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

[Printed in England.]
CONTENTS.
Lesson
I.
II.
Pack
Rhythm
as a starting-point
Cadence
in
Speech translated into Song
III.
Early Harmony
IV.
Instrumental Beginnings
16
Vocal Melody
20
Instrumental Patterns
25
Accompaniment
29
V.
VI.
VII.
VIII.
IX.
X.
Counterpoint.
An old
subject
new taught
36
Counterpoint Continued
43
Free Counterpoint
48
PREFATORY NOTE.
MUSICAL COMPOSITION
^'i
^\â
iiBFy /^j'
usually
is
which have stood
the test of experience, cannot but be
welcome
students
who
are
beyond the reach of a
plan of the work embraces
which a composer must vigorously attack
a graduated series
Invention, which
The
of
but
lessons,
essential
it
to
with the teacher,
lies
its
some,
the steps seem laboured,
let
it
easily
set
the Master,
My
is
unless
The
approached.
instinct
scheme
of
failing
with the
one,
If
some of
the fact that even clever
many formidable
mind
writer has in
techni-
who
a pupil
Composition as "the dream of
his
course of lessons, founded upon some of the severe
me
to
is
work
to reconsider all
my
up
methods.
his
The
the result.
would
say,
watch
diverge from the detailed system
first ten.
or,
view in mind.
to consider,
of inventive faculty in a pupil.
ations
this
become disheartened
present series of Lessons
To
the
study, the pupil was so discouraged that he gave
This
dream.
directly
be remembered that the great practical
set out with enthusiasm, describing
methods of
by
enable him,
suggested
students
stiff
teacher,
merely irksome, are
others
to
which a teacher has
After a
Guiding
difficulty
life."
will
for
lessons to suit individual cases.
throughout these pages, always with
calities zx% carefully
he intends to attain to
It
develop
to
*
the chief essentials
all
necessity
ally.
skilled master.
wide scope, which must appeal to a large number
student himself, to apply

lines,
valuable
his
many
to
the motive force of Musical Composition.
is
text offers a
of students
if
doing away with the
Far from
book should prove
the
taught,
laxly
that a systematised group of Lessons,
The
mastery.
so
in its entirety
vigilantly the earliest manifest-
Supplement,
here set
down
comprises 100 Lessons.
as
check, or
even
individual cases
Here are contained the
PREFATORY NOTE.
IV
may
require.
too long protracted use of any system, especially that
of the Variation form, difficult and searching in
such
studies,
Part-songs,
To
Dance
Pupil
the
yield
will
to
composition of
the
as
keep the inventive
it
Turn then
only tend to produce despondency.
will
pieces,
faculty,
all
initial
its
Songs,
application,
the
lighter
Nursery
songs,
to
even
Above
of which here find a place.
all,
once awakened, unceasingly employed.
Never
industry.
The
Despair.
The
task
formidable,
is
what
ability to express
is
in
but
us,
of
thought, feeling, and descriptive power, comes very slowly to many.

It
must be strenuously cultivated before
free
Some
hide
Everyone has some

put
high usury
to
it
gain
lasting
gift
to
of Music.
cultivated,
Carefully
is
possible.
in a napkin, others
it
may make
the humblest of us
himself.
utterance
its
it
a source
harvest
is
of
of
priceless quality.
The
reach
sources of Inspiration
happily beyond
are
The soul that rises with us, our

Hath had elsewhere its setting
And cometh from

But
if
the imperial
palace
need not blindly grope with

it
is
are
to
maturity,
life's
star
invisible
to
afar.
itself
is
fruitless,
that a sensible consideration of
and onwards
who
an investigator's
should
unordered
Method, from
human
eye,
Therefore
steps.
the very beginning,
be exceedingly helpful to those
drawn towards the imaginative
field
of Composition.
EDMONDSTOUNE DUNCAN.
Sale, Cheshire.
July, igij.
we
ELEMENTARY MUSICAL COMPOSmON.
LESSON
I.
LESSON IN COMPOSITION.
HE
fabric
Music
of
upon a
rests
Rhythm, Cadence, and Harmony.

a starting-point
Time,
meates
human
it
all
its
activity
our subject.
for
a part of
is
life
reveals itself in inanimate things
in the
a bubbling fount of sparkling water.
rugged
rhythm which the wind
verse.
helpless without
Its
Musical
moulds
child
it
definition
has
become
importance
many young people
the time-signature
unfamiliar
is
to
some
seen in the poet's
The
wish.
of,
it
of great
great
orator
significance.
at the outset
rhythm be gradually developed into a
music heard
It
sway
sea, in
is
it.
therefore of the utmost
In
forth.
his
to
Rhythm
call
ebb and flow of the
Forest-trees dimly
calls
per-
It
law, synchronizing
This same thing we
with health, hope and happiness.
the
would seem that the
It
itself.
impetus.
or
of
gives
Rhythm determines
some rhythmic
heart throbbed in obedience to
little
Each of these
pulsation, gravity, restraint
and
foundation
threefold
clear
that
our
sense
is
of
and conscious possession.
grows quite spontaneously, and they
or appreciate
It
and describe any
will
name
characteristic
in,
for the first time, just as easily as they will scan verses of
poetry.
appreciation
of
Our
Time and
developed we must go
Musical Dictation.
good national
first
step
Rhythm.
further,
is
then
to
Where
the
test
this
is
already
and make our lesson one
group of well-contrasted
collection, will serve our purpose.
airs,
Student's
in
well-
actual
drawn from any
ELEMENTARY MUSICAL COMPOSITION
^^^
Au
fond d' une
French Romance.
=:fEi
SEEEE?Ez
som bre
val
le
dans Ten-cein-te
e,
d'un bois
V
r
S3:^=t =P=^
^ -G^
-
:p
Une hum-ble chau
pais,
miere
so
,&E
,.
:i?-t;i::iJ^r=:t?=d
-F
le
each
Tin
oit
no
p^^
cence
et
^fciS
^
la
-^
-M
paix.
La
vi
?-2:
voit
An
en
c'est
gle
V
f^-=N:
ter
un
re,
me
^^m^M
-^
re
dont
de
le
sir.
de
toit
-9
ar
sur
la
ter
iE
-r=F=
ser
sa
se
^1
EEt
-
fil
le
heu-reuse,
et
mou
puis
rir.
An English
m^^^
iizzti*:
Spring
is
com- ing
re
solv'd
Air.
^^
'-'i=-V-
^^=^=1
P^^JEÊEE^
The
lais
ban
to
The
ish
i s$^
king
the
of
ice
with
wand she
ry
his
tur
iE^
bu
lent
bids
them van-
ish,
And welcomes
earth
ST
a
gain.
her
the sun-shine to
-îS=P^
With
train.
^^^^^^^^
p=
->i3=t2 t^=^
fai
Then maid
-p:
-m
=3=t3
-
ens fore
go
the
win
try
^
kir
tie,
Lace
ev-'ry
bod- ice with bright green string,
And
twine each
lat-tice
with
LESSON
I.
COMPOSITION.
S J^^J
^
:ts=qs;
:E
wreath
To
myr-tle
of
hon-our the
ad- vent
joy
of
J
ful
Spring.
Old
Air.
yn
'
*^
fr
m
^
\m
M_4
ri
UJ-^ __
Ov
mA
moun-tains
the
er
m ^
m* P
J
^
And
ov
*
-
'
V
^
waves
the
er
*
Un
-^
? ^
rocks that
airs
may be sung
should be marked.
poetry,
definition
is
it
der
the
Which
est,
Nep-lune
est
Love
will
IV
ez:
V=^
bey
Ov
er
5
find
-&way.
the
out
or played, while the student decides both the
Finally, let such (or similar airs)
only remains
given.
Un-der
graves;
and committed to paper. The

As these occur systematically
dictation exercises,
line of
steep
time and the rhythm.
un
^^
rx
are
And
deep
that are
floods...
The
-Gt-
foun- tains
the
der
^^
-^
be treated as
closes (or cadences)

at the
ends of each
for the teacher to see that a
simple method of marking such closes
correct
is
seen
where I, V and IV respectively refer to

full close, half close, and close on the subdominant.
A complete
definition of rhythm must include time.
A conductor's baton marks
the primary pulsations, while the numerous subdivisions, sounded (say)
by trumpets, violins, or even drums, are merely a part of the whole
in the
examples above given
scheme
an
extension of the
common
idea.
To
state the
same thing
rhythm describes not only the regular units in all barred

Music, but also the characteristic pulsations, or group of pulsations,
which do not necessarily recur, and often are even antagonistic to the
differently,
regular
time.
movement
will
To
render
the
point quite clear,
common March
show the two classes of rhythm * at one, that
coincide in equal notes.
Our example, which may be treated
is,
they
in the
The word Time, however, satisfactorily distinguishes the regular pulsations,

which Riemann describes as Metre, a term more appropriate to Prosody.
*

same manner
for the
as those
most part
in
which preceded
Troubadour melody,
offers a
it,
equal notes.
S
^=^
-us-
Such rhythmic movements
-^
-Gh
as the last given tend to
fl
monotony, and
they are therefore often brought into contrast by periodic disturbance of

Our next example shows a complete
the ordinary pulsations.
departure from the natural rhythm, in the upper part.
^
I
SS
It
^^^
F^^ "r^r^
may be observed
that
in
and
sort
dictation of the simple
?^
such cases the primary time
all
invariably finally established.
^^3t=it
is
few further airs are added for analysis

already
These may of
suggested.
course be supplemented or curtailed at the discretion of a master.

In the course of
equipped
in the
music.
It
harmony, or
lesson, the student will prove
this
how
elementary knowledge pertaining to the writing
may be now
him
he
is
down
of
far
up a course of
least the study of harmonization of melodies.
In any
ground covered by this book may be proceeded with,
at
case, the early
necessary for
take
to
parallel with such studies.
The Stag Chase.

I
:<2
am
jol
hunts
ly
If^l
:2
clear,
man,
Well known
to
An
"
drive the
hunt
I,
*:
go.
voice
is
shrill
and
-o-
stag,
m
cheer,
My
the
droop-ing dogs to
T^-
we
ing
hunt
will
go,
122:
^--
And
And
will
ing
:e
will
will
-<s>-
z:^:
go,
go.
LESSON
I.
COMPOSITION.
"Good Morrow."
Sg^
û
mor
Good
mm^
-/
w^^^^
row,
morn
en- tine's day,
To
Val
your
be
en
tine.
"In youth when

"I
youth,
In
i^
As
sweet,
^^
time
did
Me-
hoof,
thinks
it
Me
love,
my
be
hoof,
ry
-<&-
my
for
be
^rrFTf=r^
not meet, me-thinks,
is
thought 'twas ve
re-quires for
-=^ ^1
1
:^
:p=3C
did love."
when
at
1=^^
dow,
maid
I,
m=W=W
=^^=^
win
And
piime,
ing
|-*t
^^^
^
All
r-
your
Val
Saint
'tis
S^ ^^î ^=E =3^s
the
in
}=
f=
-P=F^
lÊ^di
me -thinks
it
not mert.
is
"Why
ask you?"
1
i F^=^
fe
be
Spring
guil
^ ?Ê
Na
tare smiles
and
elh
of
bright
fers
V i
^!
and care
2^:
:*=i
be ours
love
be-guiles, If
flow'rs,
Why
'
-j^
^>
4
fa)
iprfzifc
<
1
1
n
^
IS
-'
m
'
Wharf.
Paul's
n ^
]/
Vl s
^
you
ask
r n
G>
'
Gai
ly
step
to
boat
the
at Paul's wharf,
EQ
f^-
f-
-t-
-*
--f=^
haste now, comrades, dip
r
'
oars and push
Soft tides are
off.
*-
O
G^-
flow -ing,
1
~^^^^^^f^f
Slow 'gainst our row-ing, So
cross o'er the
wa
ter
with song and with laugh.
ELEMENTARY MUSICAL COMPOSITION.
LESSON
CADENCE
HE
SPEECH TRANSLATED INTO SONG.
IN
nearest
translating
II.
way to musical composition seems to be by simply

Speech into Song. Such an artificial plan as the
though not put forward as the original or inevitable

process of Composition, will nevertheless commend itself for
it immediately provokes the student's
obvious reason
inventive
following,
this
power and gives him
definite lines
Take a simple song, such as

Graded Song Book (Vincent), and
music
for the
In the
first
The
time being.
exercises of this kind
on which
to proceed.
given
that
on page
should be
result
mark
wood
down on
paper.
1:2:
__
Come, blow thy horn on high
In yonder
set
Thus
Blow thy horn, hunter,
of Sawyer's
the quantities over the words,
then give an equivalent in musical notation.
'J
carefully scan the verses, ignoring the
:z2_
there lieth a doe,
In faith she will not die.
Z2:
Come, blow thy horn, hunter,
Come, blow thy horn,
22:
:=]
jolly hunter.
mark the natural rise and fall of the voice, in

Most verses are sufficiently picturesque to
delivering such words.
admit of such a process and while avoiding exaggeration or absurdity,
Having constructed
a really effective scheme may be contrived.
The
next step
is
to
a definite rhythmic scheme, place the
accents,
and measure the music
into
bar-lines
regular
before
lengths.
done since poetry determines such measurements

plan
is
then to
move
in
the strongest
This
is
easily
advance.
Our
the musical notes in accordance with the vocal
SPEECH TRANSLATED INTO SONG.
L?:SSON II. CADENCE IN
cadence, indicated by the rising and

following result
i ^îv-r
w
bun
horn,
thy
Come, blow
ter,
yon
In
she
faith
not
Come,
second
to
has nevertheless
blow
test,
the
its
origin in
thy
horn,
identical
as
an
it
\J
SJ
With a heigh
A foolish
For the
was a
little
ho
rain
it
W
and the
rain
ho
it
ly
bun
ter.
may appear
beside an inspired
air,
p. 152).
S N
SN
rain,
N S
-i
3fe=Jzz^zJ=,UJr=^
\j
'^
SSI
S S
z^^J=J^J=,W=^=i
raineth every day.
this
the wind and the rain,
Tlie conventional accentuation has been purposely taken.
one would be
born,
raineth every day.
thy
intelligent appreciation of the verses
thing was but a toy,
With a heigh
For the
blow
tiny boy.
the wind
In
doe,
process yields the following,
that I
jol
(Sawyer's Song Book,
reproduces.
lietb
Come,
die.
commonplace
which, crude and
When
on
-S^-r
will
ter,
it
there
f=r
which
wood
der
Put
horn
thy
bigh;
then get the
-G>-
We
lines.
^21
Blow
falling
When
that I
was a
little
tiny boy.
more
rational
^^
zzit
When that
^=1:
>^
wind
was
and the
ht
tie
ti
ny
-^
fool
ish
'
frr^
^ r-J
in
i=qsi
For the
toy,
d'-r-*
IN
N"
"1
rain
it
the
With a
day,
rain
ho
ev
eth
'ry
day.
usually be found that small developments suggest themselves.

both our examples 4-4 time is a refinement of the simple
rn
For the
rain,
duple upon which
from
but
^-^
\
^
-J--ih-
7*=^
i-
wind and the

It will
was
'
ry
Thus
With a heigh
boy.
thing
3^
-&
g^j^^
rain,
-N-
?2_
to
it is
I
based.
i
Then
because of
the opening of
more
its
No
effective
was changed
rhythm, and the
notes to the words " but a toy " gain considerably in their contracted
-^^
form
experiments
may be
place of
in
-<s-
usefully carried
course, be soon dispensed with,
nice
discriminate
to
without
if
its
out.
The Metric
dozen such
chart may, of
the ear of the student be sufficiently

aid.
It
is
only the
principle
that
Let the relative importance of the words chosen find a just
matters.
words and phrases must be

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

Page.
To
all
you
ladies
Hebe
From Oberon
Fair
Since
first I
How
should
saw your
I
face
...
your true love
know
28
50
56
160
LESSON
III.
EARLY
LESSON
HARMONY.
III.
EARLY HARMONY.
HE
practice of adding simple chords to well-chosen melodies
be begun as
should
advantageous
if
tary material of
soon as possible.
It
of course,
is,
a student has already mastered the elemen-
Harmony, chords and
their progressions, but
by no means indispensable. Composition may be approached

from a practical point of view ; that is to say, he who is engaged in
playing, reading and hearing good music, may take a nearer way to the
it
is
practice of
endless
harmony than by
figured
following
the
plan of
usual
filling
up
let him
take
C.
Song Book" (Boosey), where a choice collection
are effectively harmonized in simple but masterly
For
basses.
his
text-book,
Sir
Stanford's "National
of
some 200
airs
fashion.
Our
turn,
first
step
is
to master the three
each note of the chords in the
common
treble.
Imperfect Cadences.
Perfect Cadences.
^"^=M~^~j
cadences, placing, in
1
i i=S=i
ku=
The
L
I
Plagal Cadences.
^
"1
TD
IV
IV
IV
three cadences already enable us to harmonize every degree of
the scale, and further give us well-recognised
from one degree of the scale to another.
harmonic progressions
is shown by
Their foundation
lO
Roman numbers
the
which mark the Bass notes according to
their
place in the scale.
be extended and each chord-note be taken in the

harmonic possibiUties are considerably widened by the
admission of the Inversions. 6-3 and 6-4.
If the process
our
Bass,
Perfect Cadence.
Imperfect Cadence.
(Inversions).
(Inversions).
1^
fei
^^
Y
tEEÊ^.
6
22:
5
3
Plagal Cadence.
(Inversions).
Mnzî
mIV
When some
be
freedom
transposed
IV
is
to
IV
gained
other
in
:ii
6
4
them
Z2
the use of these few chords,
such
keys,
as
the
let
Dominant and
Subdominant, G major and F major. Then they must be transposed to

the tonic minor C minor, a perfectly simple process, since only the
3rd and 6th notes need be flattened.!
The Dominant Seventh (which in practice is merely a fuller
Dominant Triad) may be added to our scheme, which is completed by
the inclusion of the Supertonic and Submediant triads and their
inversions.
We
place these triads
to our elementary material.

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

By constant practice,
and hearing, a pupil will train himself by an almost
infallible method to add effective chords to any straightforward diatonic
melody.
His ear will soon learn to reject the foolish mistakes, which
both
in playing
12
may be found
tabulated in the
Harmony
books, under
the
heading
CoNSEcuTivES and Forbidden Progressions.

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

choice of such simple chords there is plenty of room for taste and skill.
To
place
them properly demands a
appreciation of the natural
just
cadences, and also of the rhythm and expressive power of the melody.
Always aim
to play.
at
making the Piano
good
part clear, of
effect,
Students should be encourged to experiment.
passing-notes
may be
freely
used where
For example,
The whole
effective.
and easy
principle
of modulation, touched upon in the transposition of perfect cadences
and dominant sevenths,
is
a succession as the following
already within
his
grasp.
Witness such
Blj
ruazi
rPfrfffff^
14
few melodies are added suitable for harmonic treatment of the
These may be
kind shown.
Book (Vincent
supplemented from Sawyers Song

& Co.), and the
usefully
Co.), Hullah's Song-book (Macmillan
author's Minstrelsy of England (2 Vols.;
Augener
"Ye
Air
&
Co.).
Belles and ye Flirts."
^^^S^S^H^^^^^
i^^ ^ 2^5^
*l-
-^-
^5=^^
s=*-
liz^
fe^s^
^^d
-0
~"y
'
-^
^=^
_,
1^^
l^3S^
pg-^.^^^]^^^^^^^^
Ê
^^^s^
t u- ^
gqgzzji
IS qz=J^^z=N=i^
-^1
-y^-V:
:fc=ft=t
l=f-
IN
-s-
"O'
fc
EÊiâ
fc
êS^^
^=^:
-h-
^^1
î:
Traditional Melody
e^
iÊiÊ^Ê^
fe^;^
v^
P^^:
Air *'0 rare Turpin."
XZi^
Ê^
Se
i~"S-
-*---v
:*zJ:Ê*:
rjfcifj
S^^l
LESSON
fBS-
5Ei
r-
'^
III.
EARLY
Air
-H
iq:
lt'=m'=^
"Good Morrow,
5S
Gossip Joan."
llîE^
1_,
-^
Air
fe
I5
S^=^^
:tt
iprii:
.
HARMONY.
:33
:^^=^:
"Babes
in
î:
the Wood."
:fc=^
3ES^^3
^^gE^^g^te^^^JEEEg^^^^^g^^
:^
;i

i6
LESSON
IV.
INSTRUMENTAL BEGINNINGS.
f^^^NSTRUMENTAL
in
is
direct offshoot of
analysing essential differences
retracing
some
of the steps
we
Vocal music, and
are conscious of lightly
which ages slowly developed.
Thus, before the late Troubadours of the fifteenth century,

instruments did little but reproduce measured vocal notes, rhythmless
and characterless apart from the voice. Gradually chords were broken
and little ornaments introduced the compass of individual instruments
was drawn upon with a view to particular expression, and vocal writing,
which had dominated the whole body of instruments, including the
Organ, was slowly superseded by a new and independent style, opposed,
;
Two
principal objects were gained
in a sense, to the fabric
it
in this gradual process,
namely, the birth of
pation of Melody.
From
replaced.
Rhythm and
the emanci-
the simple desire of giving the instrumentalist
something appropriate to do, accompaniments grew into individuality

and expressiveness. The result naturally led to the development of
a distinct instrumental genre, and with the arrival of Monteverde,
Music was no longer the thrall of the voice.
Let us consider some of the methods by which measured notes
may be intensified and galvanised, so to speak, into rhythmical life.
By merely adding to the number of notes, ^that is, by quickening
their rhythmical value, a distinct step is taken in the direction of
increased
animation.
This
is
seen by taking a long-sustained note
1^
iiztq:
which does not excite or stimulate, and comparing

length of note played tremolando
it
with the same
Trent.
by a body of
violinists,
when
it
at
once throbs with nervous energy
LESSON
and arouses
applied
IV.
The
attention.
principle
degrees
varying
with
INSTRUMENTAL
of
BEGINNINGS.
of repeated
17
may be
notes*
speed, allowing of every variety of
rhythm, from a gentle undulatory movement to the fiercest of fortissimos.

Lento Moderato.
SappÊp^pppg^^l
3'
3'
Beethoven.
Maestoso andante.
^^
=^.tE^
Schubert.
Schnell.
-^^^^-^^^^^n
PV
The
opening
powerful dramatic current of rhythm instantly set up by the
of chords
pianofor/te
The
The Erl-King
triplets in
or
single
Alberti Bass,t
of
&c.,
is
Such
repetitions
chords
is
both of
effect.
into
another
groups of separate notes,
fruitful
For good examples we may turn

there
worthy of note.
notes are practicable for the purposes
and orchestral
division
is
to
arpeggi,
source of instrumental
effect.
the Vorspiel of Parsifal^ where
a fine series of long-drawn harp-chords,
and
to the Finale of
the Moonlight Sonata^ where the second theme, which pulsates
and expressive power, succeeds

accompanies it.
life
By
in
spite of the Alberti
with
Bass which
the addition of a single grace-note, or certainly by the aid of a
may be formed having a single note

whole groups of notes may be formed
few passing-notes, a distinct figure

for its basis.
Probably
The
If
first
Alberti Bass
we go
further,
employed by Dr. John Bull

is
in the
identical with the pattern of
Fitzwilliam Virginal Book.
Arpeggio given
(at
No.
3)
above.
i8
round any
particular one,
and fashioned
any device.
to almost
then we have the very secret of Figure making.
Here
ihe expansion
It is
of a single sound into a well-shaped suggestive and lively idea.
Examples of Repetitions:
1
Examples of Arpeggi, &c.
(1)
Ornamental examples introducing an
auxiliary note
(8)
(7)
|gjJjij7jî
|]
(9)
~0'
-0-
-m-
-m-
-m-
-m-
-m-
In the following exercises separate the chords into groups after the
usmg
the Repetitions, then
the Arpeggi, and finally the Ornamental phrases.
Observe that where
pattern of each of tbe above phrases

four notes are given, one
may be
choice of two positions, thus
:eEIy
-
first
omitted.
In
such
cases
there
is
Or:
3Ed^
lai
LESSON
Exercise
Ex.
2.
Ex.
3.
IV.
INSTRUMENTAL
BEGINNINGS.
19
1.
Many examples
of systematic treatment by arpeggi, &c., occur in
the works of the Old Masters.*

For example, compare the first Prelude
and the two Preludes in G major in Bach's 48 Preludes and Fugues.
It is perhaps just worth observing that even drum rolls, which
depend entirely upon rhythm, have become highly developed. Then
there are the Mordents, Turns, Trills, and other such graces that are
simply stereotyped figures of a sort with which this chapter is in a
degree concerned.
Nor
are such things really inanimate since they
come back suddenly
We
need only to mention such examples as the long trills in

Beethoven's Op. iii, last movement, and the vital turn in the Lovetheme of Berlioz's Romeo and Juliet^ as also its many characteristic
uses in Wagner's Tristan.
into
life.
If
it is
found necessary to extend the practice of this class of exercise, (and mere
is not enough), Mozart's and Beethoven's Variations Jor
transposition into other keys
Pianoforte will furnish a
if
number
of suitable figures, which
may
be applied to any
It is still better (and very much quicker)

planned harmonic succession.
a pupil can be got to extemporise such developments in the teacher's presence.
theme
or well
20
LESSON
V.
VOCAL MELODY.
LTHOUGH
primarily an expression of definite words, Vocal
Melody* has
in
some sense an
individual existence.
It is
not
to be regarded as a mechanical definition of verbal cadence,

though it has much in common with it. Our first experiments
tend to show us that mere reproduction of well-moulded emphasis is

There must be some charm, some grace of
not in itself sufficient.
expression, an attribute of Music itself that is almost indefinable,
The word Style, without lending us any real help,

Melody for its own sake, a sequence
essential conditions.
almost elusive.
sums the
carried out, a suggestive pattern developed
these, small aids as they
have something to do with the matter. The principal of evolution

One thing leads to
characteristic of the invention of Melody.
are,
is
another, and though words check, guide, help, restrain, they only do
so to a limited extent.
Vocal Melody not only
mation, chaste rhythm, perfection of expression,

heart of Poetry,
and
reveals
its
offers us
it
good decla-
goes right to the
inmost emotional significance.
It
is
of
almost limitless expressive power, agile and free as the song of birds,
of infinitely greater sonority and compass, with a wide choice of rhythm
and an
ever-varying degree of intensity.
those of artistic appropriateness.

as
paramount,
more
is
justly
Its
It
knows no bounds save
place in Music, once regarded
co-equal
with
that
of
instrumental
melody.
Though
its
scope
is
almost
limitless,
good Vocal Melody deals
the most part in well-sustained phrases of definite compass.
aiming
at the
for
Without
production of actual subjects, such as those of instru-
mental music, the opening statement of a Song should as a rule be

clear,
definite
Song
is
and
determined
expressive.
Much
in these first
of the character of the whole
few bars.
first
practical step
is
study of effective vocal openings, and the practice of

The process is a valuable one, and its thorough
forming similar ones.
therefore the
Scholastic Counterpoint, considered in a later lesson, should help in the study
of vocal melodv since
it
deals in
little else.

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

"
attempt from Love's
no
is
because
less
is
it
sickness "
effort
forbid the student to
will
Purcell's well-known
air,
beginning arrests the attention
its
a well-balanced musical thought than because
it
a finely-conceived utterance of the words.
The formation
of a song-opening
very like that of a
is
One verse is answered by another.

may be similar or contrasted. The
couplet in poetry.
verse, the lengths
rhymed
In music, as in
chief considera-
and form part of one texture. In the example

quoted a single line of poetry becomes a complete musical sentence.
The rhythmical scheme is an extremely realistic reproduction of the
tion
is
that they cohere
The
poetical idea.
notes literally lend wings to verse.
attempt from Love's sickness
Dominant.
1
I
I
Done
rn
in the following way,
paratively trite
and lacking
at
in
it
To
fly
had been no
imagination
tempt from Love's sick
in
vain.
less correct,
but com-
ness
to
fly
in
vain.
^^=id=4#^
Careful examination of the following Song-openings, which are
an
effective type,
shows that
first
phrases (of two or more bars)
&c.
all
of
may
22
Tonic character (perhaps with a veiled perfect cadence),

or turn in the direction of the Dominant.
A few prefer the Subdominant direction.
Minor phrases either follow the same plan or
modulate to their relative majors.
The balancing phrase, completing
the sentence, while subject to the guidance of the words, may be of
either maintain a
As
identical or contrasted length.
common
towards the Dominant or Tonic close.

but there
is
no
real
rule,
Such
procedure
nor anything approaching to one.
He
student, however, practise with tried weapons.
himself with from two to three notes
modern custom
recommend that
gravitates
it
the stereotyped custom,
is
(at the
since
is
also
in first analyses the
most) to any single
against the use of rosalias
be placed side by side with the words,
Let the
should also content
and
syllable,
fiorature.
We
rhythmical scheme of music
purposes of comparison.
for
few are so offered.
X2:
zzq:
God
pros
no
per long our
ble King,
Our
lives
and
safe -ties
all.
Dominant.
II
Ill
!-<^
M
J
z:^
1_|
l_ !_
p:?^
l!
C^
1^
God
prosper long our noble King,
Our
lives
SUBDOMINANT.
J:
TIJ-
:,|UJ=^
:!=c^:
I^
and
safeties
1^=5^=?^
4=5
Come, sweet
lass,
mer
This
ry weath-er Let's
E
Come,
sweet
all.
^
to
geth-er
E
Let's
play
up
on
the
green.
Tonic
-^
Come,
sweet
lass,
Dominant.
JÎ-J^N^^
-e>-
lass,
J=J:
i^d
S S S N
This merry weatlier
Let's together
LESSON
V.
VOCAL
MELODY.
23
Tonic.
:J=J:
WL
Come,
It^
sweet
lass,
Dominant.
Let's
cz:
upon the green.
play
^^--
^^?^^
:fc^
Come,
with
live
and
me,
my
be
<^-
And
love.
m=^
&c.
I
we
will
the
all
plea
sures
Come,
live
with
prove.
Dominant.
~^
i^îut.
z?:^:
_?z^
me and
be
my
love.
Relative Major.
-J-l
J
>J- _* a'_i_ _C3
=at izazziBZizaizziiît
I
And we
'
will all the pleasures prove.
Leveridge.
^^î^
fc
ii=i=fe
Who
is
Syl
via
what
is
That
she.
|^^^3Ê^|Êi|
l*=r"
all
our
me,
mend
her?
Bishop.
"^^
Tell
com
swain's
-^
my
why
heart,
morn
ing
prime.
DiBDIN.
4^
^ ^^^
^l3EiÊîS?E?E^^
^
A-dieu,
^-
dieu,
"
my
on
ly life.
My
hon- our
calls
me
from thee. &c.
24
Schubert.
^î
fc:i=t=:fc^^
fe3
?3:
-J-^-
How
shine the
clear
stars
t^^f^
S:iJz=E=z3EZ
the
in
=1:
slum - ber
steal our
oft
ness
night,
of
^^m
=i^^=iv
i^zzi:
11^=*:
They
still
-s>-
way
by
their light.
Wagner.
*t w
By
I*
1^
S=M:
ii:
si
hearth
lent
fe^
'i=t
-S-
Couplets, &c., for Melodic Treatment:
How
little
do the landsmen know
Of what we
sailors feel,
When
waves do mount, and winds do blow

But we have hearts of steel, (p. 245).
Hail, gently,
Where
And
Come,
Come,
summer,
to this isle,
Nature's fairest beauties smile.
breathe in every plain,
mirth, call on music

frolic-filled fancy,
One summer
(p. 93).
music on song
call
bring genius along,
(p. 54).
eve, as Celia fair
Sat spinning in the shade,
(p. 163).
Come, cheer up, my lads, to our country be firm,

As kings of the ocean we'll weather each storm,
The
(p.
175).
sun, like any bridegroom gay,
Rose
to salute the spring,
Vulcan, contrive
As Nestor
Words from
me
(p. 67).
such a cup
us'd of old.
(p. 13).
the C/iotce Spin'i's
ChapUt
(G. A. Stevens) 1771.
LESSON
VI.
INSTRUMENTAL
LESSON
PATERNS.
25
VI.
INSTRUMENTAL PATTERNS.
ROUPS
upon
of notes formed
may now be
considered)
briefly
producing
short
The
pattern.
single Principal
Notes (already
strung
usefully
together,
melodic pieces of a definite
rhythmical
such work consists
in a series
material
for
such as might be contrived foi

In the first exercises of this kind a skeleton (or outline)
a Violin.
The exercises are to
showing the Principal Notes may be employed.
and contrasted
of vigorous
be carried out as
figures,
accordance with the figure-pattern
far as possible in
Slight modifications, however, often
selected
any one
figure
awkward
progressions.
modify,
at
the
Specimens
of
maintained
exactly
The
expense of
Two
second Model.
become
lead
strictness,
are
at
least,
(^),
and
arise.
in
the
models, or examples of finished exercises, and
These may,
few outlines are given below.
plemented by taking any well-defined theme,
for
or at
such phrases which
all
seen
Variations
necessary, since
to harsh,
student must, therefore, be encouraged to
modification
this
may
Pianoforte.
Many
of the Suite
if
be supfrom Beethoven's
necessary,
say,
movements
also lend
themselves equally well to such treatment, especially the small clear-cut

of
pieces
and
Corelli
dispense with such aids.

himself.
The
Bach.
He
The
enterprising
will further
student
will
soon
begin to invent figures for
Every encouragement should be given to such invention.

itself is invaluable, since it sets up the habit of mind by
process
which melodic progressions may be broken up into
short,
effective
rhythmical figures.
PRINCIPAL NOTES.
{a)
id)
-G>-
<&-
(3)
FlGURES.
-Gt-
-s>-
2.
ja)
{a)
-^ =1:
id)
26
3.
{a)
4.
(a)
(i)
^-m-^-m-'
s|s
modification of
:i:
(a)
5.
((^).
=3-*
fe
P^p^^=^33^^^^fl^=^^^^^
6.
(a)
P=?=
lg^^=^
Or
m-
Or
C-^)
P5
=1-
^-
T^^^
7.
()
{-5)
S3?l=t
8.
f^
(a)
^
10.
<^
^ J r^
(o)
9.
-1^
^*
Î^PI
(^)
I
(a)
(^)
3=3:
11.
(^)
12.
(a)
(^^)
fi^:^^
^^^
^.ca-^

LESSON
15.
VI.
INSTRUMENTAL
(a)
PATTERNS.
27
(^)
^^f^^V^
/'
wrfffri
14.
(a)
/'
T~l
/-^
"
- ^1
V
15.
((2)
'-ri
16.
(a)
-j
1
1
MODEL,
(^)
iE
1-^
'
("^
1-1
^^
^^
J=t=Jz=izzn
i
1-
n"'"n^
i
1-*
-m
--m-^
(formed upon No. 2 below).
-==
--
ffl
-I
p.1^
^ r
J=p:
1
I
^*=^:
Fh"
=p:
-^
Outlines.
No.
1.
No.
33
-
No.
^-JJ
2.
jp=p=
3^3
:o:
0-
3.
itizB:
*iî^
28
A Second MODEL.
Ex.
3, exactly in
accordance with a figure given.
p^fejgi^
Modijiea.
--d
Or
^=P
i^^=s^^
:p=s^
g=^.-^-r-g^;b
f^
tr=
:"Ezr:
^^^
:p--%:
LESSON
VII.
ACCOMPANIMENT.
LESSON
29
VII.
ACCOMPANIMENT.
CCOMPANIMENTS,
once extemporised or
up on the
filled
spur of the moment, from mere basses or figured basses, are
now
invariably written out in
nothing to
detail, leaving
full
the imagination, so that an accompanist's duties, formerly of

first
much
importance, are rendered
assistance.
It
by the composer's studied

Lesson III) that quite simple
lighter
has already been shown (in
We
chords effectively support clear-cut rhythmical songs.
shall
now
begin to use broken chords and arpeggi as accompaniments to slow-
moving and sustained melodies.

following little vocal example
For a
first
experiment
us take the
let
Drink to Me only with Thine Eyes
" (18th Century Version).
-V-
/^
\-\
#
fl
19
s~,
f-
^-^-^
m
k
s^
-^
-4^
^
?
i^
7^
J^Z5^
^*
^=f=f=^
g^î^
<'
f'
k
m m
>
^-
4
2
^
I
f
f
;^,
i
^
:i
3^^
30
Here the harmonies are fairly satisfactory, but they

and sound weak and rhythmless on a pianoforte.
are merely vocal
By
parts,
the simple
expedient of breaking the chords into arpeggi, a current of rhythm
is
itself,
and of real support to the voice-part.
good accompaniment should give a melody rhythmic support and
harmonic colour, while providing a real playable part for the performer.
Over-elaboration is generally a fault
and in such a melody as the
present, would be an error of taste.
The piano part must merely hint
at chaste and expressive harmonies.
In composing this class of
accompaniment, a student is recommended to test his work carefully
on the pianoforte, rejecting anything which sounds ineffective. Finally,
if possible, try his work in conjunction with the voice-part.
set
up,
interesting
in
Andante.
^^
^^^
|fc:?^=I^
Drink
Or
i^
to
me on
leave a
kiss
with thine eyes,
ly
with
fe^
1fc?=
3tZ^
-Jii=:4i
in
SJ-m-
the
~m- -m-
cup,
And
And
m
will pledge with
not ask
I'll
for
-m~ -m- -- -
-X
-^
azzi^:
-^s=|=(:?:)rz
i
mine,,
wine.
The
^
thirst
that from
^s
fcd
the
soul
doth
rise,
Doth
p^^^,^M^^^3^^î^g^^^^
U
ask
drink di
v=s
vine;.
1
t^jjgasgÊg^sa
d=
*
-r---
^^
1^^^F
But might
-M
of
^m
Jove's
d^
'^-

LESSON
yg
VII.
ACCOMPANIMENT.
sup,
tar
31
f-^* ^ J ^^
nec
i=Efl
would not change with
thine.
ô-r
:s=iq^:
l=*St
-
-^-- -0'
.--
'0-
-0-
-->
=^
;u
-m-
-4^-4-.
:=f^
i^fl
^r
demands
Straightforward arpeggi suit the type of melody which
flowing rhythm founded, perhaps, on few and regularly changing chords.
Such types
will
discover themselves by the persistent
manner
in
which
they emphasize the Tonic or Dominant triads at the outset, and the
definite
rhythm
which they
are given of such openings
glimpses
illustrations
of
casually
afford.
few
DiBDIN.
Con moto.
xt
d:
fc|;
:t:
X:-
^=CZ^
dieu,
my
dieu,
on
P^=H^
i^^îî^
ly
iSE^
p-=^=p=
My
life,
=M^=
-^Xrr.^
m^
ZI
i-iJ-
hon
our
calls
me
from
S=a
f?ÊS3E3EÊÊÊfe3
^t ?
a~r~''^:^
lz
thee
&c.
;o
32
PURCELL.
m^BEEÊEEÊ^
I
saw that you
were
E:
:E
grown
so
i
high.
41
EE
\-
Repeated chords are of good

design or slight figurate relief
accompaniment
managed.
pattern of
carefully
-^-
rl:
-^BEES
is
some rhythmical
is introduced.
Both this and the former
apt to degenerate into monotony unless
effect,
especially
if
Godfrey Pringle.
13^
szc
The leaves
of the for
teê=r=
fa-ding and fal
est are
ling.
Wf-
shine the
stars
in
&c.
SCHUBERT.
-N
:VNclear
How
gz33-JEiHs33^n
t^^mÊ^,
N-N-
f^ [^
their
soft
zure
Etwas geschwind.
g=f^
*=:t
%-
psfe
-s>-
-m
9-
-m
*-
3z:
deeps.
:rIt=*:
-^
fc=e
3^
^-
4i
-^
&c.

LESSON
ACCOMPANIMENT.
33
by repeating
background is often obtained

the distance of an octave
harmonic
good
identical chords at
^^^^
Gold
VII.
:^
1:2.
en
slum
bers
i^^^|E3E|E^S
m^
m^-
P#
Will you
hear
-^
-^
the Spanish
^^^^^m
^^==1^
la
dy,
How
she woo' d
an English-
/-
^
:*=
man
f:
ti:
ii^
Simile.
Fed.
Fed.
iB
eyes.
Pg ^
pp
your
kiss
&
-<5,-
sosL
'A
H^-
1^
Without attempting to exhaust the materials of pianoforte accompaniment by giving stereotyped phrases since here, as in every
department of musical composition, much must be left to the
imagination
the student may be recommended to study such examples
as are quoted, and to collect effective openings of pronounced pattern.
Some of these, like the following, are common property, and only by
skilful use can be made individual or interesting
d2riT=
^:
fe^
2:lt4
^ 1^^
E5
&c.
-f^
34
The
supplemented
be
recommended
following melodies are
melodies
They may
for practice.
from any good standard
of
collection
National
"Gather YE Rosebuds."
S^
S'
atzt
5S3!:
=i:
:^^j=M=m:
^;^=^
~s
hx
:P=^
~ai
'
â
I'
-I
Traditional Air.
^^s^^^Mi
*
^^^.
19fjr
:1^
-N-^
^=^=4^-4^-
^-
"There was a Jolly Miller."
^^^
iidzzg:
^'=E-
-m-
SEE
w~r
'w
^^s
^S-
-TS-^=1^
:i=*:
fe
"Gaily the Troubadour."
&
^^
vg-
^h.^.
-f^
-?5*h
:[i-V::p:
I^Zit
:?5:
3=
iS
:ti
^=-^
^F=*-
Harmonised versions of most of these songs will be found in

England,"' Vols. 1 and 2 (Augener & Co.).
"The
Minstrelsy of
LESSON
VII.
ACCOMPANIMENT.
35
"Peaceful slumbering."
IeP^^^^^^
-m
-F=
m-m-
"Know'st thou the land.

>y-
^^
t|:^^^4r
d d
'
=t^^ ^
i=^=^^S
I,
I,
I=
-n-
=^=5^
g3EÊ^^Î?Êi
^
si^^
^ :d=a:
^
^^^^Ê:^^.
i5
-<s>-
q:
3Z^ i
-e>-
-^
-P-
izz:
<:>
ELEMENTARY MUSICAL COMPOISITON.
36
LESSON
VIII.
COUNTERPOINT.*
OUNTERPOINT,
or the art of adding melodic parts to a
given theme, underlies the whole practice of Composition.
At every turn the student is faced with the necessity for

such skill.
Music does not reveal itself clad in full detail.
Just as in building a ship, vague plans are gradually brought to accurate
form, proportions and measurements have to be taken
and the whole
origin
its
the keel
is laid,
So a musical
theme, which needs
from small beginnings.
structure rises
composition has
perhaps in a single
development, expansion, and a thousand accessories of contrapuntal
workmanship and invention before its perfect form is realised.

There are two kinds of counterpoint. The first is that which may
The
be seen in the works of Palestrina, Bach, Beethoven and Wagner.
second is of the Schools Scholastic and serves the purpose of leading
It teaches self-restraint, since it deals
strings to all young beginners.
only in diatonic progressions, definite texture, set patterns, and is
It enforces
exclusive of all manner of harsh or extravagant intervals.
the best use of limited opportunities, and its practice is essential to
every musician.
In connection with our scheme of Lessons, the following plan
is
Work
example each day, or not less than one
two days.
Keep up such disciplinary exercises for upwards
of twelve months.
Work each Canto Fermo first in four-part first species. Make it a
recommended.
a single
in every
rule that this preliminary

It will further
Canto Fermo
workings
gradually,
in
example
be in strong, well-knit harmony.
shall
be found useful to attempt several versions' of the same

in
this
since
species,
they
the advanced combinations.

occasionally
returning
to
afford
clues
to
successful
Introduce the several species

three-part
and
even
two-part
counterpoint.
There are so many excellent treatises that it seems almost unnecessary to name
W. Pearce's volumes on Counterpoint, Strict and Free (Vincent Music Co.);
Sir F. Bridge's Primer (Novello)
Dr. Prout's "Counterpoint," Augener
or
Cherubini's great volume any of which may be employed.
*
Dr. C.
LESSON
VIII.
COUNTERPOINT.
37
C.F,
-5>-
-e>-
-e>-
-Q-
1221
Z2:
-e^
-<s-
iq:
5>-
-(S>-
iq:
-o-
-0_
^^3i=^-
i
f
-<^-
-<9-
.i2_
-G>-
-o
1221
-<f5>-
-<s>-<5>-
:s:
-s>-
-Q-
-Q-
-<s>-
-o
-GS^
s:
-<5>-
-Q_
:q=:i]
-s>-
:&
122:
-5>-
C.F.
I-
-e^-
Z2:
-e-
122:
-G>-<s>-
-8-
-G>-
-<5^
-O
-o-
i=tg=
-<S>-
:s2:
<^-
-<s^-
iSi
iq:
^-
tfe-
"g2"
-S)-
-S
C2:
-<s>-
'O'
-5:S:
SEHEi?;
î^l^Qi
C.F.
-e?-
1^21
-<S>
IsT Species.
::q.
Q_
-o-
^s-
-ô-
.s>-
-^^-
-e^
E
:qzz:
-<s>
:q:
-1
iq;
o-
iq:
-<?Ea
hS^
-t^-
r^.
T^
-&-
-^ -^
:^:
-I
JOZL
38
C.F.
Q-
-9-
-e>-
:q:
:a:
-s-
e>>
1st Species.
.^_q?i._if!-r-^_^
:^
^::
^-*
:p=iz:^
zj:
-F-
3rd Species.
-<s-
zzziq:
-<s>-
_i
zzziz?^:
(S>-
^^-
'C?"
- ^ P
îi:
1:
-S>-
iq:
-H
-<s-
&^
<s>-
#1d-i
zz?2:
itz:
C.F.
Q-
-S>-rS>-
o-
z=^z=.t:^-
-e>',22:
^^"-zo-
-s>-
:^:
;e2
".q:
-tO-
"Whilst
:C2:
i^^zz:^:
-<s>-
t-
:ftp:
-<S>-
^-r
-e>
i^^zz:^
-s>-
it
is
preferable that the
r^
first
Strict Counterpoint.
I.
iftp:
-GtS2_
:fo=i
is
1^
iq:
:q_
-<s>-
-S2^-
note of the Counterpoint shall
perfect concord, the use of the 3rd of the chord
(Memorandum on
:q:
-sS>-
:p=
make a
not considered to be an offence."
S. M.).
LESSON
VIII.
COUNTERPOINT.
39
6th Species.
-p
^-
W=i^
:t=:
:q:
1st Species.
Ai-i:
:q:
s-
C.F.
-^-
_c?^
11
f='=i==? z::zt=zf_-i:
^-
r
:pzt:
iztit:
-e?-
EEE
-<s-
-Q.
:2:
'22"
-&>-
:q:
--
-2-
-s>-
iff
^-L=z=tz Zg^t==^=t=EE=tEz^^
<s>-(S>-
@l
_^5>
-e>-
(^
During the gradual introduction of the several species

can
to
be
harmonizations prove helpful.
parts,
it
scarcely
illustrating the process
fail
noticed
few
how
the
in
early
examples
further
individual
four-part
are
given
C.F.
I
G^-
:?2:
o-
IQZZI]
iq:
iq:
<s
_j
^>.
;SE3
IsT Species.
1st Species.
^f^
-Q.
-e>-
-i;^-
rj-
:q=iz
î==
-<s-
-<^-
-Gf-
-Q.
-&-
zq:
-<s>-
IsT Species,
Alternative Opening.
-G>-
:eE2:
'C?"
-Q
-S>-
(S>
-G>
ill
:q:
3=^j=5
40
C.F.
-s>
iq:
iq:
1022;
->
^=^
-o<s>-
-^s>-
-5>-
:z2:
-CL
-o-
Si^
:^:
<s>
5th Species.
^r- HS
-<5>-
iq:
-5>-
Q-
-Q-
^;
-o-
^^^
Z2:
:q:
:t
r^
--r
irp^v:
E^
i^t
C.F.
t-
i^^s:
^=
:^
:a:
:p'
^=
-<^-
-o-
221
-<Si-
-O-
-O-
-^^
nz
-=^
?21^2:
GT
pnp?^^"^
:q:
<^-f^-
-<s>-
-C3"
:q:
-o-
-s>-
-<S><5>-
^:
-iS>-
123::
<5>-
-o
-0-
-^^
-<5-
^^
_Q.
^
t
-<S>
^-^-
:&
-o^
q=g:
:p2zz
;ii

LESSON
VIII.
COUNTERPOINT.
41
C.F.
t^
1^
tF-r
-^2:
e>
kS>-
5th Species.
rrx'
.i2-
-<s>-
i^Z
-^-
iq:
-<s>-
*:
l^^
h-#^ a
1st Species.
tl,
#:
32
?
-5>-
"221
1231
-5>-
|:
-<^-
u T"T~r
f#==â
F-*
r
I
:C2:
w=w
-<s>-
-o-
Lj*
^P
-Gf-
r
s>-
5*:
5th Species.
1st Species.
^S a
:d:
<5^
i^
:**=P5:
n:
liz*:
:zi-
ja.
(S*
-<>-(S>-
C.F.
:=1:
3=
+=:*
-,_^-^^-5>-
_^l=g
i
-s>-
-c^
22:
(S*-
-ei-
22:
-i^
ilgii^Ê^
-e>-
^?pEg:
-<s-
-s-
c^-
-e"
"C?
^'=^
-e-
\=^'==\
r=p-#^^'
42
5th
Si'fx'ies.
-^=^=^
~1
1st Species,
=J
hS*-
g?
1^-
-(S>-
1st Si'ecies.
2-
-<s>-
-o-
-f^s:*
O-
'112:
"C?-
C.F.
1.J?=^=ÊE^
:qz
i iq:
-<s>-
i^.
122:
-s>-^=3-
-S
-O-
-Gt-
-^
:q:
i?::^:
-jC^Z
-(S>-
G-
-<S>-
^F
-o
Keep
:s3:
-<s>-
-Q-
-(5>-
'O"
-<^-
"O"
q:
and pure.
Let there be no harsh
the counterpoint
is its
very essence.
The
parts
strict
must be made
Freedom
in a wise restraint
tritones or foolish intervals.
Mere arpeggi have no place in

move with definite purpose. Ornaments and change-notes should be sparingly used. Above all, the
counterpoint.
to
tell.
Passing notes must
harmonic structure must be good. In the fifth species, a vigorous

Remember that a few examples
movement should be aimed at.
thoroughly done are worth twenty times the number carelessly worked.
With such considerations kept constantly in view, and plenty of
practice, the student cannot fail to set up good and useful methods of
thought, which will readily serve him in other and widely different
branches of composition, which in due course we shall hope to explore.

1.ESS0N IX.
COUNTERPOINT.
LESSON
43
IX.
COUNTERPOINT
(co?itinued).
g'g^',g OUR-PART
florid scholastic Counterpoint

depends upon
and independence. Owing to the free movement
of the three added parts, restricted only by the movement
of the canto fermo and the ordinary limitations which have
already received illustration, simple four-part harmonizations, though
still of use, can only serve as the roughest sketches, which must often
contrast
be widely varied.
The plan most serviceable
Let
in
mastering
additions
florid
is
as
fermo be treated in two parts the 5th

then let it serve as a Bass
species being added above and below
adding two upper parts.
Our next step is to place the canto fermo
follows
each canto
in
the middle;
some
It
its
is
five
or six
far better
possibilities
adding three
varieties
florid
this
scheme,
of each example are successively worked.
thoroughly tested.
is
given of this method of study
a pupil feels the strain
upon
his inventive faculty, he should
to play through one of the inimitable fugues of Bach.
new
By
parts.
than hurrying to new exercises, since each theme has
An example
When
finally
He
will
be encouraged
return to his task
promote emulation while

up a true standard of taste. For this purpose we recommend
5uch Fugues as Nos. 13, 17, and 30, of the Forty-eight Preludes and Fugues, and
ithe whole of the Choral Preludes for Organ.
with
vigour, since Bach's Counterpoint never fails to
it assists in building
One canto fermo

'Until proficiency
C.F.
is
carried through this five-fold
process each week
attained, should serve our purpose.
44
&.
e^-
:q:
-e^-
ie>-
^p:te
re=
-pi=*:
-o-
_^_
-<&-
sometimes chances that a well-written contrapuntal part may be

inverted exactly as it stands.
More commonly, however, small
modifications become necessary.
In the example just given, we can
invert every note ; but as the 5ths at " A " and " B " by this process
It
become
will
4ths, slight alterations are advisable, thus
A
-s>-
B
-^<s>-
'-^'-
-s>-
:X-
4th
4th
&c.
_Q_
-<S>-<S>-
I^Ê
B
fc
3eÊs=^-^=^^-
-S"-
r-^
-(S*-
-h-
The Same,
t:
rc^zz
:q:
;i]
modified.
&c.
-<9-
fcfe
H:
An Independent Working.
:p==^z:
3;
-o-
:^=^
12^:
C.F. -^-
-&'
-S>-
-Q.
fefe
Efc
:!=^
tr
.Q_
~i
P=tz
ir:i
-&'
-jzt.
3^:
-<s-
-jar.
-<^-
i-fe
Ft
^^n_^
:z=q=zq
fc^=*=r=z?_^^=t==^
.
jd.
e;
-<G>-
-o
-<5>-
:2:
O"
-<S)-
-S>-
:=q:
fl

LESSON
C.F.
COUNTERPOINT.
"f^
-^-
:^==
F^
<s>-
-(S>-
#-P:
r-ci'
-o-
^
i
P
45
i^
3^
...
IX.
i^
3^
=1:
-^x
::t
1^21
-jctz:
ill:
':i=W
^^--f yi^'T-r
f^
"P"
-e>-<s>-
231
.1
^îm^-^zî
:^zt
-^-
r
^
22:
1^'-
:^:
riq:
*^-
o-
-s-
^?zc^
:^:
:^=
:pzx
-s-
-cr
:q:
-^-
'q:
Observe that in the three foregoing examples the Sequence in the

Our next example
canto fermo is reproduced in the Counterpoint.
part,
transposed for convenience
gives the canto fermo in the middle
;
fc
-&*-
1
I
-<&-
J- irî:
-o-
|i9Hb:
-<S>-
-&
22,
-<5>-
C.F.
E^
:t=^:
f=f=P=^
I
:q:
46
m:
:: -^-
:,^
:c^
:f=^
p3:^33iz:jig^z=:
"C?"
-<2-
^^-^-
-tF^r
-^
^-tie:
ii;
-1^-
:^
-7.
:t#it
Or,
^-
^^-T-^
^:
1=
-r-
t=F4
-f-P
:i=P
2i:
E ^1 -
-S>-
E^z
.Q:q:
iS-
'SSSSIIi
-<s>-
t:
^.^h=F
ic^:
ife=c:
i^;
"rJ
-(S"jT^-
<S^
-s-
Ul
C.F
-<^-s>-
.Q_
:^Q-'
i:d^=J=^
-,<S>
^^^
ZZ|JS}&Ei3^^
:i^=g:
'j=i'-
-1
?^^
ii
~=
-o-
-Gf-
pziz:=&zz{z=:(z--p3
^2
Z3:
^1
"^^^
LESSON IX. COUNTERPOINT.
f^f ^-
-litr^wzii^îiijis.
^^
47
-G>-
r~f

f^
r-r
_i:2_
-<S>-
-S-
^S
-^-^
-I
^^
fZZZt
s
F
a -f^
*
H
j__J_,
h-
'j^-^^
^^î
:*=.-i:
:tfc=^
r
pHE
-<s>-
P
i
12:
X3s^
^^
Id:
-s
i^s:
4^
* Alternative
I
:^î^
tr
ic^:
:^
Wo&c.
_o_
'srz^
<S>-
f?(S
-S>-
-P-^
T"
be seen that the three added parts are

of equal importance, contrasted and independent.
Though the flat
seventh is used in the second half, the example is correct without its
In our
aid.
An
last
example,
alternative
rhythm in the upper
it
for
will
the
last
five
bars,
part.
JHIUmntmmiUiHnnurmFMmtmmMmr.
offers
more vigorous
48
LESSON
X.
FREE COUNTERPOINT.
T
high time that a thoroughly free order of Counterpoint be

admitted in Enghsh practice; a kind which allows of the
is
use
'*99 9^w9^d.
of
chromatic chords and passing-notes,
time admitting a broader rhythmic scheme,
at
so
the
same
that
the
whole system tends to bridge over the gulf fixed between scholastic
counterpoint and practical composition, while it also assists in counteracting the tendency of an obsolete system in the direction of cramped
and
rigid authority.
We recommend
the following
scheme
1st Species, as before, admitting,
however, ckromafic h3irmony B.nd
modulation.
2nd
Species, as before, with the addition of chromatic passing-
notes and harmony.
3rd Species, as before, but admitting chromatic passing-notes and
harmony.
4th Species, as before, but with the chromatic system behind
5th Species, complete freedom,
shall
merely stipulating that the parts
be of definite number, and the Instrument
Strings
it.
or Voices declared.
Piano, Organ,
Let one such exercise be worked after a group of the regular formal
exercises.
Our
(though tonally
Then
first
experiments serve to show that ordinary canti fermi
much
restricted) will serve for this preliminary practice.
the teacher should draw
upon the chorales Bach so commonly
used.
As the object of
this
temporarily relieve the
kind of exercise
mind
is
to train the imagination
and
of such restraint as former contrapuntal
studies may have induced, especially the feeling which students so

commonly have that strict counterpoint does not offer fair scope and is
merely of arbitrary value, every possible chord or melodic passage may
now be admitted. At first sight one might imagine that mere chaos
would
his
result.
own
But
far
from
this
being the case, though thrown upon
resources, the student will
still
find that he has to justify
first

LESSON
X.
FREE
COUNTERPOINT.
49
and afterwards to his teacher, progressions of harmony and

melody which though no longer judged by scholastic standards are
nevertheless subject to the laws of Taste, logic and common-sense.
to himself
Free Harmonies.
1st Spfxies,
C.F.
r-
:q:
:c2z?:
_i
<s-
^>-
iq:
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Organ.
-qo.
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:&
1^
2nd Species
r:r
i7c?
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-^
^;
iS^
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--
lq:
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in
Two Inner
Parts
1st Species Bass.
C.F.
-(S>
i
w
IIZZZ-Q
:p
r-
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p:
j_
j_
A 4
Organ.
:q:
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50
C.F.
3rdSp.
Organ.
î
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2nd
-QL
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i^^^^^^=^^
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Experience proves that

practical procedure to
it
work out
is
-S",
X5:
iiz
both excellent discipline and good
definite species in
FREE
Counterpoint,
preserving a consistent texture of crotchets and minims according to a
Bach, in his Choral Preludes, has further shown that
precise scheme.
much
beautiful
quotation
kommen
is
/^^r
music may be constructed on
(Augener's edition, Vol. 17,
Theme
2nd
this
artificial
from the short organ Prelude on ^s
Species.
p.
1006):
ist
plan.
das
Our
Heil uns
LESSON
X.
FREE
COUNTERPOINT.
SI
*t^
*r-pi-"
St3-*
&c.
s
^-P
p
-5^^4f
^
'
f-i
F
I
P
P=|
Our last quotation shows that arpeggios, if short and characteristic,

may be admitted. The Counterpoint is principally of the 3rd Species
for
the two inner parts;
and 2nd Species, occasionally broadening
into the ist Species, for the Bass
C.F.
t--
-W~i
pft
SiBEE
?^
The Choral
is
entitled
Chorales as the following
Herr Jesic Christ

will serve for
(Vol.
17,
979).
p.
preliminary practice
Such
GOUDIMEL.
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52
Vater unser im Himmklreich.

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FUKK NATUS
<^
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The aim
1=
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BeTHLEHEM.
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22
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themes in exchange for the old Cantos,

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

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PRICE ONE SHILLING AND SIXPENCE.

EAST 43rd STREET.-

BOSTON: THE BOSTON MUSIC CO.

Speech translated into Song

which have stood

the test of experience, cannot but be

beyond the reach of a

plan of the work embraces

which a composer must vigorously attack

with the teacher,

the steps seem laboured,

the fact that even clever

Composition as "the dream of

course of lessons, founded upon some of the severe

diverge from the detailed system

of inventive faculty in a pupil.

present series of Lessons

study, the pupil was so discouraged that he gave

be remembered that the great practical

set out with enthusiasm, describing

merely irksome, are

which a teacher has

lessons to suit individual cases.

throughout these pages, always with

calities zx% carefully

wide scope, which must appeal to a large number

student himself, to apply

the motive force of Musical Composition.

doing away with the

book should prove

that a systematised group of Lessons,

vigilantly the earliest manifest-

comprises 100 Lessons.

Here are contained the

too long protracted use of any system, especially that

of the Variation form, difficult and searching in

keep the inventive

only tend to produce despondency.

of which here find a place.

once awakened, unceasingly employed.

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

must be strenuously cultivated before

Everyone has some

The soul that rises with us, our

And cometh from

need not blindly grope with

that a sensible consideration of

the very beginning,

be exceedingly helpful to those

drawn towards the imaginative

ELEMENTARY MUSICAL COMPOSmON.

Rhythm, Cadence, and Harmony.

reveals itself in inanimate things

a bubbling fount of sparkling water.

rhythm which the wind

many young people

seen in the poet's

rhythm be gradually developed into a