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CHAPTER XXI
Setting
Words
to
Music
In setting words to music we shall begin with the common poetic form, the four-line stanza in trochaic tetrameter. The relation of this form to the phrase- and period-form in music is
very
close.
poem for long and short syllables then find the number of long (or accented) syllables in the complete thought. Each long syllable will occupy an accented pulse in music. The smallest form in music used to express a complete
First scan the
;
a phrase. is determined by the number of long syllables in the complete thought of the poem. If there are four long syllables, the meter will be duple or triple if eight, either a four- or a
thought
is
The meter
six-pulse meter.
a dactyl ( iambus (^
^^
),
poem.
If
or triple, trochee
is
(
the short syllable comes the music will begin on the up-beat.
)
triple.
as in an
"Twinkle, twinkle,
little star,
;
NOTE
Each
line
in prose, we use a In the first phrase (two lines of the poem), there are eight long or accented syllables. Therefore we have either a four- or a six-pulse meter. At first sight we seem to require 4/4 meter, because of the constant trochaic rhythm. In reciting this > ^' with one silent poem we shall find that we really scan it This short syllable. If this is the case, we shall use 6/8 meter.
As
this
Period in music.
'
is possible.
[1691
170
The poem
phrase
:
Twin-kle, twin-kle,
lit . tie
star,
How
woo-der
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Up
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The melody
or low tones
syllables.
is
The choice of high will follow the melodic laws. determined from the importance of the words and The range will be from one to one and one-half octaves.
In speaking the word twinkle the inflection on the first syllable higher than on the second, so in our choice of tones we should select for the first syllable a tone higher in pitch than for the second.
is
in the phrase is placed on the highest might consider the climax of the phrase to be on how, In that case, wonder, what, or are. Wonder is probably the best. wonder would receive the highest pitch. The choice of parallel or
We
contrasting construction
is
optional.
Rhythmic variety may be obtained by using two or more In those first attempts pitches for one syllable, or by dotting notes. the as as uniform it is better to keep rhythm possible.
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LESSON 31
Section A.
Suggestions for Study: (1) Scan and outline rhythmically for musical
following
setting, the
rhymes
Setting
Words
to
Music
171
*Mary, Mary
Humpty Dumpty
musical settings of the poems. (3) Use stanzas of your own choice or composition in the same meter.
(2)
Make
Section B.
(1) (2) Intervals
p,
172
to
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NOTE.
In outlining rhythm
No.
Section C.
(1)
Review rhythmic
drill
(2) Exercises
in Sight-Singing:
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Setting
Words
to
Music
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