The Art of Improvisation

Charles

To

Widor

Marie

THK

ART

OF

IMPROVISATION

A

pianists,

handbook

teachers

of

and

and

principles

all

based

who

upon

desire

melodic

by

T.

CARL

WHITMER

methods

to

for

develop

approach.

organists,

extempore

playing*,

by

V^ITIVT^VIR.K:

by

3VE.

ID

3Ex"rrro3sr AAmriVI^.R.K:

IVI.

TJ.

S.

"

"^

SONS

S01STS

FOREWORD It is taken

for

granted usually that improvisationis of use only to the professional The real situation is this: organist.Nothing,is further from the case. Improvisation is is

talent

a

that

technic

great

but

the

nor

in

just as poetry gushes forth of

most Of

folk

our

and

poems

contemporary

course,

music

folk

from

songs.

education

Welsh

demands

that

high

bards.

one

that

it

knowing thing beyond

a

ucated uned-

or

made

people

average

upon from

comes

how

carry

and

dependent

low, educated

or

Just

without

out

came

just something

of

out

comes

the It

is

creation

musical

It is not

student.

learning.It

fluently.It

or

"

of instinctive

bubbling over

nearly every

musical

great

upon

fingers awkwardly

one's

natural

lies dormant

out.

came

this

conscious sub-

stage. Now,

while

this

book

new

carries

the

organistthe far greater part of the in knowledge or keyboard technic shortest

the

of ditties and

In

In the

is

to

Emotion

is

stressed

in

Some be

may

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in both as

is

a

is

final

always

a

composition,keeps

usually a

tested

for

not

Carl

known,

in

also,

composition and

2.50

19521-75

pretence" it for

use

being as

ible flex-

and improvisation'

position com-

contact

upon

with the

in the

while

one

in the

keys; while,

basic

knowledge

intellectual

ing, train-

control. in the

as

one

other. is

composer

nearly

pure

as

a

this

from

pure

freeingthe

composer

of New

of several choral

York, Mr. Whitmer

books, and

was

improvisationin Pittsburgh.

ideas

his

work

can

student

hesitant

going

of much

puts

in the

once

while

one

music

on

that

paper.

fluency

However,

practice.

students

towards

is the author

Whitmer

Now

M.W."Sons

much

so.

THE T.

of

feelingsunder

the

who

one

of

causingthe

wrench way

the

matter

suggestionto

the

will open

is

no

can

book

background until

immediately stirred

graduallyby

compositionclasses There

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largelyin the

fluencyof simple expressionis expected at

And

amateur

his

worked

fluency

at

one

while the fingersact togetherin improvisation work at leisure, in place of "off the reel."

and

doing

of

out

left

Originalityis expectedand Mind

"peopleof

of the

design

brieflythe study

compare

"tickled"

are

been

pretty complete.

mind

to

experience. An

wished, the

as

of the concert

complex needs

another.

be well

second, ideas have

much

the

exactly adapted

understood.

usually

first, ideas

the

is

musical

or

expand

can

from

one

conclusion, it may as

with

differ

talents

as

subjectinto

work

to

be

used

pass

as

a

method

theory to practice.This musical

in

musical

easilyinto the

more

Art

doing.

sation of Improvi-

spirit.

AUTHOR as

well

as

instrumental

for many

years

of innumerable

essays

on

music, notably of -his Six an

choir organist,

director

subjects. He Symbolic Dramas.

musical

and

teacher

of organ,

t"y

3Vt.

WTITOVLAcJaiC:

"

SONS

SO1STS

XT.

S.

FOREWORD It is taken

for

granted usuallythat improvisationis

organist. Nothing.is further Improvisationis is

talent

a

that

great technic

fingers

most

of

folk

poems

The

case.

real

nearly

from

demands

that

musical

high

Just

carry

from

comes

ucated uned-

or

people

average

it

how

knowing thing beyond

a

and

dependent upon

that

low, educated

or

without

one

professional

creation

It is not

bards.

out

came

the

to

is this:

just something

of

Welsh

the It

folk songs.

is

out

comes

only

use

student.

learning.It

fluently.It

education

music

every

of

situation

of instinctive

bubblingover

musical

or

and

contemporary

course,

in

poetry gushes forth

just as Of

the

natural

great

upon

awkwardly

"

our

the

lies dormant

nor

one's

but

from

made out.

came

this

conscious sub-

stage. Now,

while

this

far

organistthe in knowledge the

shortest

of ditties and

In

conclusion,it

is

can

expand

from

another.

be well

may

In the

first, ideas

the

second, ideas

been

pretty complete.Emotion

is

stressed

in

mind

doing

be

may

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out

both

fluency in as

a

at

of

fluency worked

And

is

of

out

left

and

is

final

always

a

tested

not

T.

also,

composition

M.W."Sons

7.50

"peopleof amateur

of

pretence"

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book

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use

being as

improvisationand

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usually a

the

and

19521-75

in the

in the

as

of

a

New

in

puts

knowledge

intellectual

ing, train-

control. in the

as

one

the

other. is

composer

this

hesitant

work

Mr.

Whitmer

choral

nearly

pure

was

improvisationin Pittsburgh.

be

used

that

fluency

However,

paper.

to

as

more

a

method

This practice..

musical

in

easilyinto Art

the

doing.

sation of Improvi-

spirit.

AUTHOR

books, and

on

to pass

going theory pure freeingthe musical

of much

while

one

music

ideas

can

student

from

of several

in the

once

his

towards

way

York,

while

one

keys; while,

basic

practice.

students

causing the

wrench

composer

with the

until

background

feelingsunder much

who

one

of

matter

suggestionto for

contact

upon

leisure, in place of "off the reel."

is the author

Carl Whitmer

Now

the so.

THE

known,

once

largelyin the

immediately stirred

graduallyby

the

will open

is

at

one

simple expressionis expected at

compositionclasses There

of the concert

needs

of the

design

fingersact together in improvisationwhile

and

Some

to

experience. An

brieflythe study

composition,keeps

Originalityis expected Mind

complex

exactly adapted

wished, the

as

to compare

"tickled"

are

have

much

is

musical

or

the

usually understood.

as

with

one

subjectinto

work

technic

keyboard differ

the

of the

greater part

or

talents

as

carries

book

new

as

well

as

instrumental

for many

years

of innumerable

music, notably an

essays of 'his

on

Six

choir director organist,

musical

subjects. He

Symbolic and

Dramas.

teacher

of organ,

PREFACE Any

musical

to

build and

day

is

There

of theoretical

As

to

great

improvisationof

in

early grades, in very

every

improvisation,

Just

is not

there

as

and

adequate

all

at

are

prerequisite except

a

charming pieces

very

delightfulpieces built

the

in

extempore

up

simple guise.

Of course, and

will

Recently

I

such

book

a

patient

which

Guilmant

must

rather

of it

think

be made

must

great inner

"composer

for

for

who

dignityof

the

me

for

"

tarists. gui-

disregard the

us

everybody

improvisation and

at

guitar for

the

equally good

it be

of that'.' So, let

written

as

solicitous

are

for the moment."

occasionallyplays said, wouldn't

petent com-

faction satis-

of mental

sense

plays.

the

develop

of their

art

in

themselves

forms.

musical

studies

"breviary for idlers?"but, a

a

didn't I think

Why

course.

a

who

He .organists'!

methodically work

most

different

All such

by becoming

who "Organists,

wrote:

instrument the many

of

not

achieve

nevertheless

tellinga country boy"

was

organists"and

"for

will

like sport

seem

said,"Why,

I

certainlyis

this

as

worker

for "pianists and

of this work

words

be very

there may

so

basis,that

higher forms.

the

of concert

exception

and

each

is demanded.

knowledge

(mechanical)

technical

the

it; and, with

about

secret

great

no

great basis

no

fullyestablish

time

allow

improvise,provided he fluency.

learn to

can

person

slowly: it

very

is the

only

play well

to

way

provise im-

and

happily." The

of technical

early writers

like "Gradus

name

seventeen

ad

twenty-two feel that

or

to lead

necessary

them

Nevertheless, I and

The is the

in

author has

only

The

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case

work

chosen worst

consulted

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as

It is my

hope

worthy

M.W.

"

Sons

successors

19521-75

know

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One

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Gradus,

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in

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illustrate most

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consists in

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Masters

of

means

to the

one

givenmotif.

of explaining

has the world's most

the point when illustrating

one

has

a

the

ly careful-

probable

improvisers. good

musicians

I believe that it forms as

by

stumbling block

anything if one

will lead many

of their powers.

believes that this

languages and

pointin progress

has been

can

to the Great

a

in several

works

nearly every

of little talent

as

mount.

all available

that this work

out

musical

a

often falls to the lot of

use far-reaching of those development

are

book

this even

motifs differing

subject.But

more

it will lead

that illustrates

art of "unfoldment".

not

we

they already

worked

have

really is

of many

use

liked to call them

But, do

there!

quite fullybelieve

temple"

handbooks

Parnassum".

well

as

for those who

of the Art

of

to an

may

make

yet finer

adequate be

basis

rich in

Improvisation.

and

for the

genius

and

PART

THE

ONE

CHURCH

ORGANIST

CHAPTER

GENERAL (Read The

of the as

this

two

or

be

and

chapter.Later,come

thematic

adhered

The

of the

measures"

last will be

been

bit of and

to

Invariablythink clear

but

one

Never

consider

consider

it

as

must

In other This

aspects and

to

melody

the

is the

conceived its

run

second

short musical

a

An

basic

theme-

and

normal

which first

notes

as

a

effects

become

has

er long-

a

if

has

one

spidermight

inite def-

facets,

of

studied

the

settled

a

endless

thing.Rather,

possible shapes

its web:

spinningdesign"

as as

hundreds

has

inverted-

in very

effects.

the

basic

of

melodies

other

given tonality of the theme as final, i.e. as keys. possiblyexistingin six or seven

the

idea

unfolding-structure

how

long;

how

built.

extempore playing a set printed phrase and expanding one psychologicalprocesses. The first is reproductive,while the generativeresultingin budding, flowering,unfoldingor expansion.

differences between

is

In the is "like

he

the player functions reproductive, to create unto a god, with power

Usually that

it

puzzles the student, who

harmonizations, of his efforts

he knows

as are

them,

listed under

as

good

and

the

the heads

Harmonies, The

chord

Sons

devices,are

fewer

of

and-

in number

fixityof purpose

that

is

19521-75

Harmony,

first of all to

learn

portant important of his efforts. The most imcounterpoint(polyphony)and structure,

least

plan has a progressionsare hedged about by rules rightand wrong, instead of inculcatingthe

Also, chord of

as

idea

an

evil"

likely has studied are

In unfolding

mechanism.

more

but not only limitless, are Contrapuntalcombinations of without having the finalityor static character

"

as

essentially different

are

M.W.

of

course.

as put togetherwith beginning of wisdom.

varying lightsand

a) b) The

selected.

problem.

is your

improvisationis relativelyeasy migrations of a given melody.

Regard

be

it has

such

possibilities of a fractionalpart"

theme

disregardeduntil all other generating words, a short rhythmic-melodic entity must

All and

fluent improvisationis the exhaustive study

be

of this basic

that

them

turn

easy

until

voice-parts. This

consider

Always if

and

improvisationmust

aspects

accomplished.

and

restudy.)

to it for

ideal.

the

harmonic

PRINCIPLES

basic melodic

extended

entity by expansion.

.

back

principleunderlying an melodic, rhythmicand structural

Every must

BASIC

chief

one

I

sure

process givesa forward harmonizations. the

as

stated-

to

stop

one

that will necessary

more

static

before make

one

the

in

ment, move-

tendency.

is well

student

started. too

scious con-

feelingof forging ahead.

result.

music

Copy on harmony

any

The

big

role

of

get

spinning

one's

intimate

on

terms

such

mental

before

processes

Also, in improvisation,when do

error

In

phrases. be

only

skill is attained

Do

not

get too

are

at

about

fussy

first awkward

how

afraid

be

just

of

always is difficult to (as repeated in essence,

to remember

In

general,there

the

by

of

use

a

until It makes

in the

then

the

sense

of achievement.

there

is

proceeds more which is perhaps

I

am

third to

merge

grade

expect

to

part of

Do

energy.

and

in the

Rafael exhaustive rise

a

sort of

less

or

and

to recall

a

every

Sons

ahead.

Go not

All processes

all the

at

afraid

be

use

order

of

first is

portant im-

being

part

and

may

necessary

general character. and

by expansion

the

other

is

pansion form, but experiment with exexpansion the form is generated.

set

some

down:

the

that

It is not

easy.

method

and

plan

improvise.The

less there

of the

amount

In

concentrated need

doing

technic; i.e.the

be

and

in the

be

same

technical

some

But, pieces

witness

Bach's

Technic work

will

of

to

give on

Anna

excellent any

and

if he

every

or or

a

ing includ-

visation Impro-

little; slow teacher.

written

to the

matter

on

But, expects his playing

be

may

technic

work

a

Magdalena's training

get theory

another's.

as

daily

great charm

so-called

help refractorydigits. can

exercises

a

of ways.

essential

the

to

way

regulating

abilityto play. A

it is not

agilityto

direct

most

muscular

easier

therefore

little of too

very

usually presupposed. But,

to increase.

with

may

do'!

such as A-B-A mold, the player first decides on a form (until he gets his stride) to build each subject;

However,

Josef fy's Piano Alberto Jonas'

is

scheme

error

mechanically

shorter

early grades:

in connection There

ease

following

pattern or

to

not

improvised in

has

one

thought deep

one

improviser will practice

smoothness

harmonic

or

plan. An

meant

"you

the

the

part of the "thing" sounds. "funny" Polishing is

in doubt

person's muscular

one

what

not

hausted ex-

words.

about

is

very

be

must

in the

"error"

with

naturally

material

rhythmic

or

the

all

Form,etc.

action.

The way to improvise is to improvise. Use the technic at hand, much fast. If scales are weak, or perchance arpeggios^ consult a "method"

every

"

immense

usually"asked

the

or

an

into

it becomes

and

error

what

ways

classical

and

but

M.W.

other

theme

set

Song Form, etc.).That, too,becomes

Whenever

this

get

you

in itself,

Whereas,

the

clumsy a rough go-ahead

remember in

two

are

form.

set

the

be

a note mistake, of it,repeating that

details,but it is necessary

all

that

can

and

for

a

being uninteresting.

It

be

say

of

and form style Form, Minuet, Sonata

made

every

and

thing; instead, strive wrong;

would

emotions

use

all will

improvisation without

the

Part

Three

Tightness;good, but

unintentioned

an

and

has

words, incorporate

other

itself. When

of flux.

state

preliminary analysis plays

a

little with

by

Two

one's

one

as

producing

power.

little

Rather,make

it.

correct

not

synthetic, but

generalizationsI

of these

In conclusion

as

in

clefs.

is

playing

theme

his

sees

assists

or

for

given melody

the

piano

on

Later, omit

extempore

of structures

sorts

by

place

it.

to

developing

in must

different

paper

attached

process

One

and

he

it is because

complete entity. Harmonizing usually produces The idea, on the contrary, must always be kept in a

and

finished

this

word!)

(his favorite

stuck"

improviser "gets

If the a

Clavecin

or

vised improBook.

fingers. Or, the can possibly a-

that

side charming lithograph,by Odile Redon,of a 'part of a part' of a tree outMay we not be happy, also,in fragmentary ideas occasionally in improvisation. has a few sketches would that no one Every composer part with. Surely not the subject. and the last word thing we build has to be monumental on a

window.

19521-75

CHAPTER

PRELIMINARY

two

II

STUDIES

FOR

A

GIVEN

Play slowly,at different hands, the following sequences registers, alternating of Sir Henry Gauntlett's Hymn, "University measures College?

Theme

fragment:"

i Sequences above

Sequences below

!

r r N

"

Sequences in

j r

above

minor

etc.

Sequences

in minor

below etc.

Sequences contrary motion

r j ^

(passingnotes)above etc.

\u

Sequences contrary motion"

minor"

above

etc.

Sequences contrary

motion"

below"

major etc.

Sequences contrary motion"

below"

minor

etc.

Sequences based

upon

theme

without

signature etc.

M.W.

THEME

"

Sons

19521-75

(alsobelow)

etc.

based

upon

the first

based

Sequences

based

Sequences

signature

upon

*"

of two

signature

upon

of

sharps

three

as

above

in

r

etc.

(also below)

3/4time p """"!

I

m

:"

(also below)

sharps

^

Sequences

etc.

i

j

*

I

r

r

etc* ====='

*n

al*

a^"ve

II Sequences

i

^ In

based

second

measure

^^ i

Contrary

*

^

J

?r

S

^ ^

*"

"^

f *U

if

P Sons

S

i="

"

^

"

etc.

(also below)

etc.

(also below)

etc.

(also below)

etc.

(also below)

etc.

(also below)

etc.

(also below)

etc.

(also below)

etc.

(also below)

motion

4

M.W.

S

minor

^

^

upon

19521-75

g

i i

ways

Ill Sequences based

both

on

measures

and

throughout

the

whole

previous series.

IV Reverse

the

measures

etc.

and

throughout

series.

Include

now

passing

notes. auxilliary

v Reverse

the

notes

ir r

r

JJ

i

etc.

VI Alter

intervals

and F

rhythm:-

"

etc.

VII Add

bass- voice

a

to

all the

precedingsequences,

such

as:"

etc.,

making slightvariations

in bass

voice

and

etc.

adding passing notes

VIII Place

also

in

3/4time:"

Slow

Fast etc.

M.W.

"

Sons

19521-75

or

^

etc.

CHAPTER

PHRASE

THE It may

seem

III

lookingphrases for at this late date of the world to hold tip innocent unnecessary it is doubtful whether playersgenerallygive "creative thought" to it. Ultimately, without too much analysis of our vehicle. But, in a work we as

jxamination,but should

ve

play

speak English-

a restudyof types of experience,

ike this for many Note

the

Two

following phrases,all based

on

our

the

is essential.

theme:

measure

Three

measure

0

Four

measure

Five

measure

Six

phrase

0

"

measure

Seven

measure

a) Place a simple bass part to all b) Play backwards to see effect. A

phrase may

be

any

In the last movement

phrase that

is

lengthwhatever. of Beethoven's

analysisthe only way reallyto

the

great

"

Sons

first

used, it

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in its "purposeful movement? interesting

last

Ri.W.

But, once

musical

19521-75

sources.

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learn

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be well adhered

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Compare go to the

above;

to

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to its scheme.

(inthe middle it with the

sources.

part)a ten opening theme.

B.ach and

Beethoven

measure

In the are

The A a

that a

good way

phrase

in

to

some

the

given by

discover the consequent,

piece new

hhrase

to you.

It is

composer.

good, complete phrase A

Thesis

is yotir

a

or

and

Antithesis to

answer,

a

Then, put in your

own

practicalway

to

very

is to

phrase answer,

get

the

question (thesis)of

comparing immediately with that feelingof forward movement it

essential

unit.

phrase questions, using our

almost

now

IS

Alto

part

B

Alto

and

e

Bass, Alto

3

lit

too

familiar

theme.

ANTITHESIS

"*

*"

IS3fl63tf

the

possesses.

"

JOJ

play

to

above;

Tenor and

parts Tenor

to

above,-

parts to

above.

(XouoSy) OL

f of the

phrase,examine

irmer) by Percy

M.W.

"

Sons

19521-75

the

Goetschius.

chapterson The

same

given

in

musical

"Homophonic examples

Forms

are

numer-

of

III

CHAPTER

PHRASE

THE

at this late date of the world to hold up innocent lookingphrases for unnecessary to it. Ultimately, examination,but it is doubtful whether playersgenerallygive "creative thought" vehicle. of much But, in a work our too without analysis should we as ve It may

seem

speak English-

play

a restudyof types of experience,

ike this for many

followingphrases,all based

Note the Two

on

our

measure

Five

measure

theme:

measure

a)

Place

a

simplebass part to

b) Play backwards phrasemay

be any

In the last movement

phrase that

is

to

see

of Beethoven's first

analysisthe onlyway reallyto

the

great musical

sources.

*

learn

above;

be well adhered to

as

to its scheme.

pianoSonata we have (inthe middle part)a ten measure In the Compare it with the opening theme Bach and Beethoven thingsis to go to the sources. are

in its -purposeful movement? interesting

Sons 19521-75

all the

effect.

lengthwhatever. But, once used,it must

last

"

essential.

measure

Four

Seven

M.W.

phrase is

measure

Three

A

the

The A a

that a

good

phrase

to

way

in

given by

discover

the

phrase

Here

is your

follow

some

consequent,

to

you.

It is

composer.

good, complete phrase A

the

piece new

some

Thesis

a

or

and

Antithesis to

answer,

Then, put in your

own

practicalway

to

very

a

phrase

is to

get

the

play

question (thesis)of

the

comparing

answer,

it

immediately with

feelingof forward

that

movement

possesses.

essential

answers

unit.

to

phrase questions,usingour

now

almost

THESIS

too

familiar

theme.

ANTITHESIS

rj a)

For Musical and

M.W.

"

Place

simple

Alto

part

Alto

and

b)

Place

simple

c)

Place

simple Bass,

Alto

to

above;

Tenor and

parts Tenor

to

above;

parts to above.

in "Homophonic the chapters on same study of the phrase, examine musical The Goetschius. examples given Composition" (Schirmer)by Percy

more

extended

valuable.

Sons

19521-75

Forms are

ous numer-

of

Cadences

As

part

of the

harmonized,

phrase, when

we

have

cadences,

or

endings,with

the

followingusual

chief classification:"

and

-

Authentic

Plagal

"

Half

"

"

Interrupted

SD

D

D

chord

Two

a)

general types

close

a)

on

an

accent;

of

endings

b) those

are

which

those

to

relative

other

than

minor, the

which

close

off the

accent.

Masculine

[SeeChopin's Polonaise in for typical case of b)]

M.W.

"

or

Tonic.

Sons

19521-75

A

10

V

CHAPTER

MARKS

TIME

Not

so

time, 4/4

'folks' seem many for example, means

to

understand

only

not

the real

four counts

to

of significance a

but

measure,

our

very

two

simpletime signatures.

accents.

The

accent

essential thing*

So, lining up the usual time

Note:"

*For

M.W.

Beat

these

out

further

study of rhythm

"

19521-75

Sons

as

upon

and

marks,

a

accents

drum

see

we

have:"

many

Music

times

to the

until distinctions

ListeningEar

by

Will

are

Earhart

very

evident.

(Witmark).

is the

11

CHAPTER

VI

MODULATION (HARMONIC

Most every

I rise to

usually does is

core

modulates Our

to

chief

that his in

his musical

the

say that

force the actual

preserved.This or

life,studies

less "at"

or

more

modulation; which

changing easily and smoothly from one key to modulation which brings the keys closer together may

knows, is the process

However, and

during

everyone,

man

MELODIC)

AND

of

ideas is the

core

themes

or

rhythmic

further and

apart unless

contour

essence

of the

make

should

not

be to

divorcingthe

few perhaps have

themes.

"

Sons

19521-75

reached

studies in modulation

duringwhich they will

M.W.

one

old

rate,

But, since to

theme

call unify keys but to unify themes, or ideas. One will reto for that matter) too, attempted bring style accompanist (and recitalist, closelyrelated tonalities and succeeded admirably (asmy experience goes)

plan

knows that the new anybody who is even a very mild modern modulation be So if all keys as equidistant. that, attempted in new of bad things. list the in worst the is the accompanist, long thing doing fashion. another in conventional to from doesn't one key simply go any

bring,

matic the essential the-

from.

pieces into "disconcerting"and At

as

another.

examine

that

based

on

the transitions

blessed some

from

state,the many

textbook

key

to

key

of

will

Harmony.

music

cognizes re-

music

he,

music

New

have

to

tinue con-

After which

in the B-eethoven

Sonatas.

and

12

of Formal

Essentials

a)A

note

in

common

between

two

chords

Modulation

will help to swing most

modulations:

Ex.

b) Enharmonic F

to

modulation:

Fjt

i 0

nifsoberly

Ex.

j

J U.

"

if

c) The F

old

augmented

t1

sixth

chord:

to A

Ex.

^ *

M.W.

"Sons

19521-75

13

d) The

dominant

seventh

chord

such

method,

as

one

hears

in vocal studios:

to Al"

F

U J fg

e) Note

the

an

way

altered

chord

assists; albeit,too

chromatic

to be

U"J j 11

highly

W

musical.

second-rate:

Rather

FJtto Bt

minor"

not

in

a

hurry,

Ex.

only.

1) A good rule,no matter which of the and swing on it like a monkey on a 2)

3)

Never

in

a

hurry to

modulation

must

A or

M.W."

be

Abruptly jump

piece

Sons' 19521-75

or

part

to

rather

be based

after.

ways

is

used,

is: Select your

note

or

chord

modulate.

key

new

above tree!

in

than

all

cases

feel rushed.

upon

a

motif

taken

from

piece

or

part before,

14

Exercises:" from

Modulate

F

minor

to

D

F

minor

to

G

F minor

to

A

to

F#

to

D

to

G

to

At

major

F

Fj| F# F#

using

using

Modulate

The

modulation notes

may

be

is not

always

the

earlysequences.

to

C

At

to

E

At

to

D

At

to

B

At

to

Fjt

to

G

of Beethoven's

theme

conceived

-

At

with

only as

kind.

At

Op. 26,

Sonata

expression,con

some

Melodic Harmonic

-

in

as

from

Modulate

%

theme

our

"

first movement.

amore!

Modulation The

harmonic

melodic

type

is

even

more

by suggestion.

a)

b)

Examine Notice Examine

M.W.

"

Sons

Beethoven's

that,

Presto

con

fuoco, Opus 31, No, 3.

althoughfigureis used

Beethoven's

19521-75

Opus 81, I"

there continuously, first page.

is

no

monotony.

useful

for

our

pose. pur-

15

Modulation Eric

from

the

given

(M. Witmark

Thiman

"

(inF) Sons).

motif

to the

anthem

"Author

of Life

Divine"

(inE) by

Slowly

^"K-

Slower

-

j

pNfe

J

than

before

j [Themeanthem]

j

j

^^"

^

^CT

^

^

[Anthem]

M.W.

"

Sons

19521-75

16

Or, suppose the

same

Con

motif

it is

a

festival

to Handel's

Sunday and more HallelujahChorus.

is desirable."

brilliance

Let

us

modulate

moto

iJ W

"

J*

j 4, 8, 16

-

Sw.

3 Heavy Fed.

i

i="

j j j

rr end

"77

,

^

i

,

-O

[Goto Chorus]

M.W,

"

Sons

19521

from

VIII

CHAPTER

TRANSPOSITION Up phase the to

to

a

to

this

of

our

point

suggested sequences, should many fifth. Seconds, thirds and fifths

The

American

only

a

Guild

third.

and

First, transpose

degree.

transposition. This,

are

how

see

time

a

very

basic

the

necessary

theme,

using increasing

Organists requires transpositionfor its Fellowship degree below and above ing improvisation,it is better to include all intervals up to and includ-

hymn 'by ear' or stickingpoints look

notes

instinct

usual

any

clef"

seventh

a

J

clef"

Soprano

a

degree; 2) down

one

one

clefs,the

notes

the use lines, just to see transposing agents. Or, think

same

on

these

clefs

as

these

notes

for Clarinet

Horn

other

in F

and

as

in A,

written

in

keys; Trumpet

other

of of

Bt; in F

keys.

J

ninth

a

1)Up

below

^ clef"

way.

are.

different

with

in

or

and

Tenor

is

of course,

in

French

Alto

that

keys higher and lower by intervals particularlyuseful intervals in practice.

studied

be

After

weeks.

few

below.

our

where

Observe

Second,

a

But, for concert

fifth above

a

of

for

postponed

be

of

made

been

has

mention

no

work, but may

below

third

below

a) Bass

clef"

a

thirteenth

below

e;

third, transpose the melody only of the

Now, relation

tonic

and

degree

up:

to

One

3 and

so

on

a)

one

b)

minor

degree third "

third

'

"

"

of B,

getting

19521-75

the

'high points' in

C#, Ek, E,- after which, transpose:

down up

For

down

advanced

improvisers

f) perfect fourth

up

g)

down

down

A.

Transpose

B.

"

C.

"

one "

daily.

hymn-tune

short, easy interval, then "

one

melody

daily. piano piece daily, at

another.

"

"

fifth

i)

up

first at

Sons

measures,

m

through keys

"

"

two

P

c) d) major e)

M.W.

usual

dominant.

"

"

up down

19

CHAPTER

FREE Perhaps Imitation, an adept in:

as

used

in

IX

IMITATION

inventions, is the

most

important

one

thing

to

study

and

make

oneself

l) A

very

Book, written I

quote

now

easy

lead

by

Bach

from

into the

subject of

for his second the

Menuet.

imitation

wife.

Note

the

Play exact

is the

through

imitation

the

Anna

Magdalena

Bach

bookful!

whole

and

the

then

free.

Menuet cant ab He

Moderate

cresc ^

fJft

Pr

i

^

^

"

Sons

M

-^

^

i

M.W.

^

19521-75

i

Clavecin

20

2) Next, play two After

continue

which

or

in

of the

three

writing

part Inventions following start based

two

the

of Bach upon

(one in C, our

given

one

in

F,

in

one

a

minor).

theme:

etc.

to

eight

measures

3) Write

In Bach's very

much

This the

way

this

out

Toccata as

will form

it sticks

balancing

in D

first and

to

of motion

the up

then

(notthe

minor

improviser would

an

example

Invention

do

organ

given

by motion

out

in the

""!

r

M.W.

"Sons

vaw

V fV

19521-75

work, but the

first two

in

Clavecin

imitation.

measures,

downwards.

Toccata with

one.

piece)the

theme

is

developed

it.

pretty complete education

a

idea

Play slowly first,then

4) improvise

gayety.

in

D

minor

the

quoted in part.Note variety of registers, and the

It is here

21

i

M.W.

"

Sons

19521-75

KjM

I 9

"

0

"

"

1

ii

j"

22

X

CHAPTER

The

student's

day"

canons

written

will not

TWO

PART

sound

interestingfor

CANON many

and improvisedanother

moons,

will

day" day Finish, in writing,the elementary improvisation. sarj to even before doingthem extempore. a

one

but the

bring about few

making of

short

one

the concentration

'starts' of

canons

here

neces

on can-

-

suggested

Moderate

etc.

Slowly

etc.

an [if supply an organist,

easy

sustained

Pedal

part to

above.]

Gaily

etc.

^ j j

i

i_

etc.

M.W.

"

Sons

19521-75

23

Staccato

i PP

etc.

etc.

etc.

Canons from

be

may of the

one

at

any

writer's

(Excerptfrom "*M

For

interval. short

the

organ

example, here

is

one

at the

seventh

below, with

free

parts,

works:"

development)

)

if

etc.

^

j

i

(Pedal)

For at many care

to

M.W.

"

further

study

different

study

Sons

the

19521-75

if

of canons,

intervals. Franck

The Violin

desired,

Bach's

see

free

parts

and

Piano

are

models

Sonata,

Goldberg Variations,

30

of their last

type.

movement.

Violinists

most

and

of them

canons

pianists may

24

XI

CHAPTER

FACTORS No has

the

varietyin

1) legato

(themes) are, they will

interestingideas following:

how

matter

VARIETY

GETTING

IN

unless

across"

not

"get

the

Toccata)

one

staccato

-

2) dynamics

ppp

jff

-

sfz

-

3) variety of register(studythe

quotationfrom

Bach

4) speed

5) rhythms; strict time

-

rubato

or 6) pedaling- damper, sostenuto, sustaining,

and

7)

solid chords

8)

scale

9)

cadences

work

10) limited

Note

to

you

1)

Take

organ,

use

chords

arpeggios

-

keys

many

"assets"

of your

instruments.

all

Diapasons

alone

and

Its

resources

greater

are

together

"

"

Reeds

"

"

"

"

"

Strings

"

"

"

"

"

Flutes

"

"

"

take

qualityof The

effects.

19521-75

each

of the

above

and

couple with

every

other

quality, and

so

on

and

ery ev-

organ.

3) Then,

Sons

on

pedal

broken

tonality

the

2) Then,

"

-

all. Or,

think

through the

M.W.

-

pedal at

no

organists:

Restudy than

of

non-use

re-examine tone

above

the

effect of all 4, 8, 16 and

possessedby the organ. restudy nearly always produces

32

a

foot

couplers on

fifty per

cent

each

increase

in

new

26

XIII

CHAPTER

To

the

writer, songs

should

be

have

should

never

and

contrasted

so

ACCOMPANYING

IN

IMPROVISATION

dove

the juxtapositionof "Papillons"

in Schumann's

links.

improvised connecting

-tailed

that

all other

tonalities

Their

ment arrange-

[See superfluous. bridge making.]

music

without

is

*

However,

accompanist

1)

To

not

all

can

make

2)

To

quiet

Concerning finished

song,

weaving

of

pause.

Sons

a

a

more

the

motif

kind

19521-75

or

first

making

Concerning

simplest

"

from

provide transitions

one

So, of

a

of the

brief statement

the

is that

case

improvisation:

piece to

another

when

key changes"

him

to

"

sudden;

are

M.W.

playersfeel this way. the followinguse

point a

from the

the

simple the

second

of chords/

socially inclined

less

new

audience

good practicealways

modulation song

point use

Preferably

the

out

tnay be either latter.

of it at used the

at the

is to a

beginning

use

a

from

motif

the

register. A different

After effectively. motif

of groups.

from

But, again, a-

the

song

pause.

whichto

come

a

just

slight slight or

the

27

CHAPTER

WORKS

It is of the

and

Where

and

Ask

Where

the

the

are

Is there

any

Homophonic

registerof

tour" of much

the

music

which

works

and

will

offer

the

"listen"with your

melody lie?

throughness,or transparence?

inversions

of the theme

used?

diminution?

augmentation or polyphonic?

or

rigid or there

a

Play slowlysuch questions as these:

such

some

is it's thick-

Are

ANALYSE

generative methods.

ear.

does

What

Fofm

TO

highestimportanceto "go on

improviser fertile mind, heart

XIV

flexible?

different subjects or

does

all

proceed

from

a

singlegerm

with

subjectcontrast? What Of

is the

the

nature

of the

episodes and

Nature

and

second

subject?

transitions? of cadences?

number

Stylesof accompaniment? One

cannot

get

a

good "method"

without

Music

suggestedfor dailyreference efficiency: Beethoven's Bach's

English Suites

Bach's

Choral

Bach's

Well

Brahms'

-

Franck's

Piano

will be

of hundreds

something

like the

of

plans.

followingfor

best

Sonatas

Preludes

-Tempered

Sonata

the Or, for violinists,

For

Thirty-Two

consultation

Clavichord

in F minor

Brahms'

Violin Sonatas

Three

Violin

and Piano

Three

Chorales

Sonata.

organists, Franck's Widor's Handel's

Symphonies,

Organ

(veryusable an

at least V

"

VI

Concertos

extempore playing technique.Built largelythe way

improviserthinks). //

I

M.W.

am

confident that it will be of considerable few

works

by

"

19521-75

Sons

a

analysesfrom

the

aid to illustrate

standpointof stimulatingideas.

the way

I

use

these

28

No.

Op. 31,

style:

left hand.

staccato

upbuildingat

Economical

effect.

chord

for staccato

Op. 53, I,

Note

for

Sonatas

Piano

followingBeethoven 3, Allegrettovivace.

the

Examine

Rondo

end:-

for

playfularpeggiofigure.

Only

growth

of

idea,

Op. 106, I, for Construction

different

four

types

of

out

broken

as

arpeggio

in the

up

tions. varia-

scale, a fine generating

and

of texture

Closeness

used.

of chord

of

original.Scherzo

antithesis

with

subject in chords,

of

thesis

chords

same

made

and

velous* mar-

I.

especiallyin

very

Note

usage.

figure of Rondo

note

movement,

scheme.

chord

for

Op. 57, II,theme Last

has

same

three

in three

very styles,

parts

and

tended. ex-

difficult to

manage. *

alternatingwith recitative. with polyphonictreatment

Op. 109, 1- lyrictheme Ill- Variation

V

has

Op. Ill, Arietta C.

John melody

in bass

Indian

Suite.

For

and

Griegs

and

example

of

have

Note

melody

how

in

Rousseau's

easy, and

first alone

Leaf, Op. 28, No. 3, is

Album-

a

Theme

subject. Fugue

second

is interrupted

a

"neat"

presentation

of

yet it "sounds? then

harmonized,

good example

harmony, position,and

Double

legatoeffects.

and skillfully interesting mergedrhythms.

and

new

a

and

is used.

Green" (Schirmer)has

-the

top.

as

without

inversion

Variations

used

then

by change

Samuel

which

Hollidays "Jack- in

another

un-monotonous

for folk

after

lyricpassage,

a

form

Sonata-

Op. 110, I, good example by

fine staccato

see

of monotonous

MacDowells'

rhythmmade

style.

for Organ gives fine

theme

treatment

suitable

basis.

song

Chopin's Ballade, Op. 38. Lovely simplicityof theme. Note development of idea, which without

becoming

too

is

highly organized,

"mental?

Chopin's Fantasie, Op. 49. Note variety of stylein composition,style in piano technic. Notice-

melody

as

with

8) melody The

*See

also

M,W.

"

proceeds- l) octaves, 2) solidity,3) octaves, 4) solidity,5) obvious chords, 6) arpeggiosand scales, 7)broken chord accompaniment,

in double

notes

surface

texture

Bach's

48!

Music

Sons

one

staccato

to

19521-75

the

is

Talk

etc., etc. a

very

about

Listening Ear, by

Will

vital

a

part of every

composition.

styleshow!

Earhart,

page

146

(Witmark)

Great

example,

this.

29

For

Toccata

models, see

Widors

Fifth

Symphony,

Dubois'

in G

and

Mulefs"Tu

Petrus?

es

Handel's movement

March

gives

from

Occasional

ideal Overture

Sonata Rheinberger's Theme.

The

fugue

Oratorio

is fine easy

March

model.

The

first

design. Eighth

over

is beautiful

example

Tone of

gives simple treatment

of

Gregorian

combining of fugue subjectand

theme

from

first movement. Franck's

Three

Chorales

specialgift of expansion of

figure.All best

work

is germane. in

Paul scheme.

and

into the

Symphony large unit.

Always, always, always

related.

in D minor

Franck That

will

never

reveal

uses

is also the

Hindemith's

Tanzstiicke No. 1 will providethe modernist JT3 j providethree pages of merry going. Several over give delightful "splutterfuss" nothing in particular.

also

Consult

Organ

his

useless

a

to

cue

one's

improvisation.

Note

"Alcott"

for theme

one

how

motive

New (No.l) by Rudhyar ("New Music"),E. Ives (privately printed)which

"Paeans"

also

movement) by and

a

Charles

Scotch

with of the

England contains

usable

a

other

Sonata

both

a

amples ex-

(The oven Beeth-

hymn.

Milhaud's "Daphnis"from "Daphnisand Chloe"(Durandet Cie.); "Silhouettes from (Max Eschig et Cie.);Mortimer Wilsons Screen" "Laranjeiras" the Music Arnold Schoenbergs"Six Little Pieces" Opus 19. (Uni(Composers' versal Corporation); Edition);Jacque Ibert's "La cage de crystal";Moussorgsky's"Pictures at an Ex See

also

Ravel's

Ballet

-

hibition"; Zatacwitsch's Shostakovich's

"Chant

des

Kazak", Part

13; Stcherbatcheffs

"Choeur

Danse";

"Preludes", Nos. 3 "4.

Note: of this work dance accompanist maybe appliedto the needs of the modern the working technique/Then, developingthe theme as given on Page 3 to secure by taking a given motif from a modern or ancient dance theme and spin into set or evolvingforms (seePage 37).Third, by becoming familiar with the structures and types and improvising within those structures and types. of dance music used by choreographers and organists who "plytheir A similar of distinct method be to advantage pianists may The

by

text

first

trade" in radio studios.

M.W.

"fSons

19521-75

30

CHAPTER

XV

IMPROVISATION

HOMOPHONIC

and FUN

In order time 1

to

become

Up

to

this

continued

of

use

Books Slavic

Hungarian,

In this

that

far

is most

the

In this

reaching

horizontal

on,

the

set

a

M.W.

"

Sons

19521-75

suggest or

"

form

rather

arbitrarilyin

instead

advance

ABOUT

of

and then

mind

allow

of

is tired

expansionof

odies. mel-

it to vary

as

basis

of chords

3

4

(Harmony)is

6

5

HARMONY the

l!

harmonic

8

many

of the

of the usual

newer

chords

chords are

based

may

be

upon

made the

series:-

10

9

1"

0

Some

I

good starting point

(afterthe

nature

themes

0

notes.

special stimulus. a

inspiration guide.

2

how

the

vertical.

than

makes

already

reasons

so

The

out

good

matter.

SOMETHING

Find

a

largely from

it results

when

rather

Indian-

or

homophonic and of less mental weaving processes)use "hunks" of

type if

used, for the

been

melody only given,-form French-

or

has

freer,more

spinning and goes

German

to have

necessary

types.

work (polyphonic)

harmony

Songs, with

of Folk

or

a

easy

parts,best thought being

ending place,for

one

is good extempore player it occasionally

melodic

part only

also because

given, and

the

a

by improvising unseriously some

out

upper

of, say, the first nine harmonics.

or

ten

31

desirous

Most

improvisorswill

octaves

type. a

fifths. But, that

one

thinks

Whenever avoid

to

care

But, suppose the writer's

have

and

these

of certain

only

prohibitionsin harmony

when

the

or

"

is

is based

Triptych*then

on

parallelfifths

it would

be

incorrect

or

like the

paralleloctaves

not

to

have

the

fifths

and

portando

laughedfrom

ver

y

-

depthsof

Ah!.

love

portando PP

J-VF_

laughed from

ver

y

-

depths of

love.

Ah!

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God_

laughedfrom

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Very slowly

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M.W.

"

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here

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19521-75

such of

as

the

secutive con-

older

must

have

parallels.

Very slowly

God

scheme

pattern one part harmony (whichbelongsto counterpoint)

in four

one's scheme

Choral

heard means

C.C.

Birchard

" Co.,

owners

of the

copyright.

examplefrom octaves.

32

with Now, proceed to the free improvisations

Complete

different stylesto select from.

lowing the fol-

'starts'.

First, take

followingin As,

an

accompaniment

in the

R. H.

made

out

of

our

well

worn

theme, with the melody

L. H.

1)

r^rrfrrrffr

i

ff vigorously

i

i

i

s

etc.

I

l)Arpeggio style,melody

included.

etc.

[Makethree 3)

types.]

more

speciallyfine

A

rhythm

your

seem

For

way

in front of you, very

example,base pieceupon

"Sons

spicy,pungent ideas come,

that

own.

base pieceupon [Also, M.W.

out of nothing,is to put some get stimulus, to get juice and structural lead until your own its rhythmic following to

19521-75

MacDowell's

Chopin'sPreludes

"Wild

Nos. 7 "

Rose" plan.Use

2Q, and

upon

same

series of notes:-

his Nocturne

i

etc. aEj-^-p-

Melody inverted

etc.

5)

Choose

and

also

types of accompaniment for homophonic style,as below

this

exercise

same

notes.

seven

in various

keys

four

with

flats,two

once

in

a

while

and

make

up

Hornpipe,a

a

ffast

a

Proust

in

"

Sons

19521-75

old. time 'hot

work

the

glow

let their

Cake

air' out

referred

says: "Like

splendidcolors who, having first right direction?

M.W.

an

Getting

Hindemith

tripletime.)

in

was

Waltz,

whatever.

Marcel

three

sharps,using

the

usual

la Edward

German

(FourEnglishDances).

continue

(Ancient Hornpipe

[See the

and

-

6) Now, get gay

7) Next, try

"

those

to

run

one

Walk,

of one's

a

Jazz trifle" is to

over

the

either

on

subject or.no

some

and

keep repressions out

ject sub-

expression

in.

XIV.]

expressive themes rush

Purcell's Hornpipe.

over

system

in Section

of fire,the eyes

Build

composed by

of water, the program,

peace

have

musicians

of fields and

of

genius which

woods,

to

their imaginations trained

paint

audiences in

the

35

These

good

fine

words

So, here

one.

are

give the

for

reason

a

player's using a

subjectssuggestedto

some

get the 2nd

.1stSubject low register"

Winter_

title in

^

a

Subject high"register

medium

Spring" high"

medium

Juggler-

very

very

Love"

sonorous

Hate"

strident and high"

Sunrise

inspirationgives

case

student started:

high"

low

low

throughout

etc.,etc., with

a

strident and low

subjecteach day.

new

The

problemsof registerare stressed because so little attention is paid to it. Analyse well the of positionin the great writers. ring [SeeSchumann's Fantasie,Opus 17, for stirinterestingshifting examples.] SPECIAL Make

short

studies

in

HARMONIZATIONS

improvisingpieces

a) using

minor

b) using major

chords

only;

chords

only;

chords only; c) using seventh (dominantand secondary)

d) using combinations 8)

A

song

favorite and

by Richard

Allegro

effect in

easilyschemed Kountz,

in

such

some

of the

above.

accompaniment

may

be

Sleigh"* a

after "The

modelled

manner:-

molto

M.

t

l

i

^

* etc.

"j

7"

/

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r

XVI

CHAPTER

THOUGHT

PLANNED

by

The

beginning

this

time-

and

is

It is difficult into

There

thought. all he

feel

Some and

is

and

can

defined

one

good practical

A

of

phases In

before

words,

other

A

thing and

working

Always do

in

keep

train

emotions

any

person

the

the

have

student

take

the

and

intelligence

will

develop

see

emotion

player

to

he

magic

the

equally

all-roundedly. of

consideration

take

have

must

give

all

ble possi-

digested plan

a

or

conceived pre-

urge.

spineless-

emotionally

So, thought

intellect.

function

himself

of themselves.

care

emotions

fit, but

beyond

the

or,

But,

reverse.

plus feeling

form

a

fect per-

always.

of

foreground work"

will

and

emotion,

it behooves

So,

intelligence to will

The

plans.

cooperating

team,

"laboratory

all the

To

and

below

are

reader

every

as

into

merges

emotions the

mind,

the

mathematically

be

may

surge

in

mind

The

design.

urge

and

thought

whose

one

as

improviser-

action.

hurts?

this

is:

rule

theme

a

genius

a

of

of demarcation.

line it

"till

Bearing

skillful

a

which

at

definite

think

to

synchronously.

point

no

of

blueprints

thought;

tell the

to

work

of the

end

planned

each

on

mind

your selected

following:-

the

theme

the

For

before improvisation

firstfew is

months

done

in

ex-

tenso.

Also,

of

all

Inspiration shoulder fit

ready

After set

the

Select

2) Study the

3)

tune

"

Sons

Alto,

10521-75

used.

student

a

always

keep

accommodating

so

like

a

all the such

some

So,

leads

as

as

to

procedure

in

studies

to

wishes.

one

earlier

fresh

"juice" fails

when

made

has follow

a

dove.

often

This

stupidity

should

rank

first

readiness

take

to

the

place

inspiration.

descend

is

suggested,

ideas

coming

doesn't

It a

sit

planned

forward;

and

one's

on

ly mental-

and, always,

at

flow.

for, and

has

fully extemporised

upon"our"

plan:-

tune,-

possibilities has

Reharmonize

in

M.W.

to

prevents

he

tune

1)

is not

blueprint

rate

any

present

the

of

extemporisers

doubtfully

a

then

of

completely the

hymn

in Tenor,

the

first

soaked

or

then

two

or

three

measures

in

all

the

indicated

ways

til (un-

in); tune

in the

in Bass;

ways

indicated

and

also

put eighth

note

tion mo-

37

4) Play whole then

5) Treat

in two

whole

6) Study

Pedal. Points

7) Make

short

8) Make

second

theme

10) As

of new,

out

dailyexercise

one

against one" of the

notes

The

in

the

the

student

order

represent

Cantus

then,

of

out

first theme;

to

return

basic

same

will make form.

best

idea, taking (asearlier suggested)

Piece

based

on

A, B

c)

Piece

based

on

A-B-A

d)

Piece

based

on

A-B-A-C-D-C-A-B-A

Coda

againstone"

"Three

to

one"

counterpoint,

or

melody.]

chief

every

of

of,say, the

one

chosen

new

Beethoven

will open in

one"

in the

up

new

theme.

form, analysingand playing Minuets

tackling forms

and

Scherzos

of ideas.

vistas

A or (letting

B

or

A

(See Chopin'sPrelude, No. 7); No.

20);

(MacDowell'sTo

A

Wild

Rose);

(Beethoven's Minuet, Op. 2

No.

I) [Fromthis

Extemporisation];

Pieces

based

on

Rondos

f)

Pieces

based

on

Sonata

homophonic as

as subject,

Chopin'sPrelude,

e)

on

of notes

thorough study study

["Two to

voices.

elementary student

b)

these

or

the "two

is, place againstthe,largely, quarter

to build:-

just one

carried

That

number

design which

on

Concert

other

Firmus,

a

based

on,

rotating parts, moving

indicate

The in

for the

theme) is

a

in

another.

good working designfor

a

Piece

After be

accompaniment;

measures;

in the

a)

point

free

Counterpoint

unsuspected variations

Perhaps each

to

to

improvisingin that

will reveal

C

Toccata

voice

one

aboye plan is

week

and

using

imitation

use

from

secondary melody, againstthe

Each

bottom;

unused

melody eighthnotes

used

term

a

and

of the tune,

out

major;

if in minor.

top

March, Sarabande,

a

"three

is

theme

at

if in

spots and

inversion;

typical model.

a

etc.

a) minor, b) major,

in:

rhythm interestingat "dead"

the

this "crab"

with

ways

tune

with

9^ Make

or

melody backwards, making

harmonize

in

has (Efeethoven

about

six

varieties);

Form. forms

have

been

well

assimilated

the

polyphonicforms

will

Chapters 20, 21 and 22.

An in church service extemporisation. especially isworked of after a predecidedplan development evolving form is a form which is.complete the piece is but that is only when short motif developed, out. As a rule, there is but one

Evolving forms

also should

of medium

length. A

short,or when

M.W.

"

Sons

its material

19521-75

has

been

be used-

form

that

is not

evolved to the utmost

a

set

of

form a

is

complete

simple clarity.

and

satisfactory

38

CHAPTER

XVII

ORGANIST

THE

and

the

CHURCH

All the his

job. But, will

First the

Theme

written

to

from

"

a)

to

b)

to render

The

bars

without

unify the

your At

church

course,

from

during and

hymn

or

service

ever whatimproviser, playinga few more agraphs parof

an

of the

the notes

anthem

chant

or

or

chosen

theme

Nothing

clefsin singlenotes.

various

to

the

church

service

else

for

sheet.

on

ably Prefer-

work.

organ

parts of,the service;

has organist

the

function:

double

a

and

the

atmosphere more unfoldingthe penetrating, day. In other words, one theme, one mood.

for the

moods

should

which

be

of study to the melodies in the music organistshould apply all suggestedmethods followingSunday. Only then can he "let loose" and give radiance to his work.

each

and

kind

any

anthem.

or

great contribution

one

console

organ

or

Every organistshould

tf.W. "

to the

Improvisationwill not spontaneouslycome sightin publicWidor's Tenth Symphony

then

good for organistin

hold

course

specialuse

on

with

chosen, of

his

of the

of

Keep

out

hymn

As

dominant

at

be

be

to

of

help.

essential:

day,

will

precedingpages

SERVICE

voice

ideas

alone

will

come

study a

and

with

Bach

every

to

one,

it

Choral -Prelude other

fast; so fast and

voice.

more

any

and make

Do

mean

each

than an organist can play anythingemotionally.

week, playingit twice

Jhisas long

strong that they

may

force

as

you

you to

are

ideas. any

rate, it is the radiance

Sons 19521-75

of the

playerthat

counts

in his

an

write

immortality.

and

ist organdown

39

CHAPTER

XVIII

GREGORIAN

MUSIC

subjectis approached with feelingsalmost of misgiving arising from the fact that the with the handling of modern tonalities, vast, the procedure so widely at variance the literature from that type of emotional pression exso incrediblyrich and the metier so far removed of whicli modern be put into a book can tonalityhas been built up to voice. Whatever is a and liturgicalmusic this kind be offered only as suggestive. In other words, modal can complete subject,a subject almost entirelyseparate from music as we understand it today, and and that should be studied under proper one tutelage. There, are worthy and adequate teachers schools for this purpose approvedby the acknowledgedrepositoryof Gregorian music, namely, Catholic the Roman Church. For the subjectof modal harmonization, the student is referred to This

field is

so

Modes"

"Mediaeval

Gregorian music Chant"

(and bearing in

toward

the

ecclesiastical modes final,of

Richardson

Madeley

phases, the student

As Gregory Sunol. from J.Fischer (procurable

However,

of each

dominants

Dr. A.

Dom

by

P. 44

see

by

in all its

course,

in mode

mind

being the

indicated lower

in

of the

musical

case

by open

Ecclesiastical

neums,

I

(Authentic)

MODE

"

II

*

MODE

III

Phrygian (Authentic) *

"J"

MODE

O

IV

Hypophrygian (Plagal)

19521-75

most

of

on

Gregorian

compilation. practical of the

notation. other

student's

illustrate the

by

Modes

Hypodorian (Plagal)

Sons

in the

MODERN

Dorian

"

handbook -practical

literature,the "Liber Usualis"

York) is probablythe

NOTATION

B

and

Complete Method

correspondingmodern

with

one

MODE

M.W.

concise

indicated note.

The

NEUM

a

"The

direction some foregoingqualifications), to important here. The followingwill serve

Gregoriannotation are

book

source

Bro.,New

to

the

itself is

music

a

"

(Gray).For

is referred

NOTATION

The open

tention at-

eight

finals and notes"

the

:0

MODE

V

Lydian (Authentic)

VI

MODE

Hypolydian (Plagal) O

m

VII

MODE

Mixolydian (Authentic)

"

cr

-^

VIII

MODE

Hypomixolydian (Plagal)

"y Tote

the

tants

are

Of

similarityin responsible

note for

between

sequence the

the

difference

marked

in

importance particular

ised: the C Clef similar to

our

"

and the F

movable

C clef

(Mode I) and

Dorian in

Hypomixolydian

the

(Mode

VIII).

The

in the

differences

and

Finals

Domi-

character.

reading Gregoriannotation is the clef,two varieties of which are *C Both of these clefs are movable for convenience in notation Clef .

of ||"

today).The pitch of

the

GregorianC

and F is respectively

in append eightexamples,one in each of the eightmodes, using in each case a Kyrie Eleison modern for and modern notation. Observe that the notation actual sounds the gives Gregorian irst four, the remaining four are transposedto the octave, in the G clef- a style which prevails hareditions of Gregorian music. n modernized Followingthese melodies are three authorized lonizations of the first sentence from the first Kyrie. I

"oth

MODE

FIRST

(KyrieEleison

1.

i

Ky-ri-e

Ky-ri-e

19521-75

e

-

-

-

son

(KyrieEleison-

-

J": -"

le i

-

MODE

DuplicibusI)

"

-

SECOND

2.

.W. " Sons

e

In Festis

lit

"

+

IV-

le

-

i

-

son

ett.

etc.Chr i-st e

Cantus

ad libitum

Chri- ste

e

"

"-

le-i-son

-

etc.

III)

e

-

-

le

-

i

-

son

etc.

42

EIGHTH

Tempore Paschali)

Eleison-I(Kyrie

MODE

P.'X. Mathias .

X" Kyrie Eleison

IV

"Organum

Ex

Comitans

ad

Ordinarium

seu

Kyriale

Missae"

Rev. L. Manzetti

I) Kyrie Eleison

IV

"Organum

Ex

"

By permission of J. Fischer

"

Bro,,

of

owner

the

Comitans

Ordinarium

seu

ad

Kyriale

Missae"

copyright

Julius Bas

I) Kyrie Eleison

IV

"Organum

Ex

1921

Copyright

The

by

Desclee

et

Pan

-

ge lin gua -

glo ri -

6

-

-

si

illustrate

to

serve

LINGUA

PANGE

(ThirdMode)

3.

Cor

-

po

-

ris mys

-

te

ri

-

-

di pre

-

ti

-

um

Fru- ctus

ven-tris

ge

ne

-

'

Note

divergence of rhythmic pointing

tf.W. "

Sons

19521-75

in each

version.

San

um,

-m

mun-

Kyriale

structure.

(InFesto CorporisChristi;

J *

stylein Gregorianmelodic

freer

a

i=^ Quern in

ad

Missae"

Socii,Tournai, Belgium

will fallowing quotations

two

Comitans

Ordinarium

seu

-

gui-nisque -

pre

-

ti

-' 6

-

si,

"-

-

ro

-

si

-I "

Rex

k

ef

-

fii dit

^m

-

gen

-

ti

-

um.

43

1.

AVE

Mode) (First

Ma-ri

A-ve

(Festa Octobris 7)(inII Vesperis)

Do-mi-nuste-cum:

gra-ti-a pie-na:

a,

-

MARIA

k

I

I

I

f"1

I

believes

writer

the

I

I

I

k

in mu-li

tu

I

.

e

-

ri-btis.

-

1

Extemporization the

followingpointsare

I

I

i

in Mode

Studies The

k

I

be-ne-di-cta

essentials

to be

kept in

mind

the

by

impro-

viser:-

1) That

the

2) Mixing mode

purityof

If

effect in

the

3) In

modes

of the

character.

mode

each

is

basis to

necessary

a

stronglydefined character;

a

is,of course, a neutralizingof effect and a weakening of individual desirable however, do it as simply and unobtrusivelyas possible, ning plan-

advance; use (homophonic), onlysimpletriads

all harmonizations

and thirteenth

using the seventh, ninth, eleventh essential parts of the chfird; as

as

and

of the

first inversions

same,

and

passing and auxiliarynotes

not

melodic one character of all the traditional "tunes? Thus the essentially with the various melodies synchronously producing piece strictly polyphonically, harmony that will usually be in keeping, providedone has Mozart's idea of a good

mind

4) Always keep in construct

can

a

"ear,eye and heart";

5) The

differences

essential

and

modes

church

the

lie in the location of the half

in the modes

dominants, which

and

the finals

latter make

limitingmajor

and

such

dominants

for

8)

the

are

the

finals

suggestthe

each

while

the

harmonizing,the organist the same, of modes are pair

and Bb

10) As

in

use

which

mode

equallyancient

almost

are

stated by Father

melodies or

must always be preserved. relationships on C,the scale becomes c-d-et-f-g-a-bt-C;

They

The

dominate.

finals

Rossini

in the has been

endings.

that the finals

Note

nough

so

as

to

Pa., "each of the Gregorian Cathedral, Pittsburgh,

Liturgyis built from

by preferred

change the

11) Also, "in GregorianChant,

beginningto

to the

the composer

compared with at the

the With that

M.W.

same

the

in the

"

Sons

end of

modalityof original because

the

of the absence

call modulation.

what

.we

some

Gregorianpiecesby

pieceis made

other

end

seven

upon

as

the

a

single scale

better suited

easier for the

There which

singerin

case

to

times somenever

e-

piece?-

of any are

harmony, only some

the return the chant

nothing that

there

is

sorts

of cadences

passage

to the

should be

may das, co-

or

beginning

of

repeated?

proceedto the studies,keeping in may foregoingthoughtstresses the improviser lies strength. the modes of of the treatment purity and simplicity

19521-75

of

differ;

usage;

of St. Paul's

Catholic

chord

dominants

the development of his piece the composer express the meaning of the text. During field the invaded have belonging to a "relative" scale or mode, but might

be

notes

are

endings;

To the

9) B

opulent

Based

of the chant.

recitingnotes

of

nature

the

between

scales;

minor

but to any desired pitch, 6) Modes may be transposed For examplethe Dorian (First Mode) is based on D.

7) The

steps,plusthe

great difference

a

mind

[4:

Procedure 1) First

make

2) Second,

a

complete study

study

given

a

of the

"modal"

generalprincipleslaid in the

theme

manner

down

in the

developed

preceding chapters;

in these

earlier

ters; chap-

gest sugsimple material upon which to base studies in the beginning,I would Gregory Hymnal" especiallyNos. 221, 265 (line1),267 (atthe words "Patrem 200*?(theold Arcadelt tune. See Liszt's arrangementfor piano), 233? omnipoteiitem"-), 269 and Edition of the Antiphonale), harmonies. It is according to the Vatican 234 (notice

3) For

excellent

the "St.

,

216;

4) Now,

build

each

upon

of these

hyms

and

chants

6, then

7, 8, 12 and

16

measure

phrases,

keeping the idea of derivingcloselyall ideas from the motif chosen from each hymn or in the above, we proceed to the motifs in the ochant; after facilityis established may larly riginaltype of staff,clefs and notes. Any authorized book of the kind will do, particuthe

5) Build

Liber

to;

quoted,first,short

Kyrie melodies

of the

each

upon

previouslyreferred

Usualis

extensions

of the chosen

notes;

developed polyphonically,to three minutes, five minutes and ten minutes in length so as to suit every purpose. Finally create out of them specific works in free style,as a Toccata, Marche Pontificale, Canon, etc., as suggestedin the Examine closely the variety of contours in these ancient melodies previous sections. then

drawn

and

follow

out, extended

and

"

suit!

BIBLIOGRAPHY

1)

The

2)

The

3)

A

Complete Method Mediaeval

of

Modes-

GregorianChant"

Dom

Richardson

Gregory Sunol.

(Desclee" Co.,Tournai);

(Gray);

Madelcy W. Goodrich" "GregorianAccompaniment" by Frederick (American Organist- June, 1933); 4) Counterpoint" Charles W. Pearce (forrules on progressions); 5) The St. Gregory HymnalNicola Montani (St.Gregory Guild, Philadelphia); 6) Dorian Prelude, for organ" Br'uce Symonds (OxfordUniversityPress); ?) Concerto Gregoriano- Ottorino Respighi; brief

article

A.

on

8) Three

Preludes

9) Ninth

and (Gothic)

Gregorian Themes" Respighi (UniversalEdition); (Romane) Symphonies for Organ" Widor (Hamelle Edition); Max Accompanying Plain ChantSpringer (J.Fischer " Bro.); based

on

Tenth

10) The Art of 11)A New School

(Pustet);

of Gregorian Chant12) Liber UsualisDesclee, ho. 801 13) Organum Comitans ad Kyriale seu

Ordinarium

Missae-

F. X. Mathias

14) Organum Comitans

ad

Kyriale seu

Ordinarium

Missae-

L. Manzetti

15) Organum

ad Kyriale seu

Ordinarium

Missae-

Julius Bas

M.W.

"

Sons

Comitans

19521-75

Rev.

Dom

Johner, 0.

S.B.

(Pustet); (J.Fischer " Bro.); (Descleeet Socii).

45

TWO

PART CHAPTER

CONCERT

Vinci

Da

said: "Without

which

appliesto

XIX

IMPROVISATION

good

and

solid

theory one

do little in the 'hazards' ofpainting"-

can

all the Arts.

PREAMBLE

Since did

nearly all circulate

not

the

early pianistsand organistswere

when

it was,

of course,

down

music.

(See Bach's

So,

find

we

turned

milk

In the almost

After

more

early days

Concert an

of music We

issue.

hearingHummel pure

"Musical

and

in exact

a

we

must

find

once

in

notated

a

Improvisation opens up a knowledge of, and

polyphonic

forms

fingertips. In

Also

usually

and usages.

the

improvisationa livingthing. make

more

improvise,von Weber supremelylogicalway

be

studied.

M.W.

"

Symphony.

Sons

19521-75

moment;

became

written

our

The

than

wide

field in which

and

Sonata

progress

Canon.

wrote:

so

It is

"He

used, with

in innumerable

work

intimate

he

Also

SpecialScales.

become

now

was

on

this few

the

to

could

not

occasion?

caper

Suite, the Canon of the

masterly control,

positions. One

acquaintance with,

far, some now

It has

it alive.

It poses brilliantly. presuphomophonic and

all the and

the forms

homophonic study Variations,

two-part necessary Prelude, the Three -Part Canon, Fugue and the homophonic forms and

since music

for the

was

Offering")

extensive

at ones'

it

works

extempore

and

composers,

Abt Vogler(who made thunderstorms until the around!), Mozart, Chopin, Wesley, Guilmant, Bonnet, Widor, the composing faculty to service or recital needs. fitting

figuresof all kinds be

improvisation.These

also

Sometimes

music.

own

for miles

others

dead

a

their

Bach, Beethoven, Hummel,

sour

Franck, and

made

widely, men

of the

Fugue

must

have

been

the

Suite,

Choral Sonata

46

CHAPTER

XX

VARIATIONS As

preliminary study play slowly

Serieuses this

of

This

Mendelssohn.

work

Op. 26, I and continuity

Sonata,

Beethoven's

latter

the

possesses

the

very

demanded

fine

by

Variations the

Variations of

do

l) Notice

need

not

based

figure in

upon

to be

the

contour:

variants,

a

figure

one

m

very

the

length, nor

same

Chopin's early variations

melodic

following

on

a

to

each

theme

usable method

key. Just keep

same

some

constant

"Je

vends

for the

des

scapulaires"by Ludovic,

improviser:

r

p

Var.II

Var.

IV

2) Invent Theme

of

continuations

hymn

of the

variations.

is:"

etc.

[Have hymn

continue

Var.

II

la

a

desk.]

on

^through hymn.

gigue continue

3) Improvise Note:"

M.W.

of

It is

seven

important

melody happens "

Sons

more

19521-75

to

to

contain

melodic

develop the

variants, using variations

melodic

notes, used

in

thought

our

hymn.

in the

iety var-

variation.

I

Var.

*This

best

type.

two

in L. H. hands

as

well

equally at

as

in R. H.

all times.

the

47

4) Improvise Theme

variations

from

these

'starts'.

be:"

may

a)

continue

Or:-

b)

continue

Or,

in

start

single notes,

thus:"

c)

continue

Then, in chunks,

5) a) b) 6)

Put

Here

the

above

"

"

is

a

staccato:"

""

start

in two "

with

five

our

sharps; flats.

theme,

over

a

Beethoven

continue

M.W.

"Sons

19521-75

idea

from

Op. 109:

48

?) See the fine

would

Mendelssohn's

moving

bass

Sonata

VI.

in the second

Notice

and the

solid

Chorale, the aeration

featheriness exquisite

of theme

in the first variation,

of the third. This

is how

the third

sound:

etc.

"i==i Fed.

8) Compare the

effect of

r our

harmonized

in the D

D

Dorian

theme

minor

(withB natural)

etc.

M.W.

Whole

Tone

"Sons

19521-75

followingtonal pure

schemes.

50

CHAPTER

THE Keep

in mind

material

from

of interest

It will be Martin

notes

Fischer's

:"

well

as

great work

l) Originalform of the

the

old

the

constant

budding

as

and

importance to the improvisingfaculty of deriving blossoming method. examine

importance to

the

followingold examples taken

from

(See Bibliography.) century*

seventeenth

the

on

PRELUDE

CHORAL

n^l1time

for the few

a

XXI

melody.

2) Derivatives: etc.

It will Choral

be

now

Prelude

Take

quote from

Vom

Himmel

Walter

and

piano adaptationof

Rummel's

a

(1635-1706)

Pachelbel

Hoch.

figurehe uses and placeunder is a- delightof a scheme.

the

'far off

well to

over

it

our

omnipresenttheme.

The

figureis not

Pachelbel

etc.

Developthe figurefirst,as theme

an

exercise

for 8

Next, take models See Me

*

M.W.

for

up Bach's Orgel-Biichleinand improvisation.

Karg-Elert's works

not Kinley etc.)

Martin

and

and

measures

then

improvise

the

with

usual

below.

Fischer

parcel of "Sons

the

says:

"The

thought

19521-75

so

and

of this

involved,but

the

other

type. Also, there useful

as

an

Chorale

are

a

Preludes,using

number

of American

two

or

works

three

as

(Noble,

improvisedtype.

significanceof improvisation at this time cannot be too highly estimated? traceable to it. practiceof the time and much written music is directly

That

is,it was

part

51

CHAPTEB

THREE

XXII

-PART

CANON

The Three-partCanon concentration requires extraordinary highestdegree.Even if the playernever gets to the point where

listeningto,

at least he will increase

Prout "Double

study see Write

adagio

out

to

12

or

14

measures.

stoutlyin- attention,

Counterpointand

and

is useful for this purpose

he thinks

his basic need.

his

canons

are

For theoretical

in the worth

inary prelim-

Canon'.'

Then, put aside written

work

and

try to improvise 8

measures,

assai!

Note:"

On

alternate

days,improvise two

Canons

and

three

in Three

-part

canons.

Voices

Etfif-r

r

III

etc.

if M.W.

"Sons

19521-75

52

CHAPTER

XXIII

FUGUE

OF

ESSENTIALS [Fortheoretical pursuitof Fugue, l)In

short

the

I refer to those

treatingof the essentials of Fugue, proviser.Perhaps the only great problem is constructingthe different types,the tonal and the real. Tonal is where tonic and

the

dominant

respondsto

answer

used

notes

Subject in Bach's big E

flat

in that

by Higgs.]

work

points of

specialdifficultyto

answer.

subject.

(tonal) Fugue

is:

ends

on

Tonic.)

is:

answer

(Startson T,

(Itstarts would

That

are

imtwo

of the subject,these high-lights being the 'high-lights'

the

(Startson Dominant,

The

the

first that there

Note

Examine

do for

never

a

on

T., ends

on

D.)

on

S.D,)

Fugue! self-respecting

followingtonal fugues: Bach's big G minor (No.2. W. T. C.)

the

ends

Organ Fugue, C major (No.1. Well-

minor

C Tempered Clavichord),

Next

examine

Bach's

C

major Fugue"

real

a

fugue.

Subject: *

4

D

Answer:

J D

Examine

in W.

2) The

T

C. Book

Countersubjectis

II

No. 9

Fugue

the

and

the brilliant

D

major Organ Fugue.

used first with the answer. counterpoint of a free C.S. it is frequentuse

It is very

difficult

to

member. re-

But, the joyfulthing about t

Examine

the

above

last named

has

Note:"

C.S. must

The

3) The

M.W.

"Sons

whole

a

Fugue

19521-75

Fugues

free C.S. be

a

and

What contrast

is made

out

also the have to

the

masterwork

in E

minor

for Piano

by Mendelssohn.

The

others?

subjectmaterial

in

rhythm and

contour.

of and developedfront Question,Answer

and

Counter-

Subject.

53

4) The generalplan

of the

Fugue (forexample, a

Four

a)

EXPOSITION"

contains

Subject-Answer-

b)

INTERLUDE-

Counter-

Exposition-S-A-S

c) STRETTO"

where

"

POINT"

subjects come

sometimes used

e) 5) Now,

CLOSE" write

from

-A

in different

key

in

close.

sketchy, sometimes omitted, climaxes. long cumulative

but much

ending of varying length.

an

out

Subject-Answer.

(ifdesired) rearrangement.

or

d) PEDAL

-part Fugue) is:

Book

II

W.

T. C.

of

number

a

subjectsin

this

manner:

i 0

59)Write to

out

6) Take

to these

answers

of

scores

these

Fugues

before

and

compare

later with

buildingof

any

the

subjectsand improviseanswers

same

the Bach

Fugue

as

to them.

a

answers.

whole

Some

is

will be

compare

with

8) Study

the

the

Bach

stretto

Organ. Also the

strettos

and

9) Write

counter-

of Bach's

strettos

of

out your

counter-

own

very,

Fugue

No. 1, in Book

very

the student

now

slowlyon

an

own.

will be

extension

Build

a

brief

ready to of

our

Fugue

take

a

Bach

upon

Fugue

subject and

build

[ExamineMendelssohn's

a Fugue. Then, put subject:"

it aside

and

provise im-

[butimproviseslowlyat first!]

N

Answer:

each.

first write

usual

Subject:

j r r

^

[The Codetta"

"Sons

answers.Then,

I, W. T. C. and in Bach's big A minor

Fugues already suggested. Next,

subjectsof your Piano Fugue in D.]

Fast

back

five of Bach's

subjectsto

subjects.

three

10) Perhaps by

M.W.

not.

compare.

lovely,short

get

remembered, others

swers an-

*

\

7) After this thorough study,write

for

I suggeststudying the attempted.

to the

19521-75

subjectdoes subject'neatly!] this

not need

one"

is

a

short

ending placedat

end

of

answer

to

54

The

Counter

-Subjectto

[Maybe

used

answer:

exactlyor

approximately.]

C.-S.

Answer:

a)

When

used

b)

When

used

exactly,C.-S. only

is strict;

in essence,

C.-S. is

free.

Stretto

etc.

r

[Pedalpoint]

in

A to

great many

representthe

.W. "Sons

19521-75

years various

ago

Bernard

essential

Boeldemann

parts.Any

augmentation

publishedsome reference

to these

Bach

Fugues,usingdifferent colors

will repay the trouble.

55

CHAPTER

SUMMARY

Musical

architecture

bad, is shown

in

is the

XXIV

OF

STRUCTURES

great singleessential of all great

everythingfrom

the

simple phrase to improviser will,therefore, study the structure

Concert

1) Sketch Forms,

as

Structure, good

music.

cathedral-like

a

of all basic

Symphony.

or

The

types.

Chopin'sPreludes;

A A

2) Song

B

Forms ABA

3)

Minuets

with

and

Coda,

without

or

Marches-

5)

Waltzes-

MacDowell's

Woodland

Sketches?

Scherzos and

ABA-CDC-ABA

4)

as

ABA as

or

modifications

as

in Beethoven;

Minuets;

as

above-

See

A

D

Chopin;

6) Rondos; ABACA B

A ABA

7)

Sonata

Canon

ABA

B

Devt

B

Cl T-

A

-

see (withfree parts),

and

to the Bach

9) Fugue-

A

development

Form; A

8)

C A

see

under

Cl T

delightfulF sharp

Canon

Theme-

Rheinberger No. 8;

11)Fugue

ending-

Mendelssohn

12)Basso

in addition

Fugue;

10)Fugue coupled with with

by Jadassohn

works;

Franck

Chorale

Piano

in E

minor;

(seeArensky);

Ostinato

"

13)Passacaglia- Bach,

of course!

14) Evolving forms, (seePage 37.)

First scheme

of

movement

a

Sonata

or

or

M.W.

"

any

Sons

Symphony

FORM

usually has

this form.

It is

a

three

part

highlyorganized. A

is

fullybuilt

B

is

contrasting,usually lyric.

Closing So

SONATA

OF

ESSENTIALS

19521-75

of

is

reallyan

Exposition.Development Exposition.

far is called

part

Theme

theme.

the

episode.

follows-

any

length- deriving from

all

56

At

close of the

DevelopmentGroup is a return of Exposition with keys stressingthe that B and ClosingTheme are transposed from some key other than relative minor or major) over to Tonic.

(Thismeans Dominant, forms

The

or

into which

music

casts

itself

shift

may

Themes

be any

may

length,but

lines. So

a

solid that

solidityand completenessmust they

themes

are oppositesof first themes. sketchy theme. It hasn't quite grown

balance

up.

from

fourth

older

structures.]

of the

The first movement

Op. 27,

desired. in

No.

The

2,

third

(ina

for

an

The

Rondo

Theorists Models

is

exception.]The usually is

and

a

Sonata-Form.

movement

may

The

fourth

Scherzo.

The

ity solidSecond

episode is

a

Whole

be a

a

slow

Rondo.

[SeeBeethoven's Op.26 movement

in any

[SeeBeethoven's

form

Rondos

Op. 57.]

good extemporising form with its chief theme coming back over and over again. rondos into six or seven classify types. [Seechapteron subjectin Goetschius'work: Musical Forms, Schirmer.] Principal a

like to

of the

Maestoso

" Sons

a

movement.]

3, I

matter.]

in [Seeepisodes poise and finality. (Novello), publishedlong ago, givesa

work) usually has second

SuggestedStart

M.W.

as

last

[SeeOp. 2, No. of other

and

"Forms" [Pauer's

Sonata

four movement

movement

Op. 13, Op. 26, Op. 53

line.

rule.

half pages

one

less finish

It has

fine birds- eye

view

and

two

[See Moonlight Sonata,

Or, Op. 2, No. 3, I Op. 106.]

The

over

occasionally.

of first three

and

go

ality. ton-

ally (usu-

and Polyphonic" primarilyharmonic" into homophonic.Homophonic pieces

Homophonic"

are

primarilycontrapuntal.Polyphonic pieces seldom

chief Tonic

19521-75

for First Movement

58

Organ Symphony

The is

only a Sonata, perhaps

Widor's

Symphony

V

has

(a Theme

Allegrovivace

II

Allegrocantabile

V

Allegro (aToccata) Symphony

[Seea)

should

be

studied

the writer's essays

on

the

favorite combination as

a

[Fordivisions

Note-" so

that

from

the

standpointsof

marvelous

1899-1900; subject(Music,

rule than or

the

of

"Sons

19521-75

1934) Organist

subject; notes.]

Suite

pieces in

almost

any

combinable

forms, with

less

sponsibility re-

Symphony.

probablecombinations,see

A thing has good they have

The American

form

or

musical

chapteron

shape when

Ways

ideas

and Means

are

in

Public.]

arranged

a) clarity; b) consecutiveness; c) power of reachinga climax; d) repose enough never to seem in a hurry; e) a conclusion that finishes and does not simply stop;

l.W.

trast, style,con-

the

The a

motion)

energy.

b) Harvey Grace's work on c) Albert Riemenschneider's

This is

fine

quasi allegretto

Adagio (a Canon)

Widor

Variations)

with

(verymelodic, with

IV

cumulative

necessarilyso.

not

five movements:

I

III Andante

The

bigger scale, but

on

59

I believe

the thematic

only theme

and

-

by

index Bach

the progress, the

the process,

four

used

to Bach's

Art of Fugue, showing various transformations of the one work, will give the improviser all he needs to know about expansion and extension and infinite varying that is possible for a in his last

theme

measure

.

Fuga XII I

Fuga

4 voci

a

Andante

Un

4 voci

a

Allegro

poco

moto

con

S

S

i

r

J

J

i

r

P

Fuga II

4 voci

a

Andante

molto

ma

Fuga XII (inversa)

mosso

u.

Fuga

III

4 voci

a

Fuga XIII

Andante "

a

3 voci

Allegro

f

r

Fuga IV

4 voci

a

Andante

con

Fuga XIII (inversa)

moto

"i a 4.voci (Variante zu Allegro

Fuga XIV Fuga V

4 Voci

a

Andante

Un poco

moto

con

3="=

m

Fuga VI (instile francese)a sostenuto

Andante '' b "

Canone

4 voci

I

(peraugmentationem

Allegrocon

j

No.

X)

EE

in motu

contrario)

moto

f

Fuga VII

Canone

4 voci

a

^

II

(airottava)

Allegro

J.

sostenuto

Andante

r Fuga VIII

a

3 voci Canone

Allegro moderate

III

(aliadecima)

Allegro assai ^$=

S

i

M

r

'

P

Fuga IX

a

Canone

4 voci

Fuga X

Fuga

i

XI

Fuga I per due Pianoforti Allegromoderato

4 voci

a

Allegro,ma

a

molto

moderato

Fuga II per due Pianoforti (inaltro modo) Allegromoderato

4 voci

Allegro moderate

^

Fuga XV

a

tre

ed soggetti

Allegromoderate H-^

P M.W.

"Sons

19521-75

IV (aliaduo decima)

Allegroassa^

Allegro molto

e

maestoso

a

4 voci

r

pr

M

30

CHAPTER

XXV

SCALES

SPECIAL

Pentatonic

Scale

i

^ Whole

B

Scale

tone

i^P An

s

*

artificial

Scale

i Here

is

a

Scale

i

D

used

by

^

dancing

some

i

^

[SeeEaglefieldHull's

"Modern

Harmony"

Exercises

a

1)Harmonize

the

hymn

2) Harmonize

the

hymn (inF) omitting

'sort of

3) Make Now

Dervishes:-

in

quasi modal

ideas

for further

for

idioms.]

and

SpecialScales

manner

Bl? and

if it

as

E

Lydian.

were

melody, substitutingother notes, making

in

pentatonic effect. whole

tone

scale from:-

play (inthe hymn)

all C's

as

C

sharp,and

D's

D

as

This

sharp.

will give the

whole

idea.

4) Take

the

artificial scale

5) Harmonize The

M.W.

essentials

"Sons

and very

GregorianScale accordingto keep in mind are:

each to

a)

Each

b)

All

19521-75

scale

has

Plagalscales

its

the

make

8

measure

Mode

strict Church

as

their relative

authentic

ends-

as

to

phrase.

theory.

specialchief notes;

own

end

it and

slowlyharmonize

chord.

tone

CHAPTER

ORGAN

For

some

time

registration

keep like

on

the

XXVI

REGISTRATION

in

paper,

following

full to

sight, something

get

the

idea

of

like

color

ideas

the

below.

clearly:

changes

I A-

Foundation

B-

Reeds

Cl

Ep-

Dev.-

Reeds

Full

B-

Reeds

Ep-

reeds

Full

to

Organ

on

(Crescendo Pedal)

Organ and

strings

Reeds, Full

Coda-

flutes

and

Strings,

A-

Cl

stops

strings

and

flutes

(Sforzando Pedal)

Organ

II A-

Solo

Clarinet

B-

Soft

flutes

A-

Solo

Clarinet

with

secondary

voice

on

strings

III

chiefly

Flutes

Alternate

B-

Solo

A-

Alternating

Coda-

M.W.

"Sons

19521-75

manuals,

A-

flutes

and

Flute

Concert

Full

reeds

all

Organ

departments

of

organ

mf

Try

to

lect se-

62

CHAPTER

WAYS

Invariably have of

plans thought

two

all kinds

with

For

e.

are

g.

will be

on

used

to be

in

a

row

hesitancy, knowing dull is the

not

make

plans"to keep

in

than

it have

that

an

order

key

they should wish

you

rough go-aheadness which

better.

earlier has

tif mo-

look

is made

of forms

on

any

Being

been and

the smooth

startingpoint than

until selection

Sonatas

up all themes

do it any

better

you

of

Then, "go to it" without

could

the

near

ferent quite dif-

two

used. Stand

is

a

the

upon

hundreds

unexpectedlystrange being given the themes be

them.

audience

in the

one

acter char-

any

vise public"show,"impro-

first

always finds that

one's engineering.On

out

Copy

more

the

will submit

do not think

in which

rough-hewn and rugged "floor

are

desk.

the

on

only vice, so

to. The

Here

to throw

friends

One

suit most

improvise,to

to

before

months

unkind

each.

styles.See

that

which

upon

general plan,so

same

and

and

movements

strange enough

list of forms

over

out

PUBLIC

IN

at least two

kind

of themes

blue-printsof four written

MEANS

AND

subjects submitted.

XXVII

ferred re-

suave.

tion recep-

of themes.

Suppose

Suite

a

is what

is most

has

suitable,one

the

choice

of

endless

an

of

array

combinations.

Old

a)

Style Suite

Prelude

b) Allemande c)

Courante

d) Sarabande

(on Gt.)

Any '

(onSw.)

a)

Prelude

b)

Choral

kind

of

Suite

a

(Sw.) (Ch.with on Gt.)

Choral

(on Ch.)

formulas

c) Fugue (Gt."/

(Sw.Strings)

,

Formula

(Always look A

Solid

march

closed

(touse

when

to

ffi)

c)

Scherzo

d) Adagio

e) inspirationpressure

(For Postlude

No. I for two

Canzone

k

e) Gigue (Full Organ) Two

Prelude

a) b)

-

is

March

low!)

March)

motifs)

movement

based

on

whole

melody

noble

in

style-/-

play on

full swell

(withpedal)

(jp)(16181 " 4')derive from motif 2 or by inversion Whole Melody. staccato or Accompaniment dreamy. (/)on Gt (" Sw) theme as before, add heavy moving pedal. Coda (SFZ Ped) (a)double pedal point or

B

-

C

(b)fugue ending Formula

No.

II

over

singlepedal point (Maestoso)

for Prelude) (Chiefly

Select

opening motif- 6 or 7 notes. Play in singlenotes low registerand contrapuntallytwo voices,three voices, etc. until higherregisteris reached. Start

yp

on

16' "

81 Sw.

Develop cresc. j"oco a poco until Full Swell is reached. given and build up broadly,homophonicallyad lib.until Full

Then, organ

use

all of theme

is reached

(ordim. yp

M.W.

"

Sons

19521-75

develop

as

to

organ).

63

Sonata

Note-.- For

I

Allegro

III

Adagio

II

Minuet

IV

In

stirringMarches

for

Organ seeWidor's

Styleof

March

First and Third

Symphonies.

Symphony I II

Allegro Adagio

(slow or medium

IV

Canon

V

Toccata

slow)

III Scherzo

How

long does

daily schedule

as

it take a

-Many organists are, of course,

on

continuous

do

to

to think

seem

an

one

all these

things?Just

part of the organ work, it will

they

unfruitful track.

application.An

seem

as

a

long

very

as

playing.If put procedure.

organ

natural

on

a

should To

-justnaturallydo it. That is,without study. Such quires keep improvisationfrom becoming "impover ishation"re-

organistwho

follows

the

will subjectfaithfully

become

a

ing shin-

light. It will be in the

of

general interest

Prix

de

to transcribe

Rome

in Paris.

here

a

few

ury given duringthe past centd'imde themes et "Sujets fugue

of the themes taken

contests They are d'essai etc." compiledby provisationdonnes aux concours by Heugel et Cie.,Paris,1900.

from

Constant

Victor

Desire

Pierre

and

lished pub-

1807 tl

P

a JLJLi

H_gt

0.

f

ONSLOW 1853 "

ftr?

F. BAZIN 1873

CHERUBINI 1827

A.THOMAS 1888

M.W.

"Sons

19521-75

64

1825,1835, -*

I

""

"

1840

p

m

girr LC 1826, 1838

1827, 1839 '

H r crr

^r LJ r

J

\r r r

1891

.

TH.

DUBOIS

r 1837

1884

A. BAZILLE

Janvier 1*

1*

r 1843

HAYDN

Juin

(Quatuor)

CHERUBINI

Andantino

M.W.

"Sons

19521-75

con

moto

Something about alert Pupils A

type

bright in

be

pupil may

does

he

respond,-he

have

is

no

like

unpromising youngsters

some

give

delighted and

usually

but originality

and

music

set

keep

to

About

half the

time, titles

also

to

repeating

on

do it all the

time.

effects

have

they

When

himself. Some

of

this

while discovered?

quite experimental.

are

of

Matter

But, it is well

to

creating it

to

response

no

wants

are

of

Title

a

good effect; usually

a

stimulant

to

the

imagination.

try gay

music

sad

music

a

dance

a

song music

rain

Suggested Titles Since

great composers

surely

the

child

often

titles of all sorts

use

is in the

right

he

when

Sleep

of my

a

of understandable

medium

"compose"

tact, con-

a

Baby

of the

Dance

as

to

wants

Sandman

Sunshine

Elephant Fierce

Big No

theory,but

lots

Bass

or

lesson

is

way

drums.

create

4)

to

way

reverse

interest

Teacher

chord

strung

is to start

child theme

Sons

19521-75

when

out

lets

make

four

up

a

piece

might

measures

singing things;singing a

it, pupil startingsomething and

melody

clap rhythm;

This

measures.

"

0

One

now

be

about first

rain-

or

onsli-

piece.[See

model

half

phrase,having pupil sing

little farther.

3) Then

M.W.

suddenly to suggest:

start

to

70.]

page

2) Another a

Drum

of fun!

Ways 1) One

Lion

can

be

is in mould

child finish.

extended

B, and teacher

of child's

little

repreatA.

by

Reverse.

little

Form

so

is thus

teacher

finishing. Not

difficult to

experience. Short phrases first, say two that

teacher

suggested.

can

make

up

to

theme

four

A,

67

A

child's

and

is improvising

banging

that is

creative -music is

There

and

enthusiast with wide

a

beyond all

to any

menace

As is in

it

to the

acquired a

been

do

even

"But

taken

This

same

type

trainingthat

will

of lesson works constitute

part of

presented it has

been used

desire

must

be

of any

music, And

to be

he likes

preserved

us

start

it best.

C and

its environs.

seems

the

rhythm

19521-75

it

and

has

be

can

teacher

glovewith

good

had

child

com

-

the

teacher's

that improvising

popularwith

The

them. Not

perhaps

capacity

It

stock in trade.

children

ideas

own

regularrhythm exercises

effect with

cost

increasing

his older brother.

his

upon

the

of

lot,but

a

doubt,havehis

approach to

one

be elaborated

Improvising

suggest

objected

done

source

a

will,no

proved

with

surpriseyou

at any

our

play with

he will take

But, for stimulating.

"Sons

children

the modern

with

to

moment

the child it has

for older up

and

be

can

-

adapted

children.

to ten years,

ear

as

As

it is

an

duction intro-

keyboard.

exercises, is dependent five-finger

progress.

to different scales

key

sustained

and

can

time child

last

to the

composition up

suggested onlyas

in

a

studying.One

if it

even

should

be

the child's wish

upon

to do.

the further and further

means

regarded

as

the child's

play

-

ponement post-

time

in

enjoyed,not merely endured. let

now

improvised for

of perceptions

gettingreallyacquainted with

Improvising,unlike His

is

may

and

opposing

studies,his objection being that it"felt crooked."

musical

hand

need pupil's

the

as

piece,"he protested.Another

sad

a

has

respond just as quicklyas

he

regardit

practice.

pieces he is

the

of his

one

young

to the individual

to

when

lesson

ingenuitybut

deplore.This danger is

point of

the fact that each

in mind

tried out with very

the

the

rection dithoughtfully organized

a

critics

some

child who

a

it'snot

by

to

energy.

are

certain

Properlyguided

more.

Bearing

of four if interested

child

chord

subject,this sample

been

with

M.W.

endings for

minor

a

form

the

to him.

the

has

experiencefor

better

with

ending

assurance

improvisationsharpens the

can

on

unusual

an

consistentlymajor.

If it

of

provides the

a pupilaping his teacher,the adult naturally insurgentand when they have they will fightfor their own ideas as few adults

comes

the child. Children

measure

to him

plainedof

joy

fact,when

strumming

a

fact

necessityof directingthat

who anti-improvisors

of

to do.

to Bach

the

that

result from

once

seems

imitation

persons with

only. Which

pupil's response

young

proportionby

greater perilthan

It is not

for the

that may

care

what

a

sheer

of most

physicalenergy

possiblegood

matter

a

discussed

in the minds of

argument

an

gulf between

the much

exaggerated

associated

manifestation

a

the

pleasurein

simple

to which

rhythm most

has

been

of C. As

transposinghis

Changing the registerfrom the beginninglessons,we

March

chord

improvisationto

the middle

will accustom

used

children respond

in this

the child is introduced

of the

piano

is

the small hands

exercise particular

quickly.

see

in which

usually to Middle

because

it

The The

teacher

Lesson The

says:-

child

plays:-

R.H. Let

take

us

The

chord

of C

And

make

a

For

you

and

Play it

four

In

a

times

row

Not

fast

too

Or

piece me.

slow.

too

not

The

child

sings and

A

Play

it

plays A

A

A

now

Like

tramping feetSoldiers marching Down

the

street.

The

As

T

soldiers

Play it

Hear

the

Turn

-turn

-turn

Hear

the

drum!

After the

the

"Sons

child plays

answering rhythm

turn -turn.

of

drum!

C; to make The

by children M.W.

etc.

drum!

different variations

chord

loud

away.

The

Turn-

and

softlyplay

the

March

sings and plays/

loud.

Play it Then

child

19521-75

of the

it about the

followingare

of five and

six.

above

the

teacher

suggests that

soldiers they have

from attempts resulting

been such

the

child build

a

talkingof and to be sure a suggestion.They were

piece using to

ber remem-

uted contrib-

69

Hear

the

sol

-

diets

march

ing

-

j j Turn

Turn

And

turn

here

is the

turn

turn

turn

,

turn

turn

turn

turn

come

suggestioncarried further by

an

turn

turn

come

come.

eight-year-old:-

Drum

Q

Boom!

Other ^

suggestions:Gal

lop

-

-

ing-

Gal

-

lop

-

ing-

Gal

-

lop

ing-

-

Gal

-

lop

-

ing.

a)

Rock

-

a

Ba

by

On

^ b)

M.W.

"Sons

19521-75

a

tree

top.

It will usic

be

of real

Little

to

Lady

of the

teachers

subject

Moon,

Ten

to

refer

them

to

Westonsown

Mildred

of

some

as

Zoo, (Schmidt) was

from

The

Sandman,

was

Gentle

a

rovisation

'Coda'

to

put into

ittsburgh,under

this

what

chapter

writing.

Miss

class

the

time

Note

the

At

Weston.

Santa

how

tune

could

be

Rebecca

can

more

be

made

Gruff

of scale.

out

to

show

accompa-

"proofy"of the pudding Love

Frances

than

Glaus

is

Glaus

is

mer

im-

School,in

Merry

b la

child's

good 'phrase thought!

s -

a

Simonson's

in Miss

was

music.

FRANCES

REBECCA

San

which

played first, after

piece. Melody

tune

a

for the' class

improvised

music.

added. showed Bear, (Goldilocks)

Father

at the

Fingers

leading to/'home" chord.

chord

was

And,

from

Gray Dote,

;oinghome"

inaent

help

follows:-

as

-

Mer

ry,

j. -

*

A

VI

J be.

can

as

ry

LOVE,

A

2

P

^ 'Round

he

danc

-

es, 'round

he pranc-

es,

'Round

the Christ-mas

Then

tree.

he

calls his rein-

.

deer,

A

Stamp-ing

.W.

"Sons

in the

19521-75

snow,

'Round

he danc-

es, 'round

he pranc

-es,

Then

i

llll

I

I

hear

him

go!

71

BIBLIOGRAPHY

Improvisation Bach, Carl PhilippEmanuel.

Versuch

Leipzig,C. Capps, StanleyM.

The

Czerny, Charles.

iiber die wahre

F. Kahnt

Capps system

L/art

Art

das

Klavier

zu

spielen,-

1906. Nachfolger,

of

for piano. 1924 by StanleyM. Capps. improvising

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of Bach-

Marcel.

Dupre,

Traite

Fernand, Ernst.

Die

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Die

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Gretry, Andre

Ernest

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Modeste.

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Bertram.

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"

Sons

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to the Art

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improvisingsystem. Chicago,The Elizabeth Improvisation:

Victor cours

First lessons

fur Lehrer

the

organ.

York, G. Schirmer, Inc.,1922.

Neill

Elizabeth.

for the

to Miss

Gebrauche

zum

Hertel, 179J.

Introduction

Lessons,

dedicated Respectfully

Macdougall,Hamilton

An

Generalbasse

im

C. G.

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Lernende.

Desire.

Newman's

Sujetsde fugue et grandprix de

d'essai pour le

Neill

Own

Company,

1925. ,

Book.

themes

donnes d'improvisation

Rome.

Paris, Heugel " Cie.,1900.

aux

con-

Reed, Mrs, Clare (Osborne).Constructive

harmony and improvisation. Chicago, ClaytonF. Summy Co., London, Eng., A. Weekes

Richardson, Alfred Madeley, Extempore playing. Rinck,

C.

New

York,

G.

" Co.

1927.

Schirmer, Inc. 1922;

Ecole

par des

examples, a deux,trois

et

fils de

B. Schott.

pratiquede la modulation demontree chez les quartre parties. Mayence (etc.), *

^^

Sawyer,

Frank

Joseph. Extemporization. London

Schlieder, Frederick

York, Novell

o,

Ewer

" Co.

York,

Praludierschule,oder Theoretisch-praktische Anleitung, nach

Schonf elder,Emanuel.

eigenerFantasie

regelrechtzu

spielen.

Selbstverlage des Verfassers,1845.

Breslau, Im

practicalguide in improvisationand modulation. Baltimore,Md. and Washington,D.C, Sanders " Stayman Co., 1902. A

Sekles, Bernhard.

der Improvisation. Geduldspiele,Elementarschule 1931. B. Schotfs Sohne, York (etc.),

Musikalische

Mainz,

Sorge, Georg

New

Lyric compositionthrough improvisation. 1927. " Company C. C. Birchard

William.

Boston, New

Schwing, Henry.

"

Andreas. aus

New

Anleitung zur Fantasie, oder zu dem Kopfe zu spielen. Lobenstein, Practical

Stubington, Huskisson. Tournmire,Charles.

Vierling,Johann

de

1'orgue.Editions

Max

Versuch

Im

Kunst, das Clavier

Verlag des Verfassers,1767.

Extemporisation.Epworth Press,London.

Precis d'execution

Gottfried.

der schonen

einer

Leipzig,Breitkopf"

et d'improvisationa registration 1936, Eschig,

Anleitung zum

Praludiren

fur

Ungeiibtere.

Hartel, 1794.

#

Virgil, Mrs.

A.

Practical and

Wedge, George Wehle, Gerhard

Anson.

R

Die

For

,W.

"

Sons

19521-75

theory and harmony playingleadingto improvisation composition. New York, VirgilPiano School Co., 1928.

exercises

in

Keyboard harmony. Kunst

der

New

York, G. Schirmer, Inc., 1924.

Improvisation.

on bibliography

Minister

GregorianMusic,

see

i.W, E. Bisping, 1925.

page 44

.

TRIOS

THIRTY

SightReadingExercises

For the

in All

Keys

Organ

By

of organ importantof which is the The

only the

art

freedom

and

past and present

demands

this

literature for the organ, the

technics,the

individual,though coordinated

playingcomprisesmany to perform with ability

instrument, with its largeand complex tonal embodies

F.A.G.O, F.C.T.L

HEEREMANS,

HAROLD

voices

of independently moving principles

but prerequisite,

presupposes

resources,

or

which

ease, music

a

form

is

the very

of musical

most

Not contrapuntal. nature

of the

which expression

parts.

of reading confronted with the necessity Candidates for examinations in organ playingare invariably sighta short Trio,or work involvinga completeindependenceof righthand, left hand and pedals, and auditory of aural,motor senses. a coordination requiring at

yet

of these ThirtyTrios,many composer SightReading Exercises in all Keys, and

of which

The them

as

for examination constitute and

a

purpose

or

otherwise.

real achievement

in

as

are

used

such, they are

in organ

invaluable

undisputedworth as contrapuntalwriting,as each embodies

Aside

from

their

a a

examinations,designates to

any

candidate organist,

vehicle,these Trios rhythmicscheme, color style,

technical

of its own.

$1.75 IN

PRICE

JVL WITMARK

" SONS, RCA

U.S. A,*

Rockefeller Center, New Building,

SCORE

York

READING

Compiled and

MARTIN

Edited

by

BERNSTEIN

It is not the purpose of this manual modern to train musicians to performcomplicated scores at the piano.It is rather a guide designedfor the beginningstudent who must acquirenot only a theoretical knowledge of orchestral notation,but also sufficient practical experienceto transpose immediatelyany While many musicians can do this mentally, given part to its actual pitch. performanceof the score at the pianoconstitutes the onlysatisfactory test. The exampleshave been chosen so as to allow a systematicpresentation of the various elements of the readingof several parts, the readingof the C clefs, and of the various transposing score-reading; instruments. Scores presenting have been avoided inasmuch difficulties deals only pianistic as this manual with fundamentals. The excerpts will,in most the actual readingof every part since examples cases, demand instruments by non-transposing containing doublingsof transposing ones (e.g.the B-flat clarinet by the oboe) have been avoided as far as possible. As the ability and their customary abbreviations in foreign to read the various musical terms the excerpts are languages is extremely important in score-reading, as given precisely printedin conductor's score. A listof the most a frequentlyused terms, with their Englishequivalents, is given.

$3.00 Edition) (Revised

M. WITMARK

" SONS, RCA

Rockefeller Center,New Building,

York