\, I/ NOVELLO'S ORIGINALOCTAVOEDITIONOFOPERAS, Edited,and Correctedaccordingtothe Original Scores,by NATALlAMACFARRENandBERTHOLDTOURS. TheEnglishTranslationsbyNATALIAMACFARRENandthc Rev.J.TROUTBECK,D.D., &c. P.- ~ , AUER.;.'71.s.d. FRADIAVOLO.French and English words.3650 MASANIELLO.Frenchand Englishwords3650 BEETHOVEN. FIDELIO.GermanandEng-lishwords.3650 BELLINI. NORMA.Italian andEnglish words..... 365 LASONNAMBULA.Italian andEnglish words..3650... IPURITANI.Italianand English words3650 _ F.H.COWEN. THORGRIM..5076 DONIZETTI. LUCIADILAMMERMOOR. Italian and Englishwords3650 LUCREZIABORGlA.Italian andEnglishwords...3650 LAFIGLIADELREGGI-MENTO.ItalianandEng. lish wards3650 FLOTOW. MARTHA.German and Eng. lishwords3650_ GLUCK. ORPHEUS(Act11.).Italian andEnglish words..I0 IPI-IIGENIAINAULIS. Frenchand Englishwords..3650 IPHIGENIAINTAURIS. French and EngJ.ish words 3650 DR.H. HILES. WARINTHEHOUSEHOLDf0 UACFARREN. THESOLDIER'SLEGACY60 MACKENZIE. COLOMBA5076 Ditto.Germanwords.80 THETROUBADOUR5076 MASSENET. MANON.Englishwords..6080 MENDELSSOHN. THE SON ANDSTRANGER40 LORELEYI0 h__ MEYERBEER.s ~ d :/d. L'ETOILE DU NORD.Italian and Englishwords....5076 MO ZART. DONGIOVANNI.Italian andEnglishwords.3650 LENOZZEDIFIGARO. Italian andEnglish words3650 DIE ZAUBERFLCETE.Ger-man andEnglishwords36S0 ILSERAGLlO.German and English words36.50 COSIFANTUTTE5076 PURCELL. DIDOANDLENEAS ROSSINI. I LBARBIERE.Italianand ,6 English words36.50 GUILLAUME TELL.French andEnglish words.S076 SCHUMANN. GENOVEVA.Gennanand Englishwords.3650 VERDI. ILTROVATORE.ltalian andEnglish words.3650 RIGOLETTO.Italianand Englishwords31550 LATRAVIATA.Italianand Englishwords...36S0 ERNANI.Italian and English words..3650 WAGNER. TRISTANANDISOLDE. German orEnglish words..ro0 TANNHUSER.German andEnglishwords..36 LOHENGRIN.Germanand l0 English words..36 50 FLYING DUTCHMAN.Ger-manand Englishwords3650 WEBER. OBERON.Italian and English words......36 DERFREISCHUTZ.Ger. manand Englishwords36 EURYANTHE.Germanand Englishwords..36 PRECIOSA.Germanand Englishwords.I6 50 50 50_ 30 LONDONANDNEWYORK:NOVELLO,EWERANDCO. Novello'sOriginalOctavoEditz"ons0/ ORATORIOS,CANTATAS,MASSES, FRANZABT. 't,,"Pns' FROLIC(F""'ALlIYaICES) SPIl,HOTIWI(DITTO) Sv .. ",,, ,,(DITTO) T...CITY(011'1:0) 'rll. W'SHIIiG('H'I'TO) TII. "'01.'1'1 11.FoI.l ltlllS(DITTO) Tl'IlSILV....CLO\lD(DITTO) MINITSJItBELn(DITTO) W.CROWTHER-ALWYN. Mu. 111F(LATIN"'NDE>laLISH) THOMASANDERTON. YULITlo"... TIII:NORMANBAION......, Wu.c",0. TlUH"SPn .lIS(SOL-7A,4d.) W.I.ARGENT. WAU,'"B>'LAT P.ARMES. HIZ""'U.H ST.jO"MTIIIEVANGELIST TJI.GIPSIU EHDYXIOII E.ASPA. ASTORGA. Sr"'" ATMATU' ),fASS".BwIKOl< W/SuH"lIVll IRA BACH. THIlPASSION {SoMATTHI Wj TUlI:PUS!ON(5.101111) C""urwuOIl.\TOIlIO M..... II'..'CAT... Gon 001'1'11tlPWITRSHOUTUl(i Go".clLOVJ:DT"lI!WOIlLD Gap'"T'W"I.THE,.. sT(50I.-PA, M.) . 111 ..SPI TW.lS[MHIt.lvIMUS oLIOMTEVIt .L.lSTIMG Bill.....,THus . A.ST.OItGHOLOSUIIE B ..lIoTA.-IIAID(SOL_I'A,4d.) BLUIIHO, GLoRr,.lHOWuoo ..... IW.... TL".lHDPRAT(SOL.r.l, TxouGUIOl:01'ISI\Al'-L.,. Ju u,P .'C. LUST u :uul'-. \VHEII...ILL Gon l'-EC ..LL .... SPIRIT Juu" MOwWILLW.PlIAIS"THEE J.BARNBY. Run.l" (SOL-PA, 9d.), "IM.LO.DISKUIG(PS"L" 97) LEONARDBARNES, 1'""B.ID..LDAr J.F.BARNETT. TM"AIICI"IiTMUIIU-R (So....... , TM"RA"IIiGOFL..zA.ul P.li!ADU".lNDTM"P".I , &c. BEETHOVEN. TR" PlIAlSE0"1'MUSIC RUIHS0 ..ATM"IIR ENOEDI;OR,D ..vIP111THIIWILDJ:I\N" U MOUIIT0 ..OLIV ..S... d o o d. Musl"C..0 CO .... UIlIOIlSSRVICSIHCI6 MusIIID TM.Cllo..,n, SJM .. HOIIT......6 DITTO(TH.VOCALPOlITlOII) THIICH"U.LF.l"T"SIA........ . AC"L"S"AAIIDAP..OSPI!I\OUSVOY.lGIi..." -'"M.E", UTJfOULlV"DlT,HAITT"GUDIPA..TItD0 KARELBENDL. 6WATERSn.IT,,'1REVE"GI(F""ALIVOICU) WILFREDBENDALL.o o o o oTHI:LADY01'SHALOTT(FI: ..AL.VOiCU) SIRJULIUSBENEDICT. ST.PI:T.,:......._" THILI!GUID0 ..ST.CECILU(SOL-I''',n. M.)6 P"U10IlMuslc .. "0" ST.PET".....I6 6SIRW.STERNDALEBEN NETT. 6THltMAYQUIRN(SOLPA, 11.)....30 THIIWO ....II0"5 .. .. ... ' ..(SoL"A,IS.)4" lHT" RIi ..TIOIi..LEXHII!ITIO"Om: (l86l)1" G.R.BETJEMANN. ,0 0 THIISOMO0 ..TH.W ltSTI:RIIMEM W.R.BEXFIELD. oIsU.I:LRUTORI:D... E.M.BOYCE. 6THI:L....0"TH"BRO"'KROSAIlY 6YOUKOLOCHlHV....... J.BRADFORD. 0 0 o THI:501100 ..JU"ILJI... IIDEKIlLI$H)::11THI:RJ!DIl(ENGLISHWO&os)5 DITTO.SOL_p........a0 ., DITTO(FuNCHWORM)5 D!TTO(GU"A'IWORD')...10 Mzsu:SOL. NNELLI:(ST.CI:CILIA) OUTOFDARIl101ISERVICIlIIELLE) ... o/llEssl:SOLilNNELLB........ DR P"OPIINDIS(PULV130)(LAnNWOIIDS)... DITTO(OIiT0"DARKNUS) T!'IItSltVJ!1IWOROI0"OURSAVIOlt'E>tS. - ......- ............'H"HTHI. But instead of alwaystakingthesamenote(thc erotehet,or. any ather)astheunitforabeat,musicianshave adoptedthe semibreve (o),notastheunitforabeat,but as the standard of measurement,theunitforthewholevalueofthenotes;the minim(d)asthehalf,thecrotchet(.J)asthequarter,the quaver(.r') "astheeighth,&c.Theyhavebesidesconsidered thc semibreve andeach of itsfractions,the halforminim(cl), the quarter or erotchet (.J),thequaver (I ), thc semiquaverascapableeachinturnofrepresentingabeat,whieh givesus fivedifferentsignsforexpressingthesamething,onenote C2 20MUSICALEXPRESSION. beingequivalenttoabeat.Theresultisthis variety ofti:;:c-signatures forindicating differentkinds cf time :-TALEOFTIME-SIGNATURESFORSIMPLETIME.'" DUPLETIME.TRIPLETIME. 00 Isemibreve, 3 Iscmibreve, 11 00 0 2 JJ Iminim, "" 3 JJJ Iminim,-" " 2 " 2 " ,Co,Co JJ Ierotehet, "" S JJJ Ierotehet, "' 4u 4 u " "

l' Iquaver, u 3 1" J'.r-'Iquaver, " 8 " 8 " .2.8 2 .rt::.r::I semiquaver, 3 1:::Isemiquaver, 1.160 QUADRUPLETIME. t 0000Isemibreve,)_ ?tdJdeJlmmlffi, "J; 4IIIIIerotehet,J""

8 - 0 11> Isemiquavcr,"'" Thc fmetianmeansduplctime;thatistosay,abarCOll-tainingtwominims,crtwicethehalfofthesemibrcve;the fractionmeanstriplatime;thatistosay,abarcontaining three quavers,orthreetirnesthe valucof thecighthpartof a semibreve,&c.Thus,itisnowasemibreve,nowaminim, now acrotchet,&c.,which is takento representthcbeat. Inalltheseformulastheabsolutelengthofeachbeat solclyuponthcgeneralrateofmovement,ortempo . Simple time issomctimes indicatedby other thanfractions:t time liyaC,orsimply4;by 2;:by3,&c.Rossini,inthe Eleistmof hismakesthesignfort or4minims;Nagdi,int:1CFui d:1 m:lIksthesametimethusce. ME TRICALACCENTUATION. Thus,withthesamemetronomemark,aminim (J) ing time isexactlythesamelengthasaquaver(1')i n ~ .Similarly, withthesamemetronomemark,asemibreve(0)initime isexactIythesamelcngthas acrotchet (J) in:time,&c. Thecharacteristicfeatureofsimpletimeisthatinthe numeriealfractionwhiehserves to distinguishit, thenumerator givesthe number 01 beatsinthebar,and the denominatorgives theIellgth(arfractionofthesemibreve)ofthenoteby whieh eaeh beatisrepresented;moreover,thebeatsof simple time only admit,as arule, of binary subdivisions jthat is tosay, into two,four,eight,andsixteen notes. If abeatwiththree,five,six,sevennotes occurs insimple time,itisanexception,andsuchgroupsofthree,five,six, sevennotes,compressedintoonebeat,areealledrespectively tripZets,quintuplets,sextuplets,andseptuplets.Inpianoforte musieoneoftenfindsIongpassagesoftripletsinonepart againsttwo notesintheother.Insuchcasesthe tripletsare markedinthefirstbar,andthenfollO'\vedby thewordsimile, toshowthattheycontinuethoughnotindicated.Thisis evidentlymixedtime-simpleinonehand,compoundinthe other. IL-CoMPoUNDTUrm. In our opinion, compound time has been formedinstinctively. Ithasbeenproducedbysentiment,notbyreason;and reason has only intervened subsequently to explainand justify it. Two factshave specially contributed to its development:-I.Theidenticaleffectproduced by tripIe time and byabeat dividedintothree;fortheaccentlaidonanotebeginninga barintri pietime,withonenotetoabeat,isequalto thatlaidonanotebeginningabeatdividediotothree . ..iJ J ori7J.(See page 104.) yy 2.The inconveniences whieharisefrombeatingtripietime veryrapidly,produeingiodistinctandspasmodiemovements. MUSICALEXPRESSION. '.Vhenthereisonlyoneperformerthereisnoneedtobeat time, and thisinconvenienceisthereforenotfeIt;butif there areseveralperformers,aconductorisabsolutelynecessary to keep them tagether.Now ifthetempobe very rapid it willbe impossiblefortheconductortoexecutethethreebeatsina barwithsufficientemphasisfortheorchestratodistinguish them,andthusthetime willbelost.Instinctively,therefore, theconductor will be obligedtorelinquishthethreebeats in a barandred.ucethernto' one.Andyetouemayrecogniseto acertaindegreeinthereinforcedaccentonthefirstthirdof thebeat, theaccente- ..... ngll l lspress. ...... -. - .$1-' -.- ::::::_,.--.... 2-1* f InthispassageChopinmakesuseofthequadruplet(four quaversinsteadofthree) as,afewbars previously,hc made use cf thequintupletandseptuplet(fivequaversinsteadcf three, andsevensemiquavers instead cfsix). Thistheory cf compoundtime justifiestheusecf the double signofadottcdminim,crdottedcrotchet,&c.,as the unitof thebeat. 'In fact,asincompoundtime,the beat represents a compressedbi"rof simpletri pIe time, itmustnecessarilyshow tracesofitsorigin.Now,inallsimpletripIetime,thenote whichisequivalenttoawholebarcannotbewrittenwitha singlesign-adottedminimisrequiredforabar in:itime,a dotted semibrcveing time,&c.Therefore,in compound time, asthcbeatrepresentsawholebarofsimple time,this double signofthedottedminim,thedottedsemibreve,&c.,must necessarily beretained.Butwefind,onthecontrary,that in compoundtime.adottednotecannotrepresentawholebar. A dottedminim,thoughofthevalueofqua vers,doesnot clearly representawholebaroftime.This is' because com-26MUSICALEXPRESSION. poundtime,tobecorrectly represented,requiresthat the note or sign equivalent to the wholebar shouldbe distinctly divisible into twohalves,or two beats.Now the dottedminim,though worthsixquavers,doesnotatfirstsightbeatthisevident character of divisability into twice three quavers,Oftwo dotted crotchets.Inshott,incompoundtime,toindicatethetime, thecompoundnote whichrepresents abeatmnstbewritten as many tirnesas thereare beats. J.J.I ci.ci.I J. J.J. 11 Generally speaking,compoundtimei5correctly "'fitten,und thebeatsare distinct1y separated.Butoccasionally one meets with careless mistakes. Ex.4.eLEMENTI,Gradus,No.75-insteadof-- ~ - ...41-._' - .-METRICALACCENTUATION. 27 It wouldbeimpossible toaceent tl)is eorreetly as it is written, and itshouldstand thus:-JY' R:-Q-W@ ml f @ffii wgb I A glaneeatthetahleswhieh\vehavegivenwillshowthat therearefifteendifferenttimesignaturesforsimpletimeand twelveforcompound,inalltwentysevendifferentwaysof expressingthesimplefactofoneaceentedbeat,followed byone,two,orthreeunaceentedbeats.Addtothisthc deplorablehabit,now sofrequent,ofnotgrouping tagether the noteswhiehformonebeat,andthemanydiffieulties'and perplexitieswhiehstandinthe\vayoftheperformerareat oneeevident.Ofcourse,thetwentysevendifferent,sortsof timearenotaBinequaluseindeed,themostpeeuEarare seldom cmployed.But it ispreeisely inthesethatthe pupil,if nottheprofessor,whentakenunawares,willmakethemost faultsofaccentuationifnotpreparedbysafeandrational prineiples to guide hirnthroughthc labyrinth. III.-MIXEDANDALTER:_c:=J=n- t=E.,..,::n

oror =eTIZI 11[JEJ=tJU Changethephraseintodupletime,andtheendingbeeomes perfectly satisfactory : Ex.lOS. F=VU:::S"Wer INow,if besidesthepurely numericalorrhythmicalsense,one ,,,antedtogivethesepassagesamusical one- i.c.,makethem constituteamusicalperiod,y... emightdosoeitherbyusing thenotesofamajororminorseale,orbyfinishingwith thctonic- eithertheoriginaltonicoranewtonicinease of modulation,one or otherbeingindispensable.On the other hand,if wcadd sharps or fiatshaphazard, !rom differentkeys, to suchapassage ofnatural notes,,yeshallgetnomusical sense; orifweaddnotesformingaehordofthedominantseventh, themusicalsensewouldonlybesuspendedandineomplete. Therefore,tomakeaeompletemusicalperiod,wemustat leastaddthe.intervalsofthetriadasweilasthoseofthe chordofthedominantseventh.Thus,threeelementsare neeessarytoeonstituteamusicalperiod :Time,Rhythm,and Tonality- thefusioncfwhichthreeelementsconstitutesthe foundationofthemonumentalartealledmodernmusic.The metrieal and rhythmieal designbeing the skeleton,and tonality, inits two-foldmode,thebreath,life,andsoul. The cadence,infact,is to musicexaet1y whatpunetuationis tospeech.Justasthepunctuationofagrammaticalphrase demandsshortorlangpausesaeeordingtothesenseofthc wordsorgroupscfwordswhiehithastoseparate,soall eadencesrequirerestsorpauses of acorrespondinglengthto RHYTHMICALACCENTUATION. suitthemusicalsenseofthegroupofsoundstowhichthey formtheelose.Inmusicalphraseologythetermsforthc differentkindsofcadenccsarethePerfectcatlcncc,theIm-pcrfect cadencc, the Broken or Interrupted cadence, the Invcrtcd cadence,&c.,correspondingtothefuUstop,semicolon, colon, comma, note of interrogation,ofcxc1amation,&c.Inrelation torhythmtheyarecalledsection,' hemistich,cresura,antI period. The followingisacuriousspecimen ofmusicalpunctuation. It is the exactreprint of ananalysis of aminuetm;lc1ein1737 by the celebrated theoristMattheson, in his work on thc Science ofllelody.*"Thewhole,"saysMatthcson,"consistsofa

iM".v Y-.l2rrH ,- u ,t E' Pille. * J I , tuu I ! W r Er i4Ji -: , t D.C. -EU ritr ]1=IILIJ paragraphofsixtcenbars,producing,withtheprescribed repetitions,forty-cight.Theparagraphiscomposedoftwo periods or phrases markedbya fullstop andacolon;andthese 22MUSICALEXPRESsroZ\' . Inshort, themoreanoteisdesired,calledfor,requiredby thc attraction cf the preceding ootes, the less accented it should be.Again,themorediscordantthenoteiswhichformsan obstac1eto the oue desircd by the ear,the more complex it isas areiteration, asllspensiOlt,adiscord,achromaticnote,cr long note,&c.,themoreaccentandemphasisdoesitrequire.In reality these accents are the expressiveaccents,and iti5as if thc ear could notacceptthem unless violently enforced upan it. l,foreover,apenultimate note cf great length may be replaced by auumher cf ootes, and thereforetakestoitselfalltheforce of these omitted or implicd ootes, in the place cf which it stands. (Seethe sevenprcviousExamples.) ThcAccent0/Sections. firstnote of a section is accented, and the last unaccented, inwhateverpartofthebarorbeatitmayoccur.Evenin dance music thefinalnote ofasection isunaccented,though it may fallat the beginning of abar: * E"'77, tIP3:Jy'"r"r -y___-T Ex,278, PVl" c Ft 'l"'IJ "'l Seethe"Faust"waltzbyGounod,the"Juiferrant"by Burgmuller,"LesRoses,"byMetra,"LesTraineaux," mazurkaby Ascher,&c.,in which,throughoutentire pages,the first note ofthebarisunaccentedbecauseitisthe end ofthe sectionortherhythm,However, if the lastnote ofasection is asyncopationcrrciteralednote,orifittakesupthe\Vhole bar, it is accentcd : ...Thisfactcxplainswhyartistssooftenp!aydancemusicbad!yjthey saerifieethemetdea!aeeentstaomuehtotherhythmical,anddanotsuffi-cientlymark the firstnote of eaehbar. RIIYTHMICALACCENTUATION. 123 * Ex.:.z80."_

'yyy--- .....y-' V Ex. :.zSr. JI ,JJ I .>-Thefirstandlastnotesofasimplesectiou,therefore,have thepropertyofdestroyingthemetricalaccent.Thus,inthe twofirstcxamples of thisparagraph,thefirstnote ofeach bar isnotaccented,whilstthelastisso.Passagesofthiskind offeracertain difficultyon the piano to well-trained pupils,who findithardtoplayagainstthetime.Lastly,wemust notforgetthat the lastnote of metricalfigureslike the following isloud : r",I_m I_I r"\I-Im I_I I_I r"\I ,____ ,lilili,j_; _,_.,.lili,jli., vvvvVy'..../v orJ ..t J,-n n J v (Seepages71alld104-),and that the last note of arhythmmust be follo,yedby arest,unless itis accampaniedby a pedal point, or by the ward tmuto,or is slurred to the followingnote: Ex.28:.z.Ead.Good.Bad. j4r Cf Cf I" fEk!CjC/ Ir! ., IIllJibRJjF.U .."'... Good.Ead." Good.Bad.Good. #tj J Q7l1iYU F; rIIn .,.. Noapologyisneedcdfcrthelengthofthischapter,seeing theimmenseimportanceofrhythms.Themultiplicityol aspects under which thesubjecthasbeen treatedwillconvince thereaderofthis.Noonccanhopctocomposcorwrite MUSICALEXPRESSION. correctly,ortoattainanintelligentandarhshcexeeutiol1, unless he knows by instinct or by study how to aeeent aeeording to theaffinity ofthenotes, andineonformity withthenatural tendeney and attraetion which they have to the pauses. Xl.-:f'RACTICALl!.XERCISES. Tm!.attentionofthepupilmustfromthe very firstbedireeted torhythms, thatis tosay, to the periodical recurrence of groups of bars-two and two, fourand four, eight and eight-eontaining thesamenotes,ornotesofthesamevalue,andfonningsym metriealdesigns.Assoonasheunderstandstherhythmical phraseselearlyenoughtodiscernathoughtoramusical unit ina group ofsounds, hemustbe familiarizedwith thesections; therefore after he has playedaeertainnumber oftunes\vithout payingattentiontotheseetions,hemustrepeatthemand markthesectionsineach.Hemustbetaughtwhereand whentomakeuseofthem,andabovea11whereandwhento ' avoidmakingthem.Thepupil ,mustexaminetherhythmsof a11thepieceswhiehheplays,andnothesitatetoeorrecta11 faultyaceentuations and indications. Heshouldbeginbyphrasingairs,songs,anddances ;then goon topiecesandstudies.He should oftenbemade tomark therhythmsandseetionsinsongsandairs,aftercarefully hiding the words,andsubsequentlyeompare his rhythmical an notation withthat which results fromthe words.It is said that oneof thegreatestpianistsspentthreeyearsinltalysimply inlearninghowtophrase,andyetevenheisnotcntirely exemptfromfaultsofrhythmicalaccentuation.If thepupil devotes asufficiently eloseandattentivestudy tothischapter, byreading,copying,andmakingasummaryofit,hemay possiblynothavetogotoItalytoacquiretheknowledge andfeelingofrhythm;bythehelpofanygoodmethodand afewmonthsofstudyhcwillgainacompleteknowledgeof rhythms, seetions,prosody, musical phraseology, and rhythmical accentuation. CHAPTERVI. ONEXPRESSIVEACCENTUATION. Sofarwehavebeenmovinginthespheteofinstinctand intelligence.It is,therefore,notsurprisingthatwehavebeen abletoreducethetheoryofaccents,whethermetdealcr rhythmical,recurring always atregular intervals,andseparated by unaccentedTIotes,toapurely mechanicalsystem.We now enterupanthedomainofsentime1lt.Theexpressiveaeeent, tobefeItandrendered,demandsasoul,andis,aboveall,a signcfthetrueartist.Itmightmorejustlybecalledthe poctieaecent,foritcertainly suppliesthepoeticcolouringto mauy composIttons.The moreexpressiveelementsinawork -such as reiteratedDotes,auxiliarynotes, isolatedsyncopations, chromaticintervals,&c.-the morepoetic itiso Theexpressiveaccentisnotsubjectedtoanykindof regularity.It cantakepossessionofasinglenote,orseveral consecutive notes;itcan fallanywhcre,both on theunaccented and accented beats, on the finaland initial note ofrhythms.Its essentialcharader isdefinedby thesingleterm theunexpecled. But,\vhateveritsposition,itwillprovokethemostdelicatc yeteffectivecontrasts.Theartistiscarriedawaybyits persistentenergy,andexpresseshisemotions,notonlyby anincreaseofforceandtone,butalsobyaquickcningof time,necessarilyfollowedbyareactioll,inacorresponding diminutionoftone andpace, which produces the most powerfuJ and poehceffects. Thecomplexnatureofthisaccentreqmresthreeterms todenotethethreesimultaneousphenomenaconnectedwith oneandthesameprinciple:theexpressiveaccelltproper,tlie emotionalelemenl,and?tllances.Achapterwillbedevoted toeachoftheseseparately.Letusfirstbrieflyrecallthe theoryestablishedonpage6toguideusinthesearchfor 126MUSICALEXPRESSION. thoseDateswhicharemoreespeciallycalculatedtoimpress us by their expressivenature. Modernmusiciscomposedcfthreeprincipalelements: first,theScaleinitstwomodes;second,Time;third. Rhythm.BythesethreeelementsOUtmusicalinstinct becomesimpregnatedwiththethreefoldneedfaratlraction, regularity,andsymmetry,andaccustomedtoanarrowyet uniformsystemcflogic.\Vehaveuasoonerbecome a,varcofagroupcfsoundssubjecttothclawsof tonality,oftimeandrhythm,befatewebegintoanticipate anddesirethesuccessioncfananalogonsgroup;crinather words,hardlyhasthecatbecomeawareofthcfirstrhythm ofanairbefateitanticipatesanddesiresasimilarrhythm inthesamekeyandwiththesamearrangementofnotes. Thus, everytimethatanoteornotes,foreigntotheoriginal key,present themselves-notescapable of displacingthetonic, changingthekey,ordelayingthefinalelose,andimposing otherdesiresandattractionsupontheear-everytimethat theseirregularandunexpectednotesappearandbreakthe regularityofthemetricalaccent,ordestroythesymmetry of the :firstrhythmical design, they have,soto speak,tobeforced upon us, andconsequently produce astartling impression.The firstimpulseistoregardthesenotesasfalse,but wesoonfeel thatthcyarein .accordancewiththelawsoftonality,key, time, ~ a n drhythm,andthattheyonlyleadtoanewkey,a newcentreofattraction,oranewrhythmicaidesign,and mustbeaccepted.Theartistwill,thercfore,manifesthis impressionsbymorepowerfultoneandgreateranimation, followedby exhaustionandlanguor. \Vewillnowgothroughtheseirregularitiesandexceptions onebyone,andexamineintothemanneroftheirappearance andtheir effects.Aswe writelessforartists thanforstudents, weneednotbeafraidofenteringintothedetailsnecessary to accustom the reader to aminute analysis,and to prove to hirn thatthepoetry,expression,andlife' ofacompositionoften de pend uponsome imperceptible and apparently insignificant fact. ONEXPRESSlVEACCENTUATION. I27 I.-METRICALEXCEPTIONS.* The principalexceptiontometricalaccentuationissyncopa-tion.Syncopationisproducedwheuanunaccentednoteis prolongedintoanaccentedone;itisthelastnoteofabar, beat,orfractionofabeatprolongeddurillgthefirstnote ofthefollowingbar,beat,orfractionofabeat: A r r r 11 \"Logicalform. A r r12[' Ordinary form. It mustbc recognisedthat there is agreatdifferencebetween syncopationandprolongation.Thelatterissimplyanoteon an accented beat,or on part of an accented beat prolonged : Ex.284,ororor r F Ir'11F tm k 11[RF Ir"r If' Ex, 285,..-.._--....-.. f.!t f4ET1fijldJ'ji ICr U Eilt@ ,Logicalform., * It is evidentthattheexceptionalmustbedistinguishedfromthenormal. Musical notationdepicts what is exceptional in an admirabl e manner.Nothing canescaretheexperiencedeye ;neithertheshortorlongnotes,northeir ascendingordescending,parallelorcontrarymotion,themultiplicityofthe different parts, the interruptionofthe sequences,the wideness of the intervals, thedestructionof thekeyormodebytheoccurrenceof accidentals,&c.It isonlytheaugmentedfourth andthediminishedfifthwhich arenot weildepicted.Theotheraugmentedordiminishedinterv;Jsarethe consequence of theprecedingnote, admirably charac.terisedhy thepresence of asharp or flat.See Lussy's" Histoire dela NotationMusical e," page18g, &c. MUSICALEXPRESSlaX. Logicalform. TheseExamplesshowthatitisthemetriealacemtwhich isdestroyedbythesyncopation,butnotthetime.Thenote whichshouldbeaccentedmetrieallyisunaccented;theuno accentednotebecomesaccentedbytheenergyitgainsfrom thenote,vhichisnotstruck.Thesyncopationbreaksthe regularityofthemetricalaccent.Intri pIetimethenote rcpresentingthesecondbeatproducestheeffectofasynco-pationifitisprolonged.This isprobably thereasonwhy,in this time,the third beat has been taken foranaccented beat: Ex. 288.VERDI. AA' ci Et+JI vVehavealreadyseen(pages55and120)thatsyncopation, by displacingthe accentednotes, destroys not only the metrical butalsotherhythmicalaccent,givinggreatforcetothelast note of afemininerhythm,which isnaturally unaccented:. Ex. 28g.forDONIZET'J1. J- '. -iiflJ r rr I Er'VZ'1UT IrtSyncope. Ex.290.',MiHUL. A" ;pU1f' r 2If'clr;rr"ICrCEflfjT@ Synl;ope. EXPRESSIVEACCENTUA'l'ION. The syncopation gains in and energy when it is repeated several tirnes : Ex.292. - -2?$I . --11.AROSSINI."Guillaurne TelL" @=Lrffr['Ag 8rGE ROSSINI. ** J r r-r " Inflammatus." * BELLINI."Casta diva." Ex.293.Ar-..Ar-..Ar-..

II.-RHY'l'HMICALEXCEPTlONS. Underthisheadingweincludeevery noteor groupof notes which byitsexceptionallength,by its ascending or descending motion,byitsconsecutive ar disjunct movement,etc.,destrays the symmetry afthe rhythmical designto whichit belangs,and thus farmsacontrasttothe notes which precede or fallawit. If alangnotefollowsbyexceptianseveralshartanes,it acquircsgreatforce,andwillproduceacrescendo,avibrato: MOZART."Il mio tesoro." K '3 MUSICALEXPRESSION, GermanSong."L' Absence,"

'95. LIf osa-lu- taris,0sa-lu-ta-rishos- ti.a. Ir > L[s:lcrjJJH CI If abarofascendingnotes,withonenotetoabeat,occurs byexceptioninaphrasecomposedofminims,cratchets, quavers,ar semiquavers, these Datesrnustbe accented: EMEYERBI;:ICR. x305-.-.... pMWfbllti I'fg.r&I rc;.&& I r f f1J JJJW!J1IJ I K2 MUSIC.'. LEXPRESSION. Ex. 306.....---... ADT. * > +Pr > vVhenthebarconsistsofdescendingnotes,these,ina similar case,require great.elasticity: Ex. 307., "".AA ji.C'er: t F!i@.g Ex. 308. AA * PI'

r r J v A gur cADAM."Nod." I...:: VERD!."Traviata!' EI I (' pp'; Oll;ryvv Theseexceptionalnotesspeciallyrequireanaccent theyprocecdbyskips,iftheprecedillgandfollowing sllcceed one another by consecutive motion: when notes > Ap_ pren_drames Rossu'll."Sombre focet." se_ crets. BEETHOVEN.Septuor. >> 2B Ir' r'BCf!r'F4 N oteswhichbyexceptionformtriplets,mustbeaceented, especiallyif they oceur at the end of aphrase.(See Example, fromMeyerbeer,No.227.) E BELLlNI."Norma." X3I2> _--:-.,.--;- 3 :q;:;+a! t'l g:?@H fvvvvv ONEXPRESSIVEACCENTUATlON. '33 MERCADANTE."Crucifixus." Ex.313. v 'Li$4r EiWJ_.o;::g IrHE /I.AA/I./I./I./I.A' g;.P cWrOj If thesetripletsorshortnotesareof auniform descending figure(asort of cascade)at thc end ofarhythm, they must not be accented :. BELLINI."Norma." Ex.314.'/\"'-""""'3"-... h---=ii"::::..-.: 0;1'- 90; ."lE:!g*C=F8fJ A___ =i=SliHi-fi,)EI pp-Ex. 315./\ROSSINI."Sombre roret." /\ ____A.-... rr? ph QJ,- I :=>I'r mJ I J' rr4M JJ@$ pp Anembellishmentfigurereplacingalangpenultimatcnote mustnotbeaccented.(See Accent,pages54 andI21.) Ex.317.....,Embellishment. yffi:3,:-fup@7 L Anaccentmustbegiven to thenotes of the second rhythm whentheyarebyexceptionhigher,orwhen they proceed by widerintervalsthanthosewhichformtbe pendant tothem in thcfirstrhythm: Ex. 318.* '34 MUSICALEXPRESSION. In the aboveExample thc firstBinthe third bar i5startling, andone'simpulsei5toregarditasamistake.Butifwc repeatthephrase,slackeningitalittle,wediscoverthatthe authorintendeditS0,andcareful attentionshowsusthe real beautycfwhathadseemedamistake.It i5thesame in the folJowing: Ex.319. b"l:r::cfi.yg;--'+ii41 rrJ IJ p'" Ir er IF TheEI:'inthcsixthbaris,atfirstsight,misleadingand illogical,and wearethereforeledto ' expressourastonishmcnt by amuchstranger accentuation : Ex.320. BEETHOVEN. Minuet fromthe firstSonata. ifif -e>- ....- ...- EH RR1!4it,'j,'r Ex.321. J'IJ'"1-;1i" ::::=- .r,... " * =;nJ'rr V I i3 J j Ex.322. P A * rSB r J2 A * EEiIU Ex. 323_ jig 9ctr:= f(fl Jh * ==er.;"1ttlfi=Uot I j BELLINI."Sonnambula," :p'JJ ).ESCHIJBERT,"Erlknig." MENDELSSOHN.Op.14_ ]J=t=T A ! ...-----'3' J' I O"iEXPRESSIVEACCE:-:ITUATION. Ex. 3:,theoriginalkey,andcontainsasyncopated repetition, theB ~ ,whichisalsothelongestnoteinthewhole phrase.The secondbarcontainsahigherauxiliary note, the C ~ ,minor submediantof E"and isaccompaniedby thechord of thedominantseventhofE,.Thesefactswouldof them selves impart strength andanimationto the passage.But iti5 the accompanimentwhich gives it itsgreatestimpetus, forit is indescendingmotion,theinitialnotesofthethreefirstbars beingG ~ ,F,E"whilstthemelodyascends.Thispassage thercforedemandsgreatfulnessoftone,andcontainsthe elements of an accelerandoanda crescendo. Ravina,inhisUDoucePensee,"Op.4I,page5,afteran excessivclyloudphrase,markedcon /1I0CO,givesthe following indicationforthe next passage:ffmarcato,conpassione.' This passage being huilt uponapedal-note, andoccurringafter alandphrase,wouldsurelybcfarmoreeffectiveifplayed piallissimo,forthesoftpassagewouldcomeasawelcome reliefandcontrastaftertheloudone.Thedifferenee ,villbe feltinamoment on trying it inbothways. MUSICALEXPRESSION. In Dussek's UAdieu"we mect with the followingindications: ~ J J jJ ;1 Q Joeorit. p:1r Inbar th!ee, though the phrase descends,a crescendowouldbe more suitable than adiminuendo,since the modulation fromB7 toFends there;inadditiontowhich thebassisincontrary motion to themelody,andthechordsarefuller.Thephrase followingthis ismarked dolcissimo,andtwelvebarsfurthcron wehave: Ex.564-. ~.. } 3 l = = ~ ' eTeI- un-Inthelastbarofthisphraseweshouldpreferadiminuendo, followedby a piallo, because the phrase is indescending motion, NUANCESANDINTENSITYOFSOUND.219 onapedalnote,andprecededbya ofseveralbars, andalsobecausethereisnomodulation,andthenextphrase begins with ajorte. WEBER."Euryanthe" (Flaxland'sEdition.) mfpp Thc piallissimoin the lastbarbutone is evidently wrong, where there is so fineamodulationasthatfromAl'toC,inascending motion.It shouldbejorteinsteauof piano,andallthemore soastbe preceding section endssoftly. Scbulhoff,in bisOp,II, page4,writesthe followingpassage withoutany indications tomark therbythmin the righthand: * Ex.565. 7JP,Talmte.

. ... ..--.............. .... " ..... ". ..--..--'.JW.....,I['I"1- W ----l!......,- --r"I+'J.1;;1 _. -.-' I___=_--r--..... --.-----On page 3,second Hne,third 'bar,hemarksapimlOinstead of ajorft, ina passage immediate!y followedbyan(ljp(lssiof!alo. 220MUSICALEXPRESSlON. If we analysethese eightbars weshallfindthatthepreceding phraseendsinAVmajor,whilstthisOllebeginsinFminor, givingachangeofbothkeyandmode,andthisdemandsa (orte.The Cat thebeginning of thc rhythm is the highest note of the bar,and has,therefore, arhythmicalaccentas weIlas an expressive oue.The B7of the firstbar, heing areiterated note, thepenultimateof ascctionandasuspension,shouldbcyery lond,whilstthcA ~whichfollowsit,beingthelastnotefa feminineseetion,shouldbcvcry soft.Thcsecond Apbegins a newseetion,andisalsoadiscordandalongernote,and shouldthereforebe accented.Thc initialGofthe secondbar TIlUstalsobeaccented,becauseitisareiteratednote,the penultimateofafemininesection,andasuspension.The FwhichfolIows,beiogthclastnoteofafemininerhythm, shouldbesoftjitendsthemodulationinDb.The lastFof thesecondbarbeingtheinitialnoteofarhythm,atiedlong note,andpartofadiscord,mustbeaccented.TheA ~and theGofthethirdbar,asweIlastheFofthefourth,must beaccentedasiftheywereexceptionallongnotes.The secondrhythmendsinFminor.-ThehighFofthefourth bari5theinitialnoteofarhythm,andbeingthehighcstof thegroup,alongtiednote,andpartofthechordofthe dominantseventhofB ~ ,mustbeacccnted.Observethatthe rhythmofwhichitformstheinitialnoterepeatsthedesign ofthefirstafourthhigher jthereforewehaveafreshstart oithetheme.ThefirstsectionofthisrhythmisinB7 minor,whichgivesusachangeofkey,sincethepreceding rhythmendsinFminor.ThenextsectionisinG ~major, andthelastinD7major.Allthesesections,modulations, discords,suspensions,&c.,aresomanyelementsofex-pressiondemandingforce.Thephrase,thoughrequiring amoderateamountofpower,shouldthereforebewritten and playedaccording to thc follo>,,ringindications: NUAKCESAKDINTENSITYFSOUND. A . . i -.. I J 221 The aboveExamples willbesufficientto give the reader an iden ofthc manner in which our rules about 1lt/auces should bc applied. III.-PRACTICALEXERCISES. TUE examples ofincorrectindications ofltuallcesalreadygiven willconvincethereaderthat,eveninthe''lorksofthcgreat masters, hc mustnomoretrusttotheprescribedlluancesthan totherhythmicalaccents,andthatitisnecessary to examine thestructure of apiece anddiscoverif itcontains exceptional ascendinganddescendingpassages,soastomakeacrescendo onthcformerandadiminuendoonthelatter.Nevertheless, if suchpassagescontainmodulationsorcomplicatedharmonies theymustbetakenintoaecount,andinsuchcasese.vena descendingphrasemustbclond.Thcstudentmustlookout forsimilargroupsorrhythmiealrepetitions,andbeearefulto alternatethepianosandfortes.Knowledgeofrhythmsis thereforeaprimeconditiollforthecorrectuseofnuances.If thcpieceresembles adialoguc,withquestions and answers, the questionsshouldbeforte,thcanswerspia1zo.Therepeats shouldbeyariedinthesameway:thefirsttimeforte,the secondpiano,andviceverSl2,If bars orpassagcsarercpcated anoctavehigbertheyshould,ifpossible,beplayedsoftly,so 22.2 MUSlCALEXPRESSION. astoproduceanecho.If asubjectisrepeatedinoctavesit should be playedforte . \Vith whatever degrec of intensity of sound apassage way be performed,jorteor jortissimo, pianoor pianissimo,dueattention mustbegiventothemctrical,rhythmical,andexpressive accents, soas to bring themout.They belong equally tobeauty ofexpression,andmustnotbeoverIookedinfavourofthe lIUallCes.Many musiciansthinkthatthey shoulddisappearin apialtissimo,butthisisamistake.Theymustberetained andbroughtintorelief,withproper dynamic proportions,quitc asmuchinacavatinasungindelicatemenaf)oce,asinthe most powerfulandbrilliant finale. Crescwdos()anddimillllelldos(),whichrefer onIytotherhythms,mustbekeptwithintheirproperlimits. Inquickpieces,the1lUallCCSresultingfromcrescendosand diminuendos,or the opposition of piallOandjorte phrases, should receiveparamountattention.Indancemusic,quadrilles, polkas,&c.,where thesamephrasesareoftenrepeated, itdoes notmatterwhethertheyareplayedloudorsoft,solongas thereisplentyofcontrastandvariety.Inpianofortemusic the pedals playa great part in thematter of l/IJattCc.By means ofthepedalsacleverpianistcaumanage toswell thesounds, oratleast,thepassages,soastogivethcillusionofareal swell.Thebestthingforyoungpianiststodaisto listen to aud imitatesingersand violinists, forfrom thernthey willlcarn allaboutnuallces.\Vherevertheindicationsaremanifestly incorrect,incontradictiontothestructureofthepbrases,as inthe exarnples which we havequoted,they mustbecorrected. BesidesknO\vingtherulesforIIttances,theperformeroughtto bethoroughlyacquaintedwiththetermsandexpressions referringto thern.Those mostin use are: crescendo, dimilluendo, dolce,dolcissimo,sottoormezzavoce,1Ittacorda,COltsordino, trccorde,jorle,jortissimo,contuttajorza,s[llrgalldo,allar-gando,strepitoso,rinjorzaltdo,largamcnte,pomposo,gra1trlioso, sllbito pp,Ctt1ttttbile,llllrmoltioso, grmsioso,sl1lor::alldo,perdemtosi, calando,&c. CHAPTERIX. ONTHENORMALORMETRONOMICTEMPO.'" THEsQcallednormal tempocfapieceisthepace to which the performermustadherethroughout,aslangasthegeneral structureisnotdisturbedbyexceptionalinfluences.The three principal tempiare: I.-Quick tempo,cr Presto,Allegro. 2.- 1vIodcrate tempo,cr Moderato,Andante. 3.-S1ow tempo,G'raveer Lento,Adagio. Composers generally indicatethe tempoby oue cf these ltalian termsat thebeginningcf eachpiece;sometimes itisspecified alsobythcnamecfthekindcfcomposition, suchasRondo, Minnet,Polonaise, &c.Thesetermsareevidently not sufficientlyprecise.It isimpossiblethat they shouldsuffice to give an exactindication cfthe tempo,unless they each denote a. definitenumberofbarsorsectionsofbars,tobeplayedina giventime.Butthisisnotthecase, forthese terms have the mostvariedsignificationsaccording to the differentwriters who make use ofthem. Thus,thedifferenteditionsoftheSonatePathetique, annotated by 1I1:0sche1es,Marmontel, Lc Couppey, and Lemoine, giveusthefollowingdiscrepanciesintheindicationsofthe I tempoforthe differentmovements: Gravc.Allegro.Adagio.Rondo. Moscheles./'60 I d '04'" ." d'44 Marmontel J d '44 I d 96 ,,' ", 92 .. 54 Le Couppey , "", ) 44 d,60 J40 d '32 Lemoine " cl r44 J60 d '04 ",",..63 *"Dumouvementgeneraloumetronomique."Thcword"mouvement" hasbeentranslatedthroughoutthischaptcrbytemtainpreferencetotime. Tbe latter term might oftenproduceconfusionon accountof ih bearing also a metricalmeaning-inthiscaseansweringtotheFrench terms" mesure "or "temps," as" Mesureii 3temps,"ortripietime.-Tr a1lslfltor. " EXPRESSION. ThefrfthNocturnebyFjeld,forwantofmetronomemarks by the authorhimself,ispublishcd withthefollowingdifferent indications : Ivlarmontel I 030. Le Couppey I 9' Lemoine... I 7 Hummelatthe endofhis" Grandel\IHhodc dcPiano"gives atable of the different vie ...vs which various composershave held ofthe same terms,andshows that Beethoven's Allegro is not so quick asCramer's or Clementi's. Notonly do composers disagree intheirestimate ofthe same terms,butthcirestimatevaricscveninworksbythesame composer.ThusinCramer'sStudiesthesignificationofthc \vordAllegrovariesfromJ92(31stStudy)toJr63ord84 (8thStudy);1'.'hilstthe wordPrestoin2-4time is marked J 138 (17th Study,SecondBook), J 132(29thStudy),andthe Prestis-simoch6(37thStudy). Nor is the vagueness ofthe terms usedfornormaltempothc onlydifficulty1'.'hichtheperformermeets1'.'ithinreferenceto the speedof apiece.The foreign origin of the Italian terms, and ignoranceoftheiroriginalsignifieation,involvefurtherrisks of error.Thus, some take Allegretto,the diminutive of Allegro, foritsaugmcntative,andrenderitby aquickertempoinstead ofaslowerone.ThesameconfusionexistswithAndanfillo, thediminutiveofAndaute,andwithotherterms.Other faultsareduetohasteinaddingtheindications,and carelessnessincorrectingtheproofs.Acomposerpcrsuadcs himselfthatthepace at 1'.'hichheplayshispiececorresponds toacertainmetronomefigure,and.hemarksitaccordingly withoutverification.Andevenifthcauthorhasgivenhis indicationswithprecisionhcmay,neverthelcss,misleadtbc performer.Foratthetimeofproducinghis...vorkheisina statcof exceptional excitement,and agitatedby his inspira,tion; andthisgiveshirnatendencytoexaggeratethetempocither Ollewayortheother.Hemayevenhavebeenentirely ONTHENOR:lrIALORMETRONO:lrIICTEMPO.225 .nistakenastothespeedsuitabletothetruecharacter ofhis work, and may have given it awrang or,at least, an inappropriate one. '"Extraordinaryasthis may seeIr'.itisnone the less true. Thusthepiecesknownbythenameof\Veber's"Derniere Pensee"andEecthovel1's"LeDesir "t arereallywaltzes. Butthcy losealltheirbeauty whenplayedinthequicktempo ofmodern\valtzes.Andtherearenumbersofotherpieces wherepopular feelinghas :fixcdthe righttempo,asithasdone in thecase of the two just named. Thegreatestdifficultiesastotempoproceed,however,fr0111 theperformerhimself.Ontheaueh ~ n d ,inthcabsenoeof a metronome,hismemory rnayfailhirninca1culatingtheexact l1umberofoscillationscorrespondingtotheprescribedtempo. Thcstateofhisnerves,orsomethinginhisdisposition,may preventhirnfromformingasoundappreciationofthetime . Thus no one plays the same beforeeating as after,and once the feelingsarearoused,theleastthing,thcmostimperceptible irregulari tyinkey,mode,metre,orrhythm,willaffectthe tempo,andarrestthcspeed.Ifthefeelingsaredeadened, alltheseinfluenceswillpassunobserved,theperformerwill insensibly abandon hirnself to his impulse.\Ve have already said (p.ro,footnotet) thatsomemusiciansareabsolutelyde:ficient in the sense of tempo.Everybody knowsthatconductors often mistakcthecorrecttempoandspoilthepiecebybeatingtoo quick or tao slow. It would scem, therefore, that the normal temposuitablefora musical work is more or less left to the decision of thecomposer orthcperformer.Butthisby110meansprovesthatthe rateofperformanceisamatterofindifference.Apiece,ac-'"IntheQuartetinRb'(Op.127)Beethovenhadmarkedapassagewith AI/daute.Eutitissaidthatthefamous violinistBhm, who wasleadingit in hispresenee,retaincdthetempoof thepreeedingmovement, thinkingthat he eouldthus make a greatcr effcet.\VhereuponBecthoven got up, and, taking apeneil out of hispocket,seratehed out the word Andante in the four parts, and turning totheperformersthankcdthcm.-Dr.Mrrath:SilhQuclfmdesA/lm ;md desNtftell, Vienna. tTwopieees byReissiger and Schubert respeeti"dy. Q 226 EXPRESSION. cordingtothepaceat,yhichitistaken,acquiresatotally differentcharacter;whethergay orsad,coldorpassionate,it willgain or lose in expressive po\yer,and consequently producc adifferentimpression.Forthisreason,therefore,thenormal tempoisachief elementin musical expression.It eau never be theresultof arbitrary ruIes;anddependsneitherontbecom-posernorontheperformer.Infact,thctruetempocfa cornposition, that which bestdrawsout its true natural physiog-Domy,andmostexactlyinterpretsitsinmostthought,isthc-tempow/tichresultsfromitsactualstructure . .. Thatalone willrevealitsrealcharacte!andarouseinthehearersthe particular feelings which it is destined to awakeo.That alooe will answer to its truevocation.It isitscentre, itsnativeair,the only atmosphereinwhichitcaofullyexpandanddevelopits strengthandbeauty,and.giveoutallthatitiscapableof expressing. Itis,therefore,oftheuhnostimportancetoknowhowto estimatethetruetempoofapiecefromitsstructure, andthc questionis,by what signsean thisbediscovercd?Everyonc knows tImt in order to gcta generalidea of apicture as a whole, the broaderitsoutlines,andthefewerandsimplerit5details, at somuch the greaterdistance should we yiew it, whilst on the otherhandthemorecomplicated,numerou5,and confm;edare itslines,somuchthenearerought\vetobetoit.It isan effectofthe lawsofperspeetive thatthe objectsscattered over alarge canvas converge the further we withdraw fromit, whiIst, onthecontrary,tbe nearer we approachthemore we areable todistinguish thedetails ,vhieh at adistanceseemedconfused. lt isthesame vrithmusic.Asthepointof viewforapieturc mustbesomuchthencarer themorecomplicatedandfullof detailit is,sothetempoforapiece ofmusicshouldbe allthe slowerthemorecondenseditisinform,themorerichin exP!cssiveelements-i.c.,inirregularitiesofkey,mode, metre, rhythm,andharmony.Theseelementsareincompatible with aquicktempo.lt is difficulteyenforthe mostpractiscd ear to followaquickpiecewhenitiswritteninsevcralrealparts, O ~THEKOR)JALOR:l>IETRONO}{ICTEMPO.227 orwhentheharmonyiscamplicatedbydissonances,s u s p e n ~ sions,anticipations,unexpectedmodulations, &c.The car soon bccomesexhaustedwithtbeeffort,andincapableofeither .distinguishingorunderstandingthemusic.Forsuchawork, therefore,aslowtempoisnecessaryinordertogivesufficient timefortheeartorecogniseandfolloweachofthesedivers elements in turn. On theotherhand, as afrescoor sketch in broad andsalient ,ontlinesmustbeseenatasufficientdistancefortheeyet -graspthe whole,so acomposition whichisclearlyandbroadly defined,andnotconfusedby detailsand accessories, mustbe playedinaquicktempo,sothattheisolatcdelementsmay be broughtnearertogctherandintoconnection,otherwisethe car willtryinvaintocatchthegeneralideaofthescattered e lements,and the plan andunity of the whole work.Composi-tions ofthis sortresemblethoseopticaltoysin whiehafigure infragments only assumes its perfect shapeby rapid rotation. The publie does not generally care about Adagios;this arises fromasort of shortsightednessof theear(ifsuchaphrasebc permitted),whichfailsto grasp or err:.brace the rhythmieal scope of the piece. Eysuchconsiderationseveryperformerwillbeabletodis-cover from the structure of apiece \vhatits normaltempoought tobe. Indeterminingthetempoof amovement,wemusttherefore .-cxaminc the numberof noteseontainedineachbarandbeat, thenumbcrofnatestheaecompanimenthasforeachofthe melody-notes.andthemostprominentmetriealfigure.Vve mustseeifthenotesfolloweachother withregularity or irre-gularity,inconsecutiveorinterruptedsteps,ascendingor descendingmotion,thirdsorsixths jiftherearechromatic intervalsorverywideski ps,reiterated notes,highcrorlower ,auxiliary notes,triplets, &c. Allthese elements denote asIow tempo.If the metrical struc-'ture bec1earandthemetricalfiguressimpleanduniform,the .tempomust bequick.soas to draw tbcscattered notestogether Q2 228MUSICALEXPRESSION. andgivethemcoherenceandunity.Therhythmsmustbe examined in the same way to see ir they are regular or irregular. vaxiedor persistent;if they contain occasionallong nates mixed with short oues;if they beginontbcstrangor theweakbeat, or on thestrang or weak part of the beat,&c. Irregularrhythmsof3.5.and7bars,andthosewhich begin onthe weak beat or weak part of thebeat, require aslow or moderate tempo.Regularrhythms,onthecontrary, require aquick oue. \Vemustalsoconsidertheunmherofpartsorinstruments employed.Themorechromaticchords,dissonances,suspen-sions,anticipations,andretardations there are intbcharmony, the more necessary is aslow tempo,so asto give tbe hearer time !Ounravelanddistinguishallthesedetails.Asimplehar-mony,ontbecontrary,iseasilycaught,andtbepacemaybe accelerated. Finally,wemustobsen'ethepitcb,thekey,and the mode-of thecomposition.Pieceswrittenforthe lower register of an instrumentdemandaslowtempotobeeffective.Thelow soundsareproducedbylongthick stiings with fewvibrations, andrequire,soastogainthellecessary breadthandfulness, afirmattack andaslmver tempo. The minor mode beingsuggestive of sadness and melancholy, generallyredl1cesthepace.And, besides,asitcontains chro-matic, augmcnted anddiminishedintervals,itismoresuitable toasiow tempo,which makesit easier forthelistenertograsp all the expressiveelements and de1icate 11uances. \Vethl1sseethattherearethreeprincipalkindsof tempo: I.Pieces with riehharmony,fuIiof suspensions,anticipations, discords, reiteratednotes,appoggiaturas;orpieceswrittenin irregular rhythms, inalow pitch, or in exceptionally long notes,. demanda siow tempo.These are thc Adagios, Largos, Andantes, Nocturnes,R2veries.&c.Insuchcompositionstberhytltmical andexpressiveaccents,thenuallcesandtheemotionalelement shouldpredominate;they demandapassionaterendering,fuIl of expression andsentiment. 0:\THENOR;>.IALORMETRONOMICTEMPO.229 2.Pieeesofregularandbutslightlyvariedmetriealand rhythmieal eonstruetion,in whichtherhythmiealandmetdeal aeeentseoincide,andtheharmonyissimple,requircaquiek tempo.In sucheompositions the metrieal aceent and the normal tempomust predominate.They require the eontrasts produced by forteandpiano,crescendoanddiminuendo,butlittleoruo rallentalldo,accelerando,or expressiveaeeents.Aquicktempo is like a carpenter's plane, which passes over all inequalities and irregularities,levellingandearryingeverythingbeforeit.It hardly permits the performer todweIlon thefirstnotesofthe rhythmsunless they eoineidewith thc metdeal aeeents.Com-positionswritteninthistemporequireabrilliant,elear,and extrcmelydeeidedexecution,withoutavestige cf affeetation or falsesentiment.AmongstthesewereekonPt'estos,Allegros, Tarantelles,Galops,&e. 3.Compositionswhiehhaveaeertainriclmessofharmony andrhythm,andareyetdevoidofeomplieationsandirregu-larities,requireamoderatetempo.Intheseeompositionsthe metrieal,rhythmieal,andexpressiveaecents,nI/aI/ces,tempo rubato-in ' shott,theemotionalelement-may eome into play, butwithmoderationanddiscretion.It isevidentthatthe tempoindieatedatthebeginningofamovementdoesnot necessarilyruleitfrombeginningtoend.Changesinthe rhythmiealandharmonieconstructionofthephrasesmust produeeamodifieationofthespeed.Oftenthcwildestand mostbrilliantAllegrowillsuddenlytakeameianeholyand dreamyturn,andinsuchphrasesorpassagesitwouldbe impossibletomaintainauniformtempo,forit,\'oulddestroy thepoetryofthcwork.Ontheotherhand,inAdagiosone oftenmeetswithphraseswhiehrequireagreaterspeed,and thus it isevident thattogain aeorreetcstimationof the tempo whiehought to regulateapiece wemuststudy itnotonIyasa wholc,but in itsseparateparts.Byapplyingtheseprinciples to ourpreviousremarks onmelodie,rhythmie,harmonie,tonal, andmodalstructure any performer willbeablcto discoverthe normal tempoofapieceandguardagainst themistakes whieh 23 MUSICAL mayurisefromthefalsejudgmentofthecomposer,from acontradictionbetween theI taliantermsandthemetronome figures, *framtheimpossibility ofperformingthepieceinthe timeindicated, tfromtheincompatibility ofthetempowiththe structureofthemusic,tor,finally,fromtheabsenceof any indication, as is often the case in the original editions of classical music.Ofcourse,itisonlyartistsandadvancedamateurs who'villappreciatethesedifficulties,undeventheyonly afterlangstudyandperseveringpractice.Butthefeeling fortempornaybccultivatedlikeany otherfaculty,andagood musicianafterhearingandplayingclassicalml1sic,wherethe speedispretty'ycUfixedby tradition, willatlastacquirethe instinctfornonnaltempo,andbeabletoapply ittoallkinds of music, justasapainteracquires the instinctfordiscpvering thepoi!1tcf view fromwhichapictureisseentothegreatest advantage. PracticalExercises. It isessential forthe pupil tobefamiliarwith the metronome 5gurescorrespondingtoeachofthcprincipaltempi,and thoroughlytounderstandtherelativevalueofthesefigures in every piece of music fromthe very outset. Thefollowingtablewillassist theperformer to establish the eonnectionbetweenthechieftermsinuseforindicatingthe tempoofapieceandthecorrespondingnumberofmetronome beats.But before submittingthis table tothe reader, we1l1ust explain the basis onwhieh ithas been made. 1tseemslogicalonlytoapplythemetronomicfigurcs *As, forinstanee,thewordGrat'l,aeeompanic:dby..,I92,inbarssoeom plieatc:d and fullyeharged as thc:introductiontothe "Sonate Pathetiquc:." tAsinthe" RegataVeneziana,"byLiszt(seepage 231). SeetheMinuetofMozart'sSonatainA.Thesecondphraseisfullof dissonances, suspensions,ehromatie chords,&e.;and allthesepoints wouldbe lost anddestroyed by aquicktempo.Besides,thereisacertaingravityabout the l.Hnuetwhich demandsaslow timefatherthanaquick one,and wemust beearefulnot to hurry it, onthc:prc:textof making it soundmore brilliantund difficult,forthis wouldonly spoilit. ONTHEKORMALORMETRONO:\UCTEMPO.231 tothedurationofabeatorbar,theonlyunitswhiehthe ear recognises in the tempo. If wewish to give the metronomic durationof abeat, we must do it in this way:InCommontime or 4-4(the musicalsignfor OlleerotehettotheM.M.J=60willsignify60beats inaminute;r.L!\:LJ =80,80beats in aminute. If wewish to givcthe metronomicduration of the bar,intIle firsteaseitwouldbe:11.M.0=15;intheseeond,M.M. 0= 20;that is tosay,15or 20bars .inaminute. Itwouldbeirrationaltogivethcmetronomicindications -corresponding to the value of noteswhiehdonotrepresentthc duration of abeator bar.Forinstance, 'in apieee in 6-8time, weshould notmarkthe value of acrotehet,since it only repre-sents two-tqirds of abeat;nor in apiece in3-4 timeshould ,vc givethevalueofaminim, asthatrepresentonly two-thirdsofthebar.Inanotherwiseexeellenteditionofthc "Invitation a laValsc" wefindthe followingindieationof the I Allegro:d=88.Nmv thc piecebeingin3-4,ifeachoseilla-tiOllof the metronomeis to mark abeat,itmustbedenotedby acrotchet jif,onthecontrary, it is to markabar,itmustbo denotedbyadottedminim.Anyotherindicationwouldbe falseor open to confusion. Liszthascommittedasimilarerrorinhis"RcgataV ene-ziana,"bymarking J =192for6-8time.Herethecrotehet neitherrepresentsabeat,abar, nor athird of abeat,buttwo-thirdsof abeat.However,thisismostlikelyamisprint,for J =192wouldgivetoorapidatcmpo-namc1y,nine notes for 'i:aehoscillation,sincetherearetriplets ;thisisimpossibleat the "rateof192.Lisztmusthaveintendedtowritc i' =192, which wewouldinterpretasfollows:J. =6+givingthe dura-onof abeat in this6-8time. In the following tableevery oscillationrepresentsabeat,no matterwhatthenotebywhichthebeatisrepresented;and *:'I,M. signifiesMaelzcl'sMetronome-thatinordinary use. 232 MUSICALEXPRESSION. this forbothcommonand compound times.Forinstance,in a Moderatomarked 80=J the figureindicates that the pendulum makes80oscillationsinaminute,eachrepresentinga crotchet.Inoneminuteweshouldthereforehavetoplay 80crotchetsor40minims,20semibreves,II6quavers,232 semiquavers, &c. Table0/ theprincipal tempiwiththeircorrespondingnmnber0/ metrongmicoscillations. Oscillations in a Minute. SLOWLargoorAdagiofrom 40to60 Larghetto60to 72 MODERATEAndante 72to84 AndantinO} 84to120 Allegretto QUICK.Allegro120to 150 Presto. ISOto180 Prestissimo180to208 Of course,wedonotpretendtoattachafixedntlmberof oscillations to each tempo. In compound time or in simple timesubject toaternary sllb-divisionthere would bethreenotestoabeat, andtheseextra noteswemusttakeintoaccount,sincetheywouldnaturally makethetemposeem more pressed and hurried. Wewouldrecommendcomposersentirelytorelinquishthe Italiantermsandtosubstituteforthemmetronomicfigures, chosen with the utmostcare and precision.This iseasily done if before fixingthe figurethey will examinethestructure of the newcomposition,and play it overagainandagainatdifferent tirnesof the day,both morning and evening.They should con-suIt the metronome each time, notbeforebeginning to play, but ONTUEORTEhfPO.233 during the performance,and mark the cerresponding figure each time.Themeanofthefiguresthusobtainedwillgivethe tempoalmest exactly. Tc amateursandpupilswewouldrecemmendthefrequent practice cf the fellowingexercises :-Beat the time corresponding to the rate of speed indicated by themetronomicfigureerItaliantermatthebeginningof the piece,and thenrectify or confirm it by the metronome itself. Playthcbeginningofanypiecewiththemetronome,and then put itaside.Afteranintervalplay thepieceagain, but firstwithout the metronome,so as tocompare and rectify. Mark themetronome figuresusedby differentcomposersfor tbesame term, for instance, Andante, in different pieces, classical asweIlas modern,andcompare tbe result. In very quick tempiit isbetter toreduce tbenumber of oscil-lationstohalf,inorder to avoid confusion.For instance, ina piece in4-4time with160 oscillations per minuteitisbetter to have onIy80,and to consider each oscillation as worthaminim instead of acrotehet.On the other hand,in very slow tempoit isbetter to double thennmber of oseillations so astorepresent 80erotchets instead of 40minims. Nocturnes,Adagios,andotherexpressivepieces, though usefulingivingthe pupil afeeling formelody, are often justtheeontrarywithregardtothefeelingfortempo.The pupilafterpIayingtoolonginslow tempogets into ahabitof playingtooslowly.Pieeesinquicktemporathertendto destroysentimentandprodueeamerelymeehanicalstyleof playing;it isthereforenecessary to study bothkindsofmuslc equally. If thepupilshouldnot have ametronomehe ean supply the deficiencyinthefollowingmanner.Takeafewwell-known papular airs,wherethecorrccttempoisunmistakable.Three orfourwillbeenough;forby doublingorhalvingthcspeed, that is to say, by singing them twice as quickly or twiee as slowly astheir normaltempo,weshall thetwelveprincipal tempi.SuppasigwetakeI,IETROXO;>,IICTEMPO.235 pages.How often,forinstance,is\Veber's"Invitation" given to pupilswhomight wor1eatitforyears withoutbeingableto play it satisfactorily;and the result is thatthepiecebeingtao difficu1tforthemtoplayinthecorrecttempo,theteacheris obliged toletthemplay it tao slowly,thuscorruptinghisown and his pupil's feeling. Themistakeofgivingpupilsmusicbeyondtheirpowers oftenarisesfromasuperficialestimateofthedifficuItyofa piece-anideathatitmustbceasybecauseitcontainsonly crotchets andquavers,andtherefore lookswhite and innocent ! "\",hereasifthe teacher had noticed theindications at the begin-ning-theterriblewardAllegro-hewouldhavehesitated. Afterthe chiefdifficulty ofacompositionliesin the rate of spt;edatwhich it istobeplayed. \Vhat"\vehavesaid ofthe "Invitation "applies toannmher ofothercompositions,forinstance,Beethoven's"Sonate Pathetique" and Sonatain Apo(Op.26),wherethe whitcpages afterthegreatesttechnicaldifficulties,whilsttheblacker ones are far easier.Every instrumenthas its own peculiar difficulties inherentinitsconstruction.For instance, on thepiano every Icfthandpassageindescendingmotion,eitherinscalesor arpeggios,offcrsdifficultieswhcnitoccursexceptionally. Thesedifficultiesareconsiderablyincreasedif thcpassageis writtenstaccato(/7),",ithdottedorprolongedquavers Cf)orLn) orintiednotes or,if it contains exceptional interruptions in the progressionofthe intervalsby consecutive and disjunctdegrees,or an exceptional sequenceofthirds,sixths,&c.Theteachercannotgivetoo much attention to factsof this sort. We havenowpassedinreviewallthedifferentphenomena ofexpression.\Vehaveanalysedtheso-calledExpressive Accentinitsthreefol