The Composers Handbook (Ralph Dunstan) PDF

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

..OF MUSICAL COMPOSITION.
By RALPH DUN STAN,

Mus. Doc. Cantab, etc.
Professor of Music, Westminster and Southlands Colleges
Author of "A Cyclopaedic Dictionary of Music," etc.
SECOND EDITION
LONDON :
J CURWEN & SONS Ltd., 24 BERNERS STREET, W.

Price Five Shillings net cash.
DEDICATED,
BY KIND PERMISSION, TO
SIR CHARLES VILLIERS STANFORD, KNT.

ML'S.D. (OXON ET CANTAB) ; D.C.L. ; LL.P. ; PROFESSOR
OF MUSIC IN THE UNIVERSITY OF CAMBRIDGE J
PROFESSOR OF COMPOSITION AT THE
ROYAL COLLEGE OF MUSIC J
KTC. ETC.
(iii)
PREFACE.
T -r
THE work is fourfold

object of this :
To provide teachers with a large number of varied and suggestive exercises from
1.
which a selection may be made to suit the requirements of classes or individual pupils.
2. To provide students who cannot secure the help of a competent teacher with a
graduated Course of Instruction in Practical Composition.
3. To serve as an introduction to the study of musical form.
4. To serve as a handbook of reference in connection with all the principal features
of elementary musical composition.
The author's experience as a teacher has convinced him that condensed and didactic
"
statements of facts and theories are of little use to the elementary student. Line upon
"
line, and precept upon precept will alone avail to produce an abiding impression. Hence
"
the general principles of composition what the late Rev. John Curwen called the Common-
"
places of Music have been steadily kept in view, enforced by constant reiteration, and
illustrated by numerous examples from the works of past and present composers while, ;
to prevent the student's attention from being diverted to side issues, no attempt has been
made to deal with those extraordinary and exceptional developments of music which lie
beyond average attainment, nor with the exaggerated and bizarre efforts of those composers
who endeavour to take music out of its proper sphere.
The Table of Contents indicates the general scope of this work but it may be ;
mentioned that Cadences, which are always particularly difficult for the beginner to manage
effectively, are treated with special fulness in the first four chapters. Several tables have
been prepared to show exactly what cadences the older composers were in the habit of using,
and also the tendencies of modern practice ; and it is hoped that these tables will be found
useful, not only to students, but to teachers. Among other topics which have received
special attention are Songs, Two-part and Three-part Writing, Pianoforte Accompaniments,
Accompaniments for Strings, and Scoring for Small Orchestras.
Although this is not avowedly a treatise on Musical Form, all the smaller forms of
composition are fully discussed while the analyses of the larger forms (Sonata, Symphony,
;
etc.), are sufficient to point out the lines of study necessary for their more complete
investigation.
The Author begs to express his warmest thanks to his friend, Dr. Hamilton Robinson,
F.R.C.O., A.R.A.M., Professor of Harmony and Composition at the Guildhall School of
Music, for kindly reading the whole of the proofs of the following pages, and for suggesting
numerous emendations and additions which have greatly enhanced their value. Thanks
are also due to Sir Charles V. Stanford, and to Messrs. Novello and Co., for permission to
include in Chapter XII a number of examples of string accompaniment selected from the
"
full score of The Revenge ; to Sir Frederick Bridge, and to the Proprietors of Hymns Ancient
"
and Modern," for permission to insert the hymn-tune St. Beatrice," on page 53 and to ;
Messrs. Curwen and Sons for permission to utilise several extracts from the Author's
"
Cyclopaedic Dictionary of Music."
RALPH DUNSTAN.
DECEMBER, 1909.
5683
(iv)
CONTENTS.
PAGE
CHAPTER I. INTRODUCTION ........
On Composition in General ......
Materials of Composition .......
Usual Errors of Beginners .................................
Preliminary Study of Melody .............................
When to begin Composition ......
How Composers work ...................
CHAPTER II. SINGLE AND DOUBLE CHANTS ........

Tonality ............................................................
Chief Rules of Melodic Progression ......................................
Mental Effects ........... 7
Cadences ............................................
...................... 7
Single Chants in Major Keys
Usual Cadences ..................................... ........ 7-1
Modulations possible ............................
Devices of Sequence and Imitation ...................
Feminine Cadences ..................................
Table of Middle Cadences ..........................
Single Chants in Minor Keys ...............................
Usual Cadences ...................................... ......... 13-15
Table of Middle Cadences ................................ 15
Changeable Chants ....................................................
Double Chants in Major Keys ..............................
Table of Cadences ....................................... ......... 16
Specimens of Good Cadence Plans ................................ 16-19
Devices of Imitation, etc ........................................... 19
Additional Tabulated Cadence Plans ................................ 20
Double Chants in Minor Keys .......................................... 20
Table of Cadences ................................................ 20
Typical Specimens .............................................. 20-22
Model Cadence Plans .............................................. 23
Special Notes on the Perfect Cadence .................................... 23
CHAPTER III. FOUR-LINED HYMN-TUNES ................................ 24

Measure and Accent .................................................. 24
Metrical Accent Simple Measures ......................................
: 24
Compound Measures ..... ............................. 24
Accents of Divided Beats .............................................. 25
Character of the Measures .............................................. 26
Unusual Measures .................................................... 27
Metre in Poetry ..................................................... 27
Verbal and Musical Accents ... ..................................... 27
Style of Melody advisable in Hymn-Tunes ............................. 28
Style of Harmony advisable in Hymn Tunes .............................. 29
Cadences of Four-lined Major Tunes .................................... 30
5683.
CONTENfS. V
CHAPTER III continued. PAGE

Iambic Metres 31
Short Metre 31
Common Metre 32
Long Metre 32
Trochaic Metres 35
Dactyllic, Amphibrachic, and Anapaestic Metres 36
Irregularities of Metre 38
'
Cadences of Four-lined Minor Tunes 38

Specimens of Four-lined Minor Tunes 39
Selected Cadential Chords 41
CHAPTER IV. TUNES TO HYMNS WITH MORE THAN FOUR LINES 42

Five-lined Hymns 42
Cadence Plans 42-43
Six-lined Hymns -. 43
Three Sets of Two 43
Analysis of Cadence Plans 44
Two Sets of Three '. . 45
Analysis of Cadence Plans 46
Analysis of Cadence Plans, Minor Six-lined Tunes 47
Seven-lined Hymns 48
Specimens of Cadence Plans 48
Eight-lined Hymns 49
Typical Tunes 49
Selected Cadence Plans 50-52
Twelve-lined Hymns 53
CHAPTER V. SONGS 57
Folk-Songs and Art-Songs 57
Ballads and Through-composed Songs 57
Structure of Ballads 57
Specimens of Ballad-form 57-59
Accompaniment suitable to Ballads 59
Essentials of an Accompaniment 59
Examples of various styles of Accompaniment 60-66
Art-Songs in Ballad-form 66
Extension of Ballad-form 68
Analysis of Schubert's Linden Tree 68-70
Styles of Pianoforte Accompaniment 71-76
Through-composed Songs 77
The Aria 78
The Scena 78
CHAPTER VI. DUETS, TRIOS, ETC 79

General Rules of Two-part Writing 79
Three-part Writing 83
Unison Passages and other devices 85
Male-voice Music 87
CHAPTER VII. MELODY IN GENERAL 89

Factors of Melody 89
Melodic Direction 89
Ascending Passages 89
Descending Passages 89
Repeated Notes 92
Prolonged Single Notes 94
Melodic Range or Extent 96
5683.
VI CONTENTS.
CHAPTER VII continued.

Melodic Intervals 97
Time, Rhythm, Accent
Rhythmical Contents of Measures
1
Melodies based on Arpeggios 103
CHAPTER VIII. ECONOMY OF MELODY 107

107
Repetition
Imitation and Sequence 1
Ground Basses ]
Variations 117
Metrical Form 125
125
Regular Four-fold Sentences
Extended and Irregular Sentences 129
CHAPTER IX. Two OR MORE SENTENCES IN SUCCESSION 132

Two-sentence Paragraphs 132
Simple Dance Forms
1
Three-sentence Paragraphs 135

135
Song Form
Song- form 137
Groups of Sentences in
Special Exercises in Song Form 137

Minuet and Trio Form 138
Marches 140
Two-sentence March 140
Three-sentence March 141
Minuet and Trio Form of March 141
" "
Mendelssohnian March 142
Various Complete Dance Forms 145
CHAPTER X 148
Counterpoint 148
Canon 153
Fugue 156
Modulation 159
Phrasing 162
CHAPTER XI 164
Rondo Form 164
Polyphonic and Homophonic Music 165
Part-songs, Madrigals, Glees 165
Choruses 169
The usual Regular Forms 169-171
Anthems and Services 172
The Cantata, Oratorio, and Opera 173
The Overture 174
Recitative 174
CHAPTER XII. ACCOMPANIMENTS IN GENERAL 177

Accompaniment for Stringed Orchestra 177
The Strings 177
How the Strings are used 178
General Principles of String Accompaniments to Choral Music 178
Typical Illustrations 179-208
The Instrumental Bass 209
String Accompaniments of Solos, etc 210
Typical Illustrations 21 1-214
Organ Accompaniment 215
5683.
CONTENTS. Vli
PAGE
CHAPTER XIII. SCORING FOR SMALL ORCHESTRAS 217
Wind Instruments 217
How to Write for Transposing Instruments 220
Transposition Table 221
How to use the Wind Instruments in combination with the Strings, or alone, etc. 222
Orchestral Sketches 223
The Piano and the Orchestra 223
Examples of Simple Scoring 224
A Loud Piece 224
A Quiet Piece 226
A Loud Piece with alternated Soft Passages 230
A Cornet Solo 234
A Simple March 237
First Movement of a Set of Waltzes 246
CHAPTER XIV 254

Concluding Remarks on Form in General 254
Sonata Form 255
Romantic Music 255
Program Music . 256
Imitative Music 256
Word-painting 257
Leading Themes 258
Thematic Development 259
The Church Modes 260
Harmony of the Church Modes 261
Examples of the Church Modes 261-265
Musical Forms not previously discussed 265
Shaping a Melodic Idea 268
Beauty in Music 269
5683.
THE COMPOSER'S HANDBOOK.
CHAPTER I.
INTRODUCTION.
" "
Es ist des Lernens hein Ende ("There is no end of learning.") Schumann.
"
If, while at the piano, you attempt to form very well
little but if they come into
melodies, that is ;
your mind of themselves, you may be still more pleased.

. . . The fingers must do what
. . .
the head desires not the contrary.

;
"
If you begin to compose, work it out in your head. Do not try a piece on your instrument, except
when you have fully conceived it.
"
If heaven has bestowed on you a fine imagination, you will often be seated at your piano in solitary
hours, as if attached to it you will desire to express the feelings of your heart in harmony, and the more
;
clouded the sphere of harmony may perhaps be to you, the more mysteriously you will feel as if drawn into
magic circles. .
Beware, however, of abandoning yourself too often to the influence of a talent that
. .
induces you to lavish powers and time, as it were, upon phantoms. Mastery over the forms of composition
and a clear expression of your ideas can only be attained by constant writing. Write, therefore, more than
you improvise. By means of industry and perseverance you will rise higher and higher. The . . .
spirit will not become clear to you until you understand the forms of composition." Schumann.
Composition in General.
1 Musical composition is, undoubtedly, the highest branch of the Art of Music and the ;
last few years have witnessed a remarkable increase in the number of earnest students of this
subject.
2 Composition is, and should be, studied not so much with a view to publication
" "
Providence protect us," says the late Sir G. A. Macfarren, from the reams of rubbish
"
which would ensue upon such a contingency but mainly with a view to self-culture and
increased musical perception. Where it does not engender self-conceit the practice of com-
position is of the utmost value in enabling the student to understand and appreciate the beauties
of form, construction, and style of the works of the Great Masters.
3 It might be supposed, considering the extensive treasures which the composers of the
past have left us, and the enormous number of compositions of every kind constantly
emanating from the press, that there would remain little for the would-be composer to glean
from a field which already appears to be over-worked in every direction. But though it would
seem that the resources of simple melody are almost exhausted, there is still room for originality
and true creative power.
4 In an article in the Musical Times, Sept., 1894, it was shown that even with such a short
musical form as the Anglican Single Chant, which consists in its simplest statement of ten notes,
no less than sixty million different melodies are possible, without "regarding the multitudinous
differences formed by passing and auxiliary notes, harmonies, and rhythmical accentuation."
Supposing only one in a hundred of these tunes to be musically interesting, we have a possible
repertory of 600,000 single chants. And if this be true of such a simple and restricted form
of melody, with what overwhelming force does it apply to longer and more important
compositions.
5 Apart, however, from mathematical calculations, it can be safely said that though the
number of creative composers must necessarily be few, the number of imitative composers may
be legion. And it must be remembered that even the greatest composers have begun by being
"
more or less imitative. Not one great composer, not one great sculptor or painter, has ever
brought the world to his feet who has not laid his foundations upon the work already done by
the best of his predecessors. Composers do not, as a rule, spring ready-made out of
. .
the head of Jupiter if

they do', it is because they have already absorbed what is best in Jupiter's
;
brains. Bach without Schiitz and Buxtehude, Beethoven without Haydn and Mozart, Wagner
without Gluck and Weber the instances are countless and incontrovertible would have
been impossibilities" (Sir C. V. Stanford}. " Their work was only made possible by the work
of those who went before them
"
(Sir Hubert Parry). Their individuality and genius developed
with advancing knowledge and the technical skill
acquired by means of study and practice.
2 The Composer's Handbook.
We believe that most musically endowed persons can learn to compose music, with correctness
and some amount of success, up to a certain fair standard, if they will take the same pains to
ascertain the rules and principles underlying musical
construction as would be indispensable
in the study of English grammar and syntax for purposes of literary composition.
Materials of Composition.
"
6 Just as the ancient Israelites found it impossible to make bricks without straw," so
the would-be composer of the present generation will find it impossible to make any progress
in musical composition without some adequate knowledge of the materials for his work. The
list of toilers in the musical field have been accumulating these materials from the earliest
long
periods of history,
and they now lie ready to the student's hand if he will only exercise the
patience and industry necessary to collect them.
7 The two great essentials of composition are TUNE (or Melody) and TIME including
:
knowledge of Scales, Keys, Accent, Metre, and Rhythm.

8 Accessory, but important, features are (a) Harmony, Cadence, Modulation (b) Counter- ;
point, Imitation, Canon, Fugue (c) Design or Form

; (d) Thematic Development
; ; (e) Dynamics
and Expression (/) Compass and Capabilities of Voices and Instruments (g) Accompaniment
; ;
and Orchestration (h) Style.

;
9 In its broadest sense, any successive musical sounds may be said to constitute melody ;
" " "
thus, Macfarren Melody, notes in succession Harmony,
; notes in combination." For
the purposes of musical effect, however, other conditions have to be fulfilled besides mere suc-
cession. Artistic melody implies order and design, based in the first instance on well-defined
Tonality, Scale-structure, and Key-relationship.
10 During the early ages of Christianity, and prior to the year 1600 A.D., melodies were
" "
mostly founded on what we now call the Old Church Modes," or Gregorian Tones." The
grouping and poising of intervals and chords about a central governing tonic, or key-note,
was either entirely unknown, or at best, but vaguely ]>erceived. The experiments made in
harmony and composition during the I7th century gradually led to the establishment of the
present major and minor
scales but even now the old modes are frequently used in church
;
music, and they are occasionally employed in secular music.

11 The essential and natural relationships of the various major and minor scales are now
so well understood that advanced modern composers Wagner, Strauss, and Debussy, for
example often intentionally obscure their tonalities making
; them purposely vague in order
to obtain special effects, which, to audiences of a hundred years ago, would have been perfectly
unintelligible.
Usual Errors of Beginners.

12 Vagueness and incoherence of a quite different and non-artistic character may frequently
be found in the music of the young composer. This is generally the result of ignorance, or
imperfect realization, of the mental effects of notes, chords, and keys.
13 Among the usual errors of beginners may be mentioned (a) The confusion of major
:
and minor modes (b) The introduction, without motive or consistency, of notes foreign to
;
the prevailing scale (c) Un-melodious and difficult leaps in the melody
;
(d) Constant repe-
;
tition of the same worn-out formulas (e) Notes too high or too low for the voice or instrument
;
to which they are assigned (/) Absence of plan or design in the melody, harmony, arrangement
;
of keys, and general structure of the composition.
The Melodic Faculty and How to Cultivate it.

14 Though we can lay claim to melodists like Sterndale Bennett, Henry Smart, Arthur
Sullivan, and others, the gift of spontaneous and sparkling melody of a high order is not one
of the striking characteristics of English composers. Notwithstanding this, the number of
persons gifted with melodic instinct and able to conceive and construct tunes quite pleasing
and natural, is far greater than would be imagined. Unfortunately this gift is, in the majority
of cases, allowed to remain undeveloped, most young composers being content with a very
low standard of attainment, preferring to get something " in print " of " their own composing,"
however trivial and incorrect, to the laborious and self-criticising study necessary for really
good work.
15 Musicians who are able to conceive such little tunes as we have spoken of possess within
themselves the most essential qualification for composition, and those who are destitute of this
Composition in General. 3
faculty will never succeed as composers, except in the most mechanical and mathematical
way. The true composer has always melody surging up, as it were, from the depths of his
nature. Happy he who is able to catch the fleeting outline, and to give it form and
substance, life and soul.
16 Premising, then, that the melodic faculty is a necessary preliminary to composition,
and that the untaught musician will, as a rule, only evolve commonplace and trivial tunes,
what can be done to improve and beautify these rudimentary instincts ? The young com-
poser, unless he has a good voice and can sing readily and accurately at sight, should learn
some solo instrument such as the violin, flute, or clarinet. He should then play through as
many of the melodies particularly of songs, solos, airs, etc. of the classical masters as he
can get hold of and especially the melodies of Handel, Haydn, Mozart, Beethoven, Schubert,
;
Schumann, and Mendelssohn. National airs, too, will offer excellent opportunities of observing
the construction of simple and natural melodies which have stood the test of time and
criticism.
17 In this delightful study he should notice how the flowing outline is constructed not merely
as a succession of notes and intervals, but as a series of phrases, sections, and sentences, marked
out by cadences more or less pronounced, and made expressive by means of rhythmic variety,
contrast, imitation, sequence, points of climax and of repose, etc. In proceeding from Handel
to later composers the student will also notice with interest the tendency more and more to
develop extended melodies from little germs, figures, or motives. He should further notice how
music and words are fitted to each other in regard to accent. It will be clearly seen that good
melodies are not often the result of chance, but of more or less careful design.
18 By such a course of excellent practice the musician of perception and sensibility will
quicken his critical and discriminating faculties he will become saturated with melody of ;
the highest kind and he will gain a most valuable knowledge of melodic construction.
;
19 Thus, while the faculty of melody-making is inborn, it can be immensely improved and
"
developed by study and practice. Pauer (" Musical Forms ") says that the invention of
a beautiful, singing, and expressive melody is one of the surest signs of genius but even the ;
greatest genius will be anxious to purify, strengthen, and vary the melody by means of art
and science."
Other Preparatory Studies.
20 How much ought one to know before attempting the composition of simple pieces?
Composition need not be deferred until all the materials of composition are completely
mastered (see Pars. 7 and 8) nor should it be begun without some preliminary knowledge.
;
NECESSARY PRELIMINARY REQUIREMENTS :
(a) MUSICAL RUDIMENTS* :
Thorough knowledge of all the Major and Minor Scales.

Intervals, Keys, and Key-relationship.
Transposition, Time-transcription, etc.
(b) HARMONYf :
Triads and their Inversions.

The Dominant 7th and its Inversions.
Simple Suspensions.
The Harmonization of Simple Melodies.
Cadences.
Modulation to nearly-related Keys.
The earnest student will, of course, gradually add to his stock of chords (from some standard text
book of harmony) but inaccurate
; or inexperienced knowledge of a large number of chords and discords
often adds to the beginner's difficulties and as much very fine music has been written with no other harmonies
;
than those enumerated above, the beginner will do well to start modestly. Counterpoint, too, though net
at first essential, is a very desirable study. It enlarges the composer's conception of musical composition
and adds very considerably to his resources. J
How Composers Work.

21 How do composers work? Should I begin with treble or with bass? Ought I to use
an instrument, or compose on paper, or mentally?
* See the Author's BC Musical Theory
.4 of ( Curwen, 2s.).
| See the Author's first Steps in Harmony (Curwen, as.).
i Oakey's Counterpoint (Curwen, as od.), and Pearce's Student's Counterpoint (Vincent, zs.) are recommended.
The Composer's Handbook.
"
These questions are often asked ;
and the only answer that can be given is that it
is a matter of individual temperament."

" varied
Schumann's views are given at the head of this chapter. Handel long periods of cessation
from composition with the most wonderful rapidity of production. He may be said to have improvised
many of his works on paper. Rinaldo was written in fourteen days the Messiah in twenty-four
; ! . .
He was always teeming with ideas, to which his perfect command of all the resources of counterpoint enabled
him to give instantaneous and fluent expression." When" engaged in composition the " ever-readiness of
"
his inspiration was seconded by great industry and wonderful power of concentration."
" Haydn,
"
notwithstanding the immense number of his compositions," says that he " never was a quick writer." He
sketched all his compositions at the piano usually during the mornings enlarging and elaborating them
according to rule during the afternoon."
Mozart was always thinking-out melodies and storing his memory with them, so that in the years
of his manhood he was able to produce the most beautiful and perfect music with a readiness of resource quite
"
unprecedented. It is said that he composed the overture to Don Giovanni entirely and completely in his
" " "
head and wrote out the parts without making a score during the night before the first performance.
Schubert had more musical ideas than he could afford music paper for ! He wrote all his compo-
sitions with the utmost rapidity, and often without premeditation. He often sketched first the melody
" "
and bass then added and
;
touched up until satisfied with the whole.
Beethoven, brilliant at improvisation, was slow in writing. He kept sketch books in which " every
thought that occurred to him was written down at the moment he even kept one at his bedside for use in
;
"
the night." These sketches were revised again and again before they took final shape. The more they were
" "
elaborated the more fresh and spontaneous did they become ; and there is hardly a bar in his music of
which it may not be said with confidence that it has been re-written a dozen times."
Many composers make preliminary sketches of their compositions on two staves, with just the melody
and a suggestion of the accompaniment (or perhaps a bass with or without figures).
"
Some composers set aside regular times for composition others work as the fit takes
;
"
them."
Concerning the composition of his latest opera, Mascagni is reported to have said How do I work?
:
I read the libretto repeatedly through, study it, and learn it almost by heart. That is all the work I do.
The melodies gradually come to me of themselves. When out walking, in my room, while I am travelling,
suddenly a melody comes to me. I seize it, and afterwards at the piano play it through, and then the music
shapes itself more fully. Thus bit by bit the opera is completed. But work at it I cannot. I always wait
"
for the mood (1908).
22 As far, therefore, as advice can be given, it would be well for the beginner to jot down
at once any idea that occurs to him (either while at the piano or mentally). If a suitable bass
suggests itself (and to the real composer some sort of bass nearly always comes with the melody),
this bass should also be noted. The preliminary idea should then be revised (mentally, or on
"
paper, or in both ways), until it appears to be suitable for its purpose, and afterwards worked
"
up into a composition.
Let us suppose, for example, that the following melody and bass suggested themselves for a Double
Chant :
tt=-i
"
> ^3 -C?_^>
-
;
= P EEE
This is at once seen to be a weak production, the melody being very monotonous, and the bass even
more so but two or three alterations in the melody and a more varied bass (with suitable alto and tenor)
;
would transform it into a passable composition :

CHAPTER II.
SINGLE AND DOUBLE CHANTS.

23 The average young composer seems to think it necessary to begin by writing an
anthem, a church service, a song, or an overture and ;
is generally much chagrined or even
annoyed when told by competent critics that his work is comparatively worthless.
Much knowledge of musical construction can be gained by writing chants and hymn-
tunes their forms are simple and well-defined, and the experience gained in composing them
;
can be readily turned to account in attempting more elaborate works.

24 The Single Chant is the shortest regular musical form. It consists of two phrases of
melody in 2-2 time three bars followed by four bars :
In the strict form of the Chant, only semibreves and minims are used, as in (a) ; in less strict
examples florid (slurred) passages are occasionally written, as in (b) and (c).
The first note of each phrase is called the Reciting Note, which is continued ad lib. to suit the words,
and followed by the rest of the phrase in strict time. Each phrase ends with some sort of Cadence. (See
par. 30.)
25 The most indispensable requisite of musical design is Tonality (or Key-ship).
Play the following two or three times on the piano or harmonium :
(a)
The harmony of each of these illustrations is quite correct ; but only (d) sounds entirely satisfactory
to the musical ear. Each of the others ends in a different key from that in which it begins.
Hence the general rule that a piece of music should begin and end in the same key.
the piece begins in a minor key,
If it may end in the tonic major for example, it
;
may begin in
G minor and end in G major.
26 This rule holds for all short pieces of music, and is generally observed in such com-
as sonatas and symphonies.
paratively long compositions
It was formerly thought to be essential in extended works like masses, operas, and oratorios but ;
" "
as there is no shock to the ear in concluding a work of two or three hours' duration in a different key
from that of the opening movement, the rule is no longer binding for such works. (See Chap. XI.)
27 It is not often good to begin a (short) piece in a minor key and end in the relative
major. Examples may be found, but the beginner is advised not to imitate them. It is even
less desirable to begin a (short) piece in a major key and end in the relative minor.
In all early exercises, therefore, the student is advised, (a) if he begins in a major key,
to end in the same major key ; and (b) if he begins in a minor key, to end in the same minor key.
Modulations which may occur during the course of the piece are discussed later.
28 is supposed to know the usual rules of melodic progression
The student ; the following
should specially be noted in writing chants and hymn-tunes
:
points
Melody is conjunct in character when it proceeds by steps (of a second) ; disjunct, when
it proceeds by leaps, or skips :
(a) Conjunct. (&) Disjunct.
As a rule, steps in melody are more pleasant than wide skips :
Better than
however, the notes belong

If, to the
v.
same
^m
chord, disjunct progressions are usually pleasing
(unless very wide skips are used) :
l
Tonic chord. Dominant chord.
In vocal melody, the major yth is generally difficult and unpleasant in effect the ;
octave is, however, quite easy and good wider intervals than the octave are rarely required
;
in vocal music, though they may be employed consonant intervals being better than dissonant.
In instrumental music much greater freedom of progression is allowable.
The interval of the minor 7th is generally good in effect.
Bad. Good. Good. Good. Bad.
Diminished intervals may be used, provided, generally, that the next note after the
diminished interval be some note within the interval, thus :
Dim. 5th. Dim. 4th.
The following progressions are bad :
Dim. 5th. Dim. 4th.

Single Chants in Major Keys.
augmented intervals should at present be avoided.

All
N.B. The above rules hold for each of the four parts soprano, alto, tenor, and bass.
" "
29 The character of a melody depends to a considerable extent upon the mental effects
the notes most or in other way made
"specially prominent (as by
of strongly emphasized any
"
frequent occurrence). Mr. Curwen calls these the congenial tones of the melody.
"
The congenial tones of a melody give it "its character and general spirit." Curwen. Thus a melody
"
which is based largely upon the strong tones of the scale is generally bold and energetic one which is ;
" "
based largely on the leaning tones is less vigorous, but more flowing and expressive one in which the ;
third of the scale (m) is much dwelt upon is sweet and calm, etc.
" "
Mr. Curwen gives the following proximate mental effects :
STRONG TONES LEANING TONES

Dominant, or SOH Grand, bright. Leading-note, or TE Piercing, sensitive.
Mediant, or ME Steady, calm. Submediant, or LAH Sad, weeping.
Tonic, or DOH Strong, firm. Subdominant, or FAH Desolate, awe-inspiring.
Supertonic, or RAY Rousing, hopeful.
These effects are modified by pitch, duration, loudness, accent, repetition, and the accompanying
bar mony.
30 In every kind of composition, the skill of the composer is very largely estimated by
the way in which he manages his cadences.
In general, a cadence answers to a punctuation mark, and indicates a point of repose,
either momentary or complete.
The effect of a cadence depends mainly upon
(1) The i.e., whether chord
cadential chord : of the Tonic, Dominant, Sub-
dominant, &c.
(2) Its approach i.e., the chord or chords preceding it.
:
(3) Its position in the composition i.e., near the beginning, at the middle, or near
:
the end, etc.

(4) Its crowning note i.e., whether root, third, fifth (or even seventh) appears in
:
the treble.
The " position
"
(5) of the cadential chord i.e., root position, first inversion
:
(a position, b position), etc.
SINGLE CHANTS IN MAJOR KEYS.

" "
31 In a single chant the final cadence should be a full close (" perfect cadence ") or, ;
"
occasionally, a plagal cadence." The middle cadence, however, admits of considerable
freedom of choice both as to the cadential chord and its approach.
" "
The most usual middle cadence is a half close or Dominant cadence (S) :
Grand Chant HUMPHREYS.
all chants are in o time, the Time-signature is generally omitted.

EXERCISES Compose single chants in the major keys of C, F, G, D, Bb, A, Eb, E, and
:
Ab, using the "half close" for

the middle cadence of each. Vary the "approach" and
" Some chants end with a Plagal cadence (as in No. 3, above).
crowning." of the may
N.B. not necessary to try to write extremely original melodies ; but each part should be ma \c
It is
interesting, if The " commonplaces of music," as Mr. Curwen calls them, should first be mastered
possible.
If the composer is endowed with genius or marked originality
without far-fetched attempts at originality.
it will soon manifest itself as he gradually acquires
control over the recognized musical forms.
The harmonies should be simple, and diatonic in style and in these, and all subsequent exercises,
;
variety of character should be

aimed at by judicious employment of congenial tones. (See Par. 29.) The
choice of suitable reciting notes greatly influences the character of a chant.
32 Next in favour for the middle cadence is the Subdominant chord (F) :
L F
EXERCISES :
Compose single chants, in various major keys, with a Subdominant (F)
middle cadence.
" "
33 Two Tonic cadences in a single chant would seem to be objectionably monotonous ;
" "
yet they are often used. Occasionally they occur with the same crowning note :
TALLIS.
r
-5>- -GIJ. -e>- -5>-
-
5 = !
In general, however, a different crowning is preferable :
Gregorian/
34 Another favourite cadential chord is that of the Submediant (L) :-
WOODWARD.
.a.
3
-JOT
r
Middle Cadences.
Gregorian.
EXERCISES Compose single chants in various major keys with a Submediant (L) middle
:
cadence ;also write a few examples with a Tonic (D) middle cadence.
35 The following are illustrations of cadences occasionally used :
(a) Inverted Tonic cadence (Db) :
1-
(i) Inverted Subdominant cadence (Fb) :
(c) Super tonic cadence (R) :
=g :
-J. ^: |CL :^:

Ezra:
R
(d) Inverted Dominant cadence (Sb) :
(<?)
Inverted Dominant 71 li cadence (
7
S6,
7
Srf) :
.
ya r I
T g
am :tg
|~.>J
|
arz r: ^
"
7
Sd
(/)
Cadence on a second inversion (very rare) :
BARNBY.
ra IP-
f
1 1
EXERCISES Compose single chants

:
in various major keys with inverted (or other)
middle cadences on the models given above.
36 A single chant does not admit of many modulations ;* and even if it did, they would
be out of place. Transitory modulations to the Dominant key, the Subdominant key, the
Relative Minor, and other closely-related keys are, however, possible :
(a) Modulation to the Dominant key :
TRAVERS.
(b) Modulation to the Subdominant key :
FELTON.
Modulation to the Relative Minor :
Modulation to the Relative Minor of the Subdominant :
ALDRICH, OR TURNER.
**
rr f,
:
:G>_
&=t
EXERCISES :
Compose various single chants on the models shown above, (a], (b), (c),
and (d}.
The word "modulation" is used in this work with its general meaning of "any change of Key or Mode."
Devices for Securing Variety. 11
37 Among other devices for securing variety, the following may be enumerated
(a) Sequential Melody. (See Sequences, Chap. VIII.)
Descending Sequence (falling by a 3rd and rising by a 2nd).
s :
_
Ascending Sequence (rising by a 3rd and falling by a 2nd).
IA_I \CJ S. t
Scale passages in treble, bass, or tenor :
In Treble.
ri
TO-
-O-
r
In Bass.
F =r*
^
In Tenor.
e
-&-
^
O'Q-
*<ra ** I
^r
f^t -<ra t^ga
In Bass.
^ j.
f-
J=i
tfd:
P^f
These forms of cadence are permissible such cases whenever the bass a "
K- in ; i.e., is fixed melody. (See also Crotch," Par 48.)
(c)
The second phrase imitating the first phrase. (See Imitation, Chap. VIII).
! 1st phrase a 2nd lower, j
:^zz?2:
-<s>-
-^>
L
-s>-
,
Q r-
rri " n
rip=
l I
1st phrase a 3rd lower. |
Zll
Note the 1st phrase of Alto and
Tenor in 6ths. 1st phrase of Treble.
Db P=F
1st phrase a 4th lower.
1^
.
= ]
-
J-
(d) Beginning on an inversion of the Tonic or Dominant chord, on the Subdominant,

etc. (See also the second and third chants above).
j.
ggt>
f
^
S6 f=F
-0-rfr
Single Chants in Minor Keys. 13
# Chromatic cadential chords.
38 Of 100 representative single chants, in major keys, which we have analysed and
tabulated, the middle cadences work out as follows :
Dominant, with or without modulation (S) 25

Tonic, or Inverted Tonic (D or Db) 23
Subdominant (F) . . 18
Submediant (L) 16
Inverted Subdominant (Fb) 5
Supertonic (R) 4
Various other cadences 9
TOO
EXERCISES The student should now compose several major chants on the models
:
exemplified in paragraph 37 and should also invent middle cadences, imitations, sequences,
;
etc., of his own.
SINGLE CHANTS IN MINOR KEYS.

39 Single chants in minor keys are not so numerous as major ones. Minor chants are
constructed on the same general lines as major chants, with occasional sequence, imitation,
etc.;
but they have a greater tendency to modulate (transiently) to the Relative Major, than
have major chants to modulate to the Relative Minor.
The ordinary middle cadences are as follows :
8e
(a) Dominant cadence M)(
:
PURCELL.
fcfr
14 The Composer's Handbook,
(b) Relative Major Tonic (D) cadence :
BLOW.
F^= I
cWjigjb
I I
41
Jd. {
J
e3
-n
r r
CROFT.
r
3^
r r r
^ i
(c)
Relative Major Dominant (S) cadence :
TALLIS.
F=ii=3*==i3=B:
r r
"77JY' . OS 1
'J J J
.1
(d) Relative Major Subdominant (F) cadence :
COOI'ER.
B^lP
r~r
1
(e) Tonic (L) cadence (minor) :
TURTON.
3
r^ II
r
I IT
J. J--
: :8- ^
Subdominant (R) cadence (minor) :
5
r-r^r
LANGDON.
The 3rd was often omitted from the last chord of old compositions in minor keys
Double Chants. 15
40 Other cadences are rare :
Inversion of the Dominant 7th of the Relative Major.
Of 30 representative single chants, in minor keys, the middle cadences work out as
follows :
Dominant 8e
( M) 8
Relative Major Tonic (D) 7
Relative Major Dominant (S) '
6
Relative Major Subdominant (F) 3
Tonic Minor (L) 2
Subdominant Minor (R) I
Other cadences 3
30
EXERCISES The student should now compose several
:
single chants in minor keys on the
models given and also plan out new varieties of his own.
;
41 A Changeable Chant is one in which by an interchange of key-signatures the same

notes are made to serve either as a minor or major melody :
G minor.
In some changeable chants, only the treble is exactly imitated in the Tonic major; in
others, all the parts are constructed to be imitated (as in the illustration given).
EXERCISES : The student may now exercise his ingenuity in composing changeable
chants in various keys.
DOUBLE CHANTS.
42 Adouble chant is twice the length of a single chant, consisting of four phrases marked
off by double bars.
As regards cadences, imitations, and other devices, there is vastly more scope in the con-
struction of a double than of a single chant and the student who has carefully followed the
;
instructions already given will have little difficulty in composing really good examples of this
musical form.
43 It is hardly necessary to observe that the double chant should begin and end in the
same key.
More extensive modulations are possible than before but ;
as a rule they are of the same
character (i.e., to the same keys) as those used in single chants.
44 Of the four cadences of a major double chant the last is always a Tonic cadence
"
(occasionally Plagal), and generally with a
tonic crowning." The cadence is often a
first
"
Tonic cadence (with various crownings ").
"
In a four-cadenced melody there is no objection to a Tonic
"
cadence so near the beginning ;
it
establishes the key." A perfect cadence " with tonic crowning is, perhaps, the least desirable form.
The second, or middle cadence is usually on the dominant chord (often with a complete
modulation to the dominant key).
The third cadence may be varied at discretion. It should not be exactly the same as
the final cadence.
The third and fourth cadences may both be tonic cadences but they should be varied in crowning, ;
" "
approach, or position of the tonic chords.
It is indeed possible to have four tonic cadences. This, however, requires great skill in constructing
"
the melody and harmony so as to cover the cadential monotony," and it is by no means advised :
ri
^^ i i r r
' -^ ^ g -fi-
n=--r_^zi rî rjr
9-~f9-
=^r
^ c?_
^-P^^ff^T
^ :
irr P-^-
I
r~~T]
^L-~L~-
T^ ^Tr^-^
"**- <3
I
&
~"fl
45 Of 70 representative double chants in major keys the cadences work out as follows :
(a) FIRST CADENCE :

(b) SECOND CADENCE :
Tonic (D, Db, or DC) 29 Dominant (S) often with modulation

Submediant (L) 13 to the Dominant key . . . .
63
Subdominant (F) Tonic (D) 3
Dominant (S) Dom. Minor (**M)..
of Rcl. .. 2
Supertonic (R or Rb) Other cadences 2
Other cadences .
70
70
(r) THIRD CADENCE :
Tonic (D), 9; inverted (Db). 9 . . . . 18

Supertonic, or inversion (R or R/ . . 16
Subdominant (F) 13
Submediant (L) n
Dominant (S) 6
Other cadences 6
70
46 The following are specimens of good construction :
(a) First cadence, Tonic (plagal) ; second, Dominant (with modulation) ; third. Sub-
dom'nant :
ROBINSON.
This a well-cadenced chant, the Subdominant chord at the end of the third phrase giving special
is
" "
point to the concluding perfect cadence.
The admirable balance of cadences also quite covers the
want of imitative devices and the seeming monotony of having three reciting notes on C.
Many excellent chants are cadenced on this model and the student is advised to write several exercises
;
based on it.
Cadences in Double Chants. 17
(b) First cadence, Subdominant ; second, Dominant ; third, Relative Minor of Sub-
dominant, or Supertonic Chord without modulation.
DUPUIS.
^=r=
EXERCISES Write major chants in various keys on these models, (a) and (b).
:
Note the effective melodic imitation in Wesley's Chant, and the inverse imitation in the bass of Dupuis
(first and third phrases).
Note also the four different reciting notes (by descending steps) in Wesley.
(c) First cadence, Tonic ; second, Dominant ; third, Submediant.
BOYCE.
(d) First cadence, Submediant ; second, Dominant ; third, Submediant.
*^ r^*
T-f
EXERCISES : Write chants on models (c) and (d).
" "
(e) First cadence, Submediant ; second, Tonic (different crowning from Final
cadence) ; third, Dominant.
LA WES
(/) First cadence, Subdominant ; second, Dominant ; third, Tonic (inverted).

COOKE.
#*= *E-G>- ]
T~r
^&$gi3
TO rr
!
ZEZCCC:
r=g=h3
:c
f^-^-gy I
i i
j -*i- J
^J
i~c?m =3 pcfc;
!
73-fS
i
-B- -e> 5=!
G l
^2Gt-
r
1
e
i
Een --&=?-
i
tfe
L
EXERCISES : Write chants on models (e) and (/).
First cadence, Submediant ; second, Dominant ; third, Subdominant (inverted).

RUSSEI.L.
cUL^_â ,-^-J Ld. J Û J-J-J

ja=h":its= n
-p
8-
~*-
PI ff^fg-l-^P^
nr
flio
Lg_^_^:E^-pT-
(A) First cadence, Dominant of Relative Minor ; second, Dominant ; third, Subdominant.
JONES.
ill
J J a ,f
, ^ -^ ,A A
EXERCISES : Write chants on models (g) and (A).
47 More modern treatment are the following

in :
(a) First cadence, Tonic (plagal) second, Dominant ; ;

third phrase, imitation of -first
phrase on Dominant of Relative Minor.
ELVEY.
W&mrr
.C4 11 U_
r^zionpc?: r^
o P
T
o
- *-* '
f->
fy~~o
r r nr
-&- -&-
^gjjfrTHK^T^tfM
(fc)
First cadence, Tonic (inverted) ; second, Relative Minor ; third, Relative Minor of
Subdominant.
(c) First cadence, Dominant (inverted) ; second, Dominant 7th of Relative Minor ;
third, Dominant.
F. JAMES.
^ " Q
aa S^*
PP rr
y j. i
Various
"
feminine
"
i s> !
:S_
-fS-Q- m
(d) cadences, etc.
,
BLOUNT
Imitative Devices in Double Chants. 19
J. THOMSON.
EXERCISES Compose chants in various major keys on the models given above
:
and ;
construct other cadence plans of your own.
48 It has already been remarked that " devices " of
imitation, etc., are common in double
chants.
id^3^==F
|_.
c===tn=n=cr
, |
/ __, i CROTCH.
In this chant, each " part " of the third

,
phrase is the same as in the first phrase, but the notes are
m reverse order and, similarly, the fourth phrase consists of the notes of the second phrase in reverse order
;
The imitations are said to be per recte et retro, or " retrograde.''
In this example the whole of the bass of the first two a fifth lower in the third and
phrases is
fourth phrases. The other parts are constructed to " fit in " with thisrepeated
bass as melodiously as circumstances
permit.
49 Occasional unison passages (with or without chordal
accompaniment for the organ) are
very effective.
(a) For mixed choir. |
N.B. The organ part may be varied at the player's discretion.

EXERCISES The student should now compose chants on these models
(48 and 49).
:
50 Without modulating into remote keys or using "extreme" modern discords, over 10,000
differently-cadenced Double Chants could be constructed in major keys (without reckoning
"
differences of crownings ").
It is therefore obviously impossible to do more in a work of this kind than point out
some of the best (as above).
The following Cadence-plans of a number of fine modern chants may also be suggestive; the student
should construct chants on them, and invent other plans of his own :
FIRST CADENCE. SECOND CADENCE. THIRD CADENCE.
(1) Dominant (S) Tonic (D) Supertonic (R)

(2) Subdommant (F) Tonic, with 3rd crowning (D) Dominant (S)
(3) Tonic, 5th crowning (D) Dominant (S) Supertonic (R)

(4) Subdominant, inverted (Ft) Dominant, root crowning (S) Dominant, 3rd crowning (S)
(5) Submediant (L) Dominant, 5th crowning (S) Dominant, 3rd crowning (S)
(6) Supertonic (R) Dominant (S) Subdominant (F)

(7) Tonic, 3rd crowning (D) Mediant (M)* Submediant (L)
(8) Dom. yth, 3rd inversion "Feminine" Dominant (Dc S) Dom 7th, 3rd inverison (
7
S<f)
(9) Submediant (L) Dominant (S) Subdominant (F)

(10) Relative Minor (L) Dominant (S) Supertonic (R)
(n) Tonic, inverted (Db) Dom. of Relative Minor (" e Af) Supertonic (R)
(12) Dom. 7th, ist inversion
Dominant (S) Dom. 7th of Rel. Minor (
7
"M)
(13) Supertonic, ist inversion (R/>) Dominant (S) Submediant (L)
(14) Dominant, jth crowning (S) Dom., with modulation (S) Supertonic, ist inversion (Rb)
(15) Relative Minor (L) Dom. of Relative Minor 8 Af) ( Supertonic (R)
(16) Subdominant (F) Dominant, root crowning (S) Dom., 3rd or 5th crowning (S)
(17) Tonic (D) Dominant (S) Mediant, with modulation (M)
7
(18) Supertonic 7th, ist inv. Rfc) ( Dominant, 5th crowning (S) Subdom., with modulation (F)
(19) Subdom., 5th crowning (F) Dominant, 5th crowning (S) Submediant, 5th crowining (L)
(20) Tonic, ist inversion (Db) Dominant (suspended 4-3) (*S S) Tonic, ist inversion (D6)
The chords are indicated by italic capitals when there is a Modulation to the Minor.
DOUBLE CHANTS IN MINOR KEYS.

51 The cadences of 30 representative Double Chants in minor keys work out as follows :
(a) FIRST CADENCE (b) SECOND CADENCE

Tonic, root ]>osition or inverted, Dominant ( 8e A/) ............ 17
(L, Lb) ................ 12 Tonic of Rel. Major (Dj ...... 7
~
Dom., or Dom. 7th ( Be M, Be iM) o Dominant of Relative Major (S) 2
Tonic of Relative Major .(D) . . i Tonic (L} ................. 3
Submediant (F) ............ 4 Other ....................... r
Subdominant, Minor (R) .... i
Other Cadences ............ 3 30
(c) THIRD CADENCE

Tonic of Relative Major (D) .............. 7
Subdominant (R or Rb) .................. 6
'
Tonic (L or Lb) .................... . . 6

Dominant of Relative Major (S) .......... 4
M
Dominant ( Be ) ........................ 4
Submediant (F) .... .................. 2
Other .................................. I
30
52 Typical specimens :
(a) ist Cadence, Tonic of Relative Major ; 2nd, Dominant ; 3rd, Modulation to Sub-
dominant (Minor).
BATTISHILL.
Double Chants in Minor Keys. 21
ist Cadence, Tonic ; 2nd, Dominant ; 3rd, Dominant of Relative Major.

,
COOKE.
:c2z
B- xd-^-L^_ =:
I
(c) ist Cadence, Tonic ; 2nd, Dominant Minor ; 3rd, Tonic of Relative Major.
MORLEY.
3.
3EEEfeEEg
S^^lg^g=fl=0 1-
f"3 I*--)
~? ca ^x_inzii
o fT -i
J-J Q I.I s -&- J- -e- Q

Gt L^^
-si--sL
r<3 Q O G>
S
i
e,
^M -*-
f- I i-
EXERCISES :
Compose Double Chants in Minor Keys on the cadence-plans of (a), (fy, and (c).
(d) ist Cadence, Dominant ; 2nd, Dominant of Relative Major ; 3rd, Submediant
of Relative Major.
i ,
F. JAMES.
f
L .^, g-^g r?-H-
fT*
I
r:. I
j-^-.^J>J iJ
(e) ist Cadence, Tonic ; 2nd, Tonic of Relative Major ; 3rd, Tonic.
CAMinGE.
8-IH?
^L_^
(/) ist Cadence, Tonic ; 2nd, Dominant of Relative Major ; 3rd, Tonic of Relative
Major.
COOKE.
EXHRCISHS :
Compose Chants on the models (d), (e), and (/).
(g) ist Cadence, last inversion of Dominant 7th ; 2nd, Dominant ; 3rd, Tonic of Relative
Major.
CROTCH.
\ I
-go- -8-
^
-
J- J
& .. J I
(h) ist Cadence, Submediant ; 2nd, Tonic of Relative Major ; 3rd, Dominant of Relative
Major.
a _ |
COOKE.
"
i r r r i
g=^-f vr H-
fa* r> o
r
() ist Cadence, first inversion of Tonic ; 2nd, Dominant with Suspended 4th ; 3rd,
first inversion of Tonic.
ATTWOOD.
EXERCISES :
Compose Chants in the style of (g), (A), and (t).
53 The following is an unusual example ;

it
begins and ends with a Major Tonic chord :-
PURCELL.
8 ggqo
r T&>- -s-
Ij
- -G-r^-^-
T1
! I
J^TI
I
-r r '
rr
Cadence Plans. 23
54 The following model cadence-plans are selected Irom among the best modern Minor
Double Chants.
FIRST CADENCE. SECOND CADENCE. THIRD CADEMCE.
Tonic, ist inversion (Lb) Dominant (

8e
M) Tonic, ist inversion (Lb)
Dominant (
se
M) Tonic of Relative Major (D) Dominant se M)(
7se Subdominant (R)
Dominant yth, ist inversion ( M6) Tonic of Relative Major (D)
Tonic (L) Feminine Dominant (Lc se M) Tonic of Relative Major (D)
Subdominant (R) Dominant 7th ( 7se M) Dominant of Relative Major (S)
Tonic, ist inversion (Lb) Tonic of Relative Major (D) Dominant (
8e
M)
Dominant (
8e
M) Dominant (
se
M) Tonic (L)
Dominant (
se
Af) Dominant (
se
M) Dominant of Relative Major (S)
Tonic (L) Dominant (
8e
M) Subdominant (R)
Dom. of Relative Major, ist inv. (Sfc) Tonic (L) Dominant se M) (
Tonic, ist inversion (Lb) Dominant (

8e
M) Submediant (F)
7
Supertonic yth, 3rd inversion ( Td) Tonic of Relative Major (D) Subdominant, ist inversion (Rb)
Dominant 8e Af) se Subdominant (R)
( Dominant ( M)
Submediant (F) Feminine Dominant (Lc se
M) Subdominant (R)
Supertonic, ist inversion (Tb) Dominant (
se
M) Tonic (L)
Dominant 8e M)(
Tonic (L) Submediant (F)
Submediant (F) Dominant (
e
M) Subdominant, ist inversion (Rb)
Tonic (L) Tonic of Relative Major (D) Dominant se M) (
Tonic (L) Dominant (

Be
M) Tonic of Relative Major (D)
Dominant (M) Tonic (L) Tonic of Relative Major (D)
N.B. When two successive cadences fall on the same chord, there is nearly always a different
crowning.
EXERCISES :
Compose Chants on any (or all) of the above plans.
The Perfect Cadence.
It has been said that many modern composers are afraid to write a perfect cadence It !
may be well, therefore, to mention here that while a number of perfect cadences at the end of
successive phrases should be avoided as weak and monotonous, it must not be supposed that
the "perfect cadence formula" Dominant (or Dominant yth] chord followed by Tonic chord
always implies a full stop or a sense of finality. Passages like the following abound in the
best music :
6
L r~J ,.
!
= .
:
^"J . i r~J ,. i
fr1f~&T"^l l-* S l-a *J?
It should also be noted that when the Dominant (or Dominant 7th) chord is inverted the sense
of finality disappears, except at the end of a phrase :
24
CHAPTER III.
FOUR-LINED HYMN TUNES.

55 The student who has grasped the general principles underlying the construction of
Double Chants will have applying them to hymn-tunes.
little difficulty in
An analysis of several hundreds of hymn tunes shows that they are, on the whole, much less varied
incadence than chants probably for two reasons chants are more often composed by educated musicians
:
for the use of skilled choirs hymn-tunes are largely the composition of less learned musicians, and are
;
primarily intended for congregational use.

Modern tunes are, however, much more varied in cadence than
older ones.
It is presumed that the student has been pursuing his harmony studies, and has now
a larger stock of chords at his disposal than when he started composing Single Chants.
It is further necessary, before starting with hymn-tunes, to consider the subjects of
MEASURE, ACCENT, and METRE.
56 MEASURE AND ACCENT. The division of melody into bars or measures is not merely
" "
for the purpose ofcutting up the music into
"
portions of equal length its principal function ;
is to indicate the periodic succession of regular groups of accents." Accent is the stress
laid on particular notes often implied or understood, rather than forcibly expressed by
joudness to distinguish them from other notes.
There are two kinds of accent which should particularly engage the attention of the composer (i) the :
accent given to a note by its position in the bar (or measure), e.g., the first note in every bar takes the strong
accent, etc. this is called Metrical Accent. (2) The accent given to a note from its position in connection
with other notes (e.g., the first note of a group, figure, phrase, etc.) this is called Rhythmical Accent.
The Metrical and Rhythmical accents in a melody may coincide in most simple pieces, hymn-tunes,
anthems, part-songs, etc., they do so but in elaborate compositions they often fall at different points, giving
rise to most beautiful and unexpected effects. Metrical accent, with rare exceptions, is regular and unvarying,
and subject to simple mathematical and mechanical laws. Rhythmical accent, on the contrary, is capable
of infinite variation, and is subject only to the fancy and intelligence of the composer and performer.
57 METRICAL ACCENT, (i) SIMPLE MEASURES. We can easily distinguish three degrees
of accent ;
the strong accent, given to the first beat of every bar (or measure)
(i) (2) the weak ;
accent, falling on the last beat of every measure (and on other beats of long bars) (3) a medium ;
accent, falling on the third beat of quadruple (or four-pulse) measures, etc.
DUPLE, OR TWO-PULSE, MEASURES or jjj, 4, ,

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

Order of Accents STRONG, weak* weak.
STRONG : weak : weak

-t I E
QUADRUPLE, OR FOUR-PULSE, MEASURES \ or $, \ or g, |, etc.

Order of Accents STRONG, weak, medium, weak.
M
w M w S w M w
(2) COMPOUND MEASURES. COMPOUND DUPLE, OR
SIX-PULSE, MEASURES |, f, &, etc.
Order of Accents STRONG, weak; or STRONG, weak, weak, medium, weak, weak.
I S ;w 5w |M ;w ;w
S w SwwMww S w SwwMww
In slow music, the sicond accent of made
Triple measures is generally either stronger or weater than tl.e third.
Accent. 25
COMPOUND TRIPLE, OR NINE-PULSE, MEASURES |, |, &, etc.

Order of Accents STRONG, medium, weak; or STRONG, weak, weak, medium, weak,
weak, medium, weak, weak.
I S :w jw |M ;w ;w |M :w :w
M SwwMww Mww
COMPOUND QUADRUPLE, OR TWELVE-PULSE, MEASURES ^, |, etc.
J
Order of Accents STRONG, weak, medium, weak; or STRONG, weak, weak, medium,
weak, weak, medium, weak, weak, medium, weak, weak.
IM : IM : IM :
SwwMwwM wwMww
" "
When
taken quickly, the compound measures are practically simple measures with each time
divided into three parts instead of the usual two when taken slowly, the accents would be slightly varied
; ;
hence, we have given two arrangements for each of these measures.
58 THE ACCENTS OF DIVIDED BEATS. A beat, like a measure, naturally divides into two
or three equal parts.
Any of these parts may be again sub-divided into two or three equal parts ; and so on, at pleasure.
In all Simple times the beat is a simple note (& or or ^, etc.), with a tendency to
divide into two equal parts.
In all Compound times the beat is a dotted note (^ or J> or J*, etc.), with a tendency
to divide into three equal parts.
A simple note may be divided into three equal parts or a Triplet. Thus :
3 3
_
^ with
identical wit
[JM^J-SS^
T
A
222
compound beat may be divided into two equal parts or a Duplet. Thus :
is identical with
By the laws of metrical accent, a divided beat (or pulse) is accented in the same way
as a whole measure similarly divided.
"
As Mr. Curwen puts it, A pulse may be so accented as to become a miniature two-pulse measure,
a miniature four-pulse measure, a miniature three-pulse measure, or even a miniature six-pulse measure."
The same principle applies to all subsequent subdivisions. But when a weak beat is
divided it is obvious that its accents are of less value than those of a divided STRONG beat.
Binary Divisions. Binary and Ternary Divisions.

2-4 time. 3-4 time.
SwmwwSwmwmw Swwmwwmww
S wmwSwmwSwmwSwmw
==
99 999 99 99 9W 999 999 999
M H HH{
i-!
w
'
W W M W W
9 9
r
S wm w mwSwwmwwmww
999999
- - !-
999999999
~
Theoretically, no two successive

notes have the same metrical accent- values. In slow triple measures
divisions, therefore, one of the weak accents, generally
and the first, may be regarded as a little stronger than
the other. But in quick music this distinction is practically impossible.
59 It will be seen, therefore, that all divisions and subdivisions of measures are regulated
by a law of force (or dynamics). Of course, it would be quite impossible even if it were
desirable to bring out all these minute shades of difference in the performance of music. They
nevertheless exist and it is of the utmost importance that the composer should understand
;
them, especially in setting words to music. All metrical accents are what physicists call
"
potential."
60 CHARACTER OF THE MEASURES. Subject to the modifications
"
of speed, or rate of move-
"
ment, measures with even divisions are more solid and prosaic than the more elegant and
"
diversified triple varieties. The student will hardly need to be told that the greater the
variety of metrical accent the greater may be the variety of melodic effect," and he will make
" "
his choice of measure accordingly. As a rule, the simple measures are more appropriate
for sacred music than the compound measures, but there are many exceptions to this rule.
The effect of measure even on such a simple melody as that of the major scale may be
seen in the following :
(a) With equal notes.
i
Unusual Measures. 27
61 OTHER MEASURES. In addition to the kinds of measure already enumerated, the only
other measure in common use is an Octuple, or Eight-pulse, Measure ; i.e., with eight beats in
each bar. It is, practically, a variety of Quadruple measure obtained by dividing each beat
into two. It was frequently used by Handel, and it has also been employed by later writers :
Andante larglietto. Judas Maccabceus, No. 53.

tr
~
A beat to each quaver. &c.
CHORUS SEE WHAT LOVE.

Andante sostenuto. f MENDELSSOHN. . Paul, No. 43.
TENOR -- &C.
-*
1=
m
zzit:
1
L
/ VL
See what love hath the Fa - ther bestow'd on us.
Accpt.
JS = 112
Experiments have been made with Quintuple measures, |, etc., and with Septuple ,
measures, 1, |, etc. but not often with much success.

;
The only generally satisfactory
metrical arrangements are by 2 and 3, and their multiples.
"
Gypsies' Glee." W. REEVE.
Allegro. , jx v |X
-I
Come, stain your cheeks with nut and ber -

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

of Quintuple time. Such measures really consist of alternate bars of duple and triple time.
So also the following example of Septuple measure consists of, and is written with, alternate
bars of 3-4 and 4-4 :
INCANTATION MUSIC.
Allegretto. J = 152. BERLIOZ. Childhood of Christ.
:/> -==./> /></> -=:*/> <s/:

62 METRE
IN POETRY. The syllables of poetry are arranged in successive groups called
"
feet." Each " foot " comprises a definite arrangement of long and short syllables, answering
broadly to a measure of music with its STRONG and weak accents.
THE CHIEF METRES of poetry are
"
lam'bic; short, long; or weak, strong (u
(1) (a)
" ) e.g., Awake, my soul, and sing." (b) Trocha'ic;
;
strong, weak ( u) e.g.,

; Come, my soul, thy suit prepare." The Tro'chee is the converse of the lam'bus.
"
(2) (a) Dactyl' lie ; strong, weak, weak ( "
u u) Over the mountains and over the waves."
;
(b) Amphibrach'ic ; weak, strong, weak (u

" u) We sing of the realms of the blest." (c) Anapee'stic;
;
weak, weak, strong (u u )

He is gone o'er the mountain." The Am'phibrach and An'apaest may be
;
regarded as varieties of the Dac'tyl.
63 AGREEMENT OF VERBAL AND MUSICAL ACCENTS. Many would-be composers find it

difficult to adjust the accents of the music to those of the words.
In general, strongly accented syllables should fall on strongly accented notes, and vice
versa. Medium 'accents count for this purpose as if strong,and divided beats have their
relatively strong and weak parts (as
shown in par. 58).
Let us suppose that the composer is about to set the following lines to music :
Light of those whose dreary dwelling

Borders on the shades of death, etc.
Let us also suppose that he decides to set the syllables to notes of equal length say, crotchets and
that the following melody occurs to him as suitable :
- -
g. * JL dZZj=
=P r '==ibEE^g^B
-*- _ ^^* H
'
Light of those whose drear-y d well-ing Bor-ders on the shades of death, &c.
Strange as it may seem, many persons with innate feeling for melody could not appropriately add
bars to this fragment.
It is obvious that each of the following would be bad, as the verbal accents do not agree with the
metrical accents of the music :
those whose drear- y Bor -

m
ders on the shades of death.
Light of dwell-ing
But
Light of
Light of
those whose drear-y
those whose drear-y
either of the following

dwell-ing
dwell-ing Bor
would be quite correct
Bor-ders on
-
ders on
the shades of
the shadesof
^
death.
death.
^
:
t=*
Light of those whose drear-y dwell-ing Bor-ders on the shadesof death.
Note also the following :
Bad. Bad.
We sing of the realms of the blest. We sipgof the realms of the blest.
Good. GooJ.
We sing of the realmsof the blest. We sing of the realms of the blest.
64 THE STYLE OF MELODY ADVISABLE IN HYMN-TUNES. Breadth and simplicity are two
"
of themost essential requisites of a hymn-tune. The composer should avoid mere tuney
"
music on the one side and a too severe and learned style on the other.
He should constantly study the best available models in this (and in all his subsequent)
work.
Manybeginners write in the style prevalent, perhaps, in the country village where they reside, and
select their patterns from old MS. collections of tunes and anthems which have been accumulating from
generation to generation. These collections, though of great interest to the musical antiquarian who has
sufficient knowledge to discriminate between the " wheat and the
chaff," are often worse than useless to
The Harmony of Hymn Tunes. 29
the young composer. They are generally marred by errors of harmony and mistakes of the copyist ;
and they nearly always represent a phase of musical art antiquated and worn-out to imitate these com- ;
positions is futile in the extreme. In music as in most other things customs and modes of expression
are constantly changing and though the genuine work of art may be imperishable, the great mass of
;
contemporary music at any period must of necessity die a natural death.

The finest type of hymn-tune is undoubtedly that of the Lutheran Chorals (of Germany) ;
next to these rank the tunes of the early English Psalters.

" "
Hymn-tunes should "be mainly
" syllabic (that is, with one note of the music to each syllable of
the words), but occasional florid passages are quite permissible.
(a) SYLLABIC TUNE :
Old 100th Psalm Tune.
Praise God, from whom all bless-ings flow, Praise Him all crea- tures here be - low.
(b) MAINLY SYLLABIC, BUT OCCASIONALLY FLORID :
" E. MILLER.
Rockingham."
m 'OIL =\-
the won- drous cross On which the Prince of Glo -

ry died,
> ^. i-
CQ:
My rich- est gain I count but loss, And pour con- tempt on my pride.
Both these examples are excellent ;

but the following style, popular 70 years ago, is now reckoned
in bad taste " :
"Daniel Street." 6-8's.
ker while I've breath ; And when death
Praise shall em -
ploy my no- bier powers ; My days be past
While life, and thonght, and being last, Or im mor - ta ty en - dures.
65 THE STYLE OF HARMONY ADVISABLE IN HYMN-TUNES. The first condition of true Art
is APPROPRIATENESS. The harmonies and progressions employed in hymn-tunes should
" "
therefore be solid and dignified, and over chromaticism should t>e avoided.
" "
It is the fault of too many modern hymn-tunes that they are harmonized to death they are more ;
" "
like harmony exercises to show off the composers' "cleverness than pieces of music intended for religious
worship. To paraphrase the words of an old writer, They seem to have come down hot from the organ
loft, and can be neither profitable to man nor pleasing to his Maker."
The modern harmony naturally predispose the young composer to overload his
infinite resources of
melodies with pungent and striking chords and as the number of concords is limited and the number of
;
discords unlimited, it is often thought that discords are superior to concords. But this is a fatal error.
" ' '
Concords are the foundation of harmony, the substantial food of music, so to speak discords set off ;
Further, discords vary considerably in their dissonant effect some

'
the concords they are the seasoning.'
; ;
are noble and sonorous (as Dominant yths) others harsh, and essentially displeasing to the ear.
;
A suc-
cession of concords becomes monotonous a succession of discords soon tends to disagreeable unrest
;
the ;
best effects of harmony are produced by a due admixture of both." (From the Author's Cyclopedic
Dictionary of Music.)
To know just when to introduce a strong discord, or an effeminate waving chromatic, requires a good
deal of experience and judgment. As a rule, however, the great bulk of all music of a quiet nature should
be based upon smooth diatonic harmonies. Strong discords, rugged harmonies, broken melodies, disjointed
rhythms, abrupt changes of key, uneasiness of tonality, are very appropiite in setting such works, say, as the
"
tragedies of Êschylus, Euripides, and Sophocles, whose characters appear bathed in tears, with murderous
"
weapon in hand, terror and pity on either side, preceded by despair and followed by woe but they are ;
decidedly out of place in the chant, hymn-tune, anthem, or church service

"
The Old Hundredth," for example, might be harmonized as follows :
plNQo
I
It is to be hoped that no sane musician would arrange it thus for church use but harmonies almost ;
as inappropriate may be found in many modern tune books.

"
In a tune book now before the writer, in which the Old Hundredth" is quite properly harmonized with
only one discord (and that a passing Dominant 7th in the last chord but one), there is a modern tune of 48
chords, 28 of which are discords many of them of the most harsh and far-fetched character. And this
" " " "
tune is set to a hymn dealing with love," sweetness," mildness," and peace."
Another danger arising from the excessive use of chromatic chords lies in the fact that, though effects
are cheaply obtained, the actual progressions of the harmonies are, especially in the hands of inexperienced
"
composers, exceedingly limited they therefore tend to run in a groove."
; While, at first sight, the harmonies
appear rich and varied, they are in reality often trite and commonplace, being mere repetitions of worn-out
formulas.
66 CADENCES IN FOUR-LINED HYMN TUNES.

An analysis of the Cadences of 200 Major four-lined tunes gives the following results
Tonic (D) 123 Dominant, with or without
Tonic inverted (D/>) 5 change of key (S) 142
Dominant (S) 29 Tonic (D) 23
Dominant inverted (S6) 2 Feminine Cadence Tonic, Domi-
Submediant (L) 15 nant (Dc S) 17
Subdominant (F) 4 Dominant of Relative Minor
Dom. yth, in various positions ("M )
6
7 7
( S, S6, etc.) 8 Submediant (L) 2
" "
Various feminine Cadences
(Dc S ;
Fc D) 5 Various other cadences 10
Dominant of Relative Minor
8e
( M) 3
Other Cadences 6 200
200
(c) THIRD CADENCE
Dominant (S) 65
Inverted Dominant (S/>) 4
Dominant 7th in various positions (
7
S,
7
Sb, etc.) 13
Tonic (D) 28
Inverted Tonic (Db, Dc) n
Submediant (L) 24
Subdominant (F) 14
Feminine Tonic, Dominant (Dc S) n
Dominant of Relative Minor 8eAf) (
12
Supertonic (R and Rb) 13
Other Cadences 5
200
Iambic Metres. 31
be seen that the favourite cadence at the end of the first line is a Tonic Cadence
It will
(to establishthe key), and that at the end of the second line a Dominant Cadence (very frequently
a perfect cadence in the key of the Dominant] The Third cadence is much more varied, especially
.
in modern tunes.
"
The student must carefully remember what has before been stated that when two
or three cadences of the same kind are used in succession, contrast is usually secured by different
crownings of the cadential chords and varied approaches in the bass."
67 FOUR-LINED IAMBIC METRE.

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

O happy, happy place,
Where saints and angels meet ;
There we shall see each other's face,

And all our brethren greet.
Hymn-tunes are now generally written in simple times quadruple and triple being the most usual.
" "
The beat note may be either a minim (which many theorists prefer) or a crotchet.
The following are specimens of typical Short Metre tunes :
(a) With equal notes :
"St. Augustine." S.M. From a Lutheran Choral.
N.B. May also be written :
(b) With occasional dotted or slurred notes :
St. George." S.M. Dr. GAUNTLETT.
Or
i33
P HI
(B) COMMON METRE : 8.6.8.6.
Begin, my soul, some heavenly theme ;
Awake, my voice, and sing

The mighty works, or mightier name,
Of our eternal King.
Specimens of typical Common Metre tunes (in the same order as above)
(a) "French." C.M.
J
Or
ftc.
(6) "Winchester Old." C.M. G. KlRBYE.
nod
(c) "Martyrdom." C.M. H. WILSON.
r- & T g3 f^>
"
(d) Ilfracombe." C.M.
l^ri*! r ^-H5Ml
(C) LONG METRE : 8.8.8.8.

Eternal are Thy mercies, Lord ;
Eternal truths attend Thy word ;
Thy praise shall sound from shore to shore,

Till suns shall rise and set no more.
Specimens of typical Long Metre tunes (in the same order as above) :
(a) Tallis' Canon. L.M. T. TALLIS.
^=^-^1
Tunes to Iambic Metres. 33
(d) Luther's Chant. L.M. C. ZEUNER.
z{z:
-o
EXERCISES Complete the following melodies in the metres

: indicated, afterwards
harmonizing them in four parts.
SHORT METRE.
1 2
COMMON METRE.
2
R=t
gj I
f3Z,/-
f
1 ^^ H
4
fc
?&=3^^=
IQ: ~
t* 3
^ni-^
C^
S=^=i-ifon r
-i
10
d?:
LONG METRE.
2
ztrcdtcC. IS 3= HP
1=0:
lia^z^rg^pg:
I 1
o> iî IQI
-
^rr^ ^
f
^^^ ' ' ""
_~ r
"
11
a ^- Q ion =a:
s
g^-j-jj-iz^-^Mi
* 3 n>zj . J rJ_U
~
rj
0= =iU
J
Ê I i
68 Points of Imitation, Sequence, etc., are not so common in hymn-tunes as in chants ;
but occasional correspondence or repetition of melodic outline particularly between the

first and third, and the second and fourth lines of the tune may "be employed to add to the
" " "
interest of the composition, provided always that the breadth and simplicity of the
tune be not sacrificed. Occasional unison passages are also effective.
EXAMPLES OF IMITATIONS, ETC.
"
Tallis' Ordinal." C.M.
The third line is a repetition of the first ;

the fourth is a repetition of the second a fifth lower.
"Kent." C.M. S STANLEV.
The third line is an effective ascending sequence of two notes.
"Tallis' Canon." L.M.
Y r r
j.
8 r?
e
^
<9 S-
r
^3
r fl f r r r
1
J -
i i
"
The canon" occurs between and tenor, which have exactly the same notes (the tenor following
treble
the treble four beats later (see the *).
" " The other parts (alto and bass) arc said to be " free"; they merely
fill up the harmony. Note, however, that they are in similar style to the canonic treble and tenor,
and include occasional passages taken from them.
Further examples of these and similar devices may be found in any collection of hymn-tunes.
Trochaic Metres. 35
EXERCISES :
Compose examples of Short, Common, and Long Metre tunes on the models
shown.
It is generally advisable to have some special words in view, as the prevailing sentiment of the words
"
should be reflected in the music. The words, too, will often suggest melodies of appropriate style. A
bold and spirited tune set to a hymn of penitence and submission jars upon the feelings. A solemn . .
or neutral tune adapted to a hymn of praise destroys joyfulness and injures worship." (Curwcn,
" merely
Musical Theory.")
69 FOUR-LINED TROCHAIC METRE.

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

7.7.7.7.
Christ, of all my hopes the ground,
Christ, the spring of all joy, my
Still in Thee may I be found,
Still for Thee my powers employ.
Specimens of typical tunes :
"
(a) Lubeck." 7.7.7.7. German Choral.
"
(6) Innocents." 7.7.7.7.
(c) "Judah." 7.7.7.7. J. V. WATTS.
/[ H
V t>
f-j
TfTj
(b) "Sicilian Mariners." 8.7.8.7.
^^rf=L^ -
Tens and Elevens. 37
Specimens of suitable tunes :
(a) "David." From HANDEL.
^=
(2) TENS AND ELEVENS.

O worship the King, all glorious above ;
O gratefully sing His power and His love ;
Our Shield and Defender, the Ancient of Days,

Pavilioned in splendour, and girded with praise.
Specimens of typical tunes :
10.10.11.11. Dr. CROFT.
S
ê 3
Montgomery." 10.10.11.11. S. JARVIS.
I~Q~
&-
S
(C) DACTYLLIC AND AMPHIBRACHIC.

Jesus, my Shepherd, my want shall supply ;
Down in green pastures He makes me to lie ;
He leads me beside the still waters of rest ;
My soul He restores to the fold of the blest.

N.B. The third and fourth lines of this hymn are Amphibrachic.
Specimens of suitable tunes :
TRIPLE TIME.
a;
-CZ^LS,
Dctz^: zÊB
38 The Composer s Handbook.
QUADRUPLE TIME.
" '*
N.B. Dactyllic, Amphibrachic, and Anapaestic hymns are all often loosely called Anapaestic ;
but the true Anapaest (short, short, long) is rare in hymns.
EXERCISES : The student should now compose hymn-tunes on the models given in
paragraphs 69 and 70.

A few four-line metres are in use in addition to those given above, but they will cause no difficulty
if the general principles of accentuation are observed.
In all kinds of hymns irregularities of metre are of frequent occurrence the most frequent irregularity ;
js
the employment of Dactyls in Iambic lines, and this is particularly common at the beginning of the line ; e.g.
Sun of my Soul, Thou Saviour dear.
'""Sactyl.
tunes to Iambic metres commence, therefore, with a strong accent.
Many (Examples may be found
in any tune book.) Composers, as a rule, pay most attention to the first verse of a hymn ; it would, however,
be better to ascertain the regular average metre of the hymn, as a whole, so as not to upset the proper accentua-
tion more than is absolutely necessary.
71 FOUR-LINED MINOR TUNES.

in minor keys
Of the older hymn-tunes, a large proportion were thus in Este's Psalter ;
^1592) one half the tunes are minor. The earlier Methodist tune books also contained a large
number of minor tunes but latterly the proportion has considerably decreased. In several parts
;
of Wales the love for minor tunes still lingers in modern English collections, however, minor
;
tunes are becoming more and more rare the present proportion in standard collections is
;
about one minor tune to fifteen or twenty major tunes.
72 The Cadences in 30 representative four-lined hymn-tunes in minor keys work out as

follows :

Tonic (L) 15 Tonic of Relative Major (D) .... 17
Inverted Tonic (Lb, 2 Dominant Be
I.c) ( M) IT
Dominant 8C
( M) 7 Dominant of Relative Major (S). . i
Tonic of Relative Major (D) .... 3 Tonic (L) i
Dominant of Relative Major (S) . . 2

Tonic of Dominant Minor (M) I 30
30
(c) THIRD CADENCE

Dominant Be
( M) 13
Tonic of Relative Major (D) 4
Dominant of Relative Major (S) 4
Subdominant (R) 3
Tonic (L) 2
Dominant yth (
7se
A/) 2
Other Cadences
73 It is not necessary to go as fully into the construction of minor hymn-tunes as we have

done with regard to major ones the following typical specimens of the chief metres are given
;
for study and imitation :

Specimen Minor Tunes. 39
at. ijrmes.
40 The Co-mposcr's Handbook.
7. 7. 7. 7. L. MASON.
Norwich.
=i a i
rr R r
A_A A
Nuneaton.
..
a "
i
rr
*
j
f-
>U
r
*=
rr
^ ^
8.7.8.7.
Û
r r
f
B. MILGROVE.
u *
3t
Old 104th Psalm tune. 10.10.11.11.
P R
JJ
H
J
00
*
<.>
^P
oo
rr; r^
^!
4
Jj id
PTr
Exercises. 41
The student will note that whereas tour-lined major tunes generally remain major throughout (often
without any change of key), minor tunes rarely remain minor throughout. There is nearly always a
modulation to the relative major, especially in the second line. Note also that the second line is often
" " " " "
the first line repeated in the relative major (see St. Bride's and Norwich ").
N.B. Although minor keys are complete in themselves and quite independent of major keys (i.e.,
they must" not be regarded as mere modal varieties of the latter), the fact cannot be ignored that there is
always a strong tendency for a minor tune to modulate into the relative major." As Mr. Curwen points
out in his Musical Theory, a modulation from minor to relative major brightens up a minor tune much in
the same way as a modulation to the Dominant (" transition of one sharp remove ") brightens up a major
tune.
One of the chief faults of beginners in writing minor pieces is to modulate to the relative major too
"
frequently, producing rather a mixture or medley of the two keys " than a well-considered modulation.
To conclude this chapter we append the cadential chords exactly as they stand from
a number of quite recent hymn-tunes. The student may exercise his ingenuity by composing
original tunes embodying them.
N.B. The lengths of the notes must be arranged to suit the requirements of the rhythm and metre.
Otherwise, no change should be made in the chords.
=:gz=o~n H itisrti
KEY G minor.
42
CHAPTER IV.
TUNES TO HYMNS WITH MORE THAN FOUR LINES.

74 Hymns with more than four lines provide increased facilities for well-planned schemes
of Cadences, also for more extensive changes of key.
and
"
Major hymn-tunes rarely modulate beyond the Five attendant keys."
Key-relationship is "fully discussed in Chap. X. For the present the following brief definitions of
"
the Five attendant keys will, perhaps, suffice :
ATTENDANT KEYS. (i) OF A MAJOR KEY. The major keys with Tonic a perfect 5th higher and a
perfect 5th lower and the three relative minors (including that of the principal key).
;
Thus the attendant
keys of C major are (i) G major, (2) F major, (3) A minor, (4) E minor, and (5) minor. D
(2) OF A MINOR KEY. The minor keys with Tonic a perfect 5th higher and a perfect 5th lower and ;
the three relative majors. Thus the five attendant keys of C minor are (i) G minor, (2) F minor, (3) Eb major,
(4) Bb major, and (5) Ab major.
75 FIVE-LINED HYMNS. These are rather rare in English hymn books ;

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

Supertonic ;
Submediant ; Tonic.
(D) (D) (R) (L) (D)
(2) Tonic ; Submediant ;

Supertonic ;
Dominant ;
Tonic.
(D) (L) (R) (S) (D)
(3) Subdominant ; Dominant ; Dominant ; Submediant (Major) ;
Tonic.
(F) (S) (S) (ae L ) (D)
(4) Subdominant ; Tonic ;
Dominant ;
Dominant ;
Tonic.
(F) (D) (S)
.
(S) (D)
(5) Subdominant ; Tonic ; Dominant ;
Submediant ;
Tonic.
(F) (D) (S) (L) (D)
(6) Tonic ; Tonic ; Dominant ;
Dominant of Relative Minor ;
Tonic.
(D) (D) (S) (8M) (D)
(7) Tonic ; Dominant ; Tonic ;
Supertonic ;
Tonic.
(D) (S) (D) (R) (D)
(8) Dom. of Rel. Minor ; Tonic ;
Supertonic ;
Dom. of Rel. Minor ;
Tonic.
8e fle
( M) (D) (R) ( M) (D)
Two vols., Peters' Edition, No*. 21 and 22.

Five-lined and Six-lined Hymns. 43
(b) MINOR.
(9) Tonic of Rel. Major ;
Tonic ;
Dominant ;
Dom. of Rel. Major ;
Tierce de Picardie.
8e
(D) (L) ( M) (S) (dejr,)
(10) Tonic ;
Dominant ;
Tonic ;
Tonic of Rel. Major ;
Tonic.
(L) . ("M) (L) (D) (L)
(n) Tonic ;
Dominant ;
Tonic ;
Dom. of Rel. Major ;
Tierce de Picardie.
(L) (-6M) (L} (S) (iejL)
(12) Dominant ;
Dominant ;
Tierce de Picardie.
8e
("M) ( M) (D) (D) (deJL)
(13) Dominant ; Subdominant ;

Dominant ;
Submediant ;
Tierce de Picardie.
8e 8e de
( M) (R) ( M) (F) ( L)
EXERCISES (i) Write major tunes to the following words on any of the cadence-plans
:
i to 8 from Bach (above)

Dear Lord and Father of mankind,
Forgive our foolish ways ;
Reclothe us in our rightful mind ;
In purer lives Thy service find,

In deeper reverence, praise. Whittier.
(2) Write minor tunes to the following words on any of the cadence-plans 9 to 13 from
Bach (above) :
Oh the bitter shame and sorrow,

That a time could ever be
When I let the Saviour's pity
Plead in vain, and proudly answered,
All of self, and none of Thee Monod. !
76 SIX-LINED HYMNS. The versification of six-lined hymns falls under two headings ;
" " "
(i) lines arranged in three sets of two ;
and (2) lines arranged in two sets of three."
(A) THREE SETS OF Two.

(i) Four-lines-sixes and two eights; 6.6.6.6; 8.8. ("Trumpet" metre).
Blow ye the trumpet, blow !
The gladly solemn sound

Let all the nations know
To earth's remotest bound ;
j
The year of jubilee is come !
( Return, ye ransomed sinners, home.

(2) Six-lines-sevens.
Rock of Ages, cleft for me,
Let me hide myself in Thee ;
Let the water and the blood,

From Thy riven side which flowed,
Be of sin the double cure,
Cleanse me from its guilt and power.
(3) Six-lines-eights (first metre).

Thou hidden love of God, whose height,
Whose depth unfathomed, no man knows,
I see from far Thy beauteous light,
Inly I sigh for Thy repose ;
My heart is pained, nor can it be

At rest, till it finds rest in Thee.
" "
It is obvious that the chiefpoints of repose in stanzas arranged as above should
be at the ends of the second, fourth, and sixth lines. Assuming that the final cadence will
"
always be a Tonic cadence (and generally perfect "), the other most restful cadences will be
the second and fourth. In major tunes a modulation to the key of the Dominant (" transition
of one sharp remove ") frequently occurs in the fourth line (and sometimes in the second).
tunes to these (and similar) metres

The analysis of the cadences of 70 representative
works out as follows :
(a) FIRST CADENCE. (b) SECOND CADENCE.

Tonic (D) 34 Dominant (S) 39
Dominant (S) 14 Tonic (D) 27
Tonic, inverted (Db, DC) 6 Other Cadences 4
Subdominant (F) 5
Subdominant, inverted (b, Fc). 3 70
Submediant (L) 4
Dom. of Relative Minor 8e M) (
. 2
Other Cadences 2
70
v i;)
THIRD CADENCE. (J] FOURTH CADENCE.
Tonic (D) 14 Dominant, frequently with mod-
Submediant (L) 13 ulation to Dom. key (S) 46
Dominant (S) n Tonic (D) 7
Dominant of Dom. key fe R) ( 8 Modulation to key of Mediant (M) 5
Dom. of Rel. Minor 8e M) ( 7 Submediant (L) :
4
Modulation to key of Mediant (M) 5 Subdominant (F) 3
Subdominant (F) 3 Dom. of Rel. Minor 8e M) ( 3
Various other cadences 9 Other cadences
70 70
(e) FIFTH CADENCE.

Dominant (S) 21
Subdominant (F) 12
Tonic (D) 10
Submediant (L) 8
7
Dominant 7th ( S) 6
Inverted Tonic (Db) 5
Supertonic (R) 4
Dominant of Relative Minor 8C
( A/) 3
First inversion of Leading-note Triad (Tfc) i
70
SPECIMEN TUNES.
"Southampton." 6.6.6.6; 8.8. W. HAYES.
n" '
r
Six-lined Hymns and Tunes. 45
'Dix.' 7.7.7.7.7.7. German.
T r r rrrr r r r T r
^^ ^pa: U
-
ff?irTTp P 5 ^B
Tr^T rr
"
St. Matthias.
^^ Dr.
3 P
W. H. MONK.
~
* t f^ I ^-J h ^ ô
EXERCISES :
Compose tunes (on the lines indicated) to six-lined hymns of the above
metres.
(B) Two SETS OF THREE.
(1) Eights and Sixes ;
8.8.6 ; 8.8.6.
Be it my only wisdom here
To serve the Lord with filial fear,
With loving gratitude ;
Superior sense may I display

By shunning every evil way,
And walking in the good.
(2) Six-lines-eights (second metre).
I'll praise Maker while I've breath ;
my
And when my
voice is lost in death,
Praise shall employ my
nobler powers.
My days of praise shall ne'er be past,
While life, and thought, and being last,
Or immortality endures.
Next to the final cadence the principal point of rest will fall at the end of the third line
(often, as before, with a change of key).
The cadences of 20 tunes to these (and similar) metres work out as follows :
(a) FIRST CADENCE. (6) SECOND CADENCE.

Tonic (D) 13 Dominant (S) 10
Inverted Tonic (Db, DC) 2 Tonic (D) 4
Dominant (S) 4 Modulation to key of Mediant (M) 2
Subdominant i Dom. of Dom. key ( fe R, 7fe R) . . 2
Other cadences 2
20
20
THIRD CADENCE.
(c) (d) FOURTH CADENCE.
Dominant (S) 18 Supertonic (R) 6
Dominant of Rel. Minor SC A/) (
. . I Tonic (D) 5
Modulation to key of Mediant (M) i Subdominant (F) 3
Submediant (L) 2
20 Dominant (S) 2
Other cadences 2
(e) FIFTH CADENCE. 20

Dominant (S) 7
Inverted Tonic (Db) 4
Tonic (D) 3
Subdominant (F) 2
Submediant (L) 2
Dominant ;th ( 7 S) 2
20
SPECIMEN TUNES.
'Traveller." 8.8.6; 8.8.6. H. HOLCOMBE (18th Century).
"
4 I
J ,1
ZÊ&i
I
,
-izr
i
M
S J.
:
f
-JMF G> G
Six- lined Tunes.
" H. ISAAC, 1490 (Harm, by

Innsbruck." 8.8.6; 8.8.8. J. S. BACH).
i=
Fr pr-r : l
r rrrt^^r^Wyi
J^Q
FT'
-*
EXERCISES :
Compose six-lined tunes on the above models.
Various other six-lined metres are employed in hymns ;
but for cadential construction they all fall
either under (A) or (B).
77 It is hardly necessary to give specimens of six-lined minor hymn-tunes.

The following cadence analyses of twelve typical tunes will, however, be useful for
reference. The hymns are all of class (^4).
N.B. Many six-lined minor tunes have the last two lines in the Tonic Major Key.
(a] FIRST CADENCE. (b) SECOND CADENCE.
Dominant 8e Tonic
( M) 5 (L) 5
Tonic (L) Dominant se
4 ( M) 4
Tonic of Relative Major (D) .... 3 Tonic of Relative Major (D) .... 2
Dominant of Relative Major (S) i
12
12
(c) THIRD CADENCE. (d) FOURTH CADENCE.
Dominant se Tonic of Relative Major (D) ....
( M) 4 4
Tonic of Relative Major (D) .... 4 Tonic (L) 4
Tonic (L) 2 Dominant se
( M) 2
Dominant of Relative Major (S) i Modulation to Dom. key (M) . . i
Tonic Major i Tonic Major i
12 12
4g The Composer's Handbook.
(e)
FIFTH CADENCE.
Tonic of Relative Major (D) 4
Tonic Major 3
Dominant se M) (
2
Subdominant (R) I
Tonic (L) i
Dominant of Relative Major (S) I
12
EXERCISES Compose six-lined tunes in the keys of

: A minor, G minor, F minor, and
D minor, with cadences arranged at discretion.
78 SEVEN-LINED HYMNS are not very common in English poetry (although fairly frequent
in Lutheran Chorals).
The chief metres are as follows :
(i) 6.6.4 ; 6.6.8.4.

Thou whose almighty word
Chaos and darkness heard.
And took their flight,
Hear us, we humbly
pray.
And where the gospel day
Sheds not its glorious ray,
Let there be light.
(2) 8.7 ;
8.7 ;
8.8.7.
Great God ! what do I see and hear?
The end of things created ;
The Judge of mankind doth appear,

On clouds of glory seated !
The trumpet sounds the graves restore !
The dead which they contained before !
Prepare, my soul, to meet Him.
exhaustive analyses of the cadences employed in setting hymns

It is not necessary to give
of these kinds the following are specimens of cadence-plans (and the student will find several
;
other suggestive arrangements in Bach's Choralgesange, already referred to).
(a) Three lines followed by four.
(i,)
Tonic ;
Dominant ;
Dominant ||
ist inv. Dom. 7th ; 1st inv. Tonic 7th ; Submediant ;
(D) (S) (S) CSb) (tD6) (L)
Tonic ||
(D)
(2) Tonic ; Dominant ; Dominant ||

Tonic ;
Submediant ;
Tonic ; Tonic ||
(D) (S) (S) (D) (L) (D) (D)
(3) Supertonic ; Dom. of Dom. ; Dominant ||

Submediant ;
ist inv. Dom. 7th ; Dominant '
fe
(R) ( R) (S) (L) CSb) (S)
Tonic ||
Eight-lined Hymns. 49
(b) Four lines followed by three.

(1) Tonic ; Dominant ||
Submediant ; Dominant ||
Subdominant ; Dominant ; Tonic ||
(D) (S) (L) (S) (F) (S) (D)
(2) Tonic ; Tonic ||

Dom. of Rel. Minor ; Tonic || Supertonic ; Dom. of Rel. Minor ; Tonic ||
(D) (D) (seM) (D) (R) (scM) (D)
(3) Submediant ; Dominant ||

ist inv. of Submediant ; Dominant ;
(L) (S) (L) (S) (L6) (S)

Tonic ||
(D)
(4) Dominant 7th ; Dominant ||

Tonic ;
Dom. of Rel. Minor ;
7
( S) (S) (L) (S) (D) ("Af)
Tonic ||
(D)
EXERCISES :
Compose various seven-lined hymn-tunes on the cadence-plans given
above.
79 EIGHT-LINED HYMNS.
These are very numerous in all sorts of metres Iambic, Trochaic, Dactyllic, etc.
and are nearly all arranged in " four sets of two lines."
80 Eight successive cadences allow of infinite variety, the chief cadences being at the end
of the second, fourth, sixth, and eighth lines. Next to the final cadence that at the end of
the fourth line (coming at the middle of the tune) is perhaps the most important.
In all the old English Psalters and in all Lutheran Chorals the cadence at the end of each line of any
tune was very definite nearly always on a major chord and the final note of each cadence was marked
with a pause, /r>. In modern English hymn-tunes the pauses are discarded, and the cadences especially
at the ends of the first and third (and fifth and seventh) lines made " less reposeful " in character. Our
hymn-singing has thereby gained in rhythmical swing and proportion, but it has lost considerably in dignity
and impressiveness.
It has also become more and more customary to avoid set cadences at the ends of lines, and to use
" " "
at those points chords of motion rather than chords of rest." Thus all discords imply progression,
"
going on," and any discord used at a cadential point prevents the feeling of a full stop. Discords
at the ends of lines are, however, somewhat opposed to the spirit of classical psalmody, and they should be
used sparingly and with judgment. There is some danger of the modern hymn-tune becoming what has
"
been called ear- tickling sensationalism."
81 There is much scope for symmetry of rhythm and outline, imitation, sequence, and
other artistic devices in an eight-lined tune. Many fine old tunes have the first half complete
in itself this being succeeded by two lines in some contrasted
;
key (or keys), with a return
to the original key in the seventh and eighth lines a well-defined and effective form :
"
St. Matt!
/K t
Note that the fourth and eighth phrases are identical, and are the same as the first phrase with the
" "
first two notes omitted. Note also the unity of style throughout the whole tune.
Sometimes the third and fourth lines are a repetition (or varied repetition) of the first
and second :
'Austria." 8.7.8.7.8.7.8.7. HAYDN.
82 It is not necessary to tabulate the favourite cadences of eight-lined tunes ;

the following
cadence-plans are selected from standard settings :
(a) EIGHT-LINED MAJOR TUNES.
(I)
Cadential Chords. 51
(9) D*
(14) F6, Fc = ist and 2nd Inversion of Subdominant Chord.

(15) S = Dominant Chord.
(16)
7
S = Dominant yth.
(17) Sfr = ist Inversion of Dominant Chord.
Sc, Sd = ist, 2nd, and 3rd Inversions of Dominant 7th.

7 7 7
(18) Sfc,
(19) L = Submediant Chord L = Tonic Chord of Relative Minor.

;
(20) U> = ist Inversion of Submediant Chord.

de L === Submediant Chord
(21) (major 3rd).
7de L = Submediant Chord
(22) (with major 3rd and minor 7th).
(23) T6 = ist Inversion ofLeading-note Triad.
(24)
m D6 = Tonic Chord with minor 3rd ist inversion. ;
(25) *S = Prepared 4th on the Dominant.

Feminine Cadences are marked DC S ;
Fc D ; etc.
EXERCISES : The student may now compose major tunes to various eight-lined hymns
based on any or all of the above cadence-plans.
(b) EIGHT-LINED MINOR TLTNES.

(1) L : "M : L : L \\
D : M : L
(2)
8e M : L :
8e M : L ||
D :
B
'M M : L
(3) **M : D : Db : D ||
Rb : **M 7
SEc : L
= 2nd inversion of Leading-note Seventh.
Most eight-lined minor tunes modulate to the tonic major either for the last two or last
four lines :
(a) TONIC MAJOR, SEVENTH AND EIGHTH LINES.

Key F minor.
(4) L : L : S : D ||
D
(b) TONIC MAJOR, FIFTH TO EIGHTH LINES.

Key E minor.
(5)
Twelve-lined Hymns and Tunes. 53
83 Hymns of more than eight lines are not numerous. Sullivan's well-known tune to
"
Onward, Christian soldiers," and the following fine tune by Sir Frederick Bridge (inserted by
permission of the Proprietors of Hymns Ancient and Modern) are excellent examples of the
treatment of hymns with twelve lines :
'
St. Beatrice." 7.6. (12 lines.) SIR F. BRIDGE.
=ff tr^-pte=&=fc> p-H

=FP4r=14- i
P^dE^
-&- -&- -m-

-fZ-r*,^ . * &n
-e>- -&-
i
-&-
Jt^ .-
84The student who has carefully followed the construction of chants and hymn-tunes
will hardly need more instruction on the subject of cadences. The examples given, and the
analysed tables, will suffice to guide "him in all his subsequent work. After a time he will
regulate the succession of cadences instinctively." He will then no longer be bound by
"
precedent but his freedom will be the freedom of knowledge and not the licence of ignorance
;
setting itself up against authority and experience."
85 Our consideration of hymn-tunes may fitly conclude with one of Bach's settings of
" "
Nun danket Alle Gott (" Now thank we all our God "), the national hymn of thanksgiving
of North Germany.
54 The Composer's Handbook
NUN DANKET ALLE GOTT.
VOICES. J
m
ft
'
" r
Accompt. for
Horns &Bass^&
'
i i
t>
'
-3fZ r rr
r
i. 1(2.
-j-
Nun Danket Alle Gott. 55
r i
.5.
= y
^fUSg
nrHr
A
o
/r\
:
*>
J
57
CHAPTER V.
SONGS.
86 Song anything which may be sung, or uttered with musical modulations of the voice
is ;
a lay, a poem poetry in general.

;
Specially a song is a musical composition for a solo voice, either with or without
accompaniment .
87 Songs represent the most ancient and universal form of music, ranging from the simple
unaccompanied ballad to the highly developed works of a Schubert or a Schumann. They
are broadly divided into Folk-songs and Art-songs.
" " "
Folk-songs songs of the people may be denned as traditional songs of which the origin is
unknown or obscure." Art songs are the works of skilled musicians, able " to supplement natural musical
feeling by the resources of musical art and science." Some art-songs are manifestly overdone on the
scientific side but others, as for example Schubert's,
;
have
all the spontaneity of the folk-song together with
"
the artistic knowledge of the musician the whole being suffused with the highest genius."
; Hence
Schubert's best songs represent the highest achievements yet attained in this branch of music.
88 With special reference to their structure, songs may be arranged in three classes :
(i) Ballads, (2) "Through-composed songs," (3) Songs intermediate in character between
ballads and through-composed songs. (N.B. "Through-composed" is the German Durch-
componi(e)rt.)
(A)
"
A ballad
"
has the same music for each stanza (commonly called verse) of the words
"
it may also ;
have a chorus or refrain." Practically all folk-songs and national songs are of this character.
(B) A through-composed song has different music for each stanza, the style of " the music varying with
"
the varying sentiment of the words. Typical songs of this class are Schubert's Erl King and " The
" " "
Young Nun most
; descriptive songs are also through-composed.
(C) Songs of intermediate character have some of their stanzas set to the same music, while others
" "
are contrasted. Most modern drawing-room" and concert songs (as Cowen's Children's Home," Sullivan's
" "
Lost Chord," etc.), and many German Lieder," are of this type.
89 THE METRICAL AND MELODIC STRUCTURE OF BALLADS. Metrical form is the arrange-
" "
ment measures (or bars) in regular
of groups," which we will call sections."*
Melody has a strong" tendency to arrange itself in successive portions each four measures
(or bars) in length. The four-bar section " may therefore be called the " typical factor of
metrical form." The section may begin at any part of a bar, and the end of it is generally
marked by some sort of cadence.
" "
N.B. Tn slow music (or in Compound Times) a two-bar section may take the place of the ordinary
" "
four-bar section and occasionally a measure of, say, 12-8 time forms a complete section
;
of itself.
(1) A Section may be divided into Sub-sections.

(2) A Sub-section may consist of " Germs," " Motives," or " Figures."
(3) Two or more (generally four) Sections form a Sentence.
(folk-songs, national songs, etc.) consist of One Sentence of Four Sections.
Most ballads
The second section is often a repetition (or varied repetition) of the first the third section ;
is generally contrasted in melodic outline while the fourth may be a repetition of the first (or
;
second), or it may be of the nature of a Refrain.

YOU GENTLEMEN OF ENGLAND. Old English Song.
1st Section. 2nd Section.
Sub-section. Sub-section.
3rd Section. Figure. Figure. Figure.
4th Section.
The terms used in describing mus'cal form are, unfortunately, unsettled, as authorities dp not always agree as to their meaning and
application. This difference does not affect the facts, but only the terminology
; the student will not have any difficulty in following the
simple scheme adopted in this work.
Note also the following typical songs :
(1) BEGONE. DULL CARE. Old English,

2nd Section^_yaried ending
.(a) 1st Section ^ ...^...
(b)
3rd Section; contrasted (d) 4tb Section ^repetition of 2nd section

;
(c)
4v _
** i
,
-=
(2) THE BRITISH GRENADIERS. 16th Century.
(a) 1st Section (b) 2nd Section ;

repetition of (a).
4th Section ;
repetition of (a)
(3) THE MINSTREL BOY.

1st Section.
(6) 2nd Section ; repetition of (a)

1 K 1^^
(c) 3rd Section ; contrasted.
^fe
4th Section
(d) :
repetôn of (a)
fe
Sometimes the second section repeats the first with varied ending, and the fourth repeats
the third with varied ending :
HOME. SWEET HOME. English Song.

(b)
(a) 1st Section..^ ivw MJ. 2nd Section ;
repetition of (a) with different ending.
(c) 3rd Section... .

(d) 4th Section ; repetition of (c) with different ending.
...^...
Ballads of more than four sections are constructed on similar broad and simple lines
Hi :
THE "GOLDEN VANITY."

(a) 1st Section (6) 2nd Section (contrasted) ending in key G
fc*
There was "
a ship came from the north country. And the name of the ship was the Golden Vani-ty,"
(c) 3rd Section ;
repetition of (a) '.
*
And they feared she might be tak - en by the Turk - ish en - e my
(d) 4th Section, based on (b), and extended by repeating words and adding a new phrase
That sails up -on the Low -

land, Low- land. That sails upon the Low - land sea.
This may be called a sentence of four 2-bar sections with the last section extended to four bars, or a
sentence of five 2-bar sections. The nomenclature matters little if the construction is intelligently understood.
Accompaniment of Ballads. 59
THE MERMAID.
One Fri -
day morn, when we set sail, And our ship not far from land,
..
(c). (d)
We there did e -
spy a fair pretty maid, With a comb and a glass in her hand, her hand, her hand,
REFRAIN.
variation of (d)
^
(e)
:g-^4J=^g^r-p
y 5idig =*=?z:Ejz=*=
With a comb and a glass in her hand. While the rag -
ing seas did roar,
(g) repetition of (6) (h) repetition of (c)
And the storm- y winds did blow And we, jol- ly sailor boys, were up, up a -
loft,
(i) repetition of (d) (j) repetition of (e)
I V r-fc-s
And the land lubbers lying down be-low, be-low, be-low, And the landsmen were all down be - low.
This melody consists of two successive sentences (each of five sections), the second being merely a varied
repetition of the first.
TRELAWNY. Old Cornish Ballad,
(a) Complete sentence of four 2-bar sections in key C.
(b) Complete (contrasted) sentence of four 2-bar sections in key G.
(c) Repetition of (a).
"
The three-fold (or Ternary ") construction of this melody is of special interest. It will be seen later
" "
that Ternary Form is very common especially in instrumental music.
90 ACCOMPANIMENT SUITABLE TO BALLADS. A beautiful melody is beautiful without any
accompaniment. But an appropriate accompaniment like the setting of a jewel may " set
"
off and enhance the beauty of the melody.
" "
If the setting is overdone, or in bad taste, the effect instead of being improved is impaired.
As the pianoforte is the instrument most frequently employed in accompanying songs,

the following remarks apply specially to that instrument.*
ESSENTIALS OF AN ACCOMPANIMENT. (i) It should be in a style adapted to the general
character of the melody and words. Thus a bold, vigorous song calls for a robust style of
" "
accompaniment full bright chords with plenty of go but a sad plaintive song requires ;
a softer and more delicate treatment.

"
(2) It should support and sustain the voice, without drowning or fidgetting" it.
(3) It may heighten the effect of the melody and bring out its hidden beauties by the
" "
use of little figures of accompaniment suggested by fragments of the melody or its general
style of rhythm. " " "
(4) It may with good breaks in the melody and
effect "fill up bridge over its
cadences with little connective passages, so as to secure continuity.
"
(5) It should add appropriate tone colour."
Considerable knowledge of the piano is necessary to secure anything like tone-colour ; but the hints
given below indicate something of what can be done.
Accompaniments for other instruments are dealt with in Chapter XII.
The following examples of settings by various composers illustrate these principles.
IT WAS A LOVER AND HIS LASS.
It was a
F
lov .
c
er
i
F
and his lass,
^
With a hey,
THOS. MORLEY.
with a ho,
(abt.
with a
16001
Morley's Harmony (slightly altered)
1.
2.
J. L. HATTON.
I
3.
^^
Sir C.V. STANFORD.
4.
hey . .
non.ny no, And a
p hey non. ny no ni no> That etc.
etc.
fj
Specimens of Accompaniment. 61
A HUNTING WE WILL GO.
a) Rather fast. DR. ARNE,17iO-78.
(SF
The dusk . y night rides down the sky And ush . ers in the morn,
Dr. F. T. SAWYER
Sir C. V. STANFORD.
6.
7.
m
^m lnî
J. L. HATTON.
^ Sir G. A. MACFARREN.
8.
ffl
?EE
Then a hunt . ing we

^
will a hunt . ing we will go!.
etc.
etc.
^=^
^
m i
etc'
ANNIE LAURIE.
Slow. OLD SCOTCH MELODY.
J Where ear the And it's

Max.well.ton braes are bon.nie, - ly fa's dew,
. Dr. SAWYER.
9.
Sir C.v. STANFORD.
10.
i
BOOSEY'S SONGS OF SCOTLAND.
11.
12.
g \t j ;
there that An . nie Lau . rie Gie'd me her pro . raise true etc.
Essentials of Accompaniment. 63
Careful study and comparison of the above brings out the following points :
(1) As a rule, only simple

diatonic chords are used there are no far-fetched harmonies.
(2) Not many chords are used in a bar sometimes only one, and rarely more than three.
;
" "
Many notes of the melody are utilized as passing-notes and there is no attempt to provide
;
a separate chord for each note of the melody a fault very common with beginners.
(3) It is
riot necessary to write continuously in four-part harmony, or to have two parts
in each hand.
Unison passages, two-part or three-part harmony, full chords, octaves in the left hand,
detached chords, arpeggios, etc., may be used (and alternated) at discretion.
The two hands may run together in octaves (as in No. 8), but consecutive fifths are as
objectionable as in ordinary four-part harmony.
(4)
The right hand may play the melody note for note (as in the first few bars of No. 2),
or it may follow the chief notes of the melody (as in No. 3), or it may have quite an independent
part or it may have a combination of these three methods, sometimes following the voice
;
and sometimes not.

" "
(5) Figures suggested by fragments of the melody are utilized ; especially in Nos.
i, 2, and 3.
" "
Passages of accompaniment are used for
(6) bridging over the cadences and providing
continuity especially in 2, 3, 10, n,
;
and 12.
" "
(7) Wherever
the melody is active the accompaniment is kept steady but where ;
long notes or repeated notes occur in the melody, the accompaniment provides the necessary
" it is a recognised
activity." This is noticeable in practically all the extracts principle ;
of nearly all kinds of accompaniment.

(8) The style
of accompaniment adopted at the beginning is generally kept up until
there is some marked change in the style of the melody. (Note particularly Nos. 9, 10, n,
and 12.)
" "
(9) Colour is specially indicated in No. 7 (bars 4 and 5) and in the passages suggesting
hunting horns, etc., in the refrain of 5, 6, 7, and 8.

" "
Note (see Chap. X) in most of the illustrations.
also the careful phrasing
N.B. The accompaniment
whether duplicating the voice part or not, and whether
in unison, or in two-part harmony, or in three-part harmony, etc. should be complete in itself,
Thus the following is bad, as the bare fourths of the pianoforte are not covered by the
voice part (which is of dissimilar tone-colour) :
VOICE.
But either of the following arrangements is permissible:
VOICE. VOICE.
Z^p-Q
In (a) the pianoforte part is complete, and the tone-colour homogeneous. In (b) the accompaniment
moves agreeably in 6ths with the melody.
It need only be said in addition that a short prelude (generally based on some striking
section of the melody) is sometimes added by way of introduction. It is most frequently
4 bars in length.
FAREWELL TO LOCHABER.
OLD MELODY.
words by ALLAN RAMSEY Arranged by R. DUNSTAN.
VOICE.
PIANO.
well to Loch . a . ber, fare . well to my Jean, Where heart . some wi'
J J j
thee I ha'e mon . y days been; For Loch . a . ber no
r T
L**> J j
^-^ V
i I
r_*^
more, Loch . a . ber no more, We'll may .be re . turn to Loch.
Farewell to LocJwber. 65
sa . ber no
^^
more. These tears
ÊEi
that I shed they are
l=g m
r
s^ r
a' for my dear, And no' for the dan . gers at . tend _ ing on
weir, Tho' borne

^^f
on rough seas to a
"
far dis . tant
a
a;.
f
A
r r ?Ê^
shore, May . be to re . turn to Loch . a . ber no more.
JT fir-
^=
r^ ^
-p-f-tf i J
rr
"
EXERCISES :
(i) Add
appropriate original pianoforte accompaniments to Begone,
dull Care," "The British Grenadiers," "The Minstrel
" " Boy," "Home, sweet" Home," "The "
"
Golden Vanity," The Mermaid," and Trelawny (see Par. 89), with introductions
ad lib.
" "
(2) Complete each of the following as a sentence in ballad form :
(a) Moderate.
(b)
Andante.
ÊEg
(c) Allegro.
(d) Maestoso.
Andante.
i^
(e)
5PF2
Art Songs in Ballad Style. 67
re -
pose and sooth ing plea
- sure Lull thee with the
m
bfe:^:i=:*=zi:p * d
.ft. , t
i
1 --i K
rj - -
*
(^H~)vk t
I
|
I
Note the ballad-like structure of the melody a sentence of four two-bar sections, each divided into
sub-sections and the extreme simplicity of the accompaniment. Practically, only two chords are used,
viz., those of the Tonic and Dominant (or Dominant yth). The whole song is an example of the " simplicity
of genius," combined with the highest type of melodic beauty.
The next examplealmost equally simple. The melody may be said to be a sentence
is
of seven two-bar sections. The fourth section ends with a " surprise " cadence in the key
of B, and is repeated with a varied melody but the same accompanying chords as a fifth
section (ending this time on the Tonic chord with a pause /-r-.) Note also that a section
a repeat of the last two bars of the melody is added at the end for the pianoforte.
(3) HAIDEN-ROSLEIN (LITTLE HEDGE-ROSE).

Con tenerezza. SCHUBERT.
(a)
Saw a boy a Ros-lein fair, Ros-lein of the hedge

-
row,
Fresh in all its morning pride So he quick

-
ly turn'd a -
side
F$ ^ =2 fegîj *F=*=
=g^z3
=z*.-=JEnl5==
-fc=
# m I
.
cj- 1=51
,_Jz^=3:
*ff
The Composer's Handbook,
(f)
ritard.
And with ar - dour seized it. Ros -

lein, Ros -
lein, Ros -
lein red,
Ros - lein of the hedge -

row
A very common extension of ballad form is the following :
(rt)
Two (or more) stanzas set to the same melody, either as an exact repeat or with slight
modifications.
(b) One stanza (or perhaps two) set to a fresh melody
in a different key the whole forming
a complete contrast to (a).
(c) A return often with a new or modified accompaniment to the melody of (a).
(d) The whole may wind up with a Coda at discretion.
" "
Schubert's Linden Tree is a noteworthy illustration of this form :
DER LINDENBAUM (THE LINDEN TREE).

(Words translated from the German by PAUL ENGLAND.)
Eight bars of Introduction, suggestive of the wind sighing through the branches, and the
tender reminiscences of the poet, precede the ist verse :
1st Verse. Moderate. SCHUBERT.
A lime tree by the gate

-
way Leans o'er a ti -
ny stream,
S
4 I
I
rj
neath its pleasant sha -
dow I dreamt my sweetest dream. For
r
(b)
m
Schubert's Linden-tree.
there in love's first rap

-
ture, I carv'd my dar-ling's name, And
"f
'
fe*:
there, in joy or sor - row For help or counsel came.

~~
3 3
F n
gEE u
"
f ft?-
^-5
!
' >
H Hgi-fcg L^ F-
^J^-TP
Four bars of instrumental interlude, based on the Introduction, but in the Tonic Minor
(Key E minor), lead to the 2nd verse :
2nd Verse (E minor) .
To -
day once more I passed it When night had veiled the skies,
m?
ven in the dark - ness I dared not raise my eyes. And
Trihl*i
r^
f
(Resumption of E major.)
yet the lime tree whis -

pered So sweet -
ly in my ear Come,
Then follows the third verse in contrasted style, in E minor and C major, with a stormy
accompaniment based on the introduction, gradually leading to the fourth verse in E major,
Pt> ^
Wî
3- râ- > i
m r*^s > T^ -f^^fr r~
the last section being extended by a couple of bars, and the whole ending with six bars for the
pianoforte taken from the Introduction.
There are many points for the observant student to note in the construction of this fine song.
(a) The ballad-like and regular metrical structure.
(b) The general simplicity of the harmonic structure yet with occasional more abstruse chords.
(c) The clever use of the passage connecting the sections at (a), (b), etc. and the characteristic little ;
figure used for the same purpose at (c), (d), (e), (/).
(d) The effective contrast obtained by employing the Tonic Minor for the first half of the second stanza.
(e) The increasing richness and interest of the accompaniment at each repetition of the chief melody.
" "
(/) The unity secured (i) by utilizing the introductory material for each of the interludes and for
the concluding instrumental passage and (2) by keeping to the same form of accompaniment throughout
;
each complete stanza.

" " " "
(g) The variety of detail investing the song with ever-increasing interest from_start to finish.
" " " "

A large number ofmodern concert room and drawing-room songs are of this
type of construction. The student may find plenty of examples in songs by Sullivan, Cowen,
Barnby, and other composers.
92 The essentials and general principles of accompaniment have been discussed in Par. 90.
It remains to consider the various STYLES OF ACCOMPANIMENT.
Although no exclusive rules can be laid down for accompaniments the following general
classification will be of assistance to the student :
Styles of Song Accompaniment. 71
(i) A simple harmonized setting of the melody :
THE SOLDIER'S BRIDE.

SCHUMANN.
&c.
If on -
ly the Em -
per
-
or knew
* 8^=
This may include occasional unison passages :
THE REAPER.
Andante con mott. MENDELSSOHN.
p- 1 1 ' ^ &c.
There is a Reap-er whom Death we call, He is Lord and the King o'er all.
mo/to legato.
^
&c.
Or the melody may occasionally be given to the left hand with accompanying chords
hand
(or reiterated notes, etc.) for the right :
THE BETTER LAND.

COWEN.
cr FTT* &c.
(2) Detached Chords. These may closely follow the melodic outline :
WHERE THE BEE SUCKS.
|M^__ (**
On a bat's back do I fly, do I fly,
^âted^pj^gse^-igfrtosz^^ji
r
f- ^
.g. ^~[^ -HI 1 1 -
J~~
&c.
^ fc
" "
Or they may merely provide a harmonic substratum to support the melody :
COME, JOIN IN SONG.
i
-Jtur. ^ &c.
Come, join in song and a merry, merry rounde -

lay,
i &c.
" "
(3) A light embroidery of the melody :
MAY DEW. STERNDALE BENNETT.
H
O'er the wood -
lands, o'er the mea -
m dows. &c.
&c.
'
-
1
(4) Chords in re-iterated notes, or in various forms of arpeggio, generally with a steady
bass :
BEETHOVEN.
f*
To Him the stars their homage ren-der, &c.
$^=
&c.
\\-
t* *^
TO MUSIC. SCHUBERT.
-Gf --j
Thou ho -
ly art, how oft in hours of sad -
ness,
m
t
=
r^-*r
THE ANGEL.
Moderate. RUBINSTEIN.
=lE
An an -
gel
m 5=T
he float - eth the
hea vens a -
long, And
JSL
Ii zz|zr
&c.
iPî J J
-fflf
* 1 I
W W
'
I I I i
1 I
f
i
4r \-9r-9 9r-9,
I
^ ^
! I
1
I
1
I
J
S^j^Sj* ^^^F^t^Tfw-w J
I
This, though a duet, is included among these examples, as the same style is equally suitable for a solo.
ON WINGS OF SONG.
Andante tranquillo. MENDELSSOHN.
fc
On wings of song I'll bear thee To

^ -
-r -r
those fair A
(5) A characteristic melodic or rhythmical figure repeated through several bars,

"
For melodic figures, see Schubert's
Linden Tree" (pp. 68-70). (b) Rhythmical figure :
(a)
THE IMPRISONED HUNTSMAN. SCHUBERT.
My hawk is tir'd of perch and hood. My

&c.
'
F~ -^-=p: -1 ! J-1
m-m-
T
j I
E
55 ^- 5t ^3^ *I
^ P ^
=3?
*- -d-
F
Sometimes two distinct figures of accompaniment are maintained one in each hand :
WHO IS SYLVIA?
SCHUBERT.
Who is Syl
-
via
'
what is she.
m
That
&c
-.
" "
(6) A counter-melody forming a kind of duet with the solo part, or even becoming
itself the chief melody :
REDEMPTION. GOUNOD.
THE LOST CHORD.

SULLIVAN.
flood-ed thecrim-son - -
It twi Like the close of an an
P . s -*-
light,
J. J- ^ *
J- ^.
J i^
--
gel's psalm,
J-
-i^:
&c.
'. .1:8 o ^f^

'
<Q -L*~
r
"
In Mendelssohn's The First Violet," the introductory instrumental theme is employed
in the last stanza to form a duet with the voice :
INTRODUCTION. Andante con moto.
__ __.-
&c.
I ^=F S :zz=zzz=z
Last stanza.
(7) A descriptive or dramatic accompaniment equal

in importance to the solo part
sometimes even more important is often employed in Through-composed songs (see page 77).
Additional Remarks.
Sometimes a melody is repeated in ballad style with a more highly-elaborated accompaniment
at each repetition, as in the following, from Beethoven
:
(1)
s -1
&c.
&c.
Ac.
&c.
î^-^s^, pfB-5r J jjTii j^l î
"
This style is particularly useful in accompanying an instrumental solo. (See also Schubert's Linden
Tree," pp. 68-70.)
" " "
Most composers are careful not to overload the voice when it has an active part (see Essentials
of an Accompaniment," p. 63, No. 7). In many cases the voice and accompaniment carry on the musical
idea" in alternation."
THE TALISMAN.
Grave, non troppo lento. SCHUMANN.
M
God doth rule the glowing East, God doth
S .
rule the glorious West.

,.
&c.
" "
Sometimes a figure is maintained without variation throughout, as
"
in Schubert's Ave Maria." Similarly Brahms uses the rhythmic figure FS Jj J J in every bar
of his
"
Serenade in F." S
In other
songs a
specially striking phrase of the melody is woven into" the accompaniment so often
as tobecome a " leading theme " (see Chap. XIV). Thus Schumann, in The Two Comrades," which
commences
- &c.
song of two trust-y com -

rades
introduces this opening phrase (with variations of pitch and key) into the accompaniment over twenty times
during the course of the song.
In an extended song several styles of accompaniment may be used in turn, but it is not good to be
"
constantly changing the form of accompaniment without definite purpose. The more beautiful the
melody, the less it needs in the way of embellishment."
Through-Composed Songs. 77
93 It might, perhaps, be supposed that a through-composed song, to justify its name/

should be entirely free from formal restraint that it should merely follow the caprice of the
composer.
"
Such a song is, however, rarely written it would be a kind of musical chaos, without
;
"
form, and void." In most of the finest through-composed songs there is some persistent
" " "
figure or melodic phrase which characterises the whole work and gives " unity " to what
might otherwise lack coherence. There is also a general adherence to regular, metrical
arrangement, and there is often some recurrence of the chief themes.
" "
Schumann's The Two Grenadiers starts with the following instrumental passage :
Fed.
which is based on the opening bars of the vocal melody :-
\J 9
=r= ~ & c .
To France there journey 'd two gren-a -

diers.
The same instrumental passage (though sometimes varied so as to be scarcely recognizable) occurs four or
five times in the accompaniment while the little figure
;
is used seven times.
The song proceeds, with its inimitably expressive chords and ever-increasing interest, until it cul-
"
minates in a setting of the French patriotic hymn, The Marseillaise." The whole form is markedly " free,"
" "
but the sense of clear design is never lost.
" " "
Similarly the key to Schubert's Erl King its atmosphere," as it is now called is clearly
indicated in the first three bars :
" "
while his Young Nun is largely developed from the following phrase
These three songs should be carefully studied they are perhaps the finest of all through-composed
;
"
songs. Among other songs of this class worthy of attention may be mentioned Clay's Sands of Dee,"
and several of Liszt's songs, in addition to the great masterpieces of Schubert, Schumann, and Brahms.
N.B. It should be said that in advanced songs of this nature all sorts of chords, discords, and modu-
lations find fitting place.
"
94 Volumes might be written on the fascinating subject of songs." It is hoped that
enough has been said to "enable the student to carry on his study of them with intelligence, and
" " "
to distinguish between essentials and accidental details of structure and treatment.
For the musician of limited means, the following works (from which many of the above illustrations
aie selected) are recommended :
" " "

A Golden Treasury of Song (Vols. I and II), Boosey and Co., 2/6 each Schubert's Twenty-four ;
Favourite Songs," Augener and Co., 2/-. Students who wish to pursue the subject further should also study
all the songs they can get hold of by Schubert, Schumann, Mendelssohn, Beethoven, Brahms, Franz, Grieg,
Jensen, Hugo Wolf, and other noted song composers.
To complete is necessary to refer to two special forms of

95 this chapter it
song used
in oratorio the Aria and the Scena.
and grand opera, (The student may, however, defer
viz.,
consideration of these forms until Chap. IX has been studied.)
An a vocal solo with instrumental accompaniment, generally three-fold in

Aria is
form. The words most frequently of two sentences.

consist The first part of the Aria is
mainly in the principal key, and set to the first sentence of the words the second part is in ;
some contrasted key (or keys), and is set to the second sentence the third part is a repetition ;
or modified repetition, of the first part. In modern Arias a coda is frequently added.
" "
O rest in the Lord (Elijah) is a typical example of a concise Aria in this form.
The ARIA DA CAPO, or GRAND ARIA, introduced by Cavalli and A. Scarlatti, was one
of the chief forms of Aria used by Bach and Handel.
GENERAL PLAN. (A) First part (i) Instrumental prelude (or ritornello) announcing
:
the principal melody (2) principal melody (vocal)

; (3) short modulations into closely related
;
keys (4) return to principal key

; (5) instrumental postlude. ;
(B). Second part : shorter than the first part, and contrasted in key and style.
(C). Third part :

repetition da capo of the first part (generally omitting the instru-
mental prelude).
"
He was despised " (Messiah) is a fine example of the Aria da Capo ; though, on account of its length,
the second part and the repetition of the first part are generally omitted. Practically all Handel's opera solos
are examples.
An ARIA DI BRAVURA is an aria abounding in difficult passages, runs, etc., to exhibit

" "
the singer's skill and the compass and flexibility of the voice
" "
as Why do the nations? ;
and Rejoice greatly (Messiah). It is the favourite form of aria in Italian opera.
An ARIA PARLANTE, or ARIOSO, is an aria lying midway between recitative and song
" "
a kind of spoken melody, as in Comfort ye (Messiah}.
For other forms of Aria, see the Author's " Cyclopaedic Dictionary of Music."
"
A SCENA is the largest and most brilliant of vocal solo forms." It is a dramatic
solo comprising recitative and arioso, and generally ending with a regular aria.
" " "
Examples
" may be found in any Grand Opera;" e.g., the
" Jewel Song
in Gounod's Faust. Hear
ye, Israel (Mendelssohn's Elijah), and Beethoven's Adelaide are also of the nature of Scenas.
EXERCISES. The student may now compose songs in various styles, and with suitable
forms of accompaniment, to words selected by himself.
Short lyric or dramatic poems of about three stanzas in length are advised at this stage.
The words should have a good rhythmic swing and " lilt," and should not be too severely classical in
character or diction.
Suitable pieces may be found in Beeton's " Book of Poetry " "
" (2 vols., Ward, Lock & Co.), English
Songs and Ballads (The World's Classics), Palgrave's " Golden Treasury" (Macmillan), and other collections,
and in the poems of Longfellow, Tennyson, Shelley, Walt Whitman, Heine, Schiller, &c.
79
CHAPTER VI.
DUETS, TRIOS, &c.
96DUETS AND TWO-PART CHORUSES.

These are practically identical they may consist of two-part work throughout, or
;
the two-part wo:k may be interspersed with solos (for either part). A two-part chorus may
well have a more full and heavy accompaniment than a duet for two solo voices otherwise ;
the styles of accompaniment are the same as those already given for vocal solos (Chap. V.)
" "
97 Here," to quote Berlioz, a good opportunity offers to point out to composers that,
in vocal pieces accompanied by instruments, the harmony of the voices should be correct, and
treated as though they were alone."
is an admirable rule, and the student should do his best to observe it.
This
Berlioz gives the following example of bare fourths in the voices covered only by the
" "
basses of the orchestra, and he does not hesitate to call the passage an error of Gluck's :
IPHIGENIA IN TAURIDE.
VOICES. * * GLUCK.
_L
Daughter chaste of dread La -

to -
na, Lend gracious ear to our song.
ORCHESTRAL BASS.
ii
98 GENERAL RULES OF TWO-PART WRITING.

In writing for voices unaccompanied, or with an ad lib. accompaniment, the following
rules should be observed.
(1) Any progressions of thirds or sixths may be used ;
but they should not be continued
so long as to become monotonous.
(2) The interval of a second isgood.
When the lower note is prepared (either tied or re-struck] and resolved downwards
*|*,*-^*-*
:
(a)
* *
JEÊEJE
^ A
|
^^
:
^H =^=
:=
^ ^ JB
\ ^ =*=F **=
&c.
r
(b) As a passing-note, when the lower note proceeds by step downwards from the unison :
*
._L_*_J. I
(c) As a passing-note when the higher part proceeds by step upwards from the unison :
(d) When it is a diatonic or chromatic waving note* :
(e) When the lower note is the fourth of the scale (giving an implied domt. yth chord).
A waving note (in French a broderie), included by Macfarren among pass ng notes, and called by some theorists an auxiliary note,
;
is used by a step higher or lower between any two notes of the same pitch as shown in the examples.
80 The Composers Handbook.
The following examples are not to be commended :
&c.
(3) The interval of a seventh is good

(a) When the higher note is prepared (tied or re-struck) and resolved downwards
= &C.
r -p r
(6) When it is a passing or waving note (in either part) :
&C.
i- I
&c.
(c) When it is a dominant 7th.

Two-part Writing. 81
(6) The diminished 5th may be used as a passing or waving note and ;
it is also allowed
as representing the dominant 7th chord in such passages as the following :
* *
i j 1: &c.
1
Two
*f i
r
fifths of any kind in succession (when each part rises or falls) are decidedly bad
in two-part writing though they can be sometimes tolerated in accompanied music
J &c.
(7) The augmented 4th may be used when the parts move from it in contrary motion :
THE MAY-BELLS AND THE FLOWERS.

MENDELSSOHN.
x is I
d &c.
"
v > v y
See ! flow'rs of rich and rar -
est hue,
But the perfect 4th is hardly ever good except as a passing or waving note.
&c.
It may also be used " "

(a) When the lower part is
arpeggio an or broken chord and the objectionable
fifth of the chord is not the highest note of the passage :
N.B. The augmented fourth may be used in the same way.
(b) When it is prepared in the lower part (as an understood 7th) and properly resolved :
^9 j
-rj J-
&c.
(c) When the fourth is prepared and resolved in the upper part :
* * *
N.B.
r~~
nor (c) can, however, be recommended as in each case there are
Neither (b) many
better ways of arranging the parts.
Except as shown in the fourth bar of (c) above (which is decidedly bare), two fourths
should never be used in succession and a two-part piece should never begin or end with the
;
bare fourth.
The following method of writing a second part to a melody unfortunately rather
common in schools is particularly bad although with other parts added below it would
;
make a good alto :
* * * , * * * *
FT^fr^WTrrrf
Occasional unisons or octaves may be employed ; and whole "passages" in unison

(8)
or octaves are often of good effect.
N :> MENDELSSOHN.
-I
But wrath-ful at their harm-less mirth, Old rost.
N .B. In setting a low-pitched melody for two voices it is often better for them to take
an occasional passage in unison than to write a very low, growling, and ineffective second part.
Other effective progressions may be produced by the two parts moving in contrary
(9)
motion, or by contrapuntal treatment (if the composer can manage it).
IQI >
l-^J-^ l-i 1 1 I IT J m *-\-~ c
99 All the rules and suggestions given above may be summed up in the following com-
prehensive rule :
The two parts should always suggest complete chords bare fourths are particularly ;
objectionable, and therefore specially to be avoided.

To gain an adequate idea of the resources of two-part writing, Bach's Two-part Inventions should
be studied. They may be obtained through any bookseller for about is. 6d.
100 When there is a pianoforte (or other) accompaniment, composers do not stringently
adhere to the above rules, as the following examples show :
THE ANGEL.
RUBINSTEIN.
=3-- :&c.
_G*
r r T r f
They list to the sweet ho -
ly tones.
3
C= g-re 'g"g' 'fg g rS
gzz=r:g_S l
_D_
*
-
i~r
i
I J
i
1J J
',""i i i i
i^j:J J Jli-3BB&^j^
i
r
, t'Lj
1 -
^^ & &c.
-j- --w-5-î-- -^--u-3---*-*-^*

Note the 4th at * *

(a) f> ,. (6) MENDELSSOHN.
&C.
For -
get
-
me -
not and vio -
lets blue, Join
The passage from (a) to (6) requires the addition of the instrumental bass to make it
passable.
Three-part Writing. 83
101 TRIOS AND THREE-PART CHORUSES.

These may consist of three-part work throughout, or may be interspersed with solos,
as in the case of duets and two-part choruses.
Nothing need be said of the style of accompaniments beyond what has already been
discussed.
102 UNACCOMPANIED THREE-PART WRITING.

This will give no trouble if two-part writing is well understood.
The addition of the third part allows of much fuller harmony, and there will be little
danger of writing bare fourths.
Great care must, however, be exercised in the use of | chords (second inversions).
SUGGESTIONS (i) Do not begin or end with a | chord.
:
Weak beginning, t &&-* -"'

3z Weak ending. pCKlZir
rr ryrr' 6
4
(2) The lowest part should not skip to a second inversion, except from a note of the same
chord.
Good. Good.
*
43
6
The lowest part should not skip from a second

5 *
43
6
#
(3) inversion.
Bad.
[i
N.B. The few exceptions to this rule are given in any good text book of Harmony.
The lowest part may be repeated (with a different chord), or move step wise, as shown in
the following :
(4)
Efrpp^m
Two
664
f,
4
f.
second inversions in succession are bad when the lowest part moves stepwise
Bad.
* I
I.
-Gk-~-
Bad.
4
zr &c.
f
" "
Lift thine eyes (Mendelssohn's Elijah), is a fine example of pure unaccompanied
three-part writing. The student should analyse the whole of it. We give the last part, pointing
out the features worthy of special attention :
1st & 2nd SOPRANOS. (a\ (b) (c) (d) (e) (/) (g)
V ^
CONTRALTO.
r^
lowest note approached by skip from F$, 3rd of same chord.
^r=^
(a) | chord ;
(b) Incomplete dominant 7th (last inversion) the 3rd is omitted to give a better second soprano part.
;
(c) Tonic pedal in second soprano or first inversion of 7th on the supertonic ( 7 Rfe) with the 5th (Blj)
;
omitted.
(d) ^
chord lowest 'note approached and quitted by step.
;
(e) chord approached and quitted by step.

;
Or last inversion of 7th on supertonic (E understood).
(/) Incomplete dominant 7th (first inversion) completed at ;
(g) by the A in first soprano.
(K) | chord approached by skip from root (D).

;
The E in second soprano changes the chord to
a prepared 4th on the dominant (resolved on next quaver in first soprano).
Diminished 7th on A* first inversion of dominant 9th on Fj (leading to B minor).
;
(/)
(k) Anticipation of
the following D.
(I)
to (m) Sequence of 6ths and 3rds.
7th and 5th on leading-note first inversion of dominant major gth.
(n) ;
(o) j approached by step, and resolved on same note at (/>) 7th added on ; last quaver of bar.
(q) Substitute low A for the D in alto and note the unfinished effect.
103 In accompanied three-part music, composers and editors are not so strict in the treatment
of 2 chords in the vocal parts.
WHEN EVENING'S TWILIGHT.

Arranged from HATTON.
When eve -
ning's twilight gath
~~ -
ers round
NIGHT SINKS ON THE WAVE.

H. SMART.
Night sinks on the wave,

Three-part Writing. 85
FLY, SINGING BIRD.

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

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

A VOICES IN UNISON.
-p.
Allegro.
1 := -G>- -&
HOFMANN.
-~=EE==fe=EEE^
Soprano and alto in octaves is also a favourite device with composers :

LITTLE SNOWDROP. REINECKE.

cres do.
&
ist 2nd SOPRANOS.
J=t
Not with-in a gloom-y grave; Here, up -on this light- some hill, &c.
CONTRALTO. cres cen do.
A P.
'. L
^ ^jrf^^FW ^^~
q=: N "N^ i
p=
4*3-
p cres cen - do. &c.

Male -voice Music. 87
JOS MALE-VOICF Music.

The arrangement of male-voice music is on similar lines. As, however, bass voices
require somewhat different treatment from contraltos, the. student is advised to consul*
especially the following works, which perfectly i'h'Strate the best methods of writing for <nen'
voices (in frorn one to eight parts).
" "
Mendelssohn's cantata To Hie Sons ;>/ Art, his Fesigiânge for male voices, and h'3 3citi;igs of
Antigonf and QLdiput ; also Schumann's Luck of EdenhaU." (All published by NovrHo.)
^ _
Drink to tiie on . ly with thine eyes, Ard I will pledge with mine,
Or leave a kiss with . in the cup, And I'll not ah> for
wine; The thirst that from the soul doth rise Doth ask a drink di _
J' J" J"
vine; But might I of loves nee _ tar sip, I would not change for thine.
The harp that once thro' Ta.ra's halls, The soul of mu.sic shed, Now hangs as mute on
Ta.ra's walls as if that soul were dead. So sleeps the pride of form.er days, St
m J
glo.ry's thrill is o'er And hearts, that once beat high for praise, Now feel that pulse no more.
-i^^J
Gold . en slum.ters kiss your eyes, Smiles a .wake you when you rise;
Sleep pret.ty maid . en, do not cry, And I will sing a lul .la . by.
The ( omoser's ffnndbnok
J J
r J
What's this dull town to me? Rn . bin's not near. What was't I wished to see,
What wish'd to hear? Where all the joy and mirth Made this town
heav'n on earth? Oh, they're all fled with thee, Ro . bin A . dair.
To o . ther shores a . cross the sea We speed with swell . ing

1
sail. Yet
EJ^^ltfjfTirct A phantom In.

till there lin .
gens on our lee nis . fail. Oh. fear not.fear not, gen_tleghost your
sons shall turn un. true! Tho' fain to fly your love, ly coast, They leave their hearts with you.
In the sky the moon is beam, ing All through the night, While be. low the
r-r-r-rtt^F^
earth is dream -ing All through the night. In our mor . tal days de.clin . ing,
^^^r=t 5
May our souls, as calm . ly shin-ing, Cheer the restless and re. pin .ing, Till lost in
89
CHAPTER VII.
MELODY IN GENERAL.
" "
106 The student may well pause here to consider more fully the factors of melody and
the methods of their artistic employment. We shall discuss
(4) Melodic Direction ;
(B) Melodic Range or Extent ;
(C) Melodic Intervals ;
(D) The Influence of Time, Rhythm, and Accent ;
(E) Rhythmical Contents of Measures and ;
(F) Melody Based on Arpeggios.

(A) MELODIC DIRECTION. Melody comprises (a) Ascending Passages, (b) Descending
Passages, (c) Repeated Notes, (d) Prolonged Single Notes.
(a) Ascending passages may
either proceed scale-wise, or by skips or, as it were, by ;
" "
a series of flights with a general ascending tendency :
HANDEL (Samson).
&c
Though I could end thee at a blow ,tho' I could endtheeat a blow,
&c.
(b) Descending passages may also proceed either by the scale, or by skips, or by a series
of melodic figures :
BEETHOVEN. Op. 28.

Many melodies consist largely of ascending and descending passages in alternation :
~ MOZART (Sonata in Bb).

-^-
irjcgninni
\W^3E
fc ES5EE^5
rf-f
imÊJtea BEETHOVEN. No.
6 Op. 31, 1.
" "
In most passages of this nature there is some high note which seems to be the aim
" "
or climax ;
and when this is reached the music either breaks off into another kind of figure,
or subsides by descending :
HANDEL.
6F TJy jvjC
^^.' 9 Q -1 ' s||
il
STERNDALE BENNETT.
r * m VT~; _P i :
r 13
S:
MBEETHOVEN. Op. 2.
CORELLI. Violin Sonata.
BEETHOVEN. Op. 27.

f*
. m -
. f*Ez - -- -- . f
^Fff.^Fr^tffe^^f
Sometimes the ascending or descending passage is given to the bass, or a middle part,
" "
the highest melody being an accompaniment, or added counterpoint :
Melodic Direction. 91
BEETHOVEN. Op- 79.
1
BEETHOVEN. Op. 81a.
The following are examples of chromatic ascending and descending passages proceeding
"
in contrary motion :
GOUNOD (Redemption).
;
m * P m m
SB:
&c.
BEETHOVEN. Op. 90.

g-
ores - - cen - do. dim. &c.

^ ,
rtz
*
As the emotional idea underlying an ascending passage is increasing intensity of
expression generally accompanied by an increase of force and speed and that of a descending
passage decreasing intensity of expression generally with a decrease of force and speed the
composer must be guided in the choice and development of such passages by the character
of the effect he wishes to produce.
"
REPEATED NOTES. Macfarren's statement that the repetition of a note is not
(c)
be" too understood.
must not
melody but monotone literally
(i) In
slow music the repetition of a note is dignified, solemn, and expressive. The
" Hence such
underlying idea is accumulation of intensity." passages frequently imply a
crescendo.
"
HANDEL. Dead March."
pp
^
Andante.
iNlJ
BEETHOVEN.
J
"
J-
"
BEETHOVEN. Op. 27.
Adagio. Moonlight Sonata.
SIR J. Goss (Subject of a Fugue).
^; A o o I < '
As the moun-tains are round a -

bout Je - ru - sa-lem.
SULLIVAN. " Lost Chord.
Seat -
ed one day at the or gan I was wea -
ry and ill at ease,
Andante. GOUNOD. Redemption.
*r-=p?=F
> i i
J- J\J J- J-a
GOUNOD. Redemption.
i k-
& -fa
^1 Li
* g-i
p ta-hrH
jBT-g g f-C4J fefe
(2) 7w music of a lighter kind, repeated notes give life and animation to the melody
" "
without adding to the difficulty of performance. The so-called patter-songs consist, largely,
of rapidly iterated notes.
BEETHOVEN. Op. 14.
Allegro. eves. f
fl
PP Allegretto. BEETHOVEN. Op.
r=&c.
Repeated Notes. 93
Allegro Vivace. AUBER. Mansaniello.

ip=:p=z:p: :*!=:
If a gloom-y thought, a gloom-y thought your heart sur - -
pris es, Sing your songs, there's
=P=P-
....song
naught like
.
to ban - ish care to a

sleep; If gloom-y thought, a gloom-y
thought your heart sur -pri -

ses, Sing your songs.there'g naught like song to ban -ish care to sleep.
(3) In instruments of little sustaining power, as the mandoline and the street piano,
rapidly repeated notes are used instead of longer single notes.
Thus
&c -
Instead of
&c.
Repetition is alsoone of the methods used in varying and

developing a simple melody.
Melody from HAYDN. Symphony in G.
(d) PROLONGED
SINGLE NOTES. (i) Without regarding the ordinary succession of
long and short notes which may be found in almost all pieces of music, there are often notes
sustained to an unusual length, and generally placed in some specially effective position of the
voice (or instrument). These sustained notes generally denote a climax, and are usually
"
delivered in the form of a swell," ~=Z^Z H^*" :
MENDELSSOHN (Duet No. 2.).

Andante. cres. f
MENDELSSOHN. Duet, No. 4.
"
(2) A long sustained no+e at a medium or low pitch is often employed as a point of
"
repose :
P .
3 __ 3 dim. pp s;^
An - gels guard thy slum

- bers sweet, Good night !
Andante SULLIVAN.
m
tranquillo.
Peace to the qui el
It was long customary in operatic solos for the singer to introduce an elaborate
(3)
" "
cadenza before the final cadence. The note preceding the cadenza was marked with
" " just " "
a pause (fermata), or hold :
Passage as
written
As it might be performed
Two cadenzas sung by Jenny Lind :
ME
Prolonged Notes. 95
(4) Embellished cadences are also used in instrumental solos and in violin concertos,
pianoforte concertos, etc. Formerly they were always left to the skill and discretion of the
performer, who either improvised the cadenzas on the spur of the moment or prepared them
beforehand. Modern composers, who are sparing in their use of these ornaments, almost
invariably write their cadenzas in full, exactly as they wish them to be performed. Passages
like the following (from Beethoven, Op. no) are evidently of the nature of cadenzas, though
not so called :
Adagio. Piu adagio. Andante. Adagio.

RECIT.
I I ! I \. 5-t- 1 1 1 1
(
F ! I
JL
--T--
ritard.
cantabile.
c
^8
dim
The cadenza may be said to take the place of the long sustained note which so frequently forms the
" "
climax of intensity in a composition. (See p, 94.)
(5) A prolonged note is very common at the close of a vocal composition, a violin solo,
or an organ solo. In this position great effect is given to the sustained note by variety of
harmonic accompaniment :
Moderate. dim. dim.

# j * v__ _ _js*__ 'P PP ^
^ i
_J
IT
JJa
r
~r
^
|_J--
7^ i
-*~J^__+__+__4
v n
\~'~\^^~^^^^~'
f-
x I
^
x-
2lfc
I
"
BARNEY. Sweet and low."
Larghetto.
p ~v ~
* * ~g r-- c iv
.-^ ^^_ jp.
,\
-IT*
^:
~T~^ld^H^
1 * ? -*^ --'
'P"
L' ttf
P u
ir |>
Ir W |r
|S !; ,\ fs
[ j_ _^>
1S= ^=ff :or:
?E^ t--
"-(-
Note that the ist and 2nd bars of the melody are practically a repetition of the note G.
Sustained note in Tenor.

N I r
Js I
.
(s h I . is '> F
N.B. Similar effects may be introduced at any point during the progress of a composition.
" "
(6) A fine effect is sometimes obtained by sustaining the first note of a melody :
A ndante. f r=-
" " "

See also Sullivan's song Orpheus with his lute." The first note of Angels ever bright and fair
is generally sustained in the same manner.
(7) Repeated and prolonged notes are very common

in the lower parts (alto, tenor,
bass), where they are introduced without any special melodic purpose. They have often
great value, however, in binding the harmony together, and adding breadth to the general
effect of the composition.
be seen, therefore, that though repeated and sustained notes have little place
It will
"
in counterpoint, and are, strictly speaking, not melodic progressions," they form a most
important factor in actual composition (both of melody and harmony).
(B) MELODIC RANGE OR EXTENT. The character of a melody is greatly influenced
by the extent of its compass. Melodies confined to a small part of the scale are usually quiet
and soothing. Many of Beethoven's finest melodies are remarkable for their limited range
and conjunct movement :
Negro melody, confined to the first three notes of the scale.
-^-ftr^s:
(6) Extent of a 4th.

P Andante con tnoto. BEETHOVEN. Quartet. Op. 18.
BEETHOVEN. Sonata, Op. 57
(c) Extent of a 5th. Old Latin Hymn Tune. Now known as "St. Luke's" L.M.
3^ t= I j G> i
MOZART. Sonata in A.
Melodic Intervals. 97
(d) Extent of a 6th. BEETHOVEN. Sonata, Op. 106.
(e) Extent of a 7th. BEETHOVEN. Sonata, Op. 2, No. 2.
*?
Wider range allowsof more disjunct movement, and of more vigorous treatment.
In vocal music, the range of most of the finest melodies rarely exceeds an octave ; a
range of a loth or nth should not in general be exceeded, except in "bravura" or "show" songs
written for the special purpose of exhibiting the flexibility, compass, and other characteristic
features of exceptional voices.
" "
In instrumental music, the composer must be guided by the effective compass of
the instrument, and the general style of his music. In solos for wind instruments, it is wise
to avoid both extremes of high and low notes but no one can write really well for instruments
;
of any kind who does not thoroughly understand their mechanism and capabilities.
Example of wide range in melody. BEETHOVEN. Op. 31, No. 2.

P Adagio.
(C) MELODIC INTERVALS. The ordinary intervals available in simple melody have
already been given (par. 28, Chap. II).
Exceptional intervals are used as follows :
(i) Diminished intervals of all kinds may be used, provided, generally, that the next
note after the diminished interval be some note within the interval, thus :
Dim. 3rd. Dim. 3rd. Dim. 4th. Dim. 4th.
ifeqfeU
-
&c.
The following progressions are not good :
Dim. 5th. Dim. 4th. Dim. 3rd.
IH*-
(3) Augmented
intervals are in their nature unmelodious. They are generally
avoided in pure vocal writing, partly because of their difficulty in performance, but more
effect.
especially on account of their harsh, disjunct
intervals (and other harsh progressions of melody) may be
Exceptions. Augmented
used in the following, and similar, cases :
(a) In a Sequence (See Chap. VIII).

Aug.
i 1
&c.
3=H
(b) In Recitative.
Recitative is intermediate between speech and true melody. Therefore, augmented

and diminished intervals, want of regular rhythm, and abrupt changes of harmony, are all
appropriate to this particular form of musical composition :
Aug. 2nd. Aug. 4th.

4 til
JI i
What have I to do with thee, thou son of Be - li - al ?
4th.
ug. 4t
Aug. MENDELSSOHN.
~i Hymn of Praise.
g_jrgg= '
:p=g=p=:H
:2 *
5 1?~ * * II
'Watchman, is the night far spent?"
(c) In the melody of the minor scale.
ug. and
Aug. 2nd. Aug. 2nd.
'
^ -'
^
&c.
(d) When the two notes forming the interval are both in the same chord :
SIR J. F. BRIDGE. Repentance of Nineveh.

VOICE. Aug.4ths,
^ ^ , 1
ACCOMPANYING CHORDS.
rJ ==t
Aug. 4ths.
^ <
=
'_'?
S* a
Melodic Intervals. 99
Aug. 5ths.
(e) When the second note of the interval is a semitone below some principal note of the
melody (on which it resolves either directly, or by some ornamental variation) :
Aug. 2nd. Aug. 5th-. Aug. 4th. Aug. 2nd.
i
i-î A-
Maj. 7th. Maj. 7th. Aug. 4th. Aug. 5th.
This style is very common in instrumental music. The augmented interval gives
piquancy and great prominence to the following note.
(/) To produce some special or striking effect, or to illustrate the verbal text
MENDELSSOHN. St. Paul.

Aug. 4th.
His ways are past our un -

der -
fe
stand -
m
P
ing.
Aug. 4th.
From the same.
And who does so shall sure per

- ish.
HANDEL. Samson.
Maj. 7th.
a tri umph dis -

dain.
The student should remember that all these exceptional progressions are effective
in proportion to the moderation with which they are employed. When constantly introduced
they cease either to astonish or to charm, and music becomes ugly and disagreeable instead of
beautiful and pleasing.
(D) TIME, RHYTHM, ACCENT. Rhythm, in modern music, is the framework upon
which melody is constructed. In all the larger forms of musical composition it is of paramount
importance, as it not only suggests melodic outline, but shapes, moulds, transforms, and
intensifies it to a remarkable degree.
" "
Dr. Holder, a man
of great learning and sagacity," who wrote a Treatise of the Natural Grounds
and Principles of Harmony," publishedin 1731, gives the following curious paragraph
concerning rhythm.
"
I did not intend to meddle with the Artificial Part of Musick The Art of Composing, and the Metric and
:
Rhythmical Parts, which give the infinite variety of Air and Humour, and indeed the very Life to Harmony ;
and which can make Musick, without Intervals of acuteness and Gravity, even upon a Drum and by which ;
10) The Composer's Handbook.
of Musick are perform'd, and the Kinds of Air distinguish'd ; as, Almond, Corant,
chiefly the wonderful Effects
attack the Fancy of the Hearers some with Sprightliness, Some with Sadness,
Jigg, &c., which variously
;
and some' a middle way which is also improv'd by the Differences of those we call Flat* or Sharp, f Keys
: ;
the Sharp, which take the Greater Intervals within Diapason,^ as Thirds, Sixths, and Sevenths Major, are
more brisk and airy and being assisted with Choice of Measures last spoken of, do dilate the Spirits, and
;
rouze 'em up to Gallantry and Magnanimity. The Flat, consisting of all the less Intervals, contract and
damp the Spirits, and produce Sadness and Melancholy. Lastly, a mixture of these, with a suitable Rhythmus
gently fix the Spirits, and compose
them in a Middle Way."
Time in music covers the following points :
(a) The length,

or duration, of notes (relative and absolute) and rests.
(6) The speed, or rate of movement, at which the music is performed.
(c) The kind of measure, or metre, including the regular or periodic recurrence of metrical
accents.
(d) The contents of measures, or bars, including Syncopation, Emphasis (Dynamics), and
Rhythmical Accent generally.
(e) The -arrangement of Phrases, Sections, Sentences, Periods, etc. Musical Punctuation.
Each of these has an important influence in shaping the melodic outline and giving it
significance.
(7) Absolute time,
as measured by a clock or other mechanical contrivance, has little
" "
the musical time-table of notes and rests is based upon comparative, or
place in music ;
relative, periods of duration. From the dignified, but monotonous, effect of a succession of
notes of equal length we can obtain infinite variety by mere arrangement of long and short
notes.
A few arrangements of a major scale. (See also par. 60, page 26.)
And so on ad lib. The student should exercise his ingenuity by extending the series.
(//) TheSpeed, or Rate of Movement, of a piece of music greatly influences its effect ;
e.g., Lento, Largo, Adagio, Andante, Moderato, Allegro, Vivace, Presto, etc.
it., Minor, f Major. { The octave.

Rhythmical Contents of Measures. 101
Approximation to absolute time is indicated by the metronome, thus M. J = 100,

:
M. J= 72, etc.;
but it is impossible that exact metronomic time should be observed in actual
performance. The composer's directions for accelerando, rallentando, piu mosso, meno mosso,
etc., the musical feeling of the conductor or performer, with the natural tendency to accelerate
ascending passages and to retard descending ones, and to dwell upon certain important and
effective notes the varying moods excited by the character of the music all help to give
an artistic interpretation to the composition, and all prevent that strict adherence to the
metronome which a mere musical mechanic considers to be essential. But care must be
"
taken not to go too far in deviating from strict time. Thus Schumann says, Play strictly
in time. The playing of many a virtuoso resembles the walk of an intoxicated person. Do
not take such as your model."
Speaking generally the rate of movement influences the character of music by modifying
" "
the mental effects of notes (see par. 29, p. 7) while in addition to this, slow music
;
naturally suggests quiet, grave, solemn, dignified emotions, and quicker music suggests more
animated, cheerful, joyous, or even restless ones.
(E) RHYTHMICAL CONTENTS OF MEASURES. While the composer's choice of measures

is limited to some eight
or ten varieties, the resources of rhythmical arrangement of the contents
of these measures are inexhaustible. A
quiet and placid composition requires less rhythmic
" " " "
variety than one more energetic. The rhythmic plan or form of each successive
measure may, indeed, be without variation or all sorts of devices may be employed to secure
;
variety until each measure has a different rhythm. See the following examples :
BEETHOVEN. Sonata, No. 3.
^ ^
r> ^**
The Composer's Handbook
102
BEETHOVEN.
of great variety am
The following are examples
Andante espressivo.
'
'~ ^ - ^" ^^l h^BB^"
WAGNER. in C.
Symphony
MOZART. II Flauto Magico.

Melodies based on Arpeggios. 103
"
Rests are of great importance in obtaining rhythmic variety. Note the eloquent
"
silences in the following :
Largo. BEETHOVEN. Op. 7.
(F) MELODIES BASED ON ARPEGGIOS OF CHORDS. When the notes of a chord are struck
" "
successively, instead of simultaneously, they form what is called an arpeggio (from Arpa,
the harp).
Chord. Arpeggios.
'
&c.
There is such a close and intimate connection between harmony and melody that one
generally suggests the other i.e., if the composer conceives a melody, its natural and appro-
;
priate harmony seems to spring into existence at the same time and if Jie devises a progression
;
" "
of chords, various crowning melodies immediately, or after some consideration, suggest
themselves as graceful outlines to his mental picture.
The following are examples of melody constructed almost entirely of arpeggios or
" "
broken chords as they are also called :
From a " School Song."

7
Tonic (D) chord. pominantj7thJ S)^ Tonic (D).
SE
Dominant yth (
7
S). Tonic (D).
D.C.
Swiss Melody. KUHN.
The whole of this melody is founded on chords of the Tonic and Dom. 7th (D and 7
S).
" The Merry Peasant."

SCHUMANN,
~~=z &c.
Tonic (D). Subdom.

_
Tonic Dom. yth
L_
Tonic
_J
(F). (D). ('S) (D).
BEETHOVEN, Op. 22.
Tonic (D).
104
BEETHOVEN, Op. 31, No. 3.
Tome (D).
Dominant yth (
7
S)
B E ETH OVEN, Sonata, Op. 5 7.
'
&c.
Fonic Chord (L).
Tonic and Dominant 7th Chords (D and S)

7
WAGNER, Symphony in C.
=^M ^tfiTilr^^^^^^^4^-Hi^P :
~ Tl I
| IH
More abstruse chords.

BEETHOVEN, Op. 53.
&c.
" "
When the notes of a chord are interspersed with passing-notes," appoggiaturas,'
"
and acciaccaturas," endless variety of melody may be obtained :
3 Tonic Chord.
I, ",T , f" 5^ ^.Lp.^^t^ m
9 I J<L
N.B. Instrumental accompaniments to vocal music are frequently constructed in this manner.
Melodies based on Chords. 105
BEETHOVEN. Sonata. Op. 2, No. i.

"
3
BEETHOVEN. Op. 10.
&c.
MOZART. Sonata in F.
&c.
Acciaccaturas on a Dominant Chord. BEETHOVEN. Op. 78.
-_^S&=3=
-= - - ^
&c.
Essential notes in the above extract.
fp~T g
'
-I
&C.
Passage founded on the Dominant Minor gth

97se BEETHOVEN.
( M) .
Op. 57.
-*-^r-*-- -- *--- y-^-*--^- *^-

"
Mixture of Diatonic and Chromatic passing notes, changing-notes," &c.
' 1
Note the connection between the following plaintive melody and the harmonic sub-
stratum which seems to have in great part suggested it :
J=66. SCHUMANN. Paradise and the Peri.
J -j
Just then be- neat h some o -

range trees, Close by the lake. she now heard a moan;
A youth
> >
in despair, at this
1
j*
si -
m fî
lent hour.
I ,
Had
i
_
sto-len to
I
die here, 'die a -

^m
lone. &c.
ia=fg^^^=gi=:;
&c.
itei 1
Similar examples abound in the works of all the great composers. Indeed, it would
be hardly too much to say that nearly all the best modern melody is founded almost directly on
chord progressions. As Sir Hubert Parry observes, " Commonplace progressions will lead to
commonplace melodies."
107
CHAPTER VIII.
ECONOMY OF MELODY; GROUND BASS; VARIATIONS; METRICAL FORM;

MUSICAL SENTENCES.
107 ECONOMY OF MELODY. The student has already seen that a long melody is generally
made artistic and
interesting by devices of repetition, imitation, etc. (See Pars. 37 and 48,
Chap. II ;
Par. 68, Chap. Ill ;
Par. 81, Chap. IV Pars. 89-91, Chap. V.)
;
108 The following are among the most usual of these devices.
(N.B. Counterpoint, Invertible Counterpoint, Canon, Fugue, and Thematic Develop-

ment will be discussed in subsequent chapters.)
I. REPETITION.
(a) Exact (i) In the same key and Mode.
Blue Bells of Scotland."
ist Section. Repetition.
3rd Section Contrast. Repetition of ist Section.
For other vocal examples, see Par. 89, Chap. V.

Instrumental Examples :
MOZART. Sonata in F.
Manfred. SCHUMANN.
&c.
In instrumental music, the repetition is often in a different octave :
_______________ BEETHOVEN. Op. 13.
BEETHOVEN. Op. 27.
(2) In the Relative Major or Minor.

A minor. C major (Relative.) Tune" St. Bride's."
22.2::
^=^^^^^~^^===^^^ & c -
CORF.LLI. Violin Sonata.

Largo.
[J
A minor. C major.
minor. GOUNOD.
There is a green hill far a -

way. With-out a ci -
ty wall
G major. _
Who died
i
Where the dear Lord was cru-ci-fied, to save us all.
Ah major.
F minor.
F major. D minor.
i \ ^^ T"
"
T
(3) / /^ Tom'c Major or Minor. Rather rare, except for the final movement, or
last verse, of a minor mode composition.
A A
m
minor. major.
I I
"
F major. F minor. BEETHOVEN. Waldstein Sonata."
G major. G minor. G major. BEETHOVEN. Op. 31, No. i.
B major. BEETHOVEN. Op. 31, No. i.
B minor (two octaves lower).

Repetition of Melody. 109
(4) In another voice, or part, of the harmony^
J-JL &c.
CHORUS. TREBLE. MENDELSSOHN. Elijah.
s-
Blessed are the men who fear Him, they ever walk in the ways of peace. Bless ed, &c.
TENOR.
Blessed are the men who fear Him,
This kind of repetition is of the nature of Canon or Fugue ;

but it is mentioned here for the sake of
completeness.
($) In another key.

SCHUMANN. "
Reaper's Song."
Theme : KEY C. KEY O (with added part above).
i 1-~
Return to Key C-
_ ^B^ I /
^^ ^ ' ~^-
T
TI&c. Eight T~f^ / Lgl^'^'r^FT^f* f^ ZZSZH &c.
bars of different Tt"'
Ti n^"? '
'
-r-wi-PB---^^
(6) In another Metre, or Rhythm.
:|
(6) VARIED. Repetition may be varied in an infinite number of ways, some of which
will be subsequently discussed. In the present connection it is only necessary to mention
Repetition with altered ending or continuation.

SCHUMANN. "
Pilgrimage of the Rose."
^^^^:p=^q=:nU
-==^^^4*
"
Home, Sweet Home."
ist Section. Repetition.
3rd Section. Repetition.
^
This kind of repetition "
is even more frequent than "exact repetition.
consists almost entirely of repetitions of the four

The following extended melody first
measures :
("Dal Tuo Stellate.") ROSSINI.

(a) ist Section, G minor.
ist time, Bass Solo ;

2nd time, Tenor Solo ; 3rd time, Soprano Solo.
(b) Repetition, with varied ending in Bb major.
to* ^ ~^- ^ -.- m #*

:
CHORUS.
(c) Repetition in Bb major. ist & 2nd times.
I
^^^* fa/Ion/*** "Ru "Rorw^f if inn in G

Cl. min*-i
Cadence, Bb. Repetition in minor.
CHORUS.
3rd time. (d) Repetition of (a) in G major.
(e) Repetition of (c) in G major.
RP-* a .r- ZZ^-T: "?"> *

ffl^-q=y=fe=^^
(/) Added passage. Repetition of (/), varied ending.
II. Repetitions of long (or short) portions of melody, with variation of

IMITATION.
pitch, accent, or rhythm, and other modifications, come under the general head of Imitation,
(a) SEQUENCE. A sequence is the repetition, at a higher or lower pitch, of some fragment
of melody or harmony. The "pattern" set for repetition is also called the "germ" or "motive"
of the sequence, and may consist of two or more notes and the repetitions generally proceed ;
in regular order, up or down. There is no rule as to the number of such repetitions this is ;
entirely a matter of discretion but a sequence carried to great length is so entirely mechanical
;
"
that it resembles measuring out music by the yard."
Ascending Sequences.
Motive. Motive.
*"-
Motive.
Motive.
^=K=f:
Ill
Sequence.
Motive.
BEETHOVEN. Op. 22.
st, x
&c.
Motive. BEETHOVEN, Op. 28.
22Z32ZZtQ: &c -
Descending Sequences.
Motive. Motive.
i-
Motive.
From a song by PINSUTI.
3E3= i=j:
A Sequence may be confined to the melody alone (Melodic Sequence) ;

or it
may be
imitated in every part of the harmony (Harmonic Sequence) :
Harmonic Sequences.
"
lr MOZART. Sonata in A minor."
TONAL AND REAL SEQUENCES. Many sequences are confined to the notes of the scale
or key in which they begin, the imitations not being necessarily quite strict as to interval ;
these are called Tonal Sequences. Real Sequences are those in which every interval and chord
" " " "
of the germ or motive is exactly imitated. Thus most Real Sequences lead to constant
change of key.
Real Sequences.
rfcz
r I
I
J- J- J- jJ'
m
BEETHOVEN. " Mass in C.'

Chordal Sequence.
l~~ Ti
==.$$=& 1:
&c.
BEETHOVEN. "
Mixed Sequence. Sonata," Op. 106.
f-fff f. t=
As in this instance, som* sequences are partly Real and partly Tonal, to avoid wandering
too far into extraneous keys.
Sequential Imitations may be alternated with non-sequential phrases :
-
i p 17 i
Hj J IJ j g
STERNDALE BENNETT, May Queen.

Allegro.
Beautiful sequential and other imitative effects are often produced by employing
Duple motives in Triple Time, Triple motives in Duple Time, etc. See the following :
Ac.
&c.
3E2
[
* 9
- &c.
b=
For numerous examples, see Chopin's works for the piano.
Sometimes these passages are "phrased" (see Chap. .X) according to their sequential
construction ;
at other times the regular metrical accents only are intended.
Schumann and other modern composers have constructed elaborate, varied, and
interesting sequences by imitating passages of from twenty to fifty (or more) measures in
length. A
striking feature in Beethoven, and some other composers, is sequential imitation
by steps of a semitone
Imitation. 113
I r
S=ipz: &c.
(6) OTHER KINDS OF DIRECT IMITATION. A melody may be imitated either in the same
part, or in another part, at any interval higher or lower. The imitation may be exact (or
strict) as to interval, or free i.e., major intervals may reply to minor intervals, etc.
Examples of free imitation :
&c.
^^rrtnifea^mrcfFf
\ r -* irinizz &c.
Almost a strict sequence. SCHUMANN. Manfred.
" " "

Strict imitation in another part (or parts) produces what is called a Canon or Round."
SCHUMANN, Paradise and the Peri.
gf=TJ^
fe
3=3=t3 &c.
The following are specimens of Canonic Imitation not strict Canons but of the same
nature :
BEETHOVEN, Op. 2.
:B: ffi^ :*=C*

â
CT-^r-rr
^
^ ^^
4
-^=^LL^~
&c.
(c) INVERSE IMITATION. A melody may be imitated in the same or another part by
replying to ascending intervals by similar descending intervals, and vice versa.
_a ! J J J 1 4- J 1 J h-
V -&- -&- -0-

I I
\ I I
Inverse imitatio i of upper part.
Motive. Inverse imitations.
&c.
Motive. Inverse imitations.
WAGNER, Symphony in C.
i &c.
Free Inverse imitation.
&c.
BEETHOVEN, Op. 53.

Inverse Imitation of ist bar.
CLEMENTI.
The lower part is an Inverse imitation of the upper.

Imitation. 115
(d) RETROGRADE IMITATION. This kind of imitation is of no great artistic value, though
sometimes employed in classical music.
it is The order of notes in a melody is reversed, and a
new melody thereby produced.
Retrograde imitation.
It will be seen that the whole melody reads the same backwards or forwards.
(e) IMITATION BY AUGMENTATION OR DIMINUTION. A melody may be repeated or

imitated in longer or shorter notes :
Motive.
&c.
Motive.
MOZART. Op. 11.
rt:
"
BEETHOVEN. Leonora Overture," No. 3.
t
I &C.
(/)
A GROUND BASS. A Ground, Bass, or Basso Ostinato, is a portion of melody con-
stantly repeated in the Bass, with varied upper parts. One of the finest examples is Bach's
Passacaglia in C minor for the organ. (See also Chap. XI Choruses, 9).
;
The harmonization
of a Ground Bass in several different
ways is a valuable exercise for the student.
The following is a simple and effective scheme of treatment, suitable for practice or for examination
purposes.
116
Moderate
Variations. 117
SCHEME OF CONSTRUCTION OF THE ABOVE EXAMPLE.

(a) to (b). A simple melody, with accompanying parts in slightly varied rhythm.
(b) to (c). A distinctly different melody, with rather more elaborate harmony, passing-
notes, suspensions, etc.
(c) to (d). A
free counterpoint in Tenor, with accompanying imitative passages, etc.
(d) to (e). A
fresh rhythm, with fuller and more abstruse chords.
"
(e) to end. A
short Coda, in full harmony, // (reduced to six bars as a contrast to the
"
eight-bar squareness of the preceding portions).
EXERCISES Harmonize each of the following Ground Basses on the lines suggested
:
above, with such varieties of treatment as may appear suitable. Add a short Coda to each.
(I) - __... .._
"
(g) VARIATIONS. A variation, or double," is the presentation of a simple theme in
varied form.
Most of the original Doubles were merely variations of the melodic outline by means of
increasingly elaborate figuration and embellishments as, for example, Handel's Chaconne
;
in G (of his harpsichord works) which has 62 variations.

" "
The more modern Theme (or Air) with Variations of Haydn, Mozart, and Beethoven,
includes also harmonic and rhythmic transformations, and there is no limit to the devices which
" "
be as as it is felt that the original theme is in some way the text of each
may employed long
variation. Bach's Theme and 30 Variations, and Beethoven's Pianoforte Variations (complete,
Breitkopf and Hartel, 2/6) are specially worthy of attention. Very fine Variations have also
been written by Brahms, Elgar, Parry, etc.
Variations afford scope for the development of the composer's ingenuity, and the following
is an example of fairly simple work which the student may imitate at his discretion.
N.B. The piece was arranged to be played on a large modern organ, and is here given in short score,
with indications of the stops used.
VARIATIONS on "ROUSSEAU'S DREAM."

R.DUNSTAX.
INTRODUCTION.
MM
Rousseau's Dream, 119
Ch. Cl. and 4ft Fl.
soft Fed.
senza Fed.
Solo: Orch.Oboe.
Andante.
Orchl. Oboe and Tremulant.
senza Fed.
Fed.
Allegro.
3 3'
Sw. 2ft. and Stopp'd D lap! 16ft.
jjanf t i
r
I
F f
Do/I o/l i;i.
soft Fed. ad lib.
I*
r
Rousseau's If ream.
Jr^n^rjr-r r WF-I m-r-r i m-r- f j_j^4 j. JETWVMBW

i22 The Composer's Handbook.
Cl ICtt.Diap. and small 8ft
Coupled to Sw. senza Fed
Orchl. Fl. 8ft. with Tremulant.

t
Rousseau's Dream
Allegro molto.
Solo (or Ch.), Ob., Clar., Fl. 8ft., PI. 2ft.
Sw. Full to Reeds.
IT M
Soft Fed. to Sw. f
I
M
I.
'
add Tuba .
Moderate.
Full Fed. without add Fed. Reeds.

Reeds (coupled)
(radually reduce Organ.
i I
rr'r r rr
- reduce .
PPP
soft Fed.
Metrical Form. 125
109 METRICAL FORM : REGULAR FOUR-FOLD SENTENCES. We have already seen (Chap. Ill,
"
and Pars. 89-91, Chap. V) that melody has a strong tendency to arrange itself in groups of
"
four bars which we have called Sections and further that the most usual Complete Musical
Sentence consists of four of these sections.
110 The rhythmic varieties of Sections and Sentences are infinite. The following is the
rhythmical basis of a classic melody, on which we have constructed three different melodies :
1st Section. 2nd Section.
J
;
3rd Section. 4th Section.
Jir=?i'jJI!jl75
-0 0' 9 }-0 9 -0 V-0^--0- LJ J i i
J J LJ i in
1
'-r -^-j-J- L-}
Three melodies based on this rhythm

(a) C major.
(ft) C minor.
(c) major.
-=g-
"
It will be noticed that the rhythmic construction of the various sections shows uniformity with
"
variety an important feature of musical design.
EXERCISES The student should now exercise his ingenuity in constructing two or
:
three Sentences in various keys on each of the following rhythms, all selected from classical
composers. They need not be harmonized but harmonic substructure should, in general, be
;
kept in view.
Endeavour neither to think of words nor of any particular instrument, but to write what is called
pure (or absolute) music.
" "
All sorts of devices may be used and examples of ascending and descending passages, repeated
;
notes, etc., should be introduced. The cadences should be carefully planned out, and as much variety of
melodic outline obtained as possible. Slurs, etc., should be added at discretion.
Afterwards, the student should construct several sentences of his own, and thus gain the necessary
facility for composing anthems, choruses, part-songs, and instrumental pieces.
(a) Rather quick time.
\ \
/
s
S_ J J-
J-|J
j J j j"J i
[.N_Jl.k
^ i >i >j > * s

*~
i i
i
* * * *^ * * ii
\
~"1~* *~I I n
M 0-
J J J
j
J J
j
Exercises in Metrical Form. 127
i-J-
-1- -H-
J J--fJ-
JU
]0* 00-
JLJ.
~5 J-
J'
8
J~J^- _S_AJ^3
J--J- J 1
-U -N J30U
A I
CS
^ Q-
-
3 * -3-J-
[
J, j:
10
-J- -J
^-J.
S 3 3
Slower time. Sentences of four two-bar sections :
L2
-^ J
K-^-
N
J .N j
[j.-
.N-- .>[j
^
_.^J.__J_j,_ _Ju"^5..J J'.N
13
X
i J- J ^ J. J
I
J ^J /J. J5 J JJ JM
14
'
S
|S
fJTT3
\-0*0-*-0
i
J
0*- J / -J
Extended and Irregular Sentences. 129
110 EXTENDED AND IRREGULAR SENTENCES. A five-section sentence is often made by

avoiding a perfect cadence at the end of the fourth section, repeating that section (with or
without variation), and then closing with the perfect cadence :
"O rest in the Lord" (Elijah). MENDELSSOHN.

ist Section. 2nd Section.
pT -- 9 .0- .0.
3rd Section. 4th Section.
5th Section.
m
j i
&c.
Observe that the fifth section is a varied repeat of the fourth. Another method of
" " " "
constructing five-section sentences is to add a little Coda or Codetta at the end of a
four-section sentence.
EXERCISES Compose various original five-section sentences, or extend

: some of the
four-section sentences already written.
Sentences of six, seven, eight, or even more sections are sometimes written. (The
student will be able to find examples in any classical works.)
Variety is also secured in long works by making sections and sentences overlap, by
extending an occasional section, by contrapuntal imitations, etc. We give a few rhythmical
plans of irregular sentences all from classical sources on which melodies should now be
constructed.
J- J H- J E3-J
N>H** M iJ
0*00~*
'.J '.
]
i
-00 i
\-0
i
i.
*-
n0-0-0-0-0
i"^"T^ i i
I"TJ n"Tî i i i
j
-\-0^ ^0-0-0-0-0-0-0-\-0 1
'A \ 3
5
r;
J-H
-^^
i i
J J
[
J3-J-J3-
j-
S
J- , J J J J J J3J-
j [ [
J. J
j j_j^J._J>J-}-J333J
I
^J_ U <
j
J ,gj^
40 \-*~
J-'JT3 J
j j
Exercises. 131
10
1 I
û .N jg j
JJ J-
J- JM ,
111 Sentences consisting of two sections are not uncommon :
" MENDELSSOHN.
Wedding March."
tr
Sonata, No. 15, Op. 28. BEETHOVEN.
N.B. When a number of sentences follow one another it is not necessary that the first
sentence should end in the key in which it begins. (See the above example from Beethoven. See
also Par. 115, page 133.)
The construction of pieces of more than one sentence will be discussed in the next
Chapter.
132
CHAPTER IX.
TWO OR MORE SENTENCES IN SUCCESSION. SIMPLE INSTRUMENTAL FORMS.

112 We have seen that sentences vary in length, but that the most usual consist of 8 or
16 bars. In dance music of all kinds, in marches, and in much other instrumental music hardly
for some special effect (or, in long instrumental
any other length of sentence is employed, except
works, to vary what would otherwise become monotonous).*
113 Many pieces of music are made up of two sentences in" succession. For the sake of
reference we will call a complete musical idea of two sentences a two-sentence paragraph."
"
114 In a two-sentence paragraph" the second sentence may be :
(i) An additional sentence in the same key, without any special thematic reference
to the first sentence :
THE CARMAN'S WHISTLE. Arr. BYRD (1546-1623).

1st Sentence.
^5 m
2nd Sentence.
s i ^
TST
&'
This kind oicontinuation was common in old music, but is now rarely employed.
(2) A sentence partly contrasted and partly imitative the imitation (or repetition)
of part of the first sentence coming usually towards the end of the second :
BONNIE DUNDEE.
1st Sentence.
55
*'
This kind of paragraph "

is felt to be in good form." Sec also "St. Matthew," Par. 81, Ch. IV.
Sometimes a short coda is added as an extension of the second sentence :
BEETHOVEN. Op. 14.
* In quick waltzes, scherzos, etc., with only one beat in each bar, the regular sentence is 32 bars
ui length.
Two-sentence Paragraphs. 133
(a)
(a) End of first sentence.

(b) End of second sentence.
(c) Repetition (an octave higher) of part of first sentence.
(d) to (e) Coda.
" "
115 In a two-sentence paragraph the first sentence may end with a perfect cadence in
the original (principal) key, or it may modulate to a closely related key. In vocal music
(ballads, etc.), the first method is rather more common in instrumental pieces the second
;
method is much more frequent.

The keys to which modulation may be made are tabulated in connection with eight-
lined hymn-tunes (Chap. IV). The following are the most usual :
(a) MAJOR PIECES

(1) To the key of the Dominant (major).
(2) To the key of the Mediant (minor).
(3) To the key of the Relative Minor.
(b) MINOR PIECES
(1) To the key of the Relative Major.

(2) To the key of the Dominant (Minor).
N.B. If a piece commencss in a minor key, the second sentence sometimes ends in the
Tonic Major.
116 Almost all old dance-forms before Bach (1685-1750), and many later dances, are " two-
"
sentence paragraphs each part being repeated, probably " to make the tune longer " :
Old Air "Suitable for dancing to." 17th Century.
SARABANDE IN C MINOR. C. NlCHELMANN (1717-61).
tr.
IP
sentence for the first part of his dance forms (in

117 Bach kept largely to the eight-bar
his Suites, etc.), but he generally doubledthe length of the second part (to 16 bars).
both parts.)
(Later composers gradually lengthened
" "
EXERCISES a number of two-sentence paragraphs in various major
(a) Compose
:
at
and minor keys. They may be harmonized or not, pleasure.
(b)
each of the following as a short pianoforte piece, repeating each sentence
Complete
as in Par. 116 :
(1) COURANTE.
*
In three-part harmony.
,s
.^ i
ist sentence, o
8 bars,
bars, ke; G.
modulating to key
-J-^J-d
-J- 2nd sentence, 8 bars, ending in key C.
(2) PRESTO.
tr
In two-part harmony, with occasional full

chords.
ist sentence, 16 bars, modulating to Key C.
2nd sentence, 16 bars, ending in Key F.
In three-part harmony.
ist sentence, 8 bars, modulating to B minor
and ending with a Tierce de Picardie.
* *- 2nd sentence, 8 bars, closing in E minor.
'*"
I* -
I
(4) GIGUE.
In two-part harmony, with occasional full
chords.
ist sentence, 16 bars, modulating to Bb major.
2nd sentence, 16 bars, ending in G minor.
(5) MENUETTO (Minuet).
In three-part harmony, with occasional fuller

chords at discretion,
ist sentence, 8 bars, ending in D minor.
2nd sentence, 8 bars, modulating to F major,
and returning to D minor.
The student will have noticed that when a sentence starts with an incomplete bar the last bar is also incomplete the two
incomplete bars being equal in value to one whole bar.
Three-sentence Paragraphs. 135
GAVOTTE.
(6)
m In two-part
ist sentence,
D major.
harmony throughout,
8 or 16 bars, modulating to
2nd sentence, 16 bars, ending in G major.
N.B. A Gavotte always commences with the third crotchet of the bar.
(7) GAVOTTE.
In three-part harmony throughout.

ist sentence, 8 bars, modulating to B major.
2nd sentence, 16 bars, ending in E major.
(8) BOURREE.
In two-part harmony throughout.
1 m 1 ^ PT
ist sentence,
A
16 bars, modulating to
major, or F# minor.
2nd sentence, 16 bars, ending in D major.
Key
N.B. A Bourree commences with the last crotchet (or quaver) of the bar.
118 PARAGRAPHS OF THREE SENTENCES. The "three-sentence paragraph" is one of the

"
commonest of simple musical forms. It is used for Songs without words," organ voluntaries,
" "
short violin solos, and incidental pieces of all kinds.
"
It is usually referred to as Song Form
(German, Lied-Form "). The third sentence is generally a repetition, or modified repetition,
of the first sentence.
119 SONG FORM.

A. A sentence of eight or sixteen bars.
B. A sentence of eight or sixteen bars in another key.
C. Repetition (with or without modification) of A.
D. Short Coda ad lib.
"
This form exhibits three of the most important features of a good musical design :
(i) pre-
" t{
liminary statement," (2) digression," (3) repetition."
(A) The principal sentence may be extended to five (or more) sections ; say, from eight to ten bars,
or from sixteen to twenty bars.
As has afterwards to be repeated as C it generally ends in the principal key.
it If, however, it
modulates, must be so modified in C as to end in the principal key in that sentence.
it
(B) This sentence may also be extended, or it may be curtailed.

It may be entirely contrasted in style, or it may be responsive (i.e., of similar rhythmical and melodic
nature, but without expct repetitions of portions of A).
It should always be in a different key from the first sentence and if it further modulates during its
;
course, the principal key of the first sentence should be avoided.

(C) If the original key is minor, its repetition here may be in the Tonic Major key.
D) The Coda may be an extension of C
( or it may be a reminiscence of any portions of A or B (or
;
both).
" "
120 We
have already referred (Par. 95, Chap. V) to Mendelssohn's
" "
rest in the Lord
" We give
as a It is a good illustration of
concise aria." Song-form as just described.
another illustration even more regular :
SONG WITHOUT WORDS (No. 22). MENDELSSOHN.
"
mg*u
1 -fr I
^-- i
1
r
^g^
Ht-P -bsH -s S3
(a) to (6)First sentence, key F ;eight bars.

(c) to (d) Second sentence, keys D
minor and minor A
eight bars. ;
(e) to (/) Exact repetition of first sentence eight bars.

;
(g) to (h) Coda ; five bars. The first phrase is reminiscent of the second sentence ; the second
phrase is a repetition of the last two bars of the first sentence.
The symmetrical and regular construction "
of this melody is clear as daylight."
121 The next illustration shows some slight modifications :
SONG WITHOUT WORDS (No. 9).

MENDELSSOHN.
(b)
~~r~ * - r*a-
\ t~^~\ I ~~N ^*"^~i I
" V^ S
^~
Exercises in Song-form. 137
(*) (0
(a) to (6) Prelude.

to (d) First sentence, key
(c)
E ; eight bars. Note that the last section of this sentence is a repetition
of the second.
(e) to (/) Second sentence, key B four bars.
; Extended to six bars (/) to (g).
" "
(A) Short link leading back to key E.
(i) to (k) Repetition of first sentence (the third section being different).
(k) to end. Repetition of Prelude.
122 This form may be extended by adding (a) An introduction (as above) (b) Connecting
;
" " " "
or episodical passages between " the sentences. Mendelssohn's Songs without Words
(Lieder ohne Worte) are nearly all in song-form." They exhibit all sorts of devices for securing
variety and continuity, and the student may analyse them with advantage at this stage.
" "
123 If groups of sentences paragraphs be substituted for simple sentences in the
three main divisions of "song-form," and introductory and other instrumental passages added,
we get the " Grand Aria " (or Aria da Capo) described in Chap. V, Par. 95.
124 EXERCISES IN SIMPLE SONG-FORM. Continue each of the following as suggested, adding
phrasing and expression marks at pleasure.
N.B. In writing pianoforte music it is not necessary to keep rigidly to the rules of four-part vocal
"
harmony, although, as Weber remarks, they should be the foundation of all music." Notes of chords
may be freely doubled in either hand, and many other freedoms are allowed. It is, however, not desirable
to let the bass move in octaves with any upper part (except of course in unison passages), though it may be
" "
doubled in the left hand at pleasure :
Not desirable. Good.
(i) Song without Words for Pianoforte.
ist sentence, 8 bars, ending in

Key A.
2nd sentence, 8 bars, chiefly
in Key E.
Repeat ist sentence, with or
without modification.
Short Coda, 4 bars.
"
(2) Violin Solo. Meditation."
mp ist sentence, 16 bars (or extend
to 20), chiefly in minor. G
j^ Andante.
2nd sentence, 16
D major.
bars, chiefly
G minor,
S3 I
Repeat
or in
ist sentence in
G
major.
Short Coda.
N.B. Keep to the
gb
^-
' I, > EX1 compass of the
zC u I [ tor=g|
'p' 1--; violin from
"
(3) Flute Solo. Romanza."
.^
^ ist sentence, 16 bars, Key D.
3E3!: :JHi ~_ rL~*~* 2nd sentence, 16 to 20 bars,
3i^ '
^<- Keys B[y, D minor, and A

major.
Short link.
Repetition, varied, of ist
sentence.
&C. Short Coda.
N.B. The most
effective com-
cr. pass of the flute
is from
(4) Introductory Voluntary for Organ or Harmonium.

Moderate. ist sentence, 16 to 20 bars,
mainly in F major.
2nd sentence, 16 to 20 bars,
mainly in C major.
The student should now compose a number of pieces in on his own

m Repetition
samemelody,
harmonized.
"
of ist
differently
Coda on a tonic pedal.

"
sentence,
song-form
initiative or he may imitate any of the numerous models to be found in the works of good
;
composers.
125 MINUET AND TRIO FORM. The Minuet (German, Menuett ; French, Menuet ; Italian,
Minuetto, or Menuetto), was a graceful, rather slow dance in triple (generally 3-4) time, invented
about the middle of the I7th century.
Like many other old dances (see Par. 116) the original Minuet consisted of two portions
(sentences) of eight bars, each repeated. Bach sometimes used this original form, as in the
following (from No. 4 of the French Suites) :
Tranquillo (J = 108). tr
m
Minuet and Trio Form, 139
tr
tr
N.B. In his later Minuets Bach generally extended the second part to double the length of the first
part.
As instrumental music became developed, a second Minuet in some related key and
generally of a quieter character was alternated with the first. They were" marked
" " " " " "
Menuetto i and Menuetto 2." Afterwards Menuetto 2 was called the Trio
possibly because it was originally written in three-part harmony.
"
N.B. The term " trio is now applied to many other middle portions contrasting with other portions
of a piece.
The Minuet and Trio formed a part of many of the old Suites, and became with Haydn
a regular movement in the Sonata, Symphony, etc. Beethoven developed the Minuet into
the Scherzo.
The MINUET AND TRIO FORM, as exemplified in Haydn and Mozart, is as follows :
I. MINUET (a) First portion, 8 to 24 bars

:
; repeated ; (6) Second portion, generally
longer than the first ; repeated.
II. TRIO Exactly similar in construction to the Minuet.
: Sometimes in the same
key ; sometimes in a nearly-related key.
III. DA CAPO of the Minuet generally without repeating the two separate portions.
;
A CODA is sometimes added, to be played after III.
MENUETTO.
Symphony in G minor, MOZART.
TRIO.
^*-F Q
March Forms. 141
3:
g_f m
EXERCISES Write marches (slow or quick at

:
discretion) on these models in the keys
of A, G, D, and F major, and B, E, A, and C minor.
They may be written for pianoforte, organ, or harmonium at pleasure, in good full chords, with marks
of expression and phrasing added.
" " "
(b) The three-sentence paragraph or song-form."
SEE THE CONQUERING HERO.

HANDEL. Judas Maccabceus.
3 ^
Repetition of 1st part.
"7
EXERCISES : Write marches as above on this model, in the keys of Ej?, Ab, C, and
Bb major, and D, F, G, and F# minor.
"
(c) The "Minuet and Trio Form.
N.B. The old alternative Minuets might be both in the same key but in modern ;
pieces in this form the Trio is nearly always in a different key. Major pieces generally have
their Trio in the key of the subdominant. Minor pieces are not so regular.
Allegro moderate. MARCHE HEROIQUE.

i
- SCHUBERT.
r# u
:5=zz
142
FINE.
3BS ^
-fe
Military marches are generally

m the form of this
ofan
N0 - by
of C, F,
and Trio lorm, in the keys
EXERCISES Write marches-as above-in Minuet
:
G, and E major, and C, F, G, and

E minor.
" " of Minuet and Trio form.
The Mendelssohnian March is an extension
(rf)
" - serve as
War March of the Priests may
The following analysis of the favourite
guide to any marches in this form the student may be movec
made the first note of the next.
Note the elision of a bar here. The last note of one phrase i.
143
War March from Athalie.
WAR MARCH FROM ATHALIE.

ft)
-&-
ftr ,.
Dance Forms. 145
(a) to (h) First paragraph threefold.

;
ist part (a) to (c)

2nd part (d) to (/)
3rd part (g) to (h) an abbreviated repetition of
;
(a) to (c).
(k) to (p) Trio of three sentences (in the subdominant key).

ist sentence (k) to (I)
2nd sentence (m) to (n)
3rd sentence a repetition of first sentence (K) to (/).
(o) to (p) ;
(q) to (r)Connective passage.

(s) to (t) Third paragraph repetition of (a) to (c)
;
(u) to end. Coda.

() to (v) First sentence of Trio (given twice) in the principal key of F major.
(x) to (y) First four bars of (a)
(z) to (i) The same, an octave higher
(2) to end. Peroration based on fifth and sixth bars of (a).
128 VARIOUS DANCE FORMS. Like the Minuet, many other dances are extended by the
"
addition of an alternating Trio."
EXERCISES Complete each of the following for the pianoforte on the

:
lines sketched
out ; all of them have been taken from good popular specimens.
(a) BARCAROLE. An imitation of the Venetian Gondoliers' songs, in 6-8 time, and rather
slow.
ist part, 8 or 16 bars,
Grazioso. &c ending in Key F.

2nd part, responsive,
p
in related keys,
ist part, Da Capo.
"
See also Mendelssohn's Songs without Words," Nos. 6, 12, and 29.
A
(b) BOLERO, or CACHUCA.
following rhythms are characteristic :
| f C r r and r wr
Spanish dance, in 3-4 time, and not very quick.
r r
The
BOLERO. (A) ist part, 8 or 16

bars, ending in
Key D.
2nd part, responsive,
&c<
ending in Key G.
_= (B) Write a Trio of
similar construction
in Key C.
(C) Da Capo of A ; and short Coda at pleasure.
(c) BOURREE. See No. 8, Par. 117, page 135.

" "
Add a Trio to the Bounce already composed, in three-part harmony, and in
the key of G, commencing thus :
(d) GALOP. A very lively dance in 2-4 time, supposed to be of German origin.
(4) (i) 16 bars, modu-

lating to major. A
(2)Repeat, ending in
D major.
(B) (i) 16 bars, G
major ; Repeat.
(2) 8 bars, E minor ;
8 bars, G major ;
repeat.
(C) Da Capo of the whole of A.
(e) GAVOTTE. See No. 7, Par. 117, page 135.

" "
Add a Trio in C major and A minor to the Gavotte already composed.
" "
The following also in E major shows a more varied key-plan
GAVOTTE
(A) (i) 8 bars, E major,
-
pp, ending in Tonic

Key.
(2) Repeat //.
(3) 8 bars, E minor ;
repeat ad lib.
1
(4) Da Capo of (i)

and (2).
(B) TRIO. (i) 8 bars, A major, pp (ending in A majo-).
(2) Repeat in 8ves.
(3) 8 bars, A minor ; repeat ad lib.
(4) Da Capo of (i).
(C) Da Capo of the whole of A. Coda at pleasure.
(/)
MAZURKA. A lively Polish national dance in triple time, quicker than the Polonaise
or Polacca, but considerably slower than the Waltz.
Characteristic rhythms :
| I*'-* f f ||
f-* 3 j || f f ||
(A) (i) 16 bars, Key Bjj, ending in

Tonic key ;
not repeated.
(2) 8 bars, Key G minor ;
repeat.
(3) Da Capo of (i).
(B) TRIO. (i) 16 bars, KeyE^, ending
in Tonic key not repeated.
;
Dance Forms. 147
(h) POLONAISE or POLACCA. A Polish dance in 3-4 time and moderate tempo.
Chopin's Polonaises are the best classical examples of this form, and they should be carefully studied.
They however, intended for the concert room, and not for dancing.
are, Schubert's Polonaises are also
noteworthy.
8 bars, A minor,
(^4) (i)
ending in Tonic key ;
repeat.
(2) 8 bars, E major,
followed by the 8
bars of (i) ;
all
repeated.
(B) 12 bars, keys
Fed. * Fed. C, G, C ; repeated.
(C) Da Capo of the whole of A.
(i) REDOWA. A lively Bohemian dance now in 3-4 time ; originally in alternating 2-4
and 3-4 time.
(A) (i) 8 bars, KeyC;

repeat.
(2) 8 bars, Key G;
repeat.
(3) Da Capo of (i).
(B) Trio of similar
construction in F
D minor, and F.
(C) Da Capo of A.
129 Other dance forms, as the Cracoviak, Pavan, Quadrille, Rigadoon, Saltarelle, Schottische,
Strathspey, Tarantella, Varsoviana, and the various kinds of Waltz, are constructed on similar
lines, and the student will have no difficulty in finding models if he desires to compose any
of them.
It should be mentioned here that many marches, dances, and similar compositions are extended by
"
having two Trios. The whole form then becomes 5-fold," and is of the nature of a Rondo. (See Chap. XI.)
A. Principal paragraph (or group of sentences).
B. First Trio.
C. Repetition of A.
D. Second Trio.
E. Repetition of A.
F. Coda, ad lib.
Mendelssohn's Cornelius March is a good example of this form.
148
CHAPTER X.
COUNTERPOINT. CANON. FUGUE. MODULATION. PHRASING.
130 It is assumed that the student has been pursuing his harmony studies, and is
by this
time able to handle effectively all the more usual chords and progressions. He may now turn
his attention to the subjects discussed below.
"
131 COUNTERPOINT. Counterpoint may be defined as the art of combining melodies."
Strict counterpoint is an artificial system of composition supposed to be based on the
works of the composers of the i6th century.
Counterpoint had its origin in attempts to add accompanying parts to the Plain-song
of the early Church. The word is derived from the Latin punctus contra punctum (point
" "
(i.e., notes) in one part against
those in another.
against point), the setting of points
The essence of counterpoint is the writing of beautiful or, at any rate, singable melodies.
It includes Canon and Fugue, and may be written in any number of parts ;
but part-writing
in more than eight distinct parts is generally useless and ineffective.
132 We cannot allow space to discuss the rules of Strict Counterpoint in this work.
sufficient
The student is, and Pearce's Student's Counterpoint
therefore, referred to Oakey's Counterpoint
(see p. 3). Although no great composer ever rigidly adhered to the rules of strict scholastic
counterpoint as laid down in text-books, it must not be supposed that counterpoint has little
value in practical composition. The ingenious devices and spirit of counterpoint are found
"
in nearly all good music and most of the greatest composers have been
; profound
contrapuntists."
" "
The following are examples of what is called Free Counterpoint :
(a) First Species :* note against note.

HANDEL.
N
~
c
Wor
I
-
thy
I
.
is
!
.
the
X.
Lamb
:
that
I
"FT
was slain.
-J-
N.B. Hundreds of other examples may easily be found.
(6) Second Species : two (or three) notes against one.
HUMMING SONG. SCHUMANN.
(~t
Counterpoint. 149
&c.
SS
S
MAY, DEAREST MAY. SCHUMANN.
HARMONIOUS BLACKSMITH.
3 against 1. HANDEL.
Â ^^ ^^ R^~^P\ eatfl ^<"a"f
(_* ^^^~ ^pi~f*tf ^~* ^T^ _^tfn
iji-^-
3 =3*_
r-*^r- -J-îLJ-J-^
h J , X
BEETHOVEN. Op. 7.
(c) Third Species : four (or more) notes against one.
AIR VARIED.
4 against 1.
HANDEL.
_B .
_^
r
SCHEHERAZADE.
SCHUMANN.
-Q _ )-m a
rr Tr
P ^ &c.
5 (and 3) against 1. CHOPIN. Op. 32. No. 2.
Fed. * Fed. * Fed. * Fed. * Fed. * Fed.
BEETHOVEN. Op. 2, No. 3.
BEETHOVEN. Op. 2, No. 3.
"
N.B. The demisemiquaver rest counts as one of the 8."
16 against 1. BEETHOVEN. Op. 7.

Counterpoint.
(d) Fourth Species :

Syncopation.
BEETHOVEN. Op. 10. No. 2.
FAST ZU ERNST. SCHUMANN.
Fed. ^s^=Msss=fc^stetfc=
(e) Fifth Species : Florid Counterpoint.
1ST AND 2ND TREBLES. BACH. "Mass in B minor.'
ALTO.
f&
TENOR
5 j j j^*nr ^ ^ .j j. ^ I
i x.^
=*=g==^p= !EgSÊ*jgE^= ESS
BEETHOVEN. "
Mass in D.
TREBLE AND ALTO.
__, J.
^1 *-
g/->J^
=*
i-*-ti^^^ !
f-\ :î^:( 1 I I
V //
* r jl=gE
! I I
rf*=
r
&c.
r- --
133 DOUBLE COUNTERPOINT.* A counterpoint added to a given theme or two melodies

composed simultaneously so that either may serve as a higher or lower part to the other.
BACH. Prelude in C minor.
" "
The 2nd bar is the inversion of the 1st bar ; i.e., the treble of the 1st bar becomes the bass of the 2nd
bar, and vice versa.
" "
Double counterpoint be constructed to
may invert at any interval, as 8th, loth,
nth, I2th, etc. Counterpoint invertible at the 8ve (or I5th) is the most usual and useful.
It is constantly employed in fugal writing.
"
Example of Double Counterpoint in the 8ve. and also in the 12th. from MOZART'S Requiem."
mm
Inversion in the 8ve.
jn:j^
Inversion in the 12th (Relative Major).
134 TRIPLE COUNTERPOINT. Three melodies, either of which may be bass, middle part or
upper part. It admits of six different arrangements :
Overture, Messiah. HANDEL.
J &c.
-1
4=
"
See Sir F. Bridge's Double Counterpoint and Canon," Novello & Co., M.
153
BACH. Fugue in c minor.
interchangeable, admitting of
Adapted from ZIMMERMANN.
&
"lliJrkzinzzzinn ! li-m 1 i
BACH. Fugue in Bb minor.
&c.
136 QU.NTUPLE COUNTERPOINT. Five interchangeable melodies-iao

possible arrangements.
IST VIOLIN. Finale, "Jupiter Symphony," MOZART
tr
_ .
.
j
BASSO.
s
n
A P,r r T
Perpetual Canon or Infinite Canon is one which
, etc.
" may be repeated ad lib

ids are a special kind of Infinite
Canon at the unison
^^^
es and methods of construct, see Sir F. "

Bridge's Doub,e Counterpoint and Canon," NoveUo & Co., , S
"
are quite completed the second theme and is imitated at the 4th, 8ve, and nth above."
starts in the bass
The first theme, extended, is then" again treated at the sth, 8th, and I2th. At the isth bar, both themes
enter together, and it becomes a canon 4 in 2." The whole movement is a masterpiece of ingenuity.
DONA NOBIS.
BACH. Mass in B minor.
=t
1st Theme.
*.
3E
2nd Theme.
2nd Theme (varied) .
" "
Strict Infinite Canons are not now much used, but free canonic imitations are of
frequent occurrence.
" "
An accompanied canon has free parts for various instruments. The free parts
are said to be ad,
placitum.
Canon. 155
The first part of the Credo in Haydn's Imperial Mass in D

is a fine example of an accompanied canon
2 in i at the under 5th (the treble in octaves with tenor and the alto in octaves with bass) :
VO.CES.
.
=F
I
Jz=J=
i ACCOMPT.
J j
4-^=^=4=^^=4=+=!
It j J_ ^=3 T^j-J
^g|" :
;
=3= i d=^ j J
^^-J-44d^=J^=bU=î
^=J r? r~NP*r^ ~T~^ '
r
r
&c.
" "
A Canon by augmentation is one in which the notes of the consequent are double
(or triple, quadruple, etc.) those of the antecedent.
" "
A Canon by diminution is one in which the notes of the consequent are shorter (one-
half, one-third, etc.) than those of the antecedent.

In the following, by Cooke, the antecedent in the bass is given in the tenor by Augmentation, and
at the same time, in the treble by Diminution
r7jj-J jjrj=3
&c.
g
=^ e
" "
A Canon
per Recte et Retro is one that may be sung forwards and backwards at the
same time, producing two parts in one.
Example from SIMPSON.
i 5
Many other varieties of Canon were invented by the old contrapuntists, but they have
little practical value.
(For Canonic Imitations, see Chapter VIII.)
138 FUGUE.* A Fugue is a composition developed from one or more short themes in
accordance with the following principles :
The essential features of a fugue are
(i) The SUBJECT (or THEME), (2) the ANSWER, (3) the COUNTERSUBJECT.
The Subject is usually a short, definite theme of from two to eight bars in length.
The Answer is the transposition of the Subject into the Key of the Dominant.
The Countersubjectis the part which accompanies the Answer at its first It is
entry.
a continuation of the subject, and is usually written in Double Counterpoint, so that
generally
it may be used regularly above or below the Subject and Answer at each successive entry. Some
fugues, however, have no regular countersubject.
Other prominent but not absolutely necessary features of fugue are
(1) EPISODES ; connective passages, generally based on some fragment of the subject or
countersubject.
(2) STRETTO. The bringing closer together of the entries of the subject and answer in
canonic imitation.
(3) A Dominant or Tonic PEDAL (or ORGAN-POINT).

" "
Cherubini enumerates the following artifices which may be used in fugue :
(1) Imitations of every kind.
(2) Double Triple, or Quadruple Counterpoint.
(3) Inversion of the subject in contrary motion.
(4) Introduction of a new subject, which may be combined with the first subject and
countersubject.
(5) Various forms of stretto.
(6) Using subject and its inversion together in contrary motion.
(7) Combining subject, countersubject, and stretto on a pedal.
(8) Augmentation or Diminution of the subject.
No fugue ever contains all these "artifices," and hardly any two fugues are cast
in exactly
the same mould. The
following short fugue from a chorus in Haydn's Creation exemplifies
the general principles of fugal construction. The chorus as a whole will be referred to later
(see Chap. XI).
" "
may, perhaps, be said that the Exposition
It see page 159 is the
only part of a
fugue which is regularly constructed by all composers. In the later portions, each composer
develops the themes according to his own discretion and ability.
"
See Fugu." Higgs: Novello & Co., is.
Awake the harp. 157
AWAKE THE HARP.
HAYDN. Creation.
10 BARS
CHORAL INTRODUCTION.
h
,J J
+1&f-=^
f^
1
ffÊTT
aLJ7ij-//j i-^-Ltt
P
J
gc r^-g r
s^^ J_l.&
J^^ JJ^J-J-^
A TT^
. ^ 1
-r/^T
B ^g^f
158
14 concluding bars based

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

(I) The EXPOSITION, or first enunciation of the theme by all the parts in turn ; (a) to (/).
(a) Subject in Bass, Key D.

(b) Answer in Tenor, Key A.
(c) Subject in Alto, Key D.
(d) Answer in Treble, Key A.
(e) Subject in Bass, Key D, imitated a bar later in Alto.
N.B. These two bars, (e) to (/), give a "Redundant Entry" in the Bass, and also
serve as a connecting link.
(II) The MIDDLE GROUP OF ENTRIES ; (/) to (/).
N.B. Most of the entries in this part are in related keys, and the whole is freer in style.
(/) Subject in Treble, B minor.

"
(g) Subject in Bass, E minor ist three notes Augmented." ;
(h) Subject in Tenor, G major ist note prolonged. ;
(/) Subject in Bass, F# minor ist note prolonged to three beats. ;
(k) Subject in Treble, A major.

(I)
Short episode. The accompaniment "fills in" here, and leads to thestretto.
(III) FINAL GROUP.

(m) Regular stretto in all the parts, in reverse order to the entries in the
Exposition.
Note the ingenious canonic imitations between Bass, Treble, and Alto.
(n) Final entry of the subject in the Treble, Key A Dominant Pedal in the Bass. ;
N.B. A fugue complete in itself would, of course, end in the principal key. Here,
however, Haydn makes a pause on the dominant chord in order to bring in the concluding part
of the chorus in the principal key with more freshness.
139 MODULATION. key or mode.

Any change of
"
N.B. Mr. Curwen defines Modulation as a change of Mode, from Major to Minor,
"
or from Minor to Major he calls a change of key (from Major to Major, or from Minor to
;
" " "

Minor) Transition while a change of both key and mode is a
; Transitional Modulation."
" "
In common usage the term modulation covers all these various meanings.
"
A modulation is one of the most striking effects in music
fine but to abandon a key ;
which has scarcely been propounded to skip to and fro, merely to leave a place in which you
;
are incapable of maintaining a footing in short, to modulate for the sake of modulation,
;
betrays an ignorance of the art and a poverty of invention." Moore,

The older composers (including Bach and Handel) rarely modulated beyond the five
*'
attendant keys."
Modern composers modulate much more freely and extensively.
The affinity relationship of keys may be seen in the following " Chart of Keys "
(relative minors being given below their relative majors in italic capitals) :
Number of flats in signature. Number of sharps in signature.
7~ 6 5 "7 1 2 i
F
i~
G D
2 34"
A E B
5^ 6 7
Cb Gb Db Ab Eb Bb C F# C|
A\> E\> B\> F C G D A E B F| C G$ DJ A*
(a) ATTENDANT KEYS.

(i) Of a major key
the key on the right and that on the
; left, the relative minors of these
two, and also that of the principal key.
Thus the five attendant keys of C major are G major, F major, A minor, E minor, and D minor. The
five attendant keys of Eb major are Bb major, Ab major, C minor, G minor, and F minor.
(2) Of a minor key

the key on the right and that on the left, the relative majors of
;
these two, and also that of the principal key.

Thus the five attendant keys of C minor are G minor, F minor, Eb major, Bb major, and Ab major.
The five attendant keys of F$ minor are C* minor, B minor, A major, "
E major, and D" major. By glancing at
the above chart, the student will have no difficulty in finding the five attendants of any major or minor
key.
(b) REMOVES
OF KEY. The number of removes of any one key from any other may be
found by counting along the right of the Chart for sharp removes, and along the left for flat removes.
"
Thus from key G to" key B we count D, A,"E, B, i.e., four sharp removes." Similarly from key Bb
to key C we count F, C two sharp removes from A to Bb we count (along the left) D, G, C, F, Bb
;
" "
removes
five flat etc.
;
"
From key C to key E minor is one sharp remove to the minor," etc.
The three methods of modulation are (i) Diatonic, (2) Chromatic, (3) Enharmonic.
"
(I) DIATONIC MODULATION. By using a modulating (or transmutation ") chord
common to the key we
are leaving and that which we wish to enter :
Example C major to E minor.

:
Here the chord marked * is approached as the chord of the Submediant in C major and quitted
" "
as the chord of the Subdominant in E minor. The modulation is said to be established
by the Perfect Cadence in the new key.
N.B. In a diatonic modulation to a minor key the minor 6th of the new key should
be introduced as soon as possible.
(II) CHROMATIC MODULATION. This may be accomplished in an infinite number of
ways. The following are among the most usual :
(a) By the dominant 7th of the new key :
Transient modulation to Bb. <", D minor, and
A noteworthy modulation of this kind is that of " five flat removes," by retaining the old tonic as the
new leading-note :
C to Db. G to Ab.
(b) By regarding a chromatic concord of one key as a diatonic concord of another :
C major to Ab major.
Subdominant minor triad

of Key C quitted as
submediant (L) triad of Ab
major.
Modulation. 161
C minor to Afc> major.

*
Neapolitan 6th (TA&) of

C minor quitted as ist inversion
of Subdominant (Fb) of Ab
? o r-^ 1
n major.
EEEEÊEEE=E=H
(c) By regarding a diatonic concord of one key as a chromatic concord of another the
-
reverse of (b)
:
C major to E major.
i=il Tonic Triad (D) of Key C

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

Triad (D6) of Key Dfr quitted
as Neapolitan 6th (TA6) of C
minor.
w
-fc-^ :
-H
^==^=N i b
(III) ENHARMONIC MODULATION. This also admits of infinite variety. The following
methods are usual :
(a) By enharmonic treatment of the diminished seventh :
F minor to D minor. .
__!_
The Db at # is repeated as Cj.
By means of the diminished 7th, modulation can be effected from any key (major or
minor) into any other key (major or "minor), some of the modulations being chromatic and
others enharmonic. (See Macfarren's Lectures on Harmony," or any standard treatise on
harmony.)
(b) By quitting the Dominant 7th as if it were an augmented 6th :
C to B minor. C to B major.
=t I
The Ffl at # is quitted as if it were
F major to E major.
*
II
The Bb at * is quitted as if it were AJ!.
N.B. An augmented 6th can be so manipulated as to effect modulation into at least

17 other keys.
(C) By quitting an augmented 6th as if it were a Dominant 7th the reverse of (b) :
F major to Gb major.
m &&==
"*rs
The BJJ at # is quitted as if it were Cb-
(d) By a progression of semitones in contrary motion until the required key is reached
partly chromatic and partly enharmonic in character :
From Lavignac.
J v
J LJ.X | s
'
From Lavignac.
4.
^^^^^=^=K=
&c.
SUDDEN MODULATION. In modern music especially at a pause, or at the beginning

of a new sentence, paragraph, or movement composers do not hesitate to plunge at once
into a new key however remote without any intervening "common" or "modulating"
chords :
C.
Fine examples of every kind of Modulation may be found in Beethoven's pianoforte

sonatas. Spohr's Last Judgment may also be studied for striking illustrations of chromatic
and enharmonic treatment.
140 PHRASING. The term " Phrase " is used with different meanings by different writers.
"
Some theorists use the word to mean what we have preferred in this work to call a section."
" "
Others more logically define a phrase as a definite musical thought or idea," or as a passage
of melody complete in itself and unbroken in
continuity."
In this sense a phrase may be a Motive, a Figure, a Sub-section, or a whole Section, and
it may
vary in length from two or three notes to quite a long passage of melody. Thus,
in the following, each of the
portions (a), (b), (c), (d) is complete in itself, and hardly
susceptible of further subdivision. The passage, therefore, consists of four phrases.
Phrasing. 163
A MO'TIVE (also pronounced Mo-teev'} is a short figure, passage, or theme, from which
a longer theme is developed.
A FIGURE, as used in the above sense, is any distinct and significant group of notes
(either melodic or rhythmic) :
Melodic Figures. BEETHOVEN. Op. 14, No, 2.
I I I
V ' I I I
!
'
I I I I
I
MOZART, Symphony in G minor.
-
P-+-0 W 9 [-0 I = B^
BEETHOVEN,
Rhythmic Figures.
We have already seen that any rhythmic figure may be the basis of an unlimited number of melodic figures.
The term PHRASING covers

(1) Musical punctuation. This includes (a) the more or less emphatic delivery of phrases
(whether motives, sub-sections, figures, subjects, or sections) with regard to their relative impor-
" " " "
tance (b) the
;
attack of each phrase, and its release (by slightly cutting short the final
note).
(2) This includes the proper delivery of the individual notes
Musical articulation.
(especially in instrumental music) and marks indicating "musical articulation" are generally
;
carefully added by modern composers, as for example, in the following :
BEETHOVEN.
Staccato sempre. Op. 2, No. 2. legato.
ff.
&c.
MENDELSSOHN. Violin Concerto.
" " " "

No hard and fast rules can be laid down for
the student must be articulation ;
guided largely by his own

perception.
An examination of Beethoven's pianoforte sonatas and any of Schumann's pianoforte
works (which are models of ingenious and delicate phrasing) will, however, be of great assistance.
" "
The style of phrasing will also be largely determined by the general character of the
music and the nature of the instrument for which a composer is writing.
Thus a broad and vigorous passage requires broad treatment probably no articulation
marks at all while a dainty violin or pianoforte solo may have almost every note marked.
"
We have already said that composers generally add marks for articulation " they ;
rarely add those for "punctuation." Occasionally, however, a tick (/) shows the beginning
of a phrase. or a curved line (like a slur or legato-mark) is drawn above the whole phrase, and
;
articulation marks also given :
*~ ~" ^= '
164
CHAPTER XI.
RONDO FORM. PART-SONGS. CHORUSES. ANTHEMS. CANTATAS.

ORATORIOS. OPERAS. OVERTURES. RECITATIVE.
141 A RONDO, or RONDEAU, is a composition in which a principal theme occurs at least
same key, with contrasting portions called Episodes between the repetitions.
three times in the
The following early example shows the construction in its simplest outlines :
RONDEAU. LES TENDRES PLAINTES. J. P. RAHEAU (1683-1764).

(a) Andantino.
mf V s i
tr
-&
Polyphony and Homophony. 165
142 Haydn, Mozart, and Beethoven considerably extended the resources of the early Rondo,
and frequently employed it as the last movement of a Sonata (see Chap. XIV).
Instrumental Rondos are now rarely written but the compact form of the original
;
Rondo as exemplified above is often used in choral music.

"
143 POLYPHONIC AND HOMOPHONIC Music. Polyphonic means many-sounding."
It refers to music in which all the vocal or instrumental parts are of equal importance
(as in Fugues, Canons, etc.).
"
Polyphony is, indeed, only another name for florid counterpoint," in which the parts
are regarded horizontally.
Chords are, of course, produced by the combined melodies, but the general conception
is melodic rather than harmonic.
"
The "Golden Age" of pure polyphony was the i6th century. Homophonic means
like-sounding." It refers to music in which the treble (or highest part) is of paramount
importance, the other parts being of the nature of chordal accompaniment and generally of the
same rhythm as the chief melody. The music is regarded vertically rather than horizontally,
the general conception being harmonic.
" " " "
N.B. Poly-rhythmic and Homo-rhythmic would almost be better terms.
Modern music is more often homophonic than polyphonic. In the best classical choral
and instrumental music the best features of polyphony and homophony are combined.
EXAMPLES (i) Polyphonic, Contrapuntal, Horizontal parts independent and equally
: :
interesting :
Opening Chorus of BACH'S Passion (St. Matthew).
(2) Homophonic, Harmonic, Vertical Treble the chief melody (all parts same
rhythm) :
1st Chorus of GOUNOD'S Redemption.
Homophonic music is more easily appreciated by the ear, and more direct and emotional objective
in its effect. Polyphonic music is more subtle and involved, less emotional, but more intellectual subjective
in character. It should not, however, be said that either is better than the other. Each style has its
own excellences, nearly all great composers being masters of both.
144 PART-SONGS, MADRIGALS, GLEES, etc. A Part-song, as its name implies, is of the nature
"
of a song. It may indeed be called a song harmonized in three or more parts for choral
singing."
It is essentially homophonic in style (although occasional imitative passages may be
included), and consists practically of one principal melodic part with chordal accompaniment
for the other voices.
N.B. The principal melody is generally in the treble, but it may occasionally be in another part.
" "
The form of a part-song is like all other vocal music
largely determined by the
form of the poetry to which it is set, and
varies from that of a simple ballad to that of an elaborate
" "
through-composed song (See Chap. V.)
163
"
.
Thus *,
the i ar
popular
Oh
re,
wiU
>h, who wiu o'er the
o^
in truth,
"
^ ^^
Downs so free is a harmonized ballad (with
materially differ from
sacred part-songs
"
:
many modern
Treble part of "Oh, who will o'er the Downs?"
: *_9_ = - i=<^ =3= E3^=EE^3=:

The Madrigal. 167
The student will have no difficulty in analysing this .piece. Though constructed on such simple
lines, its form is perfect.
It is not necessary to give illustrations of all the various types of part-song ; we refer
the student to the following examples of different forms, which he should analyse and, if possible,
imitate :
"
Sweet and low (Barnby), Curwen & Sons, id.
O hush thee, my babie " (Sullivan),
"
Curwen & Sons, 2d.
Fancy dipped her pen"
in dew (Cowen), Boosey & Co., id.
Joy to the victors (Sullivan), Novello & Co., 3d.
"
Novello & Co., 3d.
Fairy Song (A." Zimmermann)
,
Lullaby of Life (Leslie), Novello & Co., 4d.

"
March of the Regiment (De Rille), Curwen & Sons, 6d.
"
March of the Patriots (A. Adam), Curwen & Sons, 3d.
The accompaniment to all the above is simply a duplication of the voice parts, and
may be omitted. "Free," obbl'gato accompaniments are, however, sometimes added; as in
"The Song of the Vikings," Eaton Faning (Novello & Co., 6d.), Elgar's "Swallows" and
"The Snow" (Novello), etc.
The MADRIGAL is a vocal composition, generally in imitative counterpoint in from

three to eight parts, especially characteristic of the iyth and i8th centuries.
In style it is essentially polyphonic in having each part independently interesting and

melodious, but the music is not usually very florid, and involved intricacies of rhythm (as in
Bach's choruses, for example) are rare. It is best without any kind of accompaniment ; and
"
long rests should be avoided, the voice parts being generally kept busy."
COME AGAIN, SWEET LOVE.

(MADRIGAL.)
S.A.T.B.
i
'
JOHN DOWLAND, 1597.

! i i
i
gpEBEpp j?=fc3= -pz f .--5- 1

g-
ores.
I sigh I weep
Glees and Choruses. 169
The GLEE a piece for three or more solo voices.

is
an English form of composition, its best period being from 1760 to 1830.
It is peculiarly
It has now been practically superseded by the part-song.
In many respects the Glee is allied to the Madrigal but whereas the Madrigal is best
;
sung by a chorus, the Glee is intended for a solo voice to each part.
Any of the following typical glees

"
may be consulted :
"
"
How merrily we live " (Este).
Where the bee sucks
" (W. Jackson).
"
Glorious Apollo (Webbe).
"
"
When winds breathe soft" " (Webbe).
Thy voice, O "Harmony (Webbe).
"
"
O happy fair (Shield).
"
Here in cool grot
" " Mornington).
(Lord
Breathe soft, ye winds
" " (Paxton).
"
Ye shepherds, tell me (Mazzinghi).
"
Five times by the taper's (Storace).
" " light
The Red-Cross Knight (Callcott).
" "
"
Hark, the lark (Cooke).
"
"
Awake, Êolian lyre (Danby).
"
The cloud-cap't"
towers (Stevens).
"
From Oberon (Stevens).
"
"
Hail, smiling morn (Spofforth)."
"
The bells of St. Michael's tower (Knyvett).
" "
Ossian's Hymn (Goss).
" "
Winds gently whisper (Whittaker).
N.B. All obtainable from Messrs. Curwen, Novello, or Boosey, from id. each.
The Glee should properly be unaccompanied.

" "
Glees have, however, been written.
Many accompanied Bishop's Chough and Crow
(Curwen, 2d.), and Attwood's "Hark! the curfew's solemn sound" (Boosey, id.) are good
examples.
"
145 CHORUSES. The word Chorus has a variety of meanings it may mean a company ;
" "
of singers," the choir as distinct from the soloists and instrumentalists," a refrain of a song
"
or ballad," etc. in composition it means
; something to be sung by a choir or choirs."
A chorus represents the combined feeling of a number of persons, and may correspond
to any mood or emotion. Its form depends on the nature of the words which may be
either poetry or prose and on the sentiment to be expressed. It varies, therefore, from the
ejaculations of the crowd (as in Bach's St. Matthew Passion, Mendelssohn's Elijah, Nos. 10,
23, etc.), to long-sustained reflective movements or highly- developed songs of praise and
adoration. Hence a chorus may be in any one of the regular forms, or it may be entirely
"
"descriptive" and " through -composed." When set to poetical words it can hardly help
being in some sense formal," as long as the accents of the music conform to those of the words.
(See Par. 63, Chap. Ill), and this holds universally" in musical composition. When, however,
it is set to prose words, care must be taken to have balance of phrase and metre," or the result
will be musical chaos. Speaking broadly, the more irregular the construction of the words
the more regular ought the construction of the musical sentences to be. There are, of course,
numerous exceptions to this rule, which can only be determined by long experience the ;
beginner is advised to follow the rule carefully.

146 The following include most of what may be called the "regular forms" of choruses
"
as distinguished from ejaculatory phrases."
(i) A harmonized Choral or Hymn-tune.
BACH'S St. Matthew Passion, No. 16.
I ^ i-*l I ! I .
/T\
:=f
-F i
&T- if
^* *J WJi*"T~ I
r ^J3
I
ft
am the trai tor, No sin than mine is great

- er ; Would 'st
W
TN
3E5*E
?
r-*r r r r
cast me in - to hell, With hea_- vy fet -
ters bind me, Of
*):
j
*
>
j
*
FT"
rr^'i
i -J
c
^
all my griefs re mind me, The worst my soul would me - rit well.
i
s =SS
jjaj.
I
I
See also Mendelssohn's St. Paul, Nos. 3 and 9.
" "
Hymns are used in a similar way in Stainer's Crucifixion ; O gladsome Light in Sullivan's Golden
Legend is an example of extended hymn-form.
(2) A Choral with instrumental prelude, interludes, etc. (sometimes with an elaborate
accompaniment throughout). Frequently the interludes are developed from phrases of the
Choral.
One of the finest examples is the concluding chorus of Bach's Christmas Oratorio
2nd phrase.
pnrase. <r- 1
1st phrase of Choral.
-j= ff-i:
Instrumental
2 bars
prelude, Interlude. .; 1 12 Ji
-J Jj
12 bars.
(ffife
fcss
^ppts^r^ m
-
3rd phrase. 4th phrase.
.
I
1- 1
r^rj-
41 bars ^
r^FpP^P 2\ bars
Interlude. Interlude.
^sss^sfe^
5th phrase. 6th phrase.
3 bars 5 bars 11 bars

Inter - < Inter - Post-
lude. lude. lude.
All the vocal phrases have orchestral accompaniment

^M^^
in the style of the Prelude.
For other examples see Mendelssohn's St. Paul, Nos. 16 and 29 (second part), and
Mendelssohn's Hymn of Praise, No. 8 (first the simple choral, unaccompanied, and then the
choral in unison with figured orchestral additions).
Choruses. 171
(3) A Fugue, Double Fugue (two subjects), or Triple Fugue (three subjects).
"
Examples And He shall purify," " And with His stripes," " He trusted in God," Handel's Messiah.
:
Double Fugue, " We worship God," Handel's Judas Triple, " Quam olim," Cherubini's Requiem in C minor.
A
Canon, or series of Canonic Imitations.
(4)
Examples The first part of the Credo, Haydn's Imperial

:
"
Mass. (See p. 155, Chap. X.) The last
chorus of Bach's Mass in B minor. (See p. 154, Chap. X..) See what love," Mendelssohn's St. Paul.
(5) A stately Introduction in homophonic style followed by a Fugue.

" "
Examples : O Father, whose almighty power," Handel's Judas ; Worthy is the Lamb," Handel's
Messiah.
(6) A
three-fold form consisting of (i) an introduction homophonic (2) a fugue or ;
fugal exposition, or some other form of imitative treatment polyphonic (3) a Coda homo- ;
phonic generally a modified repetition of the Introduction.

This is a favourite and effective form of chorus much used in modern music.
" "
Examples :
Awake,
harp," Haydn's the
Creation (see p. 157, Chap. X.) Be not afraid,"
" " "
Mendelssohn's Elijah. Rise up, arise," and O great is the depth," Mendelssohn's St. Paul. The night
is departing," Mendelssohn's Hymn of Praise. A modification of this form is the fine Choral Epilogue "
"
which closes Sullivan's Golden Legend.

Another three -fold form, so frequent in Mendelssohn as to be named after him, is (a) istTheme,
developed imitatively; (b) 2nd Theme, developed imitatively
" (c] combination of (a) and ; (b). Examples:
"
Blessed are the men," and "He watching over Israel (Elijah).
(7) A Rondo-like Form, in which a principal paragraph (or series of paragraphs) in

the chief key isalternated with other paragraphs (in the nature of Episodes) in other keys.
"
Example Awake, thou that sleepest," Stainer's Daughter of Jairus.
:
(8) Choruses of the nature of part-songs, madrigals, etc., are often employed in cantatas
and operas, and occasionally in oratorio.
"
The beautiful O
pure in heart," Sullivan's Golden Legend, is essentially a short unaccompanied
part-song. Other examples may easily be found.
(9) The older composers sometimes constructed choruses on a Ground Bass, a short
theme (or passage) repeated over and over again in the bass (or instrumental bass) with varied
upper (See Chap. VIII.)
parts.
Notable examples are The " Crucifixus," Bach's Mass in B minor ; " Envy, eldest born," Handel's
:
"
Saul ; The many rend the skies," Handel's Alexander's Feast ; " Ah, wretched Israel " (from the nth bar)
Handel's Judas.
(10) The Gavotte, Waltz, and other dance-forms, the March-form, and the Minuet
and Trio form, are also used for choruses.
A DOUBLE CHORUS is a chorus for eight parts singing together, or for two separate four-
part choirs singing sometimes together and sometimes in alternation.
"
See Baal, we cry to thee," Mendelssohn's Elijah, and the fine double choruses in Handel's Israel
in Egypt and Solomon.
In addition to the choruses mentioned above, the following may be consulted for general
study :
"
Thanks be to God," Mendelssohn's Elijah ; a chorus mainly descriptive, with a picturesque accom-
paniment, and some very fine modulations.
"
How lovely are the messengers," Mendelssohn's St. Paul ; fugal and imitative, but not a strict
fugue.
"
Hallelujah Chorus," Handel's Messiah ; instrumental and homophonic vocal introduction, bars i
to ii ;exposition of first fugal theme, bars 12 to 33 homophonic episode, bars 33 to 41 exposition of second
; ;
fugal theme, bars 41 to 51 sequential episode, bars 51 to 69 counter-exposition of second fugal

; ;
" theme,
with
stretto-like imitations, bars 69 to 88 coda-like termination, bars 69 to end.
;
Observe the economy of
material," and the very few discords that are used in this sublime chorus.
"
Fixed in His everlasting seat," Handel's Samson. Note the gradual development of the fugue,
interrupted by choral interjections, and finally carried on by the accompaniment.
"
The heavens are telling," Haydn's Creation ; the " Hallelujah Chorus," Beethoven's Mount of
" "
Olives ; Praise His awful Name," Spohr's Last Judgment ; and Happy and blest," Mendelssohn's St-
Paul, are also magnificent examples of construction.
147 ANTHEMS AND SERVICES.
An anthem may be merely a chorus: most of the choruses named above are occasionally
sung as anthems or it
may consist of chorus with solo portions, duets, etc.
148 The church anthem is a peculiarly English form, developed by the requirements of the
It is analogous to the German church-cantata and the
English Protestant church service.
Italian motet. The words are generally from the Bible but of recent years Hymn- Anthems
;
have been largely used, especially in Nonconformist churches.

A " Full Anthem " "consists entirely of chorus.
A " Verse Anthem" begins with a portion to be sung by a single voice to each part.
A " Solo Anthem contains one or more "
portions
"
of solo.
"
Many anthems are a combination of Solo," Verse," and Full."
" "
149 The following is a list of what may be called typical classical anthems :
"
I will exalt Thee," Tye.
"
I will call and cry," Tallis.
"
"
Bow Thine ear," Byrd.
"
Lord, for Thy tender mercies' sake," Farrant.
"
Hosanna," Gibbons.
Hear, O heavens," Humphreys.
"
Praise the Lord, O my soul,' Creyghton.
Awake up my glory," Wise.
I was in the spirit," Blow.
O give thanks," Purcell.
O praise the Lord," Aldrich.
God gone up," Croft.
is
Hear crying," Weldon.
my
praise God in His holiness," Weldon.
1 will love Thee," Clarke.
O clap your hands," Greene.

O give thanks," Boyce.
Praise the Lord, O Jerusalem," Hayes.
The Lord descended from above," Hayes.
Call to remembrance," Battishill.
Grant, we beseech Thee," Attwood.
In exitu Israel," Wesley.
Methinks I hear the full celestial choir," Crotch.
The Wilderness," Goss.
150 The following also represent different types of anthem which may be of interest :
Arise, shine, for

thy Light come," G. J. Elvey (Curwen).
is
Be glad, O ye righteous," H. Smart (Novello).
"
Blessed be the God and Father," S. S. Wesley (Curwen).
"
Fear not, O Land," Goss (Curwen).
"
"
O Saviour of the world," Goss (Novello).
"
O taste and see," Goss (Curwen).
I was glad," G. J.
" Elvey (Curwen).
" Judge me, O God," Mendelssohn (Curwen).
"
O give thanks," G. J. Elvey (Curwen).
Send out thy light," Gounod (Metzler & Co.).
"
The Lord is my Shepherd," Macfarren (Novello).
"
"
What are these ?" Stainer (Novello).
"
O Lord, how manifold," Barnby (Curwen).
Ye shall dwell in the land," Stainer (Novello).
"
" Sing,
O heavens," Sullivan (Boosey).
Like as a father," Hatton (Curwen).
"
Ponder my
words," Sawyer (Novello).
HYMN ANTHEMS :
"
"
AHymn of the Homeland," Sullivan (Curwen).
Sullivan (Boosey).
" Lead, kindly Light,"
The radiant morn," Woodward (Novello).
"
Sun of my soul," Dunstan (Novello).
"
Abide with me," Dunstan (Novello).
"
Nearer, my God, to Thee," Dunstan (Vincent).
151 SERVICES consist of settings of the Venite, Te Deum, Jubilate, Benedictus, Magnificat,
and Nunc Dimittis, in anthem form.
As the words are not arranged in poetical feet and stanzas, special care must be taken
to preserve a good key-plan, a symmetrical balance of melodic phrases, and a clear metrical
form in regular sections and sentences. But the attempt to secure this regularity must not
"
lead to cramming too many words into a bar, which
produces the effect known as gabbling."
Oratorios and Operas. 173
" "
How many Sir John Stainer,
young men," says 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 sentences of all sorts of length, awkwardly stitched together without any bond of union, a mere
piece of patchwork."
152 A
CANTATA, ORATORIO, or OPERA consists of a number of choruses, solos, duets, etc.
in succession. It often commences with a Prelude or Overture, and generally contains Recitative.
The rule requiring a composition to commence and end in the same key or if
commencing in a minor key to end with the Tonic Major is sometimes observed in a long
work of this kind, but it is not by any means obligatory. It is remarkable that nearly all
Handel's great oratorios end in the key of D major, and that Mendelssohn's Elijah and St. Paul
also both end in D major.
(A) Beginning and ending in the same key.

WORK. COMMENCES. ENDS.
Ode to St. Cecilia's Day," Handel D major D major

Acis and Galatea," Handel Bb major Bb major
Israel in Egypt," Handel C minor* C major
Christmas Oratorio," Bach D major D major
The Magic Flute," Mozart Eb major Eb major
Requiem," Mozart , D minor D minor
Fidelio," Beethoven C major f C major
Elijah," Mendelssohn D minor D major
Hymn of Praise," Mendelssohn . .
Bb major Bb major
Der Freischutz," Weber C major C major
Stabat Mater," Rossini G minor G minor
Lohengrin," Wagner A major A major
Joseph," Macfarren E major E major
King David," Macfarren Bb major Bb major
The Revenge," Stanford G minor G major
Voyage of Maeldune," Stanford . . F minor F major
Repentance of Nineveh," Bridge A minor A major
Callirhoe," Bridge C major C major
The Dream of Gerontius," Elgar D minor D major
* After a short recitative, "f Beethoven wrote four overtures to this work. The fourth is in E major.
(B) Ending in a different key.
WORK. COMMENCES. ENDS.
St. Matthew Passion," Bach E minor C minor

Joshua," Handel Bb major D major
Joseph," Handel E minor D major
Hercules," Handel Bb major F major
Susanna," Handel A minor D major
Jephtha," Handel G minor D major
Esther," Handel Bb major D major
Athaliah," Handel G major D major
Semele," Handel C minor D major
Samson," Handel G major D major
Messiah," Handel E minor D
majoi
Judas Maccabaeus," Handel G minor D
majoi
Solomon," Handel Bb major D
major
Creation," Haydn C minor Bb major
Athalie," Mendelssohn F major C major
Walpurgis Night," Mendelssohn A minor C major
St. Paul," Mendelssohn A major D major
Last Judgment," Spohr D minor C major
Mount of Olives," Beethoven Eb minor C major
Paradise and the Peri," Schumann E major G major
La Sonnambula," Bellini G major Bb major
II Barbiere," Rossini E major G major
May Queen," Sterndale Bennett E major C major
Redemption," Gounod C major D major
Faust," Gounod F minor C major
Golden Legend," Sullivan Gb major E major
Eden," Stanford D major G major
N.B. A SERVICE, MASS, or other similar work usually begins and ends in the same key e.g., Schubert's
;
Mass in f, Spohr's Mass in C, Beethoven's Mass in D, etc. But there are some notable exceptions as
;
Bach's Mass in B minor ending in key D, and Mozart's (?) i2th Mass (in G) ending in key C.
153 The Instrumental Prelude may be a short Introduction, or an Overture in formal style
The following are the chief forms of Overture :
"
(1) LULLY," or FRENCH OVERTURE, ist movement, Grave ; 2nd movement, a
Fugue ; sometimes followed by a Minuet. Examples Handel's Messiah,
:
Judas, and Samson.
"
(2) SCARLATTI," or ITALIAN OVERTURE, ist movement, Allegro ; 2nd movement,
Slow ; 3rd movement, Allegro or Presto. Example Handel's Athaliah.
:
(3) CLASSICAL, or SYMPHONIC OVERTURE. In the form of the ist movement of a

sonata (see Chap. XIV) or symphony, but without repetition of the ist part, and generally less
developed in the Free Fantasia. Examples Mozart's Don Giovanni, Figaro, etc.
: Beethoven's ;
four overtures to Fidelio. The overture to Mozart's Zauberflote is a fine example of a classical
overture combined with a Fugue.
(4) POTPOURRI OVERTURE.
A loosely connected string of melodies from the work;
as most overtures to light and comic operas.
" "
(5) WAGNERIAN PRELUDE. A symphonic poem treating and blending themes
"
occurring in the musical drama, to prepare the hearers for the coming action." Examples :
All Wagner's later operas.
154 RECITATIVE ;
or MUSICAL DECLAMATION.
"
Recitative is the name commonly given to the Musica Parlante (i.e., spoken music ")
invented by Peri, Caccini, Cavaliere, etc., about the year 1600. The earliest kind of recitative
(Recitati'vo sec'co) consisted of a voice part with a very simple accompaniment, indicated by
a figured bass :
From PERI'S Euridice (the first opera).
3rr~ =?.
Recitniive. 175
(l) As usually printed.
And cry un . to her
/ ffp r' r r i
176 "he Composer's Handbook.
(l) As printed.
fL tiff *~i f'F

177
CHAPTER XII.
ACCOMPANIMENTS IN GENERAL.
(SEE ALSO CHAPTER V.)
156 ACCOMPANIMENT FOR STRINGED ORCHESTRA.

The stringed orchestra consists of ist violins, 2nd violins, violas (also called altos or
"
tenors), violoncellos, and double-basses. Collectively they are called The Strings."
157 (A) THE VIOLIN.
N.B. The ist and 2nd violins play on the same kind of instrument, the and violins playing from
the second line of the music.
The violin has four strings tuned thus
The highest string is called the ist (or E) string, the next the 2nd (or A) string, etc.
ist Violin The student may write any note for the ist violin from
but ^ *s not advisable in early exercises to go above

E F
2nd Violin Any note from low G to about is the best range for early work.
Double-stopping is the sounding of two or more notes together on the same violin. It
is easy when one
of the notes is an open string and the other note is on the next string above
or below and in addition all 5ths, 6ths, yths, and 8ves are playable.
;
But it is not wise for
the beginner to write much double-stopping unless he has a practical knowledge of the instrument.
In scores, the ist violin may be also marked Violino Primo, Violino l mo Vno , l
mo
,
or Vn im, etc.,
and the 2nd violin may be marked Violino Secondo, Violino 2 do Vno 2 do or Vn 2, etc.
, ,
(B) THE VIOLA.

The four strings are tuned thus xl gj_.j
DA
~ ^
But as the alto clef is used, these notes appear thus []^~
C G D A
The easy range is from the low C- up to about In the alto clef this
range appears thus to
It is not often necessary to go above F
D
Double-stopping is often used on the viola especially in slow passages, and when the
1st and 2nd violins play together in unison or octaves.
" "
In English scores the viola is sometimes called ttie Tenor in French scores it is generally called
;
"
the Alto."
(C) THE VIOLONCELLO.

The four of the violoncello are an octave lower than those of the
strings
viola :
E|=j \
Q Eas Y range up to
^(jgj;
=î=
J: ~F G~~
C G D A
The tenor clef is sometimes used for high notes (and the treble clef occasionally for very
high notes).
Double-stopping is not much wanted in simple music, but an octave is always good
.0.
er
when the lowest note is one of the three lower strings :
|^@=^ =|^~p [|
effect.
Fifths are also easy.
" "
^ I
" 'Cellos
The violoncello is generally called the 'cello (plural 'Celli ; or, Anglicised, ").
(D) THE DOUBLE BASS.

Double-basses are of two kinds :
(i) The three-stringed bass, tuned fJjp=

I r--^ i"
(2) The four-stringed bass, tuned F(^j Q "

On both, all notes sound an octave lower than written.
" " " "
The double-bass is generally marked Contrabasso or Basso in scores.
"
N.B. The 'cellos and basses may play from the same line which is then marked 'Cello e Basso,"
" "
or Bassi or a separate line may be allotted to each.
158 How THE STRINGS ARE USED.

Roughly speaking, the ist and 2nd violins, the"
viola, and the 'cello correspond to the
"
four voices of a mixed choir, while the double-basses double the bass an octave lower. Like
the voices of a choir the various strings may be combined in many ways thus they may be in ;
unison (and octaves) ; in two-part harmony in three-, four-, five-, six-, seven-, or eight-part
;
harmony ;
some may be silent while others are playing, etc. They also play successions may
of full chords, without special referenoe to strict part-writing.
" " "
In addition to being bowed," the strings may be plucked by the finger. This is
called pizzicato, and is marked pizz. When bowing has to be resumed after a pizzicato passage,
it is marked Col arco, or Arco.
Sometimes the 'Celli and Bassi are marked pizz. while the other strings are using the
bow and frequently the double-basses are marked pizz. while the 'celli are playing Col arco,
;
as the pizzicato on the double-bass is specially useful in light accompaniments where a deep
but not heavy tone is needed.
159 GENERAL PRINCIPLES OF STRING ACCOMPANIMENTS TO CHORAL Music.

These are essentially the same as for pianoforte accompaniment (see Par. go, Chap. V) ;
but they require certain modifications to suit the special characteristics of the instruments.
(1) The style of accompaniment should suit the general character of the vocal music.
(2) The accompaniment should in general support and sustain the voices without over-
powering them.
(3) The harmony of the strings should be complete in itself, whether the strings are in
unison, in two-part harmony, or in many parts.
(4) Many liberties of part-writing are allowed. Two or more of the parts may have
occasional unisons or octaves.
On
account of the differences of tone colour, many liberties of part-writing are also
(5)
allowed and between a string-part and a voice-part, which would be harsh between
effective
two voices (or even between two string- parts).
N.B. The voices may occasionally be used alone and the strings may occasionally be used alone.
The two masses of tone in alternation are often very effective.
179
String Accompaniment,
EXAMPLES OF TYPICAL METHODS OF STRING ACCOMPANIMENT.
(160)
N.B. Most of the following examples are from Scores in which other instruments are also used in the ac-
companiment; but the addition of these instruments does not materially affect the method of using the strings.
(l) Simply doubling the voice parts:-

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

Violin I.
Violin II.
wa cher
. dem stern.lein den Rest hat ge . geb . en,
le, ben, der wa cher

. dem stern. Jein den Rest hat ge . geb . en,
=
t : t .
i z =
le . ben, der wa.cher dem sternJein den Rest
z
hat ge . geb . en,
182 Handbook.
Cwvpostr s
MOZART, ftequiem Mass.
Violins
1&2
Viola.
S.
String Accompaniment.
SPOHR. Last Judgment.
Violin I
Violin I
praise to Him who giv . eth
araise to Him who giv . eth

MENDELSSOHN. Elijah.
ere.to.
Violins
i& 2.
Viola.
^ 3*
Lord i> r,,d,thp Lord is God O Is . . ra.el hear! Our God is one
Voices
Organ.<
d
ff ^
/"
Bassi.
3
A' >? Doubling the voices at the unison is generally the best method whenever the voice-parts
are complex, or highly contrapuntal.
For though the following might he accompanied as shown :-

j* ,
Allegro.
Voices.
Violin I.
Violin II
Viola.
Bassi.
Stri ng A ccomp anim en t . 185
Yet such an accompaniment is difficult to compose and of little real value. It confuses the
singers and confers little pleasure on the listeners. An accompaniment simply doubling the voices, .
or even detached chords, as in the following, would be much more effective.
2) Doubling the voice part's at the octave (excepting the basses) :-

BEETHOVEN. Mass in c.
m. r j ^
V1U1JU1S
1&2.
Viola.
MENDELSSOHN. Hymn of Praise.
Violin I.
^ffM ru=&
Violin II.
Viola.
S.
Al.les.was O.demhat lo.be den Hernn Halle .lu -

jah lo.be den Hernrt
-v
A.
Al.les.was O.demhat lo.be den Hernn.Hal le lu . jah.Halle .In . jah lo.be den Hernn!
T.
e f;
was O.dem hat lo.be den Hernn,Hal-le lu.jah, Halle .lu.jah lo.be den Hernn!
B.
r S
Organ/
was
ff
^
O.demhat, lo.be den Hernn.HaUe lu
^f
. jah,Halle .lu .jah lo.be den Hernn!
<*^
J
o
Bassi.
^ ^ i ^
(B.) Doubling the voice parts with modifications of rhythm, syncopation, repeated notes, etc
BEETHOVEN. Mass in c.
Violins
1 &2.
R
Viola.
Voices.
Bassi.
HANDET, Joshua.
Violin.
Soprano
voices.
I
ts
Glo . ry to God, the strong cem.ent.ed walls, the tott'ring
tow'rs, the pond'rous ru . in, the pon . d'rous ru . in falls.
Andante.
MOZART. Requiem Mass.
Violin I.
Violin H
Viola.
^
r-
m
Do . min.e ti . . bi, Do . min.e, lau.dis of . fe . ri.mus
Voices. I
E eÊF F=?
gr
Bassi.
String Accompaniment. 189
Prestissimo. J 132.
BEETHOVEN. Choral Symphony.
Violin I
Violin II
Viola.
Voices.
Bassi.
r
SPOHR. last Judgment.

pizz.
Violins J. ^J
1A2.
g 1 1 t
Jz
Viola. ^m
pizz.
; , : : ^L
pp
f
All glo
-
.
g
ry
r
10 the Lamb
g-T
that died, ex . alt .
S
FT
ed now at
Chorus
i J
Bassi. c .. t c., e _
pizz.
7t~^
Violin I
Violin E
Viola
S.
T.
B.
Bassi.
pizz.
"Jr ~~~~
1^ -. h^ (9 E *
192 The Composer s Handbook.
connective
butwith occasional arpeggios, passing notes,
line the voice* generally,
and sustained notes agamsl
ted notes against sustained notes in the vocal parts,
notes in the vocal parts.

repeated
MOZART. Ave Verum.
Violin I.
Soprano.
Bassi.
lotto voce N. B. Only the Soprano part is given here.
BEETHOVEN. Kyrie,from Mas* in C.
Violin I.
Violin IT.
Viola.
S.
A.
T.
B
e . lei son, e . lei -
Bassi
cresc.
Siring Accompaniment. 193
(5) Doubling the voices in unison (or 8ves), but selecting passages sometimes from one part and
sometimes from another to make the 1st Violin part more interesting.
HANDEL. Messiah
(a)
Violin I.
Violin R
^rk r f
^
Viola. -B-r "7 I
-i^=
s.
all the an . gels of God wor ship Him
pr^r-^f t
all the an .gels of God ship Him
*
> ^& Let all the an .gels of God wor
3$
ship Him
to (6) from Treble; (b) to (O from Alto; (d) to (e) from Tenor.
HAYDN. Creation.
Violin I.
Violin II.
Viola.
Jehovah'spraiseforev.er shall en .dure, A
A.
ev . er shall en_ dure men, Jehova's praise for
praise for ever shall endure Jehovah'spraise, Je.ho . van's
fr * Note the unisons here.

N. B. The bass, being merely doubled by the orchestral basses, is omitted from the above extracts .
This kind of accompaniment was much favoured by Handel. Provided the string parts make a good
complete harmony of their own they need not slavishly follow any particular voice parts.
(As shown later, the strings need nd, follow any voice part at all, but be quite independent.)
(6) Voice parts ornamented "figured',' etc.
This is a favourite form of accompaniment with nearly composers It makes the accom-
all .
without clashing materially with the voices.

paniment animated and telling,
FOR HE THE HEAVENS.
HAYDN. Creation.
Violin I
Violin II
Viola.
Voices.
Bassi.
195
THANKS BE TO GOD.
Violins
1&2.
Viola.
r g
Voices. I
frv-a-^- I
Bassi.
The Violin part is mostly an arpeggiated arrangement of the three upper voice parts, specially
emphasizing the notes of the Soprano voice.
Tfo Composer's Handbook.
but "filling up" the harmony when that of the voices is "thin'.'
(7) Generally doubling the voices,
MENDELSSOHN. Elijah
A Pr~
Violin I
Violin II
Viola.
S.
bar . vest now is o . ver The
jEJE=LJ=Lyi
cometh to
And yet
no pow.er
r
summer days are gone, aîd yet no pow.er cometh to help ua,
197
* *
help us!
harvest now is o . ver, the summer days are gone, and yet no pow.er cometh to
and yet no pow . er com . com eth

eth, . to help us, no pow.er
(8) An arpeggio or figurated accompaniment

supporting the voices, but not doubling thern:-
Vi.olins
1&2.
Viola.
Voices. He watching o . ver Is . ra.el slumbers not nor sleeps;
Bassi.
STANFORD. The Revenge.
Violins
And we roar'd a hur

cresc.
Basso
STERNDALE BENNETT. May Queen

J .112.
S3! ^m
Violin I.
f Ft 3*1
Violin n.
5?
Viola.
P
hath pass'd a .
way
^
Voices. And the cloud hath pass'd a .
6
5 A
Cello.
i i i
Basso.
^ pizz.
Fl f
W =F=Fi
F^
3 I J J J "3
That was hea vy on the May And the
r
way That was hea . vy, hea . vy on the May: And the
^=f 5
^
^
Note that the 2nd Violin, Viola and 'Cello are in unison for the firsi five bars.
200 The Cotnposer's Handbook.
STERNDALE BENNETT. May Queen.
Violins
Viola.
Law doth claim for pun ish .

Chorus.
J.
Cello.
I
Basso. SB
. J
r
ment, The Law doth claim for pun ish . ment,
^
(9) Detached chords, either following the voices or quite
independent.
Violin I.
Violin
rent the moun . tains a
And a might . y wind
Violin I.
pizz
b ^ STANFORD. The Revenge
pizz.
Violin II.
i^ I
=
Viola. ^^ * t
^ s 3 HE
Bass
Voices
And half of the rest of usmaim'd for life in the crash of the can . non.ades
l/P
r fh^ **
I
^ r r =
pizz.
20k The Cotrrf>ost'r's h Mid >ook.
(l6) An Independent accompaniment, either in imitative figures or descriptive in character.
STANFORD The Revenge.

203
String
CONFUTATIS.
MOZART: Requiem Mass.

Andante.
Violins.
Viola.
Voices.
Bassi.
Note the fine effect of the unisons.

The other accompanying instruments simply double the voices.
204
STANFORD. The Revenge
Violins
1 &2
Viola.
Soprano.
Tenor.
Bassi.
mp
m
FT
* -
a: m
iqf
P3
*=
P
And the state . ly Span . ish
iqf
I* I*
^m s
^ s
ff
Violin I.
Violin II.
Viola.
Note the vigour given to this passage by the unisons and uctaves.
Tkt Composers Han-ibook.
OTHER NOTEWORTHY EXAMPLES OF STRING ACCOMPANIMENTS.
(a) Scale passages for 1st and 2nd Violins in unison. MENDELSSOHN. Elijah.
Violins
1 &2.
Viola.
-f
The* rush a . they rush a -long!

Chorus.
Bassi.
Thanks
^^^
6) Strings in unison (and Sves), voices in harmony. 207
DISDAINFUL OF DANGER. HANDEL. Judas.
Voices.
Strings.
c) Alternating imitative
passages between 1st and 2nd Violins.
N. B. The short rests give much
vigour and point to the separatepassages.
THANKS BE TO GOD.
Violin I.
Violin II
Viola.
208 Ttie Composer's Handbook.
161 EXAMPLES OF THE FREE TREATMENT OF THE PARTS IN DOUBLING VOICES.

In addition to mere "embroideries" of the vocal parts, the following freedoms of
progression are common.
Ascending Scale.
VOICE.
==*==
INSTRUMENTAL BASS (1).
Or (2).
Or (3).
=5t
"
The Heavens are telling." HAYDN'S Creation.
HANDEL. IST & 2ND VIOLINS. / ^
VOCAL BASS. , ^ m -p--P- . ' () (*) (c)

? .. i
iaSS^te
TREBLES.
pfpB=t^^^
INSTRUMENTAL BASS. The won-der of His work,
-is--
The notation " "

of this passage from Haydn is particularly daring for the date when it was written
(1798). Note the consecutive 2nds at (a), (6), (c), (d), (e).
Descending Scale.
VOICE.
VOCAL BASS. V BACH.
INSTRUMENTAL BASS.
"
For unto us." "And He shall purify."
HANDEL'S Messiah. HANDEL'S Messiah.
2ND VIOLIN.
*fe
VOICES.
The ev-er-last-ing Father,
The Instrumental Bass. 209
It be mentioned here that the University "Exercises" for Mus.B.

may Degree
must contain five-part choral work with independent string accompaniment. This does not
imply writing in nine distinct parts, but that the accompaniment should be "free," i.e.,
independent, on the lines indicated above (pp. 192-207).
163 THE INSTRUMENTAL BASS.
This, as we have seen,

often doubles the bass voice. It may, however, be an
independent
part (either occasionally, or throughout a whole movement).
rule for the treatment of an instrumental bass is that " it
The general
may double the
bass voice the lowest part of the vocal harmony whether bass, tenor, or
(i.e.,
alto), or it may be
quite independent (providing a real bass to the whole of the parts) ; but it should never
double any part above the actual bass (except in unison
passages ").
Thus the following is good
==
:
VOICES.
INSTRUMENTAL BASS suitable for PIANO, HARMONIUM, ORGAN, or STRINGS.

(a) .p. _
f .
(b
(6) .(c) (d) (e)
l^H^^^-^-F-r-L^
(a) to (b) doubles Alto ; (c) to (d) doubles Tenor ; last 3 semiquavers independent.
N.B. such cases to use only the 'cello
It is usual in (or 'cello and viola) to double the alto or tenor,
bringing in the double-basses with the bass voice as at (e).
Similarly, for piano or organ, single notes are mostly used in doubling alto or tenor as from (a) to
(d) with octaves ad lib. at the bass entry (e).
But the following doublings are reckoned bad :
(a) to doubles Alto which

(b)
is not now the lowest part
(c) to doubles Tenor.
(d}
(d) to (e) doubles Treble.
(/) to (g)
doubles Tenor.
(h) to (i) doubles Alto.
(K) to (I) doubles Tenor.
(m) to (n) doubles Treble,

(o) to (p) doubles Alto.
EXAMPLES OF INSTRUMENTAL BASSES.

VOCAL BASS. HANDEL.
INSTRUMENTAL BASS.
This looks like an independent part ;

but it is really a variation of the vocal bass.
VOCAL BASS. BACH.
This is partially independent.
VOCAL BASS. BACH.
INSTRUMENTAL BASS.
-P j
Siring Accompaniments o/ Solos. 211
TYPICAL STRING ACCOMPANIMENTS OF SOLOS.

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

21A
Violin I.
Violin II.
m
Viola.
m
Solo.
For . sake not in this dread
EXERCISES. The student should now arrange for strings some of the accompaniments of
the anthems mentioned in Chapter XI, and of the
songs, etc., mentioned in Chapter V. He my
afterwards write vocal pieces of his own and add string accompaniments to them.
N.B. Full ucores are rather expensive. For the student w'lo ?n only afford, say, one good work,
wo should advise Mendelssohn's Elijah.
Organ Accompaniment. 215
ORGAN ACCOMPANIMENT.
Except that Arpeggio passages are in general ineffective on the Organ for
-especially
accompaniments- it is not necessary to add anything to the principles already laid down.
Specimens of all sorts of accompaniments available for the Organ will be found in the
Anthems tabulated in Chapter XL, and in good Church Services. Smart's Te Deutn in F
is noteworthy for its independent Organ
accompaniment to the voices in unison. Stanford's
Morning, Communion, and Evening Service in Bt> (Novello) may also be studied with
advantage.
Extracts from S.S.Wesley's Nicene Creed. Organ part edited

by Dr. Garrett.
P
Solo.
Chorus.
Organ.
2U*
Jf it
217
CHAPTER XIII.
SCORING FOR SMALL ORCHESTRAS.

166 It is beyond the scope of this work to treat of the full orchestra used for a symphony
or oratorio. The student who has occasion to write for one is therefore referred to Prout's
Instrumentation (Novello), Clarke's Manual of Orchestration (Curwen), Corder's The Orchestra
(Curwen), and other standard works.*
167 It may, however, be helpful to show how to write for, say, a school band or a small
amateur orchestra, in which there are generally plenty of violins, one or two violoncellos, and
perhaps a double-bass.
N.B. Viola players are not often available we have therefore in all the following
;
Q
examples written a 3rd violin part which may be used when violas are wanting. This will be P Jf M
seen to be practically the same as the viola part (also given), with slight modifications when the r
vJJ
i \\
"
latter goes below fiddle G." 3:
Some of the following wind instruments are also generally available :
flute, clarinet,
cornet, euphonium, and perhaps tenor horn.
168 THE FLUTE.

8va.
-<^>-
The eight-keyed flute has a compass from 5 : to F>z: I

or even
higher with exceptional players. '^/ -^~ tr~
Except in solo passages the lower notes can hardly be heard, and the very high ones
are difficult for amateur players.
For ordinary work the student is advised to keep within the range from about
169 THE CLARINET (or CLARIONET).

Clarinets are made at different pitches. On account of its piercing tone, the clarinet
"
in C (producing the notes exactly as written ") is little used.
The clarinet in Bp, producing all its sounds a major 2nd lower than the written notes,
isthe favourite clarinet in orchestral and military bands the clarinet in A (producing all its
;
sounds a minor yd lower than the written notes) is (or should be) used in the orchestra for those
keys which have many sharps in the signature (see below, Par. 174).
The compass of the clarinet is (as written) from

^ - to about
E
N.B. These notes sound a major and lower on Bb instruments, and a minor 3rd lower on A instruments.
-Q- b&
We should advise the beginner not to use any notes higher than r^""^ or
RÊ
=F1
as the re ver
upper notes are very shrill.
* For a list of more advanced treatises, see the Appendix of the author's Cyclopedic Dictionarv of
Music (Curwen).
15
"
The tones from fly called the chalumeau register," are rich and full,
and slightly nasal in character.

In combination with other instruments, they form good
" " "

holding notes for nourishing the harmony. The medium register,"
not so good. It is the least effective part of the clarinet range. From
" "
is the clarinetto register," the tones bright and clear, and very effective. The super-acute
" much The which

register (from :) requires to be used with caution. clarinet,
in military bands takes the place of the ist violin in the orchestra, can play practically any-
"
thing ;
but passages like the following, rapidly changing to and from the medium " and
" "
clarinetto registers are difficult to finger :
170 THE CORNET.

The cornet properly Cornet a pistons is the treble instrument of an ordinary brass
''
band. The most usual size is pitched in Bb, with additional tubes (or crooks") for setting
it in A, Ab, or even G.
The Bb cornet, like the Bb clarinet, produces all its sounds a major 2nd lower than the
written notes ;
the A cornet, a minor yd lower than the written notes.
The range of the cornet is (as written) from .

upwards. The lower
notes are rather poor in quality and should only be used for some special effect ;
for amateur
players it is not advisable to write above or
171 THE EUPHONIUM.

This instrument is made in various sizes. For brass bands the euphonium in Bb is
generally used for orchestral purposes the euphonium in C is better, as no transposition

; is
necessary, and sharp keys are easier to finger.

The euphonium with three valves has a compass from h> ~~F~ upwards. The
|d
*F*
euphonium with four valves easily extends downwards to E or even a few notes
lower. The upward compass is very extensive. An ordinary player can easily reach
^^_ or
F G
172 THE TENOR HORN.
This is a very easy instrument to play it is inexpensive and it forms a good middle
; ;
part to the cornet and euphonium. In brass bands the tenor horn stands generally in Eb but ;
Compass of Instruments. 219
for use with strings a tenor horn in F is best. The tenor horn in F produces all sounds a perfect
th lower than the written notes, thus
_Written.
Sounds produced.
"
173 We have already discussed the strings," their compass, capabilities, combination,
etc. For convenient reference we now give a table showing the easy compass of all the instru-
"
ments hitherto mentioned, naming them in the order in which they should appear in a full
"
score (from the top of the page downwards).
N.B. Only the compass advised for orchestral use is given.
FLUTE.
CLARINET.
-F1 -
E- I
_n
) 7~to or-
^
E
CORNET.
TENOR HORN.
:to
EUPHONIUM, 3 VALVES.
EUPHONIUM, 4 VALVES.
FIRST VIOLIN.
SECOND (OR THIRD) VIOLIN.
Ito
7 -I
e*
G C D
VIOLA.
-- -O-
:to or
C D E
VIOLONCELLO.
CFG
DOUBLE BASS (CONTRABASSO).
174 TRANSPOSING INSTRUMENTS.

"
Non-transposing instruments are said to be in C."
Instruments which produce sounds higher or lower than the written notes are called
"
transposing instruments." In writing or arranging a score it is customary to save the players
of such instruments the difficulty of transposing their own notes by writing out their parts in
another key. Thus, for the clarinet and cornet in B[? all the notes are written a tone higher ;
for the clarinet and cornet in A, a minor yd higher ; and for the tenor horn in F, a perfect $th
higher. In general, also, the proper key-signature is added to save the use of unnecessary
accidentals.
Thus, if the following passage were allotted to the clarinet (or cornet) in B[>
. Q __ ^= ^?:-
it would be written in the Key of D (which is a tone higher than the key of C), as follows :
Clarinet (or Cornet) in Bb-
Similarly, if the following passage were given to the tenor horn in F
it would be written thus :

Transposition Table. 22i
TRANSPOSITION TABLE.
The following table shows the
necessary transpositions and alterations of key-signature
trans P sme ^truments mentioned in this
chapter in connection with all the usual
keys
ifficult y in dealing with other keys when he has grasped the
here shown. principles
Clarinet and Cornet in Bb.

Write all notes One degree higher. Signature 2 flats less (or 2 sharps more) than for the Strings
- r^-A W 1 3 Q ^ _ Jt
Clarinet and Cornet in A.

Write all notes Two degrees higher. Signature 3 flats more (or 3 the Strings.
sharpsêss^tha^for
A instruments not used ; Bb much better (as above).
Tenor Horn in F.
Write all notes Five degrees higher. 1 flat less (or

Signature 1
sharp more) than for the Strings.
All the Strings.
_^_U33Z "
Clarinet and Cornet in
"'
j Bb instruments rarely used ; A instruments
j
better (as below).
Clarinet and Cornet in A.
->r TI H 1 i
Tenor Horn in F.
N.B. Where there is a choice between using a Bb or an A instrument the Bb is generally preferred;
but not wise to use keys with more than about four sharps for a clarinet or cornet, owing to the difficulties
it is
of fingering. When the strings are in the key of D, A, or E (or more sharps) it is uswvlly better to use the
A clarinet and the A cornet.
The concert flute, being a non-transposing instrument, has the same key signature
as the strings.
175 HOW TO USE THE WjND INSTRUMENTS.

Assuming that the student is able to compose and arrange pieces for strings (as sho\
rules for the addition of wind parts.
in Chap. XII), we now give a few simple
wind instruments we have discussed are all available, they provide (i)
If the five
fairly complete wind-band as a whole, and (2) two separate groups (a) wood-wind, and (b) bn
N.B. If only two or three instruments are available, the composer must use his ingenuity to writ
for them as far as possible on the principles enumerated below.
It is impossible to give all the effective combinations

of ten instruments. The followii
is rather a listof usual arrangements.
(1) It is not necessary to have ten separate and independent parts (five for wind and
five for strings).
(2) Either of the wind instruments may play a solo. This may be accompanied
(a) by all the strings ;
(b) by a selection of the strings ;
(c) by strings and some (or all) of the other wind instruments ;
(d) by some (or all) of the other wind instruments without strings.
The solo instrument may also have occasional passages without accompaniment, and should bs regarded
practically as if it were a 50/0 voice.
(3) Two or more of the wind instruments may play the same part (in unison or octaves),
and may be accompanied in any of the ways suggested above.
(4) A selection of wind instruments may play a duet, trio, etc., either unaccompanied,
or else accompanied in any of the ways already suggested.
(5) The whole wind band may alternate with the whole string band (after the manner
of a double-chorus).
(6) The strings may have all the essential parts, and the leading melody may be doubled
by any one (or more) of the wind instruments (in unison or octaves).
(7) Two or more string parts may be doubled by wind instruments.

" "
"
(8) All (or any) of the wind instruments
" "
may nourish the harmony by means ot
holding notes or reiterated notes."
(9) Some wind instruments may play (or double) melodic passages while others have
holding or repeated notes.
(10) A solo, duet, etc., may be given to strings and the accompaniment furnished by
wind instruments (or by wind instruments and the other strings).
N.B. Whatever number of wind instruments may be employed they should in themselves
give as far as possible a complete harmony (either in one, two, three, or more parts) without
reference to the strings.
Thus, if only flute and clarinet are used, they should not have progressions of 4ths,
etc. Similarly, if the three brass instruments be employed, second inversions of chords should
be used with discretion. (See rules for two- and three-part harmony, Chap. VI). When
"
all the five instruments are used
together, the parts should be carefully distributed," and
allowance should be made for comparative loudness of tone. Thus, a note // on the cornet would
" "
have more weight than the same note // on a ute or clarinet.
Orchestral Sketches. 223
176 ORCHESTRAL SKETCHES.
Before writing out the parts in full score the beginner may very properly make a sketch
on four staves as below :
Fl.j^5--J7l I
CL-^-j^l,
WIND.
STRINGS.-,
He should then write out the parts on the score, each in its proper clef, etc., without
'
filling in the rests. He will then have the whole musical picture under his eye," and should
see if any instruments have been unduly neglected or overused, filling-in or crossing-out at
discretion.
He should also see if the parts are interesting to the players. Every part cannot be at all
times specially interesting but the addition of a few notes or rhythmic phrases, or a slight
;
rearrangement, will often considerably improve a part from the player's point of view without
interfering with the general design.
If at this stage the composer copies the parts and can have them tried over by his band,
he will probably find that many points come short of his expectations, and, on the other hand,
that some features which do not seem to be of much account "on paper" sound really well.
The careful worker will alter and amend, and this is the kind of experience that produces good
writers for the orchestra ;many of the very greatest composers trained themselves in this
way.
177 THE PIANO.
The piano does not blend quite perfectly with the orchestra, but it is practically
It keeps the players
indispensable in the early stages of forming and training an amateur band.
the middle parts.
together in tune and time, helps them to acquire confidence, and nourishes
It also helps to supply the place of missing instruments.
As the band improves in intonation the piano may be gradually dispensed with.
178 We now give a number of illustrative examples of simple scoring in various styles.
Intricacies of orchestration are purposely avoided, and only such passages and combinations
suggested as may fairly be within the reach of a beginner.
Composer's Handbook.
A LOUD PIECE. The instruments forming one mass of tone.

(1)
N.B.A pianoforte sketch which may be also used as a pianoforte accompaniment (orpartMs given
at the top of each score, and there is an alternative part for 3rd Violin if there is no Viola available.
A few explanatory notes are added to the earlier examples to illustrate some of the principlesalready
laid down.
Ordinary
Piano
arrangement.
^
i m m
Flute.
The 5 wind instruments give complete 4-part harmony, the Cornet doubling
the melody of the 1st violin, and the flute doubling it an 8ve higher.
i*v4^ Clarinet
in B '
? m f^F
J*
Cornet
in Bk
!
The brass instruments give a fairly-complete 3-part
effectively doubling the bass part.
tAVJOo
lenor Horn
in F.
i
Euphonium.
AC^. If the only available Euphonium is in B', its notes must be written one
degree higher in key A.
1st Violin.
The strings are essentially in 4-part har ony, with occasional ''double stoppings"
to increase the fulness of the chords.
2nd Violin.
.'>ni Violin.
Bassi.
Or plain notes,at pleasure.

A Loud Piece. 225
Cs
Cort.
Horn.
g ^s s rail.
A)
Euph.
pi
Ist.V.
rall.
3rdV.
rail.
Viola.
Bassi
ra//.'
226 The Composer' a Handbook.
(2) HARMONIZED MELODY OF QUIET CHARACTER.
JENNY JONES.
WELSH MELODY.
Ordinary
5 J
Piano >nf
arrangement.
M
Flute.
Clarinet
in Bk
Cornet
in Bk
The brass fills up in 3-part
harmony of sustained notes.
Tenor Horn
in F.
Euphonium.
1st Violin.
i ^
2nd Violin
m
3rd Violin.
m
Viola.
Cello arco
^
kJ
Cello e Basso.
Basso
.
'
r r
71
pizz.
> r
*-
^T ^T
Note the good effect of the pizz notes here.
^
Jenny Jones. 227
r-4 4
-p.
Pf.
228
Easy and effective "shake
violin doubled
wind instruments for "colour"
229
Jenny Jones.
Unison passage for full band
Cort.
I Variation of the melody.

(3) HARMONIZED MELODY OF ROBUST CHARACTER.
HEARTS OF OAK.
Maestoso.
Song
arrangement.
Flute.
Clarinet
in A.
Cornet
in A.
Brass in 3-part harmony (making 4 with Fl andCl.)
Horn in F.
Euphonium.
1st Violin.
2nd Violin.
3rd Violin.
Viola.
Cello e Basso.
Hearts of Oak. 231
Pf.
fz
Note detached
chords except
for Pi.and Cl.
CHORUS.
ad lib /^\ a tempo
Pf.
Fl.
Fl. C!. and Cornet

play melody. glower
Cl.
Cort.
Hearts of Oak. 233
ad lib. fâ tempo
16.
(4) CORNET SOLO

ANNIE LAURIE.
Slow and expressive
Ordinary
Song
arrangement
Flute.
Not* that ifl the wind instru
ments generally, everything
that would interfere with
t iakrpt oilcnt
Clarinet
Cornet
Horn in F.
Euphonium.
ff{f
Slow and expressive.
1st Violin.
2nd Violin.
3rd Violin, i
Viola.
Cello e Basso,
Annie Laurie. 235
Pf. <
Cello
e
Basso.
236 The Composer's Handbook
lute doubles Cornet(8ve higher) for tone colour.

A March. 237
(5) A SIMPLE MARCH.
S maestoso
Condensed
arrangement.
^fff r
Flute.
Clarinet
Cornet
in Bk
/.. 8
mf 3
maestoso
3 3 3
^
Horn in F.
Euphonium.
f
1st Violin.
2nd Violin.
3rd Violin.
Viola.
Bassi.
Pf.'
f
Fl.
Cl.
Cort.
Horn.
>ys
Euph
lst\
2ndV
3rd V,
Viola
Bassi
A March. 239
1.
Pf.
S Mi;
I
IT
Fl.
Cl.
^ ^ ^ ^^
Cort. i
Horn.
^
Euph. ^ ^
IstV.
2ndV.
S ^
3rdV. i
JT3.JJ J S
Viola ffl^F^
n T
I
Sg ^ ^
Bassi
^^
fo5r.^.nfl &
k
Pf.
Fl.
Cl
Cort
Horn
Euph
p
istV m F
2nd :r r
V.
f^f
i
3rdV.
^^
Dtp
Viola ^ p
Cello arco
Has si
tup
sBasso
i
A March. 241
Repeat from A to B
Pf <
Viola.
Bassi
TRIO.
Pf.
Fl. tt
Cl.
Cort
Horn
SOLO.
Euph Pî
IstV.
3rdV
f
Viola
Bassi
A March. 243
poco rit.
J. j
J'j IJ
Pf.
Fl.
Cl.
Cort.
Horn.
^
f
Euph. ^=tf=E
IstV.
2ndV.
3rdV. *
Viola.
Bassi
>
rit.
Pf
Bassi
fa tempo
A March. 245
Repeat 1st part (from % to (A)
Pf.
F* =
am
Fl.
i ^
Cl.
Cort.
=
s
Horn,
Euph.
Repeat 1st part (from % or(R)
IstV.
2ndV.
3rdV. ^^ . J
Viola ^^ J . J J S
Bassi r-*nriJ3 ^ ^
(a) FIRST MOVEMENT OF A SET OF WALTZES
r-t" m ig
Sketch.
p
J4 J.J*
H
^
Flute.
Clarinet **
in Bk
^
Cornet ^fca
in Bl>.
Horn in F.
>j-r 3
Euphonium.
P
Violin I.
/*
g?
A
Violin II.
Violin IH.
Viola.
m
'Cello.
|
Basso.
* In a
waltz it is usual to give the 2nd Violin and Viola this form of
accompaniment, I
r r "l* I ; but
inmteurs find it very
uninteresting. We have therefore suggested a different rhythm.
A Waltz Movement. 247
Sk.<
^ Si
^ f If-
r
Fl.
Cl.
Cort.
^*
Horn.
i
Euph
IstV. @^ 3
S 3 W^
P m
3rdV
^ fS
Viola ^^ ^ ^^ ^
Cell<
Bass(
ato
frg
"
Sk cresc.
Fl.
cresc.
f
5
cresc..
Cort.
cresc.
Horn.
cresc.
^ E
Euph. ^
IstV.
cresc.
^ i ^-r-
cresc.
8rdV.
cresc. /
^
Viola ii ^
Bassi,
S Basso
Fine.
pp
din
250
Fl.
Cl.
Cort.
f
m
Horn.
Euph
Ist
3rd\
Viola
Bass
&
fz
r^
m g
r
m
Fl.
Cl.
Cort. r r
Jz
^ m
Horn. =
Euph.
IstV
E
2ndV
7"
IT
3rdV.
S
y
Viola
i 1 *-*
fz
^ m -
Bassi
> ^
Fl.
Cl.
Cort.
a P cresc,
Horn
P y cresc.
Euph & m
f cresc.
*
P
._ i
17
3rdV
^ m P
m y
^ ^s^
cr<?.?e.
Vicla
p
^ cresc.
Bassi.
Basso pizz. crett

[
D.C.
Sk.<
Fl.
Cl.
D.C.
Cort. =
Horn. 2
ff
Euph.
IstV.
Hi i
fff
3rdV
ff
^
ff
?
W
Viola. ^ ^S
Bassi
254
CHAPTER XIV.
FORM INGENERAL SONATA FORM ROMANTIC Music PROGRAM Music IMITATIVE

; ; ; ,
Music WORD PAINTING THE LEITMOTIV THEMATIC DEVELOPMENT MODES

; ; ; ; ;
VARIOUS MUSICAL FORMS SHAPING A MELODIC IDEA BEAUTY IN Music.

; ;
179 The student who has grasped the principles enunciated

"
in the preceding chapters will
"
have noted that musical design is largely based upon Balance of Phrase (produced either
"
or of Symmetrical arrangement of
by similarity of melodic " outline similarity rhythm),
Musical Sentences," and Well-devised Key-Plan."
180 Each of these features has been gradually modified and developed by the introduction
"
of various artifices" modes of expression which one composer after another has added
to the common stock.
work of this nature to enumerate and classify all these developments,
It is impossible in a
"
but the following topics, selected (and occasionally amplified) from the Author's Cyclopaedic
"
Dictionary of Music are worthy of attention, and are here given by way of recapitulation,
of suggestion, and of reference
181 FORM IN GENERAL. Form is the design, plan, or structure of a musical composition,
" Stainer and Barrett.
the shape and order in which musical ideas are presented."
The chief factors of musical form are

I. the orderly setting out of melody in portions of definite lengths, with
EXPOSITION :
a proper balance of keys and cadences, and with appropriate harmonies and accompaniments.
II. DEVELOPMENT. (See Thematic Development below.)
III. RECAPITULATION the repetition of the Exposition, either exactly
: as before, or with
some variation mode, tempo, or development.
of key,
Unity of design includes (i) Mechanical Symmetry, and (2) Msthetic Symmetry.
The principal musical forms are (i) Aria, (2) Canon, (3) Fugue, (4) Minuet, (5) Overture.
(6) Rondo, (7) Sonata (including Concerto, Symphony, Quartet, Quintet, Sextet, Septet,
Octet, etc.), (8) Song, and (9) Suite.
The higher forms have reached such a point of elaboration that much study is necessary
to analyse and appreciate their structure and development. For the simpler forms of com-
position, however, the only indispensable requisite is a proper balance of keys, together with
some amount of metrical proportion.
Musical form, as we now understand it, is of quite recent date. The old Latin melodies
except that they were written to hymns of formal construction and based on definite church
modes had very little of what can be called "form." Most of them appear to modern ears
"
as aimless wanderings among sounds." With the growth of counterpoint, the motet and
madrigal assumed symmetry and proportion, and were at their best towards the end of the
i6th century. In the meantime the secular music of the people began to foreshadow certain
essentials of form, especially in regard to definite tonality, balance of melodic outline, and metrical
uniformity.
The growth of modern forms dates from the invention of the New Style of composition,
about the year 1600. The Aria da Capo, invented by B. Ferrari (1597-1681), and used by
Cavalli, was perfected by A. Scarlatti (1650-1725). The Fugue gradually developed reached
its highest point with J. S. Bach. Bach (and Handel) also brought the Suite to its full develop-
ment. The Sonata the " classical form " par excellence was moulded by Haydn upon
perfected by Mozart and Beethoven. The beauty and
J. S. Bach, C. E. Bach, and others, and
symmetry of this form were at once universally recognised, and its effect has ever since been
felt in the shaping of all kinds of
compositions, both instrumental and vocal.
Since the time of Beethoven the chief addition to musical forms has been the application
of the Leit-motiv especially by Wagner to dramatic composition. (See page 258.)
Sonata Form. 255
182 SONATA FORM.

(1) The general plan of a sonata
as a whole :
The smaller sonata comprises three movements (i) The Allegro (with or without an ;
"
introduction) (2) The Slow Movement ;
; (3) The Finale. The larger or " Grand Sonata
comprises also a Minuet and Trio (or, in more modern works, a Scherzo}.
The plan of the ist movement is sketched below. The Slow Movement may be in any
form the Song-form (see page 135) is sometimes employed.
;
Beethoven's Slow Movements
"
are often great Romances with many varied strophes, each repetition of the theme being
more and more richly ornamented." Lavignac.
The Finale may be a Rondo (see Chap. XI), a Theme with Variations, or an Allegro
like the ist movement (but more animated and less formal).
The Minuet or Scherzo (when added) generally comes as the 3rd movement.
The keys of the different movements are varied but the ist and last should be the :
same the last may be the Tonic Major if the first is Minor.
;
Beethoven, Pianoforte Sonata, Op. 79

Examples Presto, G major Andante, G minor :
; ;
Vivace,G major. Mozart, Symphony in G minor Allegro, G minor Andante, Eb major : ; ;
Minuet, G minor, G major, and G minor Finale, G minor. Beethoven, Symphony No. 5
;
:
Allegro, C minor Andante, Ab major Scherzo, C minor, C major, C minor Finale, C major.
; ; ;
N.B. The Sonata Form is also generally used for classic instrumental duets, trios,
quartets, quintets, sextets, septets, octets, nonets, etc., and for the classic orchestral symphony.
"
(2) The plan of the First-movement."
This is the essential and distinctive feature of a sonata. It was foreshadowed by
D. Scarlatti, Corelli, and others, and especially by C. P. E. Bach. Haydn was, however, the
first "great" composer to see its vast capabilities and to mould it into clearly-defined and
"
well-proportioned shape hence it is often called
; Haydn-form." Mozart and Beethovei
brought the form to perfection. " "
(N.B. The Symphonic Overture is a First-movement
" prefaced by "a rather long Introduction ;
it does not repeat the first part, and usually has little of the Free Fantasia or Development portion.)
GENERAL CONSTRUCTION. I, EXPOSITION ; II, DEVELOPMENT ; III, RECAPITULATION.

(a)I. Introduction
(optional). (b) principal The
(with or without
first subject
auxiliary or subsidiary themes), in the principal key of the movement. (c) Bridge, or
Transition, leading to (d) The second principal subject (with or without subsidiary themes),
in some related key (usually that of the Dominant or in Minor movements, that of the ;
Relative Major). (e) Short codetta. The end of this part is marked by a double bar with
"
repeats," but performers do not always play it a second time.
II. Free Fantasia or Development portion. Themes or parts of themes occurring
in I are developed (see Thematic Development p. 259), repeated, interwoven, etc., at the
composer's discretion or (occasionally) entirely new themes are introduced.
;
This part
is generally a little shorter than I, and the principal key of the piece should be avoided ;
it leads directly into

III. (a] The Repetition the first principal subject, either exactly as in
(or Reprise) of
I, or with modifications, Bridge, or Transition,
(b) modified so as to lead to (c) The second
principal subject, this time in the principal key of the movement (or often in the Tonic Major
if the principal key is minor), (d) Coda.
183 ROMANTIC Music ;

PROGRAM Music ;
IMITATIVE Music ;
WORD-PAINTING.
Romantic means
legendary, mythical, supernatural, fanciful, imaginative, mystic,
novel, strange, weird, extravagant, fantastic, free from rule, opposed to classical.
"
In general, it means the striving after individuality, novelty, and personality of
musical expression as opposed to the repetition of classic forms." Hughes.
"
The Romanticists of to-day are the Classicists of to-morrow." Baker.
Thus the early Romantic composers, Weber, Chopin, and Schumann, are now regarded
as Classics; the Neo-romanticists (new-romanticists) being Berlioz, Liszt, and Wagner.
" "
Romantic music may comprise both " idealism and realism." Idealism may be
" "
defined as absolute music," i.e., music which depends solely on itself for its effects and is
independent of words, scenery, acting, or other extraneous conditions." Realism is the attempt
to represent or imitate natural sounds, and even suggest movement, light, darkness, etc., and
is not at all a modern invention.
" "
Program Programme) music endeavours to illustrate some
(or program of events,
scenes, or emotions. In the best examples it rests on an ideal basis and is free from bald,
realism and sensational word-painting, but in other instances it is often "imitative music run
mad." Till Eulenspiegel (Richard Strauss) is a notable example of successful program music.
"
The passion for realism in art, and especially in the art of music, seems universal pure ;
. . .
music the mass of us cannot grasp we prefer that which humbly waits upon legend or poem, the character
;
of a crazy knight-errant, or the proceedings of a day in a composer's household. Between music pure
. .
and free (as the C minor symphony of Beethoven, for example), and that which is the slave of a programme,
there is no comparison. Abstract music, the fine flower of the art, we now seem to be in danger of
. .
losing, ... a sign of non-attainment certain to be removed as culture progresses." Daily Telegraph,
Dec., 1906.
IMITATIVE Music.
Imitative music is the imitation of natural sounds, as thunder, the singing of birds,
the rushing of the wind, etc.
Elaborate treatises have been written attempting to prove that all music is derived by imitation
from various natural sounds. As nearly all these sounds may, however, be classed either as noises or
inflections ; as music is based on scales of definite tonality and relative pitch and, further, as these definite
;
musical scales are nowhere found in nature, it is evident that the art of music is only remotely connected
with such sounds. It is true, that by judicious selection, the notes of the major and minor scales can be picked
"
out of the Chord of Nature," but this discovery (?) was not made until the scales had been in use for
generations.
How far realistic imitations are allowable in music has long been a matter of
"
controversy.
"
The Imitation of a Farmyard
"
on the violin, The Battle of Prague " on
the piano thought by many uneducated lovers of music to be wonders of art and skill are
"
regarded by critics as mere vulgar clap-trap. Yet Beethoven's Pastoral Symphony," which
" " " "
under the name of Descriptive or Program music is essentially the same in principle,
attracts large audiences of educated musicians. The undoubted popularity of descriptive music
may perhaps be accounted for by (i) the comparatively small number of listeners with sufficient
musical education and taste to enable them to thoroughly appreciate and enjoy the beauties of
" "
pure absolute music and (2) the natural
;
law of association which delights in connecting
" "-
the sounds heard with some special object, place, event, action, idea, feeling, or program
much as many people judge painting by whether they recognize the place or person depicted.
a
The following are celebrated examples of realistic imitation :
"
La Bataille a Quatre " Jannequin, 1545. ;
The cackling of a hen part-song by A. Scandelli, 1570.

;
"Cat's Fugue." A. KRIEGER, 1667.
&c.
Mi au, mi au!
The leaping of frogs, the buzzing of flies, etc. ; Handel's Israel in Egypt.
The howling of Cerberus. GLUCK'S Orfeo.
Voices.
Strings.
The crowing of the cock. HAYDN'S Seasons.

6
The roaring of the lion. HAYDN'S Creation, The sinuous worm. HAYDN'S Creatioti
tr
Word-painting. 257
The cuckoo, nightingale, and quail ;

Beethoven's Pastoral Symphony.
tr.
Nightingale.
PQ
" "
The Battle of Prague Kotzwara. ;
The braying of the ass Mendelssohn's Overture Midsummer

; Night's Dream.
The Bells of Strasburg Cathedral Sullivan's Golden Legend.
;
WORD-PAINTING.
Word-painting is the attempt to describe individual words in sounds.
"
In setting words to music it is a recognized principle that the general verbal senti-
" " "
ment should be depicted by the general musical style and expression.
The following would evidently be absurd :
PP dim. PPP
* - 9 Ly
:=SE itzpzi
L -J
E^~- &c.
-^Gi A 1 |zrq
L r-t f-3
T -*---*-
Whisper thy love to me ! Praise ye the Lord with a loud
" "
It is equally ridiculous, in general, to try to paint" each separate word or phrase
(as in the following arrangement of the last part of the tune Melcombe ") :
P Lanqui shingly,
when will all our wan d'rings cease, Where all is love, and joy, and peace.
The painting of separate words, is, however, often inevitable in descriptive or dramatic
" "
music, and the greatest composers have freely used word-painting whenever it suited their
purpose. Haydn's Creation is full of word-painting and while it is perhaps occasionally
;
"
a little grotesque (as for example when at the words beasts the ground is trod,"
"By heavy
the bassoons and double bassoon enter // on the word trod," as if the heavy feet would go
through the earth's crust), yet on the whole it is charming and effective.
Purcell has introduced a quaint example of word-painting in King Arthur, where the
" "
whole chorus have to depict their quivering with cold as follows :
" "
Handel's works abound in fine examples of legitimate word-painting, as at disdain
in the following :
Samson.
-
So mean tri umph dis -dain.
When not carried to vulgar excess, word-painting is a valuable means of expression.
184 LEADING THEMES.

"
A Leading Theme," (pronounced Light' -moteef'} is a typical theme,
or Leit-motiv
or motive, recurring repeatedly throughout a work, and representative
of some person,
figure,
action, mood, or sentiment.
A Leitmotiv may consist of two or three notes, or it may be an extended theme. It
or it may be developed, transformed metamorphosed
may be repeated without variation ;
in every possible way that ingenuity can devise. (See Thematic Development, p. 259.)
" "
Leading themes were used before the time of Wagner (as in Weber's
Although
Der Freischutz, or the Idee fixe of Berlioz's Symphonic Fantastique), he used them so
that it is with his name they are chiefly associated.
characteristicaliy and consistently
"
In fact, any suggestions Wagner may have received from other composers were so slight
that the leading-motive in the modern sense may unhesitatingly be said to be his invention."
A Leitmotiv must not be regarded either as a mere label to be crudely displayed whenever
the person, action, etc., which it typifies is referred to nor as a piece of vulgar word-painting.
;
(Hence the failure of so "many would-be

imitators of Wagner.)
"
It should be a suggestion of quality, character, mood, etc., and rarely a realistic
imitation. (See Imitative Music, p. 256.)
"
With Wagner a leading-motive is a musical searchlight or X-ray which illuminates
and enables us to look deep into every character, thought, mood, purpose, idea, and impulse in
the drama." G. Kobbe.
" "
Compare the yearning, fascinating Love-potion theme with which Tristan und
Isolde opens (and which forms the key of the whole work)
Lento. Ob.
PP 'Cello.
"
with the Death motive,"
Moderate, f
ssi
\
Thematic Development. 259
It is beyond the scope of this work to attempt rules or suggestions for the treatment
"
of Leading themes." The student is, therefore, referred to the music-dramas of Wagner
especially Lohengrin, Tannhauser, Tristan and Isolde, The Meister singer, The Nibelungen Ring,
" "
and Parsifal. (Analytical Guides to these works are published by Messrs. Breitkopf &
Hartel, Schott & Co., Novello & Co., and other publishers.)
185 THEMATIC DEVELOPMENT.
" "
By Thematic Development is understood the varied repetition of a theme, motive,
or figure, to bring out some of its infinite resources.
Thematic transformations roughly fall into three classes Melodic, Rhythmic, and
Harmonic and these may be combined in countless ways.
"
The following, taking the first phrase of God save the King " as a motive, are among
the most usual methods :
Motive.
* m=j:
I. SIMPLE MELODIC CHANGES
(1) Melody removed to another part of the scale,
or to another key :
(2) Intervals contracted :

(3) Intervals expanded :
(4) Melody inverted :
3 ^ ^M
(5) Melody inverted and expanded :-
(6) Inverted and contracted :
II. SIMPLE RHYTHMIC CHANGES

(7) Theme augmented :
(8) Augmented and varied :
(9) Notes diminished :

(10) Time signature changed :
(11) Lengthened by repeating a bar (or bars). (12) Notes divided into shorter ones.
3 3
(13) Varied by arpeggios, addition of passing-notes, &c. :
"T
(14) Varied by rests, syncopations, &c. :

(15) Embellished by grace-notes :
te^-H^ I
^=^-{\ sr=S fr-j-i
Any of the above (7 to 16) may also be contracted or extended in interval and the
resulting themes may be transposed, inverted, or transformed.
III. HARMONIC CHANGES.

be (i) Changed to the relative major
of its modifications, may
The Theme or any
Harmonized Treated contrapuntally (in any of the five
in different ways (3)
or minor (2)
;
or in free Canonic Imitation. (5) Treated fugally

species) or freely (4) Treated canonically,
;
;
Combined with other themes (in double, triple, or quadruple counterpoint) (7) Supported ;
(6)
by various forms of accompaniment.
be found in the instrumental
Examples of every kind of Thematic Development may
works of Mozart, Beethoven,
Haydn, Schumann, Mendelssohn, Schubert, Wagner, and Brahms.
186 MODES. A
Mode means a key or scale but, specially, the order and arrangement ;
of the steps forming a scale. Modes are of two kinds Authentic and Plagal. An Authentic :
is one whose notes lie wholly (or principally) between the Tonic (or Final]
Mode, or melody,
and its higher octave.
AUTHENTIC MELODY.
A Plagal Mode, or melody, is one whose notes lie wholly (or principally) between the
lower Dominant and its higher octave.
PLAGAL MELODY.
Authentic Part of the Scale. From the Tonic to the Fifth above.
Plagal Part of the Scale. From the Tonic to the Fourth below.
Authentic Cadence. A final cadence, consisting of the Tonic chord preceded by the Dominant chord.
(A) MODERN MODES :

(i) Major Mode the ordinary Major Scale. (2) Minor Mode
the ordinary Minor Scale.
These have already been fully discussed.
(B) CHURCH MODES (also called
GREGORIAN TONES or ECCLESIASTICAL MODES). Eight
different scales were in use in early church music four Authentic, said to have been introduced
;
by St. Ambrose and four Plagal, said to have been added by Gregory the Great.
;
Tones "
"
These eight modes (with a few others added subsequently) are the Modes or
"
used in what is called Plain-song."
TABLE OF THE CHURCH MODES.

AUTHENTIC MODES. PLAGAL MODES.
I. Dorian : Final, D ; Dominant. A. II. Hypodorian :
Final, D ; Dominant, F.
* r n f s 1 t d 1
III. Phrygian : Final, E ; Dominant, C.
EffiEEEEEi
The Church Modes. 261
The Final, answering to our Tonic (or key-note), was the same for any Plagal mode
as for its relative Authentic mode. The Dominant (or Reciting Note) was a 5th above the
Final in Authentic modes, unless it fell on B, and then C was taken instead the Dominant ;
of a Plagal mode was a 3rd lower than the Dominant of the Relative Authentic mode (unless
this3rd fell on B, when C was taken). In Mediaeval music, B[? was occasionally allowed in the
Dorian and Hypodorian modes (and later in the Lydian and Mixo-Lydian), showing an approach
to modern tonality. From about the i6th cent, other modes were added ôlian (Final, A),
Locrian (Final, B), Ionian (Final, C), also Hypoaeolian, Hypolocrian, and Hypoionian; but
these had recognised status in Gregorian music.
little
Any ot the modes may be transposed higher or lower as long as the order of intervals
N.B.
is maintained.
HARMONISING THE CHURCH MODES.
In the early days of harmony only plain triads and first inversions of triads were used ;
i.e., a and b positions. Second inversions (c positions) were occasionally used as early as the
i6th century.
Passing-notes, suspensions, and prepared essential discords were gradually introduced,
" "
but unprepared essential discords were regarded as profane long after they had been
freely used in instrumental music.
The final chord of any mode was either a major triad, or the third of the chord was
omitted and in hymn-tunes a major triad was also used at the end of each phrase (or line
;
of words).
N.B. Many of Bach's chorals are old modal (Latin) melodies. His harmonies are very free, and
include every known artifice, but his cadences (in accordance with ancient custom) are almost exclusively
major triads. (See his Choralgesdnge, already referred to, page 42.)
In strict plain-song the old rules as to chords and cadences are still regarded as binding,
although many composers do not adhere to them in arranging and harmonizing the ancient
melodies.
The following examples are worthy of the student's attention :
I. DORIAN (or RAY) MODE r to r Final, Ray; Dominût, Lah.

;
1
; Many examples
of this mode may be found in old national and folk-songs.
(Transposed.) "Martyrs" (Scottish Tune).
+G>^ff-\
:
1
:
_ ;s n ;_ : f n ._ :r : d 1
:- :s :1 :- : :
| |i || |t |t |r ||
The same, harmonized by Simon Stubbs, Melody in the Tenor. Ravenscroft's Psalter
(1621).
(Transposed a tone lower than in Ravenscroft).
-
I
J--
__a
i
IT pj
i
JEî UZE?. t_Q_Q

" "
The subject of Handel's fugal chorus, And I will exalt Him (Israel in Egypt] is in
the Dorian mode :
"
The fine Latin tune Vexilla Regis," in the Dorian mode, includes the permissible
Bb (ta) :-
" "
Gregorian Notation.
From the Vesperale Romanum (1702).
This melody has often been utilized by composers Palestrina has left a famous setting, ;
"
and Gounod makes prominent use of it in his Redemption to Forth the royal banners go."
II. THE HYPODORIAN MODE :

1,
to 1 ; Final, Ray ; Dominant, Fah.
" "
(Transposed a 4th higher). Urbs Jerusalem Beata," from the Salisbury Hymnal."
:a:
1 1 Is f s 1 Ir ||
f s n f rd r ||frnfslsfn r
r_g" ry"Q cj f2 J
x-> Q CJ Q-/
n f n r n r d||l|drrrdfs8f||lsfnfsfnrd r||
"
III. THE PHRYGIAN (or ME) MODE ;
m to m 1
; Final, me ; Dominant, Doh. Egypt

was glad when they departed," Handel's Israel in Egypt, is constructed on this mode (and its
plagal Hypo-Phrygian).
/Li*
IV. THE HYPO-PHRYGIAN MODE to t Final, me; Dominant,

:
t, ;
Lah.
TE LUCIS ANTE TERMINUM.

Words from "St. Gregory," by COPELAND. From the Vesperale Romanum (1702). Arranged by R. DUNSTAN.
EfeEErz3=E
&
zjz= hgj
^
:z> ^~
Jj ~^ 9 I
Q~
15: :g: ;r -f 'P'-
The ve Light of Light Thou art,
i^ -gj
f~2
: r
;
^
1
= 'fe
r-
Q~
|
I
v -
-
::=:
N.B. The se M chord which always concludes a Phrygian or Hypo-Phrygian composition

" "
is
characteristic of what is called thePhrygian Cadence in ordinary text books. of harmony.
V. THE LYDIAN (or FAH) MODE : f to f ; Final, Fah ; Dominant, Doh 1

. One of the
most notable instances of the use of this mode occurs in Beethoven's String Quartet in A minor.
"
A Song of gratitude, in the Lydian mode, offered to the Divinity by a convalescent."
hrj Gt b^ mm
^-^r &
==
o *=e= e <s___ c
^
Note the peculiar effect of Blq as the 4th of the scale ; also that Beethoven extends
It is, indeed, as much Hypo-Lydian as pure
his melody downwards into the Plagal region.
Lydian.
THE HYPO-LYDIAN MODE

VI. d to dl Final, Fah ; Dominant, Lah.
:
;
" " "

Melodies in the
N.B. pure Lydian and Hypo-Lydian modes are rare, as the " discretionary Bfc
of mediaeval times converted these modes into the ordinary major scale.
" Mode
Pater Superni Luminus," a Latin melody in the 6th (with Bb).
-i*
m
This is seen to be a melody in F major.
VII. THE MIXO-LYDIAN OR (Son) MODE : s to s 1
; Final, Soh ; Dominant, Ray*.

"
Veni Creator Spiritus," Old Latin Melody. Setting by J. S. BACH.
Ê^gg
1 >5 1-C2.
^ ^F
J
S
i
J. J. J -s-
|
J. -J-
" Sanctorum Meritis." " "

From the Salisbury Hymnal." Said to be one of the finest
Mixo-lydian tunes in existence."
Words from Helmore's "Hymnal Noted." Arranged by R. DUNSTAN.
The tri -
umphs ot
-
r. Their love that
nev^
iLA^=^ -i ^
:o
-i r
':-3
l^p?=ll
nn>j.i
~r. u
For these the Church
lurcn to-
10- day
aay Pours
t'ours forth
lortn ner
her joy
-
ous lay,
j 4 j- j -J-J. A j:
s^s= J-7
L-
=Ê3--g=l|=3 3 t
VIII. THE HYPO-MIXO-LYDIAN MODE : r to r 1 ; Final, Soft ; Dominant, DoW.

" "
Trinity Melody." From the Mechlin Manual." Arranged (in modern style) by R. DUNSTAN.
(Transposed.)
zai b=rJî
n c&~
g3~^ y~
I T
-
I
gj^j a r^r
J îÛSUr =st: ^
MUSICAL FORMS NOT PREVIOUSLY DISCUSSED

:
187
Also Akmam, Att*m*ig*e, Almain,
) (/., ^Wwtwn'da.) spelt
Examp.es ,rom Hande, :-

ÎnrgraCrmences with rshorTuna^tld note.
H &c. *-
ife3^ s^
The Allemande consisted of two parts each repeated and the length of any one of
these repeated portions varied from 6 to 27 bars. Handel specially favoured n
bars (or 7, 9,
13) ;he occasionally used 8 or 16. Both with Bach and Handel the Allemande is written
in imitative contrapuntal style. The Allemande, Prelude, and Air are the only movements
in a Suite not taken from dance forms.
(2) Cavati'na (/.). (i) A short simple song. (2) Specially, a melody of one move-
ment only (occasionally preceded by a recitative) without a second strain and Da Capo,
(3) Country Dance. A rustic dance, generally
"
in 2-4, 3-4, or 6-8 time, and in strains
or sections of 4 or 8 measures e.g., the well-known
;
Sir Roger de Coverley."
The partners in this dance are arranged in two opposing lines hence, perhaps, ;
Contre-danse.
(4) Fa la, or Fal la. A short song, or a madrigal, with a fa la refrain at the end of
each line or stanza. Morley's ballets are good specimens.
J. SAVILE, 1667.
l
Various Musical Forms. 267
Romance sans Roman'za sen'za paro'le A

paroles (F.). (I.) story or song without
words.
" "
Romanze'ro (/.). A suite of romantic pieces for pianoforte.
Romanes'ca Romanesque.)
(/.). Also called a Galliard.
(F., A clr.nce in 3-4 time,
for two persons, said to be a precursor of the Minuet.
Serenade (F., Serenade; I., Serena' ta; G., Serena' de ; Stand'chcri).

^
" "Evening
music." (i) An 4 open air concert of a quiet character performed under the window
(2) An instrumental piece of similar character. (3) A pastoral
of the person addressed."
(Handel's Acis and Galatea is a Serenata.) (4) A piece of chamber music in several
cantata.
movements a kind of Suite.
;
" "
Standchen is
only used with meanings (i) and (2).
Serenatel'la (/.). A little serenade.
"
(14) Stab'at Ma'ter Do'loro'sa (L.) The Lamentation of the Blessed Virgin Mary."
A famous hymn on the Crucifixion, by Jacoponus, I4th cent.
Among the best settings of the Stabat Mater are those of Palestrina, Astorga,
Pergolesi,
Haydn, Rossini, Verdi, Dvorak, and Stanford.
(15) Suite (F., pron. Sweet}. Suite de pieces (F.). A set, cycle, or series of pieces
in the same key.
The suite was the precursor of the sonata and the symphony. It was a succession of
dance movements, sometimes introduced by a prelude. The chief dance forms employed were
the Allemande, Courante, Sarabande, and Gigue to these might be added the Gavotte, Bourree,
;
Minuet, Passepied, etc. Modern Orchestral Suites do not necessarily keep to the same key
throughout. The Suites of Bach and Handel are among the most important works of this
kind. Examples of construction :
Bach French Suite, No. i, D minor

: Allemande, Courante, Sarabande, Menuet i,
;
Menuet 2, Gigue.
Bach : French Suite, No. 5, G major ; Allemande, Courante, Sarabande, Gavotte,
Bourre'e, Loure, Gigue.
Handel : Suite u, B[? major Allemande, Courante, Sarabande, Gigue.
;
Handel
Suite :
3, D minor Prelude, Fuga, Allemande, Courante, Air and 5 Doubles
;
(variations), Presto.
Handel : Suite 7, G minor ; Ouverture, Presto, Andante, Allegro, Sarabande, Gigue,
Passacaille.
(16) Symphony. (G., Symphonie', Sinfonie' ; F., Symphonie ; I., Sinfoni'a.} A

work for an orchestra in the form of a Sonata, but (generally) with fuller development and greater
breadth of treatment.
The symphony is the most important form of instrumental composition. Beethoven
" "
stands pre-eminent as a writer of symphonies, his noble nine still remaining unequalled.
" "
Other great Symphonists are Haydn, Mozart, Mendelssohn, Schubert, Schumann, Spohr,
Brahms, and Tschaikowsky.
(17) Symphonic Poem. (G., Sympho'nische Dich'tung ; F., Poeme symphonique.) A
work for orchestra of the dimensions of a symphony, but in free form. It is based upon a
"
program or poem ; Liszt has been called the Father of the Symphonic
Poem." Rd. Strauss
is at present (1909) its most famous exponent.
(18) Symphonic Ode. A symphonic work for chorus and orchestra.

(19) Tocca'ta. (/., from Tocca're,
"to touch," "to play"). A brilliant, showy
piece in the nature of an improvization.
Bach's organ toccatas are fine examples.
Toccati'na ; Toccatel'la. A short toccata.
(20) Vaudeville
(F.). A
light comedy with dialogue, pantomime, topical songs,
etc.
It originated in popular convivial or topical street songs, etc

188. SHAPING A MELODIC IDEA.

Of the nature of thematic development is that varied treatment of an essentially simple
melodic progression which gives it a special shape and character.
Thus the following passages mostly the initial notes of well-known themes are all
based on (or announced by) the simple progression m
r d (the first phrase of "Three
Blind Mice").
(i) BEETHOVEN. Pianoforte Sonata, Op. 8ia. (2) BEETHOVEN. Overture,*" Leonora," No. i.
EE3E &c. &c.
" HAYDN.
(3) WAGNER. Overture, Flying Dutchman." (4) Op. 74.
&c. Ac.
(5)
HAYDN. Op. 64. (6) MOZART. Pianoforte Sonata in D
r &-
&c. &c.
(7)
CHOPIN. Op. 27, No. 2. (8) S. BENNETT. Overture.
&c.
" Should he
(9) CHOPIN. Op. 62, No. i. (10) BISHOP. upbraid."
&:. &C.
(n) BEETHOVEN. Pianoforte Sonata, Op. 27, No. i.

(12) MOZART. Quartet in F.
&c. &c.
(13) HAYDN. Symphony in D. HAYDN. Symphony in C.
Ac. &c.
(15) CHOPIN. Op. 32, No. 1. (16) CHOPIN. Op. 57.
Ac. &c.
HAYDN. "
(17) Op. 103. (18) SULLIVAN. My dearest Heart."
&c. &c.
(19) EBERLIN. (20) (a) HANDEL. Chaconne in G.
Ac.
Beauty in Music. 269
&c. &C.
(21) MOZART. Symphony in C. (22) Variation of No. 15. CHOPIN. Op. 32, No. 1.
B ^ * * ^'~* i * ^^-m
F FÊ i fEt
(23) CHOPIN. Op. 32, No. 2.

v
&C.
The following start with a short preliminary note (or notes) :
"
(24) Hope told a flatt'ring tale." (25) BEETHOVEN. Quintet in Eb-
"
SCHUBERT. The Fishermaiden."
&c.
These suggestive extracts, which might be multiplied to almost any extent, serve to illustrate some
" "
of the infinite potentialities of a melodic idea.
" "
The student may exercise his ingenuity by inventing other variants of m r d, in several different
keys, in different times, and with variety of accent and rhythm.
Other simple progressions may afterwards be treated in a similar manner such exercises help to ;
develop the sense of melodic grace and beauty, and to present what might otherwise be commonplace ideas
in original and attractive forms.
189 BEAUTY IN Music.

This chapter and this work may fitly close with some extracts from an article by
Mr. Joseph Bennett (Daily Telegraph, March 28, 1908) :
"In what does musical beauty consist? Taking music as a matter

Beauty of Form, of expression, it is clear that there must be beauty of form, and beauty of form
in art is as imperative and absolute as we find it to be in nature. In what
Melodic Grace. does j t cons i s t? Obviously in a power to charm, to excite pleasing sensa-
.
tions, and ensure their continuance till the purpose in view
has been served.
Beauty of form demands note that I am referring strictly to abstract
music
Connected Pro-
melodic grace, a balanced movement ; progressions so natural in point of
gressions. connection that we receive them as inevitable, and as much variety of
of all the parts. These
expression as is compatible with the essential unity
Variety of Expres- are the points which the masters of beautiful music never neglected.
great
si on.
Their infinite changes of melodic detail all lay within the scope of the melodic
principles just laid down a scope which they found ample for all desired
Essential Unity.
effect in the nature of sensuous gratification
"
The graces which make up beauty of form are now regarded as of less
account than was the case in the days of the great masters. A new spirit
has arisen, fostered by the seeming hopelessness of composing melodies equal
in grace and charm to those of past days. To this spirit has been sacrificed,
in large and apparently growing measure, the most precious of the qualities
which render music beautiful. It has come to be thought that the themes
and their setting forth, so characteristic of the old time, are profitless for
present use, and that other means of arresting attention and winning repute
must be adopted. Hence, the old melodic school is apparently dying out,
as the older contrapuntal school did before it, leaving examples due to indi-
vidual taste, but little more. What have we in place of the broad and graceful
themes, such as that which so impressively opens the slow movement of
Mendelssohn's violin concerto? We have, in large measure, mere snatches
of tune, fitful, elusive, unsatisfactory to those who demand a speaking melody,
but, it must be granted, capable of witching effects when, in number and variety
suited to the convenience of the composer, they are handled with skill. It
is, of course, a matter of personal taste, concerning which there can be no
disputing, but, as a lover of art in its purest and most exalted expressions,
I lament the change through which we are
" losing the symmetry, the ordered
"
stateliness, and the linke'd sweetness long drawn out of what is now called
old-fashioned melody.
" '
But melodic form
not all that lies within the term musical form.'
is
Shaping of Move- There are the various forms of treatment by which movements are shaped,
and, generally, the larger creations of the art determined. For an example
we may go most developed symphonies of the classic school.
to the Standing
Svm honic Form a
m *ê n ht
these masterpieces, at least one point should never be passed
f
Gradual Develop- ver The grand symphonic form was a slow creation, taken up by a succes-
-
ment. sion of great men who developed it with loving care, from the primitive
simplicity of Haydn to the definite elaboration of Brahms.
"
Much beauty in music is due to the perfect freedom of abstract art
Perfect Freedom of within the lines of form. That freedom is an almost unique endowment.
Abstract Music.
Poetry enjoys it, but the full measure is given to music alone, because only
that art exercises it absolutely without limit or restriction, in a field which
extends over all the realms of feeling, and much of the domain of thought.
" ' '
Against what is called I have nothing to say,

programme music
Programme Music, except that it is necessarily inferior in character, and therefore in status,
' '
to pure music. It has its place and its vocation it pleases a great
many ;
people, and tempers many absurdities with a sufficient allowance of cleverness

to make the music acceptable.
"
Besides the beauty of phrase and theme, and that of treatment, good
Beauty of Subject- music has that beauty of subject which lies outside of, and apart from, a
matter. It is said that Haydn, in preparing a symphony, took some story,
programme. ' '
or sequence of events, and worked upon it, without making the argument
I do not know the
public. authority for this I question if authority exists,
;
but if that was the master's practice he was, of course, a composer of unavowed
programme-music, and I have to add that, all works of that class being as
beautiful as his, such music would need no defence. But still, it would be
necessary J to insist, for the conservation of the supremely
r J good, that there are
Moods and , , , ,
. . .
,
.
Emotions. subjects unwritten and unspoken subjects which arise from moods and
;
emotions which often, without taking definite form and purpose, move
;
humanity to gusts of passion, or lap it in sweet and tender feeling. Here

' '
Impulses from
* s the
gathering-ground of the composer of pure music, where he may be
within. happy in the knowledge that he can lay his hand upon nothing base and
unworthy unless, indeed, he so desire, which, in the circumstaances, is incon-
ceivable. I wish our composers, would, more often than they do, utilise
these impulses from within."
Index. 271
INDEX
PAGE PAGE
Accent 24, 99 Cavatina 265
Metrical 24 Changeable Chant 15
s of Divided Beats 25 Character of Measures 26
s, Verbal and Musical 27 Choruses 169-171
Accompaniment 59 Chromatic Modulation 160
,
Essentials of an 59, 63 Church Modes 260
of Art Songs 66 , Harmony of 261
- of Duets 82 Clarinet 217, 219
, Organ 215 Common Metre 31, 33
, Styles of 7 -77 Composition in General i
to Ballads 59 Composition, Materials of 2

to 3-part Writing 84 Compound Measures 24
s in General 177-216 Conjunct Melody 6
, String 178, 179-216 Contrabasso 178, 220
, String, of Solos 210-214 Contrary Motion 82, 91
Allemande 265 Cornet 218, 219, 234
Amphibrachic Metre 27, 36, 37 Counterpoint 148-152
Anapaestic Metre 27, 36, 38 Countersubject 156
Answer 156 Country Dance 265
Anthem 1
72 Courante 134
Aria 78 Dactyllic Metre 27, 36
Arioso 78 Dance Forms 134, 145
Arpeggio 103 Descending Passages 89
Art Songs 57, 66 Development 254, 255, 259
Articulation 163 ,
Thematic 259
Ascending Passages 89 Diatonic Modulations 160
Attacco 168 Diminished Intervals 6, 97
Attendant Keys 42, 159 Diminution 115, 155
Augmentation 115, 155 Disjunct Melody 6
Augmented Intervals 98 Dorian Mode 261
Authentic 260 Double Bass 1 78, 220
Ballad Form, Extension of 68 Chants 15-23

Ballads 57~59 Chorus 171
, Accompaniment to 59 Counterpoint 152
,
Metrical Structure of 57 Duets and Trios 79, 88
Barcarole 145 Economy of Melody 107
Bass, The Instrumental 209 Effect of Measure on Melody 26
Vocal and Instrumental
,
208 Eight-lined Hymns 49, 52
Beauty in Music 269 Eights and Sevens 35
Bolero 145 Enharmonic Modulation 161
Bouree i35 M5 Episode 156
Cachuca 145 Errors of Beginners 2
Cadences 7, 16, 30, 38, 53 Euphonium 218, 219
Feminine 12, 18 Examples of String Accompaniments .... 179-216
,
Inverted
,
9 Exercises, 8, 9, 10, 13, 15, 17, 18, 19, 21, 22, 23, 33,
- Tables of 35, 38, 41, 43, 45, 47, 48, 49, 52, 66, 78, 86,
13, 15, 16, 20, 23, 30, 38, 41, 42, 44,
46, 47, 48, 50, 52 87, 117, 125, 129, 134, 137, 138, 141, 142,
Cadenza 94 145, 214, 269
Canon 34> I 53 Exposition 254, 255
Canonic Imitation "3 a Fugue
of 159
Cantata . . . ; 173 Extended and Irregular Sentences 129
PAGE
Extension of Song Form 137 Melodic Figures 163
Fah Mode 263 Intervals 6, 89, 97
Fa la 265 Melody in General 89-106
Fanfare 142 based on Arpeggios 103
Feminine Cadence 12, 18 , Economy of 107
Figure 57, 163 ,
Harmonic Substructure of 103-106
First Movement Form 255 , Styleof, for Hymn-tunes 28
Five-lined Hymns 42 Me Mode 262
Florid Melody 29 Mental Effects 7
Flute 217, 219 Metre 27
Folk-Song 57 Metrical Accent 24
Form in General 254 Form 57,125
,
Metrical 57, 125 Minuet 134
,
Minuet and Trio 138, 141 and Trio Form 138, 141
,
Sonata 255 Mixolydian Mode 264
, Song 135, 141 Modes 260
Four-fold Sentences 125 Modulation 10, 133, 159-162
Four-lines Eights 36 Morris Dance 265
Sevens 35 Motet 265
Freedoms in Doubling Voices 208 Motive 57, 1 10, 163, 258
Free Fantasia 255 Musical Rudiments 3
Fugue 156-159 National Songs 58
Full Anthem 172 Nocturne 265
Galop 146 Octuple Time 27
Gavotte 135, 146 Opera 173
Gigue ... 134 Oratorio 1
73
Glee 169 Orchestra and Piano 223
Grand Aria 78 String
, 177
Gregorian Tones 260 Orchestral Sketches 223
Ground Bass 115 Organ Accompaniment 215
Harmonic Substructure of Melody 103-106 Point 1 56
Harmony 3 Overture 1
74
, Style for Hymn-tunes 29 Paragraph, Two-sentence 132, 140
Homophonic Music 165 Three-sentence
, 135, 141
Horn 218, 219 Part-songs 165
How Composers work 3 Passion 265
Hymn- Anthem 172 Passion Play 265
Hypodorian Mode 262 Pedal 156
Hypolydian Mode 264 Perfect Cadence, The 23
Hypomixolydian Mode 265
- Phrasing 162
Hypophrygian Mode 263 Phrygian Mode 262
Iambic Metre -7, 31 Piano and Orchestra 223
Imitation i i, 19, 34, 811, 1 10 Pianoforte Accompaniments .
.59, 66, 70-77, 8z, 84
Imitative Music 256 Pivot Note 93
Instrumental Bass, The 209 Pizzicato 178
Inverse Imitation 114 Plagal 260
Leading Themes 76,258 Polka 146
Leit-Motiv 258 Polonaise 147
Long Metre 31-33 Polyphonic Music 165
Lydian Mode 263 Prelude 1 74
Madrigal 167 Presto 134

Male-voice Music 87 Program Music 256
March 140, 237 Prolonged Notes 94
Materials of Composition 2 Punctuation 163
Mazurka 146 Quadruple Counterpoint 153
Measure 24 Quintuple Counterpoint 153
,
Effect of, on Melody 26 - Time 27
s, Character of the 26 Ray Mode 261
Melodic Faculty, The 2 Recapitulation 254, 255
Melodic Direction 89 Recitative 98, 1
74
Extent 89, 96 Recte et Retro 19, 155
5683
Index. 273
PAGE
Redowa *47 Song without Words 137
Redundant Entry 159 Stabat Mater 267
Refrain 57 Stretto 156
Removes of Key 16 Stringed Orchestra 177
Repeated Notes 92 String Accompaniments, Examples of ... 179-216
Repetition 107 General Principles of
, 178
255 of Solos 210-214
Reprise
Requiem 266 s, How they are used 178
Retrograde Imitation 115 Styles of Song Accompaniment 7-77
Rhapsody 266 Subject 156
99 Sub-section 57
Rhythm
Rhythmical Contents of Measures 101 Sudden Modulation 162
163 Suite 267
Rhythmic Figures
Romance 266 Melody
Syllabic 29
Romanesca 267 Symphonic Poem 267
Romantic Music 255 Symphony 267
Rondo l6 4 Tenor Horn 218, 219
Round !53 Tens and Elevens 37
Sarabande *34 Thematic Development 259
Scale Passages ll
Three-part Writing 83
Scena 78 Three-sentence Paragraph 135, 141
Scherzo 2 55
Through-composed Song 57, 77
Scoring for Small Orchestra 217-253 Time 99, 100
- Strings 179-216 Toccata 267
Section 57 Tonal and Real Sequences in
Sentence 57 Tonality 5
s, Extended and Irregular 129 Transposing Instruments 220
,
Four-fold 125 - Table 220
in succession I 32 Triple Counterpoint 152
Septuple Time 27 Trochaic Metre 27, 35
", 34, II0 Trumpet Metre
Sequences
,
Tonal and Real m Twelve-cadenced Tune
43
53
II2
Sequential Imitation Two-part Writing 79
Serenade 267 Two-sentence Paragraph 132, 140
Services T
72
Unison Passage:;. .'.... 19, 82, 85
Seven-lined Hymns 48 12
Unusual Beginnings
268
Shaping a Melodic Idea Variations
3*, 33
117
Short Metre
Varied Repetition 109
Simple Measures 24
Vaudeville 267
Single Chants 5-* 5
Verbal and Musical Accents 27
, Major 7
Verse Anthem 172
Minor *3
177, 220
,
Viola
Six-lined Hymns 43
Violin I77> 2I 9
Slow Movement 255
Violoncello 178, 220
SoloAnthem J 72
Sonata Form 2 55 Waltz 246

Finale of a 255 Waving-note 79
,
57-78 Wind Instruments, How to use 223

Songs
I 35- I 4 I Word-painting 257
Song Form
5683
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postage i }d. A text-book of Musical Elements for Students preparing MUSICAL EXAMINEE. By H. FISHER, Mus.Doc. (5677.) Musical
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public exam- theory in the form of questions and their answers. Questions that
ination papers. have actually been asked at the
principal examining institutions
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MUSICAL COPY-300K, THE. Founded upon " The Candidate in Music," post. 4d.
Book I, a Text Book of Musical Element*. By HENRT FISHER,
MUSICAL STATICS. A
standard work on Acoustic* by JOHN Ccurt*.
Mus. Doc. Cantab. (5297.) Price 6d. per Part] postage id. (5303.) Adopted as a text-book by Dublin University. New edition,
PARIS I to IV. revised by T. F. HARRIS, B.Sc. Price
3/6. Postage 4 d.
MUSICAL SELF -INSTRUCTOR. By J. SNEDDON, Mus.B. MUSICAL THEORY. By JOHN CURWBN. (5305.) Seventh edition
(5301.)
Price Both notations. Price complete 3/6 Book
a/6; postage ad. Self-help in musical ; postage 4d. III (Musical Form), price i/^ ;
element* and vocal practice. postage i id. Book V (Harmony), price i/- ; postage id.
MUSICAL THEORY. By JOHN CURWKN. (5305.) 7th edition. Price 3/6 |
EW GRADED HARMONY EXERCISES. By GBO. OAKE*. Mut.Bac.
postage 46. Or in parts I, *d. | II, 4 d. j HI, 1/41 IV, <d.j (S3i8.) A complete course of exercises in both notations, without
V, i/-. The main divisions of the work are five the Common Scale instruction. Price a/-, cloth j postage ijd.
and Time the Minor Mode and Transition Musical Form ORCHESTRA, THE, and how to writ* Jor It By F. CORDS*. (5343.)
Expression Harmony. Ail examples in both notations. Price 7/6 postage jd. Second edition. For the geueral muiical
;
STAFF NOTATION, THE. By JOHN CURWEN. (5476.) A student, and the composer who writes a waltz, song, or march, and
practical
introduction to the Staff on the Tonic Sol-fa method. 6d. wishes to score it effectively. The string band, the theatre band, the
TEST EXAMINATION PAPERS IN THE ELEMENTS OF MUSIC. By wind band, the small and the large orchestra, are all considered. Real
HENRY FISHBR, Mus.Doc. (5519.) Price 6d. each Series postage id. notes are given in the examples for the
| transposing instruments.
These are quarto musical copy-books, in paper covers, with questions TEXT-BOOK OF COUNTERPOINT. Eleventh edition. By GB^. OAKBT.
let out in large type, and blank staves or lines for written answers. Mus.B. (ssai.) Prirf j/- cloth j postage ijd. All the example*
Bach bock contains twelve test papers, with an average of ten are given in both notations | and a set of subjects for exercise* are
questions in each. The books are graduated. Series I deals with given at the end Greatly enlarged and re-written.
cales and interval*. Series II deals with chromatics, TEXT-BOOK OF EAR-TRAINING.
clefs, signa- By GBO. OAKBT, Mus.Bac. ( 552 a.)
tures, Italian terms, transpositions, &c. Series III deal* with minor Price ^/ | postage 3d. Contains 397 exercises in both notation*. The
scales, more difficult intervals, &c. educational arrangement here is perfect. Thorough grading.
TEXT-BOOK OF MUSICAL ELEMENTS. By GEO. OARKT, MUS.B TEXT-BOOK OF HARMONY. By GBO. OAKEY, Mus.B. (5524.) Twelfth
(5527.) In paper i/- 1 cloth, 1/6 | postage ijd. All the usual topic* Price 3/- Seventeen chapters, with about
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arranged on a new plan | with element* of harmony. An appendix of 130 graded exercises at end. All examples in both notatioo-a.
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TEXT-BOOK OF HABMONY ANALYSIS. By GBO. OAKET, Mus.B. (3533.)
Price 3/- postage 3d. How to analyse chords. Third edition.
Harmony, Counterpoint, Supersedes
"
;
How to Observe Harmony." Both notation*.

Orchestration.
CANDIDATE IN MUSIC, Book Harmony, and
in paper, a/- ; in cloth, 2/6
II.
;
(5037.)
postage A
thorough text-book
2 Jd.
edition. Price,
for History and Works of Reference.
schools, and for student* preparing for local examinations. CYCLOPEDIC DICTIONARY OF MUSIC. By R DUNSTAV. Mus.D. (>>6*>.}
COMMONPLACES OF MUSIC. A student's handbook, by JOHN CURWEN. Price, cloth, 7/6 net (no reduction); postage, jd. Half morocco,
(3080.) The fol'owing portions of the work are now published 9/6 net. Contains 14,000 musical terms, 6,000 biogr-phir.tl notices,
: Parts B to D, Construction Exercises in and 500 articles on musical topics. Second Edition enlarged.
(both notations) Elementary
Composit on. Part B is out of print. Part C, z/-. Part D, 1/6. HISTORY OF ENGLISH MUSIC. ByHENRY UAVKY. (31*1.) A
Alternative Construction Exercises for Parts B and C, 8d. Part G, monumental work tracing tlie history and proving the xlv.inced
Text Book of Harmony and Musical Form, 6/6. Part H, Ditto, position, past and present, of Bnglish music. Contains many new *rid
continued, a/-. Part K, Historical Specimens, showing the Develop- important fact*. Price 6/- | postage <d.
ment of Musical Composition, 5/4. Part L, Ditto, continued, 6/- HYMN LOVER, THE. By Rev. W. GARKETI BORDER. (5190.; Price j/- .
Part M, Ditto, continued, 4/-. postage +d. An account of the rise and proRre** of Hymnody.
COMPENDIUM OF HARMONY. By GEO. OAKEY, Mus.B. (5082.) Price Third and revised edition.
MEMORIALS OF JOHN CURWEN. By his son, j SPENCE* CCHWE.
a/- ; Comprises the subject matter of the first half of the
postage ad.
Author * " Text Book of Harmony," the examples in Sol-fa only, Price a/-: postage id.
1
(5272.)
MUSICAL HAUNTS IN LONDON. By F. G. HOWARDS. 3208.)
with a new set of exercises. Third edition.
Chapters OD Handel, Haydn, Mendelssohn, Weber, and many other
EIGHTY MUSICAL SENTENCES, to illustrate chromatic chords. (5111.)
musicians, with stories and pictures of their residences in London.
By Sir G. A. MACFARREN. Staff, price 2/-, postage ad New edition
Price T/- ; postage ad.
editedby G. Oakey, Mus.B. MUSICI ANS OF ALL TIMES. Compiled by \V. G. W. GOODWORTH. (S.wM
FIG 'RED BASS. By GBO. OAKBV, Mus.B.
,
(3133.) Price, limp cloth, i/- A new edition, a/6 postage ad. Concise biography of comp<- ,,
;
.
postage id. Explains figured bass in modern harmonies and epito- teachers, artists, and all other musical workers, containing ,..-.(
mises harmony. Fourth edition. name*.
FuJST STEPS IN HARMONY and the Harmonising of Melodies. By SHORT DICTIONARY OF MUSICAL TERMS, A. By ARNOLD KBNNBDT,
RALPH DUNSTAN, Mus.D. (5136.) Price a/- cloth postage ad. j M.A. (5304.)Price i/- postage id. cloth, 1/6 postage i\d. About
; ; ;
A concise manual for beginners, staff notation. Including 250 2,700 terms. Gives the phonetic pronunciation of foreign words,
progressive exercises. Third edition. German, French, and Italian term< are included.
HANDBOOK OF ACOUSTICS. By T. F. HARRIS, B.Sc., F.C.S. (5005.) STUDENT'S MUSICAL HISTORY. Hy H. DAVET. (-5501.) Pri-e i/- ;
The cheapest historical

Price 3/6 | posi 's;e 3d. A handbook for musical students. Contains postage i Id. ; postage aid.
cloth, 1/6
Pourti
18 chapter* profusMy illustrated with numerous questions and an
j
handbook; comprehensive, concise, brought up to date.
of Bxaroin-tion Paper*. Seventh edition. edition. Continued.
Appendix

Text Books and Standard Works.]
HARMONIUM AND AMERICAN ORGAN TUTOR. By H. FtsREt,

Teachers' Books. Mus.D. (3170.) Price a/-; postage jjd. Specially adapted for students
COMPANION FOB IF ACHER8. By J.S.CURWEN. (so8i.) ijth edition who have no previous knowledge of a keyboard instrument. Care-
Price i/- postage ijd.
1
Gives the school teacher all necessary fully graded ejrrcises. Popular selections. Third edition.
information on the Tonic Sol-fa system, in a compact and well- HOW TO START A MEN'S CHOIR. By WALTER J. KIDNER, Conductor
arranged form. of the|'.Society of Bristol[Gleemen. '5186.) Price 6d. CONTENTS :
HOW TO TEACH THE STAFF ROTATION to Tonle Sol-fa Pupils. By The Alto Voice Balance of Voices Choice of Music Choir of
HOWARD MASON, Mus.B. (5187.) Price, paper boards, a/- 1 postage ad. Tenors and Basses Financial Constitution of Choir- Officers
The method of teaching fully detailed in lessons. In each lesson, the Competitions Solos with vocal accompaniment Stvle of Music
abject matter and method or illustration are given in parallel columns, The Tenor Voice Vocal Consti-
1
v. unaccompa ied)
(accompanied
ending with blackboard scheme. Practical exercises, 164 in number, tutionThe Voce Mista Voice Training Rules of existing societies.
save the teacher's time in preparation. Fourth Edition.
ORGANIST'S FIRST BOOK, THE. By RALPH DONSTAN, Mns.Duc.
BOW TO TRAIN CHILDREN'S VOICES. By T. MASKBLL HARDY. (5 1 88.) Cantab. (5606.) A practical guide to organ-playing. Price, paper, 1/6;
Price i/- | postage id. For school teachers with a chapter on ladies'
paper boards, 3
-
> postage 4d. Up-to-date advice. Pedal scalp*
voices. Fourth edition. given, also marks for pedalling. Studies from standard piece?.
MANUAL OF MUSIC, A. By RALPH DDNSTAN, Mus.Doc. (5256.) Price a/61 Graded list of pieces,
postage ad. the whole practical course of music both for Pupil
Coven ORGANS, ORGANISTS, AND CHOIRS. By B. MINSHALL. (3346.)
Teachers and Students in Training Colleges, and contains also a Price 1/6 ; postage ifd. A book of hints and suggestions for all
valuable set of exercises for the private student Both notations are interested in Nonconformist Church Music.
treated of. An appendix of the latest examination papers of the
STUDIES III WORSHIP MUSIC. ist Series. By ]. S. CCHWEN. (3304.)
Board of Bducation is added to the igth edition.
Contains articles and information on various
Price 3/- I postage 4d.
PSYCHOLOGY FOR MUSIC TEACHERS. By HENRV FISHER, Mus.Doc. matters relative to Worship Music, arranged in three divisions
Cantab. (3386.) Cloth, 3/-J postage 2jd. The laws of thought Historical, Practical, Descriptive, Third edition, revised and enlarged.
other relevant matter.
applied to sound and their symbols, with STUDIES IN WORSHIP MUSIC. and Series. By J.S.CORWEN. (5504^
ICHOOL MUSIC TEACHER, THE. By J. BVANS and W. G. McNAOOHT. Price a/6 1
Continue* above work
postage a)d. articles on Tbi Chapel
(5412.) Eleventh edition revised
and enlarged. Price 2/6; postage 40". A
Royal, Westminster Abbey Choir, &c.
guide to teaching singing in schools
and a text-book for the School Wee 3/6
UNITED PRAISE. By F. G. EDWARDS. (5363.) | postage 3 d.
Teacher's Music Certificate of the Tonic Sol-fa College, introducing A
Originally advertised a* "Common Praise." practical handbook ol
also the Staff notation.
Nonconformist Church Music.
all the
8.T.M.C. STUDIES. By L. C. VENABLES. (5611.) Exercises in
practical requirements of the School Teacher's Music Certificate,
with specimen past tests. Issued by authority of the Tonic Sol-fa Voice Production.
College. Both notations, i/-, postage id. ART OF BREATHING. THE. ByLEoKoruut. (5017.) doth, 4 / ; posted.
SIKGlhG IN ELEMENTARY SCHOOLS. By A. WATKINS. (5431.) Full of practical exercises and experiences. The whole art of voice
Cloth, i/- ;postage id. A Course of Lectures delivered to the

production is discussed, jth American and and English edition.
teachers under the Leicester School Board. BOY'S VOICE, THE. SPENCER CORWEM. Price a/6
By J. (3031.) i
SPECIMEN LESSONS ON THE TONIC SOL-FA METHOD. Bdited by postage 3d. A

book of practical Information for choirmasters, with
JUHNS.CCRWEN. (3471.) New and enlarged edition. Cloth limp, 1/6 ;
numerous hints from leading choir-trainers. Fifth edition.
Contains specimen lessons on Time.Tune, Transition,
first
postage id. CHURCH AND CATHEDRAL CHORISTERS' SINGING METHOD. By
Staff Notation, Harmony, by Proudman, W. G. McNaught, L. C.
J.
HAYDN KEETON, Mus.D. (3066.) Price 2/6; doth, 3/6. Postag- )d.
Venables, S. Hardcastle, the Editor, Mrs. Honeysett, F. Whincnp, how to read music
Progressive exercises calculated to teach boys
and Geo. Oakey, M-us.B.
and to train and develop their voices. Enlarged edition.
TEACHER'S MANUAL, THE. By JOHM CORWBW. (55<>9.) Eighth
edition. A manual of the art of teaching in general, and especially DAILY STUDIES IN SPEAKING AND READING. By W. H. GRIFFITHS
(3093.) Price i/- postage id. A text-book for pupil teachers,
applied to music. Price </- 1
at 1 postage 4d.
MILLS, Mus.B. corresponding with the demands of the Board of Bducation.
TRAINING COLLEGE MUSIC COURSE. By B. (5347.)
Tenth edition with appendix. Price 3!- postage 3d. Staff Notation1
EXERCISES IN VOICE PRODUCTION AND ENUNCIATION, for Speaker*
Course, Vocal and Theoretical, on the Movable Do system, arranged

and Readers. By Dr. DCNSTAN. (35730 Cloth. 1/6 ; postage i Id.
for the Certificate Examination, the Second Fourth edition, revised and enlarged.
so as to prepare directly
Tear Examination, Pupil-teacher and Scholarship Papers, and music MANUAL OF VOICE PRODUCTION. By HENRT J. B. DART. (3238.
in chools. A chapter on Tonic Sol-fa added. Stafi Notation, i/- ] postage id. For the training of voices in schools
and parish church choirs. The directions and exercises are those
followed for many years by this highly successful voice- trainer.
Books for Klndergartners. MECHANISM OF THE HUMAN VOICE. By BMIL BEHNEE. (5263.)
FIGURE DRAWING FOR CHILDREN (513*). By CAROLINE HUNT I 4 th edition, enlarged and revised.
paper, 1/6 Price, cloth , a/6 ;
RIMMER. A text-book for the teacher. Cloth, 3/6. Postage 4*.

postage ad. Gives a clear
and succinct description of the bumar
larynx in untechnical language, illustrated with woodcuts,
Profusely illustrated. witb
KINDERGARTEN BUILDING GIFTS (saai). By ELIZABETH HARRISON and Appendix by Mrs. BMIL BEHNKE.
BELLE WOODSON. A chapter on each gift, showing how it may be MIXED VOICE AND THE REGISTERS, THE. By W. H. GRIFFITHS
used in developing the child's ideas. With many illustrations.
An invaluable book for vocal students, especially tenors
(3286.)
(NOTE. This is a book on gtntral Ktndtr-
Cloth, j/6; postage 3d. buses, and altos. Photographs, diagrams, exercises, practical hints.
(aritn mark, and contains no music.) Cloth. a/6 Postage 3d. Second edition.
KINDERGARTEN MUSICAL TRAINING (5323). By S. McBuRNEY, NASAL RESONANCE. By GRANVILLE HUMPHREYS. (5649-) Price 6d.
Mus.Doc., late Inspector of Music in Victorian Schools. A text-book A thoughtful pamphlet on an important subject. Exercises
" "
illustrating the Bird Modulator plan of teaching the Tonic Sol-fa described.
Method, with numerous infants' songs. Price i/- ; postage id. and By FREDBRICE
PRIMER OF ELOCUTION to Recitation Song.
PIPPA'S HOLIDAY Essays on the child's standpoint, the morning
(5366). HARRISON, M.A. (5377.) Price, cloth, 1/6; postage id, Systematises
hymn, light and colour, song chats, shape and sound,
with several
the study of Elocution, summarises vocal physiology, gives specimen
tales from Browning, Longfellow, and other sources. Cloth, a/6;
recitations, pronunciation of Italian in singing, \c.
postage i]&. PRONUNCIATION FOB SINGERS. By Dr. A. J . ELLH. F.RA (338;.)
Seventh edition. Price 3/6 i postage 4d. Minute and authoritative.
For Choirmasters and Organists. English Pronunciation of dani*? German, Italian,
1 and French songs,
and a Mass in Latin forms part of the work.
CdORAL AND ORCHESTRAL SOCIETIES. By L. C. VENABLES. (3036.)
Price a/6 postage, 3d.
1
A book of practical bints and experiences for ilNGBB'S GUIDE, THE. By JOHN ADCOCE. (3429.) Price if- 1 postage i id.
the use of Conductors, Secretaries, and Committees. Fifth edition. Plain and practical rules on the singing of English, Italian, Latin,
with a
GOLDEN KEY. Dr. A. MADELEY RICHARDSON, late organist of Southwark German, French, and of Scripture Proper Names, together
dictionary of musical terms (Italian and German),
of
Cathedral. A pamphlet on English Church music, giving the author's pronouncing
Sixth edition.
Price musicians and of musical works, Ac. Continued.
plan of work. (5664.) i/-.
LONDON: J. CURWEN & SONS Ltd., 24 BERNERS STREET, W.

[Text Books and Standard Works
SOLO SINGER, THE. By SINCLAIR DUNN. (5444.) Price if- postage I PIANIST'S MENTOR, THE. By H. FISHER, Mus.Doc (3_,6i.) Cloth, a/0
ijd. A Handbook giving hints to those who desire to become Solo postage jd. There is no music in this book, but it is crowded with
"
Singers | companion to the Solo Singer's Vade Mecum," by the same information on points that are constantly cropping up in
pianoforte
author. Sixth edition. practice. The ten chapters deal with musical ornaments, the " inven-
"
tions of Bach, scales, arpeggios, studies, pieces,
SPEAKING VOICE : Its Development and Preservation. By Mrs. BMIL analysis of form,
BEHNKB. (5470.) Adopted in numerous colleges. A course of vocal right-reading, examinations, Italian and German vocabularies,
with photographs of physical exercises. memorising music, &c. Fourth edition, enlarged.
training on hygienic principles,
Seventh edition. Price 4/6 ; postage 46. PLATING AT SIGHT. By R.
T. WHITE. Mns.Doc.Oxon. (5617.)
VOICE PRODUCTION IN SINGING AND SPEAKING, based on scientific Price 1/6; postage ijd. Bye-training for pianists and the culture
principles. By WESLEY MILLS, M.A., M.D., F.R.C.S., Protestor cf

" The
of intelligent sight-reading. Second edition.
Physiology in McGill University, Montreal. (5626.) "

product PRACTICE CARDS FOR PIANO STUDENTS. By B. MANSELL RAMSET.
of one who is equally versed in anatomy and music." O&e of
Nineteen
(5373-) I. Preparatory Grade. II. Junior Grade. HI. Inter-
the most original and comprehensive works on the subject."
mediate Grade. IV. Senior Grade. Price 6d. each; postage id.
chapters,63 illustrations. Price 78. 6d. net (no reduction), postage jd.
These large cards, 13 by 10 inches, lie on the pianoforte desk, and
VOICE TRAINER, THE. By JAMES A. BIECH. (5574-) Both notations, give the daily routine of practice for technic suited to each grade.
postage id. Practical hints and exercises for solo singers,
price i/- ; They are designed by a professor of long experience. Posted in
edition.
conductors, chonilists, and voice- training classes. Fifth cardboard tube.
VOICE-TRAINING EXERCISES FOR BOYS. By G. BERNARD GILBERT, PROGRESSIVE PRIMER FOR THE PIANOFORTE. By H. A. DONALD.
Price i/- postage id. By the director of a choir that has
(3576.) 1
(3381.; Price 1/4 postage ijd. An attractive book for little
1
maintained its championship in

competition for many years.
Contains scales leading up to very simple little pieces,
players.
Hints, voice exercises, and accompaniments.
everywhere within reach of small hands. Eleventh edition.
TEACHER'S GUIDE, THE, to the Lessons of " Mrs. Curwen's Pianoforte
Sight Singing:. Method " (The Child Pianist). (3048.) Containing the Instruction! to
flFTf STEPS IN SIGHT-SINGING. By ARTHUR SOMERVBLL. (5:30.) the Teacher. Grades I and II, complete, 3/6 ; postage 4d.
Price a/- postage ad
;
A course of practice in singing is mapped out Mrs. Curwen's Pianoforte Method is a book of Theory and Practice
for beginners and schools, teaching Sol-fa and Staff side by side. for Beginners (Staff Notation), by Mrs. J. SPENCER CORWEN. (Se
for the
Ample exercises and modulators are given, and explanations separate advt.)
teacher. Exercises separately, 6d. Additional Exercises (znd set), 6d. TEN MINUTES' ARTHUR SOMERVXLL.
TECHNIQUE. By (3318-)
HOW TO HEAD MUSIC. By JOHN CORWEN. (5185.) 24 chapters, Pri e a/6 postage 3d.
; A series o'. technical exercises for each day
pp. xa8. 44th thousand. Price, cloth, 1/6 ; paper, postage i4d. i/- | in the week. The minimum of work is provided for pianoforte
Teaches sight-singing by the Tonic Sol-fa system, then applies the players to secure thorough results. Second edition.
knowledge gained to the Staff notation, and teaches that thoroughly.

TOUCH AND TECHNIC FOR ARTISTIC PIANOFORTE PLATING. By
STANDARD COURSE, THE. By JOHN CORWEN. (3484.) Re-written,
Dr. WM. MASON (of New York). (5545.) Edited, with numerous
Second edition, Unison exercises. Staff Notation
1901. 1906. additions, by RIDLEY PRENTICE. PART I. Two-part exercises
Size of
" Musical
added. Bach topic in a section by itself. Theory."
(School of Touch). Price 3/-. PART II. Complete School of Scales
Price 3/6 | postage 4d. (Brilliant Passages). Price 3/6.
For Pianoforte Teachers and Various.

Students. HANDBELL RINGING. By C.
"
W.
FLETCHER. (5166.) Price a/6;
" Hand-
FOR THE PIANOFORTE. Edited with notes postage ad. Explains the m ethod
on which the Criterion
BERTINI'S STUDIES
bell Ringers play shows how to organise and train troupes of ringers,
Books and each ;
by HENRY FISHER, Mus.Doc. (5023.) I II, i/- ;
each study are pointed and gives exercises and tunes arranged for the bells.
postage i d. The purpose and difficulties of
out in the practical notes. VAMPING. By J. H. SUTCLIFFE. (5564-) Limp cloth, i/- postage id. ;
CANDIDATE'S SELF-EXAMINER the Scales and Arpeggios contained

in A book of hints on the art of extemporising or vamping accom-
in the Pianoforte Syllabus of the Associated Board. By PERCY A. paniments to songs, etc.
SCHOLES, A.R.C.M. (5622.) In Four Books: Lower Division,

Division Intermediate Grade, Advanced Grade, i/- each.
Higher
CONSTRUCTION, TUN G, AND CARE OF THE PIANOFORTE. Bdited
Pamphlets on the History of
and largely re-written by H. FISHER, Mus.D. (5085.) Price, limp Tonic Sol-fa.
cloth, i/- 1 postage, i|d. Shows people handy with tools how to repair
and tune their pianos, harmoniums, and American organs. Fifth ACCOUNT OF THE TONIC SOL-FA METHOD. By J OHN CURWBN. (5004.)
method cf teachinc, and examples. 8 pp., id.
edition. The principles, the
DEPPE EXERCISES IN TECHNIQUE FOR THE PIANOFORTE. Compiled MINOR NOTATION OF THE TONIC SOL-FA SYSTEM (5383.) Paper
AMY Price */ 6
'
postage id. discussion and opinions. Mr. Taylor
by his pupil, FAY. (9054-) by SEDLEY TAYLOR, M.A., with
of the minor mode should be called Doh.
EXERCISES, SCALES, AND ARPEGGIOS for the Pianoforte. By HENRY urged that the key-note
ad. Arranged 36 pp., 6d.
FISHER, Mus.Doc.Can tab. (5123.) Price a/- postage ;
to the rapid progress of students notes by J. SPENCER

in such manner as will most conduce STORY OF TONIC SOL-FA (5498). Historical
of the Tonic Sol-fa College. Tenth edition.
of all grades. CURWEN, President
IMPERIAL METHOD FOR THE PIANOFORTE. By HKNRY FISHER,
30 pp., ad.
Price a/-; postage ad. A tutor for
METHOD
Mus.Doc.Cantab. (5197.)
Contains 8a studies and TESTIMONIES TO THE TONIC SOL-FA (55ao). Opinions
popular use. Ample directions. pieces, of Schools, and workerc
of leading musicians, scientists, Inspectors
and popular, also folk-songs and hymn-tunes. of the system. Sheets i, 3 and 4,
classical in many spheres, on the usefulness
LESCHETIZKT METHOD. By MARIE PRENTNER. (5235.) Price 4/6 |
each 50 for i/-.
Bverv up-to-date and pianoforte teacher must An
postage 4d. pianist
TONIC SOL-FAISTS AND THE MINOR MODE (5537). explanation
have this work. in the Minor Mode, by W. ROSTON
Price 1/6
and defence of the Lah notation
MUSICIAN, THE. By RIDLEY PRENTICE. (5307.) InSixGrades. BOURKE. as pp., 6d.
postage ad. A guide for pianoforte
students. Helps
each Grade
IN THE CHURCH OF ENGLAND (5538.)
j
towards the better understanding and enjoyment

of beautiful music. TONIC SOL-FA METHOD
church organists, and others on the value
Considerably over 100 pieces by all
the classical composers are analysed Opinions of clergymen,
16 pp.,
form. The interest of the learner is excited and the
2<i.
of the system.
ts to musical
stimulated. Theoretical knowledge is thui The mental effects, the principles,
intelligence constantly TONIC SOL-FA LEAFLET (5539).
and opuu ns.
with daily practice. The work accom- method, the modulator, exercises
brought into vital connection " " and notation of the
the pianist through an entire course of study. Bach Grade for 6d -
panies 4 pp. 5
on an average from two to three
is complete in itself, representing
MOVEMENT Lecture by SEDLEY TAYLOR, M.A.,
The pieces are arranged in progressive order. Thr TONIC SOL-FA (5540).
years' work. Council. 33 PP-, 60-
a sixth edition having been called fo'. before the Manchester Tonic Sol-fa
uccess of the work is proved by
CUBWEN & SONS Ltd., 24 BERBERS STREET, W.

LONDON : J.
Vocal Culture.]
WORKS ON VOCAL CULTURE

BOOKS ON THE VOICE. VOCAL DRILLS FOR CHOIRS.
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A GUIDE TO THE PRINCIPLES

By RALPH DUN STAN,

Professor of Music, Westminster and Southlands Colleges

Author of "A Cyclopaedic Dictionary of Music," etc.

J CURWEN & SONS Ltd., 24 BERNERS STREET, W.

SIR CHARLES VILLIERS STANFORD, KNT.

OF MUSIC IN THE UNIVERSITY OF CAMBRIDGE J

PROFESSOR OF COMPOSITION AT THE

ROYAL COLLEGE OF MUSIC J

THE work is fourfold

CHAPTER II. SINGLE AND DOUBLE CHANTS ........

CHAPTER III. FOUR-LINED HYMN-TUNES ................................ 24

CHAPTER III continued. PAGE

Cadences of Four-lined Minor Tunes 38

CHAPTER IV. TUNES TO HYMNS WITH MORE THAN FOUR LINES 42

CHAPTER VI. DUETS, TRIOS, ETC 79

CHAPTER VII. MELODY IN GENERAL 89

CHAPTER VII continued.

Melodies based on Arpeggios 103

CHAPTER VIII. ECONOMY OF MELODY 107

CHAPTER IX. Two OR MORE SENTENCES IN SUCCESSION 132

Three-sentence Paragraphs 135

Special Exercises in Song Form 137

CHAPTER XII. ACCOMPANIMENTS IN GENERAL 177

CHAPTER XIV 254

your mind of themselves, you may be still more pleased.

the head desires not the contrary.

the head of Jupiter if

knowledge of Scales, Keys, Accent, Metre, and Rhythm.

point, Imitation, Canon, Fugue (c) Design or Form

and Orchestration (h) Style.

music, and they are occasionally employed in secular music.

Usual Errors of Beginners.

of keys, and general structure of the composition.

The Melodic Faculty and How to Cultivate it.

NECESSARY PRELIMINARY REQUIREMENTS :

(a) MUSICAL RUDIMENTS* :

Thorough knowledge of all the Major and Minor Scales.

Triads and their Inversions.

How Composers Work.

is a matter of individual temperament."

would transform it into a passable composition :

SINGLE AND DOUBLE CHANTS.

can be readily turned to account in attempting more elaborate works.

melody in 2-2 time three bars followed by four bars :

(a) Conjunct. (&) Disjunct.

As a rule, steps in melody are more pleasant than wide skips :

however, the notes belong

Dim. 5th. Dim. 4th.

The following progressions are bad :

Dim. 5th. Dim. 4th.

augmented intervals should at present be avoided.

STRONG TONES LEANING TONES

the end, etc.