SYNOPSIS OF CHAPTERS PAGE
THE POINT OF VIEW Discrepancy between the Rules of Counterpoint as usually taught and
The
the practice of the sixteenth-century composers
Object of studying,
authority worth considering
Rhythm
practical
Canti Fermo
Ineptitude of the
Reform suggested not tion
II.
Futility
of the
(2)
of instruction
Five
Orders vindica-
THE MODAL SYSTEM position of the
Mode
its
from
polyphonic
Musica fcta,
its
Range
point of view
dis-
Trans-
meaning, scope, and practical
Cadence, how formed
application
sixte sixteen enth th century
This
Plagal and Authentic forms
and 'Interrupted' Cadences
'Plagal',
th
Modes
Rules for
object
Modulation,
its
'Phrygian',
meaning
of modulation permitted in each
in
Mode.
RHYTHM The
distinction between Metie
poetry
accent and
Stress
music—
latter in
Its
without
ficance, ideal
aimed at
and Rhythm as Quantity
valid for music as
for
Importance of the
accent
function in determining the rhythmical structure
of sixteenth-century music influence
Time-signatures of purely metrical signi-
on
Rhythm
Freedom and Balance the
Prevalence of cross-rhythms
time-signatures in use at this period
Explanation
of
the
The Proportional System.
MELODY Compass,
rules
leaps,
when
governing
Conjunct movement an im-
Intervals
The melodic technique of Palestrina
portant factor
permissible
General
Tied notes
Regular barring recommended,
student
V.
method
challenge to authority but as
as
tinction of no real value
IV.
historical,
(1)
it.
Definition of the term
III.
Faulty
the vital factor
latter
if
Two
or
more
hints to guide the
not misunderstood.
HARMONY Music
progression from concord to concord
device for obtaining rhythmic variety
bar
permissible in
means fourth,
Points
how
far
to
test
Number
of harmonic changes
Variety of colour-eS'ect obtainable with limited
The
be considered
concord
Double passing notes ultimate
Discord originally
in
of harmonic
Chord of the thirds
and
propriety
six-four
sixths
interval
of
the
Passing notes
Two-part analysis the
Accented passing notes, how
SYNOPSIS OF CHAPTERS
xi
PAGE Changing notes;
Qged
and
Double
sacred music
Chromatic hanuimy
Harmony,
Modal
the period
for-
at variance as usual
observed by the latter of
Why
Forbidden consecutives
triple suspensions
rules are really
Suspensions,
Ornamental resolutions
The text-books and the composers
bidden
What
employment
preparation and resolution of
for
rules
their
for
rules
so-called,
meaningless term.
71.
CANON, FUGUE, AND IJOUBLE COUNTERPOINT No
period
fixed
rules
the Subject
complete
'form' in this
'method' rather than
Fugue properly speaking
for its continuation, once
the
Answer— elasticity
45
the
exposition
is
of their relationship
Two-part subjects not uncommon, the two parts being usually in Double Melodic Inversion
with in the sixteenth century
of—
than
stricter
centui-y
commonly met
Varieties of Double Counterpoint most
Counterpoint
Fugue
Sparingly
used
Canon, definition the
in
later
sixteenth
abuse by the previous generation.
Its
DESIGN
VII.
53 Textual analysis the foundation
Derivation of the term
The Motet
Fugal
of the structure
',
Harmonic
',
Variety in length
of—
divisions
Contrasts of texture to be found
Modal
Chromatic
idiom
The Madrigal
Not properly speaking
The secular equivalent
to it in general outline,
Its
symphony anticipated
'Cyclic
by Taverner and Palestrina music
types of
main
and thematic unity of 'form' in
Intermediate
The Mass
specimen of each analysed
Motet
and
of the Motet
Similar
though differing in many details of style and
freedom—
Its
prevalence
relative
rather
than
absolute.
VIII.
SOME TECHNICAL FEATURES OF THE ENGLISH SCHOOL
technical cal analys analysis is The value of techni
as
an aid to real comprehension
English writers scalic rather than modal
melodic ideal
False relationships
Englis Englis
techniq technique ue
No
Their fondness for harsh effects
Rhythm
speciality
Boldness of curve their
Experiments in formation
Their harmonic freedom
of cadence and resolution of discord
the crowning glory of the
detailed critique hitherto possible
of modern English research
Its value
critical estimate of our national
The
Diligence
as the foundation for
achievement.
true
64
INDEX OF ILLUSTRATIONS Aichinger, 135, 153. Bertani, 45.
Brumel, 54, 95. Bugsworthy,
62, 63.
Byrd, 43, 57-59, 75, 76, 90, 93, 94, 106, 124, 128, 185, 186, 204-206, 214, 221-223, 226, 229, 230, 239, 241, 245, 247, 250-264, 256, 257, 269.
Croce, 18.
de
la
Rue, 108.
de Wert, 160.
Farmer, 96. Gabrieli, A., 143, 152.
Gesual Gesualdo, do, 196-19 196-198. 8.
Gibbons, 219, 220, 225, 240. Guerrero, 116. Hassler, 165.
Lasso, Orlando, 15, 16, 29, 42, 88, 145, 155, 159, 163, 199-201.
Marenzio, 132, 158, 161, 162, 172-176, 178, 179. Morales, 41, 99, 100.
Morley, 44, 46,
7, 260, 260, 261.
19-25. 32-34, 36-40, 51-53,
Palestrina, 17,
89, 91, 92,
64-66, 69, 70, 72-74, 77-81,
97, 98, 101, 103-105, 107, 117-123, 125-127, 129-131, 133,
134, 144, 146-148, 154, 157, 168-171, 180-184, 192-195,249.
Pevernage, 48, 49. Soriano, 164.
Sweelinck, 177. Tallis, 16
243,
37
44
25
Tavern Taverner, er, 211-21 211-213, 3, 246, 248. Tye,
08
217, 217, 218, 232, 2 3
2.
Vecchi, 0., 136. Vittoria, 30, 31,
149, 150, 151, 156, 166.
Weelkes, 258.
Whyte, Wilbye,
20
216, 231, 231, 234. 0 , 216,
202, 203, 203, 215, 224, 227, 227, 228. 228. 60, 202,
THE POINT OF VIEW 'Since the death of it
[counterpoint]
Great Masters
he
if
taught at
exactly as
all
Our
of the sixteenth century.
The
novelty whatever. only, to
observes Mr. Rockstro,'
No new
has undergone no change whatever.
rules have been, or possibly can be,
now
',
added it
to
must be taught
It
it.
was taught in the
latter half
ther theref efor ore, e, contains
little Trea Treati tise se
no
rules it
prescribes are those, and
Vittoria,
Luca Marenzio, and the greatest
which Palestrina,
those
of their contemporaries, yielded their loving obedience.'
few pages
later
we come upon
the following passage
have illustrated the with ex exam ampl ples es selected from the works of present Treatise entirely with But, the difficulty of finding passages the Great Masters exactly adapted to illustrate the precise Rule falling under disunavoidably, though very cussion was so great, that this plan
was the author's original
It
subjected
reluctantly,
intention
considerable
to
to
Abundant
modification.
and quotations have indeed been made from the works of but in order to explain his meaning other famous contrapuntists with
sutiicient clearness
entering upon
the
to
meet the demands of those who are
study of counterpoint for the
time, the
first
large number of ad addi diti tion onal al author has found it necessary to write examples, which are distinguished by the sign [given] from those of
higher authority.'
At stro
this point,
it
will be noticed, the logical processes of Mr.
have
appear to
prescribes are those, Co.
an
The
interruption.
and those only,
to
yielded their loving obedience
will naturally
posers
suifered
which '.
Rules
These
rules, therefore,
be illustrated in every bar that these great comYet,
wrote.
He
when
it
comes
to
the
point,
we
find
that
illustra-
has had to write most of them himself; almost the only
passage he quotes from
sixteenth-century composer
Byrd's Aspice, Domine. and on this passage the only finds to
make
at Bars
~*,
of our
he
Palestrina, Vittoria
Mr. Rockstro has confessedly been unable to find any such tions.
Rock-
9,
is
and
that 17'.
is
one from
comment he
Byrd has ignored the last clause of Rule LXI Naturally, we feel deeply ashamed that one
own countrymen should be
detected
The Rules 0/ Cou)Uerpoint, Introduction,
in p. 5.
such
licentious
THE POINT OF VIEW we hasten
behaviour, and
LXI may
It is
be.
worded
minim placed crotchet
what the provisions of Rule
to inquire as follows
the end of
at
two
crotchets,
or
should always, if possible, be the beginning of the next bar.'
quavers,
another minim or crotchet,
after
bar,
in
Passing over the fact that Mr. Rockstro, in his example, has carefully cut Byrd's measures into two, we may remark that exceptions
somewhat frequent.
They are to be found even in Palestrina. In the Mass Admirabile Commercium for instance, there are fifty-seven of them at one point in the Sanctus— nine of them succeed one another with ostent ostentati atious ous rapidi rapidity ty in the space
to this rule are
',
And
of some twenty measures.
green
tree,
what
shall be
done
in the
in the blameless Palestrina,
what
Byrd?
is
However,
particular
rule,
there
are
dry?
we
to
is
what we
unduly on quite
fact,
this
case
fair
an instance,
It is nevertheless
show
find
from the nefarious
insist
matter of
(though no more) can be made out. rather an obvious instance, to
If this
to expect
no need
for which, as
done in the
if these things are
loving obedience
of
which Mr. Rockstro speaks is not always so readily forthcoming as one might have expected. Other rules are even less fortunate, and the impartial observer,
who goes
through the
all
list
in
spirit of
dispassionate inquiry, will begin to understand only too well his
perpetual difiiculty in finding passages
exactly adapted to illustrate
the precise rule falling under discussion
Yet the or
less,
the same
those to be found in al os
Who
invented
they have been perpetuated,
mi
wi'itten to
generis,
They
rules of Mr. Rockstro are not peculiar.
counterpoint.
Music
'.
meet
ever ev er
are,
more
text-book of
them, goodness only knows;
it
passes the wit of
their requirements
is
man
to
why
explain.
something altogether
purely academic by-product,
Music that never was on sea or land.
What
then are
we going
to
The
do
rules of counterpoint
are
found to have no connexion with musical composition as practised in the sixteenth century are we to abandon the rules, or abandon the
sixteenth
Follow Byrd and
century?
Palestrina,
or follow
Mr. Rockstro and Proiessor Prout
The present volume as it concerns himself.
is
the writer's answer to this question, so far
It
is,
in the main,
century technique, and, as such, deserving of study.
No
it
an ex expo posi siti tion on of sixteenth-
assumes that that technique
is
student worthy the name, however, will
be content with assumptions.
He
will
devoting his time to counterpoint, he
is
demand
reasons.
entitled to ask
Before
whether
it
THE POINT OP VIEW is
likely to prove
from
and what he stands
profitable study,
it.
In the
place, there
first
question.
is
the purely
aspect
historical
and of the manner in which his materia
art,
The sixteenth century
musica has been accumulated.
question one of the great periods of music, and
bej-oud
is
technique
its
unlike the technique of any succeeding period deserving
study for
sake,
its
and ap appr prec ecia iate te
particular style
true enough, but
certainly
be said that to understand
also true that
it.
by actual practice you
acquire an inside knowledge that you get in no
student of painting
quite
not necessary to practise
is
it
is
all
and from no other motive than
may
that of intellectual
is
of the
Every serious musician should have some knowledge of
the history of his
That
to gain
other way.
spends in copying
regret the
models by Rembrandt or Van Uyck or other great masters of the he thus obtains into their technical aims and
past, lor the insight
him
methods
to appreciate their genius
own bent
of style, even though his
painter
as
may
lie
in
sense quite
musician should not hesitate to spend
Similarly
other directions.
and develop
few months in mastering the idiom of the great sixteenth-century composers, for
in
he will enlarge
so
horizon,
acquire some sense of scholarship, and realize more tally the continuity of musical progress.
But, for the composer at any rate, the study of the sixteenth
century has
Above
all,
very real practical as well as
the lesson
has to teach him
it
historical
is
that of rhythmical
we have been rhythm has become
freedom and subtlety.
For three hundred years or
slaves of
and our conception of
line,
We
purely metrical.
interest.
so
learn, probabl3% to distinguish
between secon-
dary' rhythm, which places
strong accent at the beginning of
each bar and admits
vari va riet et
accents,
regular groups, usually of two, four, and
selves into neat
so far,
of
we
stop.
its
true
beginning
way
tire of this
ot escape
of
each part
is
accents, there is
regular
we have
nature,
Now,
from
it.
To the
ourselves
to
at long last, composers are
free, but,
century is
thej^
can
no con-
The rhythmical accentuation
independently of the
an imaginary of
si.\teenth
In that period there
rhythm and metre.
alternation
suffered
monotonous, mechanical sing-song, and to
turn, not in vain, for guidance.
fusion between
eight.
Of the wider implications of the term
remain in complacent ignorance. seek
of figure in between those
primary' rhythm which measures out the bars them-
and
Having got
cert ce rtai ai
actual rhythmic
tnetrical accentuation
strong and
weak
beats
which imposes to
which the
THE POINT OF VIEW iiarmony of the composition has to conform, although the melody of each voice pursues its own way untrammelled. As soon as student begins the study of sixteenth-century music, this
is
the
first
on his notice; he finds out that in order to write in the idiom of Morley or Orlando Lasso or Vittoria, he has to
fact to force itself
slough
his old preconceptions,
all
what rhythm
time,
first
most valuable lesson
really
and ask This, as
is.
composer has to
study of this period.
One might
search diligently through
perhaps for the
was
said, is
it
for
this
reason,
and in no
present writer has found
is
possible to
the text-books'. English and foreign,
all
of the last three hundred years, and never find so of it, to put the student on the right track. It is
far the
moment, from
learn, at the
add, too, that
by
spirit
much
hint
as
of iccmoclasm, that the
himself compelled to reject in
the
toto
methods of instruction, and to indicate an entirely new and, as it seems to him, more hopeful line of approach. The starting-point has been the conviction that counterpoint, if taught traditional
at
all,
must be taught,
as Mr.
in the sixteenth century.
Rockstro says, exactly as
Hitherto
it
it
was taught
has not been so taught
even
Dr. Kitson (the only authority to betray any real uneasiness) gets no further than to say scholastic counterpoint is the adaptation of the principles of Palestrina to modern conditions'. of adaptation,
unfortunately,
rhythmic
the
In the process
principle— the
only
principle that really
any
case,
is
sixteenth?
matters— has somehow disappeared and in the nineteenth century any less obsolete than the
Is it not better to
approach the sixteenth century in
spirit of humility, to take it just as
certain that
we know what
its
we
find
principles
make were, before we
in order to
it,
really
begin to try and adapt them It will also be of
sight
into
to-day
minor
is
advantage to the composer to acquire some inthe workings of the old Modal system. On all sides
heard an outcry against the shackles of the major and
scale
on
all
sides
we
see
problem of musical form, and be,
an inclination
to reject
to
re-examine the
the view which holds
it
to
mainly, the passing from one clearly defined tonality into other
related tonalities,
ment
and back again.
to consist in
We
no longer imagine
develop-
saying in Gb what you have already said in
Bt>,
and many composers, both by precept and example, betray their belief that tonality, in its present form, is
outlived
its utility.
In th
M. Vincent d'liidy's Cours of those
on
h.ive met.
point
sixt si xtee eent nt
convention that has
century the student will see
de composition mxcsicale is the sole
Neither
nor Padre llartiai
honourable exception offers
any guidance
THE POINT OF VIEW the working of rather
different system
here that the system
is
more
he will find
usually admitted, there are certain features of
it
text te xt-b -boo ooks ks
him, for most of them carefully evade the question.
more
an exception,
is
No
acci ac cide dent ntal al of any kind
exercise but the Final
Bb
is
Cadence
now
CXXXV,
with the exception of an occasional
can scarcely be tolerated, except in Modes the student
we
must be in intr trod oduc uced ed into any part of the but even this
the Tritonus or the False Fifth
to correct
or shall
Rule
too apparent.
fail
Mr. Rockstro
his disingenuousness
ingenuousness
call it his excessive
is
which he cannot
Here again, however, th
suggestive.
to find
fail
own than
to our
closely allied
I, II,
V, and VI'.
Let
turn to the opening chords of Palestrina's iStabat
Mater (quoted in Ex. 39) or of Bone Jesu (Ex. 194) and ask himself how he is to account for them. either It is the old story
One
he must scrap Mr. Rockstro or he must scrap Palestrina. Rockstro with reluctance, for he was
singles
the
field,
and
his articles in Grove's Dictionary contain
of real value.
is
It
is
What
lesser authorities.
him
is
very reason that
his
that
Rules of
in another
is
probably ignorance, in
sheer dishonesty.
reform that
most
is
needed will inevitably encounter opposition, and
foolish to
assume that such opposition
experience to
grant
whom
j'ou,
this
may say, that many details they
itself at first sight.
the rules of counterpoint need
bear no relation to the practice
of the great Polyphonic School of composition, but
be simply the entire
necessarily blind,
wisdom and
book will not commend
they
revision, that in
is
There are many
perverse, or malicious.
We
for this
much
cannot be passed over in silence, like similar works
Counterpoint
by
pioneer in
amended where necessary? system? Why cannot you
Why
why cannot they
must
challenge
leave us our Canto
Fermo
and our Five Species?
The answer
is, first,
the text-books take
When
it)
(in the sense in
which
was, even in those days, an obsolete survival.
sixteenth-century composer set to work to compose on
Canto Fermo, he did not spread
out in front of him in
it
of stolid, unappetizing semibreves.
He broke
and treated tliem thematically with could devise. as
Fermo
that the Canto
If
he used the text-book
he did occasionally (see
archaism.
To
an utterly
p. 9,
note
up
into fragments,
the rhythmic ingenuity he tj'pe of
1),
Canto Fermo at
he did so
set such things before
as
all,
deliberate
as
method of writing counterpoint, is to melodic invention at the outset, and also to give him
and indeed the only paralyse his
all
it
row
possible,
false idea of
musical history.
As
for the
Five Species,
THE POINT OF VIEW more
needs
it
than the present writer to find any
skilful advocate
They do untold harm by professing to student variety of rhythm, whereas all they really admit
plausible defence for them.
limited variety of rhythmic figure
certain
IS
regularly recurring meti'ical accents.
between
in
fitted
They perpetuate the tyranny
of the bar line, and do more than anything else to cause that con-
rhythm from which
fusion between metre and
it
is
the special
mission of counterpoint (rightly understood) to deliver
from
method of employing passing the simplest forms of discord,
notes, all
lessons
on
think
longer name'
But the
there
candour, at
is
pupil's reply is inevitable
what do
call
rather fun to put you through
is
it
What we
gain by
this
harmony.
in
basis
only
is
we
but
again, and call
it
it
by
in such an attitude.
least,
may
It
it,
the
if
counterpoint
You have already been through
elementary harmony.
the
is
of which he has already learat
course, if counterpoint is frankly taught
teacher says openly to his pupil,
them
and preparing and resolving
have learnt— from his
or should
Of
from
the student can possibly learn
Apart
us.
But
be fun for you.
it
must not be thought that the method of instruction implied in
It
the sequence of chapters in this volume involves or permits any relaxation
The student who embarks on
of discipline.
such belief will be rudely disappointed.
He
he was formerly chastised with whips, he scorpions. like
Byrd
It is it
much
They are of any amiable
is
where
chastised with
ream
moment
to discourage the
kindly warning, that he
just desire
to
of scholastic
Thomas Morley.
single page in the vein of Mr.
may
not suspect
From
cast authority to
arbitrary rules, claiming
he
now
any
easier to write like Cherubini than to write
These remarks are not intended for learner.
in
will find that
requires far less exertion to produce
counterpoint than
us
is
it
to
which they have no
right,
entitled to be free, but there are plenty of genuine rules ready
to take their place.
And
if
know, in theory, that of Tallis and
he
is
wise, he will not
to
ultimate sanction rests in the practice
Byrd, of Lasso and Palestrina.
He
will
begin by
frequenting the precincts of Westminster Cathedral, or any other place where this music
is
habitually
knowledge of counterpoint which have begun
to realize its beauty.
sung.
He
will
then have
can impart, for he will
II
THE MODAL SYSTEM I.
Every student knows
notes represented by
that if you take the diatonic series of
white keys of the pianoforte, the sequence
tlie
and
lying between
what we
call the
that
possible to start also on
major
that the notes from
any of
(or
scale.
It
may
not have occurred to
any other notes of the
say, or
to
their octave octaves) s) consti constitut tutes es
series,
him and
give other scales,
to g, will
and yet differing from
it,
and from each
other; similar, in that they all consist of five tones
semi-
similar to the major scale,
the tones and semitones varies
tones; differing, in that the
with each respective is
TTSTTTS
In the
scale.
in the
scale it is
scale, for instance,
ttTTTSTT.
You
are
the order
working on
the same diatonic series, but by selecting another note as your
and finishing
starting
of that series. seven, fo
afte afte
point,
How many
you
nv
new
ge
such modes can you have?
first.
The modal system, however, recognized
of distinctions, based not on the order of
on the compass of the melody.
between the be in
its
mode and
Authentic form its octave, it
the last
e.g. the
its
if it lay
was
further set
in
any given mode lay
octave, the
mode was
said to
between the dominant of the
be in
alike, of course,
repetition
tones and semitones, but
melody
If
mode and
final
Authentic melodies
mode:
Clearly,
the seventh, whether ascending or descending, you
reach the octave, and your next series would be merely of the
mode'
aspect or
its
had
Plagal form. to
end on the
(Plagal and final
compass of the Dorian [Authentic] mode.
of the
D-d,
is
same as that of the Hypomixolydian [Plagal] mode but the Dorian melody whereas that of note of Hypo-
mixolydian must be G.)
There were thus in
all
theore reti tica call ll fourteen theo
seven Authentic, and seven Plagal.
they were, what names
Ex.
given
to
will
them,'
poss possib ible le
modes,
show exactly what and which notes
These iLimes were borrowed from the modal bystem of the ancient Greeks, but it must uot be imagined that the (Jreek system and the ecclesiastical system were To enter into the difference here would merely belog the student, who identical.
would be well advised not
make
it
to trouble his
special branch of study.
head about Greek music, unless he intends to
THE MODAL bYSTEM served as the dominant and mediant respectively in each mode.
For the time being, the student should notice That the eleventh and twelfth modes are purely
1.
theoretical,
the imperfection of the fifth and the redumlaney of the
making the
fourth (B-F, F-B)
series qu quit it
both
unus un usab able le
in Plagal and Authentic forms.
That the dominant of the third mode
2.
is
C, not B. although the
compass of the corresponding Plagal mode reason the
is
would expect, the dominant being nor-
(as j'ou
mally
fourth below the
for
It
it.
was the original dominant of
that although
mode
The
B-b.
is
was eventually substituted
final),
was found, probably, that B, being
cons co nsti titu tuen en
of the forbidden tritone F-B, was not fitted to serve as the
most prominent note That (possibly
3.
mode
(after
same
for the
the
final)
of the mode.
reason) the mediant of the seventh
(and the dominant of the eighth)
The the dominant
and not B.
is
mediant of an Authentic mode always serves
as
of the corresponding Plagal mode, except that in the iburth
mode The
the dominant
between Authentic and
distinction
illustrated
and not G.
is
Plagal can
Bold Young Farmer
from English folk-song.
stance, is Authentic (Mixolydian)
be
easily ',
for in-
'Trees they do grow high'
is
Plagal (Hypodorian). It should be here stated that this theory of fourteen possible
twelve
modes
actual
pass
formulated by Glareanus in published in 1547, i. e.
work
unchallenged. entitled
Earlier theory recognized
the series starting on D, E, F, and
corresponding Plagal ferred,
even in
much
forms;
It
was
and first
Dodecachordon, and eight
modes
only,
respectively, with their
and conservative writers
still
pre-
adhere to the old ecclesiastical
later times, to
AVhen we have seen the modifications crept into the modal system, we shall see that
tradition of eight modes.
which, in practice, the
difference
one of doctrine rather than of
we must now
modifications II.
is
First of
all. it
may
reality.
Tliese
consider.
already have occurred to the student that
the distinction between
and Plagal, valid enough from purely melodic point of view, must necessarily be difficult, if not
impossible, to maintain in polyphonic composition for
The natural compass of of
tenor, is about
alto to tenor,
fifth
bass, for instance, as
below
and of treble to
alto.
mode whose Authentic compass
mixed
voices.
compared with that
similarly with the relationship of
Therefore, if you are writing in suits
corresponding Plagal compass that will
tenor voice, lie
it
will be the
most naturally
for the
THE MODAL SYSTEM bass,
and
And
so on.
you turn
it
composition of the period
to the
what happens, you find this is actually the case in four-part composition for mixed voices, two parts keep generally to the If the tenor and treble are Authentic compass, two to the Plan;al. to see
How
Authentic, the alto and the bass will be Plagal, and vice versa. then,
may
it
in
any given mode when,
is
admittedly in another?
The answer
if
half of
them
composition
is
convention
If that
considered as Authentic
is,
survival
of course,
the other parts singing round
By
Authentic, the whole
is
This
if Plagal, as Plagal.
from earlier times, when
all
plain-song melody sung by the tenor,
composition was based of discant.
that the compass of the tenor
is
the determining factor.
is
in one mode, the other half
it is
that such descriptions are purely conventional, and
is
the convention governing part
composition as being
can you speak of
well be
it
faux-bourdon or some other form
in
the sixteenth century, however, this strict writing
comCanto Fermo had been superseded by other methods ;* invent his own themes if he wished, and if he poser
on
plain-song melody
used
employ
still
rule, thematically,
as
it,
he
(as
very frequently break
i.e.
it
he would
did),
up into
its
com-
ponent phrases, and devise rhythmical variants of these for fugal
But the tenor continued
treatment (see Chap. VII).
name
mode
to the
whole composition
to dictate the
quite irrationally, for
the final of the mode, which
the tenor did not necessarily
can only be determined for certain by looking at the the bass.
which
It is the bass
composition
which gives you the
whether the form of that mode
the
mode
in
the tenor which decides as to
written;
is
final of
note of
last
is
to be considered as
Authentic
or
While we are touching this point, it may be as well to transposed mention also that all the modes could be taken in III.
position
fifth
such transposition.''
to indicate
was
It
every in
its
Bb in the signature, the true still
emploj'ed occasionally, however,
now and again upon aground
untransposed position in
biiss.
final
much
lustances
as
of
where.
In
all
Penitential
Psalm
of these, thougli,
tlie
is
and
D, and the com-
composers to-day
the use of
semibrev semibreves es can be found in Byrd's Cantiones Sacras (1589
Orlando Lasso's Sixth
final
If the bass ends, for instance, on G,
order to declare the mode. is
in the signature
In this case, of course, the
note of the bass must be restored to there
Bb
below their normal range, with
still
wiite
strict Cunto
Fcimo
series, Nos.
18 and
in Aicliinger's Antiphonae super Psa:mos, Canto
Fermo
is
I'J)
and
in else-
given impartially to other voices
besides the tenor.
But the accidental Ab must not be employed
in th
be used freely in the untransposed form.
tran transp spos osed ed form of
mode
THE MODAL SYSTEM
10 position
Any
posed.
of th see,
either in the Dorian or the Hypodorian mode, trans-
is
other form of transposition
peri pe riod od
extremely
is
music
ecclesiastical
though in secular music, as we
rare,
Modern
there was less orthodoxy.
shall
editors, however, transpose
these old works freely to whatever pitch they think best adapted
modern
to the needs of
There
choir.
no theoretical
is
about this whatsoever; by putting, for instance,
you can get the Dorian
signature,
Phrygian (starting on
the Lydian (starting on
any other
similarly with
The
signature.
F),
on
in
flats,
one mode
between
Eb),
the
aud so on;
Gl7),
either of sharps or
differentiation
in your
five flats
(starting
series
difficulty
the
and another
depends not on any absolute difierence of pitch, but on the relative disposition
of the tonic and semitonic
singers of the at
any
pitch,
the
have sung their melodies
sixteenth century
thoy were taught by the
for
No doubt
intervals.
methods;'
sol-fa
but
matter of notation, only the one form of transposition was in
as
use, indicated,
as
was
transposing everything
might
by
said,
down
filth
up, as the
to be discussed are those permitted,
or rather, necessitated, by the laws of
To learn what
Ficta.
this means,
what
kuown
is
we can do no
punctl-^
Music
is
make
called Ficta
and conversely
semitone to be
Masica
as
better than take
the definition given us by the author of the treatise tone,
case
be).
The next modifications
IV.
single flat in the signature (Bb,
Ars
contra-
tone to be
semi-
For every tone
tone.
is
two semitones, and consequently the signs can appear between all tones.' In ot othe he wo word rds, s, Mus/ca Fida means, divisible into
as
we should
because
saj',
chromatic alteration.
long time such alterations did not appear iu the
for
written music.
Ecclesiastical tradition required that, in appearance
at least, the diatonic
and the chromatic singers,
integrity of the
were
alterations
who were expected
modes should be respected,
left
to introduce
accordance with certain more or It
was called 'Ficta'
It
to the
them
less clearly
must here be frankly stated that there
discretion of the
in performance, in
understood is,
rules.
and always
will be,
certain difference of opinion as to the exact interpretation of these rules.
The
earlier theoretical writers
selves clearlj' on tlie subject,
do not always express them-
and one cannot turn
to the
compositions for enlightenment, lor the simple reason that stated) the alterations
were not at
Ancestor of our own Tonic Sol Cousseinaker,
Aud
lonji
fa.
Hcriptores, iii, 23.
.liter
this
prejuJice
first
See Oxford
permitted Uistortj of
Quoted by Wooldridge, liad
disappeared,
the
to
(as
actual
above
appear in the
Music, vol.
ii,
pp. 72-31.
op. cit.
custom
itself
rem.iined.
THE MODAL SYSTEM music.
There
evidence that
is
and (probably)
dilferent periods
trained singers
it
oi'
Musica Ficfa varied
matter of instinct rather than
To investigate such
mechanical application of definite formulae. is
at
in different localities; with highly
doub ubtl tles es became do
matter
11
the task of the historian.
It is
beyond the
scope of this treatise, and the following rules must be taken for
general guidance only.
The
does not admit of dogmatic
subject
same time, the student who observes these rules and he had much better adhere to cannot go very until he is experienced enough to use his own them
ruling;
at the
discretion. 1.
The
and
tritone
the diminished fifth
its correlative,
bidden intervals, both in melody and harmony.
are for-
was the
It
necessity for correcting these intervals that first gave rise to j\[usica Ficfa,
B> always being sung instead of Bd where
nece.ssary for this purpose. 2.
It
by sharpening the
effected 3.
this purpose
was soon recognized that
as
could
be
as
by flattening the B.
The convenience of being able to alter the remaining intervals similar manner could of the scale (D-E, G-A, C-D) in overlooked, and the chromatic notes purpose, Eb,
tliis
4.
These
five
GjJ,
CS, also
came
chromatic notes, Bb, Eb, F5, Ci. G<, are the only
chromatic notes permitted in the
monic
strict
modal system of the
The>j are not to be taken as the enhar-
sixteenth century.
made
into general use.
D%
of
&?, Db, and Ab.
their appearance tentatively in
These
some of the
secular music, but they are not used with
latter
earlier
any freedom until
the close of the period, by which time the madrigal writers
had virtually ceased
to
nominal respect
pay even
to
modal
propriety. 5.
The most important use of chromrxtic the perfecting of the tritone, cadence.
This
is
explained
in
is
and
alteration, apart
from
the formation of
illustrated
in
the
tiie
next
section of this chapter. 6.
Whei-e
melody
by the same
rises or falls
by
tone,
progression (but never,
when
would often be sung e.
A^
was largely taken for inserted in the music being, as
Clironi;iiic iilteration
the acciileiitals
falls or rises
interval, the tendency is to reduce the tone to
semitone by chromatic alteration
Bb
and then
could not be trusted to introduce at their
own
or
Db
possible. Gjf
C,
E.
A,
discretion.
the as
because A3 and
tlirougliout the Polyphonic rule,
g.
period,
only those which the singers
THE MODAL SYSTEM
12
Db, as already explained, do
emphasized that this application as student,
only
tendency
its
it
mnst be
indiscriminate
The
results.
occasion to use such progressions in
writing, should
each case
consider
The beauty of the opening phrase of
merits.
Christi, for instance (see Ex. 192),
On
were sung as Eb.
the
But
would have disastrous
rule
when he has
own
his
is
exist).
own
its
Veni.
Sponsa
would be utterly ruined
if
the other hand, in the cadence
from Sacerdotes Domini (Ex. 245)
is
it
precisely the logical
FQ of the
application of this rule, causing the
answered by the F« of the
on
treble, that gives the
alto
to be
cadence
its
extraordinary fascination.
We
V.
must now consider the type
writing of the sixteenth century.
of cadence used in the
Cadence
modal
in its derivative sense.
means simply fall plain-song and the cadence of melody was formed, as rule, by descending, or falling one degree of course,
',
to its final.
It is in this sense that
That
One
of the
first
strain again, it
Shakespeare says
had
dying
problems harmony had to solve was the accom-
paniment of this melodic procedure by the After various experiments
method
satisfying
fall.
it
either above or below
or voices.
was found that the most natural and
in two-part writing
voice to ascend to the final
he
by
was
for the
semitone.
accompanying
This could be done
in the former case, the final chord
would be
that of the octave, the penultimate that of the major sixth latter,
in the
the final chord would be the unison, the penultimate that of
the minor third (Exx.
In three-part writing,
and it
illustrate this in its simplest form).
was found that while the two upper parts
were engaged in the manner just described the best thing could do was to ascend to the final by fifth
and
(Exx.
by
(Exx.
tone to the
and
simply
7).
semitone to the octave, the other either fifth
or
Thanks
semitone to the third pares, the
cadence
is
ibrms, with one or more notes
Musica
Ficta, as described in the last section,
these cadences can be formed on or
by
to 14).
to the aid of
and B.
fell
In writing for four or more
variety of one
doubled (Exx.
by
it
If the cadence itself was in the bass, one of
5).
the upper parts rose by rose
fourth or drop to
any degree of any mode, except
Before explaining the treatment of these degrees, one
two further remarks must be added about the normal cadence. By
bass'
acting bass
',
is
me.int litre the lowest of the parts employed at the moment.
so to speak.
The
THE MODAL SYSTEM not
be noticed in the above examples the final chord
It will
(a)
13
we should
invariably, as
Even
complete.
say,
in
is
four-part
writing the sixteenth-century masters often preferred to omit the third from their final chord.
When
{bj
the third
made major by of the mode it case,
and
present in the final chord,
is
the help of Musica Ficta, no matter on
In the
occurs.
(c)
in
its
Elsewhere it
simplest form.
introduced, whose clearly
manner';
in binding
treated
defined
discords
is
Exx. 15 to
the option of
naturally minor, hut not
is
to
~'3
practice,
cadence
may
be
plain
(within
or
will give the student
some
three
for
or
the preparation
more
tone to the
Mass),
later).
may
But
be quite
in
when
parts,
final,
may
of
fall
bass
fifth,
the
tone to the
rise
composition
the
(or
one of the
the tenor almost alwaj's does one of
these two things (except in sidered
period.
fourth or
In the cadence at the end of sections
certain
The treatment of suspended Chapter V, but meantime glance at
in
tenor, instead of falling third.
usually
ornamental.
limits)
composition
In
is
single or double suspensions are
i.e.
resolutions
explained
In
proceeds to the final by the rise of
parts
invariably the
is
it
and formation of cadence in the composition
main
what degree
The examples of cadence already given show the harmonic
skeleton
(d)
usually
naturally major.
it is
if
is
is
any important cadence that marks the end of
so also in
the writer to sharpen the third if it
cadence this
final
clearly-defined musical section.
flatten
it
Plagal cadence which will be con-
an intermediate cadence the spacing of the
difi'erent.
Exx. 24 and 25 will make this plainer
than any verbal explanation could do.
The student
will already have realized
that this uniformity of
cadential treatment, together with the other alterations permitted
by Miisica
Ficta,
tends
to obliterate
between one mode and another. tant modifications
This
very largely the distinction is
mentioned
the second of the impor8.
First
the
distinction
between Authentic and Plagal went by the board, so that our twelve possible modes (the are reduced to for B, the
six.
modes being impossible
in
any
case)
Secondly, by the constant substitution of Bb
Dorian and Lydian
virtually transposed
forms of the Aeolian and Ionian respectively, so that really we have only four modes instead of
six.
Moreover, the Mixolydian (G) mode,
thanks to the sharpening of the of
its
personality, and tended to
at the cadence, lost
merge
capitulation was not so abject as actually appeared in the signature.
good deal
into the Ionian, though
its
that of the Lydiau, whose Bb
THE MODAL SYSTEM
14
Theory was thus quite was
It
and
mode mo des, s, with their corresponding Plagal forms).
Auth then enti ti four Au
(i.e.
modes only
justified in recognizing eight
however, to admit the Dorian and Lydiau modes,
illogical,
to exclude the Aeolian
and Ionian.
In reality
former modes that were absorbed into the
it
latter,
was the two
and not vice
versa.
mode
The because
not
it
remained distinct from the
(the Phrygian)
did not admit of
perfect cadence, as the note Dj?
The Phrygian cadence was formed by the bass, or lowest descending to the final by semitone, whilst the upper part
ascended by
tone to the octave above.
In three-part writing, the
motion of the additional part was from gression being thus
upwards, the (Exx. 26 to
by
Plrtgal
In four-part writing and
could be doubled in the penulti-
was often reinforced
cadence
at the
one in which the
(i.e.
preceded' by the chord on the fifth below the final If the
modern terminology, and that, as Dominant of the Hypophrygian mode). Phrygian
however,
is
chord
fact,
Very often the Plagal Palestriiia, who employs the
espe especi cial ally ly in
The
cadence very sparingly.
Phr\'gian
cadence,
often used as an intermediate cadence for the sake of
way on cadence may
in this
The Plagal as well as the
and
as well as
Phrygian (Exx. 32
is
both care and judgement are required.
the
way
for
it
by
full
it
properly, he
close,
The
Vittoria.
intermpted
who
has
cadence
may
Two 1.
its
It is particularly
ruption (Ex. 36).
is
it
be wise to
up with
device).
used as freely in the music of the
employment;
points, however, are
use
by Ex. 33 from
sixteenth century as in music of the harmonic period.
can be given for
to
this
special fondness is
modes
Until the student
following
Plagal cadence as reinforcement (as illustrated
motet by
can
in itself less directly
the perfect cadence, and
certain of his ability to handle
prepare
It
to 34).
it
E.
also be used freely in all the other
conclusive in character than effectivel}'
the
is
variety in compositions that are not in the Phrygian mode;
be
is
sub-
as
tliis
matter of
this is
used used
final
com-
but he must remember that
dominant progression, well and good
is
end of
in this case on A.
student likes for convenience to think of
cadence alone
somewhat
as this cadence is in itself of
it
pro-
chord completed by the addition of the
final
inconclusive character, position
(or both)
But
31).
to G{{, the chordal
GJf E.
or the
mate chord, and the
is
did
exist.
part,
true
others,
it is
No
recipe
matter of musical instinct.
worth mentioning
effective in fugal writing,
when
the
inter-
caused by the thematic progression of the bass
THE MODAL SYSTEM
15
In the music of this period, the progression instead of being
2.
upwards from dominant to wards
subdominant', both words
to
modern sense It
submediant
being used in their
(Ex. 37).
remains to explain what
meant by
is
and what range of modulation
period,
means, in
is
modulation
the Phrygian mode,
it
When you
word, cadence.
does not
mean
at this
permitted in each given
'modulation to G' occurring in
for instance, of
down-
often
is
hear,
composition in
that the harmonic centre of
gravity has shifted from the tonality of
to that of
Such con-
Gr.
ceptions are quite foreign to the writers of the sixteenth century
what is meant is simply cadence has the ways above described) on the note G, in cadential
character
unmistakably
is
'regular and conceded modulations'
felt.
mode
separate
position
where
its
The usual
tables
of
commonly
more
in practice, rather
is,
given, refer only to
list
given for
is
the
Plagal
The following
restricted.
has been arrived at empirically by the
list
one of
in polyphonic music the range of modulation permitted
plain-song in each
(in
present writer;
modes, as
it
no
extremely
is
doubtful whether, from the point of view of modulation, any abso-
and Authentic forms can be
between
lute distinction established.'
Dorian
F,
EAG, FAC, GDC,
Phrygian
Lydian Mixolydian
A&F.
..
D, F.
,.
must be observed that Padre Martini
forbids modulation
being
di
D.
CGA,
Ionian
as
C, D.
EC,
Aeolian
It
and more sparingly, G,C.
and 'alienissima dal Tuono
Contrapunto. parte prima, p. 26, note). it
is
at the
mode.
in the
Mr. Wnoldridgo' stable (given tliflt
ha
detail
liaJ
come
to
simila simila
with that here given.
words
Credo
in
coelis
MarcelU, which
This rule
cannot be taken as absolute.
the reiterated close on descendit
very great authority)
on the second and seventh degrees of any mode
troppo irregulare
infringed that
(a
of
But
in
so frequently
See, for instance,
et propter
nostram salutem
Palestriiia's
Misna Papae
In the same composer's hymn.
in the Oxford Illstory,
concl conclus usion ion
is
{Saggia
vol.
although his
series of articles
list
ii,
pp.
200 201) 201) suss susses ests ts
does not agree in every
by the same writer which
appeared in the Musical Anliq'mry in 1912-13, the Plagal and Aiitlientic modulations are not always given
some
as
identical.
difficulty in arriving at
Evidently Mr. WooldriJ^e
Hnal conclusion.
(,like
myself) founu
THE MODAL SYSTEM
16
Tantum closes
No
Ergo,
on D. cadence
which
is
in the
mode, there are two clearly marked
Similar instances are not hard to is
find.
ever formed on the note B. because (owing to the
non-existence of DJ),
it
cannot be made the basis of
major
triad.
Even the Plagal and Phrygian cadences are therefore impossible the perfect cadence more obviously so, because the final chord but the penultimate chord as well (which would require the note
Ajf)
cannot
orme or med. d.
Ill
EHYTHM It has already been observed (see
that in the polyphonic
p. 3)
double system of accentuation music of the sixteenth century employed. The rhythmical accentuation of each individual part free,
that
is
intervals,
say, the
to
one another in cult to grasp at
as
conform
whole does
to
scheme in which strong and weak accents succeed pre-determined order. This idea may seem diffibut the student
first,
consideration will find that think.
is
accents do not occur at strictly regular
whereas the composition as
fixed metrical
is
it is
gives
fe
it
mome mo ment nts' s'
not really so unfamiliar as he
In the rhythm of poetry there
any one may quickly convince
who is
may
precisely similar duality,
Take the familiar open-
himself.
ing of Milton's Paradise Lost
Of JIan's first disobedience, and the fruit Of that forbidden tree, whose mortal taste Brought death into the world, and all our woe, Sing, Heavenly Muse There foot
is
no doubt
as to the
iambic metre which
is
metre of this
it is
the
common
five-
scanned thus
very ignorant person would accentuate the lines in this
but only
manner when reading them Of Man's' Of and so natural
less
that' forbid'den
accents
tree'
whose mor'tal
are falsely emphasized
rhythm and
served, for
dis'obe'dience and' the fruit' taste,
which the
This would be the merest sing-song,
on.
metrical
first
it
stress of the words.
at
The
the
expense
latter
of the
must be pre-
enables us to distinguish between the more and the
important elements of the thought which the
convey.
Yet the metrical scheme also persists. You may not hear it, but kind of it is somewhere in the back of your head all the time, as pattern or standard to which every line of the poetry
more or
less
unconsciously, for comparison.
And
is
referred,
the delight of
reading good verse arises largely from this duality of apprehension.
RHYTHM
18
Each verse
as
it
comes
both true to
is
ear catches the stress in
itself
mind
the
all its variety,
and true
to type
the
retains its hold on
the quantities, short and long, short and long, in orderh' recurrence.
Between the rhythmical accent
accent
(the
metrical accent (the accent of quantity) there
and
of stress)
the
continual inter-
is
play
sometimes they coincide, sometimes they are at odds, and the rhythmical problem before the poet is to strike the just balance.
Too much coincidence means monotony
much
too
at-oddness means
chaos.
Now, once
it is
double system of accentuation
realized that
habitually employed and recognized in poetry, there in applying
may
he has come accent.
way
the custom of the bar-line, which
is
to regard as necessarily indicating
It will be
shown
difficulty
The only thing that
similar conception to music.
stand in the student's
no
is
strong rhythmic
later that the bar-line (inserted in
modern
editions of sixteenth-century music for convenience to the eye, to
mark the beginning of each measure) has Meantime,
accent.
example,
it
purely
and exercises no control whatever
significance,
proceeding
before
perhaps, advisable
is,
is
to
and
metrical
rhythmical
by
demonstrate this
discuss rather
more
fully the
difference between stress accent and quantity accent.
In most languages the mathematical distinction between long and
two
short (one long
shorts)
is
obse ob serv rved ed on only ly for metrical purposes.
In practice,
more
less
or less
amount of instance,
and
long,
short
many syllables when you see them
stressed, that
classify
language, tor
short
or
particular context,
in
them
as short
and can In other
or long.
semibreve
always equal to two minims,
is
dotted semibreve to three, and so on, and even if
likes to complicate matters
the space of
new is
by writing
relationship can
still
composer
five crotchets to be
semibreve, or five quavers in that of
or whatever the ratio
music
long,
dominated, and often actually determined, by
is
mathematically exact.
played in
dotted crotchet,
be stated in mathematical terms,
may
be.
Consequently, every note has to receive
if that value
immediate
is
vicinity,
itself felt as
it
or
The performance of concerted
only made possible by the strict observance
proportions.
and
own
the
In music, on the other hand, quantitative relationships are
stress.
|,
in our
according to
is
words) whether they are stressed or un-
you can
words, quantity
the
short,
long syllable
very
judge (by the sense
and
more or
stress it receives in utterance
only
convention
largely theoretical,
longer than the values of the
tends to assert
itself
the accentual centre of the
timeits
just ju st va valu lue, e,
notes in the
over them and to
me
try to
make make
RHYTHM am le (Ex.
by
this clear
have no time-signature,
j-ou
of any kind to prejudice you, no text to show
metrical al indica indicatio tio no metric
you where
Here
38).
19
might be required by
stress
of the words.
Suppose you try to articulate the passage.
It is
obvious that to
up into regular groups of three or regular groups impossible, save by an act of sheer violence. Try as you
split it
will not be able to feel that the
main accents
fall
is
you
ma}-,
in any
other
places than the ones marked, for the simple reason that at each of
these places there
momentary arresting of
is
which catches your attention and keeps until the flow
is
it
That instant
resumed.
rhythmic
tlie
in suspense for
tiow,
an instant
make
quite enough to
is
you conscious that an accent has been created, without the aid of any dynamic
increase.
'agogic' accent felt that
by
stress,
Had
may
it
is
the force
almost be said to carry
of the
own
its
making the listener imagine it has been reinforced when as matter of fact it has not been so reinforced.
with
stress
So strongly, indeed,
it,
the notes in the example above been of equal
the
tendency would have been to hear them mentally as regular groups of two, three, or four notes, with an imaginary stress on the
Here one does
of each group.
varying
magnitude
differentiation
Now
an
affords
actual
of
basis
which the ear cannot ignore.
important
to
bear this principle in mind.
finding that the bar-line gives
him no
out where those accents are.
know how he
reader,
is
to find
In the music ot the sixteenth century
marks and sfovzandos,
there are no stress
The
clue to the positioir of the
rhythmical accents, will naturally want to
music.
note
cannot do that, because the
not,
notes
first
as there are in
modern
There are the words, certainly, and where they indicate
they often do) the accentuation of the music to which they are there
is
But
of course no difficulty.
such indication
fit
many
set,
places they give no
movements
notably
the composer does not
in
(as
where
the music syllable by syllable to the text,
but writes the music simply as music, inserting at the beginning of the piece the text to which
the singer
the case
(as
may
it
is
fitted,
be) to
and leaving the copjist or
accommodate the
text to their appropriate musical phrase.
To
syllables of the
articulate such passages,
the student must find out where the accents ot duration are most
strongly
lelt,
and
principle on
the preceding paragraph he has been given
in
which
to
look for them.
expressed briefly thus, that followed (and
still
more
may
be
either preceded
or
That principle
note which
is
strongly, one that is both preceded
and
followed) by notes of smaller value than itself tends to have the force of
an accent.
In the example already given
there was no
RHYTHM
20
ambiguity; but melodies are not always so
may
maxims
following 1.
and he
often find himself in doubt, in
The student
obligin
do well
will
to bear the
mind
many
Accents should be neither too
There must
nor too few.
be enough of them to hold the melody firmly together and prevent
so to speak,
it,
detract from each other's importance.
so close together 2.
Th
rhyt rh ythm hm of anacrusic the
unaccented
Even
analysis of the
portant thing
melody
will be
many
He
not necessarily
'up-beat'
quite
is
common
rhythmical organism, built up
happens
haphazard
to find
just the
the im-
sense
of clearly defined
is
is
quite unamenable to
justified in regarding
momentary
lapse of technique.
own
counter-
properly constructed melody will convey to
same
freedom and balance
as the
prose
You can always tell when piece of sounds unrhythmic, and when you come to analyse it, you good writer.
composition of prose
generally find
its
failure
The stresses and congestion. They
are too few,
want of 3.
least.
series of unrelated sounds.
passage that
Homerus
point in this manner
2.
we
rhythmical
should always test the rhythmical structure of his
1.
as
have some method whereby you can apprehend
case of dormltat
as
')
be preceded by an
hands
different
by the methods here suggested, he
analysis
always
That does not matter in the
in detail.
accentual groups, and not as
it
may
is
doubtful cases, and
same passage by
is to
as
If the student
acce ac cent nted ed note
matter of discretion and
largely
is
to say, th
note or series of notes— an
show some divergence It
frequently (some would say
call it to-day.
there
so,
is
is
note of the phrase, but
first
should
phrase
that
from sagging, but they should not be
They
to one of th thre re
many, the
result
caus ca uses es
being
feeling of hurry
which gives an impression of
flabbiness and
vigour.
are too
feel
due
regular in their occurrence, in which case j-ou
lack of freedom, just as in cases
(1)
and
(2)
you
feel
lack of balance.
In music, in precisely the same manner, felt as
rhythmic or unrhythmic in
melodic period will be the distribution of the
accents complies with this twofold artistic requirement
freedom
and balance. It
has already been said more than once that the time-signature
at the
beginning of
metrical
significance,
sixteenth-century composition exercising
an
important
is
of purely
influence
on the
harmonic structure of the composition, but having nothing
to
do
EHYTHM
21
with the rhythmical structure of the parts taken individually.
now remains question
is
single vo voic ices es th that at
are very well
The harmonic aspect of the
to prove tliat this is true.
discussed in Chapter
known
moment,
for the
we have
It
Our
to consider.
it is
first
the rhythm
two
they are both from Palestrina's Stabat Mater.
Examples 39 and 40 show them barred out at regular
intervals in
accordance with the time-signature, and
at once that
to
attempt to
group
is to
it
can
stro st rong ng ac acce cent nt at the beginning of every such
make nonsense
of the words
for instance
Fac ut tecum lugeaui fac ut ardeat cor
meum
In amando Christum Deum.
The above
is
the same
two excerpts
rhythmic accentuation music only
line
the scansion
that
mical groups as
we
In Examples 39
clearly gibberish.
is
is
out in accordance
barred in
is
hi
ase, ase,
to say, the size
irregular,
however, to save space,
It
inte in tent ntio io
in
(*),
(in
Example
Example 40
triple (I).
being,
is
observed
39, for instance,
remains for the student to satisfy himself that such cases as this
are normal, and not exceptional.
of the period in detail,
which have been enunciated
is
he must study the scores
so,
few more examples are appended
but
purposely
To do
show that the principle
chosen to
not confined to any one country, language, or school
of composition. are
th
Furthermore, this principle
whatever the time-signature may be duple
so,
rhythm of the words and not merely
to reproduce their metre.
is
both cases
and conformation of th rhyth-
and designedly
shall see, to bring
the signature
with the real
It will be noticed that in
given.
we have
and 40
shown by the
In these examples the imaginary metrical divisions
marks indicate the
bar-line, while the stress
rhythmical accentuation.
It
must be remembered
marks do not indicate anything
in the
nature of
real
stress
violent sforzando,
but are there merely to show that the rhythmic accents do not necessarily coincide with
accents.
Morales (Spain), No. 42
No. 41
is
from
Lasso (Flemish, but at that
time resident in JVIunich), No. 43 from Byrd (Eugland), No. 44 from
Morley (England), No. 45 from Bertani (Italy). It is also worth noticing, that in secular composition (madrigals, canzonets, and so on)
principle of irregular accentuation
grea ea so systematically followed as in the gr
Quoted
is
not
sacr sa cred ed forms of music, the
in Arion, vol.
i.
RHYTHM
22
Frequently you will come across melodic
which resolve naturally into regular
sentences
duple or
measure; but the interesting thing to
triple
measure
not the measure indicated
frequently
is
If the former
signature of the composition. often
and vice
triple,
Morley)
Andr^ Pevernage)
duple, the latter
twos: in both these passages the unit of
6+2,
into
(b)
into
5,
now onward,
Fi'om
two fours or four
divides arithmetical!}'
((()
and in the second of them the rhj'thmical
do not coincide at
groups of
from
rhythmic group
illustrate the further point that
units need not subdivide geometrically into
of
(both
is
Examples 48 and 49 (both from
clearly.
this
illustrate
is
by the time-
Examples 46 and 47
versa.
that such
is
then,
it
all
with the metrical divisions.
will be
taken as clear that the measure
or time-signature of any polj'phonic composition of this
period,
sacred or secular, does not exercise any control whatever over the
rhythmical structure of any
individual parts.
was remarked above that the words of the text often indicate
It
While
the rhythmical outline of the music. sense,
it
must
composer
obse ob serv rved ed that
general
this is
is
nevertheless
rhythm
considerable extent to settle the details of his
with his own purely musical requirements.
in accordance
The examples already
quoted from the Stabat Mater are worth considering rather more closely
from
It is obvious
this point of view.
Palestrina could
equally well have set these lines without telescoping the measures, as
(Exx. 50 and 51, for instance, are also quite
he actually does.
why
not so set them
did he
preferred
h3'mn
is
the
in
freedom and
trochaic
How
be realized by examining the oi'
Stabat
another consonant
is
it
to
skilfully
first
some
between two other
extent,
But he
is
as
he de-
distorting or violating
he reconciles the two can
instance
in
The composer and
w)
as giving greater
is
Here the
detail. its
and particularly the consonant
semibreve.
prominent.
way
unimpo unimporta rtant, nt, but from
ceitain qtxantitative value.
on
w|— w|— w|—
four-foot,
without in any
rhythm of the words.
to dwell
metrical text (this
an irregular musical accentuation,
flexibility
second syllable
the only answer can be that he
that even in setting
otherwise
it
liberately chose
the
To the question,
musical equivalent of the verbal rhythm.)
fair
position before
m—
it
acquires
therefore at liberty
matter of fact he gives
it
the
careful to put this semibreve in
equal value, so that
In the third measure, on
it is
not
made unduly
hand, the third
syllable of t/o/oj'osa— clearly the accentual climax of the line— also
receives the value of
semibreve follows
semibreve and no more
note of only half
its
own
but in this case the
value, so that the ear
RHYTHM will
more
23
easily recognize its accentual force.
slight increase in
dynamic stress— for which the choirmaster can be trusted— that
needed
is
make
rhythmical importance unmistakable.
its
waste of time for the student to examine some of the
not be
It will
to
remaining examples by himself, considering
whether the composer could have
(1)
all
is
equivalents for the given texts, and
evident reason
why he
carefull}' in
found
(2) if so,
other
each case
rhythmiial
whether there
any
is
should have given this particular one the
preference.
In the examples so far given the text has clearly indicated to some extent the rhythmical outline
To supplement
music.
these,
one or two examples from settings of the Mass are appended to show the student
how
the composer
b}'
the same ideal of freedom and balance
when
there
is
no verbal rhythm
is
aimed
to influence
In articulating these passages the only principle to guide us
one
enunciated,
alread}'
viz.,
that any
at
him. the
is
momentary reduction
in
the rate of the rhythmic flow tends to create an accent, and that
such an accent, though strictly speaking an accent of duration only, tends to carry
its
own
stress
with
Applying
it.
this principle,
we
find
once more that the accents occur irregularly, and that the rhythmical
groups or units defined by them are correspondingly irregular in
That
is
just
what we should have expected, having found already that
in sacred music (even to metrical words) this larity
same freedom, this
which never degenerates into contusion,
which the composer
ideal to
size.
is
irregu-
the rhythmical
aspires.
But the composers of the sixteenth century were with the
effect obtainable
by contrasting the
with the imaginary metrical accent.
Above
real all,
rhythmical accent
they loved to make
accents of each part cross and clash with those of
the
This constant rhythmical conflict
every other part.
is
the most
and suggestive feature in the whole of the sixteenth-century
vital
technique, and the one which the student should above all endeavour to imitate in his
at
first,
own
real technical discipline, but this
for
no discouragement.
The
difficulty
of realizing that the bar-line to
imagine
his
it.
new-found
As soon liberty,
to construct his
He
He may
counterpoint exercises.
is
is
find
it
hard
need cause him
largely one of preconception,
not really the tyrant
we have come
as the student is able to convince himself of
he will
rhythms
in
feel
nothing but delight at being free
accordance with his
own
artistic instinct.
will not regret his crutches as soon as he finds out that he is not
really
cripple.
few ex exam ampl ples es ha have ve been chosen
more
will be
to illustrate this device,
found in Chapter VIII, for
it is
and
an aspect of technique
RHYTHM
24 to
which the English composers paid
Byrd and Morley in daring and resourcefulness. them,
and many of
special attention,
exhibit an
particular,
now be
It will
extraordinary
why we have
clear
examined at such length the principles of rhythmical articulation single line of melody. governing It was necessary in order that
came
to illustrate the varieties of
which distinguish the music of later date, the st stud uden en
rhythmic combination
from
this period
the music of
all
himself on sufficiently firm ground
coul co ul
method of procedure, and not be compelled to ask at every turn, How do you arrive at this "Why do you scan this part in such and such manner, and this other part quite differto understand the
All
ently
we have
for themselves,
and
do now
leave
examples to speak
to assure the reader that
though they have been
to
is to
chosen specially to illustrate this in no sense abnormal.
the technique, they are
The method they
not the exception, as any one
may
satisfy himself
own
pains to carry out further analysis on his
In these examples,
the
repeated,
stated), aided
expo ex posi siti tion on edict.
account.
The rhythmic
felt.
is
it
ot
nten nt ende de
is
worth noticing,
same time in the the interval of
measures
dogmatic
as
and
alto part,
for
papal
In Ex. 55 the minim
points claim attention.
the same
of the
beat
rhythm
sixth
prevails at the
but the accents clash systematically at
The melodic progression of the tenor
beat.
also unusual in Palestrina, but is explained
is
the termination of
is
consecutive 5-note rhythms
the tenor part (commencing at the third
measure)
show
analysis,
in which every detail claims the authority of
the unit, and the occurrence of four in
will be at the
determined on general principles (already
is
by common sense
One or two
and
marks show where the
stress
rhythmical accents are most strongly
must be
who
as previously, the bar-lines are inserted to
the metrical divisions, while it
illustrate is the rule,
in
by
phrase on the third beat of the ninth measure,
the fourth beat being the
Ex. 56 the signature
instead of
is
instead of the minim.
commencement <$.
of
new
and the unit
is
phrase.
In
the crotchet
Here one must observe the prevalence of the
3-note rhythm telescoping the 4-note measures, and the ingenuity
with which these 33-no note te rh rh3' 3'th thms ms are made in
the different parts
characteristic fine instance of the
to overlap
curious complexity which
English madrigalists than the
same device
is
to be
is
one another usually
Italian.
more
Another
found in Josquin des Pr^s'
motet Ave Maria, at the section commencing with the words Immaculata castitas' (the whole of this motet is quoted in M. Vincent d'Indy's Cours de Composition mubicale).
(both
from Byrd)
call
for
no particular
The next two
instances
comment, except
that,
EHYTHM although the minim in the second,
the unit in the
is
Byrd (with
has used the signature
25
first
instance and the crotchet
these matter matters) s) his habitual carelessness in these
The
indifferently in both cases.
careful-
ness of Palestrina (as illustrated in the two pi'evious examples) less characteristic.
the feature
is
the 2-minim sequence in the bass heard against two parts,
in
5-minim phrase, treated
which
becomes prominent.
In
the
last
example
very
(a
Wilbye), each part (despite the signature C)
beautiful starts
extract (Ex. 59. also from Byrd)
In
freely-moving upper canonically,
no
is
off in
combining
measure, the two lower voices
smoothly-flowing
to pit their stress against that of the
upper one.
about the time-signatures employed
In conclusion,
may
in the sixteenth century
not be out of place.
The student
of
musical history will constantly come across the terms Mood. Time,
and Prolation, and he should know what they mean. the methods of sub-dividing
Mood
expressed the relations of the
Long was equal Time expressed the
They
all
note into notes of lesser value.
Long and the Breve
Mood
in
Mood
Perfect,
to three Breves, in
two.
relation of the Breve to the Semibreve
it
likewise could be perfect (sign
usually
Ct).
the Minim, ('lesser';.
absence of
of
(J)
Imperfect, to
or imperfect (sign
).
Prolation expressed the relation of the Semibreve to
and could
also
perfect
or
('greater')
was expressed by means of
Its perfection dot,
be
dot; in the
in its proper senses,
appeared (though the term was sometimes used loosely as
(very rare) ppf::>
(2)
pff>
opp
(I
time
the dis-
synonym
Time Imperfect and
(SO fso
(j
time). G).
time).
Time Imperfect and Prolation Imperfect
pp pp
or
(sign
Prolation Perfect (sign (i
(sign O).
our notation).
Time Perfect and Prolation Imperfect
ppp ppp (4)
had
viz.
Time Perfect and Prolation Perfect
pp (3)
By
and the time-relationships in actual use were the four
combinations of Time and Prolation, (1)
imperfect
Prolation was to be taken as imperfect.
end of the sixteenth century Mood, for Time),
or
(2 time).
(sign (J).
(J)).
RHYTHM
26
Towards the end of the century the sign especially
was also emploj'ed,
what we should
in secular music, to indicate
measure, the crotchet being the unit, and quite ii-rational,
and
time, so
just just as
should,
(J
or
1555) the signature
is
This was
by analogy, have both indicated In the
always
This first
is
clearly seen by
is
time. perusal
book of madrigals (published
and the time
(J
(published 1586) the signature
ment
minim.
could be used indifferently for
(J)
Custom, however, ruled otherwise. of Palestrina's madrigals.
call
in the second book
and the time
always
J,
the treat-
of crotchet, quaver, and semiquaver in the latter book corre-
sponding precisely in the former.
of notation as
to that of minim, crotchet,
The English composers were
we have
and quaver respectively exact in the matter
less
already noticed (Exx. 57 and
the risk of wearying the reader,
58).
And
at
must be reiterated that these
it
system of accentuation, are
time-signatures, so far as they indicate
purely metrical, such accents being shown only by the conformity the harmonic procedure in the matter of cadences, suspensions,
and
To the individual part
so on.
their significance
entirely non-
is
They show that each measure
rhythmical, and merely arithmetical.
many semibreves, each of which is in turn equivalent many minims they show nothing more than that.
contains so
value to so
in
In addition to these time-signatures, the sixteenth century could,
by means of the Proportional system, indicate greater complexity in th
subd su bdiv ivis isio io
two kinds
The Proportions were roughly
of note values.
Proportions of Multiplicity, and Proportions of Inequa-
The former expressed what we may
lity.
ships
e.
each note must
now
receive only
geometrical relation-
J, J,
or
meant that each note had previous value.
or Tripla, or
the composer indicated that |,
or
of
sub dupla, sub-tripla, &c.
Similarly, Proportio
its
call
by inserting the words Proportio Dupla,
g.
Quadrupla, or simply the signs
times
of
its
previous value.
(|,
|,
to receive twice, or three
and
so
on),
times, or four
This proportional notation was sometimes
useful for supplying the defects of the existing mensural
The
latter, for instance,
had no sign
of two
to be divided into three cr crot otche chets ts instea instea
done by the help of Proportion. poser wanted to write did
it
for
him
note-values,
in the
when
to indicate
Suppose
minim was
but this could be
sixteenth-century com-
passage sounding as in Ex. 61
manner shown by Ex.
61
a.
Proportion
The
original
of course, could be restored simply by inverting the
proportional sign,
correcting
the other proportions.
|,
versa,
and similarly with
Early in the sixteenth century the Flemish
composers habitually employed unnecessary and complex proportions in order to puzzle the
layman and guard the mysteries of
their
EHYTHM craft,
27
but by the end of the century the practice
repute,
liad fallen into dis-
and the proportions were used mainly, as we saw,
for
bona
fide notational purposes.
need not trouble us
The other Proportions— those of inequality Beside the simple geometrical
much. on,
relationships, such as
more complex
tioned,
singers and composers, actual ever,
composition.
(I),
and seldom,
if ever,
The proportion known
was of considerable
utility;
its
way
I,
|,
Vj and
so
of saying
xesqniaUera,
as
was
new
how-
to shorten the
notes having to
was the sixteenthdirection which is
It
preceding'—
o^'
J.
found their way into
effect
value of each note by one-third, three be played in the same time as two of the old.
century
*, |.
kind of mental gymnastic in the training of
mainly as
used
I.
elaborate of these were
The more
were recognized in theory.
men-
proportions already
why
modern student should not try his hand at some exercises in the more unusual comin fact, it is extremely desirable that he should do. But binations in constant use to-day.
There
is
no reason
the
here again he must keep the distinction between rh^^thmical accent his mind, and not content fore refr fron on and metrical accent in the fo
himself with merely finding,
which
may
be sung
e. g.
successive
groups of seven notes
plausibly against successive groups of five
To illustrate the difference, Exx. 62 and 63 have been hitherto unknown Tudor composer named inserted. They are from Neither of them is of any great musical value but it Bugswoithy.
notes.
is
obvious
that
demanded some
while Ex. 62 slight
mental
is
purely mechanical, Ex.
63 has
activity.
The student should perhaps be warned against giving the teenth-century notes their nineteenth-century time values.
guidance
is
impossible to give, but one
teenth-century
minim
or even
composer
may
Exact
say that to the six-
semibreve meant very
crotchet means to-day.
six-
much what
The mind must
free itself
from the association of white notes with slow tempo'. In one example (Ex. 40 a) an approximate transformation of values has been made to emphasize this point; otherwise the note-values in the illustrations are those actually employed by the composer.
IV
MELODY The connexion between rhythm practice
it
is
is
so close that
in
dangerous to try and isolate them from each other.
Nine times out of ten when we speak of melody we mean rhythmic melody series of notes whose mutual relationthat is to say. ship
considered in terms of accent and duration, and not merely
is
All the examples of
in terms of pitch.
rhythm quoted
in our last
chapter were at the same time examples of melody, and once the student has grasped the rhj'thmic principles followed in the
six-
teenth century, the remaining details of melodic construction will
not cause him the slightest
difficulty.
The reason why
piece of
academic counterpoint never suggests for an instant the melodic outlines of in
Byrd
rhythmical
or Lasso or Palestrina
is
invariably found to
The reader of
misconception.
volume,
this
hoped, will be able to keep clear of such misconception
remarks about the purely me melo lodi di
melody may be of some in
definite
that in practice slightly
of the sixteenth-century as
being
mode, and as being definitely either in the Authentic
The
these forms has already been given (Ex.
is
few
but
Every melody must be conceived
or in the Plagal form of that mode.
wards,
is
assistance.
compass.
First,
eleme el ement nt
it
lie
compass of each of
strict it
1)
may now
be added
certain extension of compass, upwards and
down-
The extent of the concession
varies
usually conceded.
amongst the
different authorities;
but
it
is
substantially
defined in these two rules: (1)
That such extension must never exceed
major third in any
one direction. (2)
That the
total
extension
never exceed that of It is
recommended,
(upwards
and
perfect fourth.
matter of discipline, that the student
as
should work within these limits, to which, as practice
of the
Palestrina
school
English composers, however, in unto themselves, as
VILI
may
downwards) must
this,
conforms
matter of very
fact,
closely.
other respects, were
the
The law
be seen from instances given in Chapter
Second, as to interval and pitch.
Underlying
all
the rules and
MELODY observances
2'J
the general principle that each part
is
must be
easily
some of tlie restrictions imposed seem arbitrary, the student must remember that many intervals and progressions which to us (thanks to centuries of harmonic and instrumental
singable,
and
if
training) have
become easy and
who had
familiar,
were by no means easy or
them by the
ear alone, with no
instrumental doubling to cover up inaccuracies.
Unaccompanied
familiar to singers
to find
singers to-day are sometimes asked to sing progressions that the
sixteenth-century singers certainly could not have managed.
they can do
If
only because such progressions, previously
so,
heard on instruments which find the pitch mechanically and without any trouble, have become fixed in their memory, so sense of relative pitch
is
permanently extended.
The general method of melodic construction is expounded by Prof Wooldridge {Oxford History, ii. 376) in the following terms 'The
governing principle,
melody
technically
of course that of conjunct
is
speaking,
movement
of
Palestrina's
however,
this,
is
beautifully varied by the constantly changing value of the notes
secondary rhythm] and also by occasional disjunct intervals,
[i.e.
are permitted upon the condition of not continuing in the direction of the leap, but immediately returning hg gradual motion toicards the point of departure.' u-h/c7i
The
and they are there because the passage
italics
is
an
important one, and undoubtedly gives the clue to one of Palestrina's technical secrets.
mechanically.
is
not.
Palestrina
does not so apply
own work
his
It
',
it;
however,
himself,
and, as
matter of
may
say, as
rule
fact,
Prof.
Wooldridge admits,
may
be found even in
much
the exceptions are
maxim
it as
which he
'may
might lead one
be found
The student had better regard is to
that can be applied
'exceptions', he says
more frequent than that that
as
rule
for general
to suppose.
guidance
infringe, provided that every
time he does so he can satisfy himself that he cannot write the passage
equally well
without
infringing
And
it.
in
everything depends on the manner of the infraction. ing more specific rules
will
technique of Palestrina with 1.
]\Iore
bad
two
taken
fair
found
the same
follow-
accui'iicy
irec ir ec io
less so.
The
case,
embody the melodic
direction preceded
same direction hardly all)
to
degree of
than two leaps in the same
step in the (if
be
any
Two
almost always or followed
by
successive leaps
be preceded and followed by
movement
(preferably conjunct) in the opposite direction of the leaps. 2.
Subject to this condition, the following pairs of leaps in the
same direction are possible occasionally:
MELODY
30
Perfect fifth ascending or descending, followed by
(a)
perfect
fourth.
Perfect fourth ascending or descending, followed by perfect
(b)
fifth.
(These are fairly
common
used with great caution in any other
Major third
(c)
ul
in the bass,
ascending or
obviously be
part.)
descending, followed
minor
by
third.
Minor third ascending or descending, followed
(d)
by major
third.
Major or minor third ascending, followed by perfect fourth,
(e)
by major or minor
descendin ding, g, follow followed ed (/) Perfect fourth descen
third.
(Fourth ascending followed by third, and third descending
lowed by fourth are Perfect
(g)
still
fifth
less
frequent
followed by
more by
fol-
major
minor third),
third, is
or
only
versa
vice
permissible
(and in
real emergency.
The leap of
3.
followed by 4.
Any
step in the
larger leap, as
movement followed
minor third
in
same
is
occasionally both preceded and
direction.
rule, is either
Usually
direction.
by step
is
preceded or followed by the latter: leap
much more common than
step followed
by
leap.
The leaps that can be so treated are those of the major and minor third, perfect fourth, and perfect fifth. 5.
Leaps of the octave and of the minor sixth must both be pre-
6.
ceded and followed by movement in the opposite direction of the leap.
The
7.
leap of the major sixth
rule are rare
enough
is
forbidden (exceptions to this
to necessitate its rigid observance).
Leaps of an augmented fourth or diminished
8.
bidden. latter in
The common text-book
rule permitting the
use
are forof the
cadence deserves particular denunciation.
Not only
9.
fifth
is
the direct leap of these intervals forbidden
care
should be taken to avoid any melodic progression that brings them into
undue prominence.
10.
Leaps of the major and minor seventh are forbidden; also
any leap exceeding the octave. 11.
Th
empl em ploy oyme ment nt of chromatic
intervals
is
forbidden;
like-
wise that of augmented and diminished intervals. 12.
The second of two
us octave, or to 13.
crotchets
(if
harmony
its fifth (or less lesser er inter interval val), ),
note)
but not to
Quavers should be employed very sparinglj'
its
can leap to
minor
sixth.
(except in
MELODY
31
They must only be employed crotchet they must be both as the equivalent of i. e. in pairs approached and quitted by step, and they must only be employed The rhythmic figure between the minim beats; never on them.
cadential formula
at Ex. 113).
not used by Palestrina, though
is
P^
shown
Rules 12 and
13, as
stated,
it
apply in
to quavers
and semiquavers respectively.
note can only be tied to
own
its
will
may
be prolonged into the
remember that
music of this period.
(J)
note of equal value, or to one of
value; except that at the end of
breve or breve
In
time.
*)
applies pari passu
here said of crotchets and
is
half
(i.e.
time what (3)
can be found elsewhere.
semi-
composition
(The student
final chord.
do not, strictly speaking, exist in the
ties
They
are only notes whose value
measure;
beyond the conclusion
it is
prolonged
is
convenient to us to use
bar lines to show the conclusion of each measure, and therefore ties are sometimes
prolonged by half use the
tie,
its
dot on the other side
tied crotchet (except in C,
time)
i.e.
is
perhaps better not to
normal duration,
but to place
note
If the
matter of notation.
necessary as
is
of the bar
line.)
of very rare occurrence,
and best avoided.
The that
entire plan of this book
the counterpoint
of the
is
based on the author's conviction
be
should
century
sixteenth
first
approached by way of melody and rhythm, and that the student should make himself thoroughly familiar with the type of melodic-
rhythmic outline
to be
aimed
at before attempting the
combination of such outlines in two or more chapters specific
have attempted
to
set
before
harmonic
These opening
parts.
him the necessary data melod\'
examples of sixteenth-century
are
not
given,
because the entire movements quoted in Chapters VI and VII will start, and for further specimens he give him excellent models for
must turn
to the scores of the period.
begin to construct his
own
By
now, probably, he will
melodies, and in addition to
already been said, the following few points should
be
what has borne
in
mind 1.
thought of in long stretches— as long
The melody
as the duration of one of tlie
movements
in
Mass, or of
the motets quoted in Chapter Vil. 2.
It
must be written
definitely for
particular type of voice.
soprano, alto, tenor, or bass as the case 3.
set
It
to
may
be.
definite words. Scriptural, liturgical,
or
secular. 4.
Eests should be of sufficient frequency and duration to meet singer's requirements.
MELODY
32 5.
Although the melody
is
for
oue voice only, yet
it
must be
to
certain general extent imagined in connexion with other
imaginary
The composition
voices.
as
would be punctuated by cadences, and
would have
to play
whole, for instance, this particular voice
definite part in the formation of such
stud uden en sh shou ould ld therefore make up his mind The st what point, and on what degrees of the mode, these
cadences. at
imaginary cadences occur,
melody may shape
itself
that
so
at
accordingly.
those
It is
points
his
not necessary
that such cadences should alwaj^s coincide with the con-
phrase in this particular voice.
clusion of
overlap
that
is
may
enter with
its
its
new
phrase, so constructed as
cadence, but proceeding
interruption
(see, for
instance, the
entry of the tenor in Veni, Sponsa Christi, quoted in
first full,
course without
cadence, the
conclusion at
to assist in the formation
on
may
to say, while three out of four voices, per-
haps, bring their phrase to
other voice
Sections
Ex. 192, or the entry of the alto with the
to the
words
praeparavit in aeternum
new theme
in the fiftieth bar of
the same work).
The use of decide for factor in
writer
is
vexed question which every teacher must
As the incidence
himself.
construction of the inclined to
measure
is
real
(see above, p. 17), the present
recommend regular
barring, with
stress
mark
show the incidence of the rhythmical accents. But if this used, it must be clearly understood that it implies nothing in the
(>) is
is
bar-lines
to
nature of
sforzando.
HAEMONY I.
detail, it is well to
century in
the basis of
it
them
Discord
all.
of concord.
tion
up
the harmonic
Before discussing
remind the student that concord
of
or possibly
and then has
them
run to catch the others
to
and then the two run
for him,
sixteenth-century view of discord (and
without consideration that this view that of
momentary interrup-
an incident,
The
they have got into line again with the other two.
till
is
Imagine four people walking abreast; one of
stops for an instant,
together
is
technique of the sixteenth
similar breaking line.
is
it
mistake to assume
is
permanently obsolete)
Instead of
new concord, one of them moment and then the others
all
the parts
is
moving
behind
together to the
gets
pended) for
wait for him to rejoin
left
(sus-
them, concord being restored as he does so; such interruption
is
governed by certain clearly defined methods of procedure, which but though are known as the preparation and resolution of discord
some such definition
necessary for the purpose of explanation,
is
it
seems to endow the discord with an Strictly speaking, the discord itself is merely objective existence. fresh concord, and the object of such method of preparing is
misleading
far as it
preparation (not in
and
necessary)
itself
to enable the different voices to
is
to obtain variety of texture,
maintain their rhythmic inde-
At the same time there is no doubt that the sixteenthcentury composers, by constantly employing such procedure, became
pendence.
increasingly sensitive to the emotional effect of discord, and to the possibility
of
employing
it
harmonic, and not
for
purely
rhythmical purpose. be quite clear beforehand
It is also necessary to
of harmonies that
may
convenient to
it)
call
one can be permitted. be disregarded.
time
miuim i.
e.
{(t)
bar.
measure or
Many
sa
(as it
number
may
be
that two har-
bar are permissible, others, challenging them, that only
monies in
may
be employed in
the
there
beat
is
Both these views are quite arbitrary and In It all depends on the time-signature. metrical accents in the bar, and thus each
potentially (not necessarily)
you can have four harmonies
new harmonic
in the bar (or three or
unit,
two or one,
HARMONY
34
more than four). on the speed of the movement. but not as
semibreve
is
If the pace
In slower tempo, the minim can be taken as the
change of harmony
(O), if the student
extremely rare measure, there
is
is
wants
is
own
three harmonies.
no reason why each of the three its
own
three harmonies.
the unit, and once more four harmonies
For the
permitted.
its
to practise himself in this
groups of three minims should not have time (C) the crotchet
if
divided into two groups of
may have
three minims, and each group
Similarly in
unit,
permitted on each minim beat
is
time (G) the measure
In
desired.
are
fairly rapid, the
is
measure, intermediate minims being treated as non-
accentual.
In
depends
it
Cj))
the unit, and 30U cannot have more than three har-
monies
and
time (O or
In
rule
we
of the period
are con-
sidering, the standard
duple measure, in sacred music at any rate,
was the
and the student would be well advised
3,
not the
adhere
to the
model.
And
of
former of these, unless he in the latter case he
bar of
equivalent to
is
change
is
of
to half
it
If he has not, he
to
method of harmonic progression,
to
master the
With regard
we
shall
do here
remind him that (apart from the proper treatment of
discord,
which
will be explained presently) he
all
must depend
for his
harmonic
very largely on the variety of sound that can be extracted from
he
er
concord.
doubling unexpected arises naturally
doubled
is
This
notes
from th
matter of spacing and of
any double sounds convincing
prog pr ogre ress ssio io
The spacing,
connexion with vocal colour. five
mainly
is
of the parts,
i.
e.
if
if it
the note
approached and quitted in both parts by conjunct and
contrary motion.
have
The
%.
would be well advised
from some other source before attempting
to the general
effect
bar
knowledge of
complicated technique of the period under discussion. is to
secular
to
clear that
assumed that the student has already
Elementary Harmony. acquire
working
must be quite
and not
5,
is
to
purely one of notation.
It is
II.
*,
too,
If
should always be considered in
you are writing in
five parts,
you
combinations of four different voices available,
employing the differe different nt regist registers ers of each voice in va vary ryin in tions (e.g. the tenor in his highest register
on
combi co mbina na
top, the alto in his
lowest at the bottom, and the soprano (low) and bass (high) intermediately,
great variety of colour-effect
writing you have
by
many more
similar freedom in
is
obtainable.
In six-part
four-part combinations available, and,
combining the different
registers,
you can
your ur se seem emin ingl gl get an almost inexhaustible variety of timbre, and yo simple
common
chords and chords of the sixth become susceptible
of constant subtle differentiations of quality.
These
fine shades are
HARMONY
more expressive than any gross modern combina-
sensitive ear
to
tions of
35
sounding brass and tinkling cymbal.
chords in the abstract;
combinations
think of them not only as chords, but as
colour,
that your material
and you
When
will soon cease to
complain
re too limited; you will complain,
es ur es
rather, that for their very prodigality best advantage.
Never think of your
you cannot use them
to the
writing for four voices, let there be frequent
passages of two- and three-part writing to vary the fuller four-part combinations, and apply the same principle consistently.
In
six-
very moderate amount of
part work, for instance, there should be
six-part writing: the full six-part effect should generally be kept
movement
climax and for the end of
for
regarded in the main as
and
two-, three-, four-,
in two-part writing,
concords,
reserve,
rhythmical
These general remarks, unison, (he perfect
major and minor chords),
infinite variety of
fifth,
sixth,
conflict,
hoped,
is
manner of
Even
can give the ordinary
undivided attention.
its
it
drawn.
with imperfect
judicious contrast
combined with
the best
whence an
five-part combinations can be
ear quite enough to engage ideas
the six parts being
may
give the student some
treating the handful of chonls
the
the octave, the major and minor third, the
and the combinations of these
which constitute
harmonic material.
his
(i. e.
and
There are now
detailed ed consid considera eratio tion, n, viz.: certain specific points calling for detail
The
1.
fourth and chord of the
interval
|.
The use of accented and unaccented passing notes. Changing notes. Suspensions, and the various formulae employed in
2. 3.
4.
their
resolution.
Prohibited consecutives.
5.
These we must examine
1.
The treatment
The Interval of the Fourth.
of the fourth
is
often puzzling to students at
concordant interval,
Scientifically, fifth,
due order.
but more so than the third or sixth.
and the
triad or
less
first.
concordant than the
As harmony developed,
chord came into constant use, the fourth (which,
unlike the fifth and sixth, would not combine with the third) fell into disrepute moreover, by force of association, it actually acquired th
by
char ch arac acte te
of
suspension
discord. (% I)
The
chord was so frequently preceded
that the fourth ceased
to
have the
effect
of
concord, and was felt to require resolution by the descent of one
degree to the third, and ultimately
d2
it
was only employed in
this
HARMONY
36
The interval of the fourth, that is to say, occurring between any of the upper parts and the bass, is discord, and must be so treated. But between any two of the upper parts it is
manner.
may
concord, and
be sounded freely without preparation so long
harmony
as it forms part of the
the G's and the
this point
chord (Ex. 64 illustrates
on the second beat of the measure
could not be sounded against one another like this for the
in Ex. 65,
as
Even
persisting in the bass).
and
it is
fifth,
chords,
it,
the augmented fourth
which can
there
the fourth resolves
and
it
so
the
correlative,
its
freely without preparation.
is
will be clear
it
from the above Theoretically, in
discord.
as
nothing to prevent the sixth remaining while
(| -),
but in practice the chord
double suspension, resolving on to the
as
is
are constantly heard as upper constituents of the
As regards the chord of the |, remarks that it must be treated resolving
were not
impossible to regard this interval
But of course both
concord.
diminished
although
if it
is
usually treated
chord
below,
(see
Exx. 115 and 122). Passing Notes.
2.
course can be used freely in between
Unaccented passing
two harmonies, the rule being that such notes must be approached and quitted by conjunct motion (the exception cussed in the next section,
commonly of
crotchet
'changing
s.v.
but
value,
to this rule
harmony
the
dis-
Such notes are
notes').
where
is
only
is
changing at the semibreve, the minim can also be treated as passing
note
however,
(Exx.
somewhat
is
infre-
quent.
The student should remember that the minim smallest
harmonic unit in
crotchet
that
looks
like
treated technically as only.
new harmony
discord,
Exx. 69 and 70
and
measure,
i.
illustrate
e.
what
being
the chord of the
constituent of
cannot be regarded as creating progression as that
shown
fifth,
note
consequentl}'
may have
meant.
is
ceding harmony can be quitted by leap. is
that
normally the
quitted in conjunct
second crotchet in the second bar being
harmony
is
to
be
movement
In Ex. 69 the
constituent of the pre-
In Ex. 70 the preceding
and the
last crotchet
(F),
not
must be quitted by step. It new harmony of the sixth, and such
in Ex. 71
is
not permissible.
Excep-
rule can be found, but they are very rare.
Double passing notes in thirds and sixths are freely used (Exx. 72
and 73
from Palestrina).
The only
rule
governing such
pro-
HARMONY gressions seems to be
moving
series of
37
once two parts have started on
tliat
thirds or sixths, the parallel motion
tained until concord with the remaining part or parts
Such
progressions
parallel
should,
is
is
main-
reached.
some
used with
however, be
even in Palestrina's hands they often sound perfunctory
restraint
and conventional. in one of the parts (usually the bass) has to do
Often
kind
Take the progression shown by Ex. 74 (the passage quoted actually occurs in Assumpta est Maria, this and similar
of double dut}-. progressions
are
common
exceedingly
sixteenth century).
in
the
the
all
explain this chordally in
It is impossible to
terms that would have been intelligible to Palestrina explanation
The
very simple.
is
in the bass
passing note
is
from the point of view of the soprano, but as far concerned
is
it
harmony
of the soprano (and
discord against the
its
resolution
but tenor and bass are in concord on each beat.
must be regarded of which
is
illustrations of this
writing,
whenever doubtful
in four
Exx. 75 and 76 afford
and
apply this
the progression stands the
It is obvious that
The whole passage
five
parts.
test,
test of horizontal analysis,
he can use
it
by working on such principles he
the sixteenth-century
composers
In his own
particular pro-
the rightness of
gression, the student should if
normal),
normal and regular, and which may,
employed in combination.
farther
and
is
is
complex of three two-part progressions, each
as
in itself perfectly
be
therefore,
as the tenor is
in the tenor
Similarly the
note.
but the real
without
fear.
will obtain (as
considerably wider
obtained)
range of harmonic freedom than the text-book rules allow.
Accented passing notes of crotchet value are occasionally taken in
downward
any part on the even beats of the measure, in
gression, either in
minims
or
time (Exx. 77-81).
are constantly treated as unaccented
(so far as
is fairly fast,
passing notes,
the writer's observation goes) as accented passing notes
this applies equally to the tacit
If the
pro-
(G) time.
There seems
to
agreement that the minim was too imposing
have been figure to be
treated as an accented passing note, whatever the tempo.
These
accented passing notes should, in any case, be used sparingly, more particularly in the i;pper part, or
dox writers gression, is
like Palestrina avoid using
and
also
them
weakened. in an
on the odd beats of the measure.
in accordance with the
signature,
is
accepted nd ca cate te
upward
pro-
This restriction
metrical rule that the time-
though without rhythmical significance
individual parts, does yet
Ortho-
as regards the
regular system of strong and
weak harmonic accentuation throughout the composition
as
whole.
HARMONY
38
Changing Notes.
3.
The group of
instances given in Exx. 82 to 90 will enable us to
frame the proper rules for the employment of this formula, which is
too cursorily mentioned in existing text-books.
It is constantly
used for introducing variety of style into composition, but
most orthodox writers go) always with certain
as the
far
definite re-
Subject to these restrictions, the principle
strictions.
fso
is,
briefly,
discordant passing note, instead of falling step by step to the
may
next degree,
by the leap of
fall
The governing conditions There
(a)
is
new harmou}'
third to
note.
are
group of four notes comprising the formula
always
(Exx. 82-4).
After
(b)
leap of
its
third, the voice
degree to the note omitted in
The
(c)
concerned must return one
its leap.
note of the group must be of the value of
first
dotted
minim.
The third note may
(d)
minim, or of If
(e)
crotchet,
minim,
it is
minim
or upwards,
harmony
case,
harmony
be
note.
note.
the fourth note will be
cases,
may
This formula
be employed in any part, and
on any beat of the measure start
any
in
is,
crotchet,
on one of the even
may commence
though Palestrina prefers
is
that
it
',
vol.
ii,
p.
it
its
made by
the passing note
one step backward].'
is
it
the minds of musi-
shorn of
is
sometimes
lost sight of,
resolution
its
seventh [i. e.
As an example he quotes 94).
Earlier writers allow themselves
is
particularly noticeable about
form in which the discord
Byrd's five-part Mass (Ex.
ment
is
v.
true significance
actually appears in
to
s.
gets so thoroughly fixed as
cians that ultimately
and
What
314)
it
beats.
Apropos of this formula. Parry remarks {Groves Dictionary,
Harmony
and
passing note.
treated as (g)
and
dotted
urth ur th note will also be of the value of
In the other two
(/)
minim, or of
the value of
This
is
return
passage from
not historically correct.
much more freedom
of the figure, as Ex. 95 will show.
its
This
in the treat-
irregular
treatment
found repeatedly in writers like Josquin and Pierre de la Rue.
The
strict
method of resolution does no
until the latter half of th
acqu ac quir ir
the force of
rule
work of
Pales-
cent ce ntur ury, y, noticeably in the
Byrd was only following an older tradition, and later still we find John Farmer, in his madrigal Take Time while Time doth last' (1599), using the figure exactly as Brumel had used it
trina.
hundred years or
so before (Exx. 95
too that earlier in the
and
96).
It
is
worth noticing
same Credo Byrd employs the formula strictly
HARMONY He
la Palestrina.
Appended
(Ex. 97)
knew very
evidently
well what he was about.
instance from Palestrina of
cu io
is
39
double
group of changing notes in fourths between alto and tenor, against
which the soprano clashes and
time
in Exx. 91-3.
be noticed from Exx. 89 and 90 that
It will
gambiata
(as the
movement clash
shown
is
Italians call
in one or
of the nota
can be combined with conjunct
it)
more
other parts, even if an incidental
lu Ex. 93
ther thereb eb}' }' crea create ted. d.
is
The use of the
recklessly.
pension in one of the other parts
it is
not
(a
seen combined with
uncommon
sus-
usage, especially
cadence).
at
Suspensions.
4.
If the note suspended
concord,
is
of course
may
it
proceed
by conjunct or disjunct motion, and either upwards
freely, either
or downwards.
In the case of suspended discords various
restric-
tions have to be observed (a)
Every discord must be preceded by and succeeded by
(6)
As
rule, these
weak But
More
rarely
minim this.
strong
minim
on the
may
be sub-
beats (Exx. 98, 99).
beat
substituted
is
for
the
The student had better avoid In the second of these examples, by the way, the first beat (Exx. 100, 101).
passing notes. notes, the
and the
first
The second
in the
accented
harmony of the passage being shown in and the second
harmonic skeleton
are
The treatment of the suspension looks
Ex. 102.
sight more regular than
In
itself
beat.
crotchet
the
on the
occurring
resolution
measure, and the discord
in the soprano
(e)
and
in slow sustained passages semibreve beats
stituted for (d)
chords are taken on three successive minim
beats
intervening (c)
chord of resolution.
preparation
the
beats,
chord of preparation,
actually
it
at first
is.
measure (O or 0) the same principle may be followed, bein in re rega gard rded ed as strong the first, third, and fifth beats be ',
the second, fourth, and sixth as (/)
But more as
often, if the
first beat,
on the third (Exx. In
(Ex. 103).
time
fairly fast.
is
is
considered
having three accents only in each measure, discords being
prepared on the
{g)
tempo
weak
measure
(G),
taken on th
seco se cond nd
104, 105).
each three-minim group
discord being prepared on the resolved on the third
The student may
and resolved
minim
first,
is
similarly treated,
taken on the second, and
beat of
any group
also notice Exx. 107
and
(Ex. 106).
108, in
which
HARMONY minim
the
the
in
taken as the unit of preparation and resohition
is
and
bar,
first
semi breve
the
despite Palestrina's
there
in
something
is
but
second
the
to be said
and such instances
for consistency in treating suspensions,
are rare.
The
(h)
resolution of
discord
by the
effected
is
of one
fall
degree in the part suspended (Ex. 109). (i)
Such
resolution
shown
is
often given one of the ornamental forms
form in Exx. 109
in skeleton
to 113.
from actual composition
ples
illustrations to this
in
Ex. 115
is
found passim in the
and other chapters.
common
particularly
is
theoretically
Definite exam-
The idiom shown formula in cadence.
all right,
idiomatic.
Other ornamental resolutions, such as that shown in Ex.
(k)
6,
are very rare, and best avoided, except occasionally to avoid
the consecutives otherwise arising from the resolution of
suspended
in Ex. 123.
fifth, as
But
number of resolutions
used in the English school will be found in Chap. VIII, and there
is
no reason whatever why these should not be emprovided
ployed,
the
student
works consistently
an
to
English model, and does not imagine himself to be writing in the (Z)
Roman
style.
susp spen ensi sion on Double su
of the third, fourth,
fifth,
and sixth can be
freely used (Exx. 117 to 126).
And even Ex, (m)
complete chord (Ex. 127)
that of
cf.
also
86.
discord and
its
resolution should not, as
rule,
be heard
together in different parts (other than the bass) of the same chord, except occasionally
are both 119,
moving
121).
While
But the
discord
may move 1),
resolution
new note
to
is
is
frequently heard in the
suspended (Exx.
resolving, one or
or even create
(bar (o)
is
the two parts concerned
in conjunct and contrary motion (Exx. 107,
bass whilst the upper part (w)
when
99,
more
of the same
parts
harmony
128, bar
harmony (Exx. 128
an
2), 129).
In this way
chain of suspensions can often be formed.
method of 'horizontal analysis' described above usually the only
way
(p.
The 37)
is
of explaining such passages theoreti-
cally (Ex. 130). ijp)
discord
may
be sounded on the odd beat
if
the note creating
the discord has been heard as part of the concord on the
previous
131, 132).
Its
treatment
is
then that of
HARMONY an ordinary suspended discord.
41
This licence
spar arin ingl gl the madrigalists, but more sp
The
used us ed in sacred music.
prohibiting consecutive fifths and
rule
octaves
He
in octaves are not
independent of one another at higher
another at true
familiar
is
can see for himself that two parts moving
to every student.
creating
frequent in
Consecutives.
Pi-oliibifed
5.
is
polyphony.
octaves but of any other interval
true,
is
but merely
and thus not
lower pitch,
or
This
all,
however, not only of
the sequence continues for
if
any length of time; the consecutive thirds of Brahms, the conminor ninths co se ti secutive major ninths of Debussy, of Stravinsky, can be quite as mechanical and meaningless as the consecutive octaves,
In a.ny
fifths,
case, the student
and fourths of the
may
well ask,
"Why
earliest
organum.
are consecutive fifths
forbidden absolutely, whereas consecutive thirds and sixths (within
The pr pres esen en
reasonable limits) are tolerated
no certain answer.
The various
writ wr iter er can give
him
theories that have been advanced
can be disposed of with ludicrous ease
\^
probably the whole business
dates back to Pope John's edict of 1322, which ordained that the perfect
Church. itself
should
concords only
be employed in the music of the
The natural perversity of mankind
is
assert
certain to
against restrictive legislation of this sort, and the inevitable
result of the Pope's edict
was that the thirds and
protective cloak oi faux-hourdon)
became more than ever established and
in popular favour, while the fourths
from which rescue them.
it
sixths (under the
fifths fell into
disrepute
has been the privilege of the twentieth century to
To-day
it is
the turn of the thirds and sixths to be
However, our present task
viewed askance by serious composers.
We
not speculative, but practical. particular period, and
we know
is
are examining the music of
(for it
can be established inductively)
that in that period certain consecutives were as
matter of fact
The question
prohibited under certain conditions.
is
merely.
What
were those conditions Here, once again, the
show that
rules
of the
their perpetrators have
Five Orders of Counterpoint
no
consulting the
Let us put them
composers whose practice they profess to codify.
on one side and turn, as usual, to the music of the period.
On
the
one hand, you do constantly find the progressions shown in Exx. 133-6
on the other, you rarely or never find such as those shown
in Exx. 137-43
so rarely that
when you do
reasonably consider them as an inadvertence.
find
The procedure may
be expressed in general form somewhat as follows Cf. Dr.
Walt's The Founda! ions
uj
Music,
them you may
cliiip.
xi.
HAEMONY
43 1.
Consecutive
(and
fifths
fortiori consecutive octaves) are for-
bidden between any two parts
if
no other notes intervene,
no matter what the value of the note. 2.
Consecutives on successive semibreve beats are broken by the intervention of minim if it is harmony note, but not if it passing discord.
is
beats are similarly broken
harmony note
if it is
of Morley, and
it is
on successive minim
Consecutives
by the intervention of
not otherwise.
in every
way
(This
crotchet
the doctrine
is
substantiated by sixteenth-
centurjr practice.)
may
suspension
3.
consecutive.
be said to temper the wind to the shorn
The
Passages which would
scholastic rule that
be incorrect without suspensions are equally incorrect with
them
is
demonstrably out of
relation to the facts.
all
Consecutive octaves are best avoided even by contrary motion. Consecutive fifths by contrary motion are also best avoided between
extreme
and in any case when writing
parts,
for four voices or less.
In writing for five or more parts consecutive
fifths
by contrary
motion are not seldom found between two of the inner parts, or even between one outer and one inner part (Ex. 14-)). The reason is not that such progressions are harder to avoid in five-part than part pa rt wr writ itin ing, g, but that they are less likely to be heard.
when
secutives usually forbidden are often tolerated in the sense of the
words
145).
The student should
shown
in
to
lessen their
there
And is
consequentiality
con-
break (Ex.
note, too, that such progressions as those
Exx. 146 and 147 are continually met with in writers of
every school
there
not the slightest objection to the hannonic
is
succession of fifths or octaves, provided they do not occur between
the same pair of voices.
Some
writers lay stress on the avoidance of consecutive major
thirds on successive whole degrees of the scale. especially,
strongly
borne
said, the
felt to
tritonal
be endurable.
efi'ect
In two-part writing
of such
progression
is
too
Palestrina, however, seems to have
with considerable fortitude (Ex. 148) and in composition for more than two parts passages such as those shown in Exx. 149 it
and 150 are
so
common
that the
rule
cannot possibly be main-
tained.
Consecutive bare fourths are of frequent occurrence between upper parts (Exx. 151, 152)
forbidding them
is
once again one can only remark that the rule
out of
all
Occasionally you find even
relation to sixteenth-century practice.
sequence of
exceptional and had better not be imitated
%'s
(Ex. 153), but this
by the
is
student.
Consecutive unessential discords are occasionally created by the
HARMONY use of accented passing notes;
found in
to be
all
and
(fifths
except between the extreme parts. unless one part proceeds
shown
by
octaves)
There
Exx. 155 and 156 are of
sixteenth century. various
it
is
It
is
common
CJ?,
harmony
is not,
instance,
for
is
not be
feared
best to avoid
them
Passages as
for.
occurrence. in sacred music of the
obvious that by the help of Musica Ficta
augmented and diminished
sible— Eb
need
uncalled
harmony was not acceptable
Chromatic
formula
Text-books usually specify the
step.
semitone, but this restriction ill
an example of
is
writers of the period.
Hidden consecutives
step of
43
intervals are theoretically pos-
Fa-G}?, BS-Eb, and
so
Such
on.
however, in the style of the period, and the ordi-
nary rules oi Musica Ficta should be disregarded in places where their chords named, or
application would
Secular writers allowed themselves
chord.
much
much
similar
greater harmonic
is
no historical sanction for ruling
out any progression as impossible.
This question will be discussed
freedom, so briefly in
so th that at th ther er
Chapter VII, but master and pupil will have to arrange
As
between themselves where the
line is to be
practical convenience, there
is
great deal to be said for observing the
same harmonic
whether you are working
restrictions
secular model.
drawn.
matter of sacred or
to
Chromatic harmonies in the music of this period,
frequent as they are, have always an air of anachronism
harmonic
purity and rhythmical freedom are the most imporiant lessons
we
have to learn from the sixteenth century. pious hope that the student As various text-books express familiar with what is called Modal Harmony', it may be as well
explain in conclusion that such is
properly
thing has never existed.
term of melodic definition;
only in
is
to
Modality derivative
harmony can be described as modal In that sense you might say that modal harmony is harmony formed strictly from the diatonic series of notes constituting the mode in which the melody
sense that
'.
of any given piece
is
written.
In the Dorian mode, for instance,
harmony would be powerless to sharpen the or flatten the B. But as we have already seen (Chap. I) this was what the sixteenthcentury composers invariably did. As soon as harmony was invented, modal
the modes, tlirougli the practice of Musica Ficta, tended
modal identity
their
the Lydian
virtually indistinguishable
ri
the
Any
wa
merged
one who speaks of
mean
the
to
lose
and the Mixolydian became
from the Ionian (our major
in the Aeolian (our melodic
modal harmony
as
scale),
minor
historic fact
whilst scale).
can only
type of harmony that was used by composers of the
modal period
'.
Such harmony
is
to all
intents and purposes our
HARMONY
44 diatonic major tonality in the
minor harmony
in its si simp mple lest st fo form rm
modern harmonic sense did not yet
modulation, as explained above
thing for Palestrina as
it
(p. 15),
means
did not
for us.
We
mean
except that exist,
quite the
shall find
however, that the transition from mode to scale
is
whilst
same
presently,
decidedly more
advanced in the music of the English composers of this period than in that of their foreign contemporaries.
VI
CANON, FUGUE, AND DOUBLE COUNTERPOINT Fugue
apparently
is
delicate subject
any
at
not
rate,
usually mentioned in text-books on Counterpoint, and the student
apt to imagine that
is
s^-mmetry. at the
spra sp rang ng su sudd dden enly ly into being, in
it
command
of J. S. Bach. That
all its classic
of course, wrong;
is,
Bach invented and brought to perfection many details of fugal construction as we now understand it, but fugue itself is of much greater
The
antiquity.
fugue
true descendant of the
is
the special type of fugue (so frequently found in the Cantatas of
Pachelbel and J.
S.
Bach) in which some well-known chorale tune
taken, and each of
is
of
design here
the
exposition
fugal
phrases treated successively as the subject
its
precisely
is
Canto Fermo taken
similar to that of the older fugue written on
from Plain song, of which the motet Veni Sponsa Christi (quoted in
full,
Ex.
19.'2)
is
the sixteenth-century
bound
The only
an excellent example. (as
one would expect)
difference is
is
that
not so straitly
the shackles of metre and tonality.
b}'
But, in such cases,
it
is
evident that the structural outline
is
determined very largely by the words themselves, and the student will find
many
structure, but
other motets which are essentially similar in general
which are yet not
fugal, or
(it
may
be) fugal
It is better, therefore, to think of
one or two sections. ing up
structure
whose main
determined on quite other principles. form, and the essence of
we
all
build-
outlines
may have been
in fact,
procedure, not
is.
know)
in the imitation
by
phrase or subject previously announced by another.
one voice of This was
it lies (as
It
fugue not as
method of
type of musical pattern or design, but as
itself
only in
all
that
was meant by Fugue
but of fugue (in this
sense) it
is
sixt xtee eent nt in the si
possible to distinguish
cent ce ntur ury, y,
two main
types 1.
That
in
which the imitation words,
in
is
continued strictly throughout^
canon (whose
full
description
ih
fitga per
canonem. 'fugue according to rule). 2.
That
in
which the imitation
is
discontinued
when once
the
subject has been answered.
Let us postpone the consideration of (Jauon consider the more limited type of Fugue.
for the
present,
and
CANON, FUGUE,
46
AND DOUBLE COUNTERPOINT Fugue.
1.
This type corresponds, in the main, to what exposition
of
The
fugue.
subject
we understand by
the
announced or answered by
is
each voice in turn, and no further allusion need be made to
it.
The
voices proceed in free counterpoint until the composer considers he
has dealt sufficiently with this portion of his text and passes to the
new theme may
following section (in which
be treated in just
At the same time, there is no reason why further reference should not be made to the subject if the composer so the same way). desires
and Ex.
it,
(the
l.o7
opening Kyrie of Palestrina's five-part
Mass, Petra Sancta) well illustrates this more extended type of
The exposition
fugue. first is
proper,
it will
be noticed,
complete at the
beat of the ninth measure, whereas the length of the
twenty-four measures, and the subject
whole of
is
time in one part or another.
made of th
subs su bsid idia iary ry figure, whose
Considerable use
entry
first
was the invention of at the place
marked
later period. is,
perhaps,
movement
in evidence almost the
is
marked B.
is
also
There
counter-subject, which
however, nothing that could be called
is,
is
The modification
of the answer
slight technical flaw, seeing that
throughout the rest of the movement the subject invariably appears without modification, but apart from this the workmanship whilst the grave and austere splendour of the music
is
is
superb,
such that
praise itself seems an impertinence.
This will give the student an idea of what sixteenth-century sense) aspects of
it
it
to discuss
the
one or two
in detail.
This must
First, as to the subject.
mode
now remains
(in
lie
within the
strict
compass
whole is written (see which the composition as above, p. 28) it need not, however, begin on the final of that mode. It may, indeed, begin on almost any note of it. In theory, only in
certain notes in each
the
Initials
or
mode were permitted
Principals
theorists could never agree
notes were,' and
with
list
it
as
mode), but, unfortunately, the
which these
amongst themselves
of their differences and contradictions.
far moi'e often
known
does not seem necessary to burden the reader
marked, however, that the
Cf.
of the
(these being
first
and the
fifth
It
may
notes of the
be
mode
re-
are
used for commencing than &ixy other, even in the third
the remark of Petrus de Cruce {Traclatus de Tonis)
Quot different ias scu prin-
eorum [tonorum] habeat, nulla musicae regula nunierum certum By 'tones' he means here 'modes'; the two terms were used inter-
cipia unusquisque declaravit.'
changeably by mediaeval theorists, tlje so-called 'Gregorian Tunes' being identified with the modes in which they were respectively written— confusion that is very propeily eoudeuined by Glareanus in the
AND DOUBLE COUNTERPOINT
CANON, FUGUE,
and fourth modes, although
The
modes.
may
subject
not
is
recognized initial of these
by any voice (subject of
be announced
course to the practical consideration of compass;
melody, for instance,
soprano, in which case
Hj'podorian
not transposed, might not
if
would be better
it
47
to
announce
or counter-tenor, and leave the soprano to answer
it
well
lie
for
in the alto
it
at the fourth or
fifth above).
Next
as to the answer.
This
may
take place at the octave or
unison, or at the fourth or fifth (above or below).
answer, or
strict (or 'real')
approximates closely
fourth constantly being answered by
them
subject and answer between position.
There
different
voices,
fifth,
and vice
declare the
nor need
answered
b}'
then enters on or with
tlie
theme
successive
order,
subject
call
mode
starting on D,
if
Between the
he
likes,
close of each
next entry,
them) of varying length may be inter-
two entries are almost invariably in
first
complete, very often at no greater distance than
measure, or even half
For an instance of strictly, interval
Suppose, for instance,
the answering voice enters before the statement
e.
is
and
of subject
and the beginning
we should i.
of the
now answer him with compass.
if it suits his
posed, save only that the close
the com-
the bass starting on A, and that the soprano
of subject or 'codettas' (as
answer,
versa, so that
mode of
entries
in the Dorian
the alto can
again
latter often
no rule governing the order
is
the tenor announces is
be either
tonal
call
answer show any mutual correspondence.
and
The
modified answer.
what we should
to
may
It
by
measure (Exx. 158 and
159).
fugue, in which the answer corresponds
real
interval, to the subject,
we need look no
than the opening fiigue of the motet Veni Sponsa
made in this show the kind of
further
Chrinti, to
which
reference has already been
chapter.
have been chosen
modification to which an
to
answer may be
suljjected
anticipate the
tonai
of so
later date. is
that
from
The
will be seen that
it
methods of six -part
Tallis,
not
J. S.
Exx. 160 to 167
many
Bach and other composers
example from Vittoria because
of the devices
is
noteworthy
of any modification in
answer, but because of the intervals at which the answers are regular system of descending
(a precisely
appears again later in the course of the same motet).
the
made
similar device
This
is
quite
exceptional.
Skeletons only are given here for the sake of clearness; the sign
means that the harmony
is
completed by the entry of another
voice at the place so marked.
Very
often, as
the single-part subject,
two-part
CANON, FUGUE,
48
subject
AND DOUBLE COUNTERPOINT
used, the voices entering, of course, in pairs.
is
an instance from Palestrina's Mass Veni Sponsa usual,
on the same plain-song melody
as the
Ex. 1G8
is
Christi (built, as
Motet similarly
entitled).
Here the accompaniment of the melody might almost be countersubject, for immediately after the exposition
it
called
used as
is
melody by the soprano, and then then ta up once more by the bass, the whole passage having charmingly natural and spontaneous air. Ex. 169, from the same composer's Missa de Feria, instance, except
treated
that this
more deliberately
concerning which
not be out of place.
Double Counterpoint.
2.
for the benefit of readei's
who may not have been
course of Double Counterpoint,
brief explanation seems
First of
through
time the two parts of the subject are
in double counterpoint
may
few general remarks
similar
is
all,
Double Counterpoint
advisable.
is
sometimes
Invertible
called
Counterpoint, and two themes or subjects are said to be in Double
Counterpoint when one of them will serve either as bass to the other's treble, or as treble to the other's bass. parts, all of
(If there are three
which may similarly change places with each
they are said to be in Triple Counterpoint, and so
many
other,
There are
on.)
kinds of Double Counterpoint, the commonest varieties being
those at the octave, tenth, and twelfth (instances of all these will
be given in due course).
one part stands
still
octave as the case
In Double Counterpoint at the octave,
while the other moves up an octave or
may
be.
down an
In Double Counterpoint at the tenth,
similarly, one part stays while the other
moves up or down
Likewise in Double Counterpoint at the twelfth, one part migiit stay while the other
moved up
hfth, or the top part
one up
fifth.
down
but in practice,
twelfth
moves up an octave and the top one
usually, either the bottom part
down
or
moves down an
To know whether
octave,
and the bottom
given pair of subjects will
invert in any of these ways, one must find out what each given interval will
become in the inversion, and
only necessary to construct
for this
numerical table and reverse
at the twelfth, for example, the following table
D.
!)
12
11
10
of inversion.
which
10
it
is
used
it.
is
In
.-
12
11
will be transformed
found the corresponding
by
this particular
Here, for instance, the interval
that of the seventh, and that culty in constructing
is
it
'.'
Underneath each interval in the top row interval with
purpose
is
the chief— in ee eed, d,
sixth
form
becomes
he only
ditTi-
piece of counterpoint to invert at the twelfth.
AND DOUBLE COUNTERPOINT
CANON, FUGUE, The
and
sixth has to be coaxed
itself
when own
Other varieties of Double Counterpoint have each
is
it
preceded and
is
ct ve (the simplest form) certain manner.
followed in
found in the text-books, but the student will not
to be
find the difficulties very formidable,
do
he
the troublesome fourth, and cannot
fifth inverts into
be used unless All this
even at
little difficulties
the harmless
flattered until it consents to turn
suspended seventh falling one degree at
inverted into
the next step. their
49
and
overcome them he will
to
on experiment and common sense more than on
to rely
instruction.
Now
these three varieties of Double Counterpoint
the octave,
teiith,
and twelfth
were familiar
the sixteenth century,
inversion at
the theorists of
to
occasionally by
its
but not so much, on the whole, as one might expect.
one
is
the notion that this
is
Dr. Walfbrd Davies (see his article
it.
Invertible Counterpoint
in
due
they were
if
double counterpoint, and then somehow
strict
they just manage to miss
Groves Dictionary) quite rightly scouts
to
any lack of
theoretical
knowledge or
No one who studies Palestrina's work can known device of the period at his finger
of practical competence.
doubt that he had every tips,
In Palestrina
constantly coming across passages that look as
going to be treated in
composers,
and that he regarded double counterpoint in just the same canonic or proportional
ingenuities
that
is
to say, as
technical discipline, to be quietly mastered and then as quietly discarded, save in so far as artistic purpose.
At any
rate,
to
likes to
announce
two parts and then invert them in the answer.
this has already
serve
he uses the device very sparingly,
and most often in fugue, where he rather in
made
could be
been given (Ex. 169)
subject
One example of
in Exx. 170 and 171, from the
motet Terra Tremuit, the inversion takes place at the twelfth.
But the composer of inversion,
whom at
this period
and emploj-s
it
Exx. 172 to 176 are
mixing the species
who
systematically, all
the ninth (most intractable after is
really fine
is
is
particularly ingenious
made
his counterpoint,
them
he
all)
by
to finish in the octave
and how in Ex. 175 of
harmonic
Luoa Marenzio, from
is
how
note in
after beginning at the tenth,
(Ex. 176)
He
taken.
slight modification in the alto part,
into
really enjoys this
after starting at
slithers
comfortably
few notes.
The
specimen of
triple counterpoint,
last
of these examples
handled
with the utmost assurance and virtuosity. Besides the harmonic inversion which
we
point, the purely melodic type of inversion
sixteenth-century music, though this, like
call
Double Counter-
can also be found in
its
fellow,
is
evidently
AND DOUBLE COUNTERPOINT
CANON, FUGUE,
50
device that was practised assiduously but composition.
actual
means invariably)
the similar treatment of
strict inversion
one part
is
shown
and
in Exx, 178
grow rather weary.
just
one
is
His
feels positively grateful
strict, as
to
answered
is
more than
subject in
(to tell the truth)
si
mechanical, and just
little
the begin-
both from the indefatigable
179,
Marenzio, of whose unfailing dexterity to
Ex. 177
vary the fugal opening.
to
by no
(though
frequently
madrigal by Sweelinck,' in which the subject
ning of
by
too was used
It
sparingly in
for
one begins
its
brilliance, is
little self-conscious.
In Ex. 178
him
for not
all
making the
inversion
he could easily have done by taking the cantus up to
the second beat of th
measure.
four fo ur
Canon.
3.
Canon has already been defined which the imitation
is
type of fugue in
special
as
not discontinued after the subject has been
answered, but carried on continuously through the whole of
ment, or at any is
given out
some considerable
rate, for
period, each phrase as
Such imitation may take place In
simple or compound, either above or below.
at
any
voices, it is not necessary that all should
in the canon
very often, for instance
such
point
unison (or
canon
is
canon
is
spoken of
canon
as
three in one
is
four
in
quoted in Ex. 185)
eight in four
',
It will be noticed that
first
at the
and
Or you
so on.
in the
Byrd's Diliges
'.
is
may
same
known Dominum is
be seen,
actually,
with the additional ingenuity that in each
end and sung backwards, larly interesting,
',
in this case the canon
two
pair of voices the part of the lower
The
',
third voice, the
more canons worked simultaneously canon
technically as
canon
in free counter-
two in one
turn imitated by
is in
composition by four or more voices
which
take part
Ex. 183) two voices
moving
canon
spoken of as
interval,
below, or tenth above, or whatever the interval
leave two- or
(part of
(as in
in canon, the other parts
If the vox consequens
be).
may
fifth
it
composition for
more than two trea tr eate te
move-
the vox antecedens being taken up and answered by
the vox consequens.
only ar
at
and has
i.
e.
is
canon
upper begun at the
that jjer
rede
et retro.
even Byrd cannot make the parts particuto allow himself
two notes of the second
good deal of freedom.
tenor, for instance,
make
octaves
by contrary motion with those of the second bass, whilst the second and third the second tenor also make octaves by contrary From Mr. Barclay
Squire's Ausgeicdhlte Madrigdle.
CANON, FUGUE, AND DOUBLE COUNTERPOINT motion with those of the astonishing
Canon
tou7'
form
in
stricter
Fugue by
This
also.
observing that, in not
notes, yet is it the poiut
we might not
the subject).
e.
For
in
pupil,
the
perusal,
asks if this
'although
five
rise
it
is
were in canon,
if it
but in Fugues we are not so straitly bound.'
to say, in Canon, the intervals of the
is
passage
for
fifth,
master,
length
one note higher nor descend one note lower than
rise
the Plainsong did
That
(i.
the
its
where the
him
answered by that
'No', replies
irregular.
by
(1597),
specimen fugue given
fourtli is
virtue of
illustrated
is
Morley's Plaine and Easie Introduction interval of
nevertheless an
is
de force.
not only stricter than
is
canon
Tiie
tirst bass.
51
answer must corre-
spond to those of the subject, third answering to third, fourth to
and
fourth, fifth to fifth,
At the same time,
so on.
it is
not necessary
that the intervals should be identical (unless the canon
unison or octave, when each phrase of the vox conscquens
is
at the
usually
is
an exact repetition of that previously announced by the vox antemajor second
Elsewhere,
cedens).
may
often be answered by
minor, and vice versa, and so with the remaining intervals.
shown
by two or three
clearly
classiciis
illustrations (Exx. 180-2) taken
may
ad Fugam, which
Palestrina's 3Iissa
musically one of his most valuable works
is
from
be considered the locus
for the study of the sixteenth-century canon.
he wrote
it
It is
not
doubtless to
command of canonic device, mass on L' Homme Arme (like Josquin and so
he had
satisfy himself that
This
just as he wrote his
perfect
many of his contemporaries), to show that he was thoroughly at home in the labyrinth of Proportional Combination. The MLssa ad technique que and Fugam should be regarded mainly as masterpiece of techni from that point of view
certainly deserving of study.
We also
give two more extended examples of Canon, both from Palestrina. (Ex.
first
183)
is
part
of
the
last
movement
two in one
canon
Brevis, the canon being in this case
five-part
is,
at the
it
will be noticed, the subject of
but whereas the three lower voices are set free
fugue
after they
same time,
have answered the
subject, the
their strict canon at the unison right
The other example genious is free,
',
for
is
up
two upper ones maintain to the
slighter in form,
movement which
men's voices only. calls for
at the unison.
Even
end of the mass.
and rather more
takes the form of
None
in-
canon
of the parts therefore
made that of more dexterous management than an
whilst the interval at which the answer
the second above
answer
(Ex. 184)
three-part
three in one
at the
The subject of
unison' carried on between the two upper voices. the canon
of the Missa
is
Palestrina's resources are taxed in one
AND DOUBLE COUNTERPOINT
CANON, FUaUE,
52 or
places, notably in
measures
and
10,
24 and
which
26, for
would probably have been ploughed in Mus. Bac. examination but if the method of two-part horizontal analysis is applied (as explained on p. 37) it will be found that the harmony Palestrina
in
is
each case perfectly correct.
The whole
piece, moreover, is
delightful as music, especially the final cadence, entirely unexpected
From
which
at once
is
and entirely convincing.
the practical point of view that
student need
know about
composition.
It
was
is,
perhaps, as
much
as the
canon in sixteenth-century
the
recognized branch of the
employed with any great frequency.
In this we
art,
may
but was not
see
reaction
against the canonic debauches (one can use no other word; of the
preceding
Ockenheim, Josquin des Pres, Pierre de la Eue, and other composers of the late fifteenth and early sixteenth century delighted in displaying
most perverse ingenuity in the construc-
Canons by augmentation, Canons by diminution. Canons per rede et retro, Canons cancrizans, puzzle Canons of every description, were poured out in their hundreds by these too ingenition of canons.
ous minds, and they were usually inserted in the one place where they were peculiarly inappropriate— the setting of the mass.
make them
To
as difficult as possible for the singers, one voice only
written out, on
was
single stave, the other voices being expected to
take their cue from some enigmatical Latin motto prefixed thus Canon per rede et retro would be indicated by the words Canit more
Hebraeorum
ne cesses
',
',
lustitla et
Pax
se osculatae sunt
Otia securis insidiosa nocent
',
and so on
clama,
meant that the answering
voice was to take no notice of rests, but to pass straight from one note to the next canons by augmentation or diminution were often indicated simply by bewildering multiplicity of time-signatures placed at the beginning of the single stave, and so on. Padre
Martini enumerates (in Part II
less
Saggia di Contrappunto) no than fifty-six of such enigmas, taken from compositions of this
period.
Canon was
in
fact
new
toy,
and
it
was natural that
musicians should spend most of their time playing with it, and seeing how many new games they could invent. It all helped in
the
development of musical technique, and did no harm beyond wasting good deal of the singer's time, and creating certain flutter in the ecclesiastical dove-cotes.
course,
and
it
The return to sense and sanity came
was Palestrina who
led the way.
in
due
VII
DESIGN The purpose
of this chapter
choral design followed in the sixteenth century sacred music, the Mass gal.
and the Motet
The instrumental forms
main types of
to explain briefly the
is
lie
that
to say, in
is
in secular music, the Madri-
outside the scope of this volume
same time, one may remind the reader that interesting experiments were being made, and th that at in the Fitzwilliam Virginal the
at
Book, in Parthenia, and similar collections he will find the hrst attempts in
many
directions
which
composers were only too
later
glad to follow up, the suite, for instance, the Air and Variations, the Fantasia, and th
Similar exploration, of course, was being
Tocc To ccat ata. a.
England, but the volumes just
carried out in other countr countries ies beside beside
mentioned
those most easily accessible to an English student.
The Motet.
1.
The Motet its
name
is
is
an ancient form of music, and the very derivation of
Modern theory
uncertain.
with the French mot and as
That
later Latinized form.
sixteenth century the
understood)
to
mean
rule,
(whence
may
in
section, ending, as
rule,
with
last section being, of course,
the
tonic
').
it
is
is
the same
by the
more or
is analj'sed.
less
clearly defined cadence
mode
on the
(see p. 15),
final (the
complete
on one of
the cadence of the
reader will understand final
rather than
For each section the composer had, roughly, three disposal
the intermediate, in which th
(1)
text te xtur ur
the fugal, is
not harmonic or chordal, and yet not fugal. polj po lj'p 'pho hon} n}
fugal exposition, and so on
th
(2)
the chordal,
clearly polyphonic
There
the three methods should not be combined in section being
case,
')
The general
the text
better to speak of the
methods of treatment (3)
any
liturgical books.
treated musically as
the regular modulations of the
from Chap. II why
well be so
motet
sacred character, the words being taken,
principle of design in every case it
to associate it
explain mofefus
from scripture or from the
and each clause of
inclined
word was understood (and had long been piece of unaccompanied vocal music, of
moderate length, and of as
to
is
is
no reason
and
why
single motet, one
next in chords, the next
set
but for the sake of clearness the motets
DESIGN
54 chosen to
method
The an
this chapter are compositions
is
pursued consistently from start to
xa pl
may
The melody !),
and
is
be found, of course, in
single
tiuish.
Veni Spoii.sa Christi,
is
anti-
proper litu liturg rgic ical al plac place. e.
its
Canto Fermo
treated strictly as
the scholastic
therefore reproduced at the head of the co comp mposi ositi tion on
it is
so that the student
may more
easily follow the
The notation
construction.
which
Words and melody tbrm an
of the fugal method.
phon, which sense
four-part motet,
Palestrina's
first,
in
semibreves
in
is
method of musical conventional;
rhythm of plain-song follows the natural stress of the spoken word, and therefore cannot be exactly reproduced in modern musical notation.
Now
moment
us turn for
let
This runs as follows
to the text.
coronam. quam Dominus praeparavit in aeternum,
Veni, tibi
Christi, accipe
which may be translated thus Come, thou Bride of Christ, receive the diadem which the Lord hath prepared for thee for ever.
The whole motet
consists of sixty-seven measures, divided here as
usual (for the sake of convenience) by bar-lines, and apportioned to the text as follows
Veni, Sponsa Christi.
Measures 1-19. 20-39.
Accipe coronam.
39-50.
Quam
51-67.
Praeparavit in aeternum.
,,
Each of these
sections
Dominus.
ompl om plet et
is
century sense, explained in the is
tibi
ue (in the sixteenth-
last chapter),
sect ctio io based strictly on the se
melody
to
and the subject of each which the correspond-
ing words are sung in the antiphon, the four themes being shown
Before going any
in Exx. 188-91.
very wide of the mark century countei-point
is
furthei',
one must point out how
the prevailing impression that sixteenth-
is
formless
vague in structure
or
'.
"We
have already seen that this same counterpoint, so often declared to is above all things the art of combining rhythms, be 'rhythmless ',
whose its
irregularity
design,
severe,
so far
and
highly
is
most
skilfully
organized.
the
There
modulation
clear in conception
and
few points are worth mentioning. cantus are in th
regulated
now we
from being inchoate or muddled,
definition;
whole thing
is
auth au then enti ti
is
is
is
see that
extremely
no uncertainty firmly
in
controlled;
the the
logical in execution.
The mode
is
G.
Tenor and
compass, alto and bass in the Plagal. the
concessions in each case being well within the limits mentioned at
DESIGN
55
The composition
the beginning of Chap. IV.
mode
whole, therefore,
as
is
(by convention) in the seventh
is
sixtj'-seven measures, but only thirty-six of these are in four-part
harmony, the remainder being ing fugue, the
first
part of exposition
octave by tenor and bass.
is
Its
given to cantus and alto in
being an exact repetition at the
it
othe he fugues (commencing In each of th ot
respectively at measures 20, 39, and 51), the order of entry ent, but each
irregular in
time the answer
two ways
the theme
first,
i'ree
is
never announced by
all in
the bass, whose
thematic entry
The modulations which conclude each main 19),
(measure
G, are
all
as
The motet,
perfectly regular.
section, viz.
14.
crotchets (2)
is
The leap
to the octave
The harmony
Measures 26 and 28.
final close
on
volume
from the second of two is
justified
by 'two-part
'.
28-30 (tenor
Measures
(measure
worth noticing.
horizon horizontal tal analys analysis is (3)
28.
several points of com-
position mentioned in earlier chapters of this
Measure
measure
though selected chiefly
also,
specimen of fugal construction,
(1)
second, the
at
is
(measure 50), and of course, the
38),
itself,
20 and 26) before
(mea (m easu sure re
first
is
counterpoint in two or more
of the other parts (doubtless for the sake of variety)
theme appears twice in the te teno no
is differ-
The second fugue
real answer.
is
each entry being accompanied by
heard at
length
In the open-
in three parts or less.
remainder of
close order, the
(not transposed).
Note the charming way in
part).
which the three quadruple measures are telescoped by four rhythms.
Another telescope
these measures, where the
may
be seen in the
does double duty as the
one group of clianging notes and the
rhythm of the whole passage being
first
last
of
last
of
of another, the
delightfully subtle and
intricate. (4)
fourth followed
In measures 36-8 (bass part) the double
by
fifth is
preceded by
on the
the
from outside in
measure
36,
but thanks to
and the clearly
cadential nature of the passage, the melodic irregularity
more perceptible (5)
In the
last section,
(tenor) insists
way
in
to the
eye than to the
is
ear.
note the persistency with which the theme
on being heard up
which the
to the
very end, and the
C, softening into B, prepares the ear for
the final cadence, whose F^ sounds particularly refreshing after the obstinate
measure
FC sustained by the bass
in the previous
progression impossible in the tonal system of
the eighteenth and nineteenth centuries, but one whose rare
beauty we can begin to appreciate in the twentieth.
DESIGN
56
Our next example, from the Palestrina), is coustructed is
by quite
diiferent
rather too long to be quoted
quoted (Ex. 193)
is
Tu
six-part motet,
es
Petrus
this book, but the section
ployed, and the
method em-
pursued consistently throughout
is
the composition, in which there
is
no trace
and at the
same time hardly any plain chords or no note te-a -aga gain inst st-n -not ot where
non praevalebunt
words
at the
by
The motet
method.
of sufficient extent to illustrate the
point, except in one passage
(also
',
counter-
measures or
for half-a-dozen
so,
the voices divide into two three-
part choirs, answering each other antiphonally with chords.
The
Tu
text
is
as follows
banc petram
es Petrus, et super
meam
aedificabo Ecclesiam
non praevalebunt adversus earn et tibi dabo claves regni coelorum (" Thou art Peter, and on this rock will build my church, and the gates of hell shall not pi'evail against it; will give thee the Keys and Kingdom of Heaven ").' et portae
inferi
These words are sung in Church
same
Veni Sponsa
as
Petrus, however,
is
melody
to
quoted
Christi, already
not taken from the plain-song melody at section of the text forms
The mode
section.
(apart
and
is
is
to
The
all
on
es
themes are
marked musical closes
(measures 20, 24, 32, 47,
closes are unusually frequent
as clear-cut and stable as the very rock is
its
and the principal
whole composition gives the impression of
work
motet Tu
Nevertheless, the
all.
clearly
(authentic)
from those on the Final) are
51).
the
virtually the
extent the same, that each
this
the basis of
again
is
Canto Fermo, and
not built on
general principle of design
that
and emphatic, and the firmness and solidity
itself.
The length of the
84 measures, of which, roughly,
22 measures are in three-part harmony
34
four-part
10
five-part
18
six-part
,,
This table gives us the clue to the musical design, which
up by contrasting
until until everything
(which
This
tenor, sextus (whose
and
Then,
bass.
harmony
when they
ready for
all
join
Thus, in the opening section
sharply-defined musical phrase of six measures' length, in
three-part harmony.
by
and the forces gradually
quoted) the two cantus parts and the alto start off and
is
deliver
is
massive six-part harmony.
to produce
built
diiferent groups of voices with one another, every
possible variety of timbre being employed, increa increased sed
is
is
for
enlarged
is
answered verbatim, an octave lower,
compass the to
is
next
here roughly that of twelve
four parts, the
baritone),
measures, the three-part
following
combinations
DESIGN being successively employed 20-24, is
2,
13-15, C,
Then, for the
A, T. S.
57
first
16-19, C, A. T,
A.
2,
employed, and continues until the thirtj'-second measure,
first
main division of the motet ends with
of the
work
is
built
harmony
time, the full six-part
on precisely similar
full close
when
the
The
rest
on C.
The method
lines.
essen-
is
The writing itself is perfectly straightforward, the only point that calls for comment being the bold use of the chord in measure 23, where it is tially architectural,
and the
effect cumulative.
minim beat
passing chord and for the
treated as
heard clashing ag agai ains ns
As an example
th
of the cantus part above.
sustained
of the shorter and simpler type of motet
Bone Jesu.
joined (Ex. 194) Palestrina's
is
is
Here the texture
subis,
in
the main, chordal (the second of the three classes mentioned above,
Tu
e.s
Petrus being an example of the third), and
plications.
interesting;
At the same time the progression of each part is always there is just enough movement every now and again to
ripple, as it were, over the surface, just
cast
vitalize the music, is
without disturbing
no elaboration of the
its
no com-
own note
text,
its
enough discord
essential simplicity.
to
There
almost every syllable of which receives
of melody.
large
sixt xtee eent nthh-ce cent ntur ur number of si
motets are of this short and simple character, and very often they are of extreme beauty
more touching touching perhaps, perhaps, and more immediate larger and
in their
appeal than
fellows.
Technically, perhaps,
their
more
wrought
much from them, and they make no pretence
we cannot
for their purpose is purely devotional,
intricately
learn
But by the contemplation of flawless work of art, however small, however simple, every one is in some measure enriched, and that must justification for to
elaboration
inserting
this
of workmanship.
motet
technical in purpose.
in
book which
Even
in these
professes
few chords,
it
to
be
will be noticed
that Palestrina contrives to violate several of the text-book in measure two, for instance, the unison
is
B-E and A-D
maxims
approached by similar
motion, in measure seven by oblique motion
and nine in the cantus and
purely
in measures eight
alto parts, the consecutive perfect fifths
dodged' by uspe us pe si sion on in measure twenty-three the cantus and alto proceed in consecutive major thirds are simply
descending one whole degree, the two lower parts holding the
though given
to ensure the forbidden tritone
full
prominence.
It
who
in the upper parts being
needs no great insight to see
each of these irregularities could
as
avoided by
how
easily
composer
attached any great importance to them, the inference being,
inevitably, th that at Pa Pale lest stri rina na did not.
DESIGN The Mass.
2.
The words of the Mass need not be quoted here. The essentia, thing to be remembered by the student of musical design is that they fall into six main divisions (1)
Tlie Kyrie.
(i2)
(4)
The Sanctus.
(5)
Of these, the
Gloria, Credo,
length,
(3)
The
(6)
The Agnus Dei.
and Sanctus are sections of considerable
naturally into smaller groups or sub-sections.
work
colossal is
The Gloria. The Benedictus.
treated as
minor Mass, each of these sub-sections
like Bach's
movement
separate
but in the masses of the six-
teenth century, intended for strict liturgical use,
on such
to
scale,
give some
Admirahile Commercium,
in length, whereas the
same composer's
good is
thus
deal
but 370.
is
as the corre-
Of the two motets and
Veni Sponsa Christ
in full in this chapter,
Jesu (Exx. 192 and 194), the former
and in each case resolves into four
Bone
67 measures long, the latter
is
only 24, whereas the text in each case is
rule, to
some 630 measures
same cause
sponding variety in the length
length of the composition
as
Confessor
Iste
difference arises from precisely the
quoted
was not feasible
Subject to this restriction,
dimensions of the Mass vary
Palestrina's mass,
The
it
and the Mass was designed,
textual continuity.
however, the
In
of roughly the same length,
is
The
sections.
due entirely
treatment, the fugal method
to the
difference in the
method
good deal of
rule
as
of musical
textual repetition, whereas in plain plain note-a note-agai gaiust ust-no -note te counterpoint
the text can be set continuously, with no repetition
composer
at all
if
the
so desires.
In the Mass as in the Motet, examples of each kind can be found Palestrina's 3Ihsa
ad Fugani.
as already
throughout, the Missa Assunipta
est
remarked,
Maria
is
is
strictly fugal
polyphonic in texture
but not consistently fugal, while Orlando Lasso's Missa Qiiinti Toni is
But more often the method
predominantly chordal.
certain sections (especially the Kyrie, Kyrie, Benedi Benedictu ctus. s. and
is
mixed,
Agnus Dei)
being treated fugally, while the more exegetical parts of the text— e.g. the
In
he
Credo— are as
set
more simply.
of course, one
mode
special occasion, such as the
for
as
rule prevails (except in masses
Mass
for the
Dead, which
differs
both in text and consti-uction from the oi'dinary mass), and very often the title of the Mass e.g.
is
taken from the mode in which
Missa Quarti, Quinti,
Or
JIass in
Ockegliem,
Sejjti,&c., Toni,
any mode you
famous composer
like",
written
and even Missa cuiusvis
Toni.'^
an ingenious composition by Ockenljeim
of the fifteenth century.
In
tliis
or
mass the mode can be
DESIGN But more often the Mass takes it
is
its title
VeniSpoma
Latin
C/iristi) or
from the Canto Fermo ou which
plain-song melody (e.g. the mass
veiy often
built;
59
hymn
Aeterna Chrisii Alanera),
(e.g.
own themes if he likes, or on folk-song (cf. the numerous masses on L' Homme Arm', or those by Tye and Taverner on We-stron Wynde). Some of Palestrina's but the composer might write on his
masses
Veativa
(e.g.
themes taken
dom
frona madrigals
The theme
writers.
is
in Exx. 195-195
the opening
AudNasce
Colle
strain
la gioja mia)
by himself or
usually treated with great rhythmic freewill be
of Aeterna
found some of the guises in which
Munera
Christi
example that will repay study.
another
Mass on
Canto Fermo has, indeed,
theme and
variations,
contemporary
otiier
mass of that name, and Taverner's
Palestrina's
on
are based
is
presented
in
WeMron Wynde
is
The sixteenth-century
close affinity with the
and also with such
modern
symphonies as
cyclic
Liszt's 'Faust'
Symphony and
which
germ reappears in various transformations the movements But the most interestwork.
Berlioz's
Symphonie Fantastique, in
single thematic
throughout
all
ing modern adaptation of sixteenth-century structural princi])les to
be found in Vincent d'Indy's string quartet in
student of Counterpoint analysis of that
may
work (which
(op. 45).
be recommended to is
make
is
Every
thematic
published in miniature score), for
nothing will show him more convincingly
how much
modern
composer maj- learn from the methods of Palestrina. 3.
Some account
formal type of structure. it is
its
to trace
any
Madrigal.
of the Madrigal will naturally be looked for in this
chapter, but the Madrigal
form
TJie
was never
for music, as for literature,
The name connotes
not possible to lay
down
in theory
composition, and in practice clear dividing line
it
is
spirit rather
any hard and
than fast
equally impossible
between the Madrigal
so-called,
on
the one hand, and such kindred varieties of secular music as the
Chanson, the Canzonet, and the Ballet on the other. say
is
that the term Madrigal
that on the whole
much
as
its
it is
is
of wide and vague application, but
the secular equivalent of the Motet, in so
general outline
and character depend on the words
chosen for setting, whilst the musical texture employed altered
.-it
will
ex]ilanati.in
s.
All one can
by changing the position of the Aiuhros, Ceschichte,
iii.
clefs
178, also Michel
Qu.itations from this
is
on the stave. Bienet, Miisique
commonly
Foiet
detailed
Musiciens
de
mass can be seen in the Oxford History 9/ Musn, v(,l. 11. ].. L'l:!, but Professor Wuoldridge has missed the real clue to the title, which is the adjustment of the clef.
la fieiHe Fill,
I'
i;.j.
DESIGN
60 mixture of
the polyphonic, and the fugal, these words
tlie cliordal,
being used in the same sense in which they have already been taken to
outstanding types
three
the
define
of motet.
The
Madrigal and the Motet, in
diiference between the
technical
fact,
one
is
of style rather than of form, and the purpose of the concluding section of this chapter, despite differences, but to
its title, is
emphasize some of the differences in
sacred music of the same period.
convenience the term Madrigal shall
to
employed, as
is
equally
in
For the moment, in
bearing other names.
used generically to represent
and
it
frequently will be, features
characteristic
be found
which
If for the sake
understand
are
discover
style
sixteenth century from the
distinguish the secular music of the
the student will
not to investigate formal
its class,
compositions
short, the
term will be
just as the term Motet, so far
taken as representing various
as technical style is concerned, will be
other types of sacred music, such as
secular
we
Hymns, Graduals, Lamentations,
Improperia, and so on. First of
From
Mode.
all
composers had allowed themselves of Musica Ficta
The
church.
the century
the early
much
madr drig igal al when writing ma
when writing
than th an
permitted
accidentals
duced not merely to form
the use
greater
for the
Ficta were intro-
cadence or to avoid the tritone, but to
create chromatic progressions in the melody; whilst the accidentals
not so recognized (DJ, Ab, and so on) were gradually and tentatively
one by one, until by the end of the century
introduced
complete
scheme of chromatic harmony and modulation was within the grasp of
really adventurous
form
may
from
musician.
The tendency in
be seen in the works of Carlo Gesualdo. Prince of Venosa,
whom
Exx. 196 to 198 are taken.
represent their age;
Such passages
they are clearly symptomatic
in fact
and their neglect of the more
and firmness of
outline.
vital elements,
The
The for
madrigalian
madrigals were no
necessity of this will be apparent to
an instant think writing.
They
harmony,
custom that had been growing in
sing Ex. 198 without the assistance of
must not
of
rhythmical continuity
voices in these
doubt doubled by instruments frequency.
no sense
in
decline, in their reliance on the easy blandishments of
tries to
extreme
its
piano.
any one who
The student
are typical specimens of are,
nevertheless,
logical
though
extreme development of what had been going on for
long time,
who shows, even
sacred
notably in the work of Orlando Lasso,
For an exhaustive (not to say exhausting) account of chromatic e.Nperinient in the sixteenth century, see Kroyer,
ZYl. Jahrh.
Die An/ange der Chiumatik
im
italienischen
Uadiiyal des
DESIGN music— in the
Penitential Psalms, for example
same tendency. endeavoured
'lagrime nove the
(Ex. 201
Exx.
199
show the way
201
to
employ chromatics
to
(Ex. eft
strong liking for
and whose madrigals naturally exhibit the
illustration,
realistic
61
'mutato
l'J9),
here
is
vouched
which he
such phrases as
illustrate
to
in
amare'
stile' (Ex. 200). 'dolcezz'
by Sandberger,
for
editor-in-chief
of Breitkopf and Hartel's complete issue of Lasso's work). cisely the
same chord (augmented
My
madrigal
words
my
work, but
Throat
is
song runs
is
more
sore
sixth) is used
(First set,
on sharps
all
by Wilbye in
No. 27)
He
'.
Prehis
illustrate the
probably knew Lasso's
likely to have learnt the chord from Byrd, who,
with characteristic au auda daci city ty
uses us es
motet (Civitas Sancti
in
it
tui).^
Other well-known instances of chromatic progression on
con-
siderable scale are to be found in the madrigals of Cipriano di Eore,
and among the Englishmen, of Weelkes, who uses the device both melodically (as at the end of (as
beginning of
at the
Cease Sorrows
Hence
sional chromatics are indeed too
common
of the sixteenth century to need
than
illustration
particularly trate
is
Thou
Care,
young, thou say'st
quoted
is
Occa-
illustration, or at
any rate further
from
by Wilbye
his
But
to illus-
madrigal 'Thou art but features of the
their ability to introduce such occasional
touches of realism into their
master them
').
One of the strongest
(Ex. 202).
English madrigalists
art
in the madrigalian writing
happy employment of the is
iiarmonically
by the examples already quoted.
afforded
parenthesis
now ') and
work without allowing the habit
to
in the Italian madrigalists the structural continuity
and melodic outline
sacrificed fruitlessly in the
attempt
to illustrate every tiny detail of the words.
In
brief
and summary account
like the present it is difficult to
describe and illustrate the harmonic licenses to be found in the
undue impor-
madrigalian writers wi with thou ou
appe ap pear arin in
tance to such things, but as
matter of fact you can turn page after
to assign an
page without finding anything to dismay the orthodox.
The
best
more on rhythm and general lightness of treatment than on recondite harmonies and unexpected madrigalists of the best period rely
chromatics. his Plaine
The
gist of the
matter
is
well expressed by Morley in
and Easie Introduction
In no composition shall j'ou prove admirable except you put on and possess yourself wholly with that vaine wherein you compose, so that you must in your musicke be wavering like the wind 'I'lio
.345.
MSS., however, are not un;inimous. Oil
priori
grounds the Df
than strange sharps.
is
See Walker, Hisfory
improbable
uf
Byrd uses strange
Music in Emjlani, flats
more
lieeiy
DESIGN
62
sometimes grave and staide, otherwhile effeminat you may maintaine points and revert them, use triplaes [i. e. triple proportion] and sliow the verie utmost of your varietie, and the more varietie you show, the better you shall please we must also take heed word from another by rest, as some of separating any part of crotchet or dunces have not scrupled to do you may set minim rest above comma or colon in the dittie, but larger rest than minim you may not make till the sentence be perfect. full Lastly, you must not make close (especially close) till the sence of the words be perfect.'
Morley carried out his own precepts with consummate mastery of rhythmic device he
any other
is
Some examples from
period.
been inserted here, but, on th
own
second to none of his
in
skill
or of
well have
his
whol wh ole, e, they seem more appropriate to
the next chapter, in which an attempt
made
is
to define
some of
the peculiarities which distinguish the English music of the six-
The example chosen
teenth century from that of other schools. the madrigal
illustrate
(Ex.
style
Draw
English school— the six-part
Wilbye's second set of madrigals. but
artistic
its
far-fetched
203)
attempt at pict pictor oria ia
ee
on.
It is too
beauty alone would justify
from the
nevertheless
is
',
to
from John
long to quote entire,
its
There
choice.
illu illust stra rati tion on in
it,
is
no
yet the opening
pages bring to our minds an almost physical sense of twilight and
deepening shadow fully
than
and has any composer ever voiced more beauti-
Wilbye,
at
between lonely
the
thirty-second
measure,
the
contrast
mystery of nightfall and the anguish of the
human whom
The harmony
is
the night encompasses
modern, not in the employment of
curiously
chromatic intervals, but rather in the avoidance of them, and the preference
and
bold
for
simple
effects
the
sustaining
of
the
double A, for instance, in the sixteenth measure, and the powerful suspensions in the twenty-seventh, twenty-eighth, and twentj'-ninth
measures, which are worthy of J. S.
Bach himself and indeed
manner such passages as the opening of the of the Organ Fantasia in major. The chord of
singular
anticipate in
middle section
the dominant seventh in the twenty-eighth measure need not startle us, for
Byrd, as we shall
see,
had been using
fashion for twenty years or more.
non-modal
despite the
of the madrigal touches
is
flat
there
is
three bars later by
is
entirely
in the signature, the opening section
key of
major, with
and sub-dominant in the nineteenth and
twenty-first measures respectively. life so ill
in very similar
Of course the piece
plainly in the diatonic
of dominant
it
At the entry of the words
an abrupt change perfectl3'
My
to the tonic minor, followed
orthodox modulation to
its
relative
DESIGN The principle throughout same maj' be said of nearlj^
63 not of mode, and
that
major.
is
tile
all
the English
should not be thought, however, that this tendency
madrigals. is
It
universal;
it
towards the end of the century,
naturally becomes
and in the work of Gesuaklo.
as
we have
seen, almost every trace
of modal writing has been obliterated. But the earlier madrigalists Arcadelt, Willaert, and
their
closely to the dictates of the
does Palestrina
in his
numbers are
six
all
immediate
successors
modal system, and
first set
large extent
of madrigals, for instance, the
first
Phrygian or Hypo-
written strictly in the
phrygian mode transposed
kept pretty
Bb
in A, that is to say, with
in the
signature.
In conclusion, principle runs
it
may
be said, perhaps, that although the fugal
through the Madrigal, and althougli
all
madrigals can be found
in
which the answer tendency
exposition regular,
is
to
is
numerous
strict
and the
greater freedom than
The formal Fugue which the answer makes
composers usually allow themselves in the Motet. is
replaced by
pretence of corresponding, interval by interval, with the sub-
little
ject,
fugue of
but
is
content to reproduce
too, is often shorter,
notes,
which
is
its
mere point
',
it
may
Naturally, the style
sentiment of the words, for the Madrigal dignity,
be, of
subject,
some three or four
quickly taken up by the other voices, and then as
quickly abandoned. hearted.
The
rhytlimic
But greater freedom
is
not
depends largely on the is
not necessarily light-
incompatible with proper
and the formalities of double counterpoint and
strict
are out of place, generally speaking, even in madrigals of the serious type.
canon
more
VIII
SOME TECHNICAL FEATURES OP THE ENGLISH SCHOOL No apology
is
book that
needed for devoting part of
primarily for English students to
is
intended
consideration of the specially
English methods of composition, which differed in
many
important
respects from those of contemporary foreign composers.
It is onl}'
with the technical aspect of these differences that we are now concerned
it
may
be remarked, however, that every technical
differ-
whether between one man or another, or between one school
ence,
and another, probably has
psyciiological counterpart,
Schumann and
Purcell, for instance,
we
really
In the music of
corresponding difference in outlook.
implies
and
are conscious of
profound
emotional and spiritual difference, but that difference can only be expressed in music by technical means
is
bound
Schumann wants
to
certain set of convictions or states of mind, his
express in music
music
if
to reveal
predilection for certain types of harmony,
of rhythm, of texture, for these are the elements of musical speech.
This fact
is
too often forgotten
criticism, or at best concede it
may
by those who decry
all
technical
may
themselves not be able to follow such criticism, they
unable to deduce the spiritual from the technical, and
it
unreasonable to demand that they should be able to do this incapacity,
though
it is
They
purely technical interest.
not their fault,
is
would be
certainly their mis-
There
man may have
of course, an incapacity precisely opposite
hims msel el made hi
lamiliar with musical technique, and
mech me chan anic icall all
He
yet have no true musical understanding for the composer's
message never reaches him
though
others,
purport.
The
misconception, real
who
musician,
is
limitations, can well afford to spend
purely technical character. effect,
other
He
is
in far worse case,
at all,
can grasp
whereas the its
essential
bound by neither of these
some time on considerations of
will not mistake the
but he will realize that you cannot have the on
means
for the
with wi thou ou
the
in the idios3'ncrasies of the craftsman he will try to discern
the mentality of the
artist.
And
in the peculiarities of English
sixteenth-cputury craftsmanship, viewed as
much
But
so.
fortune, for in the technique is the clue to the personality. is,
be
is
significant,
much
whole, he will
find
that will widen his understanding
TECHNICAL FEATURES OF THE ENGLISH SCHOOL of his
own
And
musical ancestry.
retranslate
technique
the composer of to-day
65
who can
what he has thus learnt in terms of modern musical
man who
the
is
is
going to help to restore the true
English musical tradition.
The sixteenth-century Modal compromise, in which all the modes Mode.
of
all,
then,
System, as
we
saw, was
First
tended to lose their identity, and to merge into two general types, foreshadowing
clearly
the old
replace
modes
the Plaine and Easie Introduction
of 1597,
Englishmen.
In
prob pr obab ably ly ab abou ou
1580), the prevailing
night
comes
'),
Lamentations,
Tallis's
something
section
(published
('
she weepeth sore in the
whose tonality can only be described
major—
whose
1919),
Bb major.
subject in
kind might
first
But an
mean
by the
Phrygian, but in the
is
collocation
unheard of
and clearly foreshadowing John Ireland's
time,
quite
(composed
instance
for
mode
plorans ploravit
the diatonic key of Bb
this
as
was roughly handled
individuality,
middle, at the words
which Morley speaks, in
(of
Even the Phrygian mode, which retained
antiquated and remote). its
felt
two-scale system must
was doomed, and that
ecclesiastical
good
The
scales.
comparatively early date seem to have
English composers at that the compromise
minor
major and
our
little.
movement has
isolated
Of
far
as
at that
minor sonata second
similarly
experiment in modulation of
more
significance
Byrd's
is
frank abandonment of both the Dorian and the Phrygian modes.
His 'minor' movements are written, with hardly an exception, in the Aeolian mode, both in
with one
with two
or
flat,
its
natural and transposed flats,
which are not
left to
and there
(as for
instance in Morley's
tentional archaism, is
curiously
Palestrina's Huper
point of view
The with
is
Hark
this instance,
flumma
in-
piece
with,
say,
Night
Such instances are not hard
another very striking one
unmistakably in the key of kind of epilogue which
major.
on, sweet
',
to tonic minor, has already
'Adieu, sweet Amaryllis's which (despite
the key of
of an
one might add, the senti-
madrigal
(see above, p. 62).
English writers
measures form
effect is that
find
totally different.
been pointed out
ture) is
you
')
here
Bahylonis, and you see at once that the
sudden change from tonic major
find in the
Alleluia
Compare the
un-Phrygian.
feeling of
scalic
its
and in
the tender
the great madrigalists;
modal writing; but the
piece of deliberate
ment
all
(i. e.
key signature).
mercies of Musica Ficta, but inserted boldly as
In this practice he was followed by
forms
is
to
Wilbye's
single flat at the signa-
minor is
no
less
but the last
ten
unmistakably in
Another proof of scale-feeling
is
to be found
66
TECHNICAL FEATUEES OF THE EN ENGL GLIS IS
in the
growing employment of harmonic sequence.
three striking instances from
Byrd (Exx.
SCHO SC HOOL OL
Of this we give
we can
In these
204-6).
see plainly the transition from the old sense of modulation to the
new
that
its use,
mark
to say, not to
is
point of repose, but to
pass rapidly and easily from one tonality to another. In Ex. 206 the
harmonic changes at measures
and
11
are remarkable, and the
whole passage (clearly dictated by the character of the words) shows
how
freely
as
minor and Ab major.
Byrd was
some of those
move about
able to
The modulations are not
so striking as
they are more easily conducted, and
in Gesualdo, but
more genuinely vocal
in such remote tonalities
in character.
The reader who has marked and digested
Next, as to Melody.
the rules of progression set forth on p. 30 might well be outraged at
the sight of the leaps and plunges which the English composers expected their singers to make, had he not already been warned that the
As
Englishmen were
usual, it
many
in
law unto themselves.
respects
case of di dist stin ingu guis ishi hing ng the
is
What
technical method.
the
artistic
Palestrina and his school aimed at was
perfect smoothness of progression and beauty of sound, whereas the
Englishmen
set greater store
Mode, of course, goes of authentic
and
by
vitality
and boldness of
outline.
what use
to prate
the board altogether
of
compass when we find Byrd, in Crowned
plagal
with Flowers', demanding from his tenor and contratenor such range as that shown in Ex. 207
Nor
is
this angularity peculiar to
Byrd, or to secular music; Exx. 208 to 216 from earlier composers
Whyte, and Taverner,
like Tj'e,
widespread partiality
now
as well as
later
men,
type of melodic curve,
illustrate
now
soaring,
dipping, but always with the same unexpected rapid sweep.
from Robert Whyte shows the forbidden ninth
leap, moreover,
which
is
continued in the same direction
Ex. 216 shows that the same writer forbidden
interval
ceremony.
is
not
mind
prohibition
is
seldom infringed.
of
the strictly
equal
to
all
do the
so.
want
of
same interval sequentially
indeed, all the Englishmen use
measures
ever they have
ai'raid to treat
major sixth
In Ex. 215 Wilbye
in successive
its
of the
major
In the
rules,
Roman
it
when-
school, nevertheless,
perhaps, the one that
Exx. 211 and 212 from Taverner
is
most
illustrate
not
only the bold undulations beloved of that composer, but his fondness for the sequential or orga gani niza za io
of melody,
device invented,
apparently, by Brumel, with whose work Taverner was doubtless acquainted.
many
Ex. 213 also illustrates this propensity, and
other things, too
indeed,
one
passages in the whole of sixteenth-century music.
good
most remarkable First of all there
TECHNICAL FEATUEES OF THE ENGLISH SCHOOL is
the persistently sequential character of the melody as
then there
is
by
cessively
astonishing emptiness and hollowness of ti timb mbre re bass alone being in action, while at one point,
they are
whole
way in which the measures are telescoped rhythm and then by finally, there is
the
The
clear three octaves apart.
lative, for the passage
quoted
of two-part writing which
up by
alto
is
effect,
th
started
finally
the
will be noticed,
it
moreover,
is
cumustretch
by contratenor and second
and tenor, and
suc-
soprano and
merely the climax of
is
67
by soprano and
bass, first
here shown, the breach being thus continually widened.
bass as
mind
Such an experiment could only have been conceived by
of
singular daring and originality.
Many
features of great harmonic interest are likewise to be found
in the English composers.
They may be
classified
roughly under
four heads 1.
Greater freedom in the
2.
More varied methods of resolving
3.
More experimental formation of cadence.
accented passing notes. discord.
preference for the harsher forms of discord, especially for
4.
what are
called
false relationships
few examples have been chosen to
'.
illustrate
each of these in
and the tbllowing points are worth attention
turn,
1.
Passing Notes.
In the school of Palestrina, as we saw, accented passing notes are
by no means infrequent, but they are only employed, the
rule,
on
weak beats of the measure.
disregard this notes
The English composers frequently metrical restriction they employ accented passing with greater freedom, and employ them without
generally
hesitation on the strong beats of the measure.
both from Tye,
we
see
he
co
and 220, from
augmented the chord
fifth
first
diminished triad
beat of the measure
Orlando Gibbons, show
in Ex. 221, from Byrd,
of the
dominant seventh in both places,
naturally from the progression
it
similar
find in the first
in
the
third,
Exx.
use of the
we
measure
that
of the
will be noticed, the chords arise parts,
strong beat of the measure (the signature clearl}'
217 and 218,
nt interval of the fourth thus
sounded without preparation on the 219
as
piece of carelessness on Byrd's part).
and are created
at
instead
here
of
is
In Exx. 222-5 the
passing notes create an even stronger discord.
In this place, too (though of the paragraph),
it is
it is
not strictly relevant to the heading
convenient to point out two other harmonic
68
TECHNICAL FEATURES OF THE ENGLISH SCHOOL 22G)
Tiie first (Ex.
peculiarities.
frequently in Byrd, and
would seem
it
chord of the dominant seventh as seventh
approached
is
Dr. Fellowes regards
chord
known
modern
to
not
much
more
is
difficult to
added sixth
theorists as that of the
present writer inclines to regard
emphasized.
conscious employment
as
it
recognition of the
self-subsisting chord, for the
from Wilbye,
228),
be found very
to
imply
to
though
freely,
The second (Exx. 227 and classify.
figure
is
it
the
rather as an unusual type of
somehow become and found its way into the
appoggiatura, in which the introductory note has
detached from the note
it
prepares,
preceding beat.
Ornamental Forms of Resolving Discord.
2.
In addition
forms of resolution mentioned in Chap. V, the
to the
empl ploy oyed ed following methods are em
with wi th varying degrees of frequency,
by composers of the English school A. The suspended note
may
fifth
fall
and then
fourth to
rise
the note of resolution (Exx. 229, 231).
may fall It may fall It may rise
fourth and then rise
B. It C.
D.
third and then rise
second and then
In A, B, and
N.D.
must form
Ex
in Exx. 235
232, 233).
In
manner shown at Ex. 232 the two forms and in the upper part
that the
suspended discord, the
being
process, however, is clearly analogous.
free
to be found.
work be are
is
fall
Such
parts.
and 236 are not
particular favourite of Tye, in whose
is
combination,
not
th
fall
the intervening note reached by the
shown
so frequently (in the
mannerism.
Ex. 230).
second (rare
consonance with the remaining part or
resolutions as those
The form
third (Ex. 231).
it
occurs
positive
shown
in
concord and
passing note.
The passage may
The
serve as
reminder that not only suspended discords but 'changing notes'
by the English composers than by Exx. 237-9 show two distinct varieties
are treated with greater freedom
the Flemish or Italian.
but such instances are not easy to find, and there
student should go out of his
way
to imitate
is
no reason why
them in
his
own
writing. It
was given
as
rule above
(p.
39) that the preparation, creation,
and resolution of discord should take place on successive beats, three The duration of beats thus being required for the whole process. the beat depends, of course, on the time-signature
minim, in
the crotchet
usually the semibreve;
in
in
and
and
it it is
may
in
C]
the
be the minim, but
the minim.
is
Occasionally
(though really very seldom), the English writers allow the creation
TECHNICAL FEATURES OF THE and resolution of pleted within
not recommended that
and unless
C),
the process
is
com-
this is preserved,
rhythmical freedom easily
Of course there
degenerates into confusion.
should permit him-
stud st uden en
tend to weaken his sense of metrical
self this rare licence, for it will
exactitude,
69
Ex. 241 (sign G) within that of
crotchet
It is
CH OL
discord to take place within the duration of
In Ex. 240, for instance (sign
single beat.
minim.
GLIS GL IS
no reason
is
why
modern composer should not throw metre overboard and write prose rhythm, if he wauts to
frankly radically
To
different
illustrate the
from
of sixteenth-century
that
extremely unpleasant
effect
very rarely to be found
it
counterpoint.
on the next weak
Such
solecism
show how important
serves to
metrical strictness should persist and
rhythmic independence
it
appended.
is
make
is
produced by preparing
suspension on the strong beat and creating beat (and not vice versa), Ex. 242
method
but such
itself felt
is
that
through
all
the
individual parts.
Cadence.
3.
The forms of cadence
to be
found in the English writers are
less
stereotyped than those of composers like Lasso or Vittoria.
These
experiments are not always successful
spoils
fine
composition by ending with
cadence that leaves no sense of Hierusalem,
splendid
work whose
Lamentations viction
ha dl
is
ad
Dominum
Yet the
effect of all that
one,
the secret of
which
is
sharpened and flattened seventh (CP and Gradualia, spirit,
is
is
no
clearly related to less
beautiful.
it
it,
243).
Ex. 244
the CJt).
is
real inventor of
it,
and Easie Introduction) we details
particularly
Ex
jiupil
of
the
245, from Byrd's different in
of Tallis, and one his master.
however, would seem once again to be the
enterprising Taverner, for in Ex. the
The other
juxtaposition
and though wholly
Byrd was
is
proceeds to the final
might easily suppose that he borrowed the idea from
The
Tallis'a
has gone before
measure of Ex.
cadences in the Lamentations are masterly beautiful
from
the
other music of this period, or
the penultimate
^see
',
is
intensity of con-
marred by the hesitation in the bass as cadence
point
in
case
tragic
ea he
indeed of any period.
and unsatisfying
tentative
finality.
convertere
composer
sometimes
find
246 (quoted in Morley's Plaine all
its
are differently contrived.
essential features,
though
Morley's comments are of
interest
'The close in the counter (is) both naught and stale. .This point when the lesson was made being new fashion was admitted for the raritie but nowadays it is grown in such common use as divers
TECHNICAL FEATURES OF THE ENGLISH SCHOOL
70 will
make no
enough be
scruple to use
left out,
Evidently the
though
cliche
in few parts, whereas
it
was not unknown, even
we
particular ones have), and
might well
be very usual with our Organists.'
it
in those days.
however, have ceased from troubling
'Organists',
it
(at
least,
The those
of to-day can surrender to the spell of
the cadence without the necessity of reminding ourselves that
was once common property.
Fathom Five cadence from Byrd Full
of Purcell's
feminine is
Echoes of
from Taverner
'.
Ex. 247
cadence the
progression at
close,
by the
and
(also
quite experimental)
fifth,
or by the descent of
which can be
measure but two, is
another instance of the exquisite judgement
which
less
unerring genius
ED and the Eb
are played olf against one another.
is
inst stan ance ce concluding in
ar
an unusual treatment of the
note being treated not as
given from Byrd.
changing note its
make
to
not quite
In Ex. 250 there
formula, the second
resolution occurring within the
single beat; while to get his
not hesitate to
is
him
passing note, but as the resolution of
prepared discord, the discord and space of
is
not
the tact with which the
Once more, the
secret of it
is
quite perfect
enables
able to cope.
Two
from Pales-
passage, despite the bold sustention
alto voices in the last
situation with
most unusual
paralleled, however,
wholly convincing, but the Palestrina cadence carry off
of approaching
stepwise ascent—
by
The Taverner
trina (Ex. 249).
of the
it
quite experimental
is
bass, instead
the final by the interval of the fourth or
one degree, comes up to
are to be found at the end
it
Ex. 248
it
harmony right Byrd does
his tenor sing EB, although
the key signature, and although
in
any
there
case,
is
an Eb in
coming between
and D, would normally be sung as Eb in accordance with the The cadence sounds so natural and concustoms of Musica Ficta. vincing that one does not realize until one examines
it
in detail.
its
novel and daring character
Ex. 251
is
given to show the free
use of the dominant seventh (Bb) at the final cadence. similar formula freely (cf Ex. 225),
is
rule in such an
The cadential formula shown in Ex. 222, howwhere the seventh (G) is treated as an ordinary changing note,
emphatic ever,
as
Byrd uses
position.
of constant occurrence.
4.
From
General Characteristics of Harmony.
instances already given the student will have seen that the
tendency of the English school in general
is
towards
bolder and
more rugged type of harmony than foreign composers permitted themselves.
few more such instances
may
be cited.
In Ex. 252
TECHNICAL FEATURES OF THE
GL SH SC SCHO HOOL OL
the accented passing note (Eb) in the alto
weak
fashion on
beat of the measure, but
of the cantus and the
the
Ex. 253
dissonance.
and
A,
is
double clash against
very aggressive
of the tenor creates
the combination of D,
similar in character
single chord
into
taken in orthodox
is
its
The
bination.
employ the notes E,
to
bass, it will
and
by the
fall
instances.
of an augmented second
Its
harmony
not suit every one, but
once acquired
C}? to
But
Bb.
England, has devoted
and has is
to be
marked
by
perusal
few singular
the fondness of th thes es
Dr.
Walker,
it
writ wr iter er
who have
which cannot for
what we
History of Music in
considerable part of one chapter to this
some curious instances it is therefore not here at any great length. The origin of the
it
found in the rules of Musica Ficta
will turn to p. 11
and note what
is
if
the student
there said under heading
then examine Exx. 255-8, he will see that th is
to
collected
necessary to treat
parts
down
it.
is
relationships.
so
extremely palatable to those
is
however, one peculiar manifestation of
is,
false
practice
com-
rough tang, which may
in general has
taste for
be overlooked, and that
subject,
in
note being thus in strict con-
music in long stretches than by examining
call
Cfi
goes
characteristic of English composition is better realized
There
bass, the
English principles, except that the ultimate resolution
formity is
F, A,
be seen, after touching
Bb, the treatment of the suspended
In
remarkable even for Bj'rd.
is
Ex. 254, by using an upward-resolving suspension in the
same composer manages
71
(6)
prog pr ogre ress ssio io
and
of the
quite logical.
was
It should be added, too, that there
part of singers at
this
period,
seventh going up and to flatten juxtapositions of
BC
Bb,
CtJ
in it
general tendency on the
scale passages, to sharpen
coming down,
and
C$f,
and
the
so that fairly close
so on,
would inevitably
occur quite often, whether specifically intended by the composer or
But the Englishmen went much further than the foreign composers, for they positively went out of their way to bring about not.
these clashes in
To
single
simple and natural proceeding;
it
seems
merely honouring
of the intellect in preference to those of the senses— fathers and grandfathers
who were
harmony
So,
armed with
make.
Mendelssohn never played Tallis
and Gibbons and these other
old fogies, that they should dare put such things it
to
which
were sadly perplexed at some of
the things they found, and
them such pranks
cl im
sacrifice
composer of the highest order must always be ready
But our
perfectly
on paper, and
call
pen mightier than any sword, the
editors with one consent began to edit
timely suppressions and
TECHNICAL FEATUEES OF THE ENGLISH SCHOOL
72
judicious emendations were the order of the day, until finally Tallis,
Byrd,
emerged with their hair curled and their beards
Co.
trimmed, quite presentable, quite
for the
fit
best Victorian society
The examples already
but curiously unlike their real selves.
quoted will show the type of passage that thus caused our ancestors
Once the contrapuntal explanation is grasped, the composer's intention becomes perfectly clear, and further comment to
is
stumble.
unnecessary. Finally, as to Rhj-thm.
Despite the
many
mark
the
melody and the harmony
ot the
above
all
by their rhythm that they
live.
individual features that
English composers,
They
monopoly
we have
of rhythmic freedom, for all the music of the period, as seen, is rhythmically far in advance of
Harmony
written since.
was merely
to
make
very
apart from the simplest concords,
is
not
essentially an interweaving of indepen-
commonly
(as
This volume has missed
its
combination
said)
aim
entirely if
clear to the student that counterpoint
it
the whole of
it
of
has
rhythm, and
is
little else.
It is is
and
rhythms,
melodies.
any music that has been
by-product of rhythmical experiment
sixteenth-century texture
dent
itself,
it is
none the
Englishmen
the peculiar glory
less
rhythmic device.
their masteiy of
They seem
exhaustible wealth of enterprise and resource, and
nothing
less
technique.
but one or
volume
than
to
do justice to
have an in-
to
this
it
would take
aspect of their
Some examples have already been given (see Chap. Ill), two more may fitly serve to conclude this chapter, and
so bring these pages to
The example from Byrd
close.
(Ex. 2.i9)
has been chosen to illustrate his fondness for rhythmical combination within
triple measure.
nomer, for of the signature
((J)),
call
compound duple
an oversight on Byrd's
moment.
The
part, or
essential feature
conflict of the three-one
moreover, which
is
is,
perhaps,
mis-
only one bears the genuine triple-time
the others all bearing
what we should is
five parts
Triple measure
G,
time.
whether
which stands
Whether it is
this variation
intentional,
of the madrigal
is
for
is
of no
the persistent
and the six-two accentuations
never allowed to become mechanical
conflict,
note, for
and eighth measures, where the soprano breaks with quite an independent rhythm of its own, the two measures
instance, the seventh in
together resolving into plicates matters
possible place.
2+2
2-
-A-t
the same time, the alto com-
by contradicting the accents of the soprano in every The basic idea of the work, none the less, is the con-
trast of the three-one (^
^3
p) and the six-two (^
,0
pf:3p).
TECHNICAL FEATUliES OF THE ExNGLISH SCHOOL favourite device of Byrd's.
It is
73
and the present writer had much
hesitation in deciding wliicli of his pieces to select for the ilhistration of
My Mind
it
dance in green
me
to
Kingdom
is
',
they show an equally consummate mastery.
them
Psalms,
of the
edition
1588, and every student should possible hearing
Though Amaryllis
abandoned with very great reluctance,
wei'e
in Dr. Fellowes's
and
make
to be found
and Songs of
Sonnets,
point of reading and
the
for
Both are
for
members of
if
would
class
put their heads together and sing them, they would really learn
more about counterpoint in half-an-hour than any master could teach them in reader
may
For another example, in
month.
turn to the short extract from 'Arise, Lord' (Ex. 205),
quoted to illustrate quite
different aspect of Byrd's technique, but
The signature here
equally relevant in this place.
be found on analysis that the rhythm of
Our
er parts an eq equa uall ll
he
that of
part
regu re gula la
will
regular
is
|,
Plaine and Easie Introduction
immortal author
Harmony, the only musical text-book
read for
its
own
sake, as
madrigals, Morley
is
one reads
novel.
ve
writ wr itte te
As
to
to
be
composer of he has not
perhaps the least of his peers
of Weelkes, the profundity of Gibbons, or the radiant
pass pa ssio io
But though not himself the greatest
imagination of Wilbye.
age of greatness, he his best
it
|.
Practical
th
but
is
two examples are both from the pen of Mr. Thomas
last
Morley
volume, the
this
work
is full
is
yet one of
its
most characteristic
in
figures,
an
and
gusto and vivacity that mark him out as
ot
chosen representative of the Comic Spirit in music.
His technique
he learnt from Byrd, and to say that the pupil was worthy of the master
is
both to give hira his bare due
compliment his heart could
him
the highest
In sheer exuberance of rhythm
desire.
Morley has never been surpassed
to pa}'
there are so
many
passages in our
which take ones breath away that one must needs
madrigalists
hesitate to speak in superlatives
but
the writer would be inclined to
name
if
driven to an offhand choice, Arise, get up,
my Dear
the most exhilarating tour deforce in the whole collection.
away
so fast' is not far behind,
them sung
to
enforcement of every
list
of
close.
stress
and counterstress that may serve
darken the plot and complicate the said befo before re would be pedantry been said all
the student has to do
do
it
himself.
somewhat lengthy
The reader must imagine both of racing speed, lightly and breezily, yet with resolute
comes
at
Whither
and with two of the most exciting
episodes from this pair of canzonets, our illustrations
as
is to
see
Analysis, after
issue.
to
what has
three voices only are employed
how
it
is
done, and then
TECHNICAL FEATURES OF THE
74
There
NG IS
always danger in the attempt to deal cursorily with
is
however great one's
large subject;
chance that something vital
may
vigilance, there
is
always the
be omitted in the process of sum-
The foregoing remarks, it is hoped, may give the student some idea of the lines on which technical examination must marization.
proceed, before
we can form
just critical estimate of our national
More than that they
are
may, perhaps, be added that materials
for
sixt xtee eent nt achievements in the si
not intended to
critique have hitherto
such
cent ce ntur ury. y.
been lacking
portant works have been buried
away
vast quantities of
in part books,
and even where
work of scoring and publication has been carried out, the result has been too often untrustworthy. Now, things have been changed
the
scholars
like
Dr. Terry (to
Dr.
Fellowes, Mr.
name no
Arkwright, Mr. Barclay Squire,
others) have
been hard at work, and the
preparation and issue of both the sacred and the secular work has
been taken in hand
inde deed ed of the latter, in
has already been published.
more important half
th
man, however, may not be
his
own
judge, and the ultimate verdict on the Tudor composers will not
depend
on
our
national
European opinion.
But we must
on adequate research an
but
predilections,
horo ho roug ug
see to
it
on
the
consensus of
that th at th that at opinion
knowledge
is
based
period under
we must raise our voice in no uncertain protest against any who attempts to pass judgement on hasty or partial survey
review critic
material which
of the
German
our
scholars
have placed at his
have pulled our nose in the past
disposal.
there seems every
likelihood that French critics will try to do so in the future.
only reply unless
we
is
pull thei theirs rs harder, but the to pull
attempt will be ineffective
ourselves and our knowledge.
are very
The That
knowledge must be extensive and thorough, and it must be knowThus armed, we can feel secure. ledge of their work as well as ours.
We
need not expect the judgement of the world
to coincide
with
our own. but we can insist that judgement be passed only by competent observers, and that
and
justice.
its
foundations rest on
bedrock of re reas ason on
EXAMPLES
KXAMPLKS. Ex.1.
Mode
i.
Dorian.
Mode
iii.
Phrygian.
Mode
Vii.
Mixolydian.
Mode
ix.
Modes Mode
Aeolian.
Xi
XU'y.
xii
SeTiTo^'
^^'^^
'^-
mT'TV"' C.
^ode
viii.
Mediant
S°dianTc^'
(Locrian and
Hypolocrian.)
Dominant G.
Ionian.
Mediant
E.
Ex.2.
Ex. 4.
#%=i :^M^i=
:x.5. (^i\)
=?f^=^
Mode
Hypophrygian.
Hvpomi.xolydian. -^ -'
^7*"^
Mediant
F,
Hypoae
Not used
m„j„ Wode
„;,.
XIV.
,,
Hypo.omar
Dominant Mediant
^S^ ht^
Ex.7.
^^s=
Ex.8.
E.
A.
Ex.3.
Ex.6.
^-
A.
4r=
Ex.11.
Ex.10.
Ex.9.
*^
^^
=#8=
—8—
=#Jt=
Ex.14.
Ex.13.
Ex.12.
4--
CT
-»
1>CT
-^^ ^*-
'^*'
Ex
ic '"'•
17
In
parts. Fy 1R ^" ^*' °" Idem, Magn. op. mus., N9 8.
parts.
Orlando Lasso,
In
parts.
In
parts
Ps: Pen:
VII.
..«
In
parts.
"• Palestrina, Missa, Za««/a Sion, (Benedictus). "*• '" Croce, MissaTertii Tom, (Credo).
4n
Cw
Palestrina, Missa Quarta. (Benedictus).
OQ
parts.
'"
"Ibidem. (Sanctus) ^J-
-o
c„
91
''•'''•
In
=pp=
c,
parts.
Palestrina,
ssa, Iste Confesior,
(Chris
Pf
Hha
V^
^f
tX.
-^
'^''•'''^-
Eleison)
-„
In
i*!-
Palestrina, Missa, Assumpta est Maria,
parts.
Agnus
Dd
parts.
29 In
Palestrina, Mi-,sa, Regina Coeli,
1^ ^JJJJ
%^ —^
Ti
(Sanctus
Ln
-. Palestrina, J^/wa .ffrewx (Credo). ^*- ^** Sectional Cadence.
F» oc Ibidem. t«-^a. pji^^, Cadence.
«Q
c«. z».
In
Orlando Lasso, Ocului non
In c» 31 ^*-'"-
Vidit.
parts.
"•
vos omnes.
Vittoria,
OJ
m==w^h^k T^" ^f rJ
rJ
rJ
f"
f-
p„
qq
•'*"'
Ibidem
F» •^
-1=^
Ex. 35.
Vittoria,
(ft
ir
llJ
ffft
rrr
?4
"*
'n
(Benedictus) t^
ti
rr
Ibidem
LmJ
O^gnus Dei).
'jjic. -M
lt^i=,ir
Magnum Myiterium. iJ rH^ fif^
1:^
"^ 9^
=s^
-•
b^^ Ex 00. 3fi L».
/tJpL
Interrupted Cadence
J.
:'~
\\^^^-^
(Form
Gaudent in
l).
tX. 37.
Coelis.
(Form II). Idem, Missa, Regina
^H
-4H &c. -»
»j
tlJj
rr'TfiIr^ir
ip
paiestrina,
parts.
parts.
dc.
u. 1-
Plagal cadence in
!>'
(Credo).
^M»-J
on
-»
parts.
In
qo
rt
^^- Palebtrina, Missa Brevis
4ff= tr^—A-
If
'-
rr
b-
parts. on I" ^*- '"'' Vittoria,Missa
parts.
p= ^^^^flH^ V-"
r-
Coeli.
FF^
4^
•
"8
_o
[:M=
Ex. 38.
Ex. 39.
Palestrina, Stabat Mater.
1.^
1^ fe^(H
F-hf]
tf-
sta
rnn-ter
bat
-r
i^
II
pp8— -n
do
sa,
jux
^4^ Ex.
H— #S=r
^t(>fi
ta
^^
cem la-
cru
i^
^.. sa
cri
£1
&c.
iJ..
„llJ
39?
Ex. 40.
Ibidem.
^l,,\
II" fee
I'Y'.l ^i_^_o
g^
ut «^
...
Ho-
te\ cum
-h
ut
II
u^ =8r
v;
am,
lu
fac
ut
ar
dR de-at
**
te-cum
modern equivalent).
cor
me "-^
-Tl—e
Ex 40? (The note-values reduced fee
II
*>
lu
for the
ge-am,
fac
purpose of ut
ar
llustrat ion to
de-at
cor
um,
_0
their approx
me
in
Q_
mate
£1
Ex.41. Morales, Officium. Defunctorun,
Ex.42. Orlando Lasso, Neue Teutscke
Lectio
Lieder,
III.
11,8.
>2
tern
Ex. 43.
Byrd,
"O God which
ac Ex. 44.
Ex. 45.
most merciful'.
the
mul
she
tude
Thy com-pas-
of
si-
mi
Morley, "Still
with glee
re
sound
rfrom "Arion"] l-
la
it
tuo
bel
no
friethV
hence a-way, com-fort, in
vain
thoudostease
we, com -fort
in
vain
thou
Pevernage, "Recherche qui voudra'.'
Pour I'ombreet pour
Ex.49.
ti
blow, blow your pipes
pherd,
Bertani, "Ch'ami la Vita"
ch'a
Ex. 48.
wan
ben
Morley, 8-part canzonet.
Blow,
Ex. 46.
cor-ding to
art
glau
Idem
"Fais que je
^4
la Soif,
pour
viva'.'
>4
ombre
et
pour
la soif, du
rant
les
grand chaleurs,pour
Ex.50.
Ex.
Ex. 53.
Missa,
Assumpta Est Maria.
Ibidem.
Fi
Ex.54.
Brumel, Missa,
que
li
De Beata Virgi
son,
Ky
pro
ce
dit.
Qui
CUD
Ex. 55.
Palestrina, Missa,
Jf
Aehr/ia C/irtsti Munera. :^
N=t^ ^-jp
-r mi
(raun)-di,
-L^-^-
se
re
=b
L*J-
i>-
3r-MH-o (man)-di,
3^r^^F^=^ ^11.
-''—_ai
III IJJ
mi
se
re
»^
-J
re
ls,fc«=^rt^^= """
=^ i>
^r-^ -(L^
di
ri*r^
•0^
>l
-^
^F—
-^
mi
se
re
rr"
rr-
re
-M— se
^^^
1-
=—
i^ sJ
bis.
5>_
ill-
Tj.J
+^^ bis,
^\i
18
no
re
^^
^^:-^
-a
no
bis.
-^^
==F=
=4— re
«J-
;.J
re
H-H
zzt
no
2^ **
bis.
Ex
56.
Mori quasi
Palestrina,
il
mio
cor...
i-
=^
1/
T—
f—\
^^
bel
j)
fior, orj
s'un
qua
m'ha
fior
bel
si
cor
il
di- strut
.,
-(1 l>r •J
no
|#i -^ V-
re
or',
s>^- .^^
—<^
(-.
s'un
or'
1^
fior
>>
=r
^J
s'un
bel
=-=d
J.J
fior_
m'ha qua
!.
.*!;
k„
strut
di
qua
cor
J-]ij -*
qua
siil
-tH z^ sii
n^
4—^
cor
di^-
cor
di- strut
di- strut
r^
to
=h= Strut
to
Ac.
3^
p==
xis
m'ha
^^ m'ha
Li
=r
sp
bel
L_
-fH
^^
..
si.lc'or
rT
|-l
[,
qua
m'ha
fior
r? _Ui_!
bel
fior
m'ha
qua
siil
cor
=f=
di- strut
to
^-r
to
Ex. 57.
l>
Byrd, Hongs of Sundry Natures, N9 2.
«^—
•J
Right l>
r-^l—
Right
yiju
blest
are
\W^
blest
Ti
they,
are
whose wick
they,
ved sins, whose
^-J
zJ
=^
wick-ed
sins.
Y~^
if
they,
ed
Right
whose wick
blest
are
Ex. 58.
Ibidem N? 16.
Ex.60.
Wilbye,
"Down
in
'„—
ir'o
Valley!'
-F
'^
—^
-f
ff r-
val
in
f»
I*
",
''•
Ex. 62.
val
in
^'
Bugsworthy,
down
ley.
^' 'i
Conceits and Vapours,
L^
-^^ val
in
r'
^=^=^
>.
ley,
.a
in
=^
fe^?^^==#^ —J— Down
ff-nf^
w'
J)
ley
ifc=i
NQ 10001.
Super-tripartiens quartas.
^"irrrfrrr [irirrrri rrrr^rr -i,i."T7"J^=J=i i«^'
^A
^1
Ibidem.
—(3
-i
do
Inff
•!
..iUU 'J
-e-
NO 10002
,it,
^=J=^^=^r^^
T^ Ev
'ry
bo
dy's
do
ing:
it
-1
-1
s*
|-
-d
si
^=..
j==^
-e-
Ex. 64.Palestrina, Missa, Assumpta est Maria, (Kyrie
],—.
/f-^-
w^^^
~^^ri
I).
«),.
"^-^ -1^
"1
J.
,rl,J
r'
Ac. 12.
(Christe Eleison).
c!
id
«7,
f»
4^ 4=^ Ex.66. Ibidem
Ex. 65. Ibidem, (Agnus Dei
i--n~^-^
J.---
-P
I).
jj
Ex.67. Ibidem.
Ex. 68. Vittotia.Veni Cnator.
F^s^ ^=
Zfc
i.
'h'hrf^rr
&c. '>"
Palestrina.Missa, .ff?^««a
4^(hJ
Cce/«,
(Credo).
^^
t^
Ex.70. Ibid Ibidem em
^^
f-
(Ben (Bened edic ictu tus) s)
«^
n^
^.
^
-o
Ex.72.
Palestrina, Missa, Xw«»»^/a
**
"^
fi
m<
J^ar/a (Benedictus).
Ex.77. Pajestrina,
Jf/ss
de Feria (Sanctus).
Ex.79. Idem.Missa, Petra Sancta
^b^
Ijp^
Ex. 78.
Ex. 80. Xdam^ Missa Brevis
(Gloria).
L^,j
Idem, Missa, /r/e CVw«/i;wor (Kyrie
I).
(Kyrie I).
pH -^
If -^
Ex. 81.
Idem,
b-F
Gaudeut in Catis.
\ll\l.
*^
^e^
]:^
Ac.
r^i>v°
8'
\'^
'r
Ex.83.
Ex. 82.
"-^ Ex.84.
ta
,»
p,
Ex.85.
fT Ex. 86. Idem,
Ex. 88.
Dies Sanctificatus.
Orlando Lasso, Ps: Pen: U.
Ex. 87. Idem, Missa,
Ave Xegina (Sanctus).
Ex. 89. Palestrina, }Mssa,JttfaCkristusAsira ^Agnus Dei I)
Ex.90.
Ex.91. Palestrina, Hodie Christus nalus
Byrd, Saccrdotes Domini.
(quick time; original signature
Ex. 92. Palestrina, Tollite jugum (fairly slow time; signature (f))
Ex. 93.
(|)
Byrd, "I thought that
est.
^).
Love'.'
(quick time; signature C)-
Ex.94. Idem, 5-part Mass.
Ex. 95.
Brumal, Missa, De beata Virgine
Ex. 96. John Farmer, 4-part madrigal,
Take Time
whilst
(Gloria).
Time doth
Ex. 97 last'.'
Ex. 98. Palestrina Lamentations. Ex. 99. Morales, Lamentabatur Jacob. (Lectio I, Fer. VI).
Pale Palest stri rina na
Missa Brevis (Agnus Dei
I).
Ex.100. Idem, Magnificat
viii
Toni
Ex.103. Idem,
Tollitejugum.
Ex. 104. Idem, Missa,AKRM>//a
est
Maria
(Osanna)
Ex 105. Idem, eauden
Ex 106. B>rd,"Oyou
in Coelis.
that hear this Voice'.'
\T^)i
^'^-^
(r^%v5
Ex.107.
Palestrina,
^(ipij
^^= Zoxi^a
Ex.109.
.S;<7».
&c
^^^
ii ttarPr
o-Nj-
..
=:ta=
Ex.108.
Simple form of resolution.
Ex.110. Ex.111. of resolution. Ornamental forms
Ex.113.
Ex.lU.
P.
f^
T°
de la Rue, Missa, Ave Maria (Osanna).
Ex.112.
Ex.115.
Ex.117.
Ex.116.
Dominejesu
r-5
9—«T
*»
^<\>f
^rr
M^
^i-ip
Ex
est Idaria
(Treatment of the double suspension
Ckriste.
&c.
ri
Palestriila,
Assumpta
Guerrero,
if
Mi=sa, {kgu\i% Xi&\). chord as
Ex.118. Palestrina, Mtssa Brev.i (Agnus Dei II). Double suspension of the 3rd
1—9
MH— -f
l^ ^¥'
chord.
as
).
:,
L^
l>
^-^
P-l—
ff
119. Palestrina, Missa,^s/er«a ChristiMunera Ex. 120. Missa de Feria, Agnus Dei I. Another instance from Palestrina. Double suspension of the 4th(,Christc Eleison).
Ex.121. Palestrina, Missa, Dc B.ata Virgine Ex.l22. Missa PaPae Marcelli, (Kyrie). Double suspension of the 5th. Another instance from Palestrina. (Credo).
Ex.123.
Ex.124. Pyrd, 5- part Mass
Missa Brevis (Credo). Another instance from Palestrina
(Treatment chord as double suspension of the 6th).
,„_
Ex. 126. Palestrina, Missa,
fH^
Rj
-^^
u±^=f^
J.-<
Jam
(Credo).
Christus Astra
-g II
&c.
^^
^4
-e
-b
Ex.127. Palestrina, Madrigals, Bk. II, N918. (Suspension of 3-part chord; (cf Ex.86)
c- loo
^*- '^S-
pi ^ou ^yrd, S-part Mass (Christe Eleison).
Ex.129. Palestrina, Missa, Ute confessor (Gloria).
-J
ll-
Ex.130. Idem, Missa,
Ave Segina Cotlorum (Christe Eleisen).
h-
J^hJ
iJ
-H
-d-
..—Ir^
&c.
'N
r-J
'^''^f^ Ex.131. Palestrina, «(Qui) tol
lis
\^^s&SL,
ca
pec
Ex.132. Luca Marenzio
Maria (Agnus Dei).
Assumpta ta
est
mun
r-fi
oc
(di)
Ex.133. Palestrina, Missa, Regina Coeh (Kyrie
II)
rTl
Ir
Inuocentes pro Christo. ci
sunt
si
Ex.134. Idem, Missa, Assumpta
est
Maria
(Kyrie
Ex.135. Aichinger, Duo Seraphim clamabant
I).
Ex.136. Orazio Vecchi, "Leggiadretto. Clorino'.'
Ex.138.
Ex.137.
pj
^^
Jj
tV
"r
ttw
»r
ily
^>
Ex.139. -^'
-^
»•
^^"
-»S
'?:
'8>
-J
Ex.140.
Ex.141.
j^ "^1^
-rs=
V-
Ex.143. (an actual instance from A. Gabr Gabrie ieli li bu quite
Ex.142.
exceptional).
1^^,
|,M
^o
f-°
-e-
\\^-^
>;"
r7
^^
Ex.144. Paleslnna,
Bone Je
Ex.1 Ex .145 45
Orla Or land nd Ps.
di
Pen.
II.
con
xi;
Ex.146. Palestrina, Lamentalions (Lectio
Lasso,
l).
fi
(tebor).
Ex.W.
Idem^ Missa Brevis
Ex. 148.
Palestrina, Lamentations,
Lectio
(Credo).
Ex. 150.
II,
Ex. 149.
(Credo).
Ex.153. Aichinger, Lauda
Ex.155. Orlando Lasso,
.1/;.JM i^;n
Ex.154.
ro«i (Gloria).
Vos
fer. V.
Ex.151. Idem, Mtssa Pro Dtfunctts
Ibidb
Vittoria,
Gabrieli, Ex.152. Missa Brevis (Agnus Dei).
Palestrina,
Ex.156. Vittoria,
Omues
Salvator Mundi
Ovos
oi„nes.
Pelr Ex.157. Palestrina.Missa, Pelr y.
Sanc Sancta ta (Kyrie
I.)
Kyrie eleison.
Kyrie eleison.
Kyrie eleison.
^^ ^m
JJ"
JJ
^^
IHU
|—
I'i
*'
my
i^
~rf (Wo
0(1})-,
^Tf
-r^ -\—^
rrrrrr
fftV"
iflii:
f{_
^riW
^"=
p"®^
"r
f—^—
«!
Ex.158. Mar enzio,
Mag num
haeredit at is mysterium
1—1
nP
(fe<^
T.
ri
1~ -^rh^
-»
JJJ^ Irrrrr
-T^ &C.
d^-i— t®^^=^
T:t
'-
-—r-
-t— ^-^-y^
Ex.159. Orlando Lasso, Missa Vvocum. X_
i' ^-^
\>
-J-^"
('
'J
JJi^'
IJ JJ^J^J
II J^
Ex. 160. Giaches de Wert, "Chi salira.per
&c.
njh
r-
me'.'
Ex.1 Ex .161 61
Mare Ma renz nzjo jo
Misit
Rex M,niilr (Answer by bass.)
(Subject in tenor.)
Ex.162.
Sacrum Convivium.
Tallis,
(Answer by
(Subject in
tenor.)
Ex.163. Orlando Lasso, Missa, In Die Tribulalionis. {Kyrit)
(Answer by tenor
(Entry of Subject in bass.)
Soriano, o, Missa, Missa, Nos autem gloriari.iChrisie eleison) Ex.164. Sorian (Answer by alto.) (Subject in bass.)
Ex.165. Hassler, Missa Teriia IV
(Answer by
Ex.166.Vitforia,Missa, Trahe me post
(Answer by
Ex.167. Tallis,
(Answer by
(Answer by Bassus
alto.)
I.)
(Answer by Bassus
11.)
DereltnquU impi
(Subect in alto.)
i,,ji.j^jgrr (Answer by
alto.)
ie.
^11.)
tenor.)
(Answer by cantus.)
Vocui.
(Subject in cantus.)
(Subject in cantus
II.)
tenor.)
f^
(Answer by
contratenor.)
^iNJJ
(Answer by
bass.)
iJ^-Jrl
Ex.168.
Faleslrina, Missa,
V,),i
Sanctus.
Ex.169. Idem, Missa de Feria. (Kyrie Kyrie eleison
II.)
Sponm
Chrisli.
(Sanctus.)
Ex.170. Palestrina, Terra Tremui Camtcs.
(fl>
F-
IP
1,
fM •—
}\ ^^
^» 'J
&c
ALIUS.
ik
1^
-»-
<>>
Ex.171.
U-
Ibidem (the same entries inverted at the
Cantus
Ex.172. Marenzio, Cum Jucunditate.
-|-
12'i'
'^—
by altus and bassus)
{{J
tt
Ex.173. Ibidem, (the same entries inverted by cantus and tenor atthe 12'j',changing Camtts.
y.
Ex.174. Idem, Te Deum Patrem. (inversion at the
10«j',chang-ing- to the
Cantu
-*
tf
*p
ALTUS.
-*
-^
tf
-= -=
^.
Fi
_t
Tenor.
Rassus. *1.-
if
^^'
f.
f^
f^
,.
p'^
8'J')
to the
8'i')
Ex.175. Idem, Princt-ps gloriosissime
j^
Cantds.
S^
(Subject in
and B)
Inversion by C.ar.d A. at the 9"" changing to the
^^
ALTUS
i^i^
1,
-^m
tf
Ex.176.
lAsm,
Is/e est Joannes.
Triple
Counterpoint.
8'
Li
'"
"'
-t
(-
'^
&c.
%=^J__J,^ ^^ -I
'^
^^
i-^
J.
&c.
-u-^
&c. j.^^
^.
"^
-f
R^
Order.
Ex.177.
<'^
Sweelinc k, "Poi Che ion volete" (A nswer by inver sion.) r^
-o
«r
T'
FP
\r
rr &c.
-tr-E *'
'^^i^
ii 1^
1^
ij
^^
Ex.178. Marenzio,
-/'a
Pattern
Cantus.
Ex.179. Idem,
(Answer by inversion)
ffodie Completi Sunt.
Cantus.
(Answer by inversion
in
two parts)
Ex.180. Palestrina, Missn ad Fugam (Kyrie)
Ex.181.
Ibidem
(Credo)
Ex.182. Ibidem, (Benedictus)
*-
Ex.183. Palestrina, Missa Brevis.
Canon two Agnus Dei
in
one
i^c.
at the
unison
Ex.184. Palestrina, Missa, Sncerdot^s Domini
(Sanctus)
Pleni Sunt Coeli &c.
I'f Pleni Sunt Coeli
['
rr-
&c.
J.
..
rrrrrrh
rr
Jlpr-
jJtHtt
rr^
JfOI
^^^^
rTf
JIM
rT
J.
JJ^rrrr
li
'rrr
Ex.187.
I^
rt
:*
-m
40
rf"
r-
P-^ J±-^
r^
^—fQuam
ti
bi
Do- mi
Jj *«
nus
f\
Quamti-bi
i--^
Do-mi-nus
""'»#
**
Quam
^rrf
^J
I''
ti-bi
Do-mi
nus
P»
rp.
rf
"-¥ /p-P-H
rr
^"i-
rr
JrJ
num
-ter
65
^^=#
(f#
M7 -^^'^
h^=^ ^^^
r^
^^
^^e:
.1
'-^4^^4M
cJ
•»-
«)—
if
K-p
1...
IJJ ^^^*\
,,
^*o(||l,J
-»
C5
Ex.193.
Palestiina., Motet, Til es Pe/rus
(first section).
ae
di
ca
Ex.194.
Bone Jesu.
Palestrina
U^
Bo
ne
Je
F=°^
#=^MH ****(lyR
tp
A—
qui
1^
^a-
t=l
1^ 1^
J—
*^^
TO
«.
-e-
/I
il
tf
pre
^=^
in Kyrie.
d-l^
IJ
II
ti-o-sis
si
;]>}—• '^
«» 195? Melody
in
mo.
'^u\n
in
±_
r„ iQca
^«;; ^«;;^r ^r«. «. Ex.
de
re
4=1
-e
_(
CAr/5/ 5/ '^«/dr«a CAr/
tu__
«-
.iv-....a
Ex.195. Palestrina, Missa,
„, ineioay
tu
F-" "o
-o=
P-
-»
nos,
ti
5-8^
San -gui- ne
r*^~
9^—^ ^^
as
ere
tu
tzzz
nos
I'rt
-'^^
'-'
bis
no
re
re
,-
Credo. Ic.
""ilk
II
Ex. 195^
Melody
in
±\ Ex.195?
Sanctus.
Ic
II Melody
in
Agnus Dei
Ex.196. Gesualdo,"Ardo per
(c^
^' *;i
[^j-^
Lb7
fT^^ U- ^'^^
lo Ex. 195^
I.
Melody
i>p
If
1^^—
^^M^
7J
ti
II.
Ex.197. Idem, "Ardita Zanzaretta"
1;
^\.y >'
[,..
Agnus Dei
te!'
i^^J-., -•^
^^
6T~|rJm
,»
fy
Ex.198. Idem, (from the bass part of "Gia
piansi'.')
-^
=1-
1>8
-1-
h^
^-
1-
M—
Jo L-N
Ex.199.
Orlando Lasso, "Hor qui
son'.'
Ex. 200. Idem
^'^rrr Ex.201."Hora
per far."
Ex.203. Wilbye, Madrigal, "Draw
rr
Ex.202. Wilbye, Thou art but young thou
on, Sweet Night.'
says'tl'
on sweet
night,
un
to
those
cares,
25
me
j|j Ian
cho
pain
rise
ly,
^m
pain
ful
pain
ful
^m
rom pain
pain
.J
-'
rise
.1
from
pain
ful
ful
^^
ful
ill
through want of comfort
fares,
1.
r-J^
.i
~i
^-^ ^. Ex.205. Idem, "Arise Lord
into
Thy Rest
ltd-
^^
^^
:^_^.
-^
Ex.206. Idem, "Come, woeful Orpheus!'
1^
La-
i=?MF^M^
^f-^
e-
and
un
Ex.210. Idem,
ii^
g^
I,
make
make
choice,
choice.
es,ami mica ca mea. mea. Tola Putcra es,a -1
1"
:|- F^=^f=1
uflats
1-
<[»
#r== U^ >J,
1^^
1-|-
f^nr rrrr^f^^ II uH^f4
|i
r.
r.
-+4fH
I-
\r.{'
Ac.
m^
II
ri
Ex.211. Taverner, Missa, Gloria iibi Trinitas (Gloria). p-
iPHnti
^^^1^
r'\r.
-^»
&c.
iin7~ry7n^f^ III 4^ IJjjJ^-^,-^ If ,J r^f
44^
Hm
\-
**
II
Ex.212. Ibidem, (Agnus Dei).
U^u\
t-Ht
ijj f-rh
..
«-
i-,j.J-J|Jj"
-U^,jrri
II
77
irr'
^T,
&c.
nr"
Ex.213. Idem, Missa Corona Spinea (Plenj Sunt Coeli).
o-
r^
-^-^
Ui
gl
i"
^-nrr^^^^^T^
Trri
^—
WT^^ ri?
iLLr'
Pl»»
^i. ^'^^'^^^^ jiij'r rTTTT
rrpi
rr
^TT
&c
ii
Ex, 214.
Byrd, "Sing ye to our
Ex. 215. Wilbye,"Love
Ex.217.
me
Lord'.'
not for Comely
grace'.'
Ex.216. Whyte, Laetentui
Tye, Missa,
Euge Bone (Gloria) Ex.218.
Ac.
Ibidem,(Sanctus).
^m Wf (^
»*-
jy^
Ex.220. Idem,"The Silver
Swan'.'
^^
Ex.219. Gibbons,"Yet
Sear
Ex.222. Idem, Aspice Domine (Cf.Ex.244). Ex. 223. Idem,"Crowned with
if.
i',
uJ
{j
Flowers'.'
Ex.225. GibbonsJ'What
im
1,
that KgW.
^M.
[,<^
Ex.221. Byrd, "All as
Ex.224. Wilbye,"Come Shepherd Swains!'
if
j.,
is
our Life?"
J.
rr
^^
Lo Ex.227.
Ex.226. Byrd, Four-Part Mass
Wilby«,"Flora g-ave
me
Fairest Flowers!
Ex.228. Ideni,"There where
Byrd, "Chr "Chris is Ex. 230. Byrd, J?
(.
Ex. 229. Byrd, Aspice Domine.
saw."
Risen Ajrain!' (Part
is
Ex.231.
^^yte, "O Praise God
II)
11
J^
.^fj
hn
*^-
>—^-4
Yr-\,{*>
L_^
7^^
1^ Ex.
..
,j '^
Ex. 233. Ibidem.
,^
rr
**
.J—
tf-H^J
!>
Incorrect resolutions.
=P=
^_^ ff;
fl
tf>
1.1,1
^^
f^
&c.
^'
4): '^'
1,
..
^^"-'^
*^
f^
f.
^J
_l
Ex.237. Tallis, Mass (Senedictus).
L-^
-T-" Ex.236.
Ex.235.
234.Whyte, Deus Miserealur. ,,
(fe ig3
p—
;'
r;
ff^
Ex. 232. Tye, Missa, Euge Bone. (Gloria)
li
^-
-J
,1
'^
*ri
in his holiness."
^r
f^r
Ex.
238. Ibidem.
=^=^ —6 &c
«r
Ex. 239. Byrd, "Lord in
Thy wrath."
Ex. 240. Gibbons, "Dainty Fine Bird;
Ex.241. Byrd/'Chrisc
is
Ex.242.Tye, Missa,
Risen Again."
#=
'!)
i\
Ex.
I'
rtrr
'r
243. Tallis, Lamentations, Lectio J.
^^
rrr
rrr &c
""[
\.
JJJHrJ
ff
r)
.^-^^,.
^if^
t===
.>,,,rj^^^'^ \>^'
£'«ff 5on« (Credo)
rr
#^#^
Ex.244. Ibidem.
Ex.
KTT
245. Byrd
ij_
Sacerdotes Domini.
J\r.i?.
(^
rr^
T^H
t^
St
Jo
,l,w
id
L^
4=^^ -N
|y±^4^i^F T" Ex.246. Quoted by Morley from Taverner.
248. Taverner, Missa, Gloria
'J
Ex. 247. Byrd, "But not to
Ex.249. tibi Trinitas
soon soon
Palestrina,
Lamentations Bk.L Lectio III, Fer i.
(Osanna).
Ex.250. Byrd,"Mine eyes with Ferv« ncy."
i^ ...
^Vr •eii'«
hn
°^Mlf'
^F
"fi
"6u ^y=
Ex.251. Idem,"Blessed
is
Ex. 252. Byrd,
He.'
Ex.257. Idem,"Behold how good
-I
if
^1^
,h,„,,.
Ex.
-t^
=^^1^ Ex. 259. Byrd, "If
Women
(Wilt) thou
''•
could be
4,^
Stiljg
me,
5_-
^"Ht so
^_t
fai
Ma
wilt despatch me!'
1— ^i*>
ln,JJ &c.
'r^
258.Weelkes,"Ocar« thou
part
g>
jj^,
dead
^-^ -f
ly
&c.
=i=i
Sfez:
Ex. 260. Morley, 3-part canzonets,
see
well
ri/l
else
rUr
-f
catch
you,
-F
f-=
P-
what,
N9 7, "Whither away
you mean
else
=4=^±1-^
catch
you,
4=
what,
+-
you so?
J.
Jyou
J'
halt?
J—
me,
irl'r.
do
you
"i
or
mock
to
r^^-
ff
1run
so fast ?"
do
lack
^^ W' you k-^
J.
Jl
the while;
-T-T^^^ -Jso?
lack
:d the
:^M==^
Ex. 261. Ibidem,
cake.
Sops
in
N9 20, "Arise get up my
wine. Sops
in
wine
dear.
are
ling,
are
dea
2S31-VW
