic Treatment:
How
little
do the landsmen know
Of what we
sailors feel,
When
waves do mount, and winds do blow But we have hearts of steel, (p. 245).
Hail, gently,
Where And Come, Come,
summer,
;
to this isle,
Nature's fairest beauties smile.
breathe in every plain,
mirth, call on music frolic-filled fancy,
One summer
;
(p. 93).
music on song
call
bring genius along,
(p. 54).
eve, as Celia fair
Sat spinning in the shade,
(p. 163).
Come, cheer up, my lads, to our country be firm, As kings of the ocean we'll weather each storm,
The
(p.
175).
sun, like any bridegroom gay,
Rose
to salute the spring,
Vulcan, contrive
As Nestor
Words from
me
(p. 67).
such a cup
us'd of old.
(p. 13).
the C/iotce Spin'i's
ChapUt
(G. A. Stevens) 1771.
LESSON
VI.
— INSTRUMENTAL
LESSON
PATERNS.
25
VI.
INSTRUMENTAL PATTERNS. ROUPS
upon
of notes formed
may now be
considered)
briefly
producing
short
The
pattern.
single Principal
Notes (already
strung
usefully
together,
melodic pieces of a definite
rhythmical
such work consists
in a series
material
for
such as might be contrived foi In the first exercises of this kind a skeleton (or outline) a Violin. The exercises are to showing the Principal Notes may be employed.
and contrasted
of vigorous
be carried out as
figures,
accordance with the figure-pattern
far as possible in
Slight modifications, however, often
selected
any one
figure
awkward
progressions.
modify,
at
the
Specimens
of
maintained
exactly
The
expense of
Two
second Model.
become
lead
strictness,
are
at
least,
*
4
(^),
and
arise.
in
the
models, or examples of finished exercises, and
These may, few outlines are given below. plemented by taking any well-defined theme, for
or at
such phrases which
all
seen
a
Variations
necessary, since
to harsh,
student must, therefore, be encouraged to
modification
this
may
Pianoforte.
Many
of the Suite
if
be supfrom Beethoven's
necessary,
say,
movements
also lend
themselves equally well to such treatment, especially the small clear-cut of
pieces
and
Corelli
dispense with such aids. himself.
The
Bach.
He
The
enterprising
will further
student
will
soon
begin to invent figures for
Every encouragement should be given to such invention. itself is invaluable, since it sets up the habit of mind by
process
which melodic progressions may be broken up into
short,
effective
rhythmical figures.
PRINCIPAL NOTES. {a)
i
L
id)
-G>-
<&-
(3)
FlGURES.
-Gt-
-«s>-
2.
ja)
{a)
-^ =1: id)
g
ELEMENTARY MUSICAL COMPOSITION.
26 3.
{a)
4.
(a)
(i)
I
^-m-^-m-'
A
s|s
modification of
:i:
m
(a)
5.
((^).
=3-*
fe P^p^^=^33^^^^fl^=^^^^^ 6.
(a)
i
P=?=
lg^^=^ Or
-•
m-
Or
C-^)
P5
=1-
^-
T^^^ 7.
(«)
{-5)
S3?l=t 8.
f^
i
(a)
^ 10.
<^
1
^ J r^
(o)
^
9.
-1^
^*—
^I^PI
(^) I
!
?
n—
(a)
(^)
3=3: 11.
(^)
12.
(a)
(^^)
^
fi^:^^
^^^
^.ca-^
— LESSON 15.
—
— VI.
—
— INSTRUMENTAL
(a)
—
—
—
PATTERNS.
I
27
(^)
^•^f^^V^
/'
\
wrfffri 14.
(a)
—^
/'
T~l
/-^
"
^
- ^1
y
V 15.
((2)
•'•-ri
——
16.
(a)
-j
I
A
1 1
MODEL,
(^)
—J
*
1
n
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I
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(formed upon No. 2 below).
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Outlines. No.
1.
^
No.
P
33 -•
No.
—^-J—J —•
2.
P
jp=p=
3^3
:o:
0-
3.
itizB:
E
*i^i^
ELEMENTARY MUSICAL COMPOSITION.
28
A Second MODEL. Ex.
3, exactly in
accordance with a figure given.
p^fejgi^
^
§
Modijiea.
-•-d
$
Or
^=P i^£^=s^^ :p=s^
i
^
^
g=^.-^-r-g^;b
i
f^
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—
—
*
LESSON
VII.
— ACCOMPANIMENT.
LESSON
29
VII.
ACCOMPANIMENT. CCOMPANIMENTS,
once extemporised or
up on the
filled
spur of the moment, from mere basses or figured basses, are
now
invariably written out in
nothing to
detail, leaving
full
the imagination, so that an accompanist's duties, formerly of first
much
importance, are rendered
assistance.
It
by the composer's studied Lesson III) that quite simple
lighter
has already been shown (in
We
chords effectively support clear-cut rhythmical songs.
shall
now
begin to use broken chords and arpeggi as accompaniments to slow-
moving and sustained melodies. following little vocal example
For a
first
experiment
us take the
let
:
*•
Drink to Me only with Thine Eyes
" (18th Century Version).
-V-
/^
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1
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T—
\
#— fl
19
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r
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m k
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y
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—k— m— —m — >
E
^-
4 2
^ I
y
\
f f
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i ^
:i
3^^
ELEMENTARY MUSICAL COMPOSITION.
30
Here the harmonies are fairly satisfactory, but they and sound weak and rhythmless on a pianoforte.
are merely vocal
By
parts,
the simple
expedient of breaking the chords into arpeggi, a current of rhythm
is
itself, and of real support to the voice-part. good accompaniment should give a melody rhythmic support and harmonic colour, while providing a real playable part for the performer. Over-elaboration is generally a fault and in such a melody as the present, would be an error of taste. The piano part must merely hint at chaste and expressive harmonies. In composing this class of accompaniment, a student is recommended to test his work carefully on the pianoforte, rejecting anything which sounds ineffective. Finally, if possible, try his work in conjunction with the voice-part.
set
up,
interesting
in
A
;
Andante.
^^ ^^^
|fc:?^=I^
Drink
Or
i^
to
me on
leave a
kiss
with thine eyes,
ly
-
with
fe^
1fc?= £3tZ^
9
-Jii=:4i
in
-
SJ-m-
the
~m- -m-
cup,
And And
m will pledge with
I
not ask
I'll
for
-m~ -m- -•- -•
-X
-^
azzi^:
-^s=|=(:?:)rz
i mine,, wine.
The
^ thirst
that from
^s
fcd the
soul
doth
rise,
Doth
p^^^,^M^^^3^^^i^g^^^^
m
U ask
a
drink di
-
v=s
vine;.
1 t^jjgasg^Eg^sa d=
* -r---
^^
1^^^F But might
— ——
-M
I
I
of
^m
Jove's
—
I
I
m
d^ '^-
—» LESSON
yg
— VII.
— ACCOMPANIMENT.
sup,
tar
-
31
^
f-^*— »— ^— J— ^^ nec
;
i=Efl
would not change with
I
thine.
^o-r :s=iq^:
l=*St •-
-•^-•- -0'
.-•-
'0-
•
-0-
-•->
=^
;u -m-
-4^-4-.
:=f^
i^fl
^r
demands
Straightforward arpeggi suit the type of melody which
a
flowing rhythm founded, perhaps, on few and regularly changing chords.
Such types
will
discover themselves by the persistent
manner
in
which
they emphasize the Tonic or Dominant triads at the outset, and the definite
rhythm
which they are given of such openings
glimpses
illustrations
of
casually
afford.
few
:
DiBDIN.
Con moto.
xt
A
d:
fc|;
:t:
X:-
A
-
^=CZ^
a
dieu,
-
my
dieu,
on
P^=H^
i^^^i^i^ ly
iSE^
p-=^=p=
My
life,
=M^= -^Xrr.^
m^
ZI
I
i-iJ-
hon
-
our
calls
me
from
S=a f?^ES3E3E^E^E^Efe3 ^t ?
a~r~''^:^
lz
thee
-•
n
&c. ;o
ELEMENTARY MUSICAL COMPOSITION.
32
PURCELL.
m^BEE^EEE^E^ I
saw that you
were
E:
:E
grown
so
i high.
4—1
EE
i
a
\-
1
f
Repeated chords are of good design or slight figurate relief
accompaniment managed.
pattern of carefully
-^-
rl:
-^BEES
is
some rhythmical is introduced. Both this and the former apt to degenerate into monotony unless effect,
especially
if
Godfrey Pringle.
13^
-
szc
1
The leaves
of the for
-
\—
te^e=r= fa-ding and fal
est are
ling.
Wf-
shine the
stars
in
&c.
^
SCHUBERT.
-N—
:V—Nclear
-
•••
•••
•••
How
—«
gz33—-JEiHs3£3^n t^^m^E^,
N-N-
f^ [^
m
their
soft
a
-
zure
Etwas geschwind.
^
g=f^
— — *=:t
%-
psfe
-«s>-
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9-
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3z:
deeps.
:rIt=*:
—
-^
s
fc=e
i
3^ ^-
4i—
£
-^—
&c.
— — LESSON
A
— ACCOMPANIMENT.
33
by repeating
background is often obtained the distance of an octave
harmonic
good
identical chords at
:
^^^^ Gold
^
VII.
:^
^
1:2.
en
^
slum
-
bers
i^^^|E§3E|E^S
m^
m^-
P#
Will you
hear
-^
-^
^
the Spanish
^^^^^m ^^==1^
la
-
dy,
How
she woo' d
an English-
N
/-
^ :*=£ man
?
£
f:
ti:
P
ii^
Simile.
Fed.
Fed.
iB
eyes.
Pg ^
%
pp
your
kiss
—&
-<5»,-
sosL
'A
H^-
1^
Without attempting to exhaust the materials of pianoforte accompaniment by giving stereotyped phrases since here, as in every department of musical composition, much must be left to the imagination the student may be recommended to study such examples as are quoted, and to collect effective openings of pronounced pattern. Some of these, like the following, are common property, and only by skilful use can be made individual or interesting
—
—
:
d2riT=
^:
^
fe^ 2:lt4
^ 1^^ E5
I
&c.
%
-f^—
g
ELEMENTARY MUSICAL COMPOSITION
34
The
supplemented
be
recommended
following melodies are
melodies
They may
for practice.
from any good standard
of
collection
National
*
:
"Gather YE Rosebuds."
S^
S'
atzt
5S3!:
•=i: :^^j=M=m:
^;^=^
~s
hx
—
:P=^
~ai
^
—
'
^a
I'
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Traditional Air.
^^s^^^Mi *
^
^^^.
19—fjr
:1^
—
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s—
^=^=4^-4^-
^-
"There was a Jolly Miller."
i
E
^^^ iidzzg:
P
^'=E-
-•—m-
SEE
m
I
t
w~r
'w
^^s ^S-
-TS-^—=1^
:i=*:
^
fe
"Gaily the Troubadour."
&
^^
vg-
^h.^.
-f^
-?5*h
:[i-V::p:
*
I^Zit
:?5:
3=
iS
:ti
a
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Harmonised versions of most of these songs will be found in England,"' Vols. 1 and 2 (Augener & Co.).
^
"The
Minstrelsy of
LESSON
VII.
— ACCOMPANIMENT.
35
"Peaceful slumbering."
^
s
-
IeP^^^^^^
-m—
-F=
I
—m-m-
"Know'st thou the land. >y-
^^
t|:»^^^4r d d '
»=t^^ ^
i=^=^^S
I,
I,
t
I»=
P
-n-
^
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^ si^^
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V
<:>
ELEMENTARY MUSICAL COMPOISITON.
36
LESSON
VIII.
COUNTERPOINT.*
OUNTERPOINT,
or the art of adding melodic parts to a
given theme, underlies the whole practice of Composition.
At every turn the student is faced with the necessity for such skill. Music does not reveal itself clad in full detail. Just as in building a ship, vague plans are gradually brought to accurate
form, proportions and measurements have to be taken
and the whole
origin
its
the keel
is laid,
So a musical theme, which needs
from small beginnings.
structure rises
composition has
;
perhaps in a single
development, expansion, and a thousand accessories of contrapuntal
workmanship and invention before its perfect form is realised. There are two kinds of counterpoint. The first is that which may The be seen in the works of Palestrina, Bach, Beethoven and Wagner. second is of the Schools Scholastic and serves the purpose of leading It teaches self-restraint, since it deals strings to all young beginners. only in diatonic progressions, definite texture, set patterns, and is It enforces exclusive of all manner of harsh or extravagant intervals. the best use of limited opportunities, and its practice is essential to
—
—
every musician.
In connection with our scheme of Lessons, the following plan
is
Work example each day, or not less than one two days. Keep up such disciplinary exercises for upwards of twelve months. Work each Canto Fermo first in four-part first species. Make it a recommended.
a single
in every
rule that this preliminary It will further
Canto Fermo workings gradually,
in
example
be in strong, well-knit harmony.
shall
be found useful to attempt several versions' of the same in
this
since
species,
they
the advanced combinations. occasionally
returning
to
afford
clues
to
successful
Introduce the several species three-part
and
even
two-part
counterpoint.
There are so many excellent treatises that it seems almost unnecessary to name W. Pearce's volumes on Counterpoint, Strict and Free (Vincent Music Co.); Sir F. Bridge's Primer (Novello) Dr. Prout's "Counterpoint," Augener or Cherubini's great volume any of which may be employed. *
Dr. C.
;
;
;
LESSON
VIII.
— COUNTERPOINT.
37
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ELEMENTARY MUSICAL COMPOSITION.
38 C.F.
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1st Species.
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it
is
preferable that the
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Strict Counterpoint.
I.
iftp:
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:fo=i
is
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note of the Counterpoint shall
perfect concord, the use of the 3rd of the chord
(Memorandum on
——
:q:
-s«S>-
:p=
make a
not considered to be an offence."
S. M.).
I
—
—•
— LESSON
VIII.
— COUNTERPOINT.
39
6th Species.
-p
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During the gradual introduction of the several species can
to
be
harmonizations prove helpful.
A
parts,
it
scarcely
illustrating the process
fail
noticed
few
how
the
in
early
examples
further
individual four-part
are
given
:
C.F. I
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ELEMENTARY MUSICAL COMPOSITION.
40 C.F.
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;ii
— LESSON
VIII.
— COUNTERPOINT.
41
C.F.
t^
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ELEMENTARY MUSICAL COMPOSITION.
42 5th
Si'fx'ies.
-^=^=^ ~1
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and pure. Let there be no harsh
the counterpoint
is its
very essence.
The
parts
strict
must be made
Freedom
I
in a wise restraint
tritones or foolish intervals.
Mere arpeggi have no place in move with definite purpose. Ornaments and change-notes should be sparingly used. Above all, the counterpoint.
to
tell.
Passing notes must
harmonic structure must be good. In the fifth species, a vigorous Remember that a few examples movement should be aimed at. thoroughly done are worth twenty times the number carelessly worked. With such considerations kept constantly in view, and plenty of practice, the student cannot fail to set up good and useful methods of thought, which will readily serve him in other and widely different branches of composition, which in due course we shall hope to explore.
— 1.ESS0N IX.
— COUNTERPOINT.
LESSON
43
IX.
COUNTERPOINT
(co?itinued).
g'g^',g OUR-PART
florid scholastic Counterpoint depends upon and independence. Owing to the free movement of the three added parts, restricted only by the movement of the canto fermo and the ordinary limitations which have already received illustration, simple four-part harmonizations, though still of use, can only serve as the roughest sketches, which must often
contrast
be widely varied. The plan most serviceable
— Let
in
mastering
additions
florid
is
as
—
fermo be treated in two parts the 5th then let it serve as a Bass species being added above and below adding two upper parts. Our next step is to place the canto fermo follows
:
each canto
;
in
the middle;
some It its
is
five
or six
far better
possibilities
adding three
varieties
florid
this
scheme,
of each example are successively worked.
thoroughly tested. is
given of this method of study
a pupil feels the strain
upon
:
his inventive faculty, he should
to play through one of the inimitable fugues of Bach.
new
By
parts.
than hurrying to new exercises, since each theme has
An example When
finally
He
will
be encouraged
return to his task
promote emulation while up a true standard of taste. For this purpose we recommend •5uch Fugues as Nos. 13, 17, and 30, of the Forty-eight Preludes and Fugues, and ithe whole of the Choral Preludes for Organ. with
vigour, since Bach's Counterpoint never fails to
it assists in building
One canto fermo 'Until proficiency
C.F.
is
carried through this five-fold
process each week
attained, should serve our purpose.
ELEMENTARY MUSICAL COMPOSITION.
44
&.
e^-
:q:
1
-e^-
ie>-
^p:te
re= -pi=*: -o-
_^_ -<&»-
sometimes chances that a well-written contrapuntal part may be inverted exactly as it stands. More commonly, however, small modifications become necessary. In the example just given, we can invert every note ; but as the 5ths at " A " and " B " by this process It
become
will
4ths, slight alterations are advisable, thus
A -«s>-
:
B -^-
'-^'-
-s>-
—:X-
4th
4th
&c.
_Q_
---
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B fc
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The Same,
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modified.
&c. -<9-
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H:
An Independent Working. :p==^z:
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:^=^
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-«S>-
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— LESSON
C.F.
— COUNTERPOINT.
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Observe that in the three foregoing examples the Sequence in the Our next example canto fermo is reproduced in the Counterpoint. part, transposed for convenience gives the canto fermo in the middle ;
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be seen that the three added parts are of equal importance, contrasted and independent. Though the flat seventh is used in the second half, the example is correct without its In our
aid.
An
last
example,
alternative
rhythm in the upper
it
for
will
the
last
five
bars,
part.
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ELEMENTARY MUSICAL COMPOSITION.
48
LESSON
X.
FREE COUNTERPOINT. T
high time that a thoroughly free order of Counterpoint be admitted in Enghsh practice; a kind which allows of the is
use
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of
chromatic chords and passing-notes,
time admitting a broader rhythmic scheme,
at
so
the
same
that
the
whole system tends to bridge over the gulf fixed between scholastic counterpoint and practical composition, while it also assists in counteracting the tendency of an obsolete system in the direction of cramped
and
rigid authority.
We recommend
the following
scheme
1st Species, as before, admitting,
:
however, ckromafic h3irmony B.nd
modulation.
2nd
Species, as before, with the addition of chromatic passing-
notes and harmony.
3rd Species, as before, but admitting chromatic passing-notes and
harmony. 4th Species, as before, but with the chromatic system behind 5th Species, complete freedom, shall
merely stipulating that the parts
be of definite number, and the Instrument
Strings
it.
— or Voices declared.
— Piano, Organ,
Let one such exercise be worked after a group of the regular formal exercises.
Our
(though tonally
Then
first
experiments serve to show that ordinary canti fermi
much
restricted) will serve for this preliminary practice.
the teacher should draw
upon the chorales Bach so commonly
used.
As the object of
this
temporarily relieve the
kind of exercise
mind
is
to train the imagination
and
of such restraint as former contrapuntal
studies may have induced, especially the feeling which students so commonly have that strict counterpoint does not offer fair scope and is merely of arbitrary value, every possible chord or melodic passage may now be admitted. At first sight one might imagine that mere chaos
would his
result.
own
But
far
from
this
being the case, though thrown upon
resources, the student will
still
find that he has to justify
first
— LESSON
X.
— FREE
COUNTERPOINT.
49
and afterwards to his teacher, progressions of harmony and melody which though no longer judged by scholastic standards are nevertheless subject to the laws of Taste, logic and common-sense.
to himself
Free Harmonies.
1st Spfxies,
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ELEMENTARY MUSICAL COMPOSITION.
50
C.F.
3rdSp.
Organ.
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Experience proves that practical procedure to
it
work out
is
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both excellent discipline and good
definite species in
FREE
Counterpoint,
preserving a consistent texture of crotchets and minims according to a
Bach, in his Choral Preludes, has further shown that
precise scheme.
much
beautiful
quotation
kommen
is
/^^r
music may be constructed on
(Augener's edition, Vol. 17,
Theme
2nd
this
artificial
from the short organ Prelude on £^s
Species.
p.
1006):
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ist
plan.
das
Our
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LESSON
m
X.
— FREE
—
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— —
—
COUNTERPOINT.
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Our last quotation shows that arpeggios, if short and characteristic, may be admitted. The Counterpoint is principally of the 3rd Species for
the two inner parts;
and 2nd Species, occasionally broadening
into the ist Species, for the Bass
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The Choral
is
entitled
Chorales as the following
Herr Jesic Christ will serve for
(Vol.
17,
979).
p.
preliminary practice
Such
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GOUDIMEL.
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Vater unser im Himmklreich. -7^-
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themes in exchange for the old Cantos, which resemble mosaics and have little or nothing in common with modern work. Nearly all the old Chorales (especially the Lutheran) are ready to hand, and while being in long measured notes they also possess something of the emotional qualities which modern art requires. Where the themes are too long, take one or two hnes: The added Three parts will often serve Counterpoint need not be too elaborate. Chromatics, though admitted, should only be introas well as four. duced for effect. Though we aim so far at producing merely a musical EXERCISE, the student cannot be too ambitious in a good sense. We shall hope to continue the subject at some future time. is
to take musical
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