BOpGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF 1891 :m?.?..^imusk;- /.?j.^i. 1* Cornell University Library .... 40.S77 Composition 3 1924 021 757 228 The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021757228 FIFTEENTH THOUSAND. NOVELLO, EWER AND CO.'S MUSIC PRIMERS. Edited by Sir JOHN STAINER. COMPOSITION BY JOHN STAINER, M.A., Mus. Doc, OxoN. PRICE TWO SHILLINGS. Paper Boards, Two Shillings and Sixpence. inn LONDON &■ NEW YORK NOVELLO, EWER AND CO. LONDON : NOVELLO, EWER AND CO.; PRINTERS. PREFACE. This little work is only intended for beginners. It is a collection of hints both to masters and pupils as to the course which should be pursued in the hrst steps towards the art of Composition. Any child or young person who has thoroughly mastered the author's " Harmony Primer " will be quite capable of com- mencing this book immediately. In extenuation of the many shortcomings which will no doubt be discovered in it by com- petent critics, the author wishes to plead that he has attempted to work out his scheme without following or imitating any previous writer. He has purposely omitted any concise or definite rules on modulation, because he conceives that it is better that it should be learned in the process of harmonising melodies than by " short-cuts " committed to memory. Pupils who have been made familiar with such " short-cuts " usually jump into a new key by their means, and fail to master that gentle and interesting leaning towards the new tonality which is so characteristic a portion of the best type of modulation. Experienced masters will, it is hoped, substitute other exercises, or add to those already given, whenever they may consider such changes beneficial to their pupils. The examples have been taken from works within easy reach of all, in order that pupils may be able to examine the context. CONTENTS. CHAPTER I. PACE First Steps — How to write down music from dictation — Exercises . i — 6 CHAPTER n. How to harmonise, one note of melody, two notes (with final tonic chord), four notes — Exercises .... . . 7 — 10 CHAPTER HI. How to harmonise the degrees of the major scale when in a melody —Final cadences — Exercises 11 — 21 CHAPTER IV. How to harmonise the degrees of the minor scale when used in a melody — Final cadences — Exercises — Table of harmonies of the major scale ; of the minor scale — Exercise 22 — 33 CHAPTER V. Melody — Outline and rhythm — Contrast and parallelism — Simple form of sentence — Responsive section — Extension of sentences — Analysis of a motive or theme — Middle cadences — Exercises . 34 — 55 CHAPTER VI. Rhythm — Its nature and function — Simplest form of rhythm — Pro- gressive forms of rhythm — Silence in rests a portion of rhythm — Combination of rhythms — Polyphonic music often polyrhythmic — Expansion of rhythm — Sentences may commence at any portion of a bar — Exercises on rhythm 56 — 8? CHAPTER VII. Sentences are of various lengths — Links between sentences — Pre- liminary announcement of rhythm sometimes external to sentence — Combinations of principal rhythms — Phrasing — Combination of principal and subordinate rhythms — Accompaniments . . 83 — 115 CHAPTER VIII. Broken harmony — Hints as to grammar — Exercises — ^Analysis of simple song-forms — Introductions to songs — First attempt at pure instrumental writing 116 — 126 CHAPTER IX. Concise account of sonata-form — Development ; its nature — Exer- cises — Analyses of various movements — Conclusion . . . 127 — 140 INDEX. Accompaniments . . Analysis of a " first movement " Analysis of " slow movements " Analysis of song-forms . . Announcement of rhythm Augmented sixth . . Auxiliary notes in figures Binary or duplex form . . Broken chords Broken chords, partial . . Broken harmony . . Cadences, final major Cadences, final minor Cadences, influence on rhythm . . Cadences, middle . . Cadences, prolongation of middle Cssura Cavatina or aria form Coda of movement Coda of a song Contrast in melody Contrast in rhythm Cross accents, groups of . . Cross accents in accompaniments Development-portion Development, various kinds of . . Diatonic progression Durchfiihrung Extension . . Free fantasia Fugal sections Introductions to songs . . Key-chords . . Links between sections . . Minuet-form Modulation Monophonic Monorhythmic Motive, formation of Neapolitan sixth .. INDEX. Outline of melody Overlapping sections Parallelism in outline Parallelism in rhythm Passing-notes Pauses, written out Phrasing . . Polyphonic . . Polyrhythmic Principal themes' . . Reprise of principal themes Responsive section Rests, portion of rhythmic form Rhythm and outline Rhythm, grovirth of Rhythms, examples of . . Rhythms, principal Rhythms, subordinate . . Rondo form Scale, harmonies of major Scale, harmonies of minoi Scale, table of harmonies Scherzo-form Second principal theme . . Sections of various lengths Sentences, commencement of Sentences, extension of . . Sentences, form of Sentences, group of Shortened sonata-form . . Sonata-form Syncopation in accompaniments Theme, formation of PAQE 34 88 34 63 48 89 100 63 63 127 127 35 39 34 56 64 93 102 139 II 22 32 138 127 84 68 39 38 44 iz6 127 106 44 COMPOSITION. -*t-^ CHAPTER I. INTRODUCTORY. 1. In music, the word Composition signifies the production of a complete work of art. The power of adding harmonies, how- ever excellent they may be, to melodies written by others, does not entitle anyone to the honourable epithet of " composer." Nor, indeed, is the gift of writing melodies, if it be not supported by the power of duly clothing them with harmony, a qualification for the same honourable title, unless the melodies are of such rare beauty as to be complete works of art in themselves. Melodies of this kind are not, however, often to be met with, except among national airs and tunes intended to be sung without accompani- ment. But it should be carefully borne in mind that many unac- companied melodies are valued by trained musicians as much for the harmonies they suggest as for their intrinsic beauty. It would be out of place here to enter into the discussion of what con- stitutes a true work of art : further on more may be said about it • at present it will suffice if the pupil be told that as of the orator, so also of the composer, two things only are required, namelj', that he should have something to say and know how to say it. 2. It may, perhaps, be safely asserted that the first symptoms of a wish to compose music are those fleeting hints of little tunes which seem to have a spontaneous growth in the mental ear of the enthusiast. Many are entirely lost by the inability of their possessors to commit them to paper; this is to be regretted : others when written down, being found valueless, are destroyed ; this is not to be regretted. Young pupils should, however, not be discouraged by finding that their early attempts to produce melodies are lacking in originality. Beginners necessarily try their hand at simple forms of melody, yet experience proves that it is most difficult to produce a simple tune of an original stamp.* The beginner, therefore, whilst setting himself an apparently easy task has in reality attempted one of the most troublesome. In * It has been sarcastically said, " Many compose ; few invent." This dis- tinction between " composition " and " invention " is fortunately not generally accepted, although the writer has sometimes been informed by ambitious beginners that they have invented a tune. Yet it may be truly said that a good master can teach composition, but not invention. 2 COMPOSITION. his early work, then, he should be sufficiently contented if he finds that he is making progress in his manner of handling material, rather than in the novelty of the texture of the material itself. . If he has real genius, originality will soon begin to assert itself without any special effort on his part. The originality thus born of true genius always commands admiration and respect ; but the painful efforts at originality made by the would-be great only add another illustration to the fable of the ass in the lion's skin — the long ears will sooner or later protrude. The pupil should there- fore strive to be true to his own nature, never unreal ; he should make the best efforts, yet never be pretentious. The most delightful and instructive works of musical art are those in which the composer has unconsciously depicted his own innermost emotions and aspirations. 3. The first step towards composition is to learn how to write down any short tune which may be played over. The following rules may be of use to young pupils : — I. Notice where the primary accents (strong beats) of the bars occur, and place the bars immediately before the notes so accented. II. Notice the relative lengths of the notes so that the time-signature may be correctly affixed. III. Notice on what beat of the bar the tune commences. IV. Notice whether it commences on the tonic or some other degree of the scale. V. Try, if possible, to determine the key of the tune. EXERCISES ON RULE I. Each example to be played over twice by the master ; on the third time the pupil to show by a downward movement of the hand the position of the primary accents. If the pupil has seen the book, the order of the numbers should be varied, or other similar simple phrases substituted. Moderate. ^m JJh' I f'f^fT^ I 33 p^rhf^ ^^ ^^i^^iA^^S ^^ ^ n^rr^^^ ^ ^^-' WRITING FROM EAR. ^^m i EXERCISES ON RULE II. After each example has been twice played over the pupil is to say whether the time is Duple or Triple. 4. This will suffice at this early stage. To the young pupil it matters not whether the time-signature should be a small or large fraction of a semibreve, e.g-. whether | or | or §, | or |, &c. Nor will it be necessary here to enter into the complicated laws which cause composers to use § instead of two bars of §, &c., that is, compound instead of simple time. At the close of the exercise it may however be explained that these laws are sometimes purely conventional, as for example when slow movements are written in short notes (crotchets or quavers as the pulse), or, rapid move- ments in long notes (semibreves or minims as the pulse), or again, when church-music is written in long notes, dance music in short notes, pastorals in compound times with short notes, &c. The laws which regulate the kind of note to be taken as the pulse are not however entirely conventional, because, the position of the bars, by pointing out the primary accents, gives to experienced musicians a valuable indication as to the phrasing desired by the composer, sometimes even pointing out the actual formal construction of a movement. Portions of the following pieces or movements should be played to the pupil as illustrations of the above statements : — Largo in C. Beethoven, P.F. Sonata, in Eb, Op. 7. Overture to " Last Judgment." Spohr. Te Deum in F. Smart. Waltz in " Faust." Gounod. Pastoral. Corelli. Song, " Have mercy upon me." Bach, S. Matthew Passion. Tarantelle. S. Heller (in Ab). Adagio in D min. Beethoven, P.F. Sonata, in D, Op. 10, No. 3. Compare "And with His stripes" (8vo edition), with fag- simile score of Handel's " Messiah." Compare " O man, thy heavy sin lament," in Bach's St. Matthew Passion (8vo edition), with the full score. Moderaio. COMPOSITION. EXERCISES • (on Rule 11). ^ / — ->. f^ t*i'i~r-^rff=^^ i r rrn'"TrJ i Itfe^ 13 i ^ s f^^=r f j\^^ f m • ^ zz: par^^^rrnr^j^^^^^ J f JfSc ^^S^ ^ ^i^^ i ^ ^ ft J'^ [ [j^ ^ ^ 3E^S r-nj f — r ^ 3z: i _fl m — w...^ .W-tm 1 — , — — I f I r r M-i ?-"pt; A- m ' » i V I I - ^ — ^ _^ s^ g=T r I '.' n WRITING FROM EAR. 5 EXERCISES ON RULE III. After each example has been twice played over, the pupil is to say on which beat of the bar the tune commenced. ^^^=^1 j J r i ^a ^ m -&-^ j^?^ q??=r ^r~ b=*-JJ I ^ I I ^ i^^S p^ ^^ ^^ ^3 f^i^n2]JT^ ^=ii=^^ ^- EXERCISES ON RULE IV. After each example has been twice played over, the pupil is to say on what degree of the scale the tune commenced. m i =r Tr~^ n~^ Z3Z COMPOSITION. I :** f T _>J_zei: =P=S: tS— io- 5^ =P2= -4=^^ tf: ?(■ pi., i i p aj=jixa23j i ^ =zi |3a^ fe^ EXERCISES ON RULE V. Any of the preceding twenty-four examples to be played over to the pupil, after which he is to say the key in which they are written. 5. The perception of absolute pitch is possessed more often than is suspected. Sometimes however it is altogether absent even from trained and experienced musicians. EXERCISES. The pupil should now be asked to wiite out from memory any of the examples already given ; also, melodies of short hymn-tunes, &c., which he may hear from time to time. CHAPTER II. 6. The power of harmonizing any given melody can only be obtained by those who can hear what they see. Allusion has already been made to the importance of this faculty in the Primer on Harmony, p. 43. Much assistance, however, can be given to the pupil by the study of common harmonies to fixed melodic progressions. To any single sound standing by itself it is evident that a key- chord only can be attached ; e.g. — in key of C Harmony. i w -rr- r^ in key of A minor i m 32= ■ I7 r . ^ I in key of F . . i t=^ ^^ ■^\f\'^ < - > - [ ]inkeyofA^ COMPOBITION. 3' ■£b\^ ^^— H in key or F minor fer: n w^^ m^ e. My '' ■ ^ I I in key of C minor. @s m m EXERCISE. Harmonize each of the following notes in six different ways as portion of a key-chord in every case ; using proper signatures : — ^^ ^pB ^=B ^^ ^^ ^ 7. When the same note occurs twice, it will be evident on consideration that the first must be either a key-chord, an inver- sion of a key-chord ; or a relative chord or an inversion of a relative chord ; but as these would cause the progression to sound as if it commenced out of the key, it will be better to take three notes, so as to be able to begin and end in the key ; e.g. — Harmonies of a Key-note. I. 2. 3. 4. i ^ Dd=E± rr ■TS.— P^ r W- ZSSl ^ -m- ^ ?2: 22; -TTS- r>^r^ 1 — r $ ^ ^ 32: -yd — frt- -rr- Tin-ri ZTSZ T -r-r -r T m Not good zssz ^ ^ =F=f^ I£2I ^ HARMONIES OF A KEY-NOTE. g EXERCISE. Harmonize each of the following in several ways, using the above seven examples as models.f The position of the inner parts may of course be varied. '• 2- 3- i u= » H^1^=^^i li^^ {^ ¥ '£l rJ ^ lA ^ MU^^ ■m -& — o ^ The two first notes of three should now be harrrionized with various related chords ; e.g. — >■■ 2. 4-, „ -a — \ — U EXERCISE. Harmonize each of the following, once ; using the above three examples as models : — i ^^-^^g ^^^^ r i i^^ ^. ^^ The pupil is not recommended to imitate at present the follow- ing examples ; they are only given as specimens of chromatic harmony of a key-note. I. ^ 1-^ ri — r"J 2. « L- ri — r-iF* 1 ri— r J " r 1 — e — U — &— 1 1 r-j 1 '■J -^ 1 s> " -f-i— -1 — =bp= t-> — 1 ^^_j_p_ 4^ ^M •f The pupil should not look at these examples whilst writing the exercises ; should he do so they will merely be transpositions, and will be of little benefit to him. All exercises are to be harmonized in four parts. 10 COMPOSITION. 9. It will at once be seen that by changing the signature, the ex- amples just given on p. Swill be equally suitable to the minor mode. I. 2- 3- . 4- i ^ 4- -4 \- ^ ^ n -ri — ri - n fi fJ- izz r J fJ —ITS 3i: ^ 'Tf r- T i :nz. m^ i-i V. -:gz V\r [ ■ ' f^ 22: p r - ^ ^g =p= 1 — r i r i ^ , J rj - ^ < ' J CJ - - 7-7— f J -ri- ,0 ,r? ■ Q rr Not good. — 1_^ 3— S— zct ^-J- - yj— «>- ^tfe &^ ^ ^^^ psc r EXERCISE. Harmonize each of the following key-notes of minor keys in seven ways, using the above examples as models : — i ^^si ^ ^ ^ $ M PM ^^ ^ -s — ,e <^ =P2 =t: 10. If the single note be once more repeated, the harmonies given above may be combined ; e.g. — i. 2. 3- 4- -J-r-i-4-n— k-J-r— ^ i^^Tr="^nT ! I J ^-4f^-g^ =?2= u ^ cj II rj I -f- I I 1 I ■ -g'-rJ- F^PP ^ ?2= =p: r -p: I I £X£i?C/S£. Harmonize each of the following in four ways, using the above as models : — 1. 11 lite p^^EH^ aiJ^^fl^ lA ipii ^^ l^^^i^Hffl CHAPTER III. 11. All the degrees of a scale can be harmonized by chords fornied by combining sounds of that scale. When this i^ done, a diatonic progression is said to be produced. The following examples will show some of the simplest harmonies of the scale. 12. The second degree of the scale gen'erally forms either a portion of the dominant chord, or a portion of a super-tonic chord if e.g. — I. « 2. « X $ -r±- ZJl±L J. T :?z=t= ^ ~rr 13. In a transition through the key of the dominant, the second degree naturally forms portion of the dominant of the new key ; e.g. — i ^ -rs- ^P=T ^- A A ^ ^ * In the ante-penultimate chord of a cadence, the second degree is commonly made a portion of the chord of the added sixth ; e.g — f^ * -7^ —" — 1 J. M'. 1 H A jS — -4- ... ^ -4 — — 1 — t In every place where chords are thus mentioned, the expression is intended to include the inversions as well as the original position of such chords. B 12 COMPOSITION. As a discord of suspension the second degree of the scale is used as 9 to 8, with some of its inversions, on the tonic ; also it forms 4 to 3 on the super-dominant, with some inversions ; e.g. — 4s 4: 4: * 4:. 4c ! I 1 _ I I 1'-^ I 111 1 7 6 3 - 6 - I 9 8 ■? 6 54 43 6- 4- 14. The third degree of the scale can form a portion of a tonic chord, or chord of the relative minor. In a transition through the key of the relative minor, it naturally forms part of the iominant of the new key. It also forms part of the well-known cadential | chord, and dominant thirteenth ; e.g. — J * * i ^1 *F I ^1 I i '^1 r ^^ W 1 ^ r I i^i |- iSz ?2- ^ In a transition through the key of the sub-dominant it often forms part of a chord of the minor seventh of the dominant of the new key ; e.g. — ^# ^ =g: =g= m ^ m -frs- As a discord of suspension the third degree of the scale forms 9 to 8 on the super-tonic, with some inversions ; and when the third is sharpened this becomes the 9 to 8 of the chord of the second dominant ; e.g. — ^^ ff^ PJ7dT^^..||Jp'Ui — « JTJ-f J- _ -« "^TT- -g- f-^ "to— — t^ \- P« 2 -Itpd 1 — -^1 * HARMONY OF MAJOR SCALE. I3 15. The fourth degree of the scale generally forms part either of a sub-dominant, or super-tonic chord ; it is also the dominant seventh ; e.g. — 4:1 *i *t i A: II =pt: -3- W J- ^ A ^ -i In a transition through the key of the dominant it is often raised to form a new leading-note and then is used as an ordinary portion of the dominant of the new key, or is embodied in a " six- three " chord on the super-tonic of the new key ; e.g. — * I . I u*l ^ , ^^ - A.=^=M ^ =g= w^^. v-y m J- T" -Ui ^ 4,^ -J-.-4 -<^- nzuJ—r i -m ^B As a discord of suspension, the fourth degree forms 4 to 3 on the tonic, with some inversions ; it is sometimes, though rarely, made the 9 to 8 on the mediant. •P *r T* 'r $ J?J J „ J ^ I m I .. j?j ,) P2= — e- ^ r=r J- A ^g 3= 16. The iifth degree of the scale is commonly used as part of the tonic chord, or part of the dominant chord, less often as part of the chord of the mediant. =^=^ * — \ — * * 1 \— 1— — i — s! — r> — -^ & — — eJ — - — \ \==^^ ^±= =f^ — 1 c; M COMPOSITION, In a transition through the key of the dominant, it often forms the discord in the progressions " four going to three " " six-four followed by five-three," on the dominant of the new key ; e.g. — i m ^ ^ ^ -p— p- -^- isdz J- -^— JL 321 =P2Z -P2- In a transition through the key of the relative minor, it is often raised to form the leading note of the new key. i m =t -g — t i ^ SE -r "P' ^^ ^ IQ- i: As a discord of suspension the fifth degree of the scale becomes g to 8 on the sub-dominant, and also, 4 to 3 on the super-tonic. In both cases some inversions are in use ; e.g. — * * * * * * -JC^ J..rJ J..A J r^':>^^JU^,A^ $ 1 a ^ssll^t -:§-- jd. H^-H I l lT^ ^ & ^ 17. The sixth degree of the scale generally forms part of the super-dominant, sub-dominant, or super-tonic chords; it some- times forms part of the chord of the added sixth; e.g. — i w ^ :t :1= =i" -r lEI^Z T P" =g= ^ HARMONY OF MAJOR SCALE. '5 In a transition throug-h the key of the dominant, it often forms part of the dominant of the new key ; e.g. — ^ w J. J. ^ I As a discord of suspension the sixth degree is used as 6 to 5 on the tonic ; as g to 8 on the dominant it would usually not be entitled a suspension ; it also occurs as a 4 to 3 on the mediant ; e.g. — * * * * m ^gpg m zm zi=iz «-- J. -oCT ^s- Z22Z aii—g- izar =P i -ri- ^ rziz ^= = -^r A =g= ~ar 18. The seventh degree of the scale can be part either of the dominant or mediant chords. It also often becomes a portion of the dominant chord of the relative minor ; e.g. — i ± -I- -A- i ^ ^^ p W- i ife -L * I The seventh degree is often used as a portion of a peculiar chord on the sub-dominant; e.g. — \ 11*. i 3^:: ^ IT ^Pz: -^ t-l- i :&: -rr- It COMPOSITION. Aa a discord of suspension the seventh degree is found as the suspended or retarded leading-note ; it also forms 9 to 8 on the super-dominant; e.g. — * , I *. 1 * I * * * ^^#^«P^^i ^ ^I^H^lfei o r^ i 33: 19. The student has already harmonized a key-note, he need therefore only be reminded that it commonly forms either a part of the tonic chord, or becomes the third of the common chord of -the relative minor, or the fifth of the sub-dominant. It also commonly forms part of the chord of the added sixth and of the " six-four to five-three " in cadences ; e.g. — ■P J "I" I "P j "I" I "I" I i ES ^^ =g= =g:: w ^ i It also forms part of the chord of the diminished seventh leading to the dominant ; e.g. — i rJ r^_ i 3= (s- r I i , °^ E^ =§= EXERCISE. Harmonize the following with simple harmonies; i 3S :3:t: 23C FINAL CADENCES. 17 FINAL CADENCES. 20. The final tonic sound of a melodic sentence may be reached from any degree of the scale ; e.g. — g 22: 22: 22: zz From Unison. From 2nd. From 3rd. From 4th. From 5th. From 6th. From 7th. Simple harmonies of final cadences :- M ^a^EE^ ^afei^ Of the above, Nos. i and 7 are the most common ; they are the well-known Plagal and Authentic cadences. Next in ordinary use come Nos. 2 and 3 ; Nos. 4, 5, and 6 are less often found. Some musicians avoid Nos. 4 and 5 because of the " consecutive octaves by contrary motion " involved between the outer or ex- treme parts. All are of course occasionally varied by the addition of passing notes or of essential discords ; e.g. — F^=J— 2. 1 —TD - 3- 1 1 n — iS> — 7n rj J 1 ft — y^ — 1 — — J^ P -^ \ \ ^^ [-1— r^ii r i Mr A rzffiaz zziz ~f~r TT "73~ :^ i^ ^ i8 COMPOSITION. EXERCISE. Harmonize the following as final cadences, placing the ac- companying parts in the most desirable positions. 1- 2. 3. 4- tP^^ ^ iift=f^ ^ ^>^yri^ii|Tti3a i 6. lit 8. f^f¥^ff^^f^m=^ii^^ iiyti pfe S sH tegJ^llfM^ ll ^i Si 23: 1=^ i: 21. Final cadences are also sometimes chromatic, as in Nos. I, 2, 3, following, or consist of a combination of two or more as in No. 4 ; e.g. — 2. 3- 4- I zi:±i ^ m d *- =§= 42. ^ ZiSC ^ 22. Final cadences to the third of the scale, which are not so satisfactory as those ending on the tonic, generally consist of inversions or of varied positions of the latter ; e.g. — I. 2. I 3. I 4. -P= -^ 3E zest m ^ j- TJ- The cadence to the third of the tonic is often treated chroma- tically, as in Nos. i, 2, 3, 4, or consists of a combination of two or more of the preceding, as in No. 5. No. 6 is not a good final cadence. FINAL CADENCES. 19 Other progressions of melody to the third of the scale are not in use ; e.g. — 1. 2. 3. 4. i ^ lez: ^ 2±: 23. Final cadences to the fifth of the tonic are uncommon, with the exception of the first here given : — I. 2. 3. Eg: =g= J f -r ^^ m=^ ZQI =1= Other progressions of melody to the fifth of the scale are not in use ; e.g. — 1. 2. 3. ^=fa=fl^^=Ei H=f^=^|| It is hoped that this account of the chords which usually are found as the harmonies of scale-sounds, will not be considered as exhaustive. It is merely a selection of those which will most probably be of present value to the pupil. An exhaustive list, even if it were practicable, would be far too cumbersome to be of assistance to a beginner. EXERCISE. Harmonize the following as cadences, simply, or with passing or chromatic notes : — I. 2. 3- . „ 4- tA ^^i^f^f^f^^m 20 COMPOSITION. EXERCISES. Harmonize the following fragments of melody: — i. 2- -4^-W li fe-^j-^-j=a ^a fefe^^ f*ti r J ^ =P=Sf- to ^ on dom. 4 3 "T-rt : ^ ^ 9~' f . Cadence in G minor. U i^rw p =P2-- ^ to ~ on dom, 4 3 I ^^3^^ ^^ S litizziz ^ ' Q - C min. Bi7. I. fP¥^^^ -P — »- (■' o m F r-^^~r i -^^ =s==^ *i*l^= ps ^S J ^-U-^ SS o • ^^ transition through rel. min. EXERCISES. 21 13- m ■~N /^ Q f ^^ transition through kev of dom. 14. ^^ — ^ /"•' gg ^ izi transition through key of dom. transition throu|;h rel. nun. 15. i I ^ transition through dom. of rel. min. *; on on A. Bass B. 16. p'i J J J-liJL^ ^ y • r=-s^ 17' is*q P^^ fr --T #=% -1 e^ 18. i^ » I f > ^ 33= =^=* 19 p%JJ>'ljjJ ?ci=t 3d- i "— i < ^-.- «!/ see see par. iS. CHAPTER IV. 24. The simple harmonies which can be attached to the different degrees of the minor scale differ somewhat from those used in the major mode. The treatment of the tonic is similar to that shown in para- graph ig. It accompanies the tonic, super-dominant, and sub- dominant and often forms part of the chord of the added sixth and of the cadential " six-four to five-three ;" e.g. — • r-|— r @g sE It -^ — p= ^ T?~ It also forms part of the chord of the diminished seventh used before dominant harmony, either as a " half-close " or as part of a progression. It also commonly becomes the upper note of chords of the augmented sixth ;t e.g. — ^^E3^ ^fee :g:^ jsL-^ -^.cL -^ ^m^ s 25. The second degree of the minor scale forms part of the dominant chord. It also is made the major third of the flattened seventh in transitions through the key of the relative major, and is also used as the upper part of a " six-three " or the sub- dominant ; e.g. — ^ ri &- zciz ^^ =#= I *! fe =F :g: F ::§= T 4^ ^ ^gg 4^. t See " Treatise on Harmony," p. loi, sect. 204. HARMONY OF MINOR SCALE. 23 In a transition through the dominant of a minor key the super- tonic often becomes the upper note of the " second dominant, "t with a major third and major fifth. If the minor seventh is included the fifth may be omitted, and vice versd ; e.g. — i fei i m -ri <=> ■3±L 1= ^ ^ =g= 1 — r r- 4^ S:^^ ^ Jg r ^ ^FF?^ ^ -?2= r The second degree of the minor scale becomes, when flattened, the essential note of the " Neapolitan sixth."}; The second degree of the minor scale, when used as a discord of suspension, forms 9 to 8 on the tonic, with some inversions. >|: * * J L i j^^ a ^ ra "T ^ X- -ri- ^. ^ -i- -C3I ^ r 26. The third degree of the minor scale can be part of the tonic, mediant, or super-dominant chords. It also frequently forms the upper part of a chord of the diminished seventh in transitions through the dominant, and part of the cadential " six- four; " e.g. — *l *l *l 1 I , * *| i b= S= i S -zti ZS±1 * : ^~" i P' ^ _J_ r rn -yj - &8 irz fl^ ^ eSe =^2= f See " Treatise on Harmony," p. 102, sect. 205. X Ibid., p. iic^ sect. 240. 24 COMPOSITION. The third of the minor scale is commonly treated as a domi- nant discord ; e.g. — i I ; J I f J A I ^ -r±- zniz ^ S ^ss^-j — -| I r - > — I— The third degree of the minor scale is used as a suspension of 4 to 3 on the flattened seventh of the minor scale ; its inversions are rarely used ; e.g. — * I m -r =FJ=F^ I -^ m^c ^ =g= 27. The fourth degree of the minor scale seldom occurs other- wise than as a portion of the sub-dominant or of the dominant chords. In the latter case it is either the ordinary dominant seventh, or becomes a portion of the important chord of the diminished seventh. In transitions through the key of the rela- tive major it sometimes forms part of the dominant of the new key; e.g. — *\ *\ I * * ^s ^^ The fourth degree of the minor scale when chromatically raised forms an essential part of the chords of the augmented sixth ; e.g. — I fc e ?3= ^ * S m j: 4 A 4 4 A HARMONY OF MINOR SCALE. 2') The fourth degree of the minor scale, when used as a discord of suspension, forms 4 to 3 on the tonic, with some inversions ; e.g. — * * * -J J ■■ J - 28. The fifth degres of the minor scale generally forms a part of the tonic, media it, or dominant chord. In a transition through the key of the sub-dominant it often forms part of the chord of the diminished seventh in the new key ; e.g. — 4: * * * I fei =1= m m ^g ^i 1 ^ s I The fifth degree of the minor scale is often suspended as 9 to 8 on the sub-dominant, with some inversions ; e.g. — I fc n _^ i£i_ L-J- r^ J S ^ m -^g-- T7~ 2g. The sixth degree of the minor scale forms part of the sub- dominant, or super-dominant chord, and becomes the dominant seventh of the relative major ; it is also the most important note in the chord of the diminished seventh, and is frequently the upper part of the chord of the added sixth. It occasionally forms the upper part of a chord of the augmented sixth ; e.g. — :K 4: ^ if ^ iK ^ 3 ^m ^3 ^ -rr ^ rrr 1=r- :^ ^ ' I n {' ri f^ r r j , J IT^ ^^ ^^ 26 COMPOSITION. The sixth degree of the minor scale forms when suspended, 6 to 5 on the tonic or 4 to 3 on the mediant, with some, inversions ; e.g. — W =t=l ^ I?:*: zEt: =g= -g^ ■^sr- ms^ :^ ^S= m 30. The seve.nth degree, the leading-note of the- minor scale, is rarely accorripanied by anything but dominant chords ; e.g. — \> — -4- i ft igi fc^ P-p=^=p-^ T ^": @: r &c. mdst £i= ^ zzt: The seventh degree of the minor scale is used as a suspended or retarded leading-note 7 to,8, with some inversions ; e.g. — i i^=^^ T ^ ea i^ - ri- ii '-g- r ^g s :33z ^ CADENCES. 31. Cadences in minor keys are to a great extent similar to those in the major ; e.g. — H ^fei h^ -S- -^ -^ FINAL CADENCES. 27 But Nos. I and 6 are often brought to a dose with a major common chord, thus — ^ 1^ PS m =^= and in many cases the cadences Nos. 2, 5, and 7 are similarly treated. In the minor mode, the third and fifth of the tonic, when used as the final sound, are nearly always made part of a major chord ; e.g. — ^ X T Rare. r Common. W ^i^^^ i?=t f Rare. I ^ Common. ^ 32. The major third is sometimes approached from the tonic or super-tonic, when used as the final melodic sound of a sentence in the minor ; e.g. — 2- . 3- , ^m * ^ ^ p=c =^ J. ^^ w. s ^ :3a:: -rr- EXERCISES. Harmonize the following final cadences of sentences in the minor mode : — 1. f4 minor. 2. F min. with raaj. 3rd. 3. i u i^ ^ h 4. (See No. 3, par. 32.) 5. lA ^^^-. ^ SEE -PZ- 30 COMPOSITION. TABLE OF SIMPLE HARMONIES SUGGESTED BY THE DIFFERENT DEGREES OF THE MAJOR SCALE USED MELODICALLY. DECREE OF SCALE. Tonic Second Third Fourth CHORDS OP WHICH IT COMMONLY FORMS A PORTION. 1. Tonic common chord and its inversions. 2. C.C. of relative minor and its inversions. C.C. of sub-dominant and its inversions. 3. Minor seventh, of second dominant, (that is, oi dominant of dominant). 4. Portion of chord of diminished seventh leading to the dominant. 5. Part of cadential 4 to 3 and | to §. 6. Upper note of chord of added sixth. 1. Super-tonic C.C. and its inversions. 2. Fart of dominant chords (7th, gth, 4 to 3, &c., with many inversions). 3. With raised third becomes the second dominant. 4. Suspension g to 8 on tonic, and 4 to 3 on super-dominant. 1. Tonic C.C. and its inversions. 2. C.C. of relative minor and its inversions. 3. Dominant chord of relative minor and its inversions, when used with its third (5th of scale) raised. 4. Ninth of second dominant. Dominant thirteenth. 5. Dominant chord of sub-dominant key, as the third of the chord of a minor seventh. 6. Suspension 9 to 8 on super-tonic. 1. C.C. of sub-dominant and its inversions. 2. C.C. of super-tonic and its inversions. 3. Is often chromatically raised to become major third of second dominant. TABLE OE SIMPLE HARMONIES 3» llEGREE OF SCALE. CHORDS OF WHICH IT COMMONLY FORMS A PORTION. Fourth (contd.) 4- Suspension 4 to 3 on tonic, and g to 8 on n-iediant. Fjftii . . . I. Tonic C.C. and its inversions. 2. C.C. of mediant and its inversions. 3- Discord of fourth on second dominant. 4 When raised, forms major third of domi- nant of relative minor. 5- Seventh of dominant of the relative minor of sub-dominant. 6. Suspension g to 8 on sub-dominant, arid 4 to 3 on super-tonic. Sixth . , . I. C.C. of super-dominant (relative minor) and its inversions. ■i. C.C. of sub-dominant and its inversions. 3- C.C. of super-tonic and its inversions. 4- Fifth of second dominant in several different chords. 5- Upper note of chord of the added sixth and added ninth. 6. Suspension of 6 to 5 on tonic. Seventh . . I. Dominant chords (not containing a fourth) and their inversions. 2. C.C. of mediant and its inversions. 3- Dominant chord of relative minor when used with raised fifth of scale. 4- As descending discord, vnth sub-dominant and its fifth. 5- Dominant of "relative minor of domi- nant " when used with a raised third (laised super-tonic of scale). 6 Suspension 7 to 8 on tonic, and 9 to 8 on super-dominant. 32 COMPOSITION. TABLE OF SIMPLE HARMONIES SUGGESTED BY THE DIFFERENT NOTES OF THE MINOR SCALE WHEN USED MELODICALLY. DEGREE. Tonic, Seconp. Third. Fourth CHORDS OF WHICH IT COMMONLY FORMS A PORTION. 1. C.C. of tonic and its inversions. 2. C.C. of super-dominant and its inversions. 3. C.C. of sub-dominant and its inversions. 4. Upper note of chord of added sixth. 5. Fourth of dominant going to the third. 6. Portion of chord of diminished seventh leading to dominant. 7. Third of chords of the augmented sixth. 1. Dominant chords and their inversions when not containing a " thirteenth "' 2. Chord of § on sub-dominant. 3. Third of C.C. on flattened seventh (that is, on dominant of relative major). 4. Portion of the chord of the augmented sixth known as the " French sixth." 5. Second dominant when used with raised third. 6. When flattened, becomes the sixth in chord of Neapolitan sixth. 7. Suspension g to 8 on tonic. I. C.C. of tonic, and its inversions. •2. C.C. of super-dominant and its inversions 3. C.C. of mediant and its inversions. 4. Portion of chord of diminished seventh leading to dominant. 5. Discord of thirteenth on dominant. 6. Portion of chord of augmented sixth known as the " German sixth." 7. Suspension 4 to 3 on flattened seventh. 1. C.C. of sub-dominant and its inversions. 2. Chord of dominant seventh. TABLE OF SIMPLE HARMONIES. 33 CHORDS OF WHICH IT COMMONLY FORMS A PORTION. Fourth icmtd.) Fifth Sixth Seventh . 3. Fifth of C.C. of flattened seventh (domi- nant of relative major). 4. Part of chord of the diminished seventh leading to tonic. 5. When chromatically raised forms essential portion of chords of the augmented sixth. b. Suspension 4 to 3 on tonic. 1. C.C. of tonic and its inversions. 2. C.C. of mediant and its inversions. 3. C.C. of dominant and its inversions. 4. Portion of " six-four to five-three " on dominant of relative major. 5. Portion of chord of diminished seventh leading to the sub-dominant. 6. Suspension g to 8 on sub-dominant. C.C. of sub-dominant and its inversions. C.C. of super-dominant and its inversions. Minor seventh of dominant of relative major. Portion of chord of the added sixth. Portion of chord of the augmented sixth. 6. Suspension 6 to 5 on tonic, and 4 to 3 on mediant. 1. C.C. of dominant and its inversions. 2. Portion of chords of seventh, ninth, and thirteenth on dominant. 3. Suspension 7 to 8 on tonic EXERCISE. The master should name certain degrees of any major or minor scale, and the pupil should state the chords of wrhich they would commonly form the melody, giving also the names of the other notes forming such chords. CHAPTER V. 33. A MELODIC sentence is formed by a succession of sounds having to each other a definite relation as to pitch and duration. 34. This may be more simply expressed by saying that the eonstituent parts of melody are Outline and Rhythm : the former signifies movement in pitch ; the latter, that character given to a sentence by the relative lengths, and the grouping of the sounds. 35. A sound sustained without alteration in pitch is analogous to a prolonged straight line : — A sound frequently repeated, but w^ithout change of pitch, is analogous to a similar line broken in its continuity : — From this it will be readily understood that if a single sound be even rhythmically repeated, a melody is not produced, because there exists only rhythm without outline. 36. A number of lines thrown together without having any relation as to their length do not produce the impression of a figure any more than a wavy line whose contour is produced by mere haphazard. Hence, a succession of sounds having no relation as to their length do not constitute a melody, even it they vary in pitch, because they form only outline without rhythm. Of the two subjects, Outline and Rhythm, we will first discuss tffe former. A good outline of melody is shown by an " up and down " movement which produces its beautiful effect by judicious contrast, or by symmetrical parallelism, or by both means in succession. For as we proceed further we shall find that a portion (section) of melody containing parallelisms is nearly always followed by another portion more continuous in its outline. This can only be fully understood when outline is considered in conjunction with rhythm. Very little can be said of outline by itself. Let us try : — ^^ [This figure represents the up-and-down movement of the first eight measures of Mozart s song, " Batti, batti." The lower horizontal line represents the key- note ; the upper, its octave. The upright lines correspond to the bars.] MELODY. 35 To say that the above is a beautiful melody because it goes up and down so gracefully, would be to push an analogy too far, and to mistake part of a truth for the whole. A melody is often found to be unsatisfactory because of its want of variety in outline, but outline is separated into divisions or sections by melodic cadences duly enforced by appropriate harmonies ; and again, the mental effect of movement in pitch is largely dependent on the modulation or transitions of the harmonies into, or through, new keys. Moreover, music is poetry in sounds, not prose ; we find therefore that every musical section or sentence which corresponds to a verse (not a stanza) of poetiy,t has its ccesura or point of division, where the mind Eoems for a moment to be poised, like a pendulum preparing for its return swing ; e.g. — l^^ Adagio non troppo. gj^g^^ Mendelssohn. ^ :ggq: 1^^ 7^ . r mf ist section. pt|i|^ Responsive section. IN- EBz ^ ^E3E i^ I m m ^ ift ^ m 3=t -* — #- TT '#' End of sentence. 2. Allegro. Haydn. i ^ eS =P=i= ff i,. ¥ - r . ^^ m^^E ^3 f Perhaps the expression " line " of poetry will be better understood than » verse," though not so correct. 36 COMPOSITION. Giojoso, >J- > Schumann m^^^^^UA^^fm^ pf @fe mf ■•-» — m- t ^^^^^^ 12==iZ P IT^^ ^^^ ^ d i^^B. r- -x- m^ ^ ^ i ^ bf--^* ! y- ! *• ^ 1 :3=e= Adagio, r ^^^j:! § ^s^ Seohr. * I — > I cZr ^^ ^^ -i ^^ p==?t ^^ SE & i J nJ i ^,L .L^ rjS^r — r ^ -^^^r,i^^.w^ ^ ^^ T — F" i Moderate. EE F=^ Handel. * I Great Da - gon has sub - dued our foe, And ^ MELODY. 37 I fe^ ^^ - f ' -^ * r~f r *r r brought their boast ed he ro low. ^ -Tj- r Mendelssohn. " Song without words," No. 43. 6. Andante un poco agitato. _^ ^ ^U I t4:_^„r i^ifVJ3Ij-J "J- fe& ati* ^ - 4-=g ^^ S& "op ■e3r Framework of harmony. r g^i:^^— rj- I ^ ^ te" &c. :t2= r" '■ Largoemesto, Beethoven. P.F. Sonata, Op. 10, No. 3. COMPOSITION. 1^ 8. Allegretto. Mendelssohn. Overture to " Hymn of Praise." -jjr (This is ist sect, only.) 37. In the examples just given, an asterisk marks the division of the melody into two portions, as previously described. For the sake of simplicity it will be well to describe such, themes as complete sentences formed by two contrasted sections. The latter of the two sections is sometimes called the Responsive section, or simply, the Response. 38. In simple sentences in the major key, the first section most frequently has for its cadence the half-close or progression from tonic to dominant harmony. Each of the examples, i to 4, just given, will be found to contain this half-close. Of course, any other cadence, or modulation into a related key, would have answered the purpose of dividing the sentence into halves, but in such short sentences there is hardly time for a complete modula- tion, and the half-close makes an especially smoof/i cadence, owing to the fact that it can, unlike a complete modulation, be made with- out the use of accidentals. In more extended sentences, complete modulations or transitions into new keys are common, as will soon be explained. 39. In simple sentences in the minor key, the first section is^ closed in the relative major, as shown in Ex. 5, or in the domi- nant, as shown in Ex. 6, or, rarely, in the sub-dominant, as shown MELODY. 39 in Ex. 7. If the first section is sufficiently long to admit of a complete modulation, it is sometimes brought to a close in minor key of the dominant, as in Ex. 8. 40. Melodic sentences are extended in length by a great variety of methods, the most common of which is to divide the first section into two or more sub-sections. 41. When a section is divided into sub-sections each of these has its own cadence. The simplest form is to repeat the half- close on the dominant ; e.g. — Adagio. ^ Beethoven. P.F. Sonata, Op. 2, No. i * .0' r^ r^ * gH— l-#i ^fe r^^ ^ IS '?*- dolce. ^3 '■-AMk-r i- . ^ i m i3rE= .The above is a section (in this case a half-sentence) consisting of two sub-sections, each of which ends with a half-close. 42. Sometimes the first sub-section ends on tonic half- close ; e.g. — Andante. ,^^ ^ "^'''i?- Canzonet. The above is a section consisting of two sub-sections, the first ending with a half-close on the tonic, the second with a half-close on the dominant. 43. In extending the first section of simple sentences in minor keys, the sub-sections generally end with contrasted cadences ; e.g. — Beethoven. P.F. Sonata in G, Op. 79. Andante. II. JS-L 40 COMPOSITFON. The preceding example shows a section divided into two sub- sections, the first of which ends with a dominant half- close, the second with a cadence into the key of the relative major. 44. In the following example (Ex. 12.) are shown cadences of the sub-sections which are less common. Allegro non troppo. Mendelssohn. " Song without words,'' No. 14. m — • * m jLi d — j- ^ m ^f-Tf— rn^=p te: The above shows a section consisting of two sub-sections, the first of which ends on the dominant of the relative major, the second with a cad.ence on to the dominant of the original key. 45. Examples of the sub-division of the first section similar to those here given (Ex. 9 to 12) might be multiplied to almost any extent. In many cases the second section of the sentence is not divided into sub-sections when the first has been so divided. This is done for the sake of contrast. If the pupil will play the four bars which follow the extract given in Ex. g, which in both cases constitute the second section of the sentence, he will notice there is no sub-division. To make this, however, auite clear, one example shall be given in full : — '^' Andante con moto. Beethoven. "Sonata Appassionata." ■m—i P' — I — m w- ^ p e dolce. ss '^> -J- 4 ' 4 j ' -^-i ' i ^.^~^Tjy ^^^^^ s ^p^s m^ ^i| ^ "m A ^fer ^23= The above example (Ex. 13) is remarkable because both the sub-sections of the first section end on the tonic. It would hardly have been expected that a complete musical sentence introduced for the purpose of being " varied " would contain nothing but tonic cadences. The rather too-well-known air, " Rousseau's Dream," is another example of a sentence containing only tonic cadences. Another common device for extending the sentence, and at the same time bringing it prominently forward, is to repeat the first section with two endings of a contrasted character. Mendelssohn. " Song without words," No. i. 14, i k^. ^ ^ ^ -- r d - ** Jdt r J I h J . ^ it^ f—it 1P=ff ^ Then foHows the responsive sentence. COMPOSITION. The preceding example (Ex. 14) shows not only how much the. first section of a melody may be extended by this means, but also how gracefully it can be made to suggest and lead up to new matter. Having selected a song without words to illustrate this, it will be interesting to give an example from a lovely song, with words, which is, or ought to be, familiar to all : — Schumann. Song " Du Ring an meinem Finger." ^^ S SE M^ m m -w ^wv V tr ' J u.r^ ""• — ^ &c. :Then follows the responsive sentence. 46. A beautiful example of this treatment can be found in the Adagio grazioso of Beethoven's P.F. Sonata, Op. 31, No. i, commencing — i ps ^ in which the theme of the first section is immediately repeated in the tenor by the left hand, while the right hand accompanies it with elegant running passages.f The responsive section, which now appears almost as a distinct theme, or, at least, as an f See also the opening portion of the Rondo of the same Sonata. 43 episode, is not reached until the middle of the sixteenth bar. This should be carefully examined by the pupil, as also the Adagio religioso of the Overture to the " Hymn of Praise," in which the first section is repeated with a different cadence, the responsive section not appearing (as in the previous case) until the last beat of the sixteenth bar, and even then appearing as an imitation of the opening section. A further peculiarity of this movement consists in the fact that before an episodal theme is given out (commencing at bar thirty-five) the opening section, with a slight variation, has been heard for the third time. The responsive section (commencing, as before stated, on the last beat of the sixteenth bar) is elegantly extended by a deceptive cadence in the twenty-fourth bar. 47. The pupil will now begin to realise the fact that in extended forms of melody, the first sentence consisting of two responsive sections, is itself treated as requiring a responsive sentence. Perhaps the Adagio cantabile from the Sonata known as the PathStique is one of the simplest examples of this : — 16. i Andante cantabile. ¥ fets: End of ist __ section. Responsive section. ^ ^^ ^ P fcr End of sentence. Repetition of sentence. e w m ' 4 i ^T^ff"^fff^iT= o nr^T i.'i,^ J /■ Responsive sentence. ^ ^. ^ F F =b=S±=i= =?»^P^ H^ - * ■■ P * g^^EJ5^ 2S ;± (followed by an episode.) 48. It will be evident to the pupil that the second section of complete sentences can be divided into sub-sections, and so, extended in length, in a similar manner to first sections. COMPOSITION 4g. But extensions of the second division of a sentence are not often brought to such a definite conclusion. They are gene- rally so constructed as to lead either to episode or development, subjects which will be explained in their proper place. 50. The intricate beauties of musical form will now begin to unfold themselves to the pupil if he considers that a sub-section is succeeded by a parallel or responsive sub-section, that the section thus formed may be followed by a responsive section, and that the whole sentence thus formed may be followed by a re- sponsive sentence; and he will, further on, learn that in higher forms of a " movement," the whole group of relations thus formed, will, after episodal modulations to a related key be followed by a responsive group of sentences. This however specially belongs to a " form " of such importance that it will be necessary to speak of it separately in a later chapter. Here we must for a moment pause, lest the pupil's " theory " should run ahead of his practice. 51. The following table will perhaps be of use to the pupil, showing him how the extended opening of a complete move- ment known as a Theme or Motive is generally constructed. Of course a simple sentence of two sections constitutes the shortest form of a motive ; a group of sentences the longest' torm. Some of the most splendid movements are constructed on short motives. MOTIVE. Group of sentences. Sentence. Responsive sentence. I St section. ____A Responsive section. ist sub-section. Response either by (i) Contrast. (2) Parallelism. Uy the above diagram, the pupil will see at a glance that he must, in learning to compose a motive, begin at the bottom ol the tree, and learn how to construct well-formed sections ; but MIDDLE CADENCES. 45 before doing this he must pay great attention to middle cadences, and learn to use them with skill. In order to achieve this he will be asked to set aside the study of episode and development foi the present, and give his attention wholly to complete melodies containing neither one nor the other. 52. Probably, the only compositions which are complete in themselves yet possess neither episodes or some sort of develop- ment are chorals, dance tunes, and national melodies. f In harmonizing chorals, the skill of the pupil will be tested not only by the smoothness of the harmonies themselves, but also by the method in which he handles his middle cadences. 53. It frequently happens that the two or three notes forming the melody of a middle cadence are capable of at least two dis- tinct harmonies leading into different keys. 54. Perhaps no better illustration of this could be found than the noble choral which Mendelssohn has made such a skilful and striking climax to the chorus " The night is departing" in the "Hymn of Praise." J " Let all men praise the Lord." i t ^^ ^^ t^ raz[3 m zt PffF^ ^ There are here five middle cadences, namely — fe fel ^^ p^^ i m with a final, . g^Lxm f Anglican chants have been purposely omitted because their musical form is a matter of much dispute. J Mendelssohn's version of the melody is here adopted although he did not. for some reason which has never been explained, follow the original form. 46 COMPOSITION. Of the above five middle cadences, No. i may be harmonized in three ways — namely, on the roots G, D, or B — i U=:fS^=^ * W^ 3L A. No. 2 may be harmonized in two ways, on the roots G or E fthe possible cadence from the roots Ft[ to C has been omitted, as utterly foreign to the key-tonality of the melody) — P?^Pi^ JTJ. tr k No. 3 may be harmonized in three ways — on the roots D, Fjf, or A — i I 1 IS J. A- J. 1 4- P^P^I^^ No. 4 may be harmonized in two ways — to the roots D or B — i lEii -31 ^ T^"^ =iE2Ii =S U=^ MIDDLE CADENCES. 47 No. 5 may be harmonized in three ways — on the roots C, A, or D~ i fei fe5i rztn e±3= Q • r"T=" SpS -P2= 55. It is hot intended to suggest that all these various har- monies are of equal beauty. They are merely given in order to show the pupil some of the resources at his command when harmonizing the cadences of melodies ; and, although these resources have been illustrated by means of a choral, such forms of cadence will be often found available for all kinds of music. 56. The pupil has already worked out exercises on the har- monies of the various degrees of the scale, and on final cadences ; and now that he has also had some hints as to the method of harmonizing middle cadences, and also of the form of extended melodies, he will be able to attack the exercises next given. 57. The following will be found a valuable rule : — " In making a modulation or transition into a new key, either with or without a cadence, avoid harmonic progressions foreign to the new key." The relative chords and relative keys of the new key are those through which it should generally be entered. In the case of cadences it will frequently be found that an unsatisfactory or un- pleasant effect does not so often result from the nature or con- struction of the cadence itself as from the manner in which the cadence is approached. 58. In special cases it may be fcjund advisable that the pupil before fully harmonizing the exercises which follow should add only figured basses to the melodies (two or three at a time), and show them to his master for approval. 59. In harmonizing melodies it is not necessary that every note of the tune should have a distinct chord. Many of them are only auxiliary or passing notes, and should be treated as such. It is quite impossible to lay down any rules as to the particular cases in which such treatment is necessary, for it often may happen that notes generally used as merely melodic, may be, for the purpose of modulation, treated as sugr;esting distinct chords. Such a sentence as the following : — 48 COMPOSITION. Slow might, on its re-appearance, be thus varied, by adding distinct chords to the separate notes : — Slow. ^ J^SSS^i ^^^^^^ rMiTX 60. The true nature and use of passing notes can only be learnt by the study of counterpoint. When this art has been mastered a-s far as the Florid Species in four parts, the pupil will know almost instinctively what melodic notes require essential harmony, and what may be treated as passing or auxiliary, and it will also teach him how to use passing notes in the harmony. EXERCISE Harmonize the following melodies :— ^'„ Slow., , m ferf ^^ ■±=^ -•-*- half-close on dom. i * ¥ --^ i i I =t= into key of B minor. ^ EXERCISES. 49 i WTJ'Tl ^^^ -* s iE ^ ^ i • ^ h- -^—»- ^ J [^- i =P2: =p^- PF^3^ ^ ^ 3*3 Choral " Jesus, meine Zuversicht.' f%^F ^?^=^^^^^^j^j=j=^=ja X3Z in key of C minor, ^V Slow. 3E i i i 4: I I l^S Choral " Herzlich Lieb hab' Ich, O Herr.'' f J < JjE ^^-^^ qcf E^^EES ^l'^'— i*=a •^o i 5- Slow. COMPOSITION. Choral "Hast Du denn, Jesu,'' &c. ^m ^^^^^m zz: $ -F-»- P m feE ^^^^ ^ i f==p ^ ^ -^ — *- y Slow. Choral "O Gott, Du Iroramer Gott." IS =PT ^ d. m - i kl f}g | I I. I J- I „ I I -*— «- i=zE: 3=P= :t=t: i 111 1^ =K^ =?=Si= ^^ -'•^H*- =t=t ! I '. into key of A. into key of B. i 111 IS p=== =B: -- »< i *i i iri Choral " Was Gott thut das ist wohlgethan." 1=P -4=^ 5»:ic is ipZiZE :P=P= zt t=t=tlt -Ajz =t=f: ==SS!: E^ 3^ itit -•-#- into key of C. m ^m -•^-?L ^ :t=t: *H-a^ ;^jt« half-close. i ^ i? =rffF ^ ittfc =t±t into key of dom. in rel. min. of dom EXERCISES. SI =1: ffi BB^^ ■*=t=3 — I 1 1 tr g^ f=+^^m :ff==P=i=& I I > i '^IJ j ag; i ^ 5^ t^ F^-fS- ?c^c=i= z*i t^ i -^ /'^ ^TJ r J "•Je-r-f^^--^ -*— 1#- 2^= SEEE*E half-close on dom. of rel. 1^ -f— -j*- =P=F ^^S -^-T-^ m dim. 7th on on D Bass C^. min. u H=t: m^ rXzzMi r f * ^^ * d 4itz *- \ into key of dom. i^^^ 4=F a « ^?Eft t? 52 COMPOSITION. II. Allegretto. f lijjr ^J Jlr"r^-^-^^-^^4r^-J Commence with dominant chord. i ¥=P^ m^^^ E^ into key of D. fe^H-fJr-T: i ^-^ i ^ i rj'jJi into key of A minor. i ^ Slow. rrs ITS ■r> i T^p* c r: ^ o • r - * S vr7Tr^=rrr5 (f >" r f- r jt^hr^ ff pr f-f rrTcTfr^ '■ Andante. as, I^JjUxicf^rrffi gg^r^ into £ as dom. of A. into key of C 14. A llegretto. frt^4^=jsfe^iuJiniJjj^irsi i »r r r i affcjtf^r^i" " ' i " ^ into key of C. in key of A min. for 8 bars. ^ ^m ^¥--p- -i~^^4-^% dom.7t1i on C. EXERCISES. 53 ^lL j ^ j^ 5fefei^P tat ^^ ^^^ i p=t 1,11- J .nj I- PEE[ ^g^ -1^-*- ^'^^^^ St±3t r * ^5- sZoa). i^m Chora! ■'• Gott des Himmels und der Erden.'' - o F ^a ^ zi: jj ^^ S :t=r -#-r-©- ^fcfe =P2=e=p: =P2=©:: :pqt r J o - ?=t ^=^ P^ (in F4 min.) *l i^^li ^^^f^^^ into key of E. i te=3=J^Trf;- *=f * into key of A. into key of D. m 1**= ! I ! I -f ' l l i -* — ^ 1 — ^ — :±- ' J f ^ ■ s :Srjt back to dom. of Fft min. 54 COMPOSITION. jia^ ^^ ^ 3=t) n l*fe ^^ 17- Choral " Nun danket alle Gott." -: ^~W—fr-\-^ ^ SI =P=t ^^ t -m P=P=[-.& 3^ P i I I isi: -1 1- ^^^ ¥f^t| ^ t=ti i i=p. I I p i8. Andante ^m s 4=t: ^ f maP ^ ' r iz£;3E*2E 1==FPPE rt- Commence on dom. of F min. on dom, of F min. i ^ -J=T efaJJ^J I Jr Jj ^^m d S'd pnriiiSEA iA ^ m ^ ^A^^A^f^ $ M am?: * • »~-l i i^ S ^^=1^^F=T ^^ Osc ::P=* S S] . ' -J '^ EXERCISES. 55 &m fi p - s^ d ^ - f O fj hk tB -1 I I j^'t^ I ^> ■ ! =ez- *t fy^rp^sbfrd^ Q • ! • - |-i^TT i JJrri^^ 3^= i: ^ into rel. min. of dom. ^ # * EE3S3 * 3^ ^^ssp^^ f"jjJr i J.f.3j r gs * P ^ (dom. of F) (cadence in F) J> . f- I ^ ri^^ jU-^ ^ g= -i*-* - Tonic in the bass to BSj jij ^ E ^ I the end, as a pedal note with varied inner harmonies. CHAPTER VI. 6i. It has been before remarked that in conjunction with syncopation. The bearing of different qualities of sound on rhythm is a subject which cannot be appreciated until the art of orchestration has been thoroughly mastered : it would be useless to enter upon it here. 63. If such a thing were conceivable as a continuous series of notes of equal value, of the same pitch, and without accent, a musical rhythm could not exist in it. 64. Thus, rhythm although an inseparable condition of melody, may vary considerably in the importance of its function, according to the relation of stress and non-stress, long and short, in the sounds constituting the melody. 65. The lowest function which rhythm has to perform is to divide a succession of sounds of equal length into groups, in obedience to the position of the Cadences. For example, let a succession such as this be taken : — i Z2=pz: ^^ * * 1^ r^ p f-> f-i ^ r> r - " =t: It might be safely said of the above that no grouping would be justifiable, because there has been no real intimation (although RHYTHM. 57 habit might lead to a guess) as to the length of groups or their relation to each other. It will be easy now to show how a cadence influences rhythm ; e.g. — i :?zzp= e 4 — M — 1 — J-;— I i !| i ^-^' i i 1 1 I I i r I L"i~~l i M i ^ E|=t=z The accents have not been here altered, from those in the pre- vious example ; yet, in this last, the cadences have produced four groups of sounds, and rhythm (though of a low order) exists. 66. When the succession of sounds grows 'into a flowing melody, broken, from time to time, by cadences of a varied character, the above rhythm constitutes the simplest known form of choral or hymn-tune. * * m .j-J-JXpU g r\ J ^ [^ P -J ' ^[^ ■ ' P 'i rr-'-i i ^'.ij * n o 2at t=^ (The asterisks show the middle cadences.) 67. Simple and unpretending as this rhythm may appear, it is capable of being clothed with beautiful music by skilful com- posers ; e.g. — C. P. E. Bach (?) J. 1 J^J,..l J J J ^' J I I J A J aA ^^ ^^ ^\i\i^i^.rH i^j M ■^ ^ o"T3- ^ i j f> o' J I I 1 I J I I I I I I I I -J m J.. ^ m ^ Q I " ^ 58 COMPOSITION. 68. This beautiful hymn-tune 'not only exhibits the utmobt simplicity of rhythm, but also an equal simplicity in form, for it is a sentence consisting of two parallel- sections, each of which is divided into two sub-sections, the only variation in the parallel sections being- found in their cadences. 69. But hymn-tunes of this rhythm are not usually so severely simple. The introduction of dotted and of passing notes nearly always tends to break up the otherwise level character of the rhythm. 70. When a series of groups, such as those just given, com- mences on a down-beat or stress, the middle cadence usually requires the length of two-beats ; hence, words set to such tunes contain alternately eight and seven syllables to the line, although the music practically has room, as before, for successive lines of eight syllables ; e.g. — German. 8 6. 7 Ei -r± ^ There are, of course, exceptions to this rule, such, for instance, as dactylic metres ; but we are now considering the simplest forms only. 71. This rhythm is one of natural grandeur. Many of the finest melodies fallunder this class ; e.g. — Havdn. ^ a ^ ^ f-r-^ 4=g^ &c. It has received also the sanction of the mighty Beethoven, who, after considerable thought, adopted it for that sublime melody in the •' Choral Symphony:" — **= m^^tjju^^ ^ =i*t f-^f^ * w izzzi tjlEi ^ ^S I u ll RHYTHM. 59 M-^ £Et ?"=^ ^ S^ f=^ ^ 72. It can now be seen that the mind fills up the flow of rhythm during sustained sounds, and during rests. The im- portance of this fact cannot be over-estimated. It is a common fault in early attempts at musical composition to entirely over- look the mental effect of rests. Like all other marked effects they may, of course, be used unskilfully or too lavishly ; but it may be said that the proper use of rests is to arrest the attention of the hearer, and compel him to make an intellectual effort if he is desirous of interpreting the composer's meaning. 73. The next example is probably one of the most familiar, and, at the same time, instructive passages of the kind : — « Allegro, Beethoven. Rondo of P.F. Sonata, Op. lo^ No. 3. m :t r r 1 ^ w f ^jUljlj^r 1 ^/] J J J jg m. -^^Tri E ^f^^ A ^ SE P^^'^^m^^f^^^m r :ff ^^ r &c. ^ ^m ^^m -m Tf= ^?2:- 6q COMPOSITION. 74. But the law just stated in pafagfaph 72, does not require such extreme cases for its illustration as that just given ; it is the true dstuse ai the long notes in ordihaiy hymn-tunes ; hence the early mention of it here made ; e.g. — i 5=t 22: i=t: 3^ -r±- ;c2tz^ &c. Such necessary prolongation, if hot Written down, is practically carried out by the trained rhusician. In hymn-times known as in "short metire" these prolongations are more noticeable; i.g. — lit i m - . f I pj :i=tz ^ r - * o I i I i I* ^ 12 3 3^3i p p -JTJ- - O rJ The explanatibn of the long notes in the above example is this ; the words consist of the following number of syllables : — I I I \ t t 4 4 4 4 6' 6' 6' 6' 7 8 If these numbers be read aloud at exactly equal lengths of time without any pauses or prolongation the result is this : — I [ 2' 3 I 4' 5 I 6' 5 I 6- i 2 3 + 3 4 The absurd effect of the abpve arises from the fact that the strong accents in it do not fall With uniformity, feut, by filling up the ends of the lines as is always done, the musical rhythm is redtjced feracticaiiy to that simple form shown in Bach's Choral p'fevidfely quoted. RHYTHM. 61 75. If any further proof is required, it is onlj- necessary to point to the hymn-tune metre known as ''7s." The music insists on eight pulses for seven syllables ; e.g. — 2 3, 6,7 8 2 s 6 , 7 8 &c. 76. The same fact is observable when lines of eight and seven syllables are mixed, the lines of eight syllables having eight sounds, those of seven syllables having only seven sounds but eight pulses, the eighth being supplied by the hearer ; e.g. — ^ =1= i 6 7 :ei: 77. This same law, namely, that the mind fills up for itself the pulses required to complete rests or prolonged sounds, controls the whole theory of syncopation. So unwilling is the mind to resign the rhythmic pulsation it has once received that it will take delight in contemplating a passage as triple when it might without any complication be written as duple and vice versa. In the "Symphonia Eroica" the following passage occurs: — ^ m aa^^ te ^ if written in duple time there is nothing remarkable either in its appearance or sound ; e.g. — ^ f-^|-P-^«-^^ m^ ^ _l r if^ ^^J^a ^a^^gt i te: fe: fe b2 COMPOSITION. The same may be said of the following well-known passage from Schumann's P.F. Concerto in A minor: — to BL^izL^^ m 1^^-f: g^^ ^ -P ai- i to E^ ^fii ^ ri,gn: This passage viewed as in duple measure loses half its charm ; e.g.— to ^ 1^^^ gx:3~r :£: ^S: * 15- g ft^=^ 5^^ P to fe ^--^-^i-= |s^ pg -^ E^^=F^r=E|g^ 3=z£: H" — f^ It will be seen to consist of four sub-sections of three-bars in length, when thus transferred to duple measure. 78. When the student is asked to set hymns, the metre of which seems to be not easily wedded to music, he will often be able to unravel the true rhythm required, by reading over the words in a measured time counting with his hand the number of beats or mental pulses at each prolongation or pausfe of his voice. 63 79. Rhythm is not necessarily simple because it consists of short sections, or complicated because it is extended in length. We have already shown in paragraph 67 that a complete musical sentence may embody the simplest form or lowest function of rhythm. The next example shows how a complicated rh3fthm may be enunciated in a sub-section or even a portion of a sub- section ; e.g. — Schumann. Song " Ein Jiingling liebt ein Madchen.'' , S 1 < Is g=z g_g ij!: ^Eg 3=*i ^^ &c. Lr S ^ ^ ^^ ^ ^ -^ ^ i 80. As rhythm is an essential constituent of a musical sentence, its development from simple to higher forms is, as might be anticipated, analogous to that of melody itself. That is to say, beauty of rhythm consists of two chief ingredients — (i) parallelism and (2) contrast. Just as we have had melodic sub-sections, sections, or sentences, parallel to each other, or contrasted with each other by their outline ; so, too, they may be described as parallel to each other, or contrasted to each other by their rhythm, often quite independently of their outline. 81. Again, a musical sentence may consist of a single melody, with or without harmony, or, of a combination of melodies, them- selves ingredients of the harmony. Music consisting of a single melody has been termed monophonic ; music consisting of a combination of melodies, polyphonic. Similarly, a musical sentence may contain only a single rhythm, or, a combination of rhythms ; the former has by analogy been termed monorhythmic ; the latter, polyrhythmic.\ 82. Up to this point we have only dealt with " single melodies,'' nor shall we have much to say at any time on " combined melodies," inasmuch as their treatment is the chief object of the study of oounterpoint, and it would be cruel to rob that aric desert of one of its few oases. We shall, therefore, now give a little consideration to " single rhythitis." Yet polyrhythmic music is sc much more common than monorhythmic that it is not easy tp find many pure examples of the latter. f These words of Greek formation are neither pretty to look at, nor ^asy to pronounce, yet it is difficult to find a short and convenient translation of them. 64 COMPOSITION. 83. It has already been stated (paragraph 65), that the lowest function of rhythm is to divide a succession of sounds of equal length into groups, in obedience to the position of the cadences. Rhythm begins to assert its independent force when it marks sub-sections and sections ; but even then it is to some extent controlled by the necessity for bringing the cadences into posi- tions of prominence, a prominence often gained by " prolongation " and its mental effect before alluded to (paragraph 72). A rhythm is called " short " when the distance, or what is the same thing, when the number of pulses between the prolongations is small ; e.g.— Haydn. " Creatio n." ^^m PS g In the example above, the prolongation occurs at intervals of four pulses. The same length of rhythm is illustrated by the following : — Allegretto. Beethoven. Symphony No. 7. r -w ^ ^zzflt^^F^^^ The next examples differ but slightly from the above : — Mendelssohn. " Song without words," No. 48. Andante. im^rnft ^yni ''^ yjTTjn Schumann. Voice part of Song " Helft mir, o Schwestern.' Ziemlich schnell. . i i^ ^ =15qs; ^ T"fn^ ^^ ^^^^ J^"^ ^ &c. RHYTHM. 65 84. It is quite remarkable how the introduction of dots and passing notes — combined, of course, with the infinite varieties of outline — can create a new body around the old bones of rhythm. Witness the slight difference between the sprightly wedding- chorus of Wagner, and the almost SQlpmn beauty of Beethoven's Allegretto. The chief variation consists in the introduction of rather longer " prolongatiohs ; " e.g. — i ^ 5B ^ JCa 1 1; C i -?2- =# &c. and further on — i t~y~ ^ =£at 85. Closely allied to this rhythm, by the position and recurrence of the prolongation, is the following : — i kU=^- Mendelssohn. Adagio "Scotch Symphony." i EJ-h^r-ff-^^^:f-^^Tj E£ i iiti TT £/l ^ &c. 86. The lowest function of rhythm in triple measure is to divide sounds of equal length into groups of six in obedience to the melodic cadences, but sentences of such simple form are seldom met with. 7^b'i>-*^rrr---fr-ff^f rr J ' 1 1 Ml 1 1 1 l)'^''^i 1 ' LI 1 1 1 1 I'j — r-^^» j»^l^'#J It should be observed that in the above example the function of accent is tq divide the sentence into measures ; that of rhythm to mark the groups of measures; and that although there is a melodic cadence at the end of each two measures the rhythm has no independent prolongation, and is therefore of the lowest order. 66 COMPOSITION. 87. In the next examples the rhythm contains prolongations at the end of every two measures (six pulses). It is, therefore, of a more advanced kind. M Larghetio. ir Beethoven. No. 2 Symphony. i Vr^ =p!f :;e=F ^ t^x &c. ^h Lar ghetto. Handel. Song " Verdi prati." -#I A;t I I I I I 1 I II | _| :^Ffflq=p=m Z2l=Z &c. ^m Largo appassionato. m Beethoven. P.F. Sonaia, Op. i, No. is. 4- '^M-P^^ :t=t: ^^ m \Jri l-S'-al- S S S. -M — h— I — f &c. 1 Adag io. Handel. ^ E^ &c. 88. It will be seen from the examples already given that the slightest alteration of the relative length of notes, or the intro- duction of dots and rests, completely alters the mental effect of rhythms otherwise substantially the same. 8g. It has, no doubt, been noticed also that the sub-division of a pulse generally falls on the weak part of the measure. No doubt this gives dignity to the rhythm, and it will be found that sub-divisions of the strong pulse are very frequently met with in movements of a playful character. Moderate. _ * « Bach. Moderato. $ 4 | # e^ -s^^ Planquette. 4^=t! m ^ RHYTHM. 6^ In the opening of Beethoven's P.F. Sonata, Op. 27, No. i, a totally different eifept is produced by the sub-diyision of tlie most strong portion of the bar. This is due partly to the tempo, partly also to the outline of the melody and the delicate subordinate rhythm which accompanies it. Andante. Beethoven. ^^ ^ :t=& I ^^ f W mf f ^^B i 1- go. In triple measure, as in duple, the effect of a sub-division of the strong pulse is more often playful than dignified ; e.g. — Allegro vivace. ff^ 5a Beethoven. P.F. Sonata, Op. 28. ^ H M j=^^ ^^ The first thirty-two bars of the Scherzo, from which the above is taken, should be examined. Handel. From a " Suite de pieces." S^ :t z^ When the first two pulses of the three are sub-divided the effect is very graceful ; e.g. — tnopiN. Waltz for P.F. In the waltz from which the above is quoted, the ordinary triple measure of waltz-form is, of course, maintained by the left hand. It will be seen that the syncopations form an admirable contrast to the sub-divisions of the strong pulse. 68 COMPOSITION. gi. A musical sentence may commence with an up-beat or down-be^t. jjist as a verse of poetry can commence with a short or long syllable. When rhythmical words are set to music, their structure always suggests some natural form, or it may be, owing to the elasticity of music, several natural forms. But in un- fettered composition, such as pure instrumental music, no such suggestion presents itself; hence, the young pupil is led to consider the merits or characteristics of each. They may be briefly stated thus : sentences commencing on a strong-pulse (down-beat) (with parallelism of rhythm between the sub-sections or sections) are generally more pointed and definite in their effect than those com- mencing on a wea)s pulse (an up-beat) ; while, on the other hand, those commenping on a weak pulse possess greater elasticity and offer greater freedom of treatrhent. That this should be so will not be a matter of surprise when we consider that in the former case the comrnencemejit of the rhythmic and melodic form is identical with that of XhP> accent of the measure — in fact the two have a tendency to be more or less commensurate throughout ; whereas, in the latter, the rhythm and outline, by pommencing before the primary accent, cross ovef it, as it were, in their course, and thus the mind is interested separately in the progress of the melody, and in its rhythmical relation to the ordinary recurrence of the accents. 92. This source of interest is, however, partly or entirely thrown away, if the note or notes preceding the first strong-pulse do not lead to a figure or combination which could not otherwise have been used on the strong-pulse. For example, in " He shall feed His flock " (Handel), the up-beat is of no real importance : — i Largketto— P^^ qtC l ^-P^^ - ift bu^ in the following : — Poco allegretto. Beethoven. P.F. Sonata, Op. 7. y i. s r -^ I If ^c^f I F j' cfc. I ;P1 j?^ Ni it \vill bs found that the preliminary notes have been used for the preparation of a discord op each of the primary accents in the section. RHYTHM. 69 93. Sentences are often formed of sections comniencingr alternately with an up- or down-beat ; e.g. — Andante. Beethoven. -4- -^- -mh -9- ^ _^M P'^ r>.^ ^ -m — 1_» — !_, — w» i =f^ ^ f^^^^^^^ ^ 1 ^ ^ Mendelssohn. " Song without words," No. 2, Book V. Allegro confuoco. cres. ^ £Ef i ' f . | f -rr r. 3* In the former of the above two examples the sub-section com- mencing on an up-beat is answered by one commencing on the down-beat ; in the latter, their position is reversed. 94. It may be asked by the young pupil, What is gained by commencing on some non-accented portion of the bar ? The answer is this : A sub-section, or sometimes, a section or even a whole sentence is generally reduced in its final measure, by the amount of time, or number of pulses, which preceded its first strong pulse ;t hence any rh)^hm which the author has enun- ciated may be sustained as long as he may. desire, or, in other words, the crossing of outline and rhythm over the accents of the measures may be retained as long as it is found to be interesting, or until, for the sake of variety, a new rhythm is broached as a contrast to it. ■f- This fact is recognized even in extended movements by the common habit of omitting from the end of the last bar the deficiency in the commencement of the first bar. This is however illogical and unnecessary in cases where the original rhythm has been discarded, and there is no repeat. 70 COMPOSITION. 95. Sentences may commence on any portion of a measure. A few examples are here given : — IN DUPLE OR QUADRUPLE TIME. On half of first pulse :- i Leggiero. Schumann. " Arabeske.'' -■^ » •• ■ 9 • ^ \ » - ^ • J I p =: On second pulse : — &c. Very slow. ^t.J i" Schumann. P.F. " Kreisleriana," No. 4. =?Q«= :t :1==T: ^ : &c. Schumann. Concerto for P.P., Op. 14. ^Wa r ^^.| I :&c. On half of second pulse : — Prestissimo. rzar Beethoven. P.F. Sonata, Op. 10. i tt m ^ ^^ ^ i- On third pulse : .,, Mendelssohn. " Song without words," No. a, Book VII. liff l r-rf i: | f|.rTh^JtJ.J'l-i- ^ On half of third pulse : — I ^ Allegro. Beethoven. " Sonata Path^tique." m 4 ' i < • F :Ac. .Allegro. Beethoven. P.F. Sonata, Op. 14, No. 2, 3t=t: *:::&c. On fourth pulse: — Beweeter. Schumann. P.F. " Kreisleriana," No. 4. ^ t \ h£^i^^ ^ =t: ^ ^ ^ RHYTHM. On half of fourth pulse: Innig. ^ 7' Schumann. " Humoreske." ± ^ ^^^ :tct i^^^3 ^ ?C?E| adzit I v\^- f '\'^ IN TRIPLE TIME. On half of first pulse :- Con anima. Chopin. Bolero. |!•HL^&,^j^ l ffrr^r l r.rf^r l J^-^ :&c. On second pulse : — Lento. ^,—~ Chopin. Mazurka, No. 25. i fe£ S ^ ^ .cj:/''-ii ^ On half of second pulse : — Scherzo. Beethoven. Mendelssohn. " Song without words," No. 35. Moderate. &c. *^ "^ &c. On third pulse : f%g Allegretto. Beethoven. P.F. Sonata. On half of third pulse : — Allegro. '^ Chopin. Polonaise, No. 'i. ^ ^g ^ 4=0 :&c. IN § OR I TIME. On second pulse of first group : — Mendelssohn. " Elijah," No. 37. Schumann. P.F. Fugue, No. 3 .itidante. ^ — .^ _ Nicht schnell. Oboe Solo. &c. "^ -*^^-J- =P On third pulse of first group : — Allegro. Beethoven. Op. 49, No. i. ^ ^ m • 1= n COMPOSITION, On first of second group : — Mendelssohn. Allegretto. ' 4tftalie," No. 2. ifll c u ^^ n :&c. On the second of the second group : — Schumann. " Fantasiestiicke," No. 2. fS -J- Presto. ^^ :5=S W^W^ =r^ :&c. On the third of the second group : — Vivace. Schumann. Hunting Seng. W E 'vaJ \ ^ ^gs ^ ^ 96. This list might be extended by selecting examples from music containing nine Or twelve pulses in the measure. But enough has been said to give the pupil a fair idea of the great resources of this kind which lie within his reach. It will be highly instructive to him to turn to the pieces from which these passages are quoted, and see how long the influence of each special fhythiii is maintained, or, in other words, if he will point out where a fresh rhythm occurs, and how far and in what way it is a contrast to that originally enunciated. 97. Before proceeding further, the student should familiarize himself with the handhng of various rhythms of a simple character. For this purpose the rhythms of several melodies have been extracted, and written out on a single line — the pupil must clothe them with melody and harmony. Beginners should write the melodies first, and submit them to their tutor for his approval before harmonizing them ; more advanced pupils can attack both at once. The sources from which they are taken are intentionally suppressed, so that there shall be no melodic reiriiniscence called up in the pupil's mind. He will be surprised to find what a large number of melodies, varying greatly in their character, can be formed on one and the same rhythm, if he uses different tempi, different keys, different sectional modulations, and different outlines of melody. Thus he will learn to appreciate the true function of rhythm, and the extent of its influence. Exercise No. i written as a suggestion of the method to be followed : — RHYTHM. 73 (Rhythm from Mozart.) Andante. $ nini.ij J gs I: I ]^a=i f^r r [rr^i P ' , '" ' I cres. ^ ^ ^ #?# Tj- =^ mf- I ^ E^ ^S 72 r=r=T J i J J J ^ I K. • — ^ I \i J J I .^ i ^ I I i a ip * M =P2= /, •«> -I* 4 :fa^ m^-^ m ^ JT^^iJ J JiJlJ .iJ J J r- I FT /■ N =fc ^ ^ fel' ' ' PLl ' ff i ^i ^ ^ e=?e= ^ ^F^^s- J J I J- [J J J[ J J[ J Jl J rail. m ^^^^^^ ^ J ^ ^g ^ f=rf T-^ V4 COMPOSITION. I Another setting of the same Rhythm : — Andante. J, ^ , w ai r^ i=*^ s Jttzjgzjt ^ rrrT^ ' p- -^- a ^tf^'N^ »-, A ■ ^ ^S ^ □"^tpf 'U -^ J- i li-S ^s :S^ J J ! ^ dim. s^A. %^4%r^_-^_ fjij.4 ^^^t^T r V— #- i IS ^^ -^r- r -r- ^-^ rf i'^ ^^ -• ^ ^^ "T r T 98. From these illustrations of the method of writing the next exercises, it will be gathered (i) that the pupil should write out his rhythm on a separate line ; (2) that more than one note of the melody may be often accompanied by the same chord ; (3) that the harmonies may sometimes change while a note of melody remains stationary; (4) that in composing more than one tune to the same rhythm the modulations should be varied as well as the general outline; (5) that the exercises may commence on domi- nant or other related chords. EXERCISES. 75 Great attention should be paid to the outline of the melody, and no exercise should be sent up to the master without ample marks of expression. Each rhythm should receive at least two settings of different characters, both in major mode, or sometimes one in the major, the other in the minor. A sub-section or section (as the case may be) consisting of six or ten bars is said to be extended when it can be analysed in 4 + 2 bars or 8 + 2. Less often met with are sections extended by one bar ; because, as will be hereafter explained, they have not so much the appearance of 4 + i or 8 + I as of complete sections consisting of 5 or 9 bars. A coda is that section, or portion, added to a movement for the purpose of producing a more important and satisfactory close. It may be of very varied length or character. Sometimes it is merely a few bars piano, at others it forms a considerable addition to the length and dignity of a movement. EXERCISES. Clothe the following rhythms with melody and harmony I. Andante. , ., |-^'_J+J- Mozart. U r|J > J |J ^h Sub-section. End of section. Two parallel sub-sections. L J-J-J I J J i J_ J 1 J - I J ^^^ J-^^J^J-^i Responsive section ending in tonic. Coda. 2. Moderate. i-jL^;^j-j|j j^j-^^U-^ Spohr. I. f^J I •-^ — •-* — •- Sub-section. End of section. Responsive sec- I J . II I. . tion ending in dominant, t^-^J-^-^ J----^ H1 COMPOSITION. Volkslied. ._j^jxn_^j_ Sub-section. J-^ -J n\ J- /! jTjj I ju . \ ^ - ' - \ " ' " t: End of section. Responsive section divided into two sub-sectioils .i^iNj_J^^_J_ J—JUh^U-JU^i ending in dominant. Two parallel sub-sections end- ing in tonic. J-^+.C7 Volkslied. Sub-section with half-close. Responsive sub-section A section of two ending on dominant. parallel sub-sections ending in tonic. Coda. 5. Andante. Haydn. Sub -section, ^T^J^J^Q sub-sections modul.ating into dominant i^rXTS-^. ru^^n-j J^i'i EXERCISES. 77 6, Moderate. Reichardt. i-^-J-^- ~~N _ r" -J-UJ J J JjJ/ J I Half-close. End of section. R^r sponsive section. Coda. J Jl J I I 7. fiaace. ScHULZ-t I W J J J I J _.J-i-J-J-^ J I ^ I J J-J-J-^ H -J-J^JJ- 8. Andaniino. Gluck. End in tonic, Half close. j_;vi Mij ^i,t;:3|J ^tij-m^j j End in dominant. Parallel L^'_iu 5 M I J ,^i J , ^ i , "j >i I /73 ! , ^,f^^ r sub-sections. Extended sub-section of 5 bars ending in tonic Coda. t This rhythm is almost identical with one used by Haydn. It may easily be made commonplace or positively vulgar in style. 78 COMPOSITION. g. A dagio. Spohr. j j'j j^ij^j- I J ,^TJ!,T3 J j-i Response. Half-close, Repetition of first sub-section, New response. Close in tonic. I S J7j\JTJn-\\J ,^, • \ m m0m m^ m m i New sub-section in dominant. Response, Melodic only. ,^T3 I rT2 I N J^JJi,rTJJ. First sub-section repeated. Final response. lo. Slow. Schumann. n\s^ nu- Parallel bars. Response in tonic. J^l^ Responsive Parallel bars, dom. sect. [-^■ St^i ^ tj 1 J rj\n71 t \nTj\} ^ Final sub-section. II. Adagio. Beethoven. I J J 1 J- , ^\nT^\: J ! J J i J r5 Two responsive sub-sections. ■*N. <" J- , ^| . T73| J J] J J (J- J ^| , r773 fiXERCISBS. 79 12. Andante. Hassb. g JTJ\J J^i Jj7Jw| J- ^1 J^J I J^J i J^B; Two parallel sub-sections. Two responsive parallel sub-sections. 13. Andanfe. Handel. ^1 IfTOlJ. /• -N <<- r- N ,L„ ^| , ?J _, ^l ;t] . ^! JT] ^ ^ J • I , ^"t: h5^ JT}- ' ^l Final section. I J , ^| J^J73| j 'j J J I , ^ J-J-^ rai/. 8o COMPOSITION. 14. Andante, ROLLIlf Beethoven. aj^jjTji i:si\ iiJ2{ju^n\ j^j h 16. Allegretto. Section consisting of two parallel sub-sections, ^J^U|JrrlJ^J-'r and a responsive sub-section ending in dom. Final section responsive to previous sub-sections. 17. Allegro. Bach. N ^ |^i3j_,ur2j._^,Q.jL.n_^j_;^_j4_JXC,J_J^ Section of two sub-secticns. Respon- -sive section. J ending in dom '4 Modulation into dom. of rel. minor in this section. ,gS^OT-^ J^jSlJTJj I ^rr^jj, J. leading to cadence in the rel. minor. •+' 1 I I This + 'Ihis rhythm is nearly identical with one used by Handel. J These and sitnilar brlirs contain of course melodib passing not6s dnd broken harmony, and therefore do not require a chord for each note. liXERCISES. 8i ^j:3-j_j-i_Q7 3 J jj\jj i2-jjj^rs section is extended to six bars. 1— bij-JTJi-|JjT3-/3" Final extended section of six bars. i8. Allegretto. In the minor. >i I ^ Two responsive sub-sections forming a section section returning to key of tonic. New theme in relative major ending in dom. of rel. minor. relative major. New themes returning to close in the dom. of tbo >L^LJ^^ j ,^i J j^j >^| j v^ r n \ Fron; major, with transitions to the final close in the minor key. 82 COMPOSITION, ig. Tempo di Sarabanda. Mattheson. J _ I J J . J I In the minor. The sub-section ends on a half-close. This sub-section closes in the relative major : Passes to cadence of dom. of the relative major. Passes to dom. of the relative minor. I J c > lJJ- J |J c,lJJcJ- J> UJ-JlJJJ-J|Jo: |; 20. Moderato, Bach. \-jj j7J 2 \ym A [.-nTni]SJ7miS:^ rr T~! . r"'" Jj-L-J-Hi CHAPTER VII. gg. Hitherto the pupil has chiefly met with suh-sections, or sections of two, four, or eight bars ; but other numerical groups of measures are not of uncommon occurrence ; though it seems to be desirable that there should be an even number of the groups formed of an uneven number of measures. When this is done there is no loss of symmetry ; e.g. — Allegretto. Beethoven. P.F. Sonata Op. 26. ■\ 3- pnm^ i^^^mI^ jpjt^ P > ^ j m 'M i eS =t3t ^^^=f^ ^ =tst ^3E ^J— ^ Notwithstanding the fact that the position of the second slur somewhat conceals the actual grouping of the measures, the above is certainly a sentence consisting of two responsive sections, each of which is divided into two responsive sub- sections of three measures. The next example sounds, from its 84 COMPOSITION. regularity, not unlike a series of measures in the compound time ? :— Semplice. I. Chopin. Polonaise, No. i. I. 2. 5=-_3- =- ^ e at ^ a 1^ ^*5t KCf: ^ n^r- rr r^r¥ ^ ^ ^ ^ J j:)jrj J] :a:st acs 100. Initial sections of Jive measures are rare ; e.g. — Schubert. Trio from P.F. Sonata, No. 4. Allegretto. i. f pm 4- ^ i^ ^ ^ -*-=- I Jv^+4 ^ ^ ^E5 ^ #44vF^r-fr^f^^i^ But five-bar sub-sections are not uncommonly found alternately with those of ordinary length ; e.g. — Allegro. I. Mendelssohn. " Song without words," No. 5, Book IV. ^ WW- 3^ jj l -'-^ i r i f' rmrrc^^ir^rcr:, «frrrf.,|J 1 This would be perhaps called by some an extended section, but whatever name be given to it, the fact remains that it consists of SECTIONS. 85 five measures. The same contrast of length of phrases occurs in the following : — ScHUMANW. " Morning Songs," for P.F., Op. 133. , z. 3. 4. Tfanquillo. pg 22Z ^ i ^ llC=m- ri O fe J * ' ; '.J, i ip i=3s^ =t ^^ i 4- i^^-^'4^^4U^ ^ J=t2± &c. The next example shows two parallel sub-sections of five-bar length : — Slow. Pergolesi. " Stabat Mater." I. 2. 3. 4. 5. I. . 2. 3-^-— > ^^^ 5- 3? ^'ninn^ i rcr i rMrir^ i a^ Cu-jus a - ni-mam ge-mentem, con - tris-tan-tem et do-lentem, loi. Sections of six measures are generally capable of being reduced to 2 -f 4 ; e-g- — Allegro molto. Beethoven. Symphony, No. •^. i h f tr ^ ^-^•^-i ! r^Ji- ^ -4Lf- tt ^< r-ff^-^ i* ic l ^ ^ /. &c. or into 3 + 3 :- A llegretto. 1. Mozart. Symphony, G minor. 2: 3- ^ ^^ •-^ ^-^•ujJir r^^ &c. 86 COMPOSITION. or into 2 + 2 + 2 : — I. 2. m r J l f [ ! » * d JJ*!* ±^Jt±^±. into 4+2 : — Haydn. Symphony, No. i. Adagio. 2. ■■1 1 r ^fr^ 4- ^ S^ y\>4. ^If r ir /r\ ■■ rc):. |> » r-> ^.-a_ -; h 1 1 ^1 Drum. -*- T^ 1 m 2. 4- ^ *- ^ ■p^ I. fnr^ 2. (c):, V ' -p 1 — r- i — \ J \ L_ J — ^\ ■■ ■' "^ Li^ p y jUj — ^^^ dr- J ^- -M 17* ^ 1 » J 1 *l J ^ » yj- The following, the opening of a Pianoforte Sonata, seems incapable of any sub-division : — ji Allegro. Schubert. P.F. Sonata, No. g. 102. Seven-bar sections are not uncommon ; e.g. — Assai vivace. I. Beethoven. P.F. Sonata, Op. io6. 2- -a 3. fr^faj^r-M^ i rp J-J | J_;'^ g ^^ zi r P-'H * I # / N / 1 - f 1 r SECTIONS. 87 Andante. I.- f%^ :J=^ Schubert. P.F. Sonata, No. 3. 3.^ __. s liZE s =if=*V i ^ ^f#5= &E -*::» 103. Nine-bar sections can generally be resolved into two sub- sections of four and five bars respectively, as hinted just now when speaking of the alternation of sub-sections of four and five measures. In the following example the two sub-sections to- gether form a section of nine bars : — Allegro. Schubert. P.F. Sonata, No. 3. 41, 2. > 3. 4. > The same grouping of measures will be found in the first portion of Mendelssohn's characteristic piece, " Sehnsucht." 104. The next example shows two complete sections of ten measures each : — Beethoven. P.F. Sonata, Op. a. No. i. 4- ^ Allegro, dolce, I. 2. 3. ri^r r ' nr^m m g ^^1^ , ^ rt" r r ■- r I rrff "jr -ri ■ — • s>-^ '■^ I I I r Sva,.- p^>^ J ■ I IJ. J ^r? fr ? r r Pr r r f^ ^ ^ Sva.- 6. ^r/.r r r h'TTT^r-K-^ ^ r- crn^ = * ^ ^ -1 ' I «=tf &c. 88 COMPOSITION. 105. The conclusion naturally drawn from these examples is that a composer may group together any number of measures he may please. This is true ; but the student should remember that even the greatest masters use unequal groups sparingly, and when they do use them they take care that they shall give hearers the impression that they are the result of ?irt, not of ignorance ; not an old form spoiled) but a new form created. 106. When one rhythm displaces another the two frequently overlap ; e.g. — Allegro. Haydn. Symphony, No 5. 2- 3- .- ^ 4- . . 5- m.\ .n i j J J i p rr i rJ JU j ^ r\ \ } J J ^ S5 s^ r '.: \ ri Ji^j jij_j j i .^j j| i ,fo ^ 4 ■!_ m ^^^F=^ r' •* ' ^ &c. Presto. Beethoven. Symphony, No. x. ^. • • • • — - - - f. f .^ IS DStC ii-Jl ' ^ i sia i I^W^rifrr 6. WfT r 4 fr •. y g ^ r'ir'^i[^^ i [:[r^^ i ^ *li-^^ vr.:'4 -. lE^^r-r-^ - * r^r r nr ' r ^ ^r ^ ' ' &c Such overlapping sections are of very common occurrence, but it seems to Jje a general rule that it must be a new rhythmic form which thus treads on the heel of its precursor, not a reprise of that just brought to a close. When the new SECTIONS. 89 rh3-thm is approached by a gradual crescendo, its entry on the last measure of the section is a common device to produce excite- ment or interest. 107. On the other hand, when it is desired that sections shall be pointedly separated from each other, modern composers, bj writing out in full what they wish, gain much the same result as would probably have been formerly secured by introducing m pause, and leaving the prolongation to the will of the performer. , — — ^ Schubert. P.F. Sonata, Noj. ^Allegro. The above consists of two sub-sections of four measures each, with a pause of definite length written out ; not of two Jive-hsa sub-sections. The same highly artistic use of prolongation is exhibited in the next quotation. Spohr. P.F. Sonata, No. i. Scherzo. — ^ # -jl. -X . ^ ■-'^' 1^ i ^^ fjp rH^Jf r hh" r m^ 4= f ^^^ 1 1 \ f j\ w^ =at±:¥ i=E: i •I I ^ -^Irr W^ ^ \ l^r^^ &=&£: i «*; h p &c. ^rrff ^m-f i r-F-t^ ^ -P-^ go COMPOSITION. io8. When it is desired to unite two sections by a musical pro- gression of one or more bars (generally, however, of one bar), the added portion is considered as external to the rhythmic form, and has been appropriately termed a link. Such links are most com- monly found where there is a change of key, e.g. — Andante. Beethoven. P.F. Sonata, Op. 79. I. 2. I. ^ ^ ^ i ^ ^ m ^^^^s b'^ r P F ^ m A 2. •_• link. |j^ m &c. If the early portion of Mozart's P.F. Sonata commencing- i ^ be examined, *;he rhythmic divisions will be found to consist of the following groups of measure : — 4, 4, 8, 2, 2, 2, 8, 4, after which the bar — i k: S •r^^r , gl kSL. occurs merely as a link ; it can be omitted without the smallest injury to the form of the movement. log. But " links " are not always so easily distinguishable as in the above examples. They are sometimes embedded in extended passages of great interest, where their presence, unless duly ex- plained, gives some trouble to the young student of rhythm ; e.g. — Mendelssohn. " Song without words," No. 4, Book II. Agitato. I. ^^^i^S) 2.^~. 3. 4. ^ rrrg^ff? LINKS BETWEEN SECTIONS. ^ 3. 4- SI link. ^^m m -^ [m ip^m * ?EE&c. (four more bars leading to a fortissimo.) iio. The next example shows a link of three measures : — Mendelssohn. " Song without words," No. 2, Book III. Allegro non troppo. ^ _^ i. link. . ■^ &c. in. Amongst those measures which are sometimes external to form must be classified the preliminary announcements of rhythm which are so frequently found before songs, with or with- out words, and also before dance-tunes, scherzos, and other movements. It is advisable to say that they are only sometimes external to form, because composers can and do sometimes use them as a necessary portion of their group of measures, e.g. — ^ I. Allegro. Beethoven. P.F. Sonata, Op. 28. 3- , 4- i- ^^ ^ ^ f-^=^ §s eM ^^^ I I I J-J-J- ' ^-J-^ ' -^ ^=^ g. extension. 10. ^ ^ :®±: ^T f ^^ r r rrr rtr f'tr Tfr r ?^ &e, 92 COMPOSITION. It is. perfectly evident that the whole form of the above move- ment would be disturbed if the first bar were omitted, ifor, the repetition of the extended section of ten bars is followed by two regular eight-bar sections, and it proceeds without irregularity. It is as equally evident that the first bar in the following must be omitted in grouping the measures. Andante. ^ 5^ Mendelssohn. " Elijah," No. 4. 3-1 m 4-, r ^ ^m ^ ^ i. s B &c. 112. A portion of a bar, so much of it in fact as is necessary to complete it when the melody enters on a weak piilse, is often filled in with the rhythmic form of the accompaniment ; it is however quite foreign to the grouping of the measures and must not be reckoned as a portion of a section ; e.g. — Mendelssohn. " Song without words," No. i, Book III. Con moto. ^m a^a ^ 4 ^y ^d >iJ M J >i J >iJ ::^i= P F TITT -P | ^ H r- r- r-^^ -1 — r m i -r-N m m £i :^ivi?^^ 1^ J iJ lJ iJ Mr-jg ^S^iS^M'l''-^^^^ p m T T r r^&c. re r- m 113. Preliminary announcements of the rhythm are frequently employed for the purpose of directing the mind to the sub- SUBORDINATE RHYTHM. 93 sectional grouping which is to follow ; that is to say, two pre- liminary bars to suggest sub-sections of two bars, and so on. ^ Andante, Chopin. Berceuse, Op. 57. I. ^^S P ^ M:j > k_(L i ±^ ^ :J^ itu" r_^ ** $= m PS H^ m But many legitimate effects not easy to catalogue or describe are to be gained by this prominent statement of rhythm. The pupil should never make use of it without a good reason. In weak specimens of "opera" songs as many as four bars of the accompanying rhythm sometimes precede the entry of the voice ; apparently for the purpose of allowing the performer to obtain a comfortable settlement in front of the foot-lights. 1 14. It has no doubt been observed that generally a subordinate rhythm is thus announced singly, that is, the rhythm of an accompaniment, not of a principal theme. There are however a few exceptions to this. 115. When two or more rhythms are combined they are either principal or subordinate. Combinations of principal rhythms are found chiefly in contrapuntal music, for instance, between two fugue-subjects heard together, or between a counter-subject and subject. Leo. di - nem 94 COMPOSITION. In the above example, two rhythms are proposed for fugal treatment which are maintained in combination in various ways throughout the whole motet ; the second subject being frequently placed above the first. ii6. But even in music which is not strictly contrapuntal, we often trace two rhythms both of which are of such an essential nature to its character that neither can be called subordinate to the other ; e.g. — Largheito.'^"^^ principal rhythm^ Bach. Christmas Music. ^hJr^'JU''^^^^^ ^^ m. A. mJl 1-e '\-tr &c. ni--H-gr-prJ Second principal rhythm. f. r %} X f tf Rhythms inverted. &c. e^^ , r^ J?^'g , n^ ^ 117. A similar combination of principal rhythms may be seen in the higher class of airs with variations, where the rhythm of the particular variation, though selected for its strong contrast to theme, is combined with it ; e.g. — Mendelssohn. " Variations Serieuses." COMPOUND RHYTHMS. 93 116. Variations on a repeated bass-part as found in the Passecaille and Ground necessarily contain a combination of principal rhythms. Probably the finest example of the former is that by J. S. Bach, on the theme — Sp t=p ^ ^ After clothing this in about twenty different harmonic and rhythmic dresses, Bach developes it into a magnificent fugue.- Probably next in order of merit and interest is the fine Passecaille by Couperin. The Ground, or Ground-bass, once a most popular musical form, is now somewhat out of fashion, but modern examples of great interest are not wanting. All ought to know Schumann's ingenious variations (ten in number)t on the theme — A ndantino. m ^^ ^ i^ ^^ % --jiF ^ J I J r I ^-^ N ^ ^ I ig. In " points of imitation," and " close answers " of fugues two identical rhythms are often combined by overlapping ; in such cases, especially in old music, all notions of form as regards the length of sections are sometimes discarded ; but in modem music the ingenuity of counterpoint is often made subservient to the ordinary laws of rhythm ; hence, a difficulty is often en- countered as to the question whether measures forming a section should be reckoned from the commencement of the subject or answer, of the antecedent or consequent. This question is of more importance than at first would be supposed. The habit of the best masters seems to have been to reckon from that part which gives the strongest mental impression, whether it be antecedent or consequent. t Vol. I. p. 74 of Pauer's edition of Schumann's P.F. Woiks. 9b COMPOSITION. 120. An interesting illustration of this maybe found in Schubert's P. F. Sonata, No, i, the opening of which is : — Moderato PP ^ ? J J ' Ifr S t - In process of development (the nature of which will be hereafter explained), this theme is proposed for imitation, as follows: — m J L ^ d J ^ - i? ^§ « ^S 1^ ppp ^ J.d l ^- i? ^e£ ^f^Fi ^ |J r l -r i ifl-^J ia ■ir- r^^tr ^^> Bar of pause. -F^F ^I^TJl -.4 T J-_.-t/l^'P^ xr?n ^ =F= — the Alto and Treble enter also at a distance of five bars from each other ; but the fact that there are four sections of five measures gives perhaps a feeling of regularity which is certainly not suggested by each section taken separately. 122. It should be carefully observed that this apparent want of form is found as a rule in the first enunciation of subject and answer in the various parts, not in the further development of fugue-form. It seems almost impossible to say where the sections begin or end in the opening of some fugues, while others are remarkable for their clear formation. The pupil should compare the com- plicated form of the opening bars of Bach's Fugue, No. i of the 98 COMPftSiTtOK. Forty-eight, with the simple regularity of his Fugue, No. 2 of the same set. In the former fugue the position of the primary accent is changed in the answer. This is not uncommon ; e.g. — Bach. No. 4, Book II., of the Forty-eight. Subject. __ _,^| He * m ^ m^ ^ [LCJV JL r r r f J • ^^ ^ Answer, It is not a little surprising to find that this irregularity in the position of the chief stress should be maintained by modern composers ; e.g. — . Mendelssohn. Fugue for P.F., No. 1. Subject. i ^l^^^^:r*#r ^14 f rrfit, ^ tr^rksu. 1 — I rs» I ^ Answer. ^W C i iJ jj J ' ^^ ^ =^^ -*• 123. It seems quite possible that this curious shifting of the primary accents, and other irregularities, have been brought about by the frequent use of a few notes "tacked on " to the subject or answer of a fugue, commonly called a Codetta.f To this cause must certainly be ascribed the inequality of the length of subject and answer which is so often found. The next quotation shows a subject of three bars, followed by an answer of four bars (3 + 1): — Menhelssohn. P.F. Fugue, No. 2. Answer. Subject. ^m '^LA -J. p^ F m S= 3-^. m S ., ^ I , I , I "a Subject. inj ^ H \ ^isii a I&c. t A lucid explanation of this will be found in Mr. Higgs's admirable Primer on Fueue. FUGAL SECTIONS. 99 111 the following example the subject consists of four bars the answer cf five (4+ 1) : — Mendelssohn. Fugue from Characteristic Pieces. Answer. Subject. I. m d==i ¥ zsx. H*=-f rrcrrt; I I Subject. I I ■ ■ ^ ^ I &c. 124. Another case deserves notice in which the subject consists of five bars and the answer of six (5 + 1): — Mendelssohn. Fugue for P.F., No. 4. :p^ y^kS^\^ ^ ^ ^^^ vy v. , Answer. Subject. ■UM '&w\\> P^ t l.'-^ m X ^ ^m :&c. 125. Whether such inequality of sections is a sort of heirloom handed down from those early times in which counterpoint had never dreamt of the future which awaited rhythm ; or whether it is a real form of art, to be desired and imitated — is a difficult and perhaps dangerous question. It must however be at once admitted that there is no absolute necessity for it. The fine Fugue by Mendelssohn commencing — i is quite regular as to its sections, and, of the four Fugues of Schumann, Op. 72, not one opens with any rhythmical irregularity; the same remark may be made with regard to vast numbers of fugues by the best masters of all styles and periods. That the "codetta" nearly always has the function of restoring a sense of key, is the probable reason why its frequent dis- turbance of section-form is not only tolerated but approved of. lOO COMPOSITION. 126. But there is an important element of rhythm which has not yet been here touched upon, namely, the effect of "phrasing." By some, phrasing is looked upon as a sort of artificial over- riding or displacement of ordinary rhythm. This is not the case. Phrasing is not only a perfectly legitimate ingredient of art, but, also, one deserving of careful study. Probably, the reason why so many persons are inclined to call in question its claim to be ranked with time, accent, and rhythm, is, because it is compara- tively a new invention, or, perhaps it would be safer to say, its development is a new invention. Doubtless, skilled performers have always in times past sought by its means to procure an " individual " rendering of music, especially where no marks of the author dictated its bearing. In former days composers were at the mercy of their interpreters much more than now ; a comparison of the marks of expression, phrasing, and other directions, on a page of one of Handel's " Suites de pifeces " with a page of the pianoforte music of Chopin or Schumann, will prove this beyond a doubt. It should be at once said the word phrasing is used in two senses : first, as the art by which a performer interprets truly the rhythm intended by a composer ; secondly, as the method by which a composer — hy grouping the successive notes of a melody into various combinations — gives a new and distinctive character to his rhythm. With the first of these we have nothing to do ; but on the subject of the second a few words are necessary in order that the pupil may get some idea of the value of this resource. Not only are the component notes of an ordinary bar affected by phrasing, but, by grouping them across the accent, beautiful effects are produced. As an example of the former, a simple and well-known passage by Schumann will suffice : — — ^ Schumann. "Album," No. 13. jyt pa Moderato. I ^m fn Tf S ^^ s#ti' i(j! l I J ^\ 1 rf cJ ^ ]i,% t[S ldl\f§ ifec li I T Wi-P-H &c. m ^^ PHRASING. 101 It will be instructive to the pupil to write this out without any marks of phrasing and compare the bareness of the result with the highly finished detail of the above extract, phrased by the hand of an artist and genius. It should be observed that the second bar contains two contrasted groups of two semiquavers followed by a group of four (just as two contrasted sub-sections of a sentence are often contrasted by one unbroken response — see paragraph 45) ; next, that the third bar begins with a longer group — a crotchet and quaver followed by two " grouped" semi- quavers, and moreover that bars three and four are parallel in rhythm and phrasing to bars one and two. Nor is this all ; the left h-and is simultaneously enunciating a beautiful subordinate system of phrasing by giving in the second bar a group of four quavers while the right hand has two-two-four semiquavers ; again, in the third bar, the left hand gives two groups of two semiquavers against the long notes of the upper part. Such analysis is not trivial ; it points out the important fact that some of the most unambitious morsels of really great authors contain a marvellous concentration of artistic thought, feeling, and experience. As a familiar illustration of the latter (namely, phrasing across the ordinary accents of the measure) nothmg better can be quoted than the exquisite subordinate theme in Chopin's " Ballade," No. 3 (in Ab). ^ Andante. # i ^j£Jt= P— h^-^ ^^ B^g mezza voce. ^^ ^ ^ ^m iS^ f In the above are utilized all the varied resources of height and depth in pitch, crescendo and diminuendo in intensity, accent and non-accent in measure, cross-groups in phrasing, within the ordinary limit of a rhythmical sub-section. Similar interesting examples might be multiplied, not by hundreds, but by thousands. I02 COMPOSITION. 127. We have already spoken briefly of the combination of rhythms, caUing them "principal" and "subordinate" according to the value of their function. Of course combinations of a principal with a subordinate or subordinate rhythms are much more frequently met with than the combinations of principal rhythms previously alluded to. The following is an example of a principal rhythm combined with one subordinate rhythm, the subordinate rhythm being first announced : — Mendelssohn. " Song without words," No. i, Book VI. 128. The next quotation shows a principal rhythm combined with two subordinate rhythms : — Schumann. " Humoreske." ^'''^'F'^ ^ 'rfi^'f "* "■ "« &c. g^^b'j :^ w=^ ^^^ e=p==t? 129. The following contains one principal rh}^hm combined with three subordinate rhythms : — Beethoven. "Absence," P.F. Sonata. ^ ^^Vlrf f r r77^ ^ 4,. .A^Jl 3^ ACCOMPANIMENTS, 103 i m rrrr^riT^ s =^ ^ r-t ^S ^ J 3^ ^ J ^ 130. In orchestral works a considerable number of rhythms are often combined ; but by far the most common use of combined rhythms is found in the accompaniment of songs, or those melodious themes in instrumental writings which might be called song-themes. In these cases we generally find one rhythm subordinate to that of the melody ; sometimes two. Such accompaniments vary considerably in their independence and importance. They are found, from simple repetitions of a chord, up to the most melodious figures of broken harmony. 131. The nature of the rhythms to be combined must of course be always suitable to the character of the instrument on which they are to be played. For instance, on the organ, subordinate rhythms are generally found to consist of "running" scale- passages or simple broken chords ; very rarely are complicated figures used except at a very slow tempo, because of the reverbera- tion so often detrimental to the clearness of rapid harmonic changes in churches and other large buildings ; e.g. — Bach. Sonata for Organ, No. 6. $ I. -^"r-^ ^ i tt ww^w W^ uM-^ SS m Allegro. Handel. Organ Concerto, No. i. i> ' ''^F ^f^fivr >rrrf>t-p «fLrr,*r .»rC"r77 P '^^ ^^=^ 3E£ ^^=i^ F^ S ^ ^^ =^=F 3^ £: ^ ^ ^ I04 COMPOSITION. The frequent occurrence of passages of this description in the older masters is not a sign of their lack of power of invention, but of their thorough knowledge of the capabilities of the instru- ment for which they wrote. 132. Every instrument in the orchestra has its special capabilities, the free handling of which can only be attained by great knowledge and practical experience. But, for subordinate rhythms, the string-instruments are pre-eminently adapted ; they can produce every gradation of tone from a sostenuto to the lightest staccato, and can therefore not only accompany with legato chords, but with the most rapid repetitions and complicated figures. To attempt to guide the young pupil through this fascinating branch of study would be entirely outside the objects of this little work ; if he wants such a guide he cannot be in better hands than Mr. Prout.t But happily, the resources of the pianoforte as an instrument are only second to those of a complete string-band, and we shall therefore ask our students to give a little attention to the following examples of subordinate rhythms for accompaniment, either written for the pianoforte or easily represented on it. J 133. It is very difficult to find any basis on which to classify accompanying rhythms. The following is perhaps not an unnatural division of them ; namely, into — 1. Simple repetitions of a complete chord. 2. Broken chords without passing-notes. 3. Figures containing passing-notes, or auxiliary notes. A few examples of each must suffice. CLASS I. SIMPLE REPETITIONS OF A COMPLETE CHORD. Two chords to each pulse : — Schumann. Song, " Frauenliebe und Leben," No. 2. Animato. Voice. ~ t Primer on Instrumentation. J For broken harmony, specially characteristic of the Pianoforte, see Pauer't Primer, pp. 48 — 54. ACCOMPANIMENTS. 105 ^^ #- ^ • ' >! m^ m ^ 4 J- Four chords to each pulse : — Mendelssohn. '• Hymn of Praise," No. -i. Voice. . I r^ J- Moderate. i^fSJ ^ =i^ ^^ 1^=^- =bSS= >^ , J j-?j :tj Three chords to each pulse : — , Allegro. -3 Schubert. Song, " The Erl-King." KumliSlk^^ Voice. d:^3=^ ■l?*T|f-&C. m *ji? , j; j; j; j; , ^ I ^ &c. ^ ^^^ nod COMPOSITION. 134. This form of subordinate rhythm is often varied by giving the first note of each group to the bass part, the remainder to the other parts ; by this means special prominence is given to the melody, and a fresh interest is created in the movement of the bass. Allegro vivace. Weber. " Invitation pour la Valse." #^t=^^^= ^ — r c I ^ c C I — g — g-j- * ' c c ^s P lusingando. i-i fepE i -& J- h ' -J- tW^l f^-^ 'l^ , r r p— t-- -J — p — f-_- *> 1 1 11 1 1 r ^ -J. r i V >- -^ J --^>v-p f^- ^-p f^ 4^ — ^ Slow, 0m Schumann. Study No. 2 (in form of a Variation). I d i: esiressivo. S r ■f-'-^- — -^ 5 135. Another common variation of repeated chords is produced by syncopation ; e.g. — Mendelssohn. " Song without words," No. 2, Book II. Allegro nan troppo. i ± E j-^ ^H ^^ ,^ J^=iL'L^ g--g--$=ii: ^g ^^ 1/1 ^ g=^=^— h-l-g^ ^ q ^ ACCOMPANIMENTS. I07 136. Another variation, less common than the previous, is to get cross-accents on the chords ; e.g. — Allegro assai Beethoven. " Sonata Appassionata." ^-^±= ;.^ T4 &c. ^iS ^ m The next example illustrates a similar cross-accent, which however is reinforced by the form of the melody itself: — Weber. Minuet from Sonata for P.F. in Aj?. Presto. ^ ziz Jz ^ P dolce. &c ^^ ^ 3E 137. A very beautiful effect is produced by making repeated chords appear in different positions. In such treatment of ac- companiment, Mendelssohn excelled to a remarkable degree, as the following will testify : — i Allegro non troppo. Mendei-ssohn. " Elijah," No. 7. io8 COMFOSITIOK. Mendelssohn. " Elijah," No. 30. Andante sosienuto. ^' ^ U i' U I ^m f Mendelssohn. " Atha'iie.' Andante. Voice. i ^^ a ^^m ACCOMP Tr ^^ 4i j. "^ J^^^ U'"^ ^n<2a»p rail. ^B 2. Suggestion for accompaniment : — Ban. ^^^ Andante. ^m :?2= ^^ &C. i fc^=^; ■^ .^— rrif- J i r m^ tfe Mod. into key of E|7. jF^^^t-^ =t: to key of A|?. m dim. ^ EXERCISES. ng *--»- i P ^ ^Efffg^ ^l^^^f^ 1^ ^ dim, "" raW. tempo. i #fc5 «z5^^^^: :^ i ^ ^ ^ ^ dim. fefe ^ H ^ ^^ <^ I ^^ rail. Two or three different forms of accompaniment to be suggested and written out : — 3. Andante. m ^m^ j-j m. Seee i ^=^ ^ o * - ^ I ^^^^^ a^,gj ^ . f- ?=f-^ j-p- r r ' #—11- :t=f lit m m ■* r r ^^ -g= Several different forms of accompaniment to be added :- fJL Slow. g j ap^^^-j^^^ F *- o • ^ ■SI — F , r> :?2i =pE ^^ 3^E i lii; S .— .. , P 1^^^ o • f^rT-^-nr^Phc J If r ^ -MA rail. r*J Jfj-^^^ tempo. ^^^ ntE^ SONG-FORM, 123 s Q- -Ml p ^=f=fTtrn-ji77i f r J]_j_^ 149. The pupil may now begin to think about composing songs ;+ but before doing so he should analyse the form of twenty or thirty good songs by classical writers, assisted by his teacher, A few are analysed here as specimens of the method which should be followed. The music should be e^famined by the pupil, while the teacher reads the analysis. ANALYSIS OF MENDELSSOHN'S " MINNELIED IM MAL" (The Husband's Song, No. i, Novello's Edit.) •m J J^J ^ I. 2. 3- 4- 5- 6. 7- 8. 9- 10. II. 12. 13- ' 14. 15- 16. 17- 18. Sub- section. ^ Section. Responsive sub-section. I Sub-section, parallel to bars i and 2. Responsive sub-section, modulating into key of dominant Section. Sub-section Sub-section Sub-section of first sentence. Forming a short responsive section leading back to original key and Responsive sub-section closing in key without coda. Short additional cadence in accompaniment. - Sentence. Middle Sentence. Final Sentence, f The term " Song " is one having a most wrfde application ; but, of course, we intend here the simple lyrical song, not the descriptive, or dramatic. 124 COMPOSITION. The above shows one of the shortest and simplest of song forms. The " Maienlied " (May-song ; No. 7, Novello's Edition)-^ #^^^^ 5 is built On much the same lines, but has two bars of introduction aiid two bars Of final symphony. 150. Introductions to songs are of various kinds. The simplest kind consists of a bar or two bars enunciating the rhythm and figure of the accompaniment of the first sentence of the song; see Mendelssohn's " Gestandniss " (Reflection; No, 13) ; Schubert's " Das Wandern " and " Wohin " (Nos. i and 2 of the Album) ; Schumann's " Widmung " and " In der Fremde." But these preliminary enunciations of the figure and rhythm of the approaching accompaniment are sometimes considerably extended; see Mendelssohn's "Be thou faithful unto death" (from " St. Paul ") ; Schubert's " Kriegers Ahnung " (p. 92 of the Album), &c. The Introduction is very frequently the whole, or portion of, the first section of the song ; see Handel's " He shall feed His flock," and many others by the same author, or of the same period ; see also Schumann's " Lied der Braut," and Mendels- sohn's " Im frtihling " (No. 15) where the first sub-section of the melody when given out by the aeeompaniment approached by three or four introductory notes. The introduction is sometimes quite independent of the song ; see Schumann's "Mondnacht;" Mendelssohn's " Friihlings- glaube " (No. 18) ; Schubert's " In der Feme." There are many other varieties of introduction to songs, but the three above enumerated are the most common, namely: 1. A portion of the figure and rhythm which accompanies the opening section of the tnelody, without the melody itself. 2. A portion of the opening section of the melody and accompaniment, just as they stand, or slightly varied. 3. An independent musical section. 151. The close of the vocal portion of a song is frequently extended in length in order to produce a more satisfactory climax. The piece thus ;tacked on is called a coda or tail. It is almost a necessary adjunct when the last sentence is parallel to the first, because this produces almost the effect of a recapitula- tion, which if not brightened by a suitable climax would give the impression that the song lacked " finish." SONG-FORMS. I25 152. In addition to the coda, a final sentence or portion of a sentence is often added to the accompaniment; in its simplest form this is found to be merely an extension of the final cadence or even of the final tonic chord. But it is sometimes sufficiently elaborate to receive the title of the final symphony. Neither coda nor final symphony are actually necessary to song-form. 153. Of course the construction of the lyric poem must always affect the form of a song. In cases where the words fall natu- rally into three divisions, a common form of extension is to make a distinct motive for the second portion, while the first and third are nearly identical. This is the form of Schumann's "Widmung":— ANALYSIS OF THE SONG "WIDMUNG" (SCHUMANN). FIRST PORTION. One bar of preliminary figure and rhythm. A sentence of 12 bars, consisting of a sub-section of 3J bars (■practically of 4 bars, but the next sub-section enters on the up- beats of the fourth bar), followed by two parallel sub-sections of 2 bars each, to which 4 more bars "are added. Total 13 bars (I + 12). SECOND PORTION. (An enharmonic change of key.) Two parallel sub-sections of 4 bars each. Responsive section of 4 bars (with overlapping rhythm as before). Total 12 bars. This leads to original key. THIRD PORTION. Four bars on the dominant then lead to a recapitulation of the first 6 bars of the original motive, followed by 4 bars forming a coda but founded on a suD-section of the first portion ; 5 bars (4 + i) of closing sympnony are given to the pianoforte. When three stanzas of , poetry (or three groups of two stanzas each) are set to music, the above form is of frequent occurrence ; the first and third being nearly identical (except thaf the third has a coda), the second being a new and complete motive (group of sentences) in an allied kev. The pupil should show his master the sketch of the form into which he proposes to mould a song before writing out the whole fully. By studying a large number of the best songs he will discover that there is an almost infinite variety of these forms, and his sound judgment will be shown by selecting or inventing one most suited to the character and construction of the words he proposes to set. 126 COMPOSITION. .154. The ambitious student will not be satisfied with song- writing. He will soon be anxious to try his hand at pure instru- mental composition. By transferring the common song-form of "three stanzas" just described (paragraph 153) to a slow move- ment for the pianoforte he will be writing in a form called the "cavatina" or (for reasons which will be hereafter stated) the "shortened sonata form." This may be roughly exhibited thus : 1. Complete sentence or group of sentences closing with a modulation into a closely allied key {e.g. the dominant of a major movement or the relative major of a minor movement). 2. Complete sentence or group of sentences forming a new and somewhat contrasted theme, leading at its close to 3. A repetition of the first portion ending with a coda. This will be found a most complete and satisfactory form for short pieces for the pianoforte, harmonium, or organ ; or, for violin or violoncello with pianoforte accompaniment. He should compose not less than a dozen or twenty such movements for the approval of his master. CHAPTER IX. 155. When the student has thoroughly mastered the simple form just given (paragraph 154) he may study the full Binary form as exemplified in a modern overture or first (and often last) movement of symphonies and sonatas, and all instrumental wrorks of complete growth, under various modifications. He should commence by attempting the first movement of a sonats- for pianoforte. The follow^ing shows roughly this form : — Introductionf (not compulsory). 1. Enunciation of first principal theme followed by a "link- episode" or "interlude-portion" modulating into closely allied key. Then follows — 2. Enunciation of second principal theme followed by short episode framed to allow of a repeat from the beginning. (" Repeat" not compulsory, but where it takes place a double bar is of course used.) [End of first division.] 3. Development-portion, called also the " Free-Fantasia- portion," and the Durchfiihrung. At the close of this follows — 4. Repetition of first principal theme (called also the Reprise) and followed by the "link-episode" so changed that it does not modulate out of the key but leads into — 5. Repetition of second principal theme transposed, from. the key in which it first appeared, into the key of the Tonic. 6. Coda. 156. It will be at once observed that this splendid musical form differs from the simple form given in paragraph 154 chiefly in having a Development-portion, and a second appearance of the second principal theme transposed into the original key of the movement. When a movement is in a major key, the second principal theme generally appears in the key of the dominant, being of course approached through the dominant of the new key ; but it also may be enunciated in the key of the major third above, or major or minor third below, &c. " f An introduction is generally of a broad, mysterious character, and o£ indefinite form. 128 COMPOSITION. 157. When a minor-key is chosen for such a movement, the second principal theme is generally enunciated in the key of the relative major {e.g. if first principal theme were in A minor, the' second would be in C major). In such cases, when the time comes for the repetition of the second principal theme transposed into the key of the tonic (see 5, in scheme) either (i) it must be so far altered as to make it into a minor theme (e.g. from a C major theme into an A minor theme), or (2) the signature of the movement must be changed into its tonic major (e.g. from A minor into A major with three sharps) and then the second principal theme can be simply trans- posed without alteration (e.g. from C major into A major). Thus it happens that minor movements in Binary form often end in the tonic major. To make this quite clear, examples are here given. The second principal theme of Mozart's Sonata in C minor (first movement) is thus enunciated in the key of the relative major (in Ei') : — &c. (8 bars). On its repetition transposed, it thus appears (in C minor) : — lie. (8 bars). This movement therefore ends as it began, in C minor. But if the pupil will examine Mendelssohn's overture to " Ruy Bias " which is in C minor, having a second principal theme in the key pf El>, he will find that the signature is changed at the repetition of this second principal theme, that it appears then in the key of C major, and the overture ends in that key. 158. Composers do not always bring a movement to a close in the tonic major, even if the second principal theme has appeared on its repetition in that key; they often return to the tonic minor and so end. For example, the second principal theme in Schu- bert's Sonata in C minor, No. 8, is enunciated in EP, and on its repetition transposed into C major with a change of signature ; the signature of C minor is however soon alter restored, and the movement ends in the minor. This will be frequently met with. DEVELOPMENT. 129 159. But the second principal theme of a minor movement is often introduced in the minor key of the dominant {e.g. if the first principal theme is in A minor, the second will be in E minor) ; when this takes place a mere transposition is required on its repetition. It has been also enunciated in the major key of the dominant {see Schubert's Fifth P.F. Sonata, Op. 143), also in the major key of the third below {see Schubert's Seventh Sonata, Op. 164), and in other related keys by various authors. 160. This is not the place to give an account of the immense variety of modifications or variations which this form has under- gone at the hands of the great masters. It is absolutely neces- sary that the student should analyse the works themselves.f 161. It is now time to consider the nature of development Any portions of either of the principal themes or fragments of an episode may be selected for this purpose. Composers generally select several such short extracts and pass rapidly from one to another. The chief methods of development are — 1. Melodic. 2. Rhythmic. 3. Harmonic. 4. Contrapuntal (or by imitation). 5. Tonal (or by variety of key-tonality). 6. Ornamental (or by variety of marks of force or expression, elaboration of figures, addition of ornament generally). These are however always more or less combined; for example, a melody is rarely developed without frequent changes of key, or of harmony ; also, a rhythm is rarely developed without involving a certain amount of melodic development, and so on. The last of the above methods (6) is of less artistic importance than the other five. 162. A fragment of melody is said to be developed when its outline is altered and expanded so as to create new interest and produce a different mental effect. Thus, in the following ex- ample, the fragment of melody which in the first theme proceeded from 3 to I, and 5 to 3, is in the development made to go from 5 to 3, and 7 to 5, on the dominant of the relative minor, and shortly afterwards from 6 to 4, and 7 to 5, on the dominant of another key f He will, however, obtain much valuable help from a study of the articles en " Form " in Grove's Dictionary, also Gadsoy s article " Form " in Stainer and Barrett's Dictionary, and the article " Sonata " in Pauer's " Musical Forms." He should also read the excellent paper on Sonata-form by C. E. Stephens, published in the " Proceedings of the Musical Association, 1878-g." 130 COMPOSITION. (A minor); but the change of key greatly enhances the interest of the hearer. This example may be said to combine methods I and 3 : — . Portion of first theme : — Beethoven. P.F. Sonata, Op. 7. Portion of development : — i H ^ r ^ Ife - ^ r n- -g^ mt f p f > p' - f p p f f ^ -*- J m m -p- ^ p m-w ^S -f^ t^ i— UJ I \ tiJ 163. Rhythmic development is the forcing into prominence a rhythmic motive whilst bringing the melody into a subordinate position. The following shows a combination of rhythmic and melodic development (Nos. i and 2): — Portion of first theme : — Beethoven. P.F. Sonata, Op. 31, No. i. DEVELOPMENT. 13' Portion of development : — ^ S -^J. 1 -4=^ ^ 1 ' — * m —S— -^ I3^"r 4 ' 4 /' &C. i t ^ ^^ ^ ^-t I 164. Harmonic development is the changing of the harmony in which a theme was originally clothed, so as to give it new and varied interest. The next example shows a combination of harmonic and melodic development CNos. 3 and i) : — Portion of first theme : Allegro. is Beethoven. " Sonata Pastorale.' is: m s ^ --p^-^- is ^ 4 44 ' 4 4i^ -^^-^^^^ r rrr m ^^^ ^ r r ^f=^ &c. i :&i: f ret: ^^ III III iiriif r Portion of development ; — S ^ ^'^ . "J ^ g fe ^• rrr 4=1= I I i 132 COMPOSITION. fe ^- fe ^ ^ :)=:: - ^ ^ y I I , I ^m ^ &c. p 165. Development is said to be contrapuntal or by imitation when a melodic fragment appears in a polyphonic form, i.e., in two or more parts.f The next example shows a combination of melodic and contra- puntal development (Nos. 4 and i): — Portion of first theme :- Allegro moderato. Schubert. P.F. Sonata, No. 3. Portion of development :- |-*t ^^^-^:^^M^ ^ ^t^ ^ -g^^ *& -^ m ^^U^'^ &c. ^^^ 166. For the sake of clearness the above examples of develop- ment exhibit the alteration of portions of a principal subject ; but it has been before pointed out that a figure, pr rhythmic motive, or melodic phrase from any part preceding the double bar may be chosen for development. Moreover, one idea is rarely developed for any length of time ; there is a constant change of material going on. Sometimes some new episodal matter is introduced into the development portion, t See also Example in paragraph HQ, page 96. EXERCISES. 133 EXERCISES. The pupil must now analyse the nature of the development portion of the first movement of any six sonatas or symphonies selected by his master ; stating on what portions of the themes or episodes the various sentences of development are founded, and to which class of development they belong, and also point- ing out the introduction of any new subject matter. The exercises next following are not given in the hope that the pupil may produce a development similar to that of the authors of the themes (for this would be impossible without being familiar without the whole of the first division of the movements), but because they are capable of admirable develop- ment. Any teacher not satisfied with them can select various other passages of a similar character. EXERCISES. Develope by various methods the following subjects, as if portions of a Pianoforte Sonata : — I I . A llegro. feES Haydn. ?e1= ^^=^ S i 2. Allegro con spirito. ^^ ^ ggffij^ g^ ^^^^^ Haydn. o s :?= ^i I J i Allegro ma nan troppo f ^^33 = rMffJ^^fJ q ^^ fs Haydn. tr tr— {^ ■ ?V=. :S|i rS if=g J«_U^i_L *-* ^* ■- i 4. Allegro. Haydn. ^ ^ i s r^ :&r. ^1. I I skJ.* ^^1^ 'WT y inversion. 'aU Haydn. t=t =F=F= ^^g ^ 134 6. Allegro, COMPOSITION. 6. Allegro. Mo/art. ferc:cr^J- ;? y > j:- 7. Allegro. E^ Mozart. In unison with the Bass. i 8. Allegro. MOZART. ^^ ^=?c5qr3E ^^ S 9. Compose several fragments of themes and develope them in various ways. 167. Having shown ability in the art of development the pupil may now look forward to the composition of the first movement of a sonata, or, if he understands instrumentation, an overture. In the latter case no " repeat " of the first division is introduced. But before doing so he should show to his master several sketches of (i) first principal themes, (2) second principal themes, and (3) proposed methods of development. One or more groups having been selected by his tutor, he may make his first attempt at weld- ing them into a continuous movement. In doing so he should bear in mind that the excellence and beauty of such a movement depend on (i) the intrinsic merit of the two themes ; (2) their relation to each other (they should be contrasted but not incon- gruous) ; (3) the smoothness and unobtrusiveness of the episodes or modulations which connect them (the hearer should not be able to trace, so to speak, any seams) ; (4) the inventive power and originality shown in the development-portion ; (5) the feeling of complete unity impressed upon the mind of the hearer by the whole. These are of course the demands of the highest standard of art, but the student who wishes to excel must always aim at the highest standard. One more fact should be noted, namely, that the highest standard can be reached, by a true genius, with- out the introduction of excessive difiiculties to the performer. 168. The student should analyse several movements in some such manner as the following : — f )■ For a more concise method of analysis see Pauer's " Musical Fonns," p. 118. ANALYSIS. 135 ANALYSIS OF THE FIRST MOVEMENT OF THE SONATA IN B>, Op. 22. BEETHOVEN. 1. First principal theme ending on dominant iij bars. [Observe that three silent beats at the commencement would make the enunciation consist of 12 bars (4 + 8), forming two well-defined sub-sections.] 2. An episode of 4 bars leading to an extended episode of 6 bars on C, the dominant of the new key F. [Notice the care shown by the composer to establish the new key thoroughly in the mind of the hearer before introducing his second theme.] 3. Enunciation of second principal theme which is divided into two portions, the first consists of 8^ bars, and — [The extra half of the bar allows the next portion to enter after a rest and without overlapping the previous sentence; see paragraph 106, p. 88.] the second portion consists of an 8-bar theme partially repeated in a varied shape, 5J bars (total 22), breaking off abruptly into the 4. Interlude-portion (commencing on first inversion of domi- nant seventh on A) consisting of the following sub-sections, 4, 4, 4, 6 (2 + 2 + 2), 4, 2, I (total 24J). [Observe that these three-quarters of a bar are really required (as hinted above) for the completion of the first bar of the movement. The interlude-portion consists, therefore, of 24 bars, and the first principal theme of 12, considered rhythmically.] 5. Development portion of 59 bars, ending on the dominant. [That is 58, plus portion of bar (}) required to reintroduce first theme. Observe that the development is founded, (i) on the figure in semiquavers found in the first bar of the movement ; (2) on the octave passage at the close of the first division ; (3) on the epi- sodal theme of 4 bars immediately preceding this octave passage.] 6. Repetition of the first principal theme, 1 1 bars. 7. An episode of 8 bars imitating that described in paragraph 2 . (these consisting of 4 bars), but leading to the dominant of origi- nal key (F, dominant of Bt?, instead of C, dominant of F). Epi- sode of 6 bars on F dominant of Bl?, a transposition of the like episode in the first division. 8. Repetition of second principal theme transposed from key F to key Bf», 22 bars {see paragraph 3). g. Coda formed by a transposition of the Interlude-portion with harmonic and melodic changes, but of exactly the same length, 24i bars ; [see paragraph 4). [Observe the lack of fresh material in the coda, and notice how this omission influences the mental effect of the close. It gives it marvellous point and dash. The movement may almost be said to end in a tone of defiance.] 130 COMPOSITION. 169. The following will show several forms of the slow move- ment or second movement of a Sonata. ANALYSIS OF THE ADAGIO CON MOLTO ESPRESSIONE (IN Et>) FROM THE SONATA IN Bj?, Op. 22. BEETHOVEN. 1. First Theme, 12 bars. 2. Episode with modulation 6 bars (4+2). 3. Second theme in key of dominant (overlapping the pre- vious, see paragraph loC, p. 88), 12 bars (8 -I-4). 4. A development of the first theme 16 bars, ending on dominant. 5. First theme 10 bars. 6. One link bar, episode (see 2) of 8 bars. 7. Second theme transposed into key of tonic (overlapping as before), 8 bars^ 8. Coda, 4 bars. ANALYSIS OF THE ADAGIO IN F, FROM THE P.F. SONATA IN F MINOR, No. 1, Op. ^. BEETHOVEN. 1. First theme 16 bars (8+8). 2. Episode in key of relative minor, 10 bars. 3. A subordinate theme (overlapping the previous), 5 bars in key of dominant leading to — 4. First theme elaborated, 16 bars. 5. Episode of 4 bars leading to — 6. Repetition of subordinate theme (see 3), transposed into tonic key, varied and elaborated, and with extended cadence forming coda, 10 bars (8+2). ANALYSIS OF THE ADAGIO CANTABILE OF THE SONATA PATHETIQUE. BEETHOVEN. 1. First theme with repetition, 16 bars. 2. Responsive section and episode, 12 bars. 3. Repetition of first theme leading to a subordinate theme in the tonic minor imitated (by an enharmonic modulation), in the key of the third below (Fb i.e. Et]), 22 bars. 4. Repetition of first section with different rhythm in accom- paniment, 16 bars. 5. Coda, 7 bars (6 + 1 of extension). ANALYSIS. 137 ANALYSIS OF THE ADAGIO GRAZIOSO (IN C), FROM P.F. SONATA IN G, No. i, Op.' 31. BEETHOVEN. tr ^^P i^>S 1. First theiiie, 8 bars, repeated with modulation into domi- nant, 8 bars; total 16. 2. Responsive section (episodal theme), 10 bars, ending on dominant. 3. First theme elaborated, 8 bars. 4. Sudden modulation into key of third below (AP), 6 bars, leading after 11 more bars of episode to another (hovering over the original dominant) of 12 bars, leading into — 5. First theme, of 16 bars, elaborated. 6. Episode {see paragraph 2) elaborated, 10 bars. 7. First theme again varied, 8 bars. 8. A finely developed coda of 21 bars (1+4, 4, 4, 4, 4). 170. In composing a " slow movement " to follow an existing " first movement " the pupil will of course take great care that the second movement is in a new, but related key. 171. If the pupil has sufficient talent to write a first movement and slow movement of a sonata, he is not likely to find much difficulty in mastering minuet-form or scherzo-form. Both are usually followed by a second division called a trio. Both are usually divided into two portions by a double-bar. A minuet must of course be In triple (generally f) time ; a scherzo may be in duple time. Their introduction into a symphony is compulsory, but they are not necessary to the form of a sonata. ANALYSIS OF THE MINUET AND TRIO, FROM SONATA IN El^, Op. 22. BEETHOVEN. Minuet. First portion. — i. Sentence of 8 bars closing in tonic ; double bar. Second portion. — 2. Sentence of 8 bars with modulation^ leading into 3. Original first sentence of 8 bars. 4. A closing sentence (coda) of 6 bars (4-I-2); double bar. 13^ COMPOSITION. Trio. First portion. — i. Sentence of 8 bars in relative minor, ending on its dominant ; double bar. Second portion. — 2. Sentence of 8 bars with modulation founded on and developed from previous sentence. Minuetto da capo senza replica. ANALYSIS OF THE MINUET AND TRIO FROM SONATA IN E|7, Op. 31, No. 3. Minuet. First portion. — i. Sentence of 8 bars closing in tonic; double bar. Second portion. — 2. Sentence of 8 bars developed from the pre- ceding ending in tonic ; double bar. Trio. First portion, — i. Sentence of 8 bars ending on dominant; double bar. Second portion. — 2. Sentences of 6 -t- 8 bars ending in tonic minuet as before (with the repeats), coda of 8 bars. 172. As a rule minuets and trios are very symmetrical in form ; but not always ; e.g. — ANALYSIS OF MINUET AND TRIO OF SONATA, F MINOR, Op. :i. No. I. BEETHOVEN. (4- is used as a sign of extension.) Minuet. Length of sub-sections. First portion 4, 4 4- 2, 4. Second portion 4, 4 + 2i 4, 6, 4 + 2. Trio. First portion ... ... 4, 4 + 2. Second portion ... ... 4, 8, 3 (link-bars), 4, 4. 173. A scherzo is sometimes hardly distinguishable from a minuet and trio in form (see the scherzo of the Sonata in A, Op. 2, No. 2, Beethoven). But it is generally more rapid and fantastic than the minuet, and offers a larger scope to the inven- tive genius' (examine the remarkable scherzo of the Sonata in B|7, Op. 106, Beethoven). Here again the student must be asked to work for himself by looking into as many scherzos as possible, and analysing them. 174. The finale of a Sonata may be, and often is, in exactly the same form as the first movement, or it may be in a modified form called the Rondo. There are various rondo-forms, but the chief are as follows : — RONDO-FORM. "139 T. First principal subject leading by episodal modulation into — 2. Second subject in a related key leading back to — 3. Second appearance of first principal subject sometimes slightly varied. ' 4. A third subject (sometimes in relative minor) leading back to— 5. Third appearance of first principal subject leading to — 6. Second appearance of the second subject transposed. 7. Coda. 175. Three appearances of the first principal subject (or some- times even four) are the leading characteristic of Rondo-form. The other portions of the movement are subject to great variety of treatment. 176. An air with variations may constitute the finale of a sonata. 177. A Concerto is of a symphonic form, but modified to suit the requirements of a 50^0 instrument. For an account of its structure the reader cannot do better than read Pauer's " Musical Forms," p. 136, and Prout's article " Concerto " in Grove's Dictionary. 178. It has been said that (with but small limitation) "a sonata is a symphony for one instrument ; a symphony a sonata for a full orchestra." The student has, therefore, now mastered (let us hope) the outline of the most important " form " yet reached in music. If he is anxious to become a composer of church music he will find that the study of " form " through which he has passed will give him freedom combined with unity of style. He will also have learnt how important it is when setting prose words to music, that they shouia oe moulded to suit his musical form. How many young men make their first essay in composition by setting the words of the Magnificat to music ! Not having gone through a gradually expanding course of study of " form," the result is that they produce always a remarkable conglomeration of musical " odds and ends," sections and sen- tences of all sorts of length, awkwardly stitched together without any bond of union, a mere piece of patchwork. The same remarks apply equally to the untrained producers of anthems. Only, in this department a form of a peculiar character is almost recognised, namely, a formless introductory chorus fol- lowed by a glee for soli voices, with a fugue as a finale. This form is, however, capable of being endowed with much beauty if warmed by the sunlight of modem thought. Our object, there- fore, in this little book, has been to make the pupil familiar with 140 COMPOSITION. the ground-work of " form " and lead him to examine its noblest results. He can now turn to any branch of work which seems to claim his thought, and meet its demands intelligently and artistically. 179. Having done our best to lead the student, step by step, into the entrance of the highest sphere of musical art, we must now make our bow and leave him ; trusting that he has but a few more such steps to ascend before reaching the dais of fame ; yet trusting, that he has worked, and will work to the end of his career, not for notoriety or popularity, but under a deep sense of the strong and lasting influence he may have on the most highly educated and sensitively organised of his fellow-creatures. The creator of works of art, like the liver of a beautiful life, or the founder of a system of morality, plants eternal seeds, the value of which will be tested when he has passed away, by the fruits they bear. And even if the rich growths planted by him seem in future time to have reached their fulness of life and are heed- lessly thought ready to die, they will not be useless trunks, for on them the loving and enthusiastic hands of posterity will graft new plants to be nurtured on the withered forms, and to burst forth into blossoms more rich and luxuriant than any hitherto contemplated by the most idealising dreamer. NoveUo, Ewer & Co.s Music Primers. Edited by Dr. STAIN ER. PRICE TWO SHILLINGS. FUGUE BY JAMES HIGGS. CHAPTER I. PRELIMINARY. Sketch of a four-part Fugue containing definitions of Subject — Answer— Counter-subject — Codetta — Exposition — Counter-exposition — Episode — Stretto, &c. — Enumeration of the several varieties of Fugue. CHAPTER n. THE SUBJECT. Characteristic features — The modulation available — Remarks on compass- Initial note — Rhythmical aspect — Subjects should be designed for Stretto —Frequent use of scale passages — Examples chiefly from Bach and Handel CHAPTER HI. THE ANSWER. Real Answer — Tonal Answer — Influence of the ancient Church modes on fugal reply — Examples chiefly from Bach, Handel, Haydn, &c., arranged in systematic order, with a collection of rules and precepts deduced from examples and authorities. CHAPTER IV. COUNTER-SUBJECT. Twofold use of term — Usual conditions observed in Counter-subject — Necessity for the use of Double Counterpoint — Influence of order of Reply — Counter- subject in Tonal Fugue — Beginning and end of Counter-subject often altered — Introduction of new Counter-Kubjects — Examples from Bach, Handel, Mendelssohn, Mozart, &c. CHAPTER V. EPISODE. Nature of Episode — Its place — Connection with the more essential parts of the Fugue — Detailed examples from several of Bach's Fugues — Free Episode examples. Bach and Schumann — Episodes often display the individuality of the composer. CHAPTER VI. STRETTO. Its nature and place — Various devices employed — Stretto by strict intervals — Stretto by the less exact forms of imitation — By inversion, augmentation, diminution, and alteration, illustrated by examples from Richter, Bach, Haydn, Mozart, &c. CHAPTER VII. ORDER OF ENTRY — MODULATION — PEDAL. Older of entry in Exposition — Table of entry (in Exposition) of the whole o< Bach's " Wohltemperirte Clavier" — Summary of foregoing table — Order of entry after Exposition — Modulation chiefly within related keys — Effect of fugal form on the modulation — The Pedal, conditions of its use — Examples. CHAPTER VIII. THIS CONSTRUCTION OF FUGUE AS A WHOLE. Hints for students for the methodical and progressive practice of Fugue writing — Six Fugues, chiefly from Bach, in open score. The Fugues are accom- panied with charts in which the construction of each Fug-ue is shown at one view. Novello, Ewer and Co! s Music Primers. Edited by Dr. Stainer. PRICE TWO SHILLINGS. COUNTERPOINT BY Dr. brid ge. CONTENTS. Introductory Observations — Diaphony, Organum, Descant, Counterpoint, &c. — Definitions — First Species in two parts — Intervals and Progressions — The Tritone — Cadences — The Lead- ing-Note — Modulation — Suggestions for obtaining a satisfactory Succession of Chords — Examples and Observations — Second Species — Examples, two and three Notes to one — Third Species — Changing Notes — Examples, four and six Notes to one — Fourth Species, Syncopation — Suspensions and Retardations — Interpolation of Second Species— Combination of Second and Fourth Spedies — Examples and Observations — Fifth Species, Florid — Ornamental Resolutions of Suspensions — Examples by Sir John Goss, Mus. D. — First Species in three parts — The Chords used — Hidden Consecutives — Examples and Observa- tions — Second and Third Species in Three Parts, with Examples separate and combined — Fourth Species in three parts — How the Dissonances are accompanied — The Pedal — Examples, separate and combined — Three-part Florid — Use of the % — Examples combining Second and Fifth Species, &c. — First, Second, and Third Species in four parts — What Notes should be doubled — Relaxation of the Rules as to Hidden Consecutives — Examples — Fourth Species in four parts — Interpolation of Second Species, with Examples from Cherubini — Example combining Second, Third, and Fourth Species — Florid Counterpoint in four parts : Example by Sir John Goss, Mus. D. — Five-, Six-, Seven-, and Eight-part Counterpoint, with Examples by Dr. Keeton, S-c. — Eight-part Counterpoint for Two Choirs — Eight-part Countet- point, with Combined Species — Canti Fermi for Exercises — Basses for Eight-part Counterpoint (Two Choirs). Novellds Original Octavo Editions of ORATORIOS, CANTATAS, MASSES, &c. FRANZ ABT. The Fays* Frolic ( Female Voices) Springtime Summer The Golden City The Wishing Stone The Water Fairies The Silver Cloud Minster Bells {ditto) (ditto) (ditto) (ditto) (ditto) (ditto) (ditto) 8. d. 2 6 2 6 2 6 2 6 2 6 2 6 2 6 2 6 B. AGUTTER. MissA D£ SANc;ro Albano (English) ... THOMAS ANDERTON. Yule Tide The Norman Baron Wreck of the Hesperus (Sol-fa, 4d.) W. I. ARGENT. Mass, in B plat P. ARMES. Hezekiah St. John the Evangelist St. Barnabas E. ASPA. The Gipsies Endymiom ASTORGA. Stabat Mater BACH. Mass in B minor MissA Brevis in a The Passion (S. Matthb^it) Ditto (Abridged as used at St. Paul's) The Passion (S. John) Christmas Oratorio Magnificat God goeth up with shouting God so loved the world God's time is the best (Sol-fa, 6d.) My Spirit was in heaviness O light Everlasting Bide with us A Stronghold sure Be not afraid (Sol-fa, 4d.) Blessing, Glory, and Wisdom i wrestle and pray (sol-fa, 2d.) Thou Guide of Israel Jesu, Priceless Treasure When will God recall my spirit Jesus, now will we praise Thee J. BARNEY. Rebekah (Sol-pa, gd.) The Lord is King (Psalm 97) LEONARD BARNES. The Bridal Day J. F. BARNETT. The Ancient Mariner (Sol-fa, 2s.) ... The Raising op Lazarus Paradise and the Peri ... 15/12/gi z 6 1 G Z 2 6 2 6 2 6 2 O I O 4 2 6 3 6 6 6 4 o BEETHOVEN. s. d. The Praise of Music i 5 Ruins of Athens i o Engedi; or, David in the Wilderness ... i o Mount of Olives i o Mass in C i Communion Service in C i 6 Mass in D 2 o The Choral Symphony 2 6 Ditto (the Vocal Portion) i o The Choral Fantasia (Sol-pa, 6d.) i A Calm Sea and a Pkosperous VoyAGE ... o 4 Meek, as Thou livedst, hast Thou departed o 2 KAREL BENDL. Water-Sprite's Revenge (Female Voices) i WILFRED BENDALL. The Lady of Shalott (Female Voices) ... 2 6 Ditto Sol-fa i SIR JULIUS BENEDICT. St. Peter 3 The Legend of St. Cecilia (Sol-fa, is. 6d.) 2 6 Passion Music prom St. Peter i 6 SIR W. STERNDALE BENNETT. The May Queen (Sol-fa, is.) 3 o The Woman of Samaria (Sol-fa, is.) ... 4 o International Exhibition Ode (1862) ... i G. R. BETJEMANN. The Song op the Western Men i o W. R. BEXFIELD. Israel Restored JOSIAH BOOTH. -The Day of Rest (Female Voices) E. M. BOYCE. The Lay of the Brown Rosary i 6 Young Lochinvar i 5 J. BRADFORD. Harvest Cantata i 5 The Song of Jubilee 2 o Praise the Lord 2 o W. F. BRAD SHAW. Gaspar Becerra I 6 J. BRAHMS. A Song of Destiny i o CHARLES BRAUN. Sigurd . 4 o 2 6 Daniel . kUDBL . J. C. BRIDGE. J. F. BRIDGE. Rock of Ages (Latjn and English) (Sol-fa, 4d.) i Mount Moriah 3 Boadicea 2 Callirhoe (Sol-pa, is. 6d.) 2 Nineveh 2 The Repentance of Nineveh ... 2 DUDLEY BUCK. The Light of Asia 3 EDWARD BUNNETT. Out of the Deep (Psalm 130) i W. BYRD. Mass for Four Voices (in F minor) 2 CARISSIML Jephthah ... ,. I ORATORIOS, &c,— Continued. F. D. CARNELL. s. d. Supplication 5 o GEORGE CARTER. SiNFONiA Cantata {Psalm ii6) 2 o WILLIAM CARTER. Placida 2 CHERUBINI. Requiem Mass, C minor (Latin and English) i o Second Mass in D minor 2 o Third Mass (Coronation) i o Fourth Mass in C i o E. T. CHIPP. Job ' 4 o Naomi 2 o FREDERICK CORDER. The Bridal of Triermain (Sol-fa, is.) .., 2 6 SIR MICHAEL COSTA. The Dream • i o H. COWARD. The Story of Bethany (Sol-fa, is. 6d.) ... 2 6 F. H. COWEN. St. John's Eve (Sol-fa, is, 6d.) 2 6 A Song of Thanksgiving i 6 Sleeping Beauty (Sol-fa, is. 6d.) 26 Ruth (Sol-fa, IS. 6d.) ' 4 J. MAUDE CRAMENT. I will magnify Thee, O God (Psalm 145) ... 2 6 W. CRESER. Eudora (A Dramatic Idyl) 2 6 W. CROTCH. Palestine .; 30 W. H. CUMMINGS. The Fairy Ring 2 6 W. G. CUSINS. TeDeum I 6 FELICIEN DAVID. The Desert (Male Voices) t 6 P. H. DIEMER. Bethany 4 M. E. DOORLY. Lazarus a 6 F. G. DOSSERT. Mass in E minor 5 o ANTONIN DVORAK. St. Ludmila 5 Ditto (German and Bohemian Words) 8 o The Spectre's Bride 3 Ditto (German and Bohemian Words) 6 o Stabat Mater 2 6 Patriotic Hymn , i 6 Ditto (German and Bohemian Words) 3 o Requiem Mass ... . 5 o A. E. DYER. Salvator Mundi 2 6 Electra of Sophocles i 6 H. J. EDWARDS. The Ascension 2 6 The Epiphany 2 o Praise to the Holiest i 6 ROSALIND F. ELLICOTT. Elysium x HENRY FARMER. Mass in B flat (Latin and English) 2 MYLES B. FOSTER. The Lady of the Isles , i 6 The Angels of the Bells (Female Voices) i 6 The Bonnie Fishwives (ditto) ... 2 6 ROBERT FRANZ. Praise ye the Lord (Psalm 117) NIELS W. GADE, Psyche (Sol-fa, is. 6d.) Spring's Message (Sol-fa, 3d.) Erl-King's Daughter (Sol-fa, gd.) ZiON ' The Crusaders (Sol-fa, is.) COMALA Christmas Eve (Sol-fa, 4d.) , HENRY GADSBY. Lord of the Isles (Sol-fa, is. 6d.) Alcestis (Male Voices) Columbus (ditto) G. GARRETT. Harvest Cantata (Sol-fa, 6d.) The Shunammite R. MACHILL GARTH. The Wild Huntsman A. R. GAUL. Joan of Arc (Sol-fa, is.) Passion Service Ruth (Sol-fa, gd.) The Holy City (Sol-fa, IS.) , Ten Virgins (Sol-fa, is.) FR. GERNSHEIM. Salamis. a Triumph Song (Male Voices) F. E. GLADSTONE. Philippi Orpheus s. d. ... 2 6 2 6 4 o 2 6 2 6 GLUCK. 3 6 HERMANN GOETZ. By the Waters of Babylon (Psalm 137) NcENiA : The Water- Lily (Male Voices) CH. GOUNOD. Mors et Vita (Latin or English) i Ditto, Sol-fa (Latin and English) The Redemption (English Words) Ditto, Sol-fa Ditto (French Words) Ditto (GermaA Words) : Messe Solennelle (St. Cecilia) Out of Darkness Communion Service (Messe Solennelle)... Troisieme Messe Solennelle De Profundis (Psalm 130I (Latin Words)... Ditto (Out of Darkness) The Seven Words op Our Saviour Daughters of Jerusalem Gallia (Sol-fa, 4d.) A. M. GOODHART. Earl Haldan's Daughter Arethusa C. H. GRAUN. The Passion of Our Lord (Der Tod Jesu) Te Deum J. O. GRIMM. The Soul's Aspiration G. HALFORD. The Paraclete HANDEL. Alexander's Feast Acis AND Galatea Ditto, New Edition, edited by J. Barney Ditto, ditto, Sol-fa Alceste .t Semele The Passion The Triumph of Time and Truth z 6 6 2 O 5 o ORATORIOS, Sec— Continued, HANDEL — continued. s, d. Albxandsr Balus ... 3 o Hercules 3 o Athaliah 3 o Esther 3 o SaSANNA ., 3 o Theodora 3 o Belshazzar 3 o The Messiah, edited by V. Novello (Sol-fa, is.) 2 o The Messiah, ditto. Pocket Edition ... i o The Messiah, edited by W. T Best ... 2 o Israel in Egypt, edited by Mendelssohn 2 o Israel in Egypt, edited by V. Novello. Pocket Edition i o Judas Maccab^eus (Sol-fa, is.) 2 o Judas MAccASiEus. Pocket Edition ... i o Samson (Sol-fa, is.) 2 o Solomon 2 o Tephtha ... 2 Joshua 2 o Deborah 2 o Saul 2 o Chandos Te IDeum i o Dettingen Te Deum i o Utrecht Jubilate i o O praise the Lord with one consent (Sixth Chandos Anthem) i o Coronation and Funeral Anthems. Cloth 5 o Or, singly : The Kino shall rejoice o 8 Zadok the Priest o 3 My heart is inditing 8 Let thy hand be strengthened ... o 6 The ways of Zioh ... i o Ode on St. Cecilia's Day i L' Allegro ... , , 2 o HAYDN. The Creation (Sol-fa, is.) 2 o The Creation. Pocket Edition i The Seasons (Each Season, singly, is.) ... 3 o First Mass in B plat (Latin) i Ditto (Latin and English) 1 o Second Mass in C (Latin) i o Third Mass (Imperial) (Latin and English) z o Ditto (Latin) i o Sixteenth Mass (Latin) i 6 The Passion ; or, Seven Last Words ... 2 o Te Deum (English and Latin) i iNSANiG ET VaN^ CuRjE (DiTTO) O 4 BATTISON HAYNES. The Fairies' Isle (Female Voices) 2 6 H. HEALE, Jubilee Ode i 6 C. SWINNERTON HEAP. Fair Rosamond (Sol-fa, zs.) 3 6 EDWARD HECHT. Eric the Dane 3 o O MAY I JOIN THE ChOIR INVISIBLE X O GEORGE HENSCHEL. Out of Darkness (Psalm 130) 2 6 HENRY HILES. Fayre Pastorel 6 6 The Crusaders 2 6 FERDINAND HILLER. Kala and Damayanti 4 o A Song of Victory i o HEINRICH HOFMANN. Fair Melusina 2 o Cinderella 4 o Song of the Norns (Female Voices) ... i o HUMMEL. s. d. First Mass in B flat i Communion Service, ditto 2 o Second Mass in E flat i Communion Service, ditto 2 Third Mass in D i g Communion Service, ditto ..' 2 o Alma Virgo (Latin and English) o 4 Quod in Orbe (ditto) o 4 W. H. HUNT. Stabat Mater 3 H. H. HUSS. Ave Maria (Female Voices) i F. ILIFFE. St. John THE Divine i o JOHN WILLIAM JACKSON. I CRIED UNTO God I 6 W. JACKSON. The Year 2 o D. JENKINS. David and Saul (Sol-fa, 2s.) 3 o A. JENSEN. The Fbast of Adonis i o W. JOHNSON. EccE Homo 2 o C. WARWICK JORDAN. Blow ye the trumpet in Zion i 6 N. KILBURN. The Silver Star (Female Voices) x 6 ALFRED KING. The Epiphany 3 o OLIVER KING. By the waters of Babylon (Psalm 137) ... i 6 The Naiads (Female Voices) , ... 2 6 J. KINROSS. Songs in a Vineyard (Female Voices) ... 2 6 Ditto, Sol-fa 6 H. LAHEE. The Sleeping Beauty (Female Voices) ... 2 6 Ditto, Sol-fa S LEONARDO LEO. Dixit Dominus ,. i H. LESLIE. The First Christmas Morn a 6 F. LISZT. The Legend of St. Elizabeth 3 o Thirteenth Psalm ^ q C. H. LLOYD. Alcestis 3 o Andromeda |[[ 9 q Hero and Leander "] j g The Song of Balder ,'," j q TheXongbeards' Saga (Male Voices) ,,' i q The Gleaners' Harvest (Female Voices) ... 2 6 A Song OF Judgment 2 6 W. H. LONGHURST. The Village Fair 2 o HAMISH MACCUNN. Lay of the Last Minstrel (Sol-fa, is.6d.)... 2 6 Lord Ullin's Daughter (Soi^PA,8d.) i G. A. MACFARREN. Songs in a Cornfield (Female Voices) ... 2 6 May Day ( Sol-fa, 6d,) j q The Soldier's Legacy (Operetta) ... "i. g o Outward Bound i « ORATORIOS, &c.— Continued. A. C. MACKENZIE. s. d. The Dream OF JuBAL a 6 The Story of Sayid 3 Jason 2 6 The Bride (Sol-fa, 8d.) i The Rose OF Sharon (Sol-fa, 2s.) 5 o Jubilee Ode ... ... 2 6 The Cotter's Saturday Night 2 The New Covenant i 6 Veni, Creator Spiritus 2 o F. W. MARKULL. Roland's Horn 2 6 F. E. MARSHALL. Prince Sprite (Female Voices) 2 6 J. H. MEE. Horatius (Male Voices) 1 MENDELSSOHN. Elijah (Sol-fa, is.) 2 Elijah (Pocket Edition) 1 o As the Hart pants (Psalm 42) i Come, let us sinq (Psalm 95) x When Israel OUT of Egypt came (Sol- fa, gd.) i o Not UNTO us, O Lord (Psalm 115) i o St, Paul (Sol-fa, is.) 2 St. Paul (Pocket Edition) i Hymn of Praise (Lqbgesang) (Sol-fa, is.) ... i Lord, how long wilt Thou forget me ... 1 o Ditto, Sol-fa o 4 Hear my prayer (s.'solo and chorus) ... i o Ditto ditto 4 Ditto, Sol-fa 3 Lauda Sign (Praise Jehovah) (Sol-fa, gd.) ... 2 o The First Walpurgis Night (Sol-fa, is.) ... i o Midsummer Night's Dream (Female Voices) i o Athalie (Sol-fa, is.) 2 Antigone (Male Voices) (Sol-fa, IS.) ... 4 Man IS Mortal (Eight Voices) i Festgesang (Hymns of Praise) i Ditto (Male Voices) i Christus (Sol-fa, 6d.) i Three Motets for Female Voices i o Son and Stranger (Operetta) 4 LoRELEY (Sol-fa, 6d.) i o ^.. , J. NESVERA. De Propundis HERBERT OAKELEY. Selection from a Jubilee Lyric REV. SIR FREDK. OUSELEY, The Martyrdom of St. Folycarp R. P. PAINE. The Lord Reignbth (Psalm 93} , The Prodigal Son Great is the Lord PALESTRINA. MissA Assuupta est Maria MissA Pap^ Marcelli MissA Brevis H. W. PARKER. The Kobolds C. H. H. PARRY. De Profundis (Psalm Z30) Ode on St. Cecilia's Day (Sol-fa, ib.) Blest Pair of Sirens (Sol-o?a, 8d.) Ajax and Ulysses r. Prometheus Unbound Judith L'Allegro Eton DR. JOSEPH PARRY. Nebuchadnezzar (Sol-fa, is. 6d.) B. PARSONS. Thb Crusader T. M. PATTISON. May Day (Sol-pa, 6d.) .-. The Miracles of Christ (Sol-fa, gd.) Thb Ancient Mariner The Lay of the Last Minstrel , A. L. PEACE. St. John the Baptist PERGOLESI. Stabat Mater (Female Voices) (Sol-fa, 6d.) GIRO PINSUTI. Phantoms— Fantasmi nell* ombra A. H. D. PRENDERGAST. The Second Advent E. PROUT. Damon and Phintias (Male Voices) The Red Cross Knight (Sol-fa, 2s.) The Hundredth Psalm Freedom Hereward , Queen Aim^b (Female Voices)...' PURCELL. Dido and ^neas ... ii. Te Dbum and Jubilate in D J. F. H. READ. .Harold ' Bartimbus Caractacus ' The Consecration of the Banner In the Forest (Male Voices) Psyche J. V. ROBERTS. Jonah W. S. ROCKSTRO. The Good Shepherd ROLAND ROGERS. Prayer and Praise 8. d. 3 2 6 3 3 6 z 6 ... 2 6 I 6 2 6 4 2 6 2 6 z 6 2 6 I 6. z 5 3 4 ORATORIOS, &Q.~ConUnued, ROMBERG. a. d. The Lay op the Bell (New Edition, trans- lated BY THE Rev. J. Troutbeck, D.D.) x o Ditto, Sol-fa o 8 The Transient and the Eternal (Sol-fa, 4d.) i o ROSSINI. Stabat Mater (Sol-fa, is.) i o MubEs IN Egypt 6 o CHARLES B. RUTENBER. Divine Love 2 6 C. SAINTON-DOLBY. Florimel (Female Voices)" z 6 CAMILLE SAINT-SAENS. The Heavens declare — Ccbli enarrant (Psalm 19) i 6 SCHUBERT. Mass in A flat j Communion Service, ditto 2 Mass in E plat 2 o Communion Service, ditto 3 o Mass in B flat i Communion Service, ditto 2 o Mass in C i o Communion Service, ditto 2 o Mass in G i o Communion Service, DITTO 2 o Mass in F i o Communion Service, ditto 2 o Song op Miriam (Sol-pa ,6d.) i o SCHUMANN. The Minstrel's Curse i 6 The King's Son i Mignon's Requiem i o Paradise and the Peri (Sol-pa, is. 6d.} ... 2 6 Pilgrimage op the Rose i Manfred x o Faust 3 Advent Hymn, "In Lowly Guise" i o New Year's Song (Sol-fa, 6d.) i . H. SCHUT2. The Passion op our Lord x o BERTRAM LUARD SELBY. Choruses and Incidental Music to " Helena in Troas " 3 6 J. SHORT. Mass (S. George) 3 6 Mass (S. Joseph) 2 o E. SILAS. Mass in C i o JOASH 4 o R. SLOMAN. Supplication and Praise 5 o HENRY SMART. King Rent's Daughter (Female Voices) ..26 The Bride op Dunkerron (Sol-fa, is. 6d.) 2 J. M. SMIETON. King Arthur 2 6 Ariadne (bOL-PA, gd.) 2 ALICE MARY SMITH. The Red King (Men's Voices) i o The Song of the Little Baltung (ditto) i o Ditto, Sol-fa 8 Ode to the North-East Wind i o Ode to the Passions 2 o A. SOMERVELL. Mass in C minor 2 6 CHARLTON T. SPEER. The Day Dream 2 o SPOHR. Mass (Five Solo Voices and Double Choir) 2 o Hymn to St. Cecilia i o SPOHR. — continued. s d. Calvary 2 6 Fall of Babylon 3 Last Judgment (Sol-pa, IS.) i o The Christian's Prayer i o God, Thou art great (Sol-pa, 6d.) x How lovely are Thy dwellings fair ... o 8 Jehovah, Lord OF Hosts o 4 JOHN STAINER. The Crucifixion (Sol-fa, gd.) i 6 St. Mary Magdalen (Sol-fa, is.) 2 o The Daughter of Jairus (Sol-fa, gd.) ... i 6 C. VILLIERS STANFORD. Eden ... " 5 ° The Voyage op Maeldune 2 6 Carmen S^culare x 6 The Revenge (Sol-fa, gd.) i 6 God is our Hope (Psalh 46) 2 o CEdipus Rex (Male Voices) 3 o The Battle op the Baltic x 6 H. W. STEWARDSON. Gideon ■- 4 J. STORER. The Tournament 2 E. C. SUCH. Narcissus and Echo 3 God IS OUR Refuge (Psalm 46) i o ARTHUR SULLIVAN. The Golden Legend (Sol-fa, 2s.) ... 3 6 Ode for the Colonial and Indian Exhibi- tion X o Festival Te Deum z W. TAYLOR. St. John the Baptist 4 o A. GORING THOMAS. The Sun-Worshippers i E. H. THORNE. Be merciful unto me x VAN BREE. St. Cecilia's Day (Sol-fa, gd.) x CHARLES VINCENT. The Village Queen (Female Voices) ... 2 6 The Little Mermaid (ditto) ... 2 6 R. H. WALKER. Jerusalem 3 o WEBER. In Constant Order (Hymn) x 6 Mass in G (Latin and English) i o Mass in E flat (ditto) x o Communion Service in E plat i 6 Jubilee Cantata i Preciosa X o Three Seasons i o S. WESLEY. In exitu Israel 4 Dixit Dominus i S. S. WESLEY. O Lord, Thou art my God i C. LEE WILLIAMS. The Last Night at Bethany (Sol-fa, is.) ... z o THOMAS WINGHAM. Mass in D 3 o Te Deum (Latin) i 6 CHAS. WOOD. Ode to the West Wind i J. M. W. YOUNG. The Return of Israel to Palestine ;„ 2 6 Most of the above Works may be had in paper boards at 6d. each extra, or handsomely bound in cloth, with red or gilt edges, at is., is. 6d., or 2s. each extra. NOVELLO, EWER & CO.'S MUSIC PRIMERS EDITED BY Sir J OHN STAI NER. 1. The Pianoforte {Price 2$.) - - - E. Pauer. 2. The Rudiments of Music (Price is.) W. H. Cummings. 3. The Organ {Price 2s.) ----]■ Stainer. 4. The Ha^mSnium {Price zs.) - • - King Hall. 5. 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Double Scales {Price is.) - - Franklin Taylor. 25. Musical Expression {Price 3s.) - Mathis Luss"^. 26. Solfeggi {Price 4s. Paper boards, 5s.) F. A. MARSHALL', - Or, in Three Parts, is. 6d. each. 27. Organ Accompaniment {Price zs.).^ - - Dr. Bridge.; 28. The Cornet {Price zs.) - - ' - -." - H. Brett. ^' 29. Musical Dictation, Part i {Price is.) - Dr. jitter. 30. Musical Dictation, Part 2 {Price zs.) - Dr.'Ritter. ^ 31. Modulation {Price zs.) . . - . James HiggSj, 32. Double Bass {Price zs.) - - - - A. C. Whjt^ 33. Extemporization (Pnca 2S.) -- - - DR._S:^^6fER. 34. Analysis of Form {Price zs.) - - PI. Ai'W^rding. 35. 600 Fugue Subjects {Price 3s.) - Arthur'W.Marchant. 36. Hand Gymnastics {Price is. 6d.) T. Ridley Prentice. 37. Musical Ornamentation (i«fAi?Pr£ss) Ed.Dannreuther. (to be continued.) Any 0/ the above may be had strongly bound in hoards, price 6d. each extra. LONDON & NEW YORK: NOVELLO, EWER AND CO.