elementary composition

WMU///////M/MM//////////

mamm

\mmmmmmummmtmmmmmlmmmmiitmm 7/A

ELEMENTARY

MiMHMMtMe

MUSICAL COMPOSITION mmmnmm

tmmmmmifmmmitHimmmtmmmmmmmmmmmmmmm*

EDMONDSTOUNE DUNCAN

ff£^M^M£VMMMMMfM£fMfJ/

////////////////////////^^^^

>y//////////////^^^^

^aiid O.o/Uc9{aij

Presented by: Dr. Frank

Sfib/m,?iij

W. Asper

3

:

fD

o O o C p CD O O 3

H00

^

On

CO

B CD

P

LRC RICKS COtieGE

I—*

CD CO CQ

032 2 f^TS" 00 123

\

^^t^

Cy^-^-y

o

Digitized by the Internet Archive in

2012 with funding from

Brigham Young University-Idaho

http://archive.org/details/elemusicompOOduncan

:

:

ELEMENTARY Musical Composition IN

TEN LESSONS BY

EDMONDSTOUNE DUNCAN Author of "The Life of Schubert," "The Story of English Minstrf.lsv," "History of Music," "Melodies and how to Harmonize them," "The Story of the Carol," etc.

PRICE ONE SHILLING AND SIXPENCE.

G.

SCHIRMER,

LONDON 18,

NEW YORK

BERNERS STREET, W.

3,

EAST 43rd STREET.-

BOSTON: THE BOSTON MUSIC CO. [Printed in England.]

CONTENTS.

Lesson I.

II.

Pack

Rhythm

as a starting-point

Cadence

in

1

Speech translated into Song

6

III.

Early Harmony

IV.

Instrumental Beginnings

16

Vocal Melody

20

Instrumental Patterns

25

Accompaniment

29

V.

VI.

VII. VIII. IX.

X.

Counterpoint.

An old

9

subject

new taught

36

Counterpoint Continued

43

Free Counterpoint

48

PREFATORY NOTE.

MUSICAL COMPOSITION ^'i

^\^a

iiBFy /^j'

usually

is

which have stood

the test of experience, cannot but be

welcome

students

who

are

beyond the reach of a

plan of the work embraces

which a composer must vigorously attack

a graduated series

Invention, which

The

of

but

;

lessons,

essential

it

to

with the teacher,

lies

its

some,

the steps seem laboured,

let

it

easily

set

the Master,

My

is

unless

The

approached.

instinct

scheme

of

failing

with the

one,

If

some of

the fact that even clever

many formidable mind

writer has in

techni-

who

a pupil

Composition as "the dream of

his

course of lessons, founded upon some of the severe

me

to

I

is

work

to reconsider all

my

up

methods.

his

The

the result.

would

say,

watch

diverge from the detailed system

first ten.

or,

view in mind.

to consider,

of inventive faculty in a pupil.

ations

*

this

become disheartened

present series of Lessons

To

the

study, the pupil was so discouraged that he gave

This

dream.

directly

be remembered that the great practical

set out with enthusiasm, describing

methods of

by

enable him,

suggested

students

stiff

teacher,

merely irksome, are

others

to

which a teacher has

After a

a

Guiding

difficulty

life."

will

for

lessons to suit individual cases.

throughout these pages, always with

calities zx% carefully

he intends to attain to

It

develop

to

* the chief essentials

all

necessity

ally.

skilled master.

wide scope, which must appeal to a large number

student himself, to apply lines,

valuable

his

many

to

the motive force of Musical Composition.

is

text offers a

of students

if

doing away with the

Far from

book should prove

the

taught,

laxly

that a systematised group of Lessons,

The mastery.

so

in its entirety

vigilantly the earliest manifest-

Supplement,

here set

down

comprises 100 Lessons.

as

check, or

even

individual cases

Here are contained the

PREFATORY NOTE.

IV

may

A

require.

too long protracted use of any system, especially that

of the Variation form, difficult and searching in

such

studies,

Part-songs,

To

Dance Pupil

the yield

will

to

composition of

the

as

keep the inventive

it

Turn then

only tend to produce despondency.

will

pieces,

faculty,

all

initial

its

Songs,

application,

the

lighter

Nursery

songs,

to

even

Above

of which here find a place.

all,

once awakened, unceasingly employed.

— Never

industry.

The

Despair.

The

task

formidable,

is

what

ability to express

is

in

but

us,

of

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

must be strenuously cultivated before

free

Some

hide

Everyone has some put

high usury

to

it

gain

lasting

gift

to

;

of Music.

cultivated,

Carefully

is

possible.

in a napkin, others

it

may make

the humblest of us

himself.

utterance

its

it

a source

harvest

is

of of

priceless quality.

The reach

sources of Inspiration

happily beyond

are

;

The soul that rises with us, our Hath had elsewhere its setting

And cometh from But

if

the imperial

palace

need not blindly grope with it

is

are

to

maturity,

life's

star

invisible

to

afar.

itself

is

fruitless,

that a sensible consideration of

and onwards

who

an investigator's

should

unordered

Method, from

human

eye,

Therefore

steps.

the very beginning,

be exceedingly helpful to those

drawn towards the imaginative

field

of Composition.

EDMONDSTOUNE DUNCAN. Sale, Cheshire. July, igij.

we

•

ELEMENTARY MUSICAL COMPOSmON.

LESSON

I.

LESSON IN COMPOSITION.

HE

fabric

Music

of

upon a

rests

Rhythm, Cadence, and Harmony. a starting-point

Time, meates

human it

all

its

activity

our subject.

for

a part of

is

life

reveals itself in inanimate things

;

in the

a bubbling fount of sparkling water.

rugged

rhythm which the wind

verse.

A

helpless without Its

Musical

moulds

child

it

definition

has

become

importance

many young people

the time-signature

unfamiliar

is

to

some

seen in the poet's

The

wish.

of,

it

of great

great

orator

significance.

at the outset

rhythm be gradually developed into a

music heard

It

sway

sea, in

is

it.

therefore of the utmost

In

forth.

his

to

Rhythm

call

ebb and flow of the

Forest-trees dimly

calls

per-

It

law, synchronizing

This same thing we

with health, hope and happiness.

the

would seem that the

It

itself.

impetus.

or

of

gives

Rhythm determines

some rhythmic

heart throbbed in obedience to

little

Each of these

pulsation, gravity, restraint

and

foundation

threefold

clear

that

our

sense

is

of

and conscious possession.

grows quite spontaneously, and they

or appreciate

It

and describe any

will

name

characteristic

in,

for the first time, just as easily as they will scan verses of

poetry.

appreciation

of

Our

Time and

developed we must go Musical Dictation.

good national

A

first

step

Rhythm.

further,

is

then

to

Where

the

test

this

is

already

and make our lesson one

group of well-contrasted

collection, will serve our purpose.

airs,

Student's

in

well-

actual

drawn from any

ELEMENTARY MUSICAL COMPOSITION

^^^ Au

fond d' une

French Romance.

I

±=:fEi

SEEEE?Ez£ som bre

val

-

le

-

dans Ten-cein-te

e,

-

d'un bois

e

V r

•I

S3:^=t =P=^

^ -G^ -

:p

Une hum-ble chau

pais,

-

miere

so

-

i

—

,&E

,.

:i?-t;i::iJ^r=:t?=d

-F

le

-

each

e

-

Tin

oit

-

-

no

-

I

p^^ cence

et

^fciS ^

la

-^±

-M

paix.

La

vi

?-2:

voit

-

An

en

c'est

gle

-

-

V

V f^-=N:

ter

-

un

re,

-

me

e

-

^^m^M

-^

re

dont

de

le

e

sir.

-

de

toit

-

I

-9

m

ar

sur

la

ter

I

iE

£

-r=F= ser

sa

se

-

^1

EEt -

fil

le

heu-reuse,

et

mou

puis

-

rir.

An English

^

m^^^

iizzti*: Spring

is

com- ing

re

solv'd

-

Air.

^^

'-'i=-V-

^^=^=1 P^^JE^EEE^

The

-

lais

ban

to

-

The

ish

V

i s$^

king

the

of

ice

with

wand she

ry

-

his

tur

-

iE^ bu

lent

-

bids

them van-

ish,

And welcomes

earth

ST a

-

gain.

her

the sun-shine to

I

-^iS=P^

With

train.

^^^^^^^^

p=»

»-•>i3=t2 t^=^ fai

^

Then maid

•-p:

—

-m

=3=t±3 -

ens fore

-

go

the

win

-

try

«:

^ kir

-

tie,

V

Lace

ev-'ry

bod- ice with bright green string,

And

twine each

lat-tice

with

LESSON

I.

— COMPOSITION.

S J—^^—J ^

:ts=qs;

:E wreath

To

myr-tle

of

hon-our the

ad- vent

joy

of

-

i

J

J ful

Spring.

Old

Air.

I

yn

*

'

*^

fr

m ^

*»

\m M_4 ri

^

UJ-^ — —__

m •

Ov

1

mA

1

moun-tains

the

er

-

m

m ^ •

1

m* P

^

J ^

And

ov

.

1

* -

m

'

V ^ waves

the

er

I

I

* Un

-

-^

? ^ rocks that

airs

may be sung

should be marked. poetry,

definition

is

it

der

-

the

Which

est,

Nep-lune

s

-

est

Love

will

A

IV ez:

V=^ bey

Ov

;

-

er

I

5 find

-&way.

the

out

or played, while the student decides both the

Finally, let such (or similar airs)

only remains

given.

Un-der

graves;

o

and committed to paper. The As these occur systematically

dictation exercises,

line of

-

steep

time and the rhythm.

un

^^

rx

are

And

d

deep

that are

floods...

The

I

s

-Gt-

foun- tains

the

der

^^

i

i

-^

be treated as

closes (or cadences) at the

ends of each

for the teacher to see that a

simple method of marking such closes

correct is

seen

where I, V and IV respectively refer to full close, half close, and close on the subdominant. A complete definition of rhythm must include time. A conductor's baton marks the primary pulsations, while the numerous subdivisions, sounded (say) by trumpets, violins, or even drums, are merely a part of the whole in the

examples above given

scheme

— an

extension of the

;

common

idea.

To

state the

same thing

rhythm describes not only the regular units in all barred Music, but also the characteristic pulsations, or group of pulsations, which do not necessarily recur, and often are even antagonistic to the differently,

regular

time.

movement

will

To

render

the

point quite clear,

a

common March

show the two classes of rhythm * at one, that

coincide in equal notes.

Our example, which may be treated

is,

they

in the

The word Time, however, satisfactorily distinguishes the regular pulsations, which Riemann describes as Metre, a term more appropriate to Prosody. *

ELEMENTARY MUSICAL COMPOSITION same manner for the

as those

most part

in

which preceded

Troubadour melody,

offers a

it,

equal notes.

^

S ^=^

-us-

Such rhythmic movements

-«^

-Gh

as the last given tend to

fl

monotony, and

they are therefore often brought into contrast by periodic disturbance of Our next example shows a complete the ordinary pulsations. departure from the natural rhythm, in the upper part.

^ I

SS

r

It

^

^^^ F^^ "r^r^

may be observed

that

in

A

and

sort

dictation of the simple

?^

r

such cases the primary time

all

invariably finally established.

^^3t=it is

few further airs are added for analysis already

These may of

suggested.

course be supplemented or curtailed at the discretion of a master. In the course of

equipped

in the

music.

It

harmony, or

lesson, the student will prove

this

how

elementary knowledge pertaining to the writing

may be now

him

he

is

down

of

far

up a course of least the study of harmonization of melodies. In any ground covered by this book may be proceeded with,

at

case, the early

necessary for

take

to

parallel with such studies.

The Stag Chase. I

3

:

1

1

'

1

1

Gai

-

ly

step

to

boat

the

at Paul's wharf,

—EQ

f^-

H

f-

-t-

-*

--f=^ haste now, comrades, dip r

•.

'

r

oars and push

Soft tides are

off.

;•

*-

O G^-

flow -ing, 1

~^^^^^^f^f Slow 'gainst our row-ing, So

cross o'er the

wa

-

ter

with song and with laugh.

ELEMENTARY MUSICAL COMPOSITION.

LESSON

CADENCE HE

SPEECH TRANSLATED INTO SONG.

IN

nearest

translating

II.

way to musical composition seems to be by simply Speech into Song. Such an artificial plan as the

though not put forward as the original or inevitable process of Composition, will nevertheless commend itself for it immediately provokes the student's obvious reason inventive following,

this

;

power and gives him

definite lines

Take a simple song, such as Graded Song Book (Vincent), and music

for the

In the

first

The

time being.

exercises of this kind

on which

to proceed.

given

that

on page

should be

result

mark

_

u

wood

down on

paper.

:

^

1:2:

w

__

Come, blow thy horn on high

In yonder

set

Thus

Blow thy horn, hunter,

_

of Sawyer's

the quantities over the words,

then give an equivalent in musical notation.

'J

1

carefully scan the verses, ignoring the

:z2_

;

there lieth a doe,

In faith she will not die.

Z2:

Come, blow thy horn, hunter,

Come, blow thy horn,

22:

:=]

^

jolly hunter.

mark the natural rise and fall of the voice, in Most verses are sufficiently picturesque to delivering such words. admit of such a process and while avoiding exaggeration or absurdity, Having constructed a really effective scheme may be contrived.

The

next step

is

to

;

a definite rhythmic scheme, place the

accents,

and measure the music

into

bar-lines

regular

before

lengths.

done since poetry determines such measurements plan

is

then to

move

in

the strongest

This

is

easily

advance.

Our

the musical notes in accordance with the vocal

SPEECH TRANSLATED INTO SONG.

L?:SSON II.— CADENCE IN

cadence, indicated by the rising and following result

i ^^iv-r w

bun

horn,

thy

Come, blow

ter,

-

yon

In

she

faith

not

Come,

second

a

to

has nevertheless

blow

test,

the

its

origin in

thy

horn,

identical

as

an

it

\J

SJ

^

^

With a heigh

A foolish

For the

was a

!

little

V

ho

rain

it

_

W and the

*

rain

ho

it

ly

^

^

bun

ter.

may appear

beside an inspired

air,

p. 152).

S N

SN

1

1

rain,

N S

I

-i

3fe=Jzz^zJ=,UJr=^

\j

'^

—

SSI

1

1

S S

I

z^^J=J^J=,W=^=i

raineth every day.

this

S

the wind and the rain,

!

Tlie conventional accentuation has been purposely taken.

one would be

born,

raineth every day.

— !

-

thy

intelligent appreciation of the verses

thing was but a toy,

With a heigh

For the

blow

tiny boy.

the wind

!

In

doe,

process yields the following,

1

that I

jol

(Sawyer's Song Book,

reproduces.

a

lietb

Come,

die.

commonplace

which, crude and

When

on

-S^-r

will

ter,

it

there

f=r

•

which

wood

der

-

5

Put

horn

thy

i

bigh;

V

then get the

i

-G>-

w

We

lines.

^21

Blow

m

falling

:

:

When

that I

was a

little

tiny boy.

A

more

rational

ELEMENTARY MUSICAL COMPOSITION

^^

•zzit

When that

I

^=1:

a

m

>^

wind

was

I

and the

ht

tie

-

-

ti

ny

A

-^

fool

ish

-

'

frr^

—m —

^

^

^— r-J

1

J—

in

m

i£=qsi

For the

toy,

-

— —d'-r-—*

IN

N"

"1

1

rain

it

the

!

With a

day,

rain

ho

-

ev

eth

'ry

-

day.

usually be found that small developments suggest themselves. both our examples 4-4 time is a refinement of the simple

rn

J

a

\

For the

rain,

duple upon which

from

but

^-^ \ —^

-J--ih-

!

7*=^

i-

wind and the It will

was

'

ry

Thus

With a heigh

boy.

thing

3^

-&

g^j^^

rain,

1

-N-

?2_

to

it is I

J

based. i

Then

because of

the opening of

more

its

No

effective

^

2

was changed

rhythm, and the

notes to the words " but a toy " gain considerably in their contracted

-^^

form

experiments

may be

place of

in

-,

m^M

^tp=p:

w

A

Pg

m.

T2L

~r:y

j:^.

rir r

rr^'

-y5>-

:Szi

SEiE

--

-f^:qI:

-f©

:P2:

12:

IV

VI

II

The

i?:^:

Dominant Sevenths,

will be found For transposition purposes, all that is necessary, to determine the key, is a major or minor 3rd in the Tonic chord which resolves all such chords. Let it be premised that single chords on strong accents are usually sufficient to determine the character of melodic or rhythmical passages, whether these move alphabetically or by skip.

neutral

in

themselves,

equally effective in a minor as in a major resolution.

^

d=J=fd=^:

^_

i

-f

f

I

6

6

I r

r

4

Handel. Speed

to

^ The

your

own

courts

my

flight.

^^^E^^%^ r

f

much freedom such turns as do not explain themselves,

secret of this process lies in allowing the air as

as possible,

and

in defining all

also in avoiding any tendency to write successions of heavy chords, as

might be demanded

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

both

in playing

ELEMENTARY MUSICAL COMPOSITION.

12

may be found

tabulated in the

Harmony

books, under

the

heading

CoNSEcuTivES and Forbidden Progressions. Air—"

be with either."

I

^j^

it

^

3

£:

ii:

V

jg

k n;?-^

-*4-«-

* t±

13--

-^-

:f£:

#

-B^

*

^

^-

*

-^

-^

ii=^

I

could

g^^^^^ ^^gC^^

*TF

®s

How Happy

^^

^i=f^

^^

^

-^

I

:g—2:

-^-

3i=ez± :P

Air

fc Ha

^^

i

£:

ii:

p

^

5e£

^:|E P^—

-*^

-^

g

it

IeI^

5t3C

^^geE§

^H

:'=l

^=-"1* -=+

•

-*i

^

SS£ 23=^

^^

^=1^

^

-#«

l3E

*'We be Soldiers three."

-=1-

s "f

5^

i

—

I

:3:

3z£z±

^ ^

fg:

s

-R-

1

^2:

LESSON

III.

— EARLY

HARMONY.

13

"Barbara Allen."

Air

From

the above-given

illustrations

of rudimentary harmony,

in-

tended to be played on a pianoforte, it will be seen that in the choice of such simple chords there is plenty of room for taste and skill.

To

place

them properly demands a

appreciation of the natural

just

cadences, and also of the rhythm and expressive power of the melody.

Always aim to play.

at

making the Piano

good

part clear, of

effect,

Students should be encourged to experiment.

passing-notes

may be

freely

used where

For example,

The whole

effective.

and easy principle

of modulation, touched upon in the transposition of perfect cadences

and dominant sevenths,

is

a succession as the following

already within

Q

I

his

grasp.

Witness such

:

B

^

Blj

C

A

ruazi

rPfrfffff^

1

ELEMENTARY MUSICAL COMPOSITION.

14

A

few melodies are added suitable for harmonic treatment of the

These may be

kind shown.

Book (Vincent

supplemented from Sawyers Song & Co.), and the

usefully

Co.), Hullah's Song-book (Macmillan

author's Minstrelsy of England (2 Vols.;

Augener

"Ye

Air

&

Co.).

Belles and ye Flirts."

^^^S^S^H^^^^^ i^^ ^ 2^5^

*l-

-^-

^5=^^

s=*-

liz^

^

fe^s^

^—^—d

-0—

»

~"y

•'

-^

^=^

_, 1^^ l^3S^ pg-^.^^^]^^^^^^^^ ^E ^^^s^ t u- ^

.

gqgzzji

IS qz=J^^z=N=i^

-^1—

-y—^-V:

:fc=ft=t

l=f-

^

IN -s»-

"O'

fc E^Ei^a

fc

^eS^^

^=^:

-h-

^^1

^i:

Traditional Melody

e^

i^Ei^E^^E^

fe^;^

3

v^

^

P^^:

Air— *'0 rare Turpin."

XZi^

^E^

Se

i«~"S-

-*---v

3

:*zJ:^E*:

rjfcifj

S^^l

LESSON

^

fBS-

5Ei

r-

'^

III.

— EARLY Air -H

iq:

lt'=m'=^

"Good Morrow,

5S

Gossip Joan."

ll^iE^

\—

1_,

-^

Air

fe

I5

S§^=^^

:tt —iprii: .

HARMONY.

:33

:^^=^:

"Babes

in

^i:

the Wood."

:fc=^ 3ES^^3

^^gE^^g^te^^^JEEEg^^^^^g^^

:^

;i

— ELEMENTARY MUSICAL COMPOSITION.

i6

LESSON

IV.

INSTRUMENTAL BEGINNINGS.

f^^^NSTRUMENTAL in

is

direct offshoot of

a

analysing essential differences

retracing

some

of the steps

we

Vocal music, and

are conscious of lightly

which ages slowly developed.

Thus, before the late Troubadours of the fifteenth century, instruments did little but reproduce measured vocal notes, rhythmless

and characterless apart from the voice. Gradually chords were broken and little ornaments introduced the compass of individual instruments was drawn upon with a view to particular expression, and vocal writing, which had dominated the whole body of instruments, including the Organ, was slowly superseded by a new and independent style, opposed, ;

Two

principal objects were gained

in a sense, to the fabric

it

in this gradual process,

namely, the birth of

pation of Melody.

From

replaced.

Rhythm and

the emanci-

the simple desire of giving the instrumentalist

something appropriate to do, accompaniments grew into individuality and expressiveness. The result naturally led to the development of a distinct instrumental genre, and with the arrival of Monteverde, Music was no longer the thrall of the voice. Let us consider some of the methods by which measured notes may be intensified and galvanised, so to speak, into rhythmical life. By merely adding to the number of notes, ^that is, by quickening their rhythmical value, a distinct step is taken in the direction of increased

animation.

This

is

seen by taking a long-sustained note

1^

iiztq:

:

i

which does not excite or stimulate, and comparing length of note played tremolando

it

with the same

:

Trent.

by a body of

violinists,

when

it

at

once throbs with nervous energy

LESSON and arouses applied

IV.

The

attention.

principle

degrees

varying

with

— INSTRUMENTAL of

BEGINNINGS.

of repeated

17

may be

notes*

speed, allowing of every variety of

rhythm, from a gentle undulatory movement to the fiercest of fortissimos. Lento Moderato.

Sapp^Ep^pppg^^l 3'

3

3'

3

Beethoven.

Maestoso andante.

^^

5

I

=^.tE^ Schubert.

Schnell.

-^^^^-^^^^^n

PV

The opening

powerful dramatic current of rhythm instantly set up by the

of chords pianofor/te

The

The Erl-King

triplets in

or

single

Alberti Bass,t

of

&c.,

is

Such

repetitions

chords is

both of

effect.

into

another

groups of separate notes,

fruitful

For good examples we may turn there

worthy of note.

notes are practicable for the purposes

and orchestral

division

is

to

arpeggi,

source of instrumental

effect.

the Vorspiel of Parsifal^ where

a fine series of long-drawn harp-chords,

and

to the Finale of

the Moonlight Sonata^ where the second theme, which pulsates

and expressive power, succeeds accompanies it. life

By

in

spite of the Alberti

with

Bass which

the addition of a single grace-note, or certainly by the aid of a

may be formed having a single note whole groups of notes may be formed

few passing-notes, a distinct figure for its basis.

*

t

Probably

The

If

first

Alberti Bass

we go

further,

employed by Dr. John Bull is

in the

identical with the pattern of

Fitzwilliam Virginal Book.

Arpeggio given

(at

No.

3)

above.

ELEMENTARY MUSICAL COMPOSITION

i8

round any

particular one,

and fashioned

any device.

to almost

then we have the very secret of Figure making.

Here

ihe expansion

It is

of a single sound into a well-shaped suggestive and lively idea.

Examples of Repetitions:

—

1 Examples of Arpeggi, &c.

:

(1)

Ornamental examples introducing an

auxiliary note

:

—

(8)

(7)

|gjJjij7j^i

|]

(9)

~0'

6

-0-

-m-

-m-

u

m

-m-

-m-

«

m

m

-m-

m

m

«—

In the following exercises separate the chords into groups after the

—

usmg

the Repetitions, then

the Arpeggi, and finally the Ornamental phrases.

Observe that where

pattern of each of tbe above phrases four notes are given, one

may be

choice of two positions, thus

:eEIy »-

3

first

omitted.

In

such

cases

there

is

:

Or:—

3Ed^ lai

LESSON Exercise

Ex.

2.

Ex.

3.

IV.

— INSTRUMENTAL

BEGINNINGS.

19

1.

Many examples

of systematic treatment by arpeggi, &c., occur in

the works of the Old Masters.* For example, compare the first Prelude and the two Preludes in G major in Bach's 48 Preludes and Fugues. It is perhaps just worth observing that even drum rolls, which depend entirely upon rhythm, have become highly developed. Then there are the Mordents, Turns, Trills, and other such graces that are simply stereotyped figures of a sort with which this chapter is in a

degree concerned.

Nor

are such things really inanimate since they

come back suddenly

We

need only to mention such examples as the long trills in Beethoven's Op. iii, last movement, and the vital turn in the Lovetheme of Berlioz's Romeo and Juliet^ as also its many characteristic uses in Wagner's Tristan. into

*

life.

If

it is

found necessary to extend the practice of this class of exercise, (and mere is not enough), Mozart's and Beethoven's Variations Jor

transposition into other keys

Pianoforte will furnish a

if

number

of suitable figures, which

may

be applied to any

It is still better (and very much quicker) planned harmonic succession. a pupil can be got to extemporise such developments in the teacher's presence.

theme

or well

ELEMENTARY MUSICAL COMPOSITION.

20

LESSON

V.

VOCAL MELODY.

LTHOUGH

primarily an expression of definite words, Vocal

Melody* has

in

some sense an

individual existence.

It is

not

to be regarded as a mechanical definition of verbal cadence, though it has much in common with it. Our first experiments

tend to show us that mere reproduction of well-moulded emphasis is There must be some charm, some grace of not in itself sufficient. expression, an attribute of Music itself that is almost indefinable,

The word Style, without lending us any real help, Melody for its own sake, a sequence essential conditions.

almost elusive.

sums the

carried out, a suggestive pattern developed

:

these, small aids as they

have something to do with the matter. The principal of evolution One thing leads to characteristic of the invention of Melody.

are, is

another, and though words check, guide, help, restrain, they only do

so to a limited extent.

Vocal Melody not only

mation, chaste rhythm, perfection of expression, heart of Poetry,

and

reveals

its

offers us it

good decla-

goes right to the

inmost emotional significance.

It

is

of

almost limitless expressive power, agile and free as the song of birds, of infinitely greater sonority and compass, with a wide choice of rhythm

and an

ever-varying degree of intensity.

those of artistic appropriateness. as

paramount,

more

is

justly

Its

It

knows no bounds save

place in Music, once regarded

co-equal

with

that

of

instrumental

melody.

Though

its

scope

is

almost

limitless,

good Vocal Melody deals

the most part in well-sustained phrases of definite compass.

aiming

at the

for

Without

production of actual subjects, such as those of instru-

mental music, the opening statement of a Song should as a rule be clear,

definite

Song

is

and

determined

expressive.

Much

in these first

of the character of the whole

few bars.

A

first

practical step

is

study of effective vocal openings, and the practice of The process is a valuable one, and its thorough forming similar ones.

therefore the

*

Scholastic Counterpoint, considered in a later lesson, should help in the study

of vocal melodv since

it

deals in

little else.

— LESSON mastery

— VOCAL

MELODY.

21

forming a quick habit of thought, by which the

in

will assist

V.

The

words of songs may be readily cast into musical shapes.

become

will

natural that

so

its

very ease

Take

overrate the value of his performances. "

attempt from Love's

1

no is

because

less

is

it

sickness "

;

effort

forbid the student to

will

Purcell's well-known

air,

beginning arrests the attention

its

a well-balanced musical thought than because

it

a finely-conceived utterance of the words.

The formation

of a song-opening

very like that of a

is

One verse is answered by another. may be similar or contrasted. The

couplet in poetry. verse, the lengths

rhymed

In music, as in chief considera-

and form part of one texture. In the example quoted a single line of poetry becomes a complete musical sentence. The rhythmical scheme is an extremely realistic reproduction of the tion

is

that they cohere

The

poetical idea.

M

N

^

notes literally lend wings to verse.

1

I

attempt from Love's sickness

Dominant. 1

I I

Done

I

I

I

I

I

I

I

rn

I

I

in the following way,

paratively trite

I

and lacking at

-

in

I

1

I

it

To

fly

had been no

imagination

tempt from Love's sick

-

in

vain.

less correct,

but com-

:

ness

to

fly

in

vain.

^^=id=4#^ Careful examination of the following Song-openings, which are

an

effective type,

shows that

first

phrases (of two or more bars)

&c.

all

of

may

ELEMENTARY MUSICAL COMPOSITION.

22

Tonic character (perhaps with a veiled perfect cadence), or turn in the direction of the Dominant. A few prefer the Subdominant direction. Minor phrases either follow the same plan or modulate to their relative majors. The balancing phrase, completing the sentence, while subject to the guidance of the words, may be of either maintain a

As

identical or contrasted length.

common

a

towards the Dominant or Tonic close. but there

is

no

real

rule,

Such

procedure

nor anything approaching to one.

He

student, however, practise with tried weapons.

himself with from two to three notes

modern custom recommend that

gravitates

it

the stereotyped custom,

is

(at the

since

is

also

in first analyses the

most) to any single

against the use of rosalias

be placed side by side with the words,

Let the

should also content

and

syllable,

fiorature.

We

rhythmical scheme of music

A

purposes of comparison.

for

few are so offered.

X2:

zzq: God

pros

-

no

per long our

ble King,

-

Our

lives

and

safe -ties

all.

Dominant.

II Ill !--

lass,

J=J:

i^d

S S S N This merry weatlier

:

Let's together

I

LESSON

V.

— VOCAL

MELODY.

23

Tonic.

:J=J:

I

WL

Come,

It^

sweet

lass,

Dominant.

N

S

N

S

Let's

cz:

upon the green.

play

^^--

^^?^^ :fc^ Come,

with

live

and

me,

1

—

my

be

J- _* a'_i_ _C3 =at izazziBZizaizzii^it I

And we

1

'

will all the pleasures prove.

Leveridge.

^^^i^

fc ii=i=fe£ Who

is

Syl

via

-

what

?

is

That

she.

|^^^3^E^|^«Ei| l*=r"

all

our

me,

-

mend

her?

Bishop.

"^^ Tell

com

swain's

-^ my

why

heart,

morn

-

ing

prime.

DiBDIN.

4^ ^ ^^^ — ^l3Ei^E§^iS?E?E^±^ ^—• —

A-dieu,

^-

1

a

-

dieu,

1

1

"

my

on

-

ly life.

My

hon- our

calls

me

from thee. &c.

ELEMENTARY MUSICAL COMPOSITION.

24

Schubert.

m

^^i

fc:i=t=:fc^^

fe3 ?3:

-J-^-

How

P

shine the

clear

stars

t^^f^

S:iJz=E=z3EZ

the

in

=1:

slum - ber

steal our

oft

-

ness

a

-

night,

of

^^m

=i^^=iv i^zzi:

11^=*:

They

still

-«s>-

way

by

their light.

Wagner.

*t w By

I*

1^

S=M:

ii:

si

hearth

lent

-

fe^

'i=t

-S»-

Couplets, &c., for Melodic Treatment:

How

little

do the landsmen know

Of what we

sailors feel,

When

waves do mount, and winds do blow But we have hearts of steel, (p. 245).

Hail, gently,

Where And Come, Come,

summer,

;

to this isle,

Nature's fairest beauties smile.

breathe in every plain,

mirth, call on music frolic-filled fancy,

One summer

;

(p. 93).

music on song

call

bring genius along,

(p. 54).

eve, as Celia fair

Sat spinning in the shade,

(p. 163).

Come, cheer up, my lads, to our country be firm, As kings of the ocean we'll weather each storm,

The

(p.

175).

sun, like any bridegroom gay,

Rose

to salute the spring,

Vulcan, contrive

As Nestor

Words from

me

(p. 67).

such a cup

us'd of old.

(p. 13).

the C/iotce Spin'i's

ChapUt

(G. A. Stevens) 1771.

LESSON

VI.

— INSTRUMENTAL

LESSON

PATERNS.

25

VI.

INSTRUMENTAL PATTERNS. ROUPS

upon

of notes formed

may now be

considered)

briefly

producing

short

The

pattern.

single Principal

Notes (already

strung

usefully

together,

melodic pieces of a definite

rhythmical

such work consists

in a series

material

for

such as might be contrived foi In the first exercises of this kind a skeleton (or outline) a Violin. The exercises are to showing the Principal Notes may be employed.

and contrasted

of vigorous

be carried out as

figures,

accordance with the figure-pattern

far as possible in

Slight modifications, however, often

selected

any one

figure

awkward

progressions.

modify,

at

the

Specimens

of

maintained

exactly

The

expense of

Two

second Model.

become

lead

strictness,

are

at

least,

*

4

(^),

and

arise.

in

the

models, or examples of finished exercises, and

These may, few outlines are given below. plemented by taking any well-defined theme, for

or at

such phrases which

all

seen

a

Variations

necessary, since

to harsh,

student must, therefore, be encouraged to

modification

this

may

Pianoforte.

Many

of the Suite

if

be supfrom Beethoven's

necessary,

say,

movements

also lend

themselves equally well to such treatment, especially the small clear-cut of

pieces

and

Corelli

dispense with such aids. himself.

The

Bach.

He

The

enterprising

will further

student

will

soon

begin to invent figures for

Every encouragement should be given to such invention. itself is invaluable, since it sets up the habit of mind by

process

which melodic progressions may be broken up into

short,

effective

rhythmical figures.

PRINCIPAL NOTES. {a)

i

L

id)

-G>-

-

2.

ja)

{a)

-^ =1: id)

g

ELEMENTARY MUSICAL COMPOSITION.

26 3.

{a)

4.

(a)

(i)

I

^-m-^-m-'

A

s|s

modification of

:i:

m

(a)

5.

((^).

=3-*

fe P^p^^=^33^^^^fl^=^^^^^ 6.

(a)

i

P=?=

lg^^=^ Or

-•

m-

Or

C-^)

P5

=1-

^-

T^^^ 7.

(«)

{-5)

S3?l=t 8.

f^

i

(a)

^ 10.

y-

^^

t|:»^^^4r d d '

»=t^^ ^

i=^=^^S

I,

I,

t

I»=

P

-n-

^

=^=5^ g3E^E^^^I?^Ei

^ si^^

^ :d=a: ^ ^^^^^E:^^. i5

--

q:

3Z^ i

-e>-

-^

-P-

izz:

V



ELEMENTARY MUSICAL COMPOISITON.

36

LESSON

VIII.

COUNTERPOINT.*

OUNTERPOINT,

or the art of adding melodic parts to a

given theme, underlies the whole practice of Composition.

At every turn the student is faced with the necessity for such skill. Music does not reveal itself clad in full detail. Just as in building a ship, vague plans are gradually brought to accurate

form, proportions and measurements have to be taken

and the whole

origin

its

the keel

is laid,

So a musical theme, which needs

from small beginnings.

structure rises

composition has

;

perhaps in a single

development, expansion, and a thousand accessories of contrapuntal

workmanship and invention before its perfect form is realised. There are two kinds of counterpoint. The first is that which may The be seen in the works of Palestrina, Bach, Beethoven and Wagner. second is of the Schools Scholastic and serves the purpose of leading It teaches self-restraint, since it deals strings to all young beginners. only in diatonic progressions, definite texture, set patterns, and is It enforces exclusive of all manner of harsh or extravagant intervals. the best use of limited opportunities, and its practice is essential to

—

—

every musician.

In connection with our scheme of Lessons, the following plan

is

Work example each day, or not less than one two days. Keep up such disciplinary exercises for upwards of twelve months. Work each Canto Fermo first in four-part first species. Make it a recommended.

a single

in every

rule that this preliminary It will further

Canto Fermo workings gradually,

in

example

be in strong, well-knit harmony.

shall

be found useful to attempt several versions' of the same in

this

since

species,

they

the advanced combinations. occasionally

returning

to

afford

clues

to

successful

Introduce the several species three-part

and

even

two-part

counterpoint.

There are so many excellent treatises that it seems almost unnecessary to name W. Pearce's volumes on Counterpoint, Strict and Free (Vincent Music Co.); Sir F. Bridge's Primer (Novello) Dr. Prout's "Counterpoint," Augener or Cherubini's great volume any of which may be employed. *

Dr. C.

;

;

;

LESSON

VIII.

— COUNTERPOINT.

37

C.F, -«5>-

-e>-

-e>-

-Q-

1221

Z2:

-e^

--

-(S>-

iq:

-o-

-0_

^^3i=^-

i f

--

-Q-

-Q-

--

-o

-GS^

s: --

-Q_

:q=:i]

-s>-

:& 122:

-«5>-

H

C.F.

I—-

-e^-

Z2:

-e»-

122:

-G>--

-8-

-G>-

-