Elementary Composition

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ELEMENTARY
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MUSICAL COMPOSITION
EDMONDSTOUNE DUNCAN
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http://archive.org/details/elemusicompOOduncan
ELEMENTARY
Musical Composition
IN
TEN LESSONS
BY
EDMONDSTOUNE DUNCAN
Author of "The Life of Schubert," "The Story of English Minstrf.lsv," "History of Music," "Melodies and how to Harmonize them," "The Story of the Carol," etc.
PRICE ONE SHILLING AND SIXPENCE.
G.
SCHIRMER,
LONDON
18,
NEW YORK
3,
BERNERS STREET, W.
EAST 43rd STREET.-
BOSTON: THE BOSTON MUSIC CO.

[Printed in England.]
CONTENTS.
Lesson
I.
Pack
Rhythm
Cadence
as a starting-point
in
II.
Speech translated into Song
6
9
16
III.
Early Harmony
Instrumental Beginnings
IV.
V.
Vocal Melody
20 25 29
VI.
Instrumental Patterns
VII.
VIII.
IX.
Accompaniment
Counterpoint.
An old
subject
new taught
36
Counterpoint Continued
Free Counterpoint
43 48
X.
PREFATORY NOTE.
MUSICAL COMPOSITION
^'i
is
usually
so
laxly
taught,
that a systematised group of Lessons,
which have stood
the test of experience, cannot but be

^\â
iiBFy /^j'
welcome
to
many
students
who
are
beyond the reach of a

all
skilled master.
The
mastery.
plan of the work embraces

if
* the chief essentials
which a composer must vigorously attack

Far from
he intends to attain to
necessity
It
doing away with the

his
for
teacher,
the
book should prove

of
valuable
to
ally.
will
enable him,
the
instinct
by
of
a graduated series
lessons,
develop
directly
Invention, which
is
the motive force of Musical Composition.
The
text offers a
;
wide scope, which must appeal to a large number

lies
of students
but
it
with the teacher,

its
or,
failing
one,
with the
student himself, to apply

lines,
lessons to suit individual cases.

others
Guiding
suggested
If
essential
to
some,
to
merely irksome, are

this
throughout these pages, always with

the steps seem laboured,
difficulty
let
it
view in mind.
some of
be remembered that the great practical

to consider,
is
which a teacher has

easily
the fact that even clever
students
become disheartened
approached.
unless
many formidable
mind
techni-
calities zx% carefully
The
writer has in
a pupil
who
his
set out with enthusiasm, describing

life."
Composition as "the dream of
After a
stiff
course of lessons, founded upon some of the severe
methods of
dream.
study, the pupil was so discouraged that he gave

set
up
his
This
me
I
to
is
work
to reconsider all
my
methods.
The
present series of Lessons
the result.
say,
To
ations
the Master,
would
watch
vigilantly the earliest manifest-
of inventive faculty in a pupil.
Supplement,
check, or
even
diverge from the detailed system

*
here set
down
as
individual cases
My
scheme
in its entirety
comprises 100 Lessons.
Here are contained the
first ten.
IV
PREFATORY NOTE.
require.
may
will
too long protracted use of any system, especially that

its
of the Variation form, difficult and searching in
initial
application,
only tend to produce despondency.
Turn then
Songs,
to
the
lighter
studies,
such
as
the
composition of
all
even
Nursery
songs,
all,
Part-songs,
Dance
Pupil
to
pieces,
of which here find a place.
Above
keep the inventive
faculty,
once awakened, unceasingly employed.

Despair.
To
it
the
yield
Never
The
task
is
formidable,
but
of
will
industry.
The
ability to express
what
is
in
us,
thought, feeling, and descriptive power, comes very slowly to many.

It
must be strenuously cultivated before

gift
;
free
utterance
it
is
possible.
Everyone has some

put
it
of Music.
Some
hide
in a napkin, others
it
to
high usury
to
the humblest of us
Carefully
may make
its
a source
is
of
of
lasting
gain
himself.
cultivated,
harvest
priceless quality.
The
reach
;
sources of Inspiration
are
happily beyond
an investigator's
The soul that rises with us, our Hath had elsewhere its setting
life's
star
And cometh from But

if
afar.
the imperial
palace
itself
is
invisible
to
human
steps.
eye,
we
need not blindly grope with

it
fruitless,
unordered
Therefore
is
that a sensible consideration of

to
Method, from
field
the very beginning,
and onwards
maturity,
should
be exceedingly helpful to those

of Composition.
who
are
drawn towards the imaginative
EDMONDSTOUNE DUNCAN.
Sale, Cheshire.
July, igij.
ELEMENTARY MUSICAL COMPOSmON.
LESSON
I.
LESSON IN COMPOSITION.
HE
fabric
of
Music
rests
upon a
threefold
foundation
of
Rhythm, Cadence, and Harmony.

a starting-point
for
Each of these
gives
our subject.
Rhythm determines
or
the
per-
Time,
meates
all
its
pulsation, gravity, restraint

is
impetus.
It
activity
and
a part of
life
itself.
It
would seem that the

law, synchronizing
call
human
it
heart throbbed in obedience to
some rhythmic
with health, hope and happiness.

;
This same thing we

in the
Rhythm
sea, in
reveals itself in inanimate things
ebb and flow of the

sway
a bubbling fount of sparkling water.
Forest-trees dimly
forth.
It
is
to
some
rugged
verse.
rhythm which the wind
calls
it
seen in the poet's

great
little
child
it.
moulds
to
his
wish.
The
orator
is
helpless without
Its
Musical
definition
has
become
of great
significance.
It
is
therefore of the utmost
importance
at the outset
that
our
sense
of
rhythm be gradually developed into a

In
clear
and conscious possession.

will
many young people

of,
it
grows quite spontaneously, and they
name
in,
the time-signature
or appreciate
and describe any

then
characteristic
music heard
unfamiliar
for the first time, just as easily as they will scan verses of
poetry.
Our
first
step
is
to
test
is
the
Student's
well-
appreciation
of
Time and
Rhythm.
Where
this
already
in
developed we must go
Musical Dictation.
further,
and make our lesson one

airs,
actual
group of well-contrasted
drawn from any
good national
collection, will serve our purpose.
ELEMENTARY MUSICAL COMPOSITION
^^^
Au
I
French Romance.
SEEEE?Ez
som bre
-
=:fEi
dans Ten-cein-te
d'un bois
e
fond d' une
val
le
e,
V
r
^ -G^
-
S3:^=t =P=^
-F
-
:p
e
,.
:i?-t;i::iJ^r=:t?=d
-
,&E
Tin
-
pais,
Une hum-ble chau

I
miere
so
le
each
oit
no
p^^
cence
et
la
-^
paix.
-M
^fciS ^
vi
-
?-2:
La
voit
c'est
en
An
gle
V
f^-=N:
V
-^
ter
re,
un
me
^^m^M
le
re
dont
de
sir.
toit
de
I
lais
-9
m
la
ar
iE
-
-r=F=
ser
sa
fil
-
EEt
le
^1
et
sur
ter
se
heu-reuse,
puis
mou
rir.
An English
Air.
^^^ m
iizzti*:
The
Spring
^^=^=1 P^^JEÊEE^
is
'-'i=-V-
^^
ban
-
com- ing
re
solv'd
to
ish
The
i s$^
fai
king
of
the
ice
with
^
his
iE^
bu
-
tur
lent
train.
With
her
->i3=t2 t^=^
-
p=
ry
^^^^^^^^
bids
wand she
I
them van-
ish,
And welcomes
the sun-shine to
-îS=P^
earth a
-
ST
gain.
=3=t3
-
-p:
win
-
-m
^
kir
-
Then maid
ens fore
go
the
try
tie,
Lace
ev-'ry
bod- ice with bright green string,
And
twine each
lat-tice
with
LESSON
I.
COMPOSITION.
:ts=qs;
:E
wreath
of
S J^^J ^
hon-our the
ad- vent
J
ful
J
Spring.
myr-tle
To
of
joy
Old
I
Air.
1
\m M_4
ri
n y
*
fr
'
*^
m ^
m
-
m ^
the
m
1 1
UJ-^ __
A m
m * P
J ^
ov
-
*
er
'
V ^
waves
Ov
er
moun-tains
And
the
I
*
Un
-
-^
der
the
i
foun- tains
-Gt-
s
Un-der
And
un
der
the
graves;
^^
floods...
-^
d
-
^^
est,
IV
ez:
V=^
bey
;
that are
deep
Which
Nep-lune
Ov
I
er
? ^
rocks that
airs
rx
steep
are
est
Love
5
find
-&out
the
will
way.
The
may be sung
or played, while the student decides both the
time and the rhythm.

dictation exercises,
Finally, let such (or similar airs)
be treated as ends of each

correct
is
should be marked.
line of
and committed to paper. The As these occur systematically

only remains
closes (or cadences)

at the
poetry,
is
it
for the teacher to see that a
definition
in the
given.
simple method of marking such closes

;
seen
where I, V and IV respectively refer to full close, half close, and close on the subdominant. A complete definition of rhythm must include time. A conductor's baton marks the primary pulsations, while the numerous subdivisions, sounded (say) by trumpets, violins, or even drums, are merely a part of the whole
examples above given
scheme
an
extension of the
common
idea.
To
state the
same thing
rhythm describes not only the regular units in all barred Music, but also the characteristic pulsations, or group of pulsations, which do not necessarily recur, and often are even antagonistic to the
differently,
regular
time.
will
To
render
the
point quite clear,
common March
is,
movement
show the two classes of rhythm * at one, that
they
coincide in equal notes.

*
Our example, which may be treated
in the
The word Time, however, satisfactorily distinguishes the regular pulsations, which Riemann describes as Metre, a term more appropriate to Prosody.

same manner
for the
as those
in
which preceded
it,
offers a
Troubadour melody,
most part
equal notes.
S
^=^
-^
^
Such rhythmic movements
-us-
-Gh
fl
as the last given tend to
monotony, and
they are therefore often brought into contrast by periodic disturbance of Our next example shows a complete the ordinary pulsations. departure from the natural rhythm, in the upper part.
^ I
It
^^^ F^^ "r^r^

SS
that
in
all
^
r
^^ 3t=it
?^
is
may be observed
such cases the primary time

suggested.
invariably finally established.
few further airs are added for analysis

already
and
dictation of the simple
sort
These may of
course be supplemented or curtailed at the discretion of a master. In the course of

this
lesson, the student will prove
how
far
he
is
equipped
music.
in the
It
elementary knowledge pertaining to the writing

necessary for
down
of
may be now
at
harmony, or
case, the early
up a course of least the study of harmonization of melodies. In any ground covered by this book may be proceeded with,
to
him
take
parallel with such studies.
The Stag Chase.

I
:<2
3
-
am
jol
ly
hunts
man,
My
voice
is
shrill
and
P
I
If^l :2
clear,
-o-
Well known
to
drive the
stag,
And
the
droop-ing dogs to
m
cheer,
T^-
An
"
hunt
ing
we
will
go,
will
go,
will
I,
*:
go.
i
And
a
^-hunt
-
122:
-<s>-
z:^:
I
go.
ing
:e
will
LESSON
I.
COMPOSITION.
"Good Morrow."
û
lÊ^di
Sg^
Good
mor
-
-P=F^
row,
'tis
f=
Val
en- tine's day,
}=
-
Saint
All
m^ m
w^^^^
|-*t
in
-/
S^ ^^î ^=E =3^s

morn
1
the
ing
piime,
And
I,
maid
at
r-
=^^=^
your
m=W=W
To
be
1=^^
-
i
-
win
dow,
your
Val
en
tine.
"In youth when
did love."
^^^ ^
In
"I
when
^
I
P
love,
:p=3C
-
youth,
i^
:^
sweet,
As
time
^^
did
re-quires for
Me
thought 'twas ve
ry
t
my
be
-
-<&-
P
be
hoof,
for
my
-=^ ^1 1
Methinks
it
^rrFTf=r^
me -thinks
it
hoof,
is
not meet, me-thinks,
is
not mert.
"Why
ask you?"
1
i F^=^
Spring
fe
be
-
2^:
#
bright
flow'rs,
guil
elh
and
of
fers
^ ?Ê
Na
-
^!
V i
love
:*=i
be ours
tare smiles
and care
be-guiles, If
Why
ask
you
Paul's
Wharf.
1
iprfzifc
n ^ ]/ Vl s ^
'
<
-j^
fa)
^> 4
^
1 1
m
'
r
1
^
J
the
1
boat
off.
-'
n ^
IS
r n
1
m
'
G>
-*
Gai
H
ly
step
to
at Paul's wharf,
O
G^-
f-
f^-t-
--f=^
haste now, comrades, dip
r
EQ
*-
oars and push

;
Soft tides are
flow -ing,
1
'
~^^^^^^f^f
Slow 'gainst our row-ing, So
cross o'er the
wa
ter
with song and with laugh.
ELEMENTARY MUSICAL COMPOSITION.
LESSON
II.
CADENCE
HE
IN
SPEECH TRANSLATED INTO SONG.

way to musical composition seems to be by simply Speech into Song. Such an artificial plan as the
nearest
translating
following,
this
though not put forward as the original or inevitable process of Composition, will nevertheless commend itself for it immediately provokes the student's obvious reason inventive
;
power and gives him
definite lines
on which
that
to proceed.
Take a simple song, such as Graded Song Book (Vincent), and

music
In the
for the
first
given
on page
set
of Sawyer's
carefully scan the verses, ignoring the

result
time being.
The
should be
down on
paper.
exercises of this kind
mark
the quantities over the words,
then give an equivalent in musical notation.
Thus
Blow thy horn, hunter,
1:2:
^
:z2_
'J
__
;
Come, blow thy horn on high
In yonder
wood
there lieth a doe,
In faith she will not die.
Z2:
Come, blow thy horn, hunter,
22:
:=]
Come, blow thy horn,
jolly hunter.
mark the natural rise and fall of the voice, in Most verses are sufficiently picturesque to delivering such words. admit of such a process and while avoiding exaggeration or absurdity, Having constructed a really effective scheme may be contrived.
The
next step
is
to
a definite rhythmic scheme, place the
bar-lines
before
the strongest
accents,
and measure the music

then to
into
regular
lengths.
in
This
is
easily
done since poetry determines such measurements

plan
is
advance.
Our
move
the musical notes in accordance with the vocal
L?:SSON II. CADENCE IN
SPEECH TRANSLATED INTO SONG.

falling
lines.
cadence, indicated by the rising and

following result
:
We
then get the
i ^îv-r w
^21
i
bun
-
Blow
thy
horn,
ter,
Come, blow
thy
horn
on
m
V
Put
-G>-
i
In
bigh;
yon
der
wood
there
lietb
doe,
In
5
faith
-S^-r
not
die.
she
will
Come,
blow
thy
born,
f=r
ter,
^
Come,
test,
^
ter.
blow
the
thy
horn,
jol
ly
bun
to
second
its
identical
process yields the following,
which, crude and
commonplace
origin in
as
it
may appear
beside an inspired
air,
has nevertheless
an
intelligent appreciation of the verses

p. 152).
which
it
reproduces.
(Sawyer's Song Book,
S N
When
SN
N S
that I
was a
little
tiny boy.
\J
SJ
^
!
^
ho
!
With a heigh
the wind
W and the
rain,
-i
A foolish
thing was but a toy,
3fe=Jzz^zJ=,UJr=^
For the
rain
it
raineth every day.
With a heigh
!
\j
'^
SSI
S S
ho
the wind and the rain,
For the
rain
it
raineth every day.
z^^J=J^J=,W=^=i
A
more
rational
Tlie conventional accentuation has been purposely taken.

this
:
one would be
When
that I
was a
little
tiny boy.
zzit
^^
ti
-
-N-
?2_
-&
With a heigh
!
When that
3^
ho
!
was
ht
tie
ny
boy.
the
I
-^
^=1:
wind
>^
and the
m
1
g^j^^
A
fool
-
7*=^
but
i=qsi
m
N"
1
rain,
ish
thing
was
toy,
For the
'
frr^
m
1
J
rain,
^ r-J
'
-J--ihry
^-^ \ ^
IN
\
iday,
d'-r-*
"1
-
With a
wind and the

It will
For the
rain
it
rain
eth
ev
'ry
day.
Thus
from
in
usually be found that small developments suggest themselves. both our examples 4-4 time is a refinement of the simple
it is
I
duple upon which
based.
i
Then
the opening of
No
was changed
rn
to
because of
its
more
notes to the words " but a toy " gain considerably in their contracted
form
-^^
-<s-
in
place of
out.
^
is
effective
rhythm, and the
dozen such
experiments
nice
to
may be
usefully carried
if
its
The Metric
only the
chart may, of
course, be soon dispensed with,
the ear of the student be sufficiently

aid.
It
discriminate
without
All
principle
that
matters.
Let the relative importance of the words chosen find a just

music.
striking
words and phrases must be new word, however, does not It will often be found effective to let of necessity imply a new note. The Rhythm must be unimportant words share the same sound. Where students find difficulty in directly derived from the words. defining this in their experimental efforts they may finally be referred In any case to the musical settings in the Sojig Book employed. comparison with music which may be assumed to be of spontaneous growth, and which certainly is not the product of any artificial system, cannot fail of being both interesting and instructive. Words suitable for a continuation of the Lesson
equivalent in the
carefully reproduced in the melody.
SAW^VER^S
To
all
GRADED SCHOOL-SONG BOOK.

Page.
you
ladies
4 28 50 56 160
Hebe From Oberon

Fair
Since
first I
saw your
I
face
...
How
should
your true love
know
LESSON
III.
EARLY
HARMONY.
LESSON
III.
EARLY HARMONY.
HE
practice of adding simple chords to well-chosen melodies
should
be begun as
if
soon as possible.
It
is,
of course,
advantageous
a student has already mastered the elemen-
tary material of
it
Harmony, chords and
their progressions, but
by no means indispensable. Composition may be approached from a practical point of view ; that is to say, he who is engaged in playing, reading and hearing good music, may take a nearer way to the
is
practice of
harmony than by
basses.
following
his
the
usual
plan of
filling
up
endless
figured
Stanford's "National
of
some 200
airs
let him take C. Song Book" (Boosey), where a choice collection are effectively harmonized in simple but masterly
For
text-book,
Sir
fashion.
Our
turn,
first
step
is
to master the three
common
cadences, placing, in
each note of the chords in the
treble.
Perfect Cadences.
Imperfect Cadences.
^"^=M~^~j
^
A
I
"1
1 i i=S=i
m
I
ku=
1
L
I
^
IV
Plagal Cadences.
S
I
^
r
I
TD
IV IV
The
three cadences already enable us to harmonize every degree of
the scale, and further give us well-recognised
from one degree of the scale to another.
Their foundation
harmonic progressions is shown by
lO
the
Roman numbers
If the process
which mark the Bass notes according to
their
place in the scale.
be extended and each chord-note be taken in the harmonic possibiUties are considerably widened by the admission of the Inversions. 6-3 and 6-4.
Bass,
our
Perfect Cadence.
(Inversions).
Imperfect Cadence.
(Inversions).
1^
^^
Y
I
fei
t
22:
5 3
m
6
tEEÊ^.
6
6
I
Plagal Cadence.
(Inversions).
Mnzî
T
m6
^
6
I
Z2
6 4
:ii
IV
IV
IV
the use of these few chords,
let
When some
them
be
freedom
to
is
gained
other
in
transposed
keys,
such
as
the
Dominant and
Subdominant, G major and F major. Then they must be transposed to the tonic minor C minor, a perfectly simple process, since only the 3rd and 6th notes need be flattened.! The Dominant Seventh (which in practice is merely a fuller Dominant Triad) may be added to our scheme, which is completed by the inclusion of the Supertonic and Submediant triads and their
inversions.
We
place these triads
last,
because they are

will usually
less
important
to our elementary material.

that
is
Their place
relieves
triad.
be as
relief
chords;
to say,
the
Supertonic
the
Dominant
triad,
Submediant the Subdominant

scales.
*
t
They
also belong to related
and the minor
These weak progressions are merely a matter of convenience.
An
experiment
is
in setting the key-signatures will
show
that though three flats
are employed, one
regularly corrected to form a leading-note.
LESSON
III.
EARLY
HARMONY.
Inversions ol
II
Dominant Seventh.
-G>,
Dominant Seventh.
T2L
m^M
A
j:^.
(S>-
^tp=p:
m.
Pg
-y5>-
~r:y
rr^'
SEiE
-S-
rir r
:Szi
-<s^
m ^
II
-f^:qI:
i?:^:
:P2:
-f
12:
VI
IV
neutral
in
will be found For transposition purposes, all that is necessary, to determine the key, is a major or minor 3rd in the Tonic chord which resolves all such chords. Let it be premised that single chords on strong accents are usually sufficient to determine the character of melodic or rhythmical passages, whether these move alphabetically or by skip.
The
Dominant Sevenths,
themselves,
equally effective in a minor as in a major resolution.
d=J=fd=^:
-f
6
i
I
^_
f
4
courts
Handel.
Speed
to
your
own
my
flight.
^
The
as possible,
^^Ê^^%^
r
f
much freedom such turns as do not explain themselves,
secret of this process lies in allowing the air as
and
in defining all
also in avoiding any tendency to write successions of heavy chords, as

in four-part choral harmony. By constant practice, and hearing, a pupil will train himself by an almost infallible method to add effective chords to any straightforward diatonic melody. His ear will soon learn to reject the foolish mistakes, which
might be demanded
both
in playing
12

tabulated in the
may be found
Harmony
books, under
the
heading
CoNSEcuTivES and Forbidden Progressions.

Air"
How Happy
^j^
could
be with either."
*TF
it
g^^^^^ ^^gC^^
:
-B^
^
ii:
-^
-^
-*4--
*
-^-
s
*
^-
ii=^
^
k n;?-^
:f:
13--
jg
^^
-^
Air
î=f^
^^
:g2:
-^-
* t
#
3i=ez
^
:P
*'We be Soldiers three."
fc Ha
^^
:
-#
^=1^
5t3C
^^
-*^
l3E
ii:
^^geE
-^
i
I
3zz
^H
it
g
^
-=+
-*i
^
^
fg:
-R^2:
IeI^
5e
:'=l
^=-"1*
-=1-
s "f
:3:
^:|E P^
SS 23=^
5^
LESSON
III.
EARLY
HARMONY.
Air
13
"Barbara Allen."
From
the above-given
illustrations
of rudimentary harmony,
in-
tended to be played on a pianoforte, it will be seen that in the choice of such simple chords there is plenty of room for taste and skill.
To
place
them properly demands a

at
just
appreciation of the natural
cadences, and also of the rhythm and expressive power of the melody.
Always aim
to play.
making the Piano

freely
part clear, of
good
effect,
and easy
principle
Students should be encourged to experiment.
For example,
passing-notes
may be
used where
effective.
The whole
of modulation, touched upon in the transposition of perfect cadences
and dominant sevenths,
is
already within
:
his
grasp.
Witness such
a succession as the following
Blj
ruazi
rPfrfffff^
14
few melodies are added suitable for harmonic treatment of the
kind shown.
These may be
usefully
Book (Vincent
Co.), Hullah's Song-book (Macmillan
supplemented from Sawyers Song & Co.), and the
author's Minstrelsy of England (2 Vols.;

Air
Augener
&
Co.).
*l-
^^^S^S^H^^^^^ i^^ ^ 2^5^

-^-
"Ye
Belles and ye Flirts."
^5=^^
liz^
s=*-
-0
~"y
'
-^
fe^s^
t u- ^
.
^^d
IS qz=J^^z=N=i^
^=^
-^1
_, 1^^ l^3S^ pg-^.^^^]^^^^^^^^ Ê ^^^s^

gqgzzji
-y^-V:
l=f-
:fc=ft=t
IN
^
^
i~"S-
Air *'0 rare Turpin."
v^
î:
-h-
P^^:
"O'
-s-
êS^^
^^1
Se
fc EÊiâ
iÊiÊ^Ê^
e^
Traditional Melody
XZi^
fe^;^
fc
^=^:
Ê^
-*---v
:*zJ:Ê*:
rjfcifj
S^^l
LESSON
III.
EARLY
Air
-H
\
HARMONY.
I5
Gossip Joan."
fBS-
^
5Ei
"Good Morrow,
iq:
llîE^
:33
r-
lt'=m'=^
S^=^^
-^
'^
:tt iprii:
5S
.
1_,
:^^=^:
î:
;i
Air
"Babes
in
the Wood."
fe
:fc=^ 3ES^^3
^^gE^^g^te^^^JEEEg^^^^^g^^
:^

i6
LESSON
IV.
INSTRUMENTAL BEGINNINGS.
f^^^NSTRUMENTAL
in
is
direct offshoot of
Vocal music, and
analysing essential differences
we
are conscious of lightly
retracing
some
of the steps
which ages slowly developed.
Thus, before the late Troubadours of the fifteenth century, instruments did little but reproduce measured vocal notes, rhythmless
and characterless apart from the voice. Gradually chords were broken and little ornaments introduced the compass of individual instruments was drawn upon with a view to particular expression, and vocal writing, which had dominated the whole body of instruments, including the Organ, was slowly superseded by a new and independent style, opposed,
;
in a sense, to the fabric in this gradual process,
it
replaced.
Two
principal objects were gained
namely, the birth of
Rhythm and
the emanci-
pation of Melody.
From
the simple desire of giving the instrumentalist
something appropriate to do, accompaniments grew into individuality and expressiveness. The result naturally led to the development of a distinct instrumental genre, and with the arrival of Monteverde, Music was no longer the thrall of the voice. Let us consider some of the methods by which measured notes may be intensified and galvanised, so to speak, into rhythmical life. By merely adding to the number of notes, ^that is, by quickening their rhythmical value, a distinct step is taken in the direction of
increased
animation.
This
is
seen by taking a long-sustained note
1^
:
iiztq:
i
it
which does not excite or stimulate, and comparing length of note played tremolando
Trent.
with the same
by a body of
violinists,
when
it
at
once throbs with nervous energy
LESSON
and arouses
applied
with
attention.
IV.
INSTRUMENTAL
The
principle
BEGINNINGS.
notes*
17
of repeated
may be
varying
degrees
of
speed, allowing of every variety of
rhythm, from a gentle undulatory movement to the fiercest of fortissimos.

Lento Moderato.
SappÊp^pppg^^l
3
3'
3'
Maestoso andante.
^^
=^.tE^
Beethoven.
Schnell.
Schubert.
PV
-^^^^-^^^^^n
is
The
opening
powerful dramatic current of rhythm instantly set up by the

triplets in
The Erl-King
effect.
worthy of note.
Such
repetitions
of chords
pianofor/te
or
single
notes are practicable for the purposes
both of
arpeggi,
effect.
and orchestral
of &c.,
is
The
division
chords
into
groups of separate notes,

to
Alberti Bass,t
another
fruitful
source of instrumental
For good examples we may turn

there
is
the Vorspiel of Parsifal^ where
a fine series of long-drawn harp-chords,
and
to the Finale of
the Moonlight Sonata^ where the second theme, which pulsates
with
and expressive power, succeeds accompanies it.

life
in
spite of the Alberti
Bass which
By
the addition of a single grace-note, or certainly by the aid of a
few passing-notes, a distinct figure

for its basis.
If
we go
further,
may be formed having a single note whole groups of notes may be formed
Probably
first
employed by Dr. John Bull

is
in the
Fitzwilliam Virginal Book.

(at
The
Alberti Bass
identical with the pattern of
Arpeggio given
No.
3)
above.
i8

particular one,
round any
and fashioned
to almost
any device.
It is
Here
then we have the very secret of Figure making.
ihe expansion
of a single sound into a well-shaped suggestive and lively idea.
Examples of Repetitions:
1
Examples of Arpeggi, &c.
(1)
:
Ornamental examples introducing an

(7)
auxiliary note
(8)
|]
|gjJjij7jî
-m-
(9)
~0'
-0-
-m-
-m-
-m-
-m-
In the following exercises separate the chords into groups after the
pattern of each of tbe above phrases
four notes are given, one
first
usmg
In
the Repetitions, then
the Arpeggi, and finally the Ornamental phrases.
Observe that where

such
cases
there
is
may be
:
omitted.
choice of two positions, thus
:eEIy
-
Or:
3Ed^ lai
LESSON
Exercise
1.
IV.
INSTRUMENTAL
BEGINNINGS.
19
Ex.
2.
Ex.
3.
Many examples
of systematic treatment by arpeggi, &c., occur in
the works of the Old Masters.* For example, compare the first Prelude and the two Preludes in G major in Bach's 48 Preludes and Fugues. It is perhaps just worth observing that even drum rolls, which depend entirely upon rhythm, have become highly developed. Then there are the Mordents, Turns, Trills, and other such graces that are simply stereotyped figures of a sort with which this chapter is in a
degree concerned.
Nor
into
life.
are such things really inanimate since they
come back suddenly
need only to mention such examples as the long trills in Beethoven's Op. iii, last movement, and the vital turn in the Lovetheme of Berlioz's Romeo and Juliet^ as also its many characteristic uses in Wagner's Tristan.
We
If
it is
transposition into other keys
found necessary to extend the practice of this class of exercise, (and mere is not enough), Mozart's and Beethoven's Variations Jor
Pianoforte will furnish a
number
of suitable figures, which
may
be applied to any
theme
if
It is still better (and very much quicker) planned harmonic succession. a pupil can be got to extemporise such developments in the teacher's presence.
or well
20
LESSON
V.
VOCAL MELODY.
LTHOUGH
primarily an expression of definite words, Vocal

in
Melody* has
some sense an
individual existence.
It is
not
to be regarded as a mechanical definition of verbal cadence, though it has much in common with it. Our first experiments
tend to show us that mere reproduction of well-moulded emphasis is There must be some charm, some grace of not in itself sufficient. expression, an attribute of Music itself that is almost indefinable,
almost elusive.
sums the
are,
is
The word Style, without lending us any real help, Melody for its own sake, a sequence essential conditions.
:
carried out, a suggestive pattern developed
these, small aids as they
have something to do with the matter. The principal of evolution One thing leads to characteristic of the invention of Melody.
another, and though words check, guide, help, restrain, they only do
so to a limited extent.
heart of Poetry,
Vocal Melody not only

its
offers us
it
good declaIt
is
mation, chaste rhythm, perfection of expression,
goes right to the

of
and
reveals
inmost emotional significance.
almost limitless expressive power, agile and free as the song of birds,
of infinitely greater sonority and compass, with a wide choice of rhythm
and an
as
ever-varying degree of intensity.

Its
It
knows no bounds save

that
those of artistic appropriateness.
place in Music, once regarded
paramount,
is
more
is
justly
co-equal
with
of
instrumental
melody.
Though
aiming
clear,
its
scope
almost
limitless,
good Vocal Melody deals
for
the most part in well-sustained phrases of definite compass.

at the
Without
production of actual subjects, such as those of instru-
mental music, the opening statement of a Song should as a rule be

definite
is
and
expressive.
Much
of the character of the whole
Song
determined
in these first
few bars.
first
practical step
is
therefore the
study of effective vocal openings, and the practice of The process is a valuable one, and its thorough forming similar ones.
Scholastic Counterpoint, considered in a later lesson, should help in the study

it
of vocal melodv since
deals in
little else.

LESSON
mastery
will
V.
VOCAL
MELODY.
21
will assist
in
forming a quick habit of thought, by which the
words of songs may be readily cast into musical shapes.
The
effort
become
so
natural that
its
very ease
will
forbid the student to

air,
overrate the value of his performances.

"
1
Take
Purcell's well-known
attempt from Love's

less
sickness "
its
beginning arrests the attention

it
no
is
because
it
is
a well-balanced musical thought than because
a finely-conceived utterance of the words.
The formation
couplet in poetry.
verse, the lengths
of a song-opening
is
very like that of a
rhymed
One verse is answered by another. may be similar or contrasted. The
In music, as in
chief considera-
and form part of one texture. In the example quoted a single line of poetry becomes a complete musical sentence. The rhythmical scheme is an extremely realistic reproduction of the
tion
is
that they cohere
poetical idea.
The
notes literally lend wings to verse.
^
1
I
attempt from Love's sickness
Dominant.
I
I I I
I
I
I I
rn
I
I
To
fly
in
vain.
Done
in the following way,
it
had been no
:
less correct,
but com-
paratively trite
and lacking
at
-
in
imagination
-
tempt from Love's sick
ness
to
fly
in
vain.
^^=id=4#^
Careful examination of the following Song-openings, which are
&c.
all
of
an
effective type,
shows that
first
phrases (of two or more bars)
may
22
either maintain a
Tonic character (perhaps with a veiled perfect cadence), or turn in the direction of the Dominant. A few prefer the Subdominant direction. Minor phrases either follow the same plan or modulate to their relative majors. The balancing phrase, completing the sentence, while subject to the guidance of the words, may be of
identical or contrasted length.
As
common
Such
is
procedure
it
gravitates
towards the Dominant or Tonic close.

but there
is
the stereotyped custom,
no
real
rule,
nor anything approaching to one.
Let the
syllable,
student, however, practise with tried weapons.
He
should also content
himself with from two to three notes

since
also
(at the
most) to any single
modern custom recommend that
is
against the use of rosalias
and
fiorature.
We A
in first analyses the

for
rhythmical scheme of music
be placed side by side with the words,

few are so offered.
purposes of comparison.
zzq:
God
pros
-
X2:
per long our
no
ble King,
Our
lives
and
safe -ties
all.
Dominant.
II Ill !-<^ M J
J:
TIJ-
1_|
l!
l_ !_
1^
z:^
p:?^
C^
God
prosper long our noble King,
SUBDOMINANT.
:,|UJ=^
:!=c^:
Our
lives
and
safeties
all.
I^
4=5
Come, sweet
lass,
1^=5^=?^
This
mer
ry weath-er Let's
^
to
-
i^d
;
geth-er
E
Come,
sweet
lass,
-e>-
E
Let's
play
up
on
the
green.
Tonic
J=J:
JÎ-J^N^^
-^
Come,
sweet
lass,
Dominant.
S S S N
This merry weatlier
:
Let's together
LESSON
V.
VOCAL
MELODY.
23
Tonic.
:J=J:
N S
S
WL
It^
Come,
sweet
lass,
Dominant.
N
cz:
Let's
play
upon the green.
^^?^^ :fc^
Come,
live
^^--
<^-
with
me,
and
be
my
love.
And
m=^
we
will
all
&c.
I
the plea
-
sures
prove.
Dominant.
z?:^:
i^îut.
~^
_?z^
Come,
live
with
me and
be
my
love.
Relative Major.
-J-l J >J- _* a'_i_ _C3 =at izazziBZizaizziiît

I
'
And we
will all the pleasures prove.
fc ii=i=fe
Who
is
^^î^
Syl
-
Leveridge.
via
what
is
she.
That
|^^^3Ê^|Êi|
l*=r"
all
our
swain's
com
mend
her?
"^^
Tell
Bishop.
-^
my
heart,
me,
why
morn
ing
prime.
DiBDIN.
4^ ^ ^^^ ^l3EiÊîS?E?E^^
^
1
^-
"
1
me
from thee. &c.
A-dieu,
dieu,
my
on
ly life.
My
hon- our
calls
24

Schubert.
m
P
fe3 ?3:
How
clear
-J-^-
fc:i=t=:fc^^
stars
^î
still
-
-s>-
shine the
in
the
ness
of
night,
S:iJz=E=z3EZ
They
oft
t^^f^
11^=*:
steal our
=1:
=i^^=iv i^zzi:
a
-
^^m
way
by
their light.
slum - ber
Wagner.
*t w
ii:
S=M:
By
si
-
1^
lent
hearth
I*
fe^
'i=t
-S-
Couplets, &c., for Melodic Treatment:
How
little
do the landsmen know

sailors feel,
;
Of what we
When
waves do mount, and winds do blow But we have hearts of steel, (p. 245).
Hail, gently,
summer,
to this isle,
Where And
Come, Come,
Nature's fairest beauties smile.
breathe in every plain,
(p. 93).
mirth, call on music

frolic-filled fancy,
call
music on song
(p. 54).
bring genius along,
One summer
eve, as Celia fair

(p. 163).
Sat spinning in the shade,
Come, cheer up, my lads, to our country be firm, As kings of the ocean we'll weather each storm,
(p.
175).
The
sun, like any bridegroom gay,

to salute the spring,
(p. 67).
Rose
Vulcan, contrive
me
such a cup
(p. 13).
As Nestor
us'd of old.
Words from
the C/iotce Spin'i's
ChapUt
(G. A. Stevens) 1771.
LESSON
VI.
INSTRUMENTAL
PATERNS.
25
LESSON
VI.
INSTRUMENTAL PATTERNS.
ROUPS
briefly
of notes formed
upon
single Principal
Notes (already
together,
considered)
short
may now be
for
usefully
strung
producing
pattern.
melodic pieces of a definite such work consists

figures,
rhythmical
in a series
The
material
such as might be contrived foi In the first exercises of this kind a skeleton (or outline) a Violin. The exercises are to showing the Principal Notes may be employed.
of vigorous
and contrasted
be carried out as
selected
far as possible in
accordance with the figure-pattern
Slight modifications, however, often

figure
become
necessary, since
or at
least,
any one
exactly
maintained
may
all
lead
to harsh,
awkward
modify,
progressions.
at
The
student must, therefore, be encouraged to

strictness,
the
of
expense of
this
such phrases which

at
arise.
Specimens
a
modification
are
seen
(^),
and
in
the
second Model.
Two
models, or examples of finished exercises, and

if
These may, few outlines are given below. plemented by taking any well-defined theme,
Variations
for
necessary,
say,
be supfrom Beethoven's
also lend
Pianoforte.
Many
of the Suite
movements
student
themselves equally well to such treatment, especially the small clear-cut

pieces
of
Corelli
and
Bach.
The
enterprising
will
soon
dispense with such aids.

himself.
He
will further
begin to invent figures for
The
process
Every encouragement should be given to such invention. itself is invaluable, since it sets up the habit of mind by
short,
which melodic progressions may be broken up into

rhythmical figures.
effective
PRINCIPAL NOTES.
{a)
id)
FlGURES.
L
-Gt-
{a)
-G>-
<&-
-s>-
-^ =1:
id)
(3)
2.
ja)
26
3.

{a)
4.
(a)
(i)
^-m-^-m-'
s|s
:i:
=3-*
modification of
((^).
5.
(a)
fe P^p^^=^33^^^^fl^=^^^^^
6.
(a)
lg^^=^
Or
=1C-^)
P=?=
i
-
m-
Or
T^^^
7.
P5
{-5)
^-
()
S3? l=t
8. (o)
f^
i
^
-1^
<^
^ J r^
^*
Î^PI
I
!
9.
(a)
(^)
^
10.
(a)
(^)
3=3:
11.
(^)
(^^)
12.
(a)
fi^:^^
^^^
^.ca-^

LESSON
15.
(a)
VI.
INSTRUMENTAL
(^)
/'
PATTERNS.
27
wrfffri
14.
(a)
/-^
^^f^^V^
T~l
/'
"
- ^1
V
15.
((2)
'-ri
-(^)
I ' \
1-^
-m
--m-^
1-*
^^

6
1-
16.
-j
(a)
I
1
1
("^
^^
J=t=Jz=izzn
i 1
MODEL,
iE
--
(formed upon No. 2 below).
-==
I
I
I I
1-1
1
\
n"'"n^
i I
I
ffl
1
I I
p.1^
I
I
Fh"
J=p:
^ r
^*=^:
=p:
-^
Outlines.
No.
1.
No.
2.
jp=p=
P
3^3
:o:
33
-
^-JJ
0-
No.
3.
itizB:
*iî^
28
A Second MODEL.
Ex.
3, exactly in
accordance with a figure given.
p^fejgi^
Modijiea.
Or
$ i
g=^.-^-r-g^;b
--d
^=P i^^=s^^
:p=s^
:"Ezr:
^^^
:p--%:
tr=
f^
^
LESSON
ACCOMPANIMENT.
VII.
29
LESSON
VII.
ACCOMPANIMENT.
CCOMPANIMENTS,
now
first
once extemporised or
full
filled
up on the
nothing to
spur of the moment, from mere basses or figured basses, are

invariably written out in
detail, leaving
the imagination, so that an accompanist's duties, formerly of
importance, are rendered

It
much
lighter
assistance.
has already been shown (in
by the composer's studied Lesson III) that quite simple
chords effectively support clear-cut rhythmical songs.
We
let
shall
now
begin to use broken chords and arpeggi as accompaniments to slow-
moving and sustained melodies. following little vocal example

:
For a
first
experiment
us take the
Drink to Me only with Thine Eyes
" (18th Century Version).
-V-
/^
\-\
T
19
\
f
J
f' <'
#
fl
f f
^-^-^
4 2
-4^
s~,
^
r
m k
k m m
1
-^
m
^
?
^
I
f-
>
^
r
i^
7^
;^,
i
^=f=f=^
J^Z5^
s^
y
^-
^*
^
:i
g^î^
3^^
30

Here the harmonies are fairly satisfactory, but they and sound weak and rhythmless on a pianoforte.
up,
interesting
in
are merely vocal
parts,
By
the simple
is
expedient of breaking the chords into arpeggi, a current of rhythm

set
itself, and of real support to the voice-part. good accompaniment should give a melody rhythmic support and harmonic colour, while providing a real playable part for the performer. Over-elaboration is generally a fault and in such a melody as the present, would be an error of taste. The piano part must merely hint at chaste and expressive harmonies. In composing this class of accompaniment, a student is recommended to test his work carefully on the pianoforte, rejecting anything which sounds ineffective. Finally, if possible, try his work in conjunction with the voice-part.
^^ ^^^
Andante.
|fc:?^=I^
-Jii=:4i
i^
-
1fc?= 3tZ^
the
cup,
fe^
I
I'll
m
will pledge with
Drink
to
me on
kiss
ly
with thine eyes,

-
Or
leave a
with
in
And And
not ask
for
SJ-m-
~m- -m-
-m~ -m- -- -
-X
azzi^:
-^
-^s=|=(:?:)rz
mine,, wine.
^
thirst
fcd
the
^s
doth
rise,
The
that from
soul
Doth
p^^^,^M^^^3^^î^g^^^^
U
ask a
m
drink di
-
v=s
1^^^ F
But might
I
vine;.
of
Jove's
1 t^jjgasgÊg^sa
d=
-M
^m
*
-r---
^^
d^
'^-

LESSON
VII.
ACCOMPANIMENT.
31
yg
f-^* ^ J ^^
nec
-
^
I
i=Efl
thine.
tar
sup,
would not change with
ô-r
l=*St
.--
:s=iq^:
'0-0-
-^-- -0'
-->
;u
-m-4^-4-.
=^
^r
:=f^
i^fl
Straightforward arpeggi suit the type of melody which
demands
in
flowing rhythm founded, perhaps, on few and regularly changing chords.
Such types
definite
will
discover themselves by the persistent
manner
afford.
which
they emphasize the Tonic or Dominant triads at the outset, and the
glimpses
illustrations
which they are given of such openings

of
:
rhythm
casually
few
xt
fc|;
Con moto.
DiBDIN.
d:
X::t:
i^^îî^
ly
life,
dieu,
dieu,
my
on
My
^=CZ^
p-=^=p=
P^=H^
iSE^
=M^=
-^Xrr.^
m^
i-iJ-
ZI
I
hon
-
our
calls
me
from
thee
S=a f?ÊS3E3EÊÊÊfe3
^t ?
n
;o
&c.
a~r~''^:^
lz
32

PURCELL.
m^BEEÊEEÊ^
I
E:
were
:E
so
i
high.
i 1
saw that you
grown
EE
f
-^BEES
Repeated chords are of good
design or slight figurate relief
pattern of
carefully
effect,
rl:
41
\-
-^-
accompaniment managed.
is
some rhythmical is introduced. Both this and the former apt to degenerate into monotony unless
especially
if
Godfrey Pringle.
13^
szc
The leaves
teê=r=
fa-ding and fal
-
of the for
est are
ling.
N-N-
gz33-JEiHs33^n t^^mÊ^,
f^ [^
-N
&c.
WfHow
clear
:VNshine the
stars
SCHUBERT.
in
their
soft
^
a
-
zure
^
psfe
-s>-
Etwas geschwind.
g=f^
%-
*=:t
-m -m *3z:
9-
deeps.
:rIt=*:
3^
-^
i
4i -^
&c.
fc=e
^-

LESSON
VII.
ACCOMPANIMENT.
:
33
good
harmonic
identical chords at
background is often obtained the distance of an octave
by repeating
^ ^^^
:^
1:2.
^
your
-<5,-
&
iB
^
pp
Fed.
Gold
en
slum
bers
kiss
eyes.
%
Fed.
Pg ^
Simile.
-^
-^
ii^
^
:*=
man
?
i^^^|E3E|E^S
m^
P#
m^hear
the Spanish
^^^^^m
^^==1^
How
la
-
Will you
dy,
she woo' d
/-
an English-
ti:
f:
sosL
'A
H^-
1^
Without attempting to exhaust the materials of pianoforte accompaniment by giving stereotyped phrases since here, as in every department of musical composition, much must be left to the imagination the student may be recommended to study such examples as are quoted, and to collect effective openings of pronounced pattern. Some of these, like the following, are common property, and only by skilful use can be made individual or interesting
d2riT=
^:
^ 1^^
E5
fe^
2:lt4
&c.
-f^
34
The
be
following melodies are
recommended
for practice.
They may
of
supplemented
:
from any good standard
collection
National
melodies
"Gather YE Rosebuds."
5S3!:
atzt
^;^=^
=i: :^^j=M=m:
S'
S^
hx
~ai
^
'
19fjr
~s
:P=^
-I
I'
â
Traditional Air.
:1^
^^s^^^Mi
*
^^^.
-N-^
^-
^=^=4^-4^^^^ iidzzg:
^'=E-
"There was a Jolly Miller."
-m-
^
'w
:i=*:
-TS-^=1^
SEE
w~r
^^s
fe
:?5:
m
*
^S^h.^.
&
-?5*h
^^
-f^
"Gaily the Troubadour."
vg-
iS
:ti
^=-^
^F=*-
:[i-V::p:
I^Zit
3=
^
Minstrelsy of
Harmonised versions of most of these songs will be found in England,"' Vols. 1 and 2 (Augener & Co.).
"The
LESSON
VII.
ACCOMPANIMENT.
-
35
^
IeP^^^^^^
"Peaceful slumbering."
-F=
-m
m-m-
"Know'st thou the land.
t|:^^^4r d d
'
^^
>y-
^ ^ =t^
I,
i=^=^^S
i5
-n-
=^=5^ g3EÊ^^Î?Êi
I,
^ :d=a: ^ ^^^^Ê:^^.
-<s>-
I=
q:
3Z^ i
-e>-
-^
^ si^^
-Pizz:
<:>
36
ELEMENTARY MUSICAL COMPOISITON.
LESSON
VIII.
COUNTERPOINT.*
OUNTERPOINT,
or the art of adding melodic parts to a
given theme, underlies the whole practice of Composition.
At every turn the student is faced with the necessity for such skill. Music does not reveal itself clad in full detail.
Just as in building a ship, vague plans are gradually brought to accurate
form, proportions and measurements have to be taken
the keel
is laid,
and the whole
structure rises
its
from small beginnings.
composition has
origin
perhaps in a single
So a musical theme, which needs
development, expansion, and a thousand accessories of contrapuntal
workmanship and invention before its perfect form is realised. There are two kinds of counterpoint. The first is that which may The be seen in the works of Palestrina, Bach, Beethoven and Wagner. second is of the Schools Scholastic and serves the purpose of leading It teaches self-restraint, since it deals strings to all young beginners. only in diatonic progressions, definite texture, set patterns, and is It enforces exclusive of all manner of harsh or extravagant intervals. the best use of limited opportunities, and its practice is essential to
every musician.
In connection with our scheme of Lessons, the following plan
is
Work example each day, or not less than one two days. Keep up such disciplinary exercises for upwards of twelve months. Work each Canto Fermo first in four-part first species. Make it a
recommended.
in every
a single
rule that this preliminary

It will further
example
shall
be in strong, well-knit harmony.

they
afford
be found useful to attempt several versions' of the same

in this
Canto Fermo
workings
gradually,
in
species,
since
clues
to
successful
the advanced combinations.

occasionally
Introduce the several species

three-part
returning
to
and
even
two-part
counterpoint.
There are so many excellent treatises that it seems almost unnecessary to name W. Pearce's volumes on Counterpoint, Strict and Free (Vincent Music Co.); Sir F. Bridge's Primer (Novello) Dr. Prout's "Counterpoint," Augener or Cherubini's great volume any of which may be employed.
*
Dr. C.
LESSON
C.F,
-5>-
VIII.
COUNTERPOINT.
-<^1221 5>-
37
-e>-
iq:
-<9-
-e>-
Z2:
-e^
-o-
-Q-
^^3i=^-
-0_
-(S>-
.i2_
-<s-
-G>1221
iq:
-o
i f
-<f5>-
-<s>-<5>-
:s:
-Q122:
-<s>-
-s>-
s:
-<5>-
-GS^
-Q-
-Q_
:&
-o
-5>-
:q=:i]
-s>-
C.F.
I-
-e^-<s>-
Z2:
-G>-
-e-
122:
-8-
-<5^
-G>-
-O
-S
-S)-
"g2"
:s2:
-<S>-
<^-
iSi
-<s^-
iq:
i=tg=
-5-
C2:
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'O'
tfe-
I I
-o-
^-
î^l^Qi
SEHEi?;
:S:
C.F.
-e?-<S>
1^21
-^^-
:q:
IsT Species.
::q.
Q_
-o-
^s-
-ô-
-e^
E
:qzz:
-1 iq;
o-
.s>-
-<s>
iq:
-<?Ea
hS^
-t^-
r^.
T^
-&-
:^:
-I
1
-^ -^
JOZL
38
C.F.
Q-e>-
-9-
:a:
-s-
:q:
e>>
1st Species.
^::
.^_q?i._if!-r-^_^
:^
:p=iz:^
^-*
-F-
zj:
3rd Species.
-<s-<s>-
zzziq:
_i
G
'C?"
zzziz?^:
(S>-
^^-
- ^ P
îi:
1:
-S>-
iq:
-<s-
-H
&^
<s>-
#1d-i
itz:
zz?2:
C.F.
Q-
-S>-rS>-
i
-e>
z=^z=.t:^-
o-
,22: -e>'
:p=
-sS>-
:q:
-<S>-
;e2
^-r
1^
-<s>-
-s>-
:^:
^^"-zot-
i^^zz:^:
:C2:
-<s>-
iftp:
iq: :q_
".q:
-tO-
i^^zz:^
r^
-GtS2_
:ftp:
-s>-
:fo=i
-S2^-
"Whilst
it
is
preferable that the
first
note of the Counterpoint shall

is
make a
perfect concord, the use of the 3rd of the chord
not considered to be an offence."
(Memorandum on
Strict Counterpoint.
I.
S. M.).

LESSON
6th Species.
VIII.

COUNTERPOINT.
:t=:
39
i
Ai-i:
-p
W=i^
^:q:
1st Species.
:q:
C.F.
s-
f='=i==? z::zt=zf_-i:
-e?-
_c?^
-^11
^- r
iztit:
-Q.
-&>-
:pzt:
EEE
-<s-
:2: '22"
:q:
-2-
--
-s>-
iff
^-L=z=tz Zg^t==^=t=EE=tEz^^
<s>-(S>-
@l
_^5>
-e>-
(^
During the gradual introduction of the several species

parts,
it
in
individual
four-part
can
scarcely
fail
to
be
noticed
how
the
early
harmonizations prove helpful.

illustrating the process
:
few
further
examples
are
given
C.F.
I
G^-
:?2:
IQZZI]
IsT Species.
o-
iq:
<s _j
iq:
^>.
;SE3
-Q.
-<s>-
1st Species.
-Q.
^f^
IsT Species,
-i;^-<s-
-e>-
rj-
-<^-
î==
:q=iz
-Gf-
zq:
-&-
Alternative Opening.
-G>'C?"
:eE2:
i
:q:
ill
-Q
-G>
-S>-
(S>
3=^j=5
40
C.F.

-s>
1022;
iq: iq:
-5>-
:z2:
^=^
->
-^s>-
-o<s>-
-CL -o:^:
<s>
5th Species.
Si^
-<5>-
^r- HS
Q-
-5>-
iq:
-Q-
^;
-o-
^^^
Z2:
:q:
:t
--r
r^
irp^v:
I
-0-iS>-
i^t
E^
-^^
:^
:p'
C.F.
-o
221
:a:
123::
-<Si-
-<^-
t-
i^^s:
-o-
^=
GT
I
:q:
^=
<5>-
-O-
-O-
-^^
nz -=^ ?21^2:
pnp?^^"^
p
^:
<^-f^-C3"
-<s>-
-s>-
:q: -o-
;ii
-<S><5>-<5-
^^
_Q.
^
t
-<S>
:&
-o^
:p2zz
q=g:
^-^-

LESSON
C.F.
VIII.
COUNTERPOINT.
e>
41
t^
*:
-<s>-
-^2:
5th Species.
1^ tF-r
I
kS>-
l^^ h-#^ a
-<s>-
-^-
rrx'
.i2-
i^Z
1st Species.
iq:
tl,
#:
32 ?
-5>-
"221
-5>-
1231
|:
-<^-
f#==â F-* r
1
I
u T"T~r
-<s>-
-o-
Lj*
^P
w=w
r
:C2:
-Gf-
i
s>-
5*:
5th Species.
:**=P5: n:
i^
ja.
-(S>-
:d: <5^
^S a
liz*:
:zi-
1st Species.
(S*
-<>-
C.F.
m
-i^
:=1:
3=
+=:* -,_^-^^-5>-
i
-c^
22:
-ei-
-e"
"C?
^'=^
-s>-
_^l=g
(S*-
22:
\=^'==\
-e-
ilgii^Ê^
-e>-
-s-
r=p-#^^'
c^-
^?pEg:
-<s-
42
5th

Si'fx'ies.
hS*-
-^=^=^
~1
=J
g?
2-
1^-
1st Species, 1st Si'ecies.
-(S>-
-<s>-
-f^s:*
-o-
OC.F.
"C?-
'112:
1.J?=^=ÊE^ :qz i iq:

-<s>-
122:
i^.
-s>-^=3-
-S
-Gt-
-O-
:q:
-^
i?::^:
-jC^Z
G-
-(S>-
:s3:
-<S>-
-<s>-
^F
is its
-Q-<^-
-(5>-
-o
q:
'O"
"O"
Keep
the counterpoint
very essence.
parts
and pure. Let there be no harsh

strict
Freedom
in a wise restraint
tritones or foolish intervals.
The
Mere arpeggi have no place in move with definite purpose. Ornaments and change-notes should be sparingly used. Above all, the
to
tell.
must be made
counterpoint.
Passing notes must
harmonic structure must be good. In the fifth species, a vigorous Remember that a few examples movement should be aimed at. thoroughly done are worth twenty times the number carelessly worked. With such considerations kept constantly in view, and plenty of practice, the student cannot fail to set up good and useful methods of thought, which will readily serve him in other and widely different branches of composition, which in due course we shall hope to explore.

1.ESS0N IX.
COUNTERPOINT.
43
LESSON
IX.
COUNTERPOINT
g'g^',g OUR-PART
contrast
(co?itinued).
florid scholastic Counterpoint depends upon and independence. Owing to the free movement of the three added parts, restricted only by the movement of the canto fermo and the ordinary limitations which have already received illustration, simple four-part harmonizations, though still of use, can only serve as the roughest sketches, which must often
be widely varied. The plan most serviceable

follows
:
in
mastering
florid
additions
is
as
fermo be treated in two parts the 5th then let it serve as a Bass species being added above and below adding two upper parts. Our next step is to place the canto fermo
each canto
;
Let
in
the middle;
five
finally
adding three
florid
parts.
By
this
scheme,
some
It
its
is
or six
varieties
of each example are successively worked.
far better
than hurrying to new exercises, since each theme has
possibilities
thoroughly tested.
is
An example
When
with
given of this method of study

upon
a pupil feels the strain
his inventive faculty, he should
be encouraged
to play through one of the inimitable fugues of Bach.
He
will
return to his task
promote emulation while up a true standard of taste. For this purpose we recommend 5uch Fugues as Nos. 13, 17, and 30, of the Forty-eight Preludes and Fugues, and ithe whole of the Choral Preludes for Organ.
vigour, since Bach's Counterpoint never fails to
it assists in building
new
One canto fermo

'Until proficiency
is
carried through this five-fold
process each week
attained, should serve our purpose.
C.F.
44
&.
e^-
:q:
-e^-
1
_^_
^p:te
It
ie>-<&-
re= -pi=*: -o-
sometimes chances that a well-written contrapuntal part may be inverted exactly as it stands. More commonly, however, small modifications become necessary. In the example just given, we can invert every note ; but as the 5ths at " A " and " B " by this process
will
become
4ths, slight alterations are advisable, thus
A
-s>'-^'-
B
-^<s>-
-s>-
:X&c.
4th
-<S>-<S>-
4th
_Q_
I^Ê
fc
r-^
-S"-(S*-
3eÊs=^-^=^^-h-
t:
rc^zz
:q:
;i]
The Same,
fcfe
modified.
-<9-
&c.
H:
:p==^z:
-o12^:
An Independent Working.
3;
C.F. -^fefe
:^=^
-&'
-Q.
-S>-
Efc
:!=^
tr
.Q_
i-fe
~i
P=tz
ir:i
-jzt.
3^:
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-&'
-jar.
-<^-
Ft
.
^^n_^ :z=q=zq fc^=*=r=z?_^^=t==^

jd.
-<G>-
-o
-<5>-
O"
-<S)-
-S>-
fl
:2:
e;
:=q:

LESSON
IX.
COUNTERPOINT.
i^
45
3^
...
<s>-
-^-
"f^
F^
-o-
:^==
#-P:
r-ci'
1^21
C.F.
-(S>-
^
i P
i^
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-jctz:
-^x
=1:
3^
231
ill:
':i=W
"P"
f^
^^--f yi^'T-r
-<s>-
-e>-
-^-
22:
1^'-
^îm^-^zî
iq:
.1
n
r
:^zt
:^:
r ^
U
ro-s-
*^-
^?zc^
:^:
:^=
:pzx
-s-
-cr
-^-
:q:
'q:
Observe that in the three foregoing examples the Sequence in the Our next example canto fermo is reproduced in the Counterpoint. part, transposed for convenience gives the canto fermo in the middle
;
fc
-<&-
-&*-
1 I I
J- irî:
-o-
-<S>-
-&
|i9Hb:
-<5>-
22,
C.F.
E^
:t=^:
f=f=P=^
I
:q:
46
:: -^"C?"
m:
p3:^33iz:jig^z=:
-<2-
:f=^
:,^ :c^
-7.
:^
:t#it
-tF^r
^^-^-
-1^-
^-
-^ ^-tie:
ii;
Or,
^^-T-^
^:
1=
:i=P
-f-P
t=F4
2i:
E^z
.Q:q:
iS-<s>-
-S>-
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^1 - E
I 1
'SSSSIIi
^.^h=F
t:
ic^:
ife=c:
C.F
i^;
"rJ
-(S"jT^-
<S^
-s-
Ul
-<^-s>-
.Q_
:^Q-'
ii
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i:d^=J=^
-,<S>
^
T
-1
'j=i'-
:i^=g:
^^^
~=
-o-
^2
m
1
ZZ|JS}&Ei3^^
-Gf^1
Z3:
pziz:=&zz{z=:(z--p3
"^^^
p
LESSON IX. COUNTERPOINT.
47
A
-<S>-
-litr^wzii^îiijis.
f^f ^-
^^
-G>-
r-r
-S-
^S
-I
-^-^
1
fZZZt
^^
j__J_,
a -f^ * H
r~f
_i:2_
f^
s F
h-
'j^-^^
:tfc=^
^^î
P
i
:*=.-i:
-<s>-
r
pHE
12:
X3s^
Id:
^
4^
^^
* Alternative
I
-s
i^s:
:^î^
tr
ic^:
:^
Wo&c.
r
_o_
'srz^
f?(S
<S>h
-S>-
-P-^
T"
be seen that the three added parts are of equal importance, contrasted and independent. Though the flat seventh is used in the second half, the example is correct without its
In our
last
example,
it
will
aid.
An
alternative
for
part.
the
last
five
bars,
offers
more vigorous
rhythm in the upper
JHIUmntmmiUiHnnurmFMmtmmMmr.
48
LESSON
X.
FREE COUNTERPOINT.
T
'*99 9^w9^d.
high time that a thoroughly free order of Counterpoint be admitted in Enghsh practice; a kind which allows of the
is
use
of
chromatic chords and passing-notes,
at
the
that
same
the
time admitting a broader rhythmic scheme,
so
whole system tends to bridge over the gulf fixed between scholastic counterpoint and practical composition, while it also assists in counteracting the tendency of an obsolete system in the direction of cramped
and
rigid authority.
We recommend
modulation.
the following
scheme
1st Species, as before, admitting,
however, ckromafic h3irmony B.nd
2nd
Species, as before, with the addition of chromatic passing-
notes and harmony.
3rd Species, as before, but admitting chromatic passing-notes and
harmony.
4th Species, as before, but with the chromatic system behind
5th Species, complete freedom,
shall
it.
merely stipulating that the parts
be of definite number, and the Instrument
Strings
or Voices declared.
first
Piano, Organ,
Let one such exercise be worked after a group of the regular formal
exercises.
Our
experiments serve to show that ordinary canti fermi

restricted) will serve for this preliminary practice.
(though tonally
much
Then
used.
the teacher should draw
upon the chorales Bach so commonly

is
As the object of
this
kind of exercise
to train the imagination
and
temporarily relieve the
mind
of such restraint as former contrapuntal
studies may have induced, especially the feeling which students so commonly have that strict counterpoint does not offer fair scope and is merely of arbitrary value, every possible chord or melodic passage may now be admitted. At first sight one might imagine that mere chaos
would
his
result.
But
far
from
this
being the case, though thrown upon

still
own
resources, the student will
find that he has to justify
first

LESSON
to himself
X.
FREE
COUNTERPOINT.
49
and afterwards to his teacher, progressions of harmony and melody which though no longer judged by scholastic standards are nevertheless subject to the laws of Taste, logic and common-sense.
1st Spfxies,
Free Harmonies.
C.F.
_
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2nd Species
C.F.
Two Inner
-(S>
Parts
1st Species Bass.
i w
Organ.
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50

C.F.
Organ.
3rdSp.
'
1
î
'
,
2nd
Sp.
-QL
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2nd
Sp.
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Experience proves that

practical procedure to
it
is
both excellent discipline and good
work out
definite species in
FREE
Counterpoint,
preserving a consistent texture of crotchets and minims according to a

precise scheme.
Bach, in his Choral Preludes, has further shown that
much
beautiful
is
music may be constructed on

p.
this
artificial
plan.
Our
quotation
from the short organ Prelude on ^s

(Augener's edition, Vol. 17,
1006):
kommen
/^^r
ist
das
Heil uns
Theme
2nd
Species.

FREE
LESSON
X.
COUNTERPOINT.
SI
m
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St3-*
*t^ *r-pi-"
&c.
s ^-P p
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f-i
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Our last quotation shows that arpeggios, if short and characteristic, may be admitted. The Counterpoint is principally of the 3rd Species
for
the two inner parts;
and 2nd Species, occasionally broadening

:
into the ist Species, for the Bass
C.F.
t--
^
SiBEE
The Choral
is
-W~i
pft
?^
entitled
Herr Jesic Christ

will serve for
(Vol.
17,
p.
979).
:
Such
Chorales as the following
preliminary practice
GOUDIMEL.
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52

Vater unser im Himmklreich.
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FUKK NATUS
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BeTHLEHEM.
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themes in exchange for the old Cantos, which resemble mosaics and have little or nothing in common with modern work. Nearly all the old Chorales (especially the Lutheran) are ready to hand, and while being in long measured notes they also possess something of the emotional qualities which modern art requires. Where the themes are too long, take one or two hnes: The added Three parts will often serve Counterpoint need not be too elaborate. Chromatics, though admitted, should only be introas well as four. duced for effect. Though we aim so far at producing merely a musical EXERCISE, the student cannot be too ambitious in a good sense. We shall hope to continue the subject at some future time.
is
The aim
to take musical
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Elementary Composition

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Elementary Composition

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mamm

Presented by: Dr. Frank

032 2 f^TS" 00 123

Digitized by the Internet Archive

2012 with funding from

Brigham Young University-Idaho

PRICE ONE SHILLING AND SIXPENCE.

EAST 43rd STREET.-

BOSTON: THE BOSTON MUSIC CO.

Speech translated into Song

that a systematised group of Lessons,

which have stood

the test of experience, cannot but be

beyond the reach of a

plan of the work embraces

* the chief essentials

which a composer must vigorously attack

doing away with the

book should prove

the motive force of Musical Composition.

wide scope, which must appeal to a large number

with the teacher,

student himself, to apply

lessons to suit individual cases.

merely irksome, are

throughout these pages, always with

be remembered that the great practical

which a teacher has

the fact that even clever

calities zx% carefully

set out with enthusiasm, describing

Composition as "the dream of

course of lessons, founded upon some of the severe

study, the pupil was so discouraged that he gave

present series of Lessons

vigilantly the earliest manifest-

of inventive faculty in a pupil.

diverge from the detailed system

comprises 100 Lessons.

Here are contained the

too long protracted use of any system, especially that

of the Variation form, difficult and searching in

only tend to produce despondency.

of which here find a place.

keep the inventive

once awakened, unceasingly employed.

thought, feeling, and descriptive power, comes very slowly to many.

must be strenuously cultivated before

Everyone has some

And cometh from But

need not blindly grope with

that a sensible consideration of

the very beginning,

be exceedingly helpful to those

drawn towards the imaginative

ELEMENTARY MUSICAL COMPOSmON.

Rhythm, Cadence, and Harmony.

pulsation, gravity, restraint

would seem that the

heart throbbed in obedience to

with health, hope and happiness.

This same thing we

reveals itself in inanimate things