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ALEXANDER BALUS HERCULES
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THIRD THOUSAND,
NOVELLO,
EWER AND
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MUSIC PRIMERS
EDITED BY DR. STAINER.

ADOPTED BY THE CONSERVATOIRE OF BRUSSELS AND BY THE SCHOOLS OF THE CITY OF PARIS.
MUSICAL EXPRESSION,
ACCENTS, NUANCES, AND TEMPO,
IN
VOCAL AND INSTRUMENTAL MUSIC;

BY
M.
MATHIS LUSSY
OF STANS, SWITZERLAND, AUTHOR OF " LE RHYTHME MUSICAL"; LAUREAT OF THE INSTITUTE OF FRANCE; CORRESPONDING MEMBER OF THE ACADEMY OF FINE ARTS AT GENEVA; PROFESSOR IN THE INTERNATIONAL ACADEMY OF MUSIC.
TRANSLATED FROM THE FOURTH EDITION

(WITH THE AUTHOR'S FURTHER CORRECTIONS AND ADDITIONS)
BY Miss M.
E. VON
GLEHN.
PRICE THREE SHILLINGS.

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fcS.1784
PREFACE.
popularisation of music has of late made astonishing progress, and yet Expression the essence of music seems to
THE
remain the property of a few gifted spirits, and brilliant execution is still far oftener met with than expressive playing. There
are
two ways of accounting
for this fact.
In the
first
place,
formerly those only who felt it to be their vocation devoted themselves to music, whereas the education and habits of
modern
society require that everybody should cultivate it. Secondly, as regards instruction in music, there is not a single book containing rules and practical directions for accentuation, or nuances, or the regulation of tempo in a word, for performing air, not to say a difficult work, with expression. Now, everyone is not born with musical sentiment. No
the simplest
doubt, eminent professors have been able to help performers who were deficient therein, and have supplied the accentuation,
nuances, and phrasing in many of the vocal and instrumental works of the great masters; and by a close observance of these indications moderately gifted performers may acquire a semblance of artistic feeling. But it would be
impossible for our professors to do this for all music, and even if they could it would not teach the performer the raison d'etre
Indeed, they have not explained in any work the reason which dictated their indications, and thus they appeal to the eye and not to the intellect. Their signs show exactly where to accentuate, slacken, quicken, &c., but do not Whereas, what is wanted is, to know why explain why.
of their annotations.
instinct incites the performer to play in one way in preference to another, piano rather than forte, rallentando rather than
accelerando, &c.
Musicians fancy that in making these changes
IV
PREFACE.
they are following the caprice of their imagination, and do not realise that, even in musical execution, all is cause and effect,
connection and law, and that in a truly artistic interpretation not a single note can be arbitrarily accented.
The object of this work is known reason which guides
to demonstrate the hitherto un-
artists and professors in their accentuation, and to furnish a system of rules by which a
player will be enabled to annotate and perform with expression every kind of vocal and instrumental music. The work thus
forms a complement to
to all
all
other Methods, and addresses
itself
are occupied with music, vocal or instrumental. To Artists and Professors it offers an explanation of the causes and
;
who
mysterious laws of expression to Amateurs and Students, without teachers, it offers rules as regards tempo, accents, and nuances, applicable not only to one particular piece, but to all
These rules claim neither originality kinds of compositions. nor novelty, for the greatest masters have observed them unconsciously from time immemorial, and artists and people of taste have always submitted to them instinctively. The task of
the present writer has therefore been merely to discover, By this discovery, and in spite classify, and formulate them. of all imperfections in carrying it out, the want above described
chance the ordinary systems of instruction is supplied gives way to scientific method, and musical expression leaves the exclusive domain of sentiment and enters that of reason.
in
;
Sentiment
is
as individual and
intermittent as reason
is
general and constant, and therefore to support and illustrate sentiment by reason is essentially the way to popularise it. Surely a few months devoted to the study of this science would not be thrown away if musicians were thereby enabled not only
to
explain
the
reason
all
of
accents,
nuances,
rallentandos,
accelerandos,
and
the other
phenomena
and
of expression, but
also to perform with expression

!
artistic feeling.
May
this
hope be fulfilled In my endeavour to place the application of my rules within reach of all who are occupied with music, both instrumental
PREFACE.
and
vocal, I
many of my
known easy
have been compelled, much to my regret, to take examples from modern pieces. I have chosen them
their artistic value,
by preference, without regard to
from well-
pieces, written for voice or piano, as representing
on the one hand melody, on the other harmony. The generating elements of expression exist in the structure of the musical phrase; and a trivial air, or dance tune, written for any
may often serve as well as a passage from Beethoven to give examples of the facts mentioned. Of course, to be able to perform on any particular instrument, special
instrument,
teaching
is
The
tempo,
best
indispensable. way to understand this book
is
to study
it
at the
piano, playing the examples carefully through in their proper
M. L.
CONTENTS.
CHAPTER
I.
BAGE
THE GENERATING CAUSES OF EXPRESSION

CHAPTER
II.
THEORY OF MUSICAL EXPRESSION

CHAPTER
III.
THE PHENOMENA OF MUSICAL EXPRESSION

CHAPTER IV.
13
METRICAL ACCENTUATION
CHAPTER V.
17
RHYTHMICAL ACCENTUATION
CHAPTER VI.
44
ON EXPRESSIVE ACCENTUATION
CHAPTER VII.
-i
125
ON THE EMOTIONAL ELEMENT

CHAPTER VIII.
163
NUANCES, AND INTENSITY OF SOUND

CHAPTER IX.
197
ON THE NORMAL OR METRONOMIC TEMPO
...
223
MUSICAL EXPRESSION.
CHAPTER
I.
THE GENERATING CAUSES OF EXPRESSION.

TWENTY years ago I had the honour of succeeding Monsieur Ravina as professor of the piano in one of the large schools
in Paris, directed
by the
sisters of the
Congregation de
la
In introducing her pupils to me, the Lady " I wish Superior said you to teach them such principles and rules as will enable them to execute with expression, not
:
Mere de Dieu.
only one piece, which

all
is
no sooner learned than forgotten, but

to
pieces."
These words were a revelation

to satisfy
me.
Feeling
my
incapacity
such a demand, I at once began to search for a treatise on Musical Expression. But, to my great disappointI could discover no such work ment, existing in any language, and thenceforth I had to seek in facts what was not to be
found in books.
For twenty years,
therefore, I listened atten-
tively to the first artists of our time, following the
movements
of their minds and marking the notes and passages which seemed especially to impress and excite their feelings. I have
also
compared the
different annotations
and accentuation given
by such professors as Moscheles, Marmontel, Le Couppey, &c., in their editions of the works of Beethoven, Mozart, &c. By this patient observation and minute study I have convinced
myself that in identical situations that is to say, in similar passages artists make use of identical expression, with only such differences as result from the greater or less degree of
MUSICAL EXPRESSION.
* From this delicacy of their sentiment and technical skill. of in different whether in artists, expression identity singing or in writing, I draw the following conclusions
:
They have all received the same impressions in different degrees from the same source for similar effects are of course
1.
;
produced by similar causes.

2. As these expressions vary according to the different musical phrases, and not according to the individuals who produce them, it is clear that the cause of the expression
resides
and must be sought
in
the notes and the structure
of the musical phrase. f
great artists do not feel at liberty to accept or to repudiate the sensation which they receive. Their unanimity of expression proves that they are, as it were, forced to give it utterance, not, perhaps, conscious of the force which impels
3.
The
them, but unable to

* It
resist it.J
here be objected that Malibran, Sontag, and Frezzolini sang piece in diametrically opposite ways, each lending a particular physiognomy to her creation. But this does not prove anything against my conclusion. Each one of these singers owed her success to special qualities-
may
the
same
one to the perfection of a sympathetic organ and to her immense execution another to a powerful and delicate sentiment, exquisite taste, &c. f The structure is the image which a rhythmical design offers to the eye It is determined by the that which distinguishes one rhythm from another. number of notes contained in each bar, by their value, their progression, their
;
consecutive or disjunct movement, the accidentals contained in the melody, the number of parts, &c.
J It
is
really astonishing to find the generating
down
to
mere sentiment or
caprice.
Feeling
is
power of expression put but submission to some
Every organisation gifted with by certain things. The most powerful phenomena make no impression on a dull, blunted nature but, on the other hand, the most sensitive nature remains unmoved if certain things do not make it vibrate and stimulate its activity. Impression and expression are, therefore, determined by the force of the things which produce the disturbance, and by the delicacy or sensitiveness of the feeling which receives and reflects If the performer has musical sensibility, irregular notes will disturb him it.
compulsion
our feelings are not free agents.
sensibility is susceptible to disturbance
;
he will receive a shock from the irregular notes and will express his If he be insensible, his execution, though possibly sensations accordingly. Thus, when musicians quicken correct, is sure to be cold and mechanical.
THE GENERATING CAUSES OF EXPRESSION.

There
is
expression, and its are controlled by fixed phenomena, phenomena, laws. in their works, are obedient Composers, accentuating to sentiment to unknown laws, and not to caprice, though,
thus
nothing
arbitrary
in
like all natural
indeed,
what
is
from some unknown cause
caprice but unconscious obedience to an impulse ? Every sign of expression used by
a composer represents a sensation, and is intended to attention of the performer to certain notes which he
especially,
and make
his audience feel.
of expression were absent, the true artist
they were there, since their raison This is supported by logic, and daily confirmed by observation. As the generating causes of expression exist in the musical
But even if would play as if d'etre would still exist.*
draw the must feel all marks
phrase, they must evidently act upon the purely material forms which are susceptible of observation and of submission to
treatise on musical expression is analysis and synthesis. therefore quite as possible as one on harmony or melody.f
or slacken, put forth power and fire, or exhibit gentle and subdued emotion, is not to mere caprice they yield, but, rather, to an irresistible impulse communicated by certain notes. The part acted by sentiment, therefore, is
it
nothing more than the revelation of impressions received. As to the composer, the only liberty which remains to him, once his phrase is made, is to indicate or pass over in silence the notes or passages which have particularly impressed him. Some of these notes or passages may, possibly, have produced no
impression on him, and yet may powerfully excite the sentiment of the performer, and thus produce effects of expression quite new to the composer
himself.
* A note is not loud because the composer marks it with an accent; he marks the accent because he feels the force of the note, a force which seems to remove it from the place or function which it occupies in the scale, bar, or
rhythm.
According to them, expression i-s something so vague, so fugitive, so indefinable, that it cannot be reduced to any positive or scientific formulae. No doubt the things which arouse and excite musical
this sort.
f Some writers think any didactic attempt of
it
impossible to carry out this idea and at once
condemn
which
That sentiment are transitory, but they are, nevertheless, apprehensible. is felt must surely exist. The reality of these things is confirmed by
If they can thus excite the impressions and sensations which they produce. sentiment and call forth expression, must there not be a material reality about
them
susceptible of observation
B 2
MUSICAL EXPRESSION.
To accomplish such a work it is only necessary to find out the notes and passages which most excite and impress the to classify them, to discover the cause and the performer
;
nature of their action upon the sentiment

the law of that action.
in fact, to formulate
This is what the following Essay attempts to do, and not without apparent success at least it may be hoped so, for experience has confirmed and sanctioned in a striking manner
;
the rules here formulated.

rules
Any one who has mastered

;
these
may take a piece of vocal or instrumental music without a single mark of expression and after noting the general structure of the phrases, the melodic and rhythmic design, the
chromatic notes, long notes, repeated notes, auxiliary notes, &c., he will then be able to point out the exact points which every artist would naturally
irregularities in the intervals, the
emphasize, where he would
and so on.
No
quicken or slacken the tempo, great artists of any country have ever falsified
these rules in their interpretations.*
Or take an
edition, with-
out any marks of expression, of a piece which has elsewhere been edited and annotated by some famous artist, for instance,
in the " ficole
de Chant" of
Madame
Viardot-Garcia
mark
the accents, nuances, changes of time, &c., according to these rules, and compare the marks with those of Madame Viardot-
Garcia, and if any differences occur they will show the use which theory may be to instinct and sentiment. Or take a Sonata of Beethoven or Mozart, mark it according to these rules and then compare it with the edition of Moscheles, Mar-
montel, or
Moscheles
reputation
;
Le Couppey, and the result will be the same. Now knew Beethoven his editions have a universal he knows better than anyone how Beethoven
;
accentuated his works, and thus gives us the true manner of

is nothing peculiar or individual, and only requires practice. musician, after devoting a few hours to the study of this treatise, could do the same. Pupils of twelve or fifteen may learn it in a few lessons with the
Such aptitude
Any
folfcgc exercise, leaving
help of a black board on which the master can write a melody or a simple them to supply the accents, nuances, and fcmfi.
THE GENERATING CAUSES CF EXPRESSION.

interpreting them.
this case,
it is
5
in
all
Therefore,
fair to believe
if
but
we have been successful that we shall succeed with
other composers.
Exception
may
be taken to these rules as
tending to impair the free manifestation of feeling. But this is a mistake, for the artist can always choose his manner of per-
formance, the force or the delicacy suitable to this or that passage, and will not find his individuality. _at. _all interfered
with by these rules. Besides, liberty of interpretation, like all other liberties, has its limits limits imposed by the laws of If the laws given here are the exact formula expression.
of the connection between sentiment and the causes of expression,
But
it
no one can disregard them without giving way to license. is clear that to be able to submit to laws one must
;
ignorance thus becomes identical with license, Would it be better, under pretence with knowledge liberty. of liberty, to play like a street musician, rather than by the
rules
know them
which have guided the great

for artists
artists
the laws by instinct and whose works supply the elements of our induction, they will not feel our laws to be any contradiction to their sentiments, for they
As
who know
are nothing
processes.
more than the generalisation of
their
own
intuitive
The theory on which
these laws are based will, by
a rational analysis of the impressions which they have received, give them a clearer consciousness of their own genius.
CHAPTER
II.
THEORY OF MUSICAL EXPRESSION.

Music
(or rather
:
modern melody)
is
composed
of three principal
elements
i.
;
and minor
which the
attractive
Scale or the Tonality in its two modes, major that is to say, the union of the seven functions
The
different
sounds are capable of
filling in turns,
the
influence
which these functions exercise amongst

first
themselves, and their subordination to the tonic or

the scale.
note of
The tonic alone possesses the property of making a definite close to a musical phrase. Remove the last note of an air, or even of a simple scale, and now the last note of an air is always the the sense is incomplete and broken
;
tonic.
We have also to
attracts, but,
remember
that at .the end of an air
it is
not the tonic
which
on the contrary, is required by the other notes. The terms scale and tonality are synonymous, but the word scale seems rather to denote something physical and acoustical the fixity being maintained in all the The word tonality, on the scales, whatever may be the point of departure. other hand, refers us to something psychological, to the effect which the notes produce on the feelings, and to the faculty which they have of being able to arouse in us the desire to hear one sound rather than another. We have said that the number of the functions is seven. But these functions are transferable. Each sound is capable of taking the place of any other in turn.
;
may happen, in the same air, that the function of the tonic is transferred to a higher or lower sound than that in which it fulfilled its functions at the beginning of the air. This transposition is called modulation. The change of
It
the tonic naturally produces an analogous displacement of all the other functions, since the numerical relations between them are fixed and invariable.
It is like a ladder which is moved higher or lower according to requirement. As every sound may be taken arbitrarily for the tonic, and the number of sounds is infinite, it is possible to have an infinite number of scales or keys, each starting from a different level, but all producing the same air. It would be well if composers gave more attention to the characteristic or scales, a subject much neglected in France, qualities of the different keys and to which classical composers attach great importance. They seek as much
as possible to choose a key which is in harmony with the sentiments they wish to express. No doubt an air may be sung in any key without losing its this is the basis of transposition, by means of which any air may and identity;
be sung in any key, and thus be brought within the compass of
all voices.
THEORY OF MUSICAL EXPRESSION,

But
it
is
not the less true that the cultivated musical ear can recognise and
by its particular quality of sonorousness, sweetness, harshness, or acuteness. On the piano the flat keys or scales are softer than the sharp keys. The cause lies in " " that is to say, in the compromise which the tuners equal temperament adopt so as to replace by one single chromatic note the two enharmonic notes
;
distinguish one key from another, each being characterised
which theoretically and practically exist between the two notes forming a major second or tone. On the violin it can easily be proved that C ft does not produce the same sound as DJ? is, in fact, higher than D[?, the small interval by which the two are separated being called a comma. Now on all keyed instruments, instead of two keys between C and D, or D and E, &c., we have only a single key, which is neither Ci nor D[?, but an intermediate sound. The flats on the pianoforte have for some time past been correctly tuned. But the more correctly they are tuned, the falser will be the sharps, which are represented by the same keys. The result of this system of tuning is that the scales of AJ7, DJ7, and GJ7 are sweet, almost effeminate, whilst those of E and B are hard and harsh. We shall, therefore, generally find that
genre pieces, such as Nocturnes, Reveries, &c., are written in flats. Yet it would be very exaggerated, not to say absurd, if we were to follow certain The fact is that theorists, and prescribe a given tonality for every sentiment.
the more flats there are in a scale the sweeter would be the sound, and the more sharps the harsher would be the sound. But on the piano the scales of D[? and G[?, which have the most flats, consist of precisely the same keys as and which have the most sharps. It is, therefore, the scales of F|, CJI impossible that the same keys, or the same strings, can produce at one time a soft scale and at another a harsh one. Nevertheless, it would seem a little
hazardous, if not doubtful, to write a piece of tender character in E major, An anomaly of this that being one of the most brilliant and vigorous keys. sort is useful to make a pupil feel the characteristic difference between these two keys of E and EJ7, and to familiarise him with transposition. When he
has played Ravina's "Douce Pensee" in its original key of E, he should be made to transpose it suddenly to EJ?, mentally exchanging the four sharps of the signature for three flats, he will find that the piece gains in sweetness in
But in either case the ear and certain parts, but loses in energy in others. This experiment, repeated with different sentiment of the pupil are benefited.
pieces, helps greatly to give the pupil the feeling for tonality, which is the faculty of recognising, on the simple hearing of an air: (i.) What each note
represents, whether
is
it
written),
whether
it
be the tonic (the first note of the scale in which the air be the dominant (fifth note of the scale), the leading
note (or seventh) ; (2.) To feel the attraction or supremacy which the tonic exercises over the other notes; (3.) To feel the relationship which exists
between the various notes of the scale and (4.) To be able to tell, by the ear, This last faculty is one of the rarest, most in what key a piece is written. essentially spontaneous and artistic; it is difficult to acquire, even with the most persevering and methodical practice. The explanation is very simple; the number of tonalities is infinite, though by adopting the tuning-fork and
;
MUSICAL EXPRESSION.
equal temperament in tuning instruments with fixed strings they huve bten reduced to twelve. The faculty does, however, exist. There are many people
who
pitch,
not only can tell the key of a piece heard on any piano tuned to any but even the name of any note struck either by itself or with other
heterogeneous notes.
2.
The
bar or measure; that
is
to say, the periodical re-
currence at short distances of an accented note dividing a piece of music into small portions, called bars, each having
the same value and duration.
3.
The rhythm
and
that
is
to say, the periodical recurrence of
2, 3 3, 4 and 4 bars of the same value, which thus form groups or symmetrical designs, each containing part of a
and
musical phrase corresponding to a line of poetry. These three elements have trained our musical instinct to
feel
the want of the three qualities of attraction, regularity, and symmetry, and have accustomed it to accurate logical In other words, modern music has taught restricted order. the ear to desire
ir
:
To To
hear one sound in preference to another, especially

is
when
2.
that sound
feel
the final note.
the regular recurrence of an accented note at every second, third, or fourth bar. 3. To have a presentiment or instinct of a certain symmetry
in the
arrangement of the notes which constitute the successive
groups. As soon as the ear has become aware of a succession of
sounds subject to the laws of tonality, metre, and rhythm, it expects the succession of an analogous group in the same the same and with the same arrangement of notes. mode, key,
But generally the ear

will
often
mode
is disappointed. The expected group contain notes either foreign to the key and the of the preceding group, and therefore capable of dis;
placing the tonic or changing the mode or non-symmetrical notes occur which break the regularity of the bar, and destroy the symmetry of the original rhythmical design.
Now
and, as
it
it
is
precisely these unexpected, irregular, exceptional, were, illogical notes which more especially have tlie

facility
<J
of impressing the feelings.
They
are the notes that
engender expression, because they are the elements of stimulus, movement, force, fire, and contrast. The musical sentiment,
is
being accustomed to expect affinity, regularity, and symmetry, startled and disturbed by these unexpected and foreign
notes.
They
the
baffle
its
expectations,
disturb
calculation,
break
thread
of
customary
progression,
and
tonic
impede
advance.
Being
the
still
subject to the attraction of the

disinclined to detach
will
first
and to
charm
of the original metrical

is
and rhythmical
itself.
regularity, the
sentiment
It
clings to
what
has gone before, and
only accept the notes which draw it away if they are, so to speak, forced upon it by their importance. At last, feeling that the notes are not false, and
that
they only tend to determine another key or to form another rhythmical design, the sentiment yields to force and compulsion and accepts the new tonic, or abandons itself to
the
new rhythmical
efforts
design, subjugated
by
their attractive or
coercive power.*
The
which the musical sentiment makes
to cling to
the original tonic and rhythm, the resistance it makes to the new ones, and the energy and force required to make it submit to the change, all combine to develop a greater stimulus, a
crescendo of sound
and accelerando of tempo, which again is followed naturally by a gradual decrease of sound and slackenThese are the agencies which act upon the soul ing of pace. The more of the performer, and thus they influence him.
strongly the performer feels the attraction exercised by the tonic over the other notes, the more he craves for regularity
of metre
the
and symmetry of rhythm while, on the other hand, more he is disturbed by the number and power of the notes which destroy uniformity, regularity, and symmetry, so much
;
* See Chap. VI. It is a strange fact that the less a note is desired by the ear and the greater antipathy the ear feels towards it, so much the stronger ought it to be. It would seem that it is only by force that the ear can be
made
to forget its desires
and accept another note.
10
MUSICAL EXPRESSION.
the
more intense and exalted
will
be the expression with which
he plays.*
The sentiment of musical expression is, therefore, not only the faculty of a keen feeling for the phenomena of tonality,
mode, time, and rhythm it is, above all, an extreme susceptibility and sensibility in the perception of the smallest irregularities in relation to them.f Musical expression is the manifestation of the impressions
;
produced on the sentiments by those irregular notes which are destructive of key, mode, metre, and rhythm, and a revelation of the struggles and disturbances of our musical instinct.
Finally,
taste is the
force, fire,
faculty of giving
life
to
expression the
amount of
which
is
and
proportionate to the intensity of
the impression.
Practically, the
else but the
nothing
of
elements
force,
word "style" would be better, proper and adequate use of the emphasis, accents, nuances, and tempo,
according to the structure of the piece or phrase. Unhappily, the sentiment of expression is neither general nor constant. Numbers of musicians are entirely without it
;
others only possess it in a small degree, and even those most In gifted with it are subject to sad failings and intermissions. such cases the performer, no longer feeling the attraction of the
tonic, in
nor the need of regularity in the metre or symmetry
the rhythm,
notes.
He
not specially impressed by the irregular passively accepts, not only those which are most
is
tional, breaking the regularity of the lines,
In painting and sculpture, expression also results from something excepand the symmetry of the design.
Is it not a common saying that faces with too regular features are cold and wanting in expression ? And again, in another branch of art, the beauties of Shakespeare point to the same conclusion. f Musical sentiment is one of the most complex faculties. Speaking of it
here only in
its
remember
that even
connection with the phenomena of expression, it is sufficient to amongst professed artists some are devoid of the sense
of tempo; others are insensible to the degrees of nuance, metre, and rhythm; and others to key and mode. A combination of all these different faculties
may
be called the feeling
for the
phenomena of
expression, or,
more
briefly,
the feeling of expression, though this
may sound
strange and paradoxical.

destructive of key, mode,
II
and metre, but
also the
most incon-
gruous rhythmical irregularities, rendering them without force, animation, life, or poetry in short, unable to express that which has not impressed him.*
Henceforth
it
will
be so no longer.
Now that
science teaches
us the special notes which have the faculty of impressing and exciting us, and the cause and manner of their action upon the
sentiment, the performer will be prepared for them and able render them with force and expression. Henceforth, to repeat it once more, the science and art of expression by means
to
of clearly defined formulas and easily applied rules will produce

artificially,
even in
inferior performers, those qualities
which
true artists produce
by
instinct.
professor must draw the attention of the pupil to the structure of the phrases, to the harmonic and melodic changes,
to the irregularities of key,
The
mode, metre, and rhythm
in a
word, to the exceptional and unexpected notes
the germs
which engender expression and will demand special care. In this manner he will keep the attention of his pupil on the
alert, will
develop his sensibility and
skill,
and cultivate
in
him
it
the precious habit of observing, comparing, and analysing. Perhaps, in time, the teacher will become convinced that
is
not so
much
his pupil's senjiiriejrtjvvhich
is at fault
as his
own
deficiencies of observation, reasoning,
The
*
pupil,
on his
side, will
and rendering. emancipate himself by gaining a

the notes which
Musical sentiment,
in
its
connection with
engender
expression, may, perhaps, be
say phonographic) plate. sensibility, resulting, not from

conditions, this plate
compared According
to a photographic (one might almost to the greater or less degree of its the will of the artist, but from its actual
is more or less susceptible of receiving an impression, and, consequently, of reflecting it with more or less force and fidelity. If it is dull, the exceptions and delicate irregularities will pass over it without leaving any traces only the most vigorous will imprint themselves. If, on
the contrary,
transitory
it
is
bright
and
sensitive, the faintest irregularities

its
the most
phenomena
will
be clearly imprinted, will excite

artist, like
activity,
and
is
be strongly reflected.
The
the simple performer, therefore, plays
according to the actual conditions of his sentiment, and his rendering

proportionate to his receptivity at the time.
12
MUSICAL EXPRESSION.
knowledge of the notes which generate expression, and of the
modes
sensations.
by the great artists to express their no longer depend solely and blindly on the sentiment of his master, but on his own, enlightened by reason
of execution adopted
He
will
and study, and will discover for himself how to give poetry to the works which he executes.
life
and
CHAPTER
III.
THE PHENOMENA OF MUSICAL EXPRESSION.

IF we listen attentively to any piece of music, we are struck by the following facts The melody will seem to rise and fall some will alternately; some notes will appear loud, others soft
:
be dwelt upon, others passed over with the rapidity of lightning. Presently we shall notice that the loudest notes will be repeated
periodically
instinctively
and
regularly.
move head
If the piece is in quick tempo, or foot in time to the loud notes
we
in
other words, the regular recurrence of these loud or accented notes at the beginning of each bar will give us an irresistible
impulse to beat time. The object of these accented notes is to mark the separation between the bars. may have but
We
musical instinct and yet possess a feeling for metrical accent the accent which makes and gives the feeling of time,
little
makes a
child's feet
collects the
keep time, makes soldiers march in time, admiring crowd round the drummers, and directs
the movements of sailors, rowers, &c.

If
we
listen
more
closely
we
shall
observe something like
a succession of more or less symmetrical groups of sounds having the effect of definite figures or forms, and we soon
which begin these groups also recur with a certain periodical regularity. They do not always coincide with the accented notes which mark the bar, and, indeed, sometimes run counter to them, but they coincide with the beginning of lines or half-lines in poetry, and stand in the
notice that the accented notes
place of punctuation. Their object is to separate or isolate the groups of sounds, each of which contains a more or less
complete musical idea and constitutes part of a rhythmical shall now understand what is meant by rhythmical phrase.
We
accent,
and
shall realise that
this accent appeals especially to
the intellect.
14
MUSICAL EXPRESSION.
Listening once more we shall notice that there are some notes on which the artist concentrates his whole energy,
by dwelling on them and enforcing and we shall feel that these strength exaggerated notes are independent both of the accented notes which mark the bar and of those which define the rhythm.
into relief
his
;
bringing them them with all
There
is
no
coincidence,
no regularity about
them,
they
destroy the metrical and rhythmical acquire additional force and brilliancy.
accents, and thereby
When
several of these sounds follow one another without
exhaust all his energy and enthusiasm to express them. His passion and excitement will carry us on breathless, till with one supreme effort he pours forth the utmost fire of his soul, and then his voice dies away
interruption,
the performer will
and sends a thrill through the audience. This we will call, for want of a better word, the " pathetic or expressive accent " " emotional element " (accent pathetique), and the (mouvement passionel).
They
are produced
by the
efforts of the artist
to bring certain irregular notes into relief, notes foreign to the
key or mode in which the phrase
is
written,
and wh ch break
:
the regularity of the metrical accents, disturb the symmetry of the rhythms, and consequently jar upon and disturb the sentiment.
Lastly,
observe the contrast produced by a succession of
accented emphatic notes followed by a series of soft ones. Follow the gradations from pianissimo to fortissimo, and
the nuances through which the artist passes from the height of passion to the softest accents of tenderness, and you will under-
stand the chief elements of good execution. These are the phenomena which an attentive hearing of a Let us fine and expressive piece of music unfolds before us.
enumerate them once more.

the
movement
of the head and feet and
The accented notes which excite make us feel the time
are the metrical accents, which appeal especially to the musical instinct. The accented notes which coincide with the beginning
and the
cccsura of the
line,
mark the
different
cadences and
THE PHENOMENA OF MUSICAL EXPRESSION.

closes of the phrases
15
and fragments of phrases, and are

;
called
the
rhythmical accents
they appeal especially to the musical
intelligence,
and are to music what punctuation is to speech. come the accented notes which occur apart from the Lastly
metrical or rhythmical accents in an exceptional and unexpected manner, and are capable of displacing the tonic, changing the
mode, and breaking the regularity of the metre or rhythm

these
we
musical feeling
call the expressive accents *

.
they appeal chiefly to the
Here then we have
The The The

give
metrical accent belonging to the instinct
rhythmical accent to the intelligence
and
expressive accent to the sentiment. In spite of the importance of the bar, metrical accent
way
to rhythmical accent,
way
No
But
to the expressive accent,
must and both must in turn give which will always take the lead
and rule the others.

doubt in theory the
is
first
note of every bar ought to be an accented note.
astonishing how often this rule is disregarded in practice. Whole pages of music are often met with in which the first note of each bar is an unaccented note from its being the end of a section or rhythm. f Even in danceit
music the
section.
is unaccented when it is the closing note of a frequent omission of the metrical accent which gives to many modern waltzes such an ethereal feeling. Take, for examples, the " " " Faust Waltz," by Gounod, the Juif Errant," by Burgmiiller, the Valsedes To musicians &c. these waltzes are Roses," by Metra, fascinating, though
first
note of the bar
It is this
people of this
who have little

is
along
is
The explanation feeling for time think them detesta.ble. that the force and regularity of the metrical accent which carries one wanting, and such compositions therefore no longer belong to the
instinct but to that of intelligence.
domain of
emotional element embraces the irregularities of time, such as the accelerando produced by the excitement of the artist
in the effort of his passion the impulse given by a uniformly descending structure or the rallentando, resulting from fatigue, or exhaustion after the excitement of passion, or from the
;
The
See " Exercises de Piano," page n. See " Die Elfen," R. Schumann (Op. 124, No. Beethoven's Sonata No. 2, Op. 31.
*
17), or the Allegretto of
16
MUSICAL EXPRESSION.
in a
presence of a sudden and unexpected obstacle

structure.
complicated
contrasts arising from the succession of loud and soft phrases, crescendos and diminuendos, constitute the nuances.
It is necessary to take each of these phenomena separately, before examining their bearings upon music in general. Relative Tempo (mouvement general], however, is the allimportant matter in the execution of a piece everything
;
The
not only the strength of the metrical, rhythmical, depends upon and expressive accents, but also the character, the entire renIt is the soul of all good execution, and well deserves dering.
it,
to be regarded w ith the attached to the fulcrum.

T
same importance which Archimedes Indeed, knowing the exact tempo of a piece, it would be quite possible to add all other details of accentuation and expression.
CHAPTER
IV.
METRICAL ACCENTUATION.
may be indefinitely prolonged it is necessary to have a fixed term of comparison, a standard or unit whereby to measure its length. This term of comparison is called a beat. It is an arbitrary unit, and is therefore variable but,
SINCE a note
;
once chosen,
it
remains unchanged
till
some
indication to the
contrary occurs. A beat is one of a succession of sounds struck with equal But our musical sentiment, with its force, at equal intervals.
instinctive desire for regularity,
demands
that the
first
of every
two, three, or four successive beats should be louder and

energetic.
more
This divides the beats into groups or portions, each of which is called a bar or measure.
Bars are therefore composed of two, or three, or four beats and as stronger emphasis is laid on the note which falls on the
;
first
beat, this
is
called the accented beat.
take a drumstick and give a loud and soft tap this will at equal intervals, alternately, " duple time." produce the impression of a bar of two beats, or
Supposing,
for instance, that
we
and
If
we
soft taps,
i.e.,
give one loud and two soft taps, or one loud and three we shall have groups or bars of three and four beats " " of " triple and " quadruple time. Duple time, therefore,
consists of one accented

of
and one unaccented beat

unaccented
beats
;
triple
time
one accented and two

"
quadruple or
beats.
is
"
common
time, of one accented
and three unaccented

first
The equivalent
in vocal
to the loud tap with the drumstick
produced
note of
and instrumental music by accenting the
every" bar.
confused, and to enable
In written music, to prevent the eye from being it at once to catch the first note of the
is
" the bar-line," bar, a vertical line, called

first
placed before the
beat.
MUSICAL EXPRESSION.
To keep
the time as regular as possible,
we mark
it
by a
movement of the foot or hand. This is The accented beat must coincide with the
If
called beating time.

first
note of the bar.
beat in duple, triple, or quadruple time, giving only one sound ( J) to each beat, we shall have bars in which every beat
will consist of only
we
one note
j).
If
we
give two equal sounds
(J^) to each beat we shall have bars containing two halves or two notes to each beat (-| + \ J"j J"j) or if we gi ye three
J
equal sounds (J"^"2) to each beat,

thirds, three notes to every beat (\
we
shall
have bars of three
+^+^
The
and
divisions of beats into halves (j"j)

their derivations, binary
JJ3 J3j JTj)' and thirds (j J j),

8ths,
and ternary, into quarters,
i6ths, 32nds, 64-ths; 6ths, i2ths, 24ths, 48ths; gths, iSths, 27ths,
36ths, 72nds, &c., are alone admitted as regular. 2 notes to a beat,
In bars of
and 3 notes to a beat, the subdivision by 2 is the principal division the subdivision by 3 (ternary) (binary) is only accessory ; that is to say, the halves (j"J) are more often
;
subdivided into quarters
(j"Jj JJj)j (jH ^)than and the thirds (j J j) are more often subdivided into 6
into sixths
(J
first
j)
t îan * nto
9 ( t"j^
7'
^ we
therefore,
divide each beat into 2 half-beats, or into 3 thirds of a beat, and then subdivide each half-beat or third of a beat into
2 or 3,
we
shall
have
all
the regular groups in use.
The
halves
Jj
divided into 2
make
f
quarters J"j
i
JH;
and
when divided
into 3
make
sixths
The quarters
JH Jj divided into 2 make eighths J= ^P

3
and when divided into
make
twelfths
j^
;
In the same way, thirds divided into 2 make sixths divided into 3, ninths; sixths divided into 2 make twelfths; divided
into 3, eighteenths;
divided into
aighteenths
;
eighths divided into 2 make sixteenths; twenty-fourths; ninths divided into 2 make divided into 3, twenty-sevenths. These are the
3,
regular groups, divisions, and subdivisions which result from
IQ
considering a beat as a unit. Bars containing two notes for each beat, or their binary subdivisions (4, 8, 16, &c.), are said to
be in "simple" time; bars containing three notes to a beat, or their binary subdivisions (6, 12, 18, &c.), are said to be in "compound" time. Thus, the principal, or binary, division
of the beat rules simple time
;
the accessory, or ternary, rules
compound
time.
I.
SIMPLE TIME.
Supposing, for example, that

to represent a
whole beat
we take a single crotchet (J) that will give us, in duple time, with
(
one note to a beat, two crotchets

crotchets
( J J J)
;
J J)
in triple time, three
in quadruple, or
common time,
four crotchets
(J J J J).
equivalent
And
of
in this case the
minim
(cJ) considered as the
two crotchets (* J\ the dotted minim
(&)
considered as the equivalent of a minim and a crotchet, the
semibreve considered as the equivalent of two minims
(&
d\
will suffice to express the duration of or 4 crotchets (* d * *),

i, 2, 3,
and 4 beats.
it
horizontal line with broken lines below

all
will serve to
express
the fractions or divisions of the beat.

UNIT.
HALVES. QUARTERS. EIGHTHS.
But instead of always taking the same note (the crotchet, or any other) as the unit for a beat, musicians have adopted the
semibreve
(o),
not as the unit for a beat, but as the standard of

for the
measurement, the unit
whole value of the notes
the
as the half, the crotchet (j) as the quarter, the quaver (J*) as the eighth, &c. They have besides considered the semibreve and each of its fractions, the half or minim
(ej),
minim (J)
the quarter or crotchet (j), the quaver (/), the semiquaver (^), as capable each in turn of representing a beat, which gives us five different signs for expressing the same thing, one note
c 2
20
MUSICAL EXPRESSION.
being equivalent to a beat.
The
result is this variety of

:
signatures for indicating different kinds of time
TABLE OF TIME-SIGNATURES FOR SIMPLE TIME.*

TRIPLE TIME.
i
semibreve,
minim,
crotchet,
quaver,
semiquaver,
Thus, with the same metronome mark, a minim .j
is
21
in
time
exactly the
same length as a quaver (J*j same length

as a crotchet
in
|.
Similarly,
f
with the same metronome mark, a semibreve (&) in

is
time
exactly the
( j)
in
time, &c.
The simple time is that in the numerical fraction which serves to distinguish it, the numerator gives the number of beats in the bar, and the denominator gives
characteristic feature of
the semibreve) of the note by represented moreover, the beats of simple time only admit, as a rule, of binary subdivisions; that is to say, into two, four, eight, and sixteen notes. the
length
(or
fraction
is
of
which each beat
If a beat
it
with three,
five, six,
seven notes occurs in simple
an exception, and such groups of three, five, six, time, seven notes, compressed into one beat, are called respectively
is
triplets,
quintuplets, sextuplets,
and
septuplets.
In pianoforte
music one often finds long passages of triplets in one part In such cases the triplets are against two notes in the other.
to
marked in the first bar, and then followed by the word simile, show that they continue though not indicated. This is evidently mixed time simple in one hand, compound in the
other.
II.
COMPOUND TIME.
instinctively.
In our opinion,
It
compound time has been formed
been produced by sentiment, not by reason; and reason has only intervened subsequently to explain and justify it.
has
have specially contributed to its development i The produced by triple time and by a beat for the accent laid on a note beginning a divided into three
facts
: .
Two
identical effect
;
bar
that
in
triple
time,
laid
on
with one note to a beat, is equal to note beginning a beat divided into three.
j J J or JJ].
2.
(See page 104.)

arise
The inconveniences which
from beating
triple
time
very rapidly, producing indistinct
and spasmodic movements.
22
MUSICAL EXPRESSION,
there
is
only one performer there is no need to beat time, and this inconvenience is therefore not felt but if there
;
When
are several performers, a conductor is absolutely necessary to keep them together. Now if the tempo be very rapid it will be impossible for the conductor to execute the three beats in a
bar with sufficient emphasis for the orchestra to distinguish them, and thus the time will be lost. Instinctively, therefore, the conductor will be obliged to relinquish the three beats in a
bar and reduce them to one.
And
yet one
may
recognise to
a certain degree in the reinforced accent on the first third of the beat, the accented beat of the original bar in triple time.
this simple process two, three, and even four bars reduced to one.
By
may be
duple,
And
this brings us quite naturally to
compound time
Of course, it makes no triple, and quadruple ternary time. actual change in the character of the time or piece only in so
far as
quick triple time
is
of a restless, irritating character
derivatives gain in breadth and calmness. The reason is simple enough; the loud notes are accented, as before, in groups of three, but instead of beginning the bars they now
do
its
only begin the beats.
Waltzes, which formerly were always written in | or |, may met with now in | or |, &c., and, if played by an orchestra, the conductor will certainly beat duple time he
often be
give two instead of six beats to every two bars, thus reducing two bars of simple triple time to one bar of compound
will
duple time.
Weber's Invitation a
|
la
Valse,
at
for
instance,
is
written in
arranged for the orchestra by Berlioz, it is changed into rapid compound time and the conductor of I that is to say, duple ternary time
concerts,
;
time, but
when played
as
only makes eight beats for eight bars, instead of twenty-four.
Thus compound
from simple
To
is formed from simple time, though only time in quick tempo. transform simple time into compound, we have only to
time
triple
suppress the bar line between every other bar in a piece in simple triple time and we get compound duple time.
Thus:
WEBER.
Ex.
i.
" Invitation a la Valse."
y&c.
-f-
*E
y
&c.
suppressing two bar-lines out of every three, we get compound triple time and three bar-lines out of every four,
By
compound quadruple
time.
But it must not be imagined that all pieces in simple triple time can be transformed into compound triple time. For " be reduced Invitation" may to compound duple instance, the and quadruple time, but not to triple time, because the initial
note of the rhythm must always fall on the same beat but would not take place in that case, for the initial note of the rhythm would fall now on the first, now on the
;
this coincidence
second,
It
now on
the third beat, and
make
the rhythm halting.
decides whether pieces is, therefore, the rhythm which written in simple time are to be transformed into compound,
duple, triple, or quadruple time. Of course, in the same way as simple time can be condensed into compound time, the latter
may be
lines.
converted into simple time by the addition of extra barunite in one bar
If
we
two bars of simple

|, f
,
triple time, the
signatures of
which are
3 X 6
:
we
2
,
shall obtain the following

i
signatures for
bars,
compound time
J
,
iV
;
^
we
6,
we
9,
unite three
we
obtain the signatures

J
|, J, f
f6
if
unite four bars

12 indicate
we
shall get
2 2
9
,
4
;
y,
}g.
is
The numerators
compound time
ternary time.
that
to say, duple, triple,
and quadruple
24
MUSICAL EXPRESSION.
TABLE OF TIME-SIGNATURES FOR COMPOUND TIME.

COMPOUND DUPLE TERNARY TIME, DERIVED FROM TWO
SIMPLE BARS OF TRIPLE TIME.
two, four,
time,
it
five, eight notes of equal value occurs in compound forms an exception, and the groups are called re-
spectively duplets, quadruplets, quintuplets, octuplets, &c.
Les Courriers."
CHOPIN.
1
-
Nocturne.
4~"^
Op.
g,
No.
3.
In this passage Chopin makes use of the quadruplet (four quavers instead of three) as, a few bars previously, he made use of the quintuplet and septuplet (five quavers instead of three,
and seven semiquavers instead of
six).
This theory of compound time justifies the use of the double sign of a dotted minim, or dotted crotchet, &c., as the unit of
the beat.
In
fact,
as in
compound
time, the beat represents a

it
compressed bar of simple triple time,

traces of
its origin.
must necessarily show
Now,
in all simple triple time, the note
equivalent to a whole bar cannot be written with a a dotted minim is required for a bar in | time, a single sign dotted semibreve in | time, &c. Therefore, in compound time,
which
is
as the beat represents a whole bar of simple time, this double sign of the dotted minim, the dotted semibreve, &c., must But we find, on the contrary, that in necessarily be retained. dotted note cannot represent a whole bar. a time, compound
dotted minim, though of the value of six quavers, does not This is because comtime. clearly represent a whole bar of
|j
26
MUSICAL EXPRESSION.
time, to be correctly represented, requires that the note or sign equivalent to the whole bar should be distinctly divisible into two halves, or two beats. Now the dotted minim, though
pound
worth
six quavers, does not at first sight bear this evident character of divisability into twice three quavers, or two dotted In short, in compound time, to indicate the time, crotchets.
the
compound note which represents a beat must be

times as there are beats.
written as
many
J. J.
|J.J.J.
Generally speaking, compound time is correctly written, and the beats are distinctly separated. But occasionally one meets
with careless mistakes.

Ex. 4
.
CLEMENTI.
Gradus, No. 75.
instead of
FT] w
!
sg
Offertoire.
Anon.
Ex.
5.
It
27
it is
would be impossible
it
to accent this correctly as
written,
and
should stand thus
A glance at the tables which we have given will show that there are fifteen different time-signatures for simple time and
twelve for compound, in all twenty-seven different ways of expressing the simple fact of one accented beat, followed
by
one, two, or three unaccented beats.
Add
to this the
so frequent, of not grouping together the deplorable habit, notes which form one beat, and the many difficulties and
perplexities
now
which stand
in the
way
of the performer are at

sorts of
once evident.
time are not
Of
all in
course, the twenty-seven different

;
seldom employed.
* indeed, the most peculiar are equal use But it is precisely in these that the pupil, if
not the professor, when taken unawares, will make the most faults of accentuation if not prepared by safe and rational
principles to guide
him through the
labyrinth.
III.
MIXED AND ALTERNATE TIME,

often used,
If
some of the twenty-seven kinds of time are not

for
there are also others which are not included in our tables.
We
we
instance, with quintuple time, which might either meet, consist of a bar of triple time, followed by one of duple time, or
a bar of duple time followed by one of triple time, which
* It is worthy of note that there are only two or three instances of the use of 9 time by Beethoven, and not a single instance of its use by Mozart, in all their Pianoforte Sonatas.
28
MUSICAL EXPRESSION.
designate as alternate time. And there is also mixed time, where the left hand plays in different time from the right.* Sometimes even the smallest fractions of the semibreve are
may
used as denominators.
In the
first
book of Cramer's Studies,

in the
is
left.
No.
right
31,
we
find twenty-four semiquavers, or \\ time, in the
hand simultaneously with J time apparently mixed time but in reality it

;
This
is
quadruple time with a sextuplet for each beat in the right hand, although here the
semiquavers
are
grouped
is
in
triplets
instead
of
sextuplets.
and the eight groups of three semiquavers are well defined, so that there is no difficulty
Happily the bar
correctly written,
about the accentuation.

In the seventh study of the second book for the same kind of Cramer gives the time signature C. In Beethoven's C In minor Sonata (Op. in) we find *f time marked.
Killer's
time,
Trio (Op. 64)
we
find
alternate time of J
and
and other examples occur in his Rhythmische Studien (Op. 52) also in Chopin's C minor Sonata (Op. 4) and lately two Prieres
;
;
pour Orgue have appeared, of which one

other in ** time.
song.
is
in
and the
But
it is
nothing but plain unnecessary to give any more examples of such

latter is evidently
The
exceptional cases.
IV.
THE RULES
OF METRICAL ACCENTUATION.
The
the bar, the beat, and
object of the metrical accent is to enforce the feeling of its subdivisions it is therefore absolutely
;
necessary to
know which
note
begins
each of the three.

far to
Even
in the interest of their works,
composers ought so
help the performer by making it apparent which note is to But unfortunately they are very careless in receive the accent.
this respect.
The
broken
Chopin especially so. desired result might be obtained

lines
if
a horizontal line with
belowf were adopted to represent beats divided

in
* In "
in 1 time,
f
Don
Juan," Act I., and Leporello in |.
the " Veni con me,
ma
vita,"
Don Juan
sings
See
p. 19.
Also, Lussy's Exercises dc Piano, p. 107.
into
several
notes.
In
vocal
music,
instead
of
grouping
the notes according to the beat, composers generally isolate each note which corresponds to one syllable and, on the other
;
hand, where there are several notes which, though belonging to different beats, or fractions of beats, yet belong to the same
they bind them together without anything to mark the beat or its fractions. The result is naturally destructive to a
syllable,
proper interpretation, and very embarrassing to the performer. But the theory of time as explained above will furnish all
necessary explanation, and will enable us to accent intelligently
and
correctly.
We may now sum up the rules which will assist the performer
under
1.
all
circumstances
first
The
2.
note of every bar should be accented. In duple time, with one note to a beat, the second
is
unaccented.
3.
In triple time, with one note to a beat, the second and
the third are unaccented.

Ex.6.
N.B.
many
In spite of all that has been said by J. J. Rousseau, Castil-Blaze, and others, the third beat in triple time is metrically unaccented, and it can
only be accented by reason of the rhythm or the expression.
'V^-
"
-^_-
MUSICAL EXPRESSION.
Ex.
10.
In these examples the notes marked with an / are accented, not because they fall on the third beat, but because they be~gin a rhythm or a section.
Ex.
CHOPIN .
In these examples, also, the notes marked ( A ), and with an/, are accented, not because they fall on the third beat, but because they are preceded by a beat
divided into
two notes.
a rhythmical figure composed of one crotchet, two quavers, and
:
Thus,
in
one crotchet
following figure
J J"j J, the J J*
:
last crotchet is
accented,
as
it
is
also in the
I,
or
J
\^/
is
i"!
Even
in
duple and quadruple
time the crotchet after two quavers

II
somewhat accented.
J3J
II.T3J
(See pages 104 and
123.)
Ex. 13.
W^"
4.
In simple
is
16.
common
time, with one note to a beat, the
first
Leat
Ex.
accented, the second, third, and fourth unaccented.
HAYDN.
-9*
Ex. 17.
1-
5.
(that
In compound time, each note of the value of a beat is, a bar of simple triple time condensed) is accented.
Ex. 18.
3=
accented, even
Ex. 19.
if it falls
S
on an unaccented beat.
6. In triple time, as well as in duple and common, the first note of a beat divided into several notes (a group or run) is
Thus
7.
Every
first
note, whatever its value,
when prolonged through

is
the
note of the bar, or of the following beat,
strongly
accented.
Ex. 23.
BBEfer-EE^^
MUSICAL EXPRESSION,
Ex. 24.
Ex. 25.
M
^
8.
Every note which
at the
fraction of a beat, occurs beneath or
beginning of a bar, a beat, or above a prolonged note
(incorrectly called a syncopation), or beneath or above a rest,

is
strongly accented.
GQTTSCHALK.
A
33
" Bananier."
io.
If the note
is
which
is
finishes a bar, a beat, or fraction of a
beat
to say, if it begins the following bar, repeated (that or a fraction of this is beat, beat) it must be strongly accented called the reiterated note.
;
Ex. 30.
WEBER.
" Invitation a la Valse."
BE
Ex. 31.
-p
P-
Ex. 32.
STRADELLA.
ii.
The
it
the more
longer a note, especially if it is the first of the bar, must be accented. It is on these notes that singers
and
violinists
produce the
effect called vibrato.
Ex. 33-
ROSSINI.
" Stabat Mater."
-4>--
Ex. 34.
AUBER.
"Haydee.
3
12.
9- --!_::
Every note preceded by a

5.
rest is accented.
Thus:
Ex.
34
Ex. 36.
ON MUSICAL EXPRESSION.
:=
Ex. 37.
or 4 4 4 Six semiquavers to a beat, * 4, and in of in compound time 9, j>, twos, and y, must be accented
,
written
44
4.
If
they are only worth two-thirds of a
beat, or two quavers, they form a sextuplet, and are accented

in threes,
and should be written jT 4 4 4
4,
or 4
4 4 4
4.
Six semiquavers,
^ ^ ^ ^s ^
K*.
^.
Sk
w.
s*
*>,
or
SSuBii3iSS^5S3 4 4 4 4 4 4, in f
time,
must be accented
2
in twos,
and written J"3 4 4 J"3.

or 4 s * 4 * 4, in |, one crotchet, or one-third of a
,
Six semiquavers,
^ ^ ^ ^ ^ ^,
in threes,
and
4 time, equal in value to
beat,
must be accented
and written & 4 c &

(]
e>
4.
Six semiquavers pound time of ^g, ^g, and

written j 4 4 4 j
J.
}J,
or ^ s 4 4 4 must be accented in
,
4, in
com-
threes,
and
Accentuation of Groups of Twelve Semiquavers.
in sixes,
Twelve semiquavers in simple | or \ time must be accented and in slow movements in threes they should be
;
',
since they form a double
sextuplet, or a quadruple triplet.
Twelve semiquavers forming a whole bar

accented in fours, and written
in | time
must be
444444444444
of
|
Twelve semiquavers
in
compound time
and
must be
accented in sixes in quick movements, and in twos in slow
movements and should be written 44 4T 44 4444 Twelve semiquavers in \\ time must be accented in threes,
;
and written
above
444
4*"3
444444.
Groups of demisemiquavers and semidemisemiquavers must,

all,
especially
be submitted to a similar analysis before accentuating, where there are groups of six and twelve, it is
;
necessary to discover if the time is simple or compound if the notes belong to a principal (regular) division, by two, of a ternary
group, or to an accessory (exceptional) division, by three, of a
36
binary group.
four,
If, as an exception, six notes stand in the place of are accented in threes if twelve stand in the place of they in sixes. If six or twelve stand in must be accented eight they the place of three or six notes, they must be accented in twos.
;
In other words, six notes that are equal to a simple beat or unit must be accented in threes six notes equal to a compound
;
beat or unit (dotted) must be accented in twos. These rules of accentuation are evolved from
the fore-
going metrical principles, and must guide the performer on

all
occasions.
V.
THE BEAT.
reader must have been struck by the important part played by the beat in the metrical system. It fills the same place in music that the cell does in physiology. It is the
The
generating element of bars, and consequently of rhythms and periods, which constitute the frame-work for the splendid edifices of sound and harmony built up to the glory of human genius
by the great masters.
The
regard
the musical beat

it
merit of having discovered the nature and functions of is due to J. J. Rousseau he was the first to
;
two forms, and is into which it divisible forms which in binary ternary, their combinations and subdivisions engender a whole multitude It would be out of place of rhythmical and metrical figures.
here to analyse in detail the nature of the beat. It will be enough to regard it from a purely practical point of view so as
to familiarise the reader with the principal forms under
it
as the unit of time-value, and to foresee the
which
its
generally appears. usual name.*
Each form
or figure will be designated
by
(a)
Binary Figures.
ist figure, J"j, called legato.
2nd
*
figure, J"j, or
J H J M,
la
staccato.
See Lussy's " Hlstoire de precedes < execution"
Notation Musicale," Chapter on " Unite des
3rd figure,
37
/7J
or
j33^3
prolonged.
4th figure, JrjJ, slurred or glided (coulee). It is evident that the three last figures result from the division
of the beat into quarters.
(b)
Ternary Figures.
ist figure,
i,
legato.
2nd
figure, J~j^J, or
JqJ^j y,
j
staccato.
ist third.
3rd figure, J.J 4th figure, J J

.
J, or
3,
of the JT^J"3 J prolongation

J"jj,
or J
prolongation of the 2nd third.
5th figure, JTj"3~ slur, with a rest on the 3rd sixth.

6th figure, a rest on the 5th sixth. J Jajt slur, with It is evident that the five last figures result from the unit of
the beat being divided into sixths.
From the very beginning, the pupil must be made to play his exercises in these different ways, applying them first to the
exercises of five notes to be found at the beginning of every
method.*
_ Ex. 39.
"J_
^^TP
vT
>^
v^
cations
These four modifications of the figure offer plenty of complito play in one manner, while e.g., if the left hand is made
;
This gives us, for the binary the right plays in another. different sixteen combinations, which are not only figures,
possible, but in frequent use.
Right hand.
They
are as follows
L^ âw^f.
fj" fj" [_f
f s
JT3J~J
LJLJ
The figures marked with a (*) are specially to be recommended for whenever the left hand note is delayed beyond the
;
right hand, the figure presents great difficulties, especially in " one descending. They may easily be overcome by counting
and,"
two and," &c., putting the emphasis on the " one," The second and "two," striking the semiquaver at the "and."
"
figure (staccato) is also difficult in descending for the left hand.
We
will
to the
now give the sixteen common chord of C.

the
first
different
combinations applied
With
figure in the left hand.
Ex. 40.
-^. j^
j^^JJ^^^Jp^^z
&
ai
n ~r^n~^-T^- -r^-tg^-T^-
39
With
the second figure in the
left
hand.
Ex. 41.
&
H >-u
hand.
0-.
'
it
With
the third figure in the
left
Ex. 42.
With
the fourth figure in the

.
left
hand.
Ex. 43
As soon
as the exercise can be played in the major
it
must be
also
repeated in the minor,
by flattening the third
it
extended to two, three, and four octaves, in minor keys, in parallel and contrary motion.*
all
be and the major

pupil should
must
The
combine the ternary

*
figures in the
same manner.
alone.
Lussy's Exercises de Piano contain 203 exercises in the chord of C major Each exercise belonging to the binary figure can be played in the
sixteen combinations.
The
exercises in the ternary figures can be treated in
the
same way.
40
As to the groups containing four, six, or eight notes, it is evident that they will not produce any other combinations, as four notes are the result of twice 2 six notes of twice 3 or
; ;
three times
the
The combinations which we have given form ground- work of all metrical design. Anyone who has under2,
&c.
stood and practised them thoroughly will never stumble at any mechanical difficulties with regard to time but those who are
;
unable to play even a simple scale or exercise in these sixteen manners will meet with insurmountable obstacles at every step.
astonishing that the idea of submitting any exercise to all possible metrical combinations has not been put into practice
It is
before,
when
so
many
difficulties
might be prevented and over-
come in advance by these simple combinations. The pupil who has thoroughly mastered these figures, when he plays them in their different combinations, will be less occupied with the
separate value of each note than with the group to which it belongs, and the manner in which that group should be rendered.*
He will simultaneously give the proper duration and touch to both the note and the group. The pupil should apply them both to his soljege studies, and to instrumental pieces of a
uniform and equal structure; and before playing any piece
must distinguish and state the different methods and combinations which are employed in it. It may be asked what makes composers choose one figure more than another ? Yet it is easy to see how entirely the character of an air may be changed by the figure representing
the beat.
Ex. 44
.
Take the
following air from the Pre
aux
clercs
As
about
it
it.
stands, the air has something plaintive and appealing If we substitute the third modification, its character
:
becomes imperious, menacing, and energetic
* The first and third figures require raising of the fingers the wrist and arm remaining quiet the second figure requires to be played from the wrist in quick passages, and from the arm in portate passages the fourth figure requires a combination of fingers and arm.
; ;
;
Ex. 45.
--ff-f-g
4!
-p^
"1
"1
i*
This example will suffice to justify the right of the composer one metrical figure to another, according to circumstances. In general, the first figure indicates calmness and
to prefer
absence of passion
lessness, or recklessness
and menace
the second lightness, agitation, thoughtthe third heaviness, energy, vehemence, the fourth lightness and impetus, but without
;
;
heaviness or roughness. It would be a curious study to analyse the connection which exists between certain musical structures and the gestures they excite. The examination of this subject would lead us too far,
but
it is
a fact that certain metrical figures provoke spontaneous
gestures and movements, not only in singers, but also in instrumentalists.
VI.
PRACTICAL EXERCISES.
The
most often wanting, giving to each note
faculty which, above all others, is least cultivated and is the sense of time that is to say, of
its
exact value and of apportioning one,
two, three, four, six, or eight notes to the same given value. The want of this sense paralyses the progress of pupils and prevents their reading at sight. When once the time has been
drummed and hammered

well dinned
offer
it
into their ears
into
them
once the professor has the mechanical difficulties seldom
any serious
the
obstacles.
It is essential in
counting not to
make
the
between
together,
beats.
The
closer
is
too long an interval the metrical accents are

ear
to
the
more
sensitive
the
slightest
irregularity.
The eye cannot embrace an unlimited space

is
without certain landmarks, and the ear
even more incapable
of retaining the feeling of unity and regularity when the landmarks of sound are too widely separated its desire for the
periodical return of the accented beats they are too distant from one another.
becomes weakened
if
Where
the beats are
42
too long the bars should be broken up. For instance, in adagio, andante, or largo movements, where there are eight, twelve, sixteen, twenty-four notes to a beat, each beat, even each halfbeat, should be considered as a bar.
When
manner
of counting,
the rhythmical design or metrical figure changes, the which should never be the same through
a whole piece, must be changed also. to count in three or four different
Sometimes it is necessary ways on one page. The
change ought to take place at the beginning of each phrase which introduces fresh groups of notes or figures. For this see Adieu by Dussek the Adagio of the Sonate Pathetique of
;
Beethoven.*
In counting, the number of beats counted should coincide much as possible with the number of beats contained in the
for instance,
as
rhythm;
waltz-rhythms having six beats
(or
two
bars of simple triple time), it is better to count six for two bars than twice three. Whatever the piece which is to be sung or played may be, it is necessary, when once it has been read
through, to see if the time is correctly marked if it is in and to discover by what note, by what fraction 2, 3, or 4 time
of a semibreve, the beat
1.
is
represented.
After that, see
2.
Whether it is Whether the

it is
in simple time.
whether
3.
How
division of the beat is binary or ternary, and so throughout or only exceptionally. many metrical accents there are in each bar and
each beat.
4. 5.
On which
Above
all,
notes the metrical accent ought to fall. whether tne oeats are correctly written.
If not,
the notes must be separated and grouped so that those which form a beat and those which receive the metrical accent should
once catch the eye. The least carelessness in this matter may cause false accentuation. The way to count and divide
at
*
The more notes
there are in a bar, the
more beats should be counted
in
reading it. There should never be more than two notes to the counted beat where the subdivisions are binary, and three notes to the beat in ternary
subdivisions.
43
the bars is as follows: First see if in simple time six notes occur in the place of four or in compound time if six notes occur in the place of eight. Take note of the triplets, sex;
tuplets, &c.,
The
first
and of all exceptions with regard to the time. note of the bar must be strongly accented in Dances,
Rondos, Polonaises, Boleros, Allegros, Prestos, and in Fugues and Canons for in such compositions it is the metrical accent
;
which must take the lead and make

necessary in
itself
felt.
This
is
less
slow movements.
first
Some writers,
to ensure a strong
accent on the
metrical accents into
note of each bar and beat, and to bring the relief, put the direction "Bien rhythmer,"
an ill-chosen expression, which has no connection whatever with

rhythmical phrasing. conclude these remarks by recommending our Exercises
We
de Piano
; they are applicable to all instruments, and enforce the sense of time in a high degree, all the metrical figures or designs used in modern music being brought into use under the
form of scales and arpeggios.
CHAPTER
V.
RHYTHMICAL ACCENTUATION.
IN music there are no special signs to
mark
the rhythm
for the
placed indiscriminately over legato passages, and over groups of notes forming a rhythm or part of a musical phrase, is mostly misused.
s-^>
curved line
performer must be able to distinguish the rhythmical phrases, so as to feel the initial and final notes of each, and bring
into relief. Bad phrasing is like bad punctuation and bad accentuation in reading, and it is as important in music to phrase and accentuate according to the natural tendency of
them
the notes and the laws of attraction by which they are grouped and by which they gain their meaning, as it is to give each
word, sentence, or part of a sentence,

able to perform well
it
phrase well. Take a above the note which falls on the

will give us
is
To foe absolutely necessary to know how to * song or chorus, and place a comma
its
due
force.
is
last syllable of
each line
this
groups of notes and groups of bars, each of which

that
is
called a rhythmical phrase;
to say, a collection
of
notes corresponding to a line of poetry. this experiment with the following songs
The
:
reader
may make
Rhythmical phrases in compound quadruple time. ROBERT SCHUMANN
(Op. 51).
Ich
'
:
blick'
in
9
mein Herz, und ich

' j^
blick'
in die
Welt,Bis vom
~
\.
b
.
j>
schwim-men -den
* See Reicha.
Au
gen die
;
Thran
Choron
et
mir
fallt.
Traite de Melodic
de
La Fage,
Traite de Melodic.
(Collection Roret.)
Phrases of one bar, overlapping two bars in simple
Ex. 47.
45
triple time. Austrian Air.
Rei
ne mi
gnon
ne, Je
pa -
pil
Ion
ne
Ou
tour
-bil
m *-*-+Ion
-
ne Fol-le gai
te.
Phrases of two bars in simple duple time.

Ex. 48.
KUCKEN.
E
Mon IX (S
tu
re guil -le
ret
te, Tril
by, pe
- tit
cour
sier,
Tu
46
Phrases of three bars in compound time.
MONSIGNY.
Ex. 52.
3fce=a
1f
-
J ^
II
K] 1
J
tait tai
j^t
WL
*-
L_
/c
'?'-
un
oi-seaugrisComme
un'sou-ris, Qui,pour
=fi
lo
-
ger
ses
pe
tits,
Fit
un
p'tit
nid.
Phrases of two bars in simple time.

Ex. 53.
GRETRY.
Je crains de
lui
par
ler la
nuit,
J'e-
cou-te trop tout ce
qu'il
|.y
dit,
,
II
me
dit:Jevous ai-me,
Et
je
1
sensmal-gre moi;
-s
>
Je
w.
sens
mon cceur qui
bat,
qui
bat,
Je
ne
sais
pas pour-quoi.
Phrases of four bars in compound duple time.

Ex. 54.
DOMINICK.
Char- mant
ruis-seau,
le
ga -zon
de
tes
ri
ves
N'est
plus
pour
moi
le
tro
ne
de
1'a
mour.
Phrases ofJive bars.

Ex. 55.
MENDELSSOHN.
* r r
Die Lo-tos-blumen er
-
war
ten
ihr trau-tes Schwesterlein
Phrases of six bars.
Ex, 56.
47
SCUDO.
" Le
Fil
de la Vierge."
Pau-vre
fil
qu'autre- fois
ma
jeu
ne
re
ve
e,
na
ive
en
fant.
Phrases of varied length.

Ex. 57.
MOZART.
"
Don
Juan."
5S
II
-**'
mio
te
so
ro in
tan
to
*'
An
da
te,
an
da
te
con
so
lar
del bel ci-gli( ci-glio
il
plan
to
cer
ca
te
di
sciu
gar
ca
te,
cer
ca
te,
cer
ca
te
di
sciu
gar.
Phrases of ten bars (six bars and four bars).

VERDI.
"Traviata."
Bu
:p
p:
vons
au
bon-heur de
la
vi
e,
Aux
doux
mo
ments
ou
Ton
ou
bli
e.
These examples show that all verse is capable of being set and vice versa. The rhythm is the mould in which the verse is cast. Just as there are short verses and long verses,
to music,
so there are rhythmical phrases
composed of one, two,
three,
48
The bar, therefore, four, five, six, seven, eight bars, &c. represents the unit in the rhythmical phrase as the beat does that of the bar. Two, three, or four bars form a rhythmical
phrase, just as two, three, or four beats form a bar.
I.
REGULAR AND IRREGULAR RHYTHMICAL PHRASES.

tempo the
ear instinctively prefers duple and and rhythmical phrases and rhythms of two and four bars,* because, when played, two bars of simple triple time sound like one bar of compound duple time.
In quick
common
time,
The rhythms
of
three
of examples 46 to 50 are regular. bars and those produced by their

is
The rhythms
combination
with the rhythms of two and four (that

five, six,
to say, the
rhythms of
seven, eight, nine, ten bars, &c.) are called irregular. Thus the rhythms of the examples 51, 52, 55-58 are irregular. Composers make use of five processes to obtain irregular
contraction,
rhythms
prolongation,
is
repetition,
melodic
se-
only another term for repetition. Example 57 is very instructive, for it not only shows us these different processes in practice, but also the mode of
quences, and the echo, which
used by Mozart and Beethoven, who frequently employed irregular rhythmical phrases. At the end of the first rhythm of this example we find
phrasing
repetition,
and contraction
that
is
to say, three bars instead of
while at the end of the second, on the contrary, a prolonged rhythm of five bars instead of four.
four
;
we
find
Ex. 59.
iB
3s
Repetition.
4 bars compressed into
3.
really
Waltzes might seem do so.
to form an exception to this rule, but they do not
Ex. Co.
49
^*
Extension of 3 bars
or
from
two
Thus, to contract a rhythm
is
to diminish the value of the

;
notes by uniting two bars into one to prolong a rhythm is to double a bar by prolonging or repeating one note, or several
notes.
Ex. 61.
MENDELSSOHN.
"
Auf
Fliigeln des Gesanges."
f
Rhythm
in place of
of 5 bars.
Rhythm
Repetition
is
of 4 bars.
the reiterated use of one bar or several bars,
Example
56,
repetitions,
which gives us rhythms of six bars with can be reduced to rhythms of four bars by sup-
pressing the repetitions.

Ex. 62.
Rhythm
of 4 bars.
Rhythm
of 4 bars.
all
its
Of
course this mutilation robs the air of
value or
originality,
and has only been done to show how rhythms

the Traviata
should be analysed.
The
Brindisi from
Example 58
would also
lose all its
beauty
if
mutilated in this fashion.
MUSICAL .EXPRESSION,
a bar, a rhythmical figure is often descending motion, thus producing melodic sequences, and destroying the regularity of the rhythm.
Instead of repeating
repeated in ascending or
Ex. 63.
-*-
Rhvthm Rhythm
X bars. of 5
Rhythm
of 5 bars.
Finally, rhythmical irregularity of the echo

:
may
be produced by the use

Overture to "
II
Ex
ROSSINI.
-
Barbiere."
Echo.
3 bars.
2 bars.
Instead of
2 bars.
2 bars.
The echo
frequent
Ex. 65.
in this phrase
has the peculiarity of being in the

unnatural,
it
lower octave.
Though it seems occurrence. Thus

:
is
of
fairly
.-.
MOZART.
Echo.
Sonata.
at their disposal the means not only of the breaking regularity and uniformity of rhythms, but also of re-establishing them. Those most in use are the ellipsis,
Composers have
the coda, and the pedal-point.
The
initial
ellipsis
is
serving, at the
same
a note or bar which plays a double part, time, as the final of one phrase and the
of
the
next.
See Example
68
from
"
Beethoven's
II
"Mignon," and
P. t-fJiX. DO.
also the following:

ROSSINI.
Barbiere.
---n
TT
'
."T -1
The
first
Eb
is
of the ninth bar forms an ellipsis

final
and
is at
the
same time both a
and
initial note.
the repetition of the last bars of a phrase or the addition of a few bars, thus giving a more emphatic termination
to pieces in too regular
The coda
rhythms
Ex
67 '
MOZART.
Sonata.
To
conclude the enumeration of the processes adopted by

for
composers
breaking
or re-establishing the regularity of
rhythms, we
" give an example from Beethoven's Mignon,"
which shows what resources the accompaniment may afford and the important office it holds in such rhythmic manipulations
and transformations
Ex. 68.
:
BEETHOVEN.
"
Mignon."
Da
bin,
da
bin
mogt' ich
mit dir
O \
E 2
52
MUSICAL EXPRESSION.
Ex. 70.
53
Austrian Air.
Rei
s*
ne
mi
gnon
ne,
Je
pa
pil
"s\
M pq k ^ \ Efc=^==Ê==zitz-^
pv.
I
Ion
ne 53,
Ou
tour
bil
Ion
ne
Fol
le
gai
te
by Gretry, begins and ends with two masculine a feminine one between them. with rhythms, But we often find a short syllable on the last note of a No.
masculine rhythm that is to say, on the first note of the bar and a long syllable on the last note of a feminine rhythm,
which
is
an unaccented beat or part of one
Ex. 71.
=c=e
Di
-
sent
^
les
ma
mans
aux
m
fil
-
let
tes.
Evidently the first rhythm, which ends on the second beat of the second bar on the syllable " bien," and the second " rhythm, which ends in the fourth bar on the word cceur," are
feminine; nevertheless, the syllables "bien" and "coeur" are The third rhythm, which ends on the first beat of the
long.
u eighth bar on the syllable tes," is masculine, yet this is a short These are inverted rhythms the feminine becomes syllable.
:
masculine, the masculine feminine.

:
This inversion
is
obtained
by the two following processes 1 By giving several notes to the last syllable of a masculine verse, the long syllable may fall upon a weak note or upon the last note of a feminine rhythm.
.
2.
By prolonging the penultimate syllable of a feminine verse

is,
that
syllable,
last
by giving which is
it
greater length or several notes
the last
short,
may
fall
upon an accented note, the
note of a masculine rhythm.
54
MUSICAL EXPRESSION.
a masculine verse (a long last note of a feminine rhythm, the last
last syllable of
Thus, to make the syllable) fall on the

syllable
notes to
must be redeemed by prolonging it or giving several it and to make the last syllable of a feminine verse fall on an accented note or the last note of a masculine rhythm, the penultimate syllable must be prolonged by giving it greater
;
length or adding several notes. The importance which the penultimate syllable thus gains takes away from the importance of the last one.
In the following example these rules are strictly observed

Ex. 72.
^
Ro
-
bert,
Ro
bert,
toi
que
j'ai
me.
This rhythm, evidently masculine, might be terminated with a feminine short syllable by prolonging the penultimate one the ai of aime with the addition of two notes. For instance
:
Ex. 73.
Ex. 75.
55
Op. 30, No.
2.
1L,
^ CHOPIN.
-*
Ex. 76.
CHOPIN.
Op.
7,
No.
2.
The syncopated
Thus:
77-
rhythms
are
genuine
inverted
rhythms.
CHOPIN.
-f-r-fîyf-
instead of
^B
Ex. 78.
g-*-
VERDI.
=t
instead of
-jF-l
MUSICAL EXPRESSION.
Ex. 80.
-x
instead of
-*nN
3.
fct
*
When
EZS
the last note

,
is
a reiterated note (see p. 73)

v*
Ex. 81.
:Ez=3:
g=^=**^
r^-,*-
Ex. 82.
~4
9-
4.
When
the last note

:
is
prolonged into the

CHOPIN.
first
of the
No.
next rhythm
Ex. 83.
Op.
7,
4.
Ex. 84.
3o?r*:
57
Before leaving the subject of inverted rhythms, special Comattention should be given to an abuse of the process.
inversions which
posers often allow themselves, contrary to all logic, to make are by no means in harmony with the
diction to their
in
character of the piece, or which are even in flagrant contraown marks of expression. For example, if
some dance or elementary piece the following phrasing were met with
:
Ex. 85.
the second bar ought certainly to be corrected, for no composer could be so illogical as to use such an energetic means of expression in so trifling a passage. It should be played thus
:
Ex. 86.
It is, therefore, necessary to discover whether the writer intended to use a strongly accented rhythm, or if it was simply
careless writing.
Another example of a misuse of inverted rhythm

found in a very popular
is
to be
German composition
First, as regards the
rhythmical connection, the long slur
is
carelessly,
and even
incorrectly, placed.
What,
in
again,
is
the
meaning of the decrescendo under F, E,

under G, A,
the
in the fourth
the second bar;
bar?
The
of the second
bar and the
writer evidently felt that of the fourth bar were
the last notes of a feminine rhythm, and that these two notes ought therefore to be soft and followed by a rest. Such
inaccuracies
prove
that
he wrote
carelessly.
Correct the
MUSICAL EXPRESSION.
phrase according to stand thus
:
the
laws of rhythm, and
it
will
still
Ex. 88.
Andante.
Another mistake often made is that of putting grace notes before the last note of a feminine rhythm, instead of ordinary notes. This manner of writing is essentially faulty, for grace
by a trill, lead the performer to accent the note which follows, and which in this case ought to be very soft. It will be said that anybody would feel that this last note
notes, not preceded
should be
soft,
but this
is
not so
people do not
feel it
if
they
hundred would play differently to what they We may ask, what is the use of such marks, if they are do. not to lead those who do not feel ? And if so, why mislead
did, ninety out of a
them
Thus
in the "
:
Theme Allemand"
,
last bars, Ex. 89.
we
find
--7,
of Leybach, page
2,
In Thalberg's
Ex. 90.
Guillaume Tell," page
we
find
and the same carelessness
Many
is repeated on page 10, first line. the habit of putting a dot or comma on have composers
or below the last note of a group enclosed
by a rhythmical
slur.
Example :
But the dot or comma is useless, and excites the performer to accent a note which ought really to be connected with the preceding and gently raised.
III.
59
ON THE
INITIAL
NOTE
OF RHYTHMICAL PHRASES.
The
the
reader will have remarked in Examples rhythmical phrases do not begin with the
4658
first
that
note of
the bar.
The
fact is that the initial or final note of a
rhythm
may not only fall on any accented or unaccented beat in the The final rhythm alone bar, but on any fraction of a beat.
on the beginning of a beat. This fact being of special importance it will be well to give a few examples. i. Rhythms beginning on the 2nd half of the ist beat
must
fall
:
Ex. 91.
Dans
Ex. 92.
ce
mo-deste
et
simple a
Nul
2.
ne
pent
com
man
:
der
que
moi.
On
the 2nd third of the ist beat
Ex. 93.
6o
5.
MUSICAL EXPRESSION
On
the 4th quarter of the ist beat
Ex. 96.
6.
On
the 2nd quarter of the 2nd beat
Ex. 97.
j.
On
4ll"^
the 2nd half of the 2nd beat
Ex. 98.
m~*
_4
!..
^J
~~
'
iM']"
8.
On
the 3rd third of the ist beat
Ex. 99.
4=
:*=*_-*:
:
9.
On
the 3rd sixth of the 2nd beat
Ex. 100.
10.
On
the 2nd third of the 3rd beat
Ex. 101.
It is
needless to give more instances.
61
The
reader will also have remarked that the second rhythm
usually begins on the same beat or fraction of a beat as the in other words, it has the first, and has the same duration
;
In the final rhythm, however, there is generally a change in the duration and the design. This is the first a the last would also logical being suspended rhythm,
design.
;
same rhythmical
be
the
so, unless
some change were introduced. After repeating same rhythmical figure four, eight, or twelve times, com-
posers devise others, so as to break the monotony resulting from the persistence of the first. It is this symmetrical connection, the succession of these different rhythmical designs, which forms the skeleton of a composition.
It will
be seen that the
last note of
each rhythm in Examples
50 and 100 have been intentionally detached. This is because the first note of a beat, if it is the last of the preceding rhythm, should not be grouped with the notes which, with it, form
the beat.
It is
sometimes
difficult to
know how
to count the
number
of
bars belonging to a rhythm, and to determine the point at
which
it begins. The following principle will be found useful the notes beginning a rhythm do not count numerically when
:
they are in the same bar with the final note of the preceding Thus in rhythm, but only count if there is an ellipsis.
Example 100 the

;
four notes of the initiatory bar do not count
the rhythm does not begin until after these four metrically are simply inserted as a start, or to fill up the which notes,
bar.
The rhythm,
ist
therefore, stands as follows

and measure.
Ex. 102.
measure,
ist measure.
2nd measure.
Many
players, in practising, are careless in their
manner
of
repeating a difficult passage. When it begins in the middle of a bar they repeat the entire bar, including the last notes of the preceding rhythm as well as the first of the following one. This is a bad habit and greatly disturbs the cultivation of
62
MUSICAL EXPRESSION.
;
a feeling for rhythm it is as if in reading we were to repeat the last words of the preceding phrase instead of beginning after the full stop. IV.
MUSICAL PHRASEOLOGY.
strikes
is
The
rhythm
chief thing
which
us as regards rhythm,
fall
in
listening to
is
a piece of music,
that the last note of each

of the voice or
;
accompanied by an inflexion or
of the sound, which produces the impression of a pause this As is generally confirmed by a rest of greater or less value.
rhythms are mostly regular, and consist of symmetrical groups, these cadences or rests naturally recur with a certain regularity. After a certain number of rhythms, one of them will conclude
in a definite
manner with a note

all
called the tonic, which,
on
this
the desires of the ear, and gives it the the period is over. Such a succession of a conclusion feeling of rhythmical phrases, concluding with a sound which gives
occasion, satisfies
the ear a feeling of complete and final rest, forms a musical period a phrase, on the other hand, ends with an interrogatory or suspended sound, which gives the ear only partial repose,
;
and leaves a desire to hear more. The property which certain sounds possess of giving a
of repose to the ear is the basis of the cadence. *
feeling
This property results from three different causes, metrical, rhythmical and It is certain that for the taps of a drum to have any tonal.
conditions
mere numerical sense they must come under the following first, they must be metrical, that is to say, there must be a periodical loud tap for every two and two, three and three, or four and four taps secondly, there must be a rhythmical design, that is to say, a repetition of two and two or four and four bars at the most, of the same notes, of the same length of notes, of the same division of the bar the beats thus forming
:
similar symmetrical groups thirdly, there must be a regular or rest at the end of pause every eight, or twelve, or sixteen
;
See Chapter on the Cadence, page 83, of Ltissy's Exercises de Piano.
63
This pause is obtained first, by a long note, or a note bars. with a rest after it, at the beginning of the last bar secondly, by a note falling on an unaccented beat, preceded by a note
;
longer than the last, or at least equally long thirdly, by a note falling on the unaccented beat, preceded by several notes, each one shorter than the last
; :
Ex. 103.^
If this
example were concluded
in the following
manner
Ex. 104.^
ffi
or or
:
m
&c.
it
would
still
be terminal, although the
final close in this last
not so complete as in the others. The ending of the phrase, in fact, does not differ sufficiently from the ending of the first rhythm. Now, as the first is simply suspended, there
instance
is
is
more
the same vagueness in the ending, which really ought to be definite and decided. If, on the contrary, we were to end
:
the phrase thus

Ex. 105.
or
or
or
it
would not be
terminal, since
none of the rhythmical conditions
of a final close would be observed.
simple rhythm cannot terminate on the unaccented fraction

of the third beat has the
of the second beat in simple triple time, whereas the unaccented

fraction
power of being able

MARCAILHOU.
"
F
to
terminate a rhythm.
Ex. 106.
Thus
Le Torrent."
J-U-LJ
W F F-F-f
M *-*-*-
64
It is
MUSICAL EXPRESSION.
evident that the ear
is
not satisfied by the final note of these two rhythms, though the bass completes the bar. It seems as if one or two more notes were required
:
Ex. 107.
or
ig^tejSEjBEEsa^ IEESB
or
or
~^î
~^^*<
Change the phrase

Ex. 108.
into duple time,

:
and the ending becomes
perfectly satisfactory
if besides the purely numerical or rhythmical sense, one wanted to give these passages a musical one i.e., make them constitute a musical period, we might do so either by using the notes of a major or minor scale, or by finishing with
Now,
the tonic
either the original tonic
or a
new
tonic in case
of modulation, one or other being indispensable.

if
On
the other
we add sharps or flats haphazard, from different keys, to hand, such a passage of natural notes, we shall get no musical sense or if we add notes forming a chord of the dominant seventh,
;
the musical sense would only be suspended and incomplete. Therefore, to make a complete musical period, we must at
least
add the intervals of the
triad as well as those of the
chord of the dominant seventh.
Thus, three elements are
necessary to constitute a musical period: Time, Rhythm, and Tonality the fusion of which three elements constitutes the
foundation of the monumental art called modern music.
The
metrical and rhythmical design being the skeleton, and tonality, in its two-fold mode, the breath, life, and soul.
The cadence,
to speech.
demands
in fact, is to music exactly what punctuation is Just as the punctuation of a grammatical phrase short or long pauses according to the sense of the
it
words or groups of words which
has to separate, so
all
cadences require rests or pauses of a corresponding length to
suit the
form the close.
musical sense of the group of sounds to which they In musical phraseology the terms for the
different kinds of
cadences are the Perfect cadence, the Im-
perfect cadence, the Broken or Interrupted cadence, the Inverted cadence, &c., corresponding to the full stop, semicolon, colon,
comma, note of
to
rhythm
In relation interrogation, of exclamation, &c. called are section, hemistich, caesura, and they
period.
The
It is
following is a curious specimen of musical punctuation. the exact reprint of an analysis of a minuet made in 1737
by the celebrated theorist Mattheson, in his work on the Science "The whole," says Mattheson, "consists of a of Melody.* ~ N / Ex.
109.
Fine.
o
!
66
MUSICAL EXPRESSION.
;
have the same number of feet as bars one and two and bars eleven and twelve the same value as bars nine and ten and
;
this gives the arithmetical uniformity."

It is unnecessary to add anything to this strange analysis, a remarkable one for the time in which it was made. But it
should be noticed that Mattheson gives the term " expressive " accent (an accented note foreign to the time and rhythm) to
the syncopated
bar.
F$
of the
first
bar and the
A|
of the sixth
V.
It
THE HEMISTICH AND THE
SECTION.*
has been seen that the length of rhythms corresponds that there are masculine and feminine to the length of verses
;
rhythms as there are masculine and feminine verses and that the
;
different
cadences or pauses correspond exactly to the different
marks of grammatical punctuation. The analogy between for just as a verse verse and rhythm does not stop there can be divided into hemistiches and sections by the caesura,
;
rhythm can be divided into several portions with more or less of a pause between each. For instance, on examining the rhythm of Example 54, we shall notice a rest a caesura
so a
after the fourth syllable,
and the passage might be written
thus
Ex. no.
IfcLJ?
Char
*
-
Ji
jsr?=&3=L-\-le
mant
ruis-seau,
ga
sort
de
tes
ri
ves.
Hemistich (from the Greek hemi, half, or Alexandrine verse.
and
stikhos, verse), half of a heroic
Caesura (from the Latin ccesus, cut), section of a verse. A temporary pause, two generally placed in Alexandrine verses after the sixth syllable between hemistiches, and in verses of six and eight syllables after the fourth syllable.
Section (from the Latin forming a detached limb or
sectio, cutting),
a word or short group of words
member
of the line.
le sens,
Example
les
Que
toujours dans vos vers
coupant
mots,
Suspende 1'hemistiche, en marque le repos. In these two lines there are sections after toujours and sens, and hemistiches
after vcrs
and
I'hcmistichc.
Elsewhere we find a caesura Ex. in.'
after the sixth syllable
:
$=$=$
Lors-que dans ton
re
-
gard je
ne
sau
rai
plus
li
re,
? N EE^SgSt
IS
-fr
-
Quand 1' heure ou
te
vois
len
te-ment pas
se
ra.
Each of these three rhythms is, therefore, divided into two semi-rhythms or hemistiches. And in the same way as the rhythms are divided into hemistiches, these again are broken
into sections.
ne
fie-vre
bru-lan
te
un jour
me
ter- ras-sait.
In this example the first rhythm gives us a section after "une" and after "fievre" the second after "jour" The last rhythm of No. 53 contains seven sections.
Ex. 113.
-*Je sens
mon
coeurqui bat, qui bat, je
ne
sais
pas pour-quoi.
These examples show us that hemistiches and sections, like rhythms, may begin and finish on each beat or part of a beat, and may also be qualified as accented or unaccented, masculine In vocal music the rhythms, hemistiches, and or feminine. sections coincide with the same parts of the verse, and are therefore easily distinguished. In instrumental music a clear and intelligent performance depends greatly on a close observance of them, and they require attentive study.
VI.
RHYTHMS
IN
INSTRUMENTAL Music.
has helped us to discover the rhythms. Unhappily, in instrumental music we lack this infallible guide. The rhythms are often not marked and still oftener are marked
far the verse
Thus
F 2
68
incorrectly.
MUSICAL EXPRESSION.
An
extraordinary
number
of such mistakes are
to be found even in the
giving examples, we will of discovering the rhythms in instrumental music.

1.
works of the great masters. Before endeavour to show the best means
the notes are arranged in groups of
We
must
find out
if
two and two, three and three, four and four bars on a similar
symmetrical plan. Each group, distinguished by its difference or resemblance to the preceding group, evidently forms a unit, a rhythm, or a section, according to its length.
2.
We
must
find out
if
in these
groups of bars the same

if
note or notes of the same length are repeated, and terminated by a longer note or a rest.
3.
they are
Above
it
all,
given to the ear
whether
is
attention to the feeling of repose the last note of each group, and distinguish by merely a pause leaving a desire for something to
we must pay
follow, or a definite
and
final close.
Supposing we had to mark the rhythms of the following

passage
:
Ex. 114.
o*i
Ex. 115.
Cg
MOZART.
T
r^f
Ex. 116.
&
MOZART.
In Example 116, the first, second, and third bars present same design each is composed of a minim and a crotchet, and, therefore, does not contain enough material to form a The fourth bar contains a rest, which evidently rhythm.
the
:
implies a close. The four following bars all differ from each the passage may, therefore, other, and the eighth has a rest
:
be phrased thus
Ex.
n 7v
MOZART.
,
flrffcz
^-4f-i
Ex. 118.
MOZART.
*=*
in bar 3 of Example 118, coming It is evident that the first after a longer note, gives repose to the ear, all the more so
because it is the tonic, while the G is only a suspension, and could be omitted. This F, therefore, finishes the first rhythm, and the following F begins the second rhythm on the second
half of the second beat as the
first
one did.
vation applies to the be phrased thus :

Ex. 119.
in the fourth bar.
The same obserThe passage must
^~
omitted.
r"
MUSICAL EXPRESSION.
These examples
stated, will
will suffice to explain the principles
above
prove
their usefulness,
and show how they may be
applied on any occasion to any piece of music.

" SECTIONS " IN
VII.
ON
INSTRUMENTAL Music.
From rhythms we now

to establish
pass to "Sections," and will endeavour
some
rules or principles
by which they may be
known.
Ex. 120.
Kalkbrenner, in his
:
Methode de piano, gives to the
following passage
ten different accentuations,

Ex. 121.
some
of
which we quote
They might easily have been extended to twenty, or forty. And what Kalkbrenner has done in this passage might be done
in all
different accentuations
groups of sounds. Every method for the violin gives even for the most elementary passages.
Pianists,
in the
on the contrary, are content to play
all their
exercises
most tame and monotonous manner. Yet it is only by variety of accentuation that playing can be made expressive and
interesting.
or Beethoven,
bowing
is
for violin and piano by Mozart and you will see with what scrupulous care the marked, whilst similar marks for the piano are com-
Take any sonata
pletely omitted.
different
Now, by bowing a group of sounds in several ways we simply make so many sections, for a section is nothing more than an articulated note, or several slurred notes, followed by a short rest. A detached note forming a section by
itself
represents a monosyllable or a vowel.
section formed ol
several notes also requires a monosyllable, a vowel, or a poly-
syllabic word.
it
71
But though
it
is
possible to form these sections

to
does not follow that
we ought
form them.
The reason
why
two, three, or four notes are slurred or connected

;
enough
they must be connected
when they
is simple represent only one
syllable.
Thus two
first is
slurred notes, connected together, represent
either a monosyllabic word, a vowel, or a
word of two
:
of
which the
Ex. 122.
long, the second short, or mute
Arme. Ta-ble. Femme.
Sur.
Toi.
Seul.
_
-
syllables
me.
In the words dme, table, femme, the first syllable being long, and the second short, the first note must have a stress laid on it,
and the second must be weaker

dotted quaver instead of rendered thus
:
in tone,
and of the value of a
its full
value.
The passages must be
Ex. 123.
A-me.
Ta-ble.
Femme.
Sur.
Toi.
Seul.
To produce the desired effect on the piano, the first note must be firmly struck, and held down until the second is softly touched,
the two fingers being removed at the same time, by gliding On the violin they would be gently off the second key. played by one stroke of the bow, and on wind instruments by
one emission of the breath, giving force to the

softness to the second.
first
note and
All the notes,
no matter how many, covered by a
slur /-^
should be played on the piano with a single movement of the wrist for the first note, and the other notes must be articulated
fingers alone, the hand merely gliding to right or left without any further movement of the wrist. When a passage requires several movements of the wrist, that fact shows
by the
that
it contains several sections. All such notes require only one movement of the bow, or one emission of breath on the flute, clarinet, horn, &c.
MUSICAL EXPRESSION.
It is
important to remember
this,
as in piano music
it
will
often help us to
Ex. 124.
know whether
or not to form sections.

:
In the
following example, taken at
random
the phrasing
is
evidently wrongly marked.
It is clearly impossible to play this rhythm as it is written with only a single movement of the wrist. For, first of all, the initial note is accented, and then the passage contains two
reiterated notes
viz.,
the
first
and third
Afr of the last bar,
each
requiring a movement of the wrist. be as follows

:
The
correct phrasing
would
Ex. 125.
We will now mention some cases in which the great composers We say generally make use of sections in instrumental music.
generally, for in vocal music they are obliged to conform to the sense of the words and the length of the verses, whereas in
instrumental music they have complete latitude.

section
i.
:
We
make
After a short figure (or small groups of notes of the length) repeated several times :
Ex. 126.
same
Ex. 127.
-j-j-J-=g=p=
Ex. 128.
m
&
2.
73
After a long note followed

:
by a short one and repeated
several times
Ex. 129.
=P=3=rp=
3.
~^S=
After a short note followed
:
by a long one and repeated
several times
Ex. 130.
-^
\i
Ex. 131.
Ex. 132.
*
i
I.
V
4.
Before a reiterated note
that
is
to say,
when the same note
a bar, a beat or fraction of a beat, and begins the following bar, beat, or fraction especially if it is at the same time
finishes
;
a suspension
Ex. 133.
"WEBER'S
last
Waltz
"
(Reissiger).
*.
^J
L^l
[I
i.-.i-^^!.
\f.
BEETHOVEN.
r3
ry-^jjL _î_L^_
It
is
evident that after the
first
E>
of
Example 133
the
hand must be
raised so as to strike the second Et?, thereby
creating a pause, however short, which will give force and
74
MUSICAL EXPRESSION.
accent to the next note.

legitimate here.
The
section
is
therefore perfectly
of
the
Sonate
32.)
(See bars 24, 26, 27, and 28, in the Adagio Pathetique, and the passage by Stradella,
following passage
:
Example
The
must be played with three movements of the

Ex. 136. _^__^_
wrist, thus
According to the principles explained above, the example quoted on page 69 from Mozart's Sonata in F should be played
thus
:
5.
A
is
section
is
also
made when
same
the second note of the bar or

first,
beat
exceptionally the
as the
and
either of the
same
or greater length. This rule must specially be observed when the rhythm begins on the last beat of the bar. This accent is
so emphatic that singers often sacrifice the grammatical sense
to
it,
as, for instance, in
Lucia
Ex.
139.
Norma."
75
Lucia.'*
According to
Ex. 141.
this principle, the following

:
" passage from
La
Pluie des Perles," by Osborne
should be performed thus
But here we have a

case, far
difficulty, for the
repeated note might very

or of a section, and in that
soft
:
well be the last of a feminine
rhythm
from requiring an accent, the second note would be
Ex. 142.
In this example the second
in the
and bar, the second
in
the 6th bar are evidently the final notes of a feminine rhythm, consequently these notes have no accent on the contrary, they
;
are soft and must be connected with the preceding note, which is a sort of anticipation, for it might be replaced by the diatonic
interval
above
it,
or omitted as in the 4th bar.
(See page 92:
The
final
note of rhythmical phrases.)
Ex. 143.
76
v
MUSICAL EXPRESSION.
In this example the second A of the first bar, the second G of the third, the second C of the fifth, and the second B) of the
seventh bars
may be considered as beginning a section, and consequently these notes would be loud though they fell upon an unaccented fraction of the beat in that case the note which
;
precedes the repeated note would be unaccented as well as shortened.
However, the reiteration, which is here so persistent, is by no means exceptional, and should not be accented unless the piece be in slow time. In quick time this accentuation would make the passage sound uneven and disagreeable. If the first
phrase of this example began on the second half of the then there would be no doubt
:
first
beat,
Ex. 144.
In triple time the second beat
is
accented
when
there
is
only
one note to a beat, and when it is a repetition of the preceding note and it then almost takes the place of a syncopated note. In
;
the following phrase we should not hesitate to accent the of the third bar, second A of the first bar and the second
even
r,
if
_
there were but a short syllable to these notes
w-*--
m
it
MOZART.
A
Also the third beat, or third of a beat,

repetition with one single note for the beat
Ex. 146.
is
:
accented
if it is
MEYERBEER.
" L'Africaine."
6.
We make a section when there is a break

is
in the continuity
of the notes, especially if Thus a note which beat.
on the second note of the bar or makes a wide skip after a sequence
RHYTHMICAL ACCENTUATION,
of consecutive intervals
77
initial note,
may be
considered an
and
have an accent.
make
it
In pieces in quick time it is necessary to be careful not to sections on the pretext of broken continuity of notes, for gives a halting effect, and in pieces of this sort it is the
metrical accent which must take the lead. Thus the following from Weber's " Invitation a la Valse"
passage
"
Ex. 149.
trfe:
P --
fr
&c
'
MUSICAL EXPRESSION.
In this example the rhythmical accent always coincides with falls on the first note of the bar excepting
;
the metrical one and

in the fourth bar,
take the accent though they do not begin the bar, because they begin a sequence of thirds, forming a regular codetta.*
where the
and
These notes might be omitted and the second rhythm might begin like the first. It would be absurd in this sort of quick piece to make a section after the first note of each bar on the mere pretext that that note was in consecutive movement and the following one a skip. It would be in the worst taste to play thus
:
Ex. 152.
Bad.
Bad.
Bad.
Good.
Bad.
making sections after a broken sequence, the preceding passage must also be considered. In the following example
Besides, in
:
Ex. 153.
MOZART.
"
Batti, batti."
no accent should be made on the C in the third bar though it be a skip, because it belongs to the second rhythm, which is a pendant to the first and as the first note of the first bar does not commence the section no fresh one is required in the second rhythm. When the break does not take place until the end of
;
a rhythm, no section
Ex. 154.
must be formed.
See Banister's " Music," pp. 205, 214, &c.
Translator's Note.
It
79
in the 3rd
bar, or the Fj: in the 3rd

skips.
would be absurd to give an accent to the B and yth on the pretext of
their being
succeeding a group of small notes in all the following cases: i. If it is a 2. If it is the longer note than the one which succeeds it
7.
;
We
must make a section
after the first note
same note 3. If it is of equal length 4. a note which proceeds by a wide skip by a chord
; ; ;
If
5.
it is
If
it
followed by is followed
Ex. 155.
BEETHOVEN.
" Senate Pathetique."
Bad.
Good.
H. HERZ.
"
La
Belle Creole," Op. 247.
Bad.
It
Good.
63, that, in order to give the ear a
fall at
has been seen, page
feeling of repose,
the last note of a group should
the
beginning of a beat or fraction of a beat. Groups of small notes always have a tendency to conclude on the first part of the
beat or fraction of the beat, or on a long note. Thus a quaver coming after a series of semiquavers, or a semiquaver after a
series of
demisemiquavers, implies a pause and

MOZART.
Sonata
may
conclude
a section.
in
D, 5th variation.
Bad.
8o
MUSICAL EXPRESSION.
Ead.
Good.
is
The
desire to
end on a long note
so great (especially
if
the last note of the group is a seventh and needs resolving) that even the ornaments or grace notes often finish on a note of
the melody, which thus loses its importance. (See Fantasia on the "Traviata," by Ascher; the Miserere from the "Trovatqre,"
by Prudent.)
8.
Where
there
is
group
:
of
notes
which might
be
omitted, or seem to have a separate existence, serving either as imitation, echo, or padding MOZART. Ex. n i59.
instead of
:3=te:
MOZART.
instead of
BE
>:
9-
Again, after the note which precedes a codetta

MOZART.
Ex. 161. Andante.

3BB:
"Lacidarem.'
Codetta.
MOZART.
Sonata
in
A.
It is worthy of note that in these examples the codetta* has to be resolved, and it finishes after the first note of the melody. This note, though forming an ellipsis, receives no accent, but
transfers
10.
it
to the following one.
At the end of a phrase, or period, the notes which are of equal length, and proceed consecutively, either in ascending or descending motion, should be played in a detached manner.
Ex. 163.
Allegro.
MOZART.
Sonata
in
D.
Bad.
Ex. 164.
A codetta, conduit, or guidon is a short passage forming no integral part of the rhythmical phrase, and therefore capable of being omitted. It serves to lead back to the first theme or re-introduce a new one.
82
Ex. 166.
MUSICAL EXPRESSION.
BEETHOVEN.
" Sonate Pathetique."
Bad.
Good.
(See also the last bar of the Adagio of the Sonate Pathetique.) ii. Occasionally, where there have been sections in the first
rhythm, the second rhythm by similarity of structure seems almost to require them in places where, without such similarity,
they would not be made Ex. 167. Rhythm i.
:
Rhythm
2.
The second
first rhythm, being an the exceptional repetition, implies beginning of a section. The of the second bar of the second rhythm, with the following
of the second bar of the
it,
also
makes a
not be
made
section, which except for the first rhythm would for, if we take away the first rhythm, the second
:
would be phrased as follows

Ex. 168.
Ex. 16 log.
CHOPIN.
The
accent which
is
a similar one on the
given to the A of the first bar leads to B of the third bar, though this rhythm
begins on the accented beat.

Ex. 170.,
A,
So
also in the following examples

of the " Sonate Pathetique."
Adagio
~> *
The
last
flat
of the
first
rhythm
(sixth note),
though
it
is
the second note of a triplet, begins a section, and takes the accent, because it is a reiterated note, the second note of the
RHYTHMICAL ACCENTUATION,
beat being accidentally the same and of the same length, as The Fi? of the second rhythm begins a section and first.
:
the
as to make the consequently takes the accent (i.) So accentuation of the second rhythm equal to the first after (2.) Because it is the highest note of the group, coming
;
it
a chromatic resolution (after Eb, D[|, and Eb) is in the minor.

12.
(3.)
Because
section
must be made
in a
passage of chromatic notes,

it
each followed by the diatonic above See Weber's Polonaises

:
(F$ G, A$ B, Cf D,
&c.).
Ex. 171.
"**
13.
section
must be made
after the resolution of a discord
Ex. 172.
sap
84
Ex. 174.
MUSICAL EXPRESSION,
Ex. 175.
KUHLAU.
Such are the cases where great composers most often make use of sections. We have already said there are no absolute
rules as to their
employment.
to be
beat, or
made, since there it is rhythm that has to be accented.
In quick pieces they ought not chiefly the first note of each bar,
It is
better to
make
no sections than to make them out of place, and thus cut up the piece and make it halting and uneven. Here, as everywhere, musical feeling must be the principal guide. Sound and
intelligent practice will so cultivate the taste of the
musician
that he will
by
intuition
foresee or prescribe. of every section, or
make sections which no rule could Besides, we have seen that the last note
group, brings a certain repose to the
rest
little
ear
and every note which gives the ear such
may therefore
be considered at least as the close of a section.
We will now give some examples of passages where sections have not been made, though the structure seemed to allow of In the them, or where they have been made out of place.
second part of the Allegro of the Senate Pathetique the melody
is
often phrased thus
fflEdEfeSEE*
_
Good,
is
but the following method
better
Better.
This rendering appears to be correct,
for
it
detaches a series
of similar groups formed
the semitones below it. and the second rendering
The
is
by a high note resolving itself into last two notes are exceptional,
perhaps the better of the two.
is
The pendant
Ex. 177.
to this
is
rhythm
generally written correctly

:
but the following
almost always incorrect
_.
Bad.
,.^"~>-
^1
Or
IW.
N.
86
Ex. 179.
MUSICAL EXPRESSION,
the performer would have the full consciousness of what he is doing for there is no doubt that the minim F gives the ear a in the third bar, and the C slight feeling of rest, and that the
;
in the fourth
bar do the same.
example proves the necessity of not trusting blindly to the accentuation and phrasing of all composers, as in the absence of positive principles to guide them they sometimes
last
This
have recourse to the strangest devices

they
feel.
for
expressing what
will give examples of bad from well-known composers. phrasing of others. hundreds It is to be hoped chosen amongst They are that this enumeration will induce the reader to give special
To
conclude this paragraph
we
accentuation and bad
and study to rhythmical annotation, and will prove are not fighting against phantoms. He will be and mistakes which carelessness him on at the meet surprised in the end will be doubtless convinced the and that every page,
attention
that
we
elements of punctuation, phrasing, and expression, which are the most important for composers to know, are precisely those
which they neglect the most. In the "Clochette du Patre," by Lefebure-Wely, we

the following rhythmical accentuation
Ex. 180.
:
find
such phrasing intentional or merely a matter of chance Surely the following would be far more rational
Is
:
Ex. 181.
.^
nx//.
Few
in the
Valse," and yet there
" Invitation a la pieces are as easy to phrase as the is hardly a single edition without faults
rhythmical indications.
following
is
The
selected at hazard from the best
and most
famous Method
Ex. 182.
for the
Harmonium, and
is
reprinted exactly:
French
Air.
K
tr.
1738.
***
'-*
^Fine.
dim.
MUSICAL EXPRESSION.
The
correct phrasing
would be as follows
Ex. 183.
^ Fine.
*
pp
Echo.
rit.
dim.
i
i
acccl.
rail.
In Leybach's Fantasia (Op. 79) on the Magic Flute, the composer divides his groups according to the bars, without any attention to the meaning of the notes, and thereby utterly and yet he had displaces the accent and tortures the ear the words to guide him
;
Ex. 184.
The passage may be phrased

Ex. 185.
in the
two following manners
the Violin.
The next examples are from a highly-esi:eemed Method The chief faults are marked with an asterisk
:
for
Ex. 186.
89
BELLINI.
m+
9O
MUSICAL EXPRESSION.
intended, solely to indicate smooth playing, the word legato would be quite sufficient. If they are intended to indicate the
places for taking breath or for raising the hand, the writers are greatly mistaken.
Composers often complain of the bad rendering of their works; but how can it be otherwise as long as they express themselves so imperfectly ? If the performer does not possess the feeling for rhythm, how is he to accentuate the first note of
each rhythm and section when the composer takes the trouble He will accentuate according to the to hide it from him ? indications, that is to say, in a haphazard manner, destroying he will take all the the rhythms and spoiling the phrases
;
poetry and
life
out
of
piece
is,
and make
it
unintelligible.
Another
evil of this practice
performance of the piece easier, it especially to well-trained pupils.

;
play the piece as it is written accept a series of meaningless sounds or empty phrases without doing violence to their feelings; and ultimately they will set
aside the signs
making the becomes almost impossible, They trust to the signs and but it is impossible for them to
that instead of
and play according to their own sentiment. For instance, take the Valse du Juif Errant by Burgmiiller, and hear it played by pupils of equal proficiency you will find that those who have a feeling for rhythm will have
;
difficulty in
playing the following passage, whilst those

this feeling will play
it
who
you
do not possess
re-establish
straight
off.
But
if
spontaneous and natural rhythms, and accentuate according to the laws of rhythm, the difficulties vanish as if by enchantment
the
:
% _ -r -6^_k-u O m
_
_%-*- %
-
ff
.,
t^- -f
-r
T *
%^-
-^ ~
~t~
MUSICAL EXPRESSION.
following are the principal facts which should be taken into consideration before deciding this point 1. The feeling of repose which a note gives to the ear,
:
whether
2.
it is
The analogy between

It
is
indispensable to the termination or not. the rhythms and the symmetry of
probable that the second rhythm will begin on the same fraction of the beat as the first. If, for example, the first rhythm begins on the second half of
their structure.
the second beat, it is probable that the second rhythm will do the same. However, this is not an absolute rule, and has
many exceptions. 3. The harmony

rhythm
is
or the accompaniment.
The
last
note of a
generally
it.
an
integral
part
of the chord
which
accompanies
4. The long notes, or rests, which are found at regular It is evident that the note distances at the end of rhythms. considered followed by a rest must be final, especially if the rest
on the part of the bar where the rhythms But this must not be implicitly accepted. We have seen (page 55) that certain inverted rhythms have a rest before the last note. On the other hand,
is
exceptional, or
falls
and sections usually
finish in the phrase.
composers are often careless in their manner of writing the

note of a rhythm, giving following it by a rest.
Ex. 189.
it
last
its full
metrical value, instead of
For example, the following rhythms are badly written
The F#
of the second bar
and the
of the fourth ought to

rest,
be crotchets, or dotted crotchets, followed by a
instead of
minims, as follows (see page 71)

Ex. 190.
93
This simple fact, the regular recurrence of a long note or a the absence of feeling for rhythm, or knowledge of it, is a great help towards correct phrasing it being understood, of
rest, in
;
course, that
if
the phrase
is
staccato
the rests everywhere
indicate sections.
and that given on page with teach 67, applied intelligence, will anyone to discover final note of a rhythm, and to accentuate and phrase the
rules as to the final notes,
if
These four
according to the affinity of the notes. But in this case also we must be guided by good sense and logic, and occupy ourselves,
not so
much with
;
isolated notes as with the

in other words,
whole of which
they form a part
with the preceding and
subsequent phrases, the harmony and the accompaniment, and especially with the repose which these notes bring to the ear.
It is to
be hoped that these remarks
may draw
the attention
of
musicians to important facts hitherto totally neglected. Practice and observation will initiate them into all the secrets,
all difficulties.
and enable them to conquer

examples
will
The
following
show how these
rules
may
be applied.
11 '
Suppose a pianist to meet with one of the numerous editions of the following waltz, with no marks of expression.
The
first
of the second bar
Now,
research
thing to find out is to which rhythms the second F of the fourth bar belong. and the second the principle which ought to guide the enquirer in this
is this
The
first
rhythm certainly does not begin on

is
* This air, often attributed to Beethoven, Schubert (Op. g, No. 2).
really
one of a
bet
of waltzes by
94
MUSICAL EXPRESSION.
the accented beat, but on the second half of the second beat,
and it is therefore probable, by analogy, that it will be the same with the following rhythms. Besides, the G of the second bar and the A of the fourth are notes foreign to the harmony, and delay the F and the G in turn.
It
should be accented thus

Moderate.
Ex. 192.
F-
be accented or unaccented
?
95
To answer
is
it
these questions
we
ought first to notice how little there about the G of the fourth bar, how
that follows.
that sounds terminal
seems to require the
forms part of the chord of the dominant seventh which accompanies the G, and contains both
Now,
this
If we were to accompany G by and (C, E, G), of which it also forms a part, we should have to change it on F, as that note does not belong to the common chord. But, as in the three preceding bars, the same chord was used during the whole bar, it is to be presumed that
and
as constituent parts.
the
common chord
the
same thing
is
done here.
this piece alternates regularly
first
Besides, the accompaniment of three bars accompanied by
the
common
chord, then one
three bars accompanied by the followed by the common chord.
by the chord of the seventh, then chord of the seventh and
The F
should, therefore, be
considered as the last note of a feminine rhythm. It must be unaccented, followed by a short
rest,
(last
and
note
connected with the preceding G. The penultimate G but one of a feminine rhythm) becomes accented.
the fourth bar, as well as the
The
of
of the eighth, could be omitted. They are rhythmical suspensions that is to say, obstacles which delay the note desired by the ear, and as such absorb all the accent
; :
Ex. 195.
zzi
1-
96
MUSICAL EXPRESSION.
first does. Such disturb the of would phrase resulting breaking up continuity from the harmony of the first three bars, would destroy the energy resulting from the metrical accent so necessary in a dance tune, and would, moreover, spoil the whole character of the piece. The following manner of playing it would be very
section should begin on the third beat, as the
bad:
Ex. 196.
=
5==
Then, as regards the following
Ex. 197.
air
BOIELDIEU.
Le Chaperon rouge."
#4
te,
V-
-/
V^-
-^
-
De
puis long-temps,
gen
tille
An
net
Tu
ne viens
plus
sous
la
cou
dret
it
te.
would be difficult, if not impossible, to discover whether the notes marked with an asterisk belong to the preceding or following rhythm. It is probable that on the " The first twofirst impression the player would reason thus
In the absence of words
:
bar rhythm is masculine, the second is the repetition of the first (an echo) with C added. But, as in the following bar, the first I therefore note, the E, is repeated, it should be accented.
connect the
of the third
Ex. 198.
first
second rhythm also masculine.
with the preceding C, and that makes the The C becomes the initial note
that
:
rhythm
first
is
to say, accented,
and forms a
section with the
E"
ijEza
.JljII?
m^"f-\w
P=^
RHYTHMICAL ACCENTUATION. There

will
97
be the same
In considering
difficulty
it
about the second
ol
the
eighth bar. rhythm, the latter gains greater impetus and energy besides, in the seventhis manner of accentuating is justified by the
;
as the initial note of the following
teenth and twenty-first bars.

It must, however, be remembered that if the C of the fourth bar and the G of the eighth bar are initial notes, they are accented, and the note which precedes them loses a little of its
force
and length, because they are followed by a short
rest.
If,
on the contrary, the G and C are final notes, they must be unaccented, and followed by a short rest, but the note preceding them must be strongly accented. The above would be the
reasonable view of an experienced artist. Now, if we put the words to this air
centuation
is
we
shall
find
that,
though the player did not make any great mistake, his acnot exactly suitable to that required by the words. another example in instrumental music, from the Andantino in Diabelli's Sonatina (Op. 50), where Leybach gives
Here
is
the following accentuation
Ex. 199.
consider the
In such an expressive phrase it would have been better to A of the second bar as the initial note, because it
serves as a pivot to an ascending sequence.
The
following
accentuation would, therefore, be better

Ex. 200.
it is
The above examples will be sufficient to show how important to know whether a note is j6a/ or initial. There are cases
air are altered
it
where the whole structure and character of an
by a single note, according as

other.
be considered one or the
MUSICAL EXPRESSION.
Take,
Ex. 201. for instance, the following
example
FELIX GODEFROID.
p3
t7
there
an
nothing to show whether the E of the fourth bar is if final, it should be very soft, and initial or final note
is
; ;
followed by a short rest if initial, it should be loud and give a strong impetus to the following rhythm, which, by its ascending
consecutive motion and more varied design, should form a contrast to the first rhythm. Thus this E has the power of
giving energy, impulse, and life to the whole phrase. Yet its force is not due to its metrical or harmonic position, but solely
to its rhythmical qualities without it the phrase is calmer almost drags. But then, to which rhythm does it belong ?
;
and
As
accompanied by the same chord as the preceding note, one might think it belonged to the preceding rhythm. But we must
it is
not forget that
when
the
first
on an unaccented beat
an up beat
note of a secondary rhythm falls it may have the same
accompaniment as the preceding note, even if this should produce a discord, because the ear more easily accustoms itself
to a discord than to a continual
above
all,
we must remember
and variety: after eagerly welcomes an energetic,

contrast
that
change of the bass notes. And, what we require in music is a gentle, calm rhythm, the ear
that
lively one.
quality to the second rhythm, considering it an initial note.

If
Now, as this E gives we have no hesitation in

o'f
a note can
alter the
whole character
an
air,
according as
it
is
taken for the
note.
Ex.
changes may Take, again, the example on page 68 from Mozart's Sonata
:
or final note of a rhythm, wonderful also be produced by the addition or omission of a

initial
This form a
air
99
first
begins on the accented beat.
The
two bars
unit, not only as regards
rhythm and harmony.

specially marked, as accent. This accent
it
The
first
metre, but also as regards note, therefore, should be
has both the metrical and rhythmical
is increased by the prolongation of the the and first note, ascending design of the first two rhythms, by and this gives additional force to the initial note which follows,
and which
serves, so to speak, as a resting place or pivot to the
rhythm
for the primitive structure of this air is as follows:
C|E, B D, AB, C|B.

The
note,
last
note of the
:
first
three reasons
it is
the last of the bar,
two bars should be very soft, for it is preceded by a larger

This ex-
and
it
is
the final note of a feminine rhythm.
cessive softness will only help to bring out the accent and force of the following note. The coincidence of the metrical and
rhythmical accents falling on the same note cannot produce a The air does not contain any great intervals, or false accent.
chromatic notes, or exceptionally long ones, and the first two rhythms are each accompanied by a single chord. All these
facts give
it
And now
by M.
Ex. 203.
an extremely simple, calm, and natural character. take the same air as set to Paul Feval's words,
title
Wekerlin, and published under the

"
of "
Vous
souvient-il?
^Z^HpLlg
JK
100
MUSICAL EXPRESSION.
it
with which
the
first
is
slurred
note of the bar loses
the metrical accent disappears, and The weakest note, the its force.
last of
first
the bar and of the beat, becomes the strongest. rhythm begins on the unaccented beat, the
As the
second
in
naturally does the same, and
we
get
two
faulty
rhythms
which the accent of the
initial
note does not coincide with
Moreover, the rhythms overlap Each rhythm is two bars, and the harmony is disturbed. this produces a instead of one accompanied by two chords rocking movement instead of the original steadiness, and all
the accented notes of the bar.
;
the calm, simple, natural character of the piece
Wekerlin's air
may be
!
infinitely
no longer Mozart Give this and he will be sure to exaggerate the accent of the
is gone. M. more expressive, but it is little pastoral to a bad musician
initial
note of each rhythm of each section, and make it sound forced and sentimental. If he exaggerates the rhythmical accent to the detriment of the metrical accent by binding the initial note
to the following one,
if
he shortens the
latter in the smallest
degree, or quickens the notes of the fourth bar in conformity to their ascending motion, this charming, simple air becomes a
mere parody, an
artificial
melodramatic aria
And
!
all
this is
from adding a single note to the original conception
The
great.
disastrous effects of omitting a single note are equally
Example, Polo, serenade, arranged by Garcia, from

:
the Echos d'Espagne

Ex. 204.
101
initial note on the third beat now only acts as a starting and does not count numerically and, from a rhythmical point of view, might be omitted. The editor has obviously
The
point,
destroyed
all
one note.
And
the beauty of the original by the omission of this the same thing would happen if the rest at the
first
beginning of the
bar were to be replaced by a note.
Composers sometimes suppress the final note of a phrase. See the Rondo of the Sonate Pathetique, bar 40, and the
following
Ex. 206.
Examples
Though
the bass takes
the less astonished.

finished, but the
it up immediately, the hearer is none At other times the melody is properly
accompaniment continues without resolving an accented beat or a long note, thus leaving the upon in as it were, suspense and unfinished rhythm,
itself
:
LEYBACH.
Ex. 208.
5th Nocturne.
Animate.
IO2
MUSICAL EXPRESSION.
doubt
if
No
the last notes of the bass in the fourth bar are
not slackened they will produce the effect of resolving themselves into the G|? of the fifth bar. It is, therefore, important
to slacken them, so as to give a feeling of finish to the
Ab
of the fourth bar.

for the
By
this
means the ear
greater the length given to the pace is slackened, the less the ear
fact
more satisfied, the rests, and the more

is
is
disturbed by the
that the final note does not
fall
on the beginning of a
first
beat.
finishes while the
Lastly, in polyphonic music it may second continues.
happen that the
part
IX.
MUSICAL PROSODY.
to
The application of words
music and of music
to
words.
We have seen
;
length of verses as there are masculine and feminine verses

different
that the length of rhythms corresponds to the that there are masculine and feminine rhythms
;
and
also that the
cadences correspond exactly to the different signs of grammatical punctuation. The analogy between a verse and
a rhythm does not stop here a word contains short and long syllables; a bar contains accented and unaccented notes; a verse
composed of so many feet of long and short syllables in order and a rhythm contains accented and unaccented regular notes in regular alternation. The design of a rhythm corres" " ponds exactly to that of the quantities which are found in a
is
;
verse.
In
fact,
of a verse of verses
the analogy between the framework and skeleton and that of a rhythm is complete. Thus a series
may
be joined to a series of rhythms, or musical

in this
phrases, and vice versa. There are three conditions which must be observed
process
i.
The long
syllables
must coincide with the accented

;
notes,
is
and the short
syllables with the unaccented ones
that
to
say,
103
the long
syllables
should
fall
on the accented notes
and the short syllables on the unaccented notes (unaccented beats or fraction of the Each monosyllable which requires articulation should beat). be long, the only exception being the article.*
(accented beats, or fractions of the beat)
2.
If
this
coincidence
does not take place, the rules or
conditions which permit a feminine verse to finish on a masculine rhythm, or a masculine verse to finish on a feminine
one,
should
be observed.
weak
syllable
falling
on an
accented note must be preceded by a prolonged syllable (i.e., on a long note or on several notes), and a strong syllable falling on an unaccented note should also be prolonged by several
much agreement as possible between grammatical sense and the musical idea between the grammatical punctuation and the musical cadence. When the
the
notes (see page 54). 3. There should be as
grammatical sense
incomplete
;
is
when
its
simply suspended, the cadence must be sense is complete, the cadence must be
Nothing is more absurd than one grammatical phrase overlapping two different rhythms, or a rhythm cut in two by two grammatical phrases.
complete
also.
4. There must be unity and coincidence between the metrical scheme of the verses and the rhythmical scheme of the music for verses consisting of dactyls and spondees the time must be
;
duple, and for a trochaic metre, triple.

will conclude these rules by an important observation. Besides the accented and unaccented notes which are regulated
We
by the bar, there are the accented and unaccented notes produced by the division of the beat. The unaccented beat, when
not divided, becomes accented
if
the accented beat

is
is
divided.
In duple time, where the

three
(
l
first
beat
divided into two
(J"j),
^'^)>
or four
(j J J
Jj)
notes of equal value, and the
" The last * The syllable of words following rule is due to M. Victor Wilder not ending with an c mute, and the penultimate syllable of words ending with an e mute, are long." [Of course, this applies only to French words. Translator.']
:
104
MUSICAL EXPRESSION.
itself,
second beat consists of one note by
that note
is
loud.
Examples
n 9
Duple time,
quick tempo.
in reality
01
i
rib 000
Fffl 0000
in slow tempo, is equal to
quadruple time in
The
quadruple time condensed.
following figure, J"j J, in slow tempo, is The crotchet (J) there
represents the third and fourth beats
J J
<J
now, as
in
quadruple time the third beat here represents the third beat,
syllable.
is
is
is
accented, the crotchet, which

in triple time the
For analogous reasons,

if is
accented, and requires a long second beat
accented
the
first is
divided,
:
and the third

^T"^
,
is
accented
if
the second
divided.
"^T""
Examples
-
n
For the
Ex. 209.
V
last
J
V
3S
note of any of these figures to receive a short
syllable, the penultimate syllable must be lengthened :*

_J
LMfj-a.
pi
J>
105
We will
Ex. 212.
begin by Unefievre briilante
U
It is
ne
fie
vre
bru
Ian
te.
astonishing that Gretry, whose taste is so refined, could have written such a phrase as this. It is true that each of the
words une and fievre form a section, the syllable u beginning the first and ne finishing it. The syllable fie begins the The syllables ne and vre may second, and vre finishes it. therefore fall without inconvenience on the beginning of a bar
first
that
is
to say, on the accented beat, the notes
becoming un-
accented because they finish a section composed only of two notes. They must be accompanied by the fall or softening of the
voice, or
a part of
Ex. 213.
its
by a short rest, which would take off from the minim value, and in reality produce the following effect
:
ne
all
fie
m
-
vre
bru
Ian
te.
We
could to justify the phrase, but it is still In fact, the first section is curiously complicated, unsatisfactory. for the final note of the section is a reiterated, that is to say, an accented, note (see page 73).
have done
we
Whether we
like
it
or not, the second
C J must be
accented, and the short syllable will then naturally
sound wrong. To give this phrase its proper balance we must adopt one or other of these three plans (i.) Avoid the reiterated
:
note by changing the first note (2.) Avoid the short syllable, and replace it by a long one or (3.) Replace it by a monosyllable
;
Ex. 214.
ne
fie
vre
bru
Ian
Ja
mais,
he
las
sur
ter
Mais non,
ja
mais sur
ter
io6
It
MUSICAL EXPRESSION.
this
seems incredible that
phrase should have been com-
placently accepted for so long, and it only shows how easily the ear may become accustomed to the harshest dissonances
and mistakes. The
first
verse of Richault's edition of Schubert's
Plaintes (Tune jeune fille (Madchens Klage) contains the following passage, offering no correspondence between the grammatical
and the musical sense

Ex. 215.
^-^
^
L'o-rage
&C.
en pas-sant
fait
ge -mir
le feuil-la- ge,
Et
which
Certainly the musical pause is after the B and not after the C, is a harmonic suspension, and foreign to the accom
panying chord, a discord which is resolved upon the B, and thus finishes the first half of the rhythm. The grammatical caesura should therefore fall upon the B, and not upon the C, all
the more because the verse has no sense
when
divided in this
manner: Uorage en passant fait gemir le feuillage. The phrase should be sung in the following manner, as it is in the original
:
Ex. 216.
L'o-rage en passant Der Eich - wald brau-set,
fait
ge
mir
-
lefeuil-la
ge,
Et
das
die
Wol
ken
zieh'n,
receives a strong accent at once as a reiterated the note, penultimate of a feminine rhythm, a discord, and a suspension. The B, on the contrary, is very soft, and should
The second C
be connected with the preceding C.

Ex. 217.
Again
JJ jirg=F5S
Sur la
Ne
va plusd'unboy-ard
Voudrait m'a
j
voir,
-f-r j==y=*t =*
r*
.
car Ton
me
pro
ne;
Quandon me
voitjl'ondit,
Le
Czar
n'est pas plus
heu -reux sur
son
tro
107
Here
voit,
it is
evident that the rest after the words
Quand on me
Von
is
dit,
Le Czar, gives the impression

;
that the grammatical
complete after Le Czar, one does not expect the words It is a pity that musicians n'est pas plus heureux sur son trone.
sense
should thus sacrifice the grammatical idea.
Here
:
is
another
example from Un Reve, by an esteemed composer

Ex. 218.
0'O
sl
^~^
io8
MUSICAL EXPRESSION.
Echos de Pologne."
No.
i,
L'IKrondclle.
Ex. 220.'
-H
-R-
Quandleshymnes
L'hirondelle auxcieuxs'enfuit,Tristeetpleurant el - le quit-te des fi - de - les,Quandlesclo-ches so-len-nel
1'e
-
les,
-S '^
*
gli-se:
1< ~]^ J m
!
'
1-
~9
A
- ti
t-on trouble son nid,

lieu sa-cre,
Re -
ten
-ront au
Et ra -vi son tre- sorPPourquoiprendQuandl'autel se-ra res-tau-re, Bien
el
le
son
-
es
sor,Fu-yant
re-viendrai,
la tour gri-se,Fuyant la tour gri
se
vite,
lors,
je
En
plan-ant joy-eu-se sur
mes
ai-les.
The rhythms and

line of the text
is
sections are
marked by
slurs.
The
first
the original version, and is faulty, since the words go against the rhythms and sections. The second line, by M. Victor Wilder, is correct, the grammatical and musical
sense coincide, and the whole
is
clear
and easy
for the singer,
and satisfactory
Ex. 221.
for the listener.
MERCADANTE.
Mass
for 3 voices.
Per quern
rom
-
ni
a,
ni - a,
fac
ta
sunt,
qui
prop
ter
nos
first
ho
mi
nes.
rhythm evidently ends on the G of the fourth word sunt, the last syllable of the Latin should fall on the G, which gives the following phrase,
Here the
;
bar
therefore the
accentuation
Ex. 222.
~
-i-
ho
mi
nes.
Ex. 223.
ICQ
i=
O
bel
an-gedontles
ai- les,
Fuy-ant nos douleursmor
-tel - les.
We
bar
is
mentioned (page 74) that when the second note of the
accidentally the same as the first, but of greater or equal length, it takes the accent. This musical accent is so important
that, rather
sacrificed.
than omit it, the grammatical sense should be Absurd as it may seem, there should be an accent on the syllable ge, on the second E. It was the translator's business to see that the words went properly to the music. Here is the original phrase, where instead of such nonsense we have real beauty
:
Ex. 2? 4
Tu
clie
aDiospiegas-
In the beautiful
ti la O bell' alma in-na-mor -a - ta. Ave verum by Stradella, composed in 1665,

li
from which
we
also quote
:
(Examples 346,
356),
we
find the
following passage
turn
mor-tis
ex
mi-ne.
it is sung as above, without a People must be entirely devoid they do not see that the fifth bar
In
all
the churches in Paris
thought as to the absurdity.

of all feeling for
is
rhythm if than a repetition of the fourth, and similarly more nothing forms a section or unit which demands a monosyllabic word. The following correction will show which of the two renderings
is
best suited to the singer

Ex. 226.
gus
ta - turn,
es
to
fr
bis tnor-tig
in
110
MUSICAL EXPRESSION.
In the next example it will be seen may be used without any regard
how
to
the \ocal syllables the structure or
rhythmical design
MEYERBEER.
Ex. 227.
" L'Africaine." " Fille de rois." Air,
piu
cres.
Non,non, nile
molto
malheur
cres.
ni le
malheur,
ni 1'es -
clava-ge n'6-tent
>
rien,
non, non,non,non, n'6-tent
rien
.a
ta
ma- jes-
te.
Anyone will see at a glance how this ascending phrase goes on accumulating force and movement and passion up to the climax in the last bar but one, where the three triplets are
actually given to the ungrateful syllable rien.
How
is it
possible that such a climax of passionate feeling
can be properly sung to the single nasal syllable rien, such expressive notes to so unmusical a word ? The answer might
be, If
it is
written so,
try to
it
must have been

it,
we may
improve
if
we
intentional. But surely believe that in all art we
and not be content with what is we feel that the words and merely the same source. The music did not music are inspired by nor words the the music each have not inspire the words, their independent existence. They have been put together, but not fused into one. If the musical passage was simply vocal, an embellishment, a florid cadenza, &c., one might
should aim at
perfection
tolerable.
In this case
understand the word being so coupled to the music, but it is an extremely passionate and pathetic phrase, and its design,
structure,
and position
in the penultimate bar all give

its
it
ex-
ceptional weight. requires a syllable to itself, and even if the same syllable had to be repeated it would be better thus than as it stands
:
Each note has
real importance
and
Ill
Ex. 228.
n'6
tent rien, non, non, non,n'6tent rien
ta
ma- jes
- te.
Such cases of words badly adapted to music are frequent, and professors should be careful to correct them, since the most energetic and passionate passages are often weakened and
crippled
It
by a
syllable.
need not be imagined that there is any great difficulty in An setting words to a rhythm, or to an instrumental phrase.
attentive study of the rules for setting a feminine verse to a masculine rhythm, and a masculine verse to a feminine rhythm
(page 53), and a thorough understanding of the remarks in this

chapter, would prevent the possibility of mistake on this point. Before concluding this subject, let us turn for a moment to
the careless
manner
in
which singers drag the
last
note of one
I
rhythm
or phrase on to the first of the next.
remember
hearing the romance Au Paradis sung by a very famous artist. The song is a sort of dialogue between a priest and his housethe latter reproaches the priest for his prodigality, and of the fourth bar. Then finishes the musical phrase on the
keeper
D
:
the priest takes

Ex. 229.
up the
refrain
on
^ 3^
t>
Mais mon pas-teur, vous on
m$
-
bli-ez
Qu'il est
le
seul
que vous
ay
:!&==&
-
ez
Al
Ions
Mar- gue
ri
te,
vite
et
vite
et
te.
The
singer actually connected the two phrases by a portamento, And yet he had which brought down a chorus of applause
!
committed a veritable crime against
art,
by corrupting the
In
fact,
taste
of the public for the sake of applause.
the connection
and the portamento are entirely wrong, for how can one person hold on a note sung by another ? It is astonishing that great artists should have the conscience to allow themselves to commit
such
errors.
No
doubt wonderful
effects
may
be produced by
112
slurring
MUSICAL EXPRESSION.
good
taste
two notes in this manner, but it must be done with and so as not to spoil the sense.
FLOTOW.
" Martha " (" 'Tis the last rose of
Ex. 230.
summer
").
1M
En
ces
lieux
.
.
ta
le
Que
feS?EBÊ
~?=
le
*=Phi
J^
deuil,
que
deuil
des
vers,
Et
la
In the above Example, bar
4, this process
may
be used with
advantage. The repetition of the same words, the consecutive ascent from the end of the third bar, the modulation to the
sub-mediant, the fresh development of the musical phrase, the pedal point on the highest and final note of the rhythm all
a great display of force and energy. It is therefore natural that the exhausted singer should let her voice fall and
demand
drag on to the
it
first
note of the following rhythm, especially as
descending interval. In instrumental music, on the contrary, it often happens that the last note of a phrase or rhythm is joined to the first of the
following rhythm,
interval,
if
comes
after a long
the latter begins after a wide ascending

:
and
is
repeated
MOZART.
Sonata
in F.
In such circumstances, the connection

constantly abused by singers,
violinists,
is
allowable, but
violoncellists.
it is
and
113
X.
RULES FOR RHYTHMICAL ACCENTUATION.

The Accent of
the Initial Note.
IT has been said (page 62) that the final note of each rhythm gives a feeling of more or less complete rest to the ear, that it
is
accompanied by a
fall
fall
of the voice and followed
by a
rest.
The whole
the
force of rhythmical accent
of the voice and the rest
depends on this fact, for mean force and accent upon
the next note.
However
ear,
soft
the note
may
be,
it
will
:
make an
impression on the
i.
and
this gives us the first rule
The
first
it
what place
note of every rhythm has an accent, no matter occupies in the bar or beat
:
the highest note of a descending rhythm or of (a.) a secondary rhythm, the first having begun with a lower note
it is
:
When
Ex. 233.
CHOPIN.
Impromptu, Op.
29.
Ex. 234.
Adieu."*
WEBER.
" Derniere Pensee," Trio
MENDELSSOHN.
Ex. 236.
Rondo, Op.
14.
See also the introduction to the " Invitation a

Attributed to Schubert, but really by
la
Valse."
Weyrauch
MUSICAL EXPRESSION.
(b.) When the note falls, by exception, on the up beat or last of the bar, the preceding rhythms having begun on the accented In this case the initial note requires a special accent beat. because it is syncopated, that is to say, prolonged by the first
note of the following bar.

-^
Ex. 237.
_ LEYBACH.
Tyrolienne.
Ex. 238.
CHOPIN.
Impromptu, Op.
29.
d-^+^
2.
The
first
note of a rhythm
is
unaccented
(a.)
When
it
may
falls
be considered as finishing a section, that is to say, when it on the beginning of the bar, and is repeated or followed by
a rest.
Thus
CHOPIN.
Op.
7.
Ex. 239.
This
is especially the case when the first rhythm begins on the accented beat, whilst the second begins on the note which forms a starting-point, or on the up beat, as in these examples.
In 3-4 time, with six quavers to a bar, containing rhythms composed of six notes, the three first of which belong to the first
(b.)
and the three last to the second, that is to say, rhythms which overlap two bars and divide each into two parts, and
bar,
which take the three

another
:
last notes of one,
and the three
first
of
Ex. 241.
&
:
WEBER.
If in a structure of this
kind the metrical accent were not
sway, the time and the rhythm would be completely upset, the 3-4 time would become 6-8, the interesting rhythm would become commonplace, and the following would be the
allowed
full
infallible result
Ex.242.
, A
x >r
~r~m _
/N
_._
^rff^
It is
may be made
a fact that a group of sounds of exactly the same length to form different times and rhythms by varying
the rhythmical accent. See, for example, No. of Cramer's second Book of Studies, which is seldom played correctly, and in which the metrical accent must be distinctly marked to
preserve both time and rhythm. It often happens that the initial note of a rhythm takes an If followed by an accent in one case and not in another.
exceptional syncopation, the last of a group, or of a trill, it throws the accent on to the second note of the rhythm (see
page
79).
de Venise
For example, in the Andantino of the Carneval by Schulhoff, the initial F of the first rhythm receives
:
the accent
u6
whilst in the second
MUSICAL EXPRESSION.
does not, because it is followed by a deep syncopated note after a skip, which note receives the accent instead
rhythm
it
In the third and fourth repetition of this same rhythm, the is preceded by a trill, and serves as the final note and
It
:
resolution.
must be connected with the
trill,
and thus
loses
the accent
Ex. 245.
ir
*tr
&
The Accent of
i.
the
Final Note.
:
The
last
is
a reiterated note, or
Ex. 246.
note of a masculine rhythm is accented if it stands alone in the last bar

:
(a) If it
Ex. 247.
=i
(6)
^m
is
If the
rhythm which
it
:
it
terminates
all
pendant to a feminine
rhythm ; notes which

Ex. 248.
*"
in this case
it
receives
the force and length of the
replaces
-\
ft
(c)
If
it
proceeds accidentally by a wide descending interval,
in
117
which case
Ei
it
is
frequently preceded by an acciaccatura,

:
incorrectly called appogiatura
v-
Ex. 250.
2.
it is
The
last
a short note, that same or the next beat

Ex. 251.
note of a masculine rhythm is unaccented (a) If is to say, if the next rhythm begins on the
:
ROSSINI.
See pages 4, 6, 12 of Thalberg's Guillaume Tell. Through a whole page the last note of the masculine rhythm is unaccented, because it is a short note, and is followed on the same
beat by the initial note of the following rhythm
:
(b)
(c)
If If
is
it
preceded by an expressive note (note pathetique) the last note but one is an exceptionally long note,
is
\
or
preceded by a long note, as
Ex. 254.
3E
n8
If
MUSICAL EXPRESSION.
a syllable
is
added to the
last
note but one, the rhythm
becomes masculine
Ex. 256.
_J
'^
ng
sense and good taste. In dances and marches the final notes must, of course, be strongly marked. 3. The last note of a feminine rhythm is unaccented; it
should be connected with the preceding note, and gently raised is long at the same time (a) When the penultimate note
: :
Ex. 259.
/
(b)
When
Ex. 260.
the penultimate note
is
chromatic
^ ^
the
Ex. 261.
j
|
|
I
(c)
When
Ex. 262.
penultimate note
:
is
reiterated
one,
either
diatonic or chromatic
Ex. 263.
I
P*
Ir
~~
ir~l*
Ei-nfTftwri riiM T
' I
Pm
\$.m
II
Jr't
4.
is
The
last
note of a feminine rhythm

;
is
accented
;
(a) If it
it
syncopated
(b)
If
If
it
it
is
is
preceded by a rest
prolonged by the
(c)
If
is
reiterated note
(d)
first
note of the
succeeding rhythm.
Ex. 264.
Thus
VERDI.
Ex. 265.
CHOPIN.
RAVINA.
Op. 60, No.
g.
Ex. 267.
rt
Ex. 268.'
^^^ ^Tp
Jr
*-L
\/
I2O
Ex. 273.
121
The reason
should
be
the penultimate note of a feminine rhythm accented is that it delays the note which is
rest.
expected by the ear, and would give it the feeling of final Now a delay is an obstacle, and therefore force is
necessary to
omitted,
overcome
then
the
it.
The penultimate note may be

masculine again
GOUNOD.
:
rhythm becomes and throws the accent upon the last note *
and
Ex. 274.
,
instead of
v
v-
tJ
122
MUSICAL EXPRESSION.
In short, the more a note is desired, called for, required by the attraction of the preceding notes, the less accented it should be. Again, the more discordant the note is which forms an
obstacle to the one desired
by the
ear, the
more complex
it is
as
a reiteration, a suspension, a discord, a chromatic note, or long In note, &c., the more accent and emphasis does it require.
reality these accents are the expressive accents,
and
it is
as
if
the
ear could not accept
them unless
violently enforced upon
it.
Moreover, a penultimate note of great length may be replaced by a number of notes, and therefore takes to itself all the force
of these omitted or implied notes, in the place of
which
it
stands.
(See the seven previous Examples.)
The Accent of Sections.
The first
in
note of a section
is
accented, and the last unaccented,
whatever part of the bar or beat it may occur. Even in dance music the final note of a section is unaccented, though it may fall at the beginning of a bar *
:
Ex
2 77-
SPINDLER,
Hussarenritt.
Â
m
Ex.
'^
'-^
.
See the "Faust" waltz by Gounod, the " Juif errant" by " Les " Les Traineaux," Roses," by Metra, Burgmiiller,
mazurka by Ascher,
first
&c., in which, throughout entire pages, the

is
note of the bar
unaccented because
it
is
the end of the
section or the rhythm. However, if the last note of a section is a syncopation or reiterated note, or if it takes up the whole
bar,
it is
accented
:.
* This fact explains
why
artists
sacrifice the metrical accents too
much
so often play dance music badly to the rhythmical, and do not
they
suffi-
ciently
mark the
first
note of each bar.
Ex. 279.
I2 3
Ex. 280.
The
first and last notes of a simple section, therefore, have the property of destroying the metrical accent. Thus, in the two first examples of this paragraph, the first note of each bar
is
not accented, whilst the last
is so.
Passages of this kind
a certain difficulty on the piano to well-trained pupils, who find it hard to play against the time. Lastly, we must
offer
not forget that the last note of metrical figures like the following is loud
:
(See pages 71 and 104), and that the last note of a rhythm must be followed by a rest, unless it is accompanied by a pedal point,
or
by the word
Ex.282.
i
tenuto, or is slurred to the following note
Bad
Good>
Bad>
Good.
Bad.
Good.
Bad.
Good.
No
the
apology
is
needed
for the length of this chapter, seeing
immense importance of rhythms. The multiplicity of aspects under which the subject has been treated will convince
this.
the reader of
No
one can hope to compose or write
124
correctly, or to
MUSICAL EXPRESSION.
attain
an intelligent and
or by study
artistic
execution,
accent according to the affinity of the notes, and in conformity with the natural tendency and attraction which they have to the pauses.
unless he
knows by instinct
how to
XI.
THE
attention of the pupil

is
must from the very
first
be directed
to rhythms, that
the
two and same notes, or notes of the same value, and forming symmetrical designs. As soon as he understands the rhythmical
of bars
to say, to the periodical recurrence of groups two, four and four, eight and eight containing
phrases clearly enough to discern a thought or a musical unit in a group of sounds, he must be familiarized with the sections
;
therefore after he has played a certain
number
of tunes without
paying attention to the sections, he must repeat them and mark the sections in each. He must be taught where and
when
to
make use
of them,
and above
all
where and when
to
avoid making them. The pupil must examine the rhythms of all the pieces which he plays, and not hesitate to correct all
faulty accentuations
and indications.
airs,
He
should begin by phrasing
songs,
and dances
then
go on to pieces and studies.
He
should often be
made
to
mark
the rhythms and sections in songs and airs, after carefully hiding the words, and subsequently compare his rhythmical an-
notation with that which results from the words. It is said that one of the greatest pianists spent three years in Italy simply in learning how to phrase, and yet even he is not entirely exempt from faults of rhythmical accentuation. If the pupil
devotes a sufficiently close and attentive study to this chapter, by reading, copying, and making a summary of it, he may
possibly not have to go to Italy to acquire the knowledge and feeling of rhythm by the help of any good method and
;
a few months of study he will gain a complete knowledge of rhythms, sections, prosody, musical phraseology, and rhythmical
accentuation.
CHAPTER
VI.
ON EXPRESSIVE ACCENTUATION.
in the sphere of instinct and not surprising that we have been intelligence. able to reduce the theory of accents, whether metrical or
So
far
we have been moving

It is, therefore,
rhythmical, recurring always at regular intervals, and separated now by unaccented notes, to a purely mechanical system.
We
enter upon the domain of sentiment. The expressive accent, to be felt and rendered, demands a soul, and is, above all, a
sign of the true artist.
poetic accent, for
it
It
might more justly be called the

expressive elements in a
certainly supplies the poetic colouring to
many
compositions.
The more
work
such as reiterated notes, auxiliary notes, isolated syncopations, chromatic intervals, &c. the more poetic it is. The expressive accent is not subjected to any kind of
regularity.
It
consecutive notes
can take possession of a single note, or several it can fall anywhere, both on the unaccented
;
and accented beats, on the
final
and
initial
note of rhythms.
Its
essential character is defined by the single term the unexpected. But, whatever its position, it will provoke the most delicate
yet effective contrasts.

persistent
The
artist
is
carried
away by
its
energy, and expresses his emotions, not only by an increase of force and tone, but also by a quickening of
time, necessarily followed by a reaction, in a corresponding diminution of tone and pace, which produces the most powerful
and poetic effects. The complex nature of
this
to denote the three simultaneous

:
accent requires three terms phenomena connected with
one and the same principle the expressive accent proper, the A chapter will be devoted emotional element, and nuances.
to
each of these separately. Let us first briefly recall the theory established on page 6 to guide us in the search for
126
/
MUSICAL EXPRESSION.
those notes which are more especially calculated to impress us by their expressive nature.
Modern music
first,
is
the
Scale
in
its
composed of three principal elements two modes second, Time third,

: ;
;
Rhythm. By these three elements our musical instinct becomes impregnated with the threefold need for attraction, regularity, and symmetry, and accustomed to a narrow yet We have no sooner become uniform system of logic.
aware
of
group
of
sounds
subject
to
the
laws
of
tonality, of time and rhythm, before we begin to anticipate and desire the succession of an analogous group or in other
;
words, hardly has the ear become aware of the first rhythm of an air before it anticipates and desires a similar rhythm
the same key and with the same arrangement of notes. Thus, every time that a note or notes, foreign to the original
in
key, present themselves notes capable of displacing the tonic, changing the key, or delaying the final close, and imposing other desires and attractions upon the ear every time that
these irregular and unexpected notes appear and break the regularity of the metrical accent, or destroy the symmetry of the first rhythmical design, they have, so to speak, to be forced
upon
first
us,
and consequently produce a

is
startling impression.
The
feel
impulse
to regard these notes as false, but
we soon
that they are in accordance with the laws of tonality, key, time, and rhythm, and that they only lead to a new key, a new centre of attraction, or a new rhythmical design, and
The artist will, therefore, manifest his must be accepted. more powerful tone and greater animation, impressions by followed by exhaustion and languor. We will now go through these irregularities and exceptions one by one, and examine into the manner of their appearance
and
their effects.
As we write
less for artists
than
for students,
we need not be afraid of entering into the details necessary to accustom the reader to a minute analysis, and to prove to him that the poetry, expression, and life of a composition often depend upon some imperceptible and apparently
insignificant fact.
I.
127
METRICAL EXCEPTIONS.*
is
The
tion.
principal exception to metrical accentuation

is
syncopais
Syncopation prolonged into an accented one
produced when an unaccented note

;
it is
the last note of a bar,
beat, or fraction of a beat prolonged during the first
note
of the following bar, beat, or fraction of a beat

J
A
'*"
yXL- f
MUSICAL EXPRESSION.
A _
\/~\ A/^N A/-\ A/">> A
i
Tf
Logical form.
Ordinary form.
These Examples show that

is
it
is
the metrical accent which
destroyed by the syncopation, but not the time. The note which should be accented metrically is unaccented the un;
accented note becomes accented by the energy it gains from the note which is not struck. The syncopation breaks the
In triple time the note regularity of the metrical accent. representing the second beat produces the effect of a syncopation
if it is
prolonged.
this time, the third beat
This is probably the reason why, in has been taken for an accented beat
:
E"
287
'-
1-^^==^
VERDI.
Ex. 288.
We
have already seen (pages 55 and 120) that syncopation,
notes, destro)'S not only the metrical but also the rhythmical accent, giving great force to the last note of a feminine rhythm, which is naturally unaccented
:
by displacing the accented
&
Ex. 289.
for
DoNJZET'fl.
Syncope.
Ex. 290.
A ^TF
Syncope^
for
MEHUL.
129
it is
The syncopation
several times
Ex. 291.
:
gains in force and energy
when
repeated
ROSSINI.
" Guillaume Tell."
ROSSINI.
" Inflammatus.
,.
i
f
i
fr. F
L
BELLINI.
Ex. 293.
" Casta diva.'
A_
II.
RHYTHMICAL EXCEPTIONS.
include every note or group of notes exceptional length, by its ascending or descending consecutive or disjunct movement, etc., destroys its motion, by the symmetry of the rhythmical design to which it belongs, and
this
its
Under
heading
we
which by
thus forms a contrast to the notes which precede or follow it. If a long note follows by exception several short ones,
"
it
:
acquires great force, and will produce a crescendo, a vibrato

Ex. 294.
MOZART.
II
mio
tesoro."
acccL
130
MUSICAL EXPRESSION,
German Song.
" L' Absence."
Ex. 295.
*-
Quand ton des
tin
au mien
al
lait
s'u
nir
Ange
do
re,
pres
de
toi
c'est
la
vi
e.
Ex. 296.
MOZART.
Ex. 297.
Fantasia in
~x
minor.
-*-
rhythm,
At the same time, if the long note is the last of a feminine it must not be accented. If this long note acquires force and thus modifies the tempo, there is all the more reason for strongly accenting a note which
is
exceptionally repeated several times running. Evidently these notes represent an intentional and very great increase of power, especially when they are syncopated notes. The two
following examples have D# and Ctj repeated four times, and these require all the force which the instrument can give them :
Lucia"; "Pour tant d'amour,""Favorita"; and the Example from Bellini, No. 293.)
(See
Ex. 300.
ROSSINI.
" Guillaume Tell."
"
O bel ange,"
A
A
"
If the
of a long one, they
pendant of a rhythm introduces short notes in the place must be accented

:
DONIZETTI.
"
Ex SOL
Figlia del Reggimento." A A . A A
*H^*
VERDI.
Ex. 302.
"
Trovatore,'
t=fs
JL.
*:
c-ei,.mirF
PAER.
9
Ex. 303.
*-
S5
hos
ti - a.
O
Ex. 304.,
sa-lu
ta
ris,
O
^
sa-lu-ta-ris
3
a
m
:
bar of ascending notes, with one note to a beat, occurs by exception in a phrase composed of minims, crotchets, quavers, or semiquavers, these notes must be accented
If a
Ex. 305.
MEYERBEER.
> > > >
K 2
MUSICAL EXPRESSION
ABT.
r^
w~
Ex. 313.
133
" Crucifixus."
MERCADANTE.
AAA
AA
uniform descending end of a rhythm, they must not
BELLINI.
"
=gEEgEE^BÊ+f-gj
If these triplets or short notes are of a
figure (a sort of cascade) at the
be accented
Norma."
Ex. 315.
ROSSINI.
"
Sombre
foret.'
Ex. 316.
BELLINI.
"
Norma."
NI.
An
embellishment figure replacing a long penultimate note

(See Rhythmical Accent, pages 54
-
must not be accented. and 121.)

n Ex. 317.
Embellishment.
H
fr-t-h-
An
when they
the
first
accent must be given to the notes of the second rhythm are by exception higher, or when they proceed by
wider intervals than those which form the pendant to them in
rhythm:
Ex. 318.
MUSICAL EXPRESSION.
In the above Example the first B in the third bar and one's impulse is to regard it as a mistake.
is startling,
But
if
we
repeat the phrase, slackening it a little, we discover that the author intended it so, and careful attention shows us the real
beauty of what had seemed a mistake.

following:
Ex. 319.
It
is
the same in the
î
m
Sonata.
The
El? in the sixth
illogical,
bar is, at first sight, misleading and and we are therefore led to express our astonishment
:
by a much stronger accentuation

Ex. 320.
BEETHOVEN.
Minuet from the
first
ytrpr^f
pp
-p-
Ex. 321.
BELLINI.
" Sonnambula."
&=$=?
-0-^-
j j
c. c r
iH
Ex. 324.
135
"
BELLINI.
Norma."
instead of
Accents must be given to the forcible notes (notes d'elan) (see page 61) which, on repetition, begin the first rhythm on the unaccented beat i. If it began on the accented beat the
:
first
time
2.
If the notes
are
more numerous
3.
If they
:
proceed in a different motion.

Ex. 325.
(See example Leybach, No. 237)

FIELD.
sth^Nocturne.
-&
REISSIGER.
" Weber's Last Waltz.'
r*i
i
r r*n
Ex. 327.
y\
Allegretto.
.-*^.
high note rising by a wide ascending interval must be
accented, especially if it is preceded by notes which succeed each other in consecutive motion, or by the forcible notes (notes
cTelan) just referred to
Ex. 328.
:
WEBER.
I 36
MUSICAL EXPRESSION.
MEYERBEER.
(See Ex. 305.)
Ex. 329.
Ex. 331.
f^f
? r-ty-f--^
pfl
GOUNOD. A
I
" Faust."
*-*!-*--
>!
(See the two Rossini examples, Nos. 291, 292.) Every note preceded by grace notes is accented but if these occur before the last note of a. feminine rhythm, that note must
;
not be accented.*
(See page 59)
WEYRAUCH.
"Adieu."
40Ex.333-\L
LYSBERG.
J'M * j~W~*i~^d^jfi^^li
rfb**^-
These small notes are generally used: i. Before the higher auxiliary end of a rhythm (see page 139) 2. Before the note which precedes the lower auxiliary note, falling at the beginning of a beat 3. Before a reiterated note or any other expressive note falling on the last beat of the penultimate bar of masculine rhythms; 4. Before the note which proceeds by a wide ascending or descending interval. (See page 120.) We would recommend our readers to use these kinds of appoggiaturas, acciaccaturas, mordents, &c., with moderation, and only when they are indicated
note, especially at the
; ;
by the author.
Ex.334.
137
" Cora' e gentil."
DONIZETTI.
The highest note of a group requires an when it begins a rhythm. (See page 114)
:
accent, especially
Ex. 335.
SCHULHOFF.
If
the highest note
is
followed
by notes of equal length,

last
descending by consecutive motion as in the

preceding example,
detached, especially
Ex. 336.
it
bar of the
is
slurred,
and the notes following are

:
if
they occur in the second rhythm
VERDI.
1=5
Ex. 337.
1
i
3:
SCHULHOFF.
l
1
If in the penultimate bar of a rhythm a group of descending notes occurs by exception, the first and highest must be slurred, and great elasticity must be given to those that follow
:
Ex. 338.
CAMPANA.
" Vivre sans
toi.'
De
1
ton
re
gard,
de ton
sou
ri -
re,
Quelest Tern
*
-
I 38
MUSICAL EXPRESSION,
GOUNOD.
" Faust.'
Ex. 339.
ic
Sa-iut,
demeure chaste et pu
re,
Sa
lut
s
de-meure chaste et
pu
re,
Oa
se
de
vi
ne
la
pre
sen
ce.
LITOLFF.
Ex. 340
" Chant de la fileuse.
highest note of an ascending figure must also be slurred the note which follows it is the same value and one degree lower in the scale, or if the next note makes a long descending
if
The
interval
SCHULHOFF.
RAVINA.
" Douce Pensee."
139
The
that
effect
of the slurred note ought to be something like
of
an
india-rubber
ball
thrown
briskly
down
and
bounds, each one less than the last. To produce this effect on the piano the following rules must be observed: i. Keep the finger on the note which precedes the high note which has to be slurred, and raise the two notes
series of
making a
simultaneously with a sliding
motion;
It
;
2.
The higher note

for half
must not be struck loudly; its value and followed by a
3.
must only be held
4. following note must be delayed: 5. The two or three notes which follow that which succeeds the highest must be played with elasticity
rest
The
and delicacy, and slightly hurried. Of course this must be done with the greatest precaution, and can only be applied to genre music, such as Nocturnes, Reveries, Caprices, &c.
Every exceptional occurrence of the reiterated note requires the expressive accent. (See pages 73 and 107):
BEETHOVEN.
:
Ex. 344.
^r,r
.
Adagio of the
first
Sonata.
^^
Ex. 345.^
?3 jTO
jpingj
Ditto.
Ex. 346.
STRADELLA.
140
MUSICAL EXPRESSION.
BEETHOVEN.
Adagio of the
Ex. 347.

I
others requires the expressive accent is the higher auxiliary note: i. If it falls at the beginning of a rhythm; 2. If it is a longer note than the preceding; 3. If it falls on the penultimate beat of a rhythm;
all
But the note which before
4. If it
comes
after a rest :*
Ex
DONIZETTI.
348.
Ex.349.
CAMPANA.
" Vivre sans
toi.
S53*
Ex. 350.
GOUNOD.
"Faust.
should call the higher auxiliary note (voisine aigue] a D between two E preceded and followed by a D, &c. The lower auxiliary note (voisine grave] is a C between two Ds: D, C, D; a G preceded and
*
We
Cs: C, D, C; an
followed by an A, &c. The higher auxiliary note is often followed, but not The higher preceded, by a lower note. (See the Verdi Example, No. 351.) auxiliary note, as well as the highest note, seem to suggest the expressive accent
even in plain-song.
(See the Dies
irce.)
Ex. 351.
>",
141
" Trovatore."
VERDI.
fr-L
i
ROSSINI.
" Barbiere."
Ex. 352.
!=;
(See the introduction to the Invitation & la Valse and the Rossini Example, No. 362.)
The higher auxiliary note must be accented with force when it is repeated several times consecutively
:
special
Ex. 353-
ROSSINI.
" Guillaume Tell."
^_
Ex. 354.
MEYERBEER.
" Robert.
Ex. 355-
DONIZETTI.
"Lucia.'
emphatic,
accent
In the above case the expressive accent becomes in reality and there is something mournful, oppressed, and stifled about it. The principal cases where the expressive
takes
this
emphatic
character
are:
i.
When
the
:
reiterated note occurs
by
E ex.
exception several times consecutively STRADELLA. (See No. 346.)
2.
When
P Ex.
357.
or lower auxiliary note, chromatic

.
the penultimate of a feminine rhythm is the higher and not diatonic

:
ROSSINI.
.
" Guillaume Tell."
142
MUSICAL EXPRESSION.
BELLINI.
" Norma.'
Ex.,358.
3.
When
Ex. 359.
in triple time a rest occurs in the first third of the

;
beat several times running
FIELD.
5th Nocturne.
*-tt
BEETHOVEN.
Ex. 360.
La Molinara,"
4th Variation.
III.
EXCEPTIONS IN TONALITY AND MODE.

note, or note foreign to the
is
in
Every chromatic which a melody

;
key or mode
i.
constructed,
is
accented:
If
it
is
long note
being a long note, it is also a higher or lower 3. If it is the penultiauxiliary note, or only a higher note mate of a rhythm :*
2. If,
;
Ex. 361.
BOIELDIEU.
"
Dame
Blanche."
pgffgf^g*IT R*LI
Ex. 362.
.A3
ROSSINI.
Guillaume Tell."
Ex. 363.
NIEDERMEYER.
" Marie Stuart.'
>
A
* It
is
dieu
done beau
pa
ys,
mes
symmetry
evident that the sharps and flats necessary for obtaining perfect in melodic progressions, not being expressive, must not be accented.
Ex. 365.
AUBER.
" Fra DIavolo.'
Ex. 366.
MEYERBEER.
" Africaine.
(See the last bar but one of Mignon's song, A. Thomas.) Short chromatic notes in a group, whether in the form of a scale or an arpeggio, must not be accented Every note and
every passage which causes a displacement of the tonic or a Under this heading is change of mode must be accented. included every modulation which cannot take place without introducing at least one new sharp or flat into the melody or
accompaniment. But it remarks to this subject.*

once
it
will
be best to devote a few special
Modulation means a change of tonic or mode, or of both at

others
deprives the notes of their functions and imposes it gives us a new resting point or centre it startles our musical ear of attraction by robbing it of the
;
upon them
;
notes which
it
desires
and which would
satisfy
it
logically,
and
This substitution, evidently, cannot forcing others upon it. feel unwilling to yield to take place without a struggle. the attraction of the new tonic without resistance, and cling to
We
the original key until into the orbit of the

it is
we are carried away, willing or unwilling, new one (see page 9). The more distant
the
more strange notes are introduced by the greater efforts are required in the modulation. If the change be too distant or too abrupt the ear must, so to
that
is
to say, the
new key
* See the chapter
on Modulations (page 65)
in
our " Exercises de Piano."
144
MUSICAL EXPRESSION.
speak, be stunned, and forced into accepting the actual violence

:
new
tonic
by
367.
G
Ex. 368.
minor.
BJ7 major.
major.
FIELD.
5th Nocturne.
JffL
L_g
iii
\f
I I
i
\ffTll JP
,
H-
Modulation from Bj? to
minor.
from
major to
major.
Ex
6
A
\-
AUBER.
"
Un
Jour de Bonheur."
=t=
W=
BEETHOVEN.
Ex.370
.___^
" Adagio from the Senate Pathetique." Bbfbr Cb. F^ for GJ7.
tlA:
HjJ!
:
..
-1
5T:
^^' ZIS*!*/..
-*-*-*-* -*-*-*-*-*-*-
--
4fP
ON EXPRESSIVE ACCENTUATION
Eft for F[?.
145
Ex. 371.
=t=
=H^~J
r~r
g-
mrf
fft
ffrall.
1?
In this example the modulation is from G minor to its relative are not only deprived of the key and mode to major.
We
which we are accustomed, but threatened with that of Bt|, with which that of the preceding phrase has no affinity. The chord
of the augmented sixth, Gl?, B^,
Db,
Et|, in
the
fifth
bar,
consists (on the pianoforte) of the same keys as those of the chord of the dominant seventh of Bt|, naturally resolving on
Ff,
Eft,
Df, though the chord Gb,
Bfr, Dfr, EJj, really
throws
L
us into B{?, a semitone lower than Btj (see page 156).
146
It is
MUSICAL EXPRESSION,
impossible not to feel startled by such abrupt changes. produce the same effect aesthetically as would be
if
They
produced physically
Sicily to Siberia.
we were suddenly
transported from
Notes forming augmented or diminished intervals, though normally belonging to the minor mode, must be accented when
they are long. Thus, augmented seconds, fifths, and sixths, or diminished thirds, fourths, and sevenths, must all be accented.
So
also with the
augmented
:
fourth,
B, and the diminished
fifth,
F, though these two intervals belong equally to the
* major and minor modes

Ex. 372.
Augmented
2nds.
=fc
Diminished 7ths.
A,
Augmented
A
5th.
Diminished 4th.
Augmented A A
6th.
Minor
5th.
Major
4th.
Ex. 373.
" Casta Diva " "
Norma ").
mm
is
Maj. 4th.
Dim.
3rd.
The
explanation of this fact
perfectly simple
augmented fourth and one diminished

intervals, occurring less frequently,
fifth in
make
all
there is only one : the major scale therefore these the more impression on us. The
;
two extreme notes of these intervals are the types of the sharps and flats model of the sharps, F is that of the flats.
B is the
NlEDERMEYER.
Ex. 374. "
147
Le
Dim.
3rd.
Efr-Cf
le
Augm. 2nd. Cj-Bfr
Que
bruit
des ra
meurs
qui
frap
pa
ient
en
ca
den
ce
Tea
flots
har-
mo
ni
eux.
ROSSINI.
" Guillaume Tell."
Ex. 375-
Dim.
3rd.
Ex. 376.
SCHUBERT.
Serenade.
=UT,
Dim. 4th.
Ex. 377-
NIEDERMEYER.
i
'
Marie Stuart."
s.1
V
Dim. 7th
Bt?
If the
intervals,
chromatic notes and the diminished and augmented though belonging to the minor scale, have to be
so
strongly marked,
much
the more
is
this the
case with
enharmonic passages. In these the voice would seem almost to exhaust itself in its efforts to cling to the vanishing tonality, see
Victor Masse's air from " Pygmalion."
Also
148
Ex. 378.
MUSICAL EXPRESSION.
MERCADANTE.
Enharmonic.
Et
ex
Pa
tre
na-tum
an
te
om-ni
d
++-
ffis
^ *
Enharmonic.
JLJt
f^L.
sse
cu-la,
De
um
de
De
o,
Lu
men de
=3
I
BEETHOVEN.
" Adagio from the Senate Pathetique."
Ex. 379
Etj
for F[7.
149
In this passage, one of the grandest and the most sublime in music, Beethoven modulates enharmonically from the softest to the most energetic key which the system of temperament can
produce on the piano, namely, from Ab minor to E major. Apparently there is no kind of connection or affinity between
these two keys, but on the piano E is represented by the same key or note as Fb, and F> is the minor submediant of Ab, and this modulation to the submediant is very frequent, though
the
new key
into
which we modulate has four
flats
more, < or
four sharps less, than the former key. The transition is possible because the two chief notes (the tonic and the dominant) of the new key are the minor mediant and submediant in the preceding
one.
IV.
HARMONIC EXCEPTIONS.
IT is indispensable to have some knowledge of harmony to be able to understand this chapter, and we recommend our readers
to look at the chapter
on the Harmonic scale
at
page 49 of our
Exercises de Piano, adding here a short resume of it. call a scale harmonic when the notes of a major or minor
We
scale are placed one
above another
at intervals of a third
thus
the
harmonic scale of
major would be C, E, G, B, D,
C.
finding the if a piece is
F, A,
C;
that of
minor, C, El?, G, B, D, F, Ab,

is
The harmonic
in
excessively useful for chords which are used in any scale or key. Thus
scale
G, B, D F, A, C, or F, A, D. the chords most used are A, C,

;
major, the chords used almost exclusively are C, E, When the piece is in A minor
;
D, F, B.
The harmonic
all
first
scale, starting
E, G#, B, D D, F, A, or from the lower tonic,

;
thus furnishes
the chords most in use.

;
Take the
the
scale, the
three notes of the harmonic scale

or triad, the
first
they form
common chord
and chief chord of the
chord which concludes a piece, and gives the ear the

first
feeling of perfect rest.

If
we
take the third or last note of the
chord as a funda-
mental bass, and add the three next harmonic notes, we get G, B, D, F, the chord of the dominant seventh, the second in
jnjO
MUSICAL EXPRESSION
This chord has four notes, and is almost importance. chord but one in a piece. It fills the ear last the always with the desire to hear the tonic chord, because it is a
discord, the seventh,
final rest.
and a discord cannot give the

last
feeling of
If
we
take the fourth or last note of the second
chord as a fundamental note and add the
two notes of the
get F, A, C, the chord of the subdominant, the third in importance. Besides these three chords, we often
harmonic
scale,
we
meet with a fourth
the
first
inversion of the chord on the
supertonic. For example, in C major, F, A, D, first inversion of D, F, A; in minor, D, F, B. This fourth chord is formed
by substituting the next higher diatonic note

the third chord.
chord, F, A, C,
is
for the last note of
Thus
in the scale of C, the
of the third
replaced by the D, which, with the two first notes of the third chord, forms the fourth one, F, A, D. In the
scale of
D, the
D is
D becomes FJ, &c. first chord, D, second A, Cf, E, G; third chord, chord, A; F|, G, B, D; fourth chord, G, B, E. For the scale of E E, G$, B (common chord); B, Df, F#, A A, C#, E A, Cj, F#, and
:
;
replaced by E, and in that of E, the E In the key of the four chief chords are:
same with all the other scales. These four chords are almost the only ones used in simple elementary compositions, whether in their original positions or inverted, and in both the major and minor modes. They are
the
also the only chords
which do not demand the expressive accent.
All the others, especially

force.
It
if they are of long duration, require cannot be otherwise. Those chords, comprehending
as they do notes foreign to the key in
which the
air
was
intro-
duced, play a more important part in another key, for they tend to displace the tonic.
Therefore every chord containing accidentals, sharps, flats, or naturals which do not belong to the key in which the air is written, is accented.*
* It
is
say, foreign to the
necessary to discover whether the accidentals are chromatic, that is to key in which the phrase occurs, or if they are only the result
We will now go through the chords which

notes and require accents
:
contain chromatic
i.
The chord of
the seventh
on the supertonic with chromatic
alterations.
just
often meet with the fourth chord of which we spoke now, altered chromatically, for example F, A, D$, or F$, A, C, Df, instead of F, A, D. Moreover, this chord often retains the highest note of our third chord, which makes a chord of the
:
We
it must be very the notes are of great length. (Observe that the altered notes are the second and fourth of the diatonic scale i.e.., in the key of C, D$, and F|):
seventh on the supertonic.
In this case
strongly marked, especially
if
Ex. 380.
BEETHOVEN. Op. 26 ; 4th variation, I5th bar.
The
first
chord,
we
submit,
is
incorrectly written
it
should
be Bjf instead of C]?. It may be said that Cb or B}| produce the same sound, and that, therefore, the manner of writing is of no importance. But this is wrong. In theory, as well as in
From this point of view the signature is of great importance, and composers are wrong to overlook the question. Every time that the key is changed and that a passage of a certain extent occurs in another
of a faulty signature.
key, not the original one, the signature should be changed for that of the key in which the passage is actually written. For instance, in the overture to " with two sharps, the Prayer is introduced in the key Zampa," which starts in of BJ?. The composer, by retaining the signature of D for these sixteen bars,
is
forced to use about
a hundred flats and naturals, whereas
if
the sig-
nature were changed to that of B^, not a single accidental would be required. In such cases as this the chords preceded by accidentals do not require forcing.
152
MUSICAL EXPRESSION.
;
its resolution practice, a Bt) plays quite a different part to a C[? It would be as inaccurate as to write the is quite different.
scale of Dt?
Ex. 381.
minor with
Afr, At|,
instead of Afr,
Bl?l>
LYSBERG.
Op. 57.
In the above example

altered.
chromatically supertonic with double chromatic alteration is specially accented when it is both long and the last note but one of a feminine
we have twice over our fourth chord The chord of the seventh on the
rhythm
&
Ex. 382.^
J53
2.
The Chord of the Diminished Seventh.

for its root or
This chord has
fundamental note the seventh
note (the leading note of the minor scale), to which are added the three harmonic notes which follow it. Examples chord of
:
the diminished seventh of
minor,
t[,
D, F, A[?
of
minor
Gj, B, D,
interval
Ftj.
It is
its
called the diminished seventh from the

its
between
lowest and
from BlJ to
Ex. 385.
Ai?, or
from
Gjto FJ]
highest notes for instance, are diminished sevenths.

;
-94-
Ex.
154
Ex. 388.
MUSICAL EXPRESSION.
F.
KUHLAU.
Minuet.
(See also the
first
four bars of the " Sonate Pathetique.")
3.
T/*0
Chord of
the Seventh
its
on the Supertcnic of the Minor Scale.
This chord has for
root or fundamental note the second
note or supertonic of the minor scale, to which are added the three harmonic notes that follow it. Thus the chord of the
seventh on the supertonic of C minor B, D, FH, A.

Ex. 3893
is
D, F,
A!?,
of
minor,
DONIZETTI.
" Favorita.'
^^~^"Tj^=p^^
=1S^ iSfe
SE
Ex. 390.
'
S r
r^1?
s~is
s~t~s Hr
?f
I*
i
^
i
~ Mir ^^~1~~ U- 3^^zMas5p5t

i
155
>- J:
.at
-it
Ex. 391.
oJLl
WEBER.
t
. .
" Oberon."
156
MUSICAL EXPRESSION.
;
constitute a chord of the dominant seventh
that
is
to say, that
a chord of the dominant seventh

in
may be
considered enhar-
monically as the chord of the augmented sixth, and be resolved
an unexpected and startling manner (see page 145). And, same way, a chord of the augmented sixth may be considered as a chord of the dominant seventh, and be resolved
in the
in
quite a different
:
manner
to that implied
by
its
written
appearance
Ex. 393.
HAYDN.
Ex. 394--^-
BEETHOVEN.
" Senate Pathetique." *.
Ex. 395.
MOZART.
Minuet of the Sonata
in
A.
Chord of the Augmented Fourth and Sixth.

This chord, like the preceding one, has its root on the sixth note or submediant of a minor scale, to which is added the
next harmonic note, plus the fourth and sixth of the root.
157
Thus
in
reality this last
minor, A|?, C, D, FJ; in A minor F, A, B, DJ. In chord is the second inversion of the chord of
the leading seventh in C major, with chromatic alteration. chord of the seventh or leading-note in C major is B, D, F, A
The
;
the
second inversion with chromatic alteration would be F, A, B, D$.

Ex. 396.
BEETHOVEN.
Op.
13.
-I
8va
Ex. 397.
LYSBERG.
6.
The Chord of the Augmented Fifth.

is
The
Thus,
in
root or fundamental note of this chord
the third note

it.
of the minor scale, plus the two harmonic notes which follow
in
minor, E>, G, Btf

its
in
minor, C, E,
scale, is
Gf
This
chord, though owing

it,
origin to the
minor
never used
and only appears
in the relative
major:
GODEFROID.
&
Ex. 398.
153
Ex. 399.
MUSICAL EXPRESSION.
ROSSINI.
" Guillaume Tell.
ar
Chord of the Seventh with
the
Augmented
Fifth.
The chord
of the dominant seventh sometimes appears with

fifth
:
an augmented
WEBER.
" Invitation."
*fc
Ex. 401.
BEETHOVEN.
Op.
13.
te
nt
8.
159
The Chord of
is
the
Major and Minor Ninth.
This chord
merely the chord of the dominant seventh, with

:
the major or minor third above, added

^JL.
Ex. 402.
E. PRUDENT.
" Lucie."
OVO^
The
first
chord of the third bar
(A]?,
C, E)?, At])
Bj?|?.
is
evidently
incorrectly written,
and the
Afc|
should be
On
Suspensions.
120 that every note which defers the arfival of the note desired as a rest by the ear must be accented
:
We saw on page
Ex. 403.
BEETHOVEN.
Op. 27.
is
i6o
MUSICAL EXPRESSION.
of the second bar, the
The G(
A}
of the third,
and the
of
the fourth might be omitted, being suspensions, or, in fact,
appoggiaturas. They produce a discord, and require to be much forced, all the more as they are at the same time penultimates of a feminine rhythm (See pages 71 and 121) :
CHOPIN. Op.
Ex. 404.
6.
Ex. 405.
BEETHOVEN.
0#
Discords are produced
:
Discords.
.
i
;
By
2.
the inversions of the chords of

alterations
the seventh and the ninth
of one or more notes foreign to the chord; 3. notes 4. By anticipations of one or more notes 5. By pedalWhenever by means of these inversions a chord pronotes.
;
By chromatic By suspensions
and
duces major or minor seconds tones or semitones it is a discord. The second is the generating element of discords, as the
third is of concords.
have seen on page 144 that every distant modulation so to speak, be imposed upon the ear by force. The same must, applies to discords of long duration. The more heterogeneous
contained in a chord, and the more harsh and discordant they sound, the greater force do they require.
are the
We
elements
161
The
upon
ear will
it
:
not accept them
till
they are violently thrust
Ex. 406.
MOZART.
Minuet.
One
of the boldest
and most beautiful discords
is
that in the
Adagio of Beethoven's Moonlight Sonata. force are required to impress it upon the ear
Ex. 407.
What power and

:
-J:
M=^ ^Tj-. ^
5f=?i
^
-^
:Jr
Ex. 408.
Tjrp
F-
l62
MUSICAL EXPRESSION.
V.
After reading a piece through, and before attempting to play that it, we ought always to look for the expressive elements in it
is
to say, the notes
which are exceptional as to metre, rhythm, key,
or
mode
in other words, for the syncopations, long or short notes
occurring by exception, repetitions, higher or lower auxiliary

notes, reiterated notes, chromatic notes, intervals or chords, high
notes replacing low notes, notes which change the direction or plan of the rhythmical design, suspensions or appoggiaturas, &c. The pupil should discover the notes and passages requiring
accentuation, and should
mark them himself
accents, stops,
all
commas,
/'s, s/'s, ff* s, p's, pp's, &c.,
and correct
the faulty
expression marks.
The expressive accent must be scrupulously avoided in all pieces in quick tempo. In passionate and expressive pieces in slow or moderate time it must be used, but always with care
and moderation. Nothing sounds so pretentious as a piece of simple and uniform structure overloaded with expressive accents.
CHAPTER
VII.
ON THE EMOTIONAL ELEMENT.

difficult part of our subject, because brings us face to face with two schools of playing professing One demands a uniform diametrically opposite principles.
;
WE now come to the most
it
rate of time, without accelerando or ritardando
the other, on
accustomed to quicken and slacken with every rhythm, every change. The first regards regular and mechanical precision as the height of perfection the second will alter the
the contrary,
is
;
time at every phrase, and not
feel
consequent irregularity.
Now
anything objectionable in the we have observed that the
warmest partizans
precisely those
is
for the
who
uniform and regular rate of time are have no feeling for expression. Their idea
that as there can be no obstacles or technical difficulties for a
true virtuoso, nothing can arrest his course, and consequently
there can be no reason for his modifying the tempo.

objection,
is
But
this
though no question of technical difficulties, but of aesthetic obstacles which excite or deaden the musical feeling. The
This
artist
at first sight plausible,
has no foundation.
may have overcome
all
technical difficulties, but

all
it
does
not follow that he should remain insensible to
the changes of key, mode, metre, or rhythm contained in the piece of music which he is performing. A barrel-organ is insensible to these
changes, and that is precisely the reason why it is so monotonous and unpoetic. Here the extremes meet, and those who have no musical feeling naturally agree with those who, simply to
maintain a severe asstheticism and cold archaism, would sacrifice expression to perfect mechanism and minute observance of
dynamic
thing
is
effects.
In this case, as in
all
similar cases, the right
to discover a juste milieu

rights,
demands and individual
which shall satisfy general and this can only be done by
164
MUSICAL EXPRESSION.
taste.
judgment and good
Allegros, Galops, Valses, &c.,
In quick pieces, such as Prestos, it seems natural to keep up a
uniform rate of time, only slackening with the loss of power
And
and impetus, or when there is an evident change in the structure. in slow expressive pieces, such as Nocturnes, Rondos,
Reveries, Andantes, Adagios, Romances, &c., it seems equally natural to modify the time. In such pieces there should be accelerandos and rallentandos according to every change of feeling,
and wherever the expressive structure of the phrases, or
their
motion up or down, seems to require them. To play pieces of this sort, full of rhythmical, harmonic, and expressive changes, in a uniform tempo, would be to destroy all their distinguishing
On the other hand, characteristics, and rob them of all poetry. to play quick pieces with continual changes of time is to deprive
them of
all spirit
and
life.
We
famous
propose to give
artists of the
examples of passages where the most day are accustomed to make these changes
for himself
and the reader must decide follow them or not.

of tempo,
whether to
Before stating the principles and rules to which our
own
experience has led us, it will be well to introduce the reader to the only practical indications which we have been able to
discover on the subject. These are in Czerny's Pianoforte School. In no other School or Instruction Book have we ever
found a single practical observation on the emotional element,

nuances, and changes of time, or on the metrical, rhythmical, or expressive accents. With the exception of the following quotations, therefore, the directions
contained in this volume are
entirely original.
In Part III. of Czerny's School, page 21, we read as follows: " A ritardando or rallentando is used: I. On the return of the
principal subject
;
2.
When we
melody 3. On long notes strongly accented to a different time 6. On 5. After a pause

; ;
separate a phrase from the 4. In the transition

;
the diminuendo of
a quick lively passage 7. be played a tempo giusto ;

;
Where
8.
the ornamental notes cannot
In a well marked crescendo serving

as introduction or
;
165.
wind up to an important passage 9. In or the the free where composer performer gives passages play to his fancy; 10. When the composer marks the passage expressive ; n. At the end of a shake or cadence.
"
The words
calando, smorzando, &c., are also used for riiar-
dando.
An accelerando is required in an ascending phrase, and implies passion and agitation." Such are all the rules which the performer has to guide him, as to the emotional element in music, through the difficulties of
a musical work.
"
and rectify Czerny's rules, what has been already said on by repeating and the time that 126: expressive accent occurs pages 9 Every on one or more consecutive notes, the feeling of the musician is excited by the obstacles which he has to surmount, and he becomes animated, impassioned, or deadened. The normal
to complete
We will now proceed

will begin
and
tempo
is
either
quickened
or
slackened.
The
emotional
element therefore acts detrimentally
upon the normal tempo and
its regularity but, on the other hand, the piece gains and expression. Thus the expressive accent, the emotional It is evidently element, and the nuances are inseparable. and to without impossible struggle expend energy producing a
destroys
in life
which must be followed by a corresponding slackening, producing a thousand nuances and contrasts of tone. In fact, both physically and
certain
in
amount of animation
the
tempo,
morally, to ascend means to strive, to rise to a higher level, against the lowering tendencies of our nature. The steeper the
more numerous the obstacles, the greater must and the greater the effort so much the quicker will our pulses beat, and so much the sooner shall we be exhausted. But once on the summit there is a feeling of satisfaction and relief, and we breathe freely in the happy consciousascent and the
be the exertion
ness of victory.
This comparison
furnishes a simple and
rational explanation of the natural tendency in all musicians to accelerate the beginning of an ascending phrase, and slacken
l66
the end of
it,
MUSICAL EXPRESSION.
and
also of the inclination to dwell or drag
on the
high notes.
To
to reach a lower level
descend, on the contrary, both physically and morally, is to follow one's natural tendencies ; and
the rate of the descending motion will be in proportion to the length and uniformity of the descent. And thus, in descending passages, the performer, while feeling inclined to hurry, will know that he must rather slacken his pace, lest in the end
he should lose control.
However, when a
series of
uniform
and similar groups,

of a
it
in descending motion, occur at the

for
end
that
piece, hurry, case the impetus loses itself without injury to the breadth of the rhythms or the regularity of the ensemble. (See pages
is
perfectly justifiable to
in
172 and 175.)
composition may be compared to a country passed through a by traveller. As long as the road is smooth his pace is reguIf it is interrupted by ditches and banks, rough places and lar.
And just as rising-grounds, his walk and his pace will vary. the traveller regulates his pace according to the nature of the ground, the musician will modify his rate of tempo according to
ascending or descending structure of the phrases, and the quantity of the harmonic transitions and undulations. From these analogies the following inferences may be
the
drawn
We
must
accelerate:
i.
Where
several
follow one another consecutively, or
where a
expressive notes single note of
exceptional length occurs at the beginning or in the middle of a
rhythm
2.
Where
several
notes, or groups of similar notes, occur

;
exceptionally after an ascending or descending progression 3. In exceptional passages, which introduce agitation
or
passion into the middle of
an Andante or Adagio.
several consecutive expresthe appear suddenly beginning of a rhythm without there being the proper time to give them the necessary
i.
We
must slacken:
Where
at
sive notes
impetus
ON THE EMOTIONAL ELEMENT,

2.
I6 7
Where
the force expended on ascending or descending

;
produces fatigue and exhaustion In exceptional passages, as in the middle of an Allegro, 3. a where more complicated or expressive structure occurs with a
series or progressions of notes
change to calmness, gravity, or melancholy

4.
On expressive notes or passages, reiterated notes, and higher
auxiliary notes at the end of a phrase. Before attempting to apply these principles in detail
we must remember that the rallentando and accelerando which expressive

notes are capable of producing depend: i. On their position. Thus when a note is by exception repeated several times consecutively, it is necessary to make an accelerando at the begin-
ning of the rhythm, and a rallentando at the end. (The higher auxiliary note requires a rallentando both at the beginning and end of the rhythm)
;
2.
On
the general structure of the piece.
It
has been s%id
exceptional ascending or descending but if the sequences require accelerandos and rallentandos general structure of the piece is of an ascending or descending
that
passages
with
',
nature there must be no rallentando or accelerando
Ex. 409.
AUBER. "
Un
Jour de Bonheur."
i68
Ex. 410.
I
MUSICAL EXPRESSION,
*-
\ir

SONG.
Ex. 412.
169
"L'Absence."
Quand ton
des
tin
au mien
al- lait
s'u
nir
Ange
do
re,
pres
de
toi
c'est
la
vi
e.
a note exceptionally repeated several times at the beginning, or in the middle of a rhythm DONIZETTI. " La Favorita.'
2.
:
On
Ex. 413.
accel.
(See also Examples Nos. 298, 299.)
Exceptional long notes, and repeated notes, demand special animation when they occur in syncopation, or when they are accompanied by a bass in ascending or descending motion
:
Ex. 414.
V. MASSE.
" Noces de Jeannette."
=*
MUSICAL EXPRESSION.
MOZART.
Fantasia.
3-
in
a group of notes exceptionally repeated, ascending or descending motion

:
On
if
the bass
is
Ex. 416.
accel.
Ex. 4:7.
BELLINI.
'
Norma.'
A
accel.
2E5
But
no
accelerando
:
is
required
when
the
bass
remains
stationary

Ex. 418.
171
WEBER. "Oberon."
4.
(See also Chopin, Op. 6, Nos, 4 and 5.) On the higher auxiliary note, when
:
it
is
repeated several
"
times at the beginning of a rhythm ~

iix 419.
WEBER.
Oberon."
^-^
acccl.
Ex. 420.
BELLINI.
" Norma.'
5.
On
modulations which occur at the beginning or end of a

(See
rhythm.
Example No.
368)
BEETHOVEN.
f t?*\'
? -. i*- w-P- f^-f^1
The
last
bar but one in this Example

its
is
made extremely
for
it
expressive by
complexity, and requires great breadth,
172
MUSICAL EXPRESSION,
:
contains
(i.)
A modulation
(3.)
into the
is
dominant
(2.)
notes are short;
The melody
in ascending motion; (4.)

;
The melody The

in
lower part
is
also in ascending motion
(5.)
The bass moves
contrary motion to the melody.

of short notes at the 6. On descending figures composed end of a rhythm, when the note which follows these figures is
long, or is followed
Ex. 422.
by a higher note
x-v
WEBER.
" Oberon."
accel.
(See also bars 3 and 4 of Example No. 83.) 7. In Codettas of a simple and uniform structure, which contain but short notes
:
T-.
MOZART.
Fantasia.
accel.
AUBER.
l"
" Fra Diavolo.'
(See also Mozart's Sonata in A, 5th Variation, bars 8 and 19.)

(b.)
Accelerations produced by notes,
and groups of similar
notes with exceptional ascending or descending progressions.
We
i.
must
accelerate
On
notes which proceed

:
exceptionally in
consecutive
ascending motion

Ex. 426.
173
HAYDN.
s:
accel.
tf-i-z^nzszi:
5th Nocturne.
Ex. 427.
FIELD.
"J/ '^"TTi"~^rn
t7^
a
aco?/.
._,,7
(See also Example, No. 305, bar 3.) On notes which proceed exceptionally in ascending or descending motion at the beginning of a rhythm, and have a
2.
stationary note as a pivot

Ex. 428.
WEBER.
" Invitation a la Valse.
Oui,
fier
et
li
bre
comme un
roi.
cres.
accel.
(See also Beethoven, Op. 27, No.
2,
Presto agitato, bar 21

13.)
dementi, Op.
36,
No.
2,
Allegretto, bars 12 and
MUSICAL EXPRESSION.
3.
bass
When, move
at the
beginning of a rhythm, the melody and the exceptionally, in contrary motion, whether con:
verging or diverging
Ex. 430.
,__..
KUHLAU.
Op. 88.
(See also the Allegro of the Senate Pathetique, bars 5 and following, bars 83 and following.)
4.
Where
small rhythmical figures, or similar groups, are

:
repeated exceptionally in ascending or descending progression

Ex. 431,
GOLDBERG.
"
Priiitemps bien-aime."
accel.
ic3
rail.
CHOPIN.
Op.
6.
(See also Chopin, Op. 7; Beethoven, Presto Agitato of the
Sonata
in
CJ
minor.)

small groups of 5. At the end of pieces in quick time, on notes repeated several times consecutively, the bass remaining
stationary
Ex. 433.
:
BEETHOVEN.
Sonata
in Cif minor.
-&**=?=
T=^
Ex. 434.
MOZART.
Minuet of the Sonata
in
A.
accel.
rail.
=t=
ascending descending motion, at the end of phrases in quick tempo;
Ex. 435.
(See also Mozart, Allegro of Sonata in F.) 6. On runs, or similar groups of notes in
or
-9km
MOZART.
Sonata
in F.
"frr-*
MiEztS
(See also the last bar of Beethoven's Senate Pathetique and

of his Moonlight Sonata.)
(c.)
Accelerandos produced by passages where the structure
is
provocative of an exceptional amount of passion and excitement.
We
I.
must accelerate
In playful or
scherzo-like
notes, or groups of similar uniform notes
passages consisting of short which occur in the
76
MUSICAL EXPRESSION.
midst of expressive phrases, or passages composed of long notes

:
BEETHOVEN.
Ex. 436.
" Sonate Pathetique."
A.
bi
-fa
-\
*_
f^f
MOZART.
Sonata
in F.
(See also Chopin,
Op.
64,
No.
2,
bar 31; and Dussek's
"L' Adieu.")
2. In phrases which are exceptionally accompanied by chords struck together (accords plaques), succeeding a phrase in which the chords are spread, or in which the harmonies follow a
regular progression
FIELD.
5th Nocturne.
-flTflErEirCB
1
(See also the Adagio of the Senate Pathetique, bar 17.) 3. In syncopated phrases and passages, interrupted by rests
Ex. 439.
.
MOZART.
Fantasia in
minor.

MOZART.
177
Sonata in F.
(See also Mendelssohn's Rondo, Op.

4. In exceptional
14.)
phrases and passages of syncopated strucBEETHOVEN.

Op.
26.
ture
.kk*_
5.
Ill
phrases exceptionally accompanied by ascending or de:
scending arpeggios
Ex. 442.
MENDELSSOHN.
Rondo, Op.
14.
(See also La Tntite by Stephen Heller." This brings us to the end of the first part of this chapter. Where Czerny gives the single rule that " an accelerando is
required in an ascending progression, and implies passion and agitation," we have found eighteen, some of which entirely contradict his remark, a fact
which
is
an evident proof that the
greatest masters have barely touched
upon the question.
II.
ON RALLENTANDOS AND
RITARDANDOS.
(a.)
Rallentandos arising in pieces in slow or moderate tempo

the occurrence of one or
from
two consecutive expressive notes at
the beginning of a rhythm.
78
MUSICAL EXPRESSION.
Rallentando must be made

i.
On
the rest which follows the

if
it
first
note of a staccato
the highest note in the rhythmical design followed by the next interval below it and of equal value.*
rhythm,
is
DELIOUX.
Ex. 443
Carnaval Espagnol.
rail.
roll,
(See also Examples 231, 232.) On the initial note of a legato rhythm, if it is by exception a high note, and succeeds rhythms which have begun with low
2.
notes.
It is understood that in pieces in quick tempo we must entirely abstain from dwelling on the first high note. For instance, in the Invitation a la Valse it would be absurd to dwell on the F
that
on the pretext the of the note highest rhythm. But this by exception mistake is sometimes made by some of the most famous musicians
at the beginning of the third bar of the Allegro,
it is
:
effect
See on page 139 the description of the processes used for obtaining this in all its force. It may be used in Nocturnes, Caprices, Reveries, Romances, &c., on the highest note at the beginning of the second rhythm, when this is only a repetition of the former one that is, when the notes and figure of the first bar return a second time, as in the Schulhoff Examples, Nos. 335, 337. This rallentando must be used with great moderation we have ventured It to recommend it because we have heard it used by the most eminent artists. does not actually alter the time, for the extra duration given to the rest is com;
;
pensated for by the quickening of the following notes.

Ex. 444.
ra/f.
m//.
(See also Examples 233, 337.) On the rest following the first note of a rhythm, if this is a repeated high note which proceeds by a wide ascending skip,
3.
and
is
This
followed by a lower note. is the only case, to our knowledge, where
it is
justifiable
note (a low note) of one rhythm with the first (a high note) of the following rhythm without separating them by a rest. (See Examples 231, 232.) 4. On the rest which follows the highest note of an ascending
in instrumental
music to connect the
last
progression followed by a lower note

Ex. 445.
-
CHOPIN. Op.
7,
No.
4.
5
ral1 '
strctto.
->
(See also Examples 342, 343.)

5.
On the
rhythm
:
of a
higher auxiliary note which occurs at the beginning in a group of introductory or starting notes (notes
d'tlan)
Ex, 44 6,
CHOPIN.
Op.
7,
No.
3.
(See
*
Example
348.)
Introductory or starting-notes (notes d'elan) are those occurring in the last bar of a rhythm and yet belonging to the following rhythm (see page 61).
N a
So
6.
MUSICAL EXPRESSION.
On
the
first
modulation, a change of
Ex. 447.
notes of a rhythm which embraces a distant mode or character, &c.

:
9
mf
mI
~M~ m
I
'
9,
-H -=3
"1
imfci
Ex. 448.
AUBER.
"
Un
Jour de Bonheur."
^n r
hfe-

^
Ex. 449.
^
Si
MOZART.
Fantasia in
minor.
Rallentandos produced by one or more expressive notes in the middle of a rhythm.
There must be a rallentando

i.
On
:
a high note which by exception forms a pendant to a
low one
Ex. 450.
AUBER.
"
Haydee.
rail.
2,
On
a note which by exception replaces a higher or lower
t8a
note,
MUSICAL EXPRESSION.
and thus changes the direction of the preceding rhythmical design. (See Examples 319, 320, 321)
:
Ex. 452._*
MOZART.
Sonata
in
A, 5th Variation.
The second note
of the
first
bar
the
which occurs by an
;
ascending skip, changes the scheme of the design the high F of the following group is the higher auxiliary note and replaces
the lower note
;
the
first
note of the last bar
is
a reiterated note.
re-
Written in the following manner, the passage would only quire a rallentando in the last bar
:
Ex.453.
Here the
;
last
note of the
fifth
and sixth bars
is
in ascending
motion the sixth and seventh begin with a reiterated note, and the seventh moreover contains at the end a higher auxiliary All these exceptional facts render this phrase expressive, note.
and demand a
rallentando.
Rallentandos at the end of an ascending or descending progression resulting from fatigue and exhaustion.

i.
At the end of an ascending or descending progression,

if
especially
the design changes (see the preceding example of
Chopin).

Ex. 455.
183
Op. 30, No.
2.
CHOPIN.
*=
r
IT
CHOPIN.
Ex.456,
Op.
7.
No.
2.
JN3
rail.
At the end of these examples there must be a rallentando, not only because of the exhaustion, but because the figure of the third beat in the last bar has changed.
a succession of high notes, gradually rising, and suddenly interrupted by a low note. (See Mozart, Sonata in A. Fifth Variation, bars 5 and 6): BEETHOVEN. Op. 49.
2.
On
Ex. 457.
L-Hr
trail
Ex. 458.
MOZART.
to
s^pghfi-Hj*
j
^y^^f
I
~W
S&
rail.
Ex. 459.
**
rail.
This rallentando
is
especially required
if
each of the high
i8 4
MUSICAL EXPRESSION'.
is
notes
repeated.
preceded by a rest, or if the highest is, by exception, (See Mozart, Sonata in A, Fifth Variation, bar 7)
:
Ex. 460.
^-
-^ -^~
MOZART.
# rail.
3.
On
:
descending groups following immediately on ascending

BELLINI.
^P" Norma."
ones
Ex. 461.
*\m
*^**
fcfi-
acceV
ra//.
Ex. 462.
^GOUNOD. ^ ^ JJ ^
" Faust."
.-
accel.
*
rail.
(See
4.
Example by Goldberg, No.
431.)
:
a group of low notes following high ones MEYERBEER. Ex. 463. rail. A
On
>
" Robert.'
(See the last bar of
Example
384.)
Rallentandos resulting from Exceptional Structure.
We have already said that certain

tion or agitation,
i.
structures produce animaand others calmness, melancholy, or reverie. There must be a rallentando :
In expressive melodious passages, introducing long notes

in
and rich harmonies, when these occur, by exception,
an

Allegro of uniform structure composed of short notes. (See Example 396 from Beethoven, Op. 13, and bar 43 of the Rondo
from the Sonate Pathetique)

Ex. 464.
^
piu lento.
MOZART.
Sonata
in F.
In expressive or dreamy passages introduced into the middle of quick movements DELIOUX. " Carnaval Espagnol." Ex g
2.
:
Ex. 466.
MENDELSSOHN.
Op.
14.
ROSSINI.
'*
" Barber of
Seville.''
piu
lento.
into. Tempo uno.
Ex. 468.
CHOPIN.
86
MUSICAL EXPRESSION.
The
higher and lower auxiliary notes, chromatic notes, triplets, and reiterated notes in this last passage give it an expressive and pathetic character which demands a rallentando.
after being given in the major are 3. In passages which repeated in the minor
:
Ex. 469.
ROSSINI.
"Guillaume Tell."
I m'i fFrrF^ ^-rt- vr^r^ ^.

i
'"
raff.
Ex. 470.
BEETHOVEN.
Adagio, Op. 27.
J>
Ex. 471.
MOZART.
=s
Fantasia-Sonata.
^
The most common
expressive phrases.
rallentando
is
rail.
that at the end of soft and
musical feeling will is simple enough the final note in every musical phrase is, so to speak, the pivot or key-stone of the arch, the climax and end
;
Even performers with the very smallest The explanation instinctively employ this.
of all attractions and aspirations. So long as the ear still has a desire, so long as it expects more sounds, there can be no final ending. A musical phrase has no definite conclusion
unless
its last
note
is
completely satisfying.
There are two other things, besides the conditions enumerated en pages 63, 64, which contribute largely to give the final tonic
its terminal property. These are of retardations or appoggiaturas.
:
a slower tempo and the use

tempo, by increasing the duration of the final notes and lengthening the distance between them, diminishes their
The slow
relative
power and impetus.
Each one
loses
attractive power,
until the last
it
progressively loses in altogether and the
In an accelerando, on desire of the ear becomes paralysed. the contrary, the duration of the note is lessened and they are drawn closer together. This produces an increase of attractive power,
and a greater excitement
in the desire of the ear.
To give a completely terminal feeling to the last note of phrases in quick time, the last chord has to be repeated until
the final impetus, and the demands of the ear, produced by the If the final tonic appears speed, are appeased and extinguished. too soon, or is struck too abruptly, the abrupt ending leaves a
void,
and
is startling.
musician would
fill
in this void
by
mentally adding a coda (see the end of the Senate Pathetique). If we play the following with an accelerando :
x.
472.
-r
we
feel
impelled to add a coda, even

:
if it
be only the octave

or
note above, as follows

Ex. 473.
or
But make a rallentando on this ending, and you obtain a perfect and complete close without a coda
:
Ex. 474.
ra.
'
It is a strange phenomena that it is necessary to make a r alientando to deaden the desire of the ear at the end of a terminal
phrase, and again to stimulate and excite

codetta.
it
by a rhythmical
and thus gain an importance which
Retardations form an obstacle to the note desired by the ear, is detrimental to the final
188
note,
MUSICAL EXPRESSION.
by the force and exceptional length given to them. (See page 20.) The ear desires one particular note, and is unwilling to accept another, unless it is imposed by force, and this causes an exhaustion and rallentando which are detrimental to
1
the final impetus.
the
Rallentandos resulting from one or more expressive notes at end of a rhythmical phrase or period.

i.
a long note preceding the final note, especially includes a shake

:
On
if it
Ex. 475.^
tr
Ancient
air.
rail.
2.
On
a note exceptionally repeated several times
Ex. 476.
BEETHOVEN.
Op.

Ex. 479.
189" Lucia."
DONIZETTI.
rail.
(See the last bar of Example 501.) 4. On the higher auxiliary note at the end of the penultimate bar
:
Ex. 480.
AUBER.
" Muette.'
rail.
Ex. 481.
MERCADANTE.
Ex. 482.
CHOPIN.
rail.
Op. 55, No.

rail.
i.
5.
(See Chopin, Polonaise, Op. 3, 8th bar.) On the reiterated notes at the end of the penultimate bar
Ex. 483.
MOZART.
i
Fantasia.
Ex. 484.
CHOPIN.
Op.
64,
No.
2.
rall._.
go
6.
MUSICAL EXPRESSION.
On
is
the penultimate note,
if
the last one

:
is
a reiterated note:
that
to say, preceded
by an anticipation
P
Ex. 485.
ti-f-
OPIN
13=
-
-4-
Ex.
486.,,
(See the last bar of Example 384, and the March from Handel's Judas Maccabaeus.)
7,
last
bar of the
On
especially
Ex. 487.
the repetition of short figures in the penultimate bar, if it contains higher auxiliary notes
:
Swedish melody.
rail.
rail.
Ex. 488.
DONIZETTI.
" Lucia.'
[~IL^[
L^
rail.
Lj
8.
On
crotchets occurring
by exception
:
in the penultimate
bar.
(See
P
Example No.
308)
EX. 489.

at the
IQl
end of a phrase.
Nevertheless,
if
the passage be a florid
one, replacing a long penultimate note, there tando.

Ex. 491,
must be no
rallen-
rail.
MEYERBEER.
Ex. 492.
" Huuenots.'
rail.
Ex. 493.
DONIZETTI. " Favorita.'
:fe*H
MUSICAL EXPRESSION.
the last notes of a rhythm proceeding in consecutive descending motion and following a high note. (See page 137)
10.
:
On
Ex. 495
MOZART.
"
Don Juan."
rail.
ii.
On
descending notes
at,
the end of a penultimate bar
Ex. 4 96.
^V
i
<T
r
ROSSINI *
I*-
Ex. 497.
rail.
ROSSINI.
12.
On
the last notes of a suspended rhythm

rail.
,,
Ex. 498.
WEYRAUCH.
" Adieu."
Ex. 499.
MEYERBEER.
rail.
" Robert.'
At the end of a phrase which is, by exception, polyphonic and contrapuntal, and contains complicated harmony, resolved
13.
discords, or suspensions, &c.

Ex. 501.
WEBER.
"Oberon."
rail.

Ex. 502
193
MERCADANTE.
(See Mozart, Example 415.) 14. On the last notes of a codetta containing a higher auxiliary note, reiterations, and stationary notes
:
Ex. 503.
(T
DONIZETTI.
" Favorita.'
-J"
~^F
CZERNY. Op. A A A
139.
Ex. 504.
rail.
Ex. 505.
MOZART.
Sonata
in
A.
pedal-points, syncopations, and long notes occurring end of an ornamental group in a cadenza ad libitum. (See the tenth bar of the Senate Pathetique.) 16. On rhythmical repetitions; that is to say, on figures and
15.
On
at the
194
MUSICAL EXPRESSION.
groups of notes repeated several times consecutively, at the end of an expressive phrase
:
Ex. 506.
CHOPIN.
Op. 155, No.
i.
rail.
1
1

Ex. 510.
ROSSINI.
IQ5
" Barber of Seville."
Tempo
into.
We have dwelt
at
some length on
this part of our subject, not
for the pleasure of establishing rules,
but solely to accustom the
student to such minute analysis, and to show the multiplicity of aspects under which the phenomena of the emotional element
present themselves.
We refrain from quoting faulty examples, though they are very

numerous.
rallentandos
of musicians, on the plea of liberty, make where the exciting circumstances require an increase of speed and animation, or accelerandos where sudden obstacles ought to restrain their impetus. A diligent and careful study of the rules and principles given above will enable anyone to apply them to a musical work or phrase, and discover
Numbers
the discrepancies or contradictions between the expression marks which are indicated and those which are wanting and
;
such careful study of a few pieces will convince the reader that there is nothing exaggerated in our assertions,
III.
We have now pointed out the principal places where we have observed rallentandos or accelerandos in editions by the most
famous professors, and in the performances of the greatest artists. But we have only pointed them out. If the reader be a
partizan for the moderate use of the emotional element in tempo, he must study the character of the piece and its normal tempo, so as to judge whether the emotional element can be introduced
without disturbing the general character of the work. In in the element emotional must be used the expressive pieces,
o 2
196
crescendos
MUSICAL EXPRESSION.
and diminuendos, in the expressive passages, in the modulations, and in the ascending and descending progressions, even when not indicated. All errors or contradictions in these
indications
must be corrected, and
for this a
thorough know-
ledge of the terms denoting modifications of the normal tempo is Those most in use are: rallentando, ritenuto, accelernecessar}*. ando, diminuendo, agitato, con passione, passionato, con fuoco, precipitato, animate, strepitoso, pin lento, calando, con moto,
allargando, perdendosi, estinto, marziale, calmato,
pill
meno mosso,
mosso, impetuoso, a tempo, tempo rubato, tempo imo., Vistesso
tempo, stretto, slargando, stringendo, rapido.
When
a very long passage
is
marked
accelerando, rallentando,
crescendo, or diminuendo, we must beware of any too sudden change which would lead to exaggeration. The great thing to aim at is the power of making the most
delicate
force.
and gradual transitions both
in
changes of tempo and
CHAPTER
VIII.
NUANCES, AND INTENSITY OF SOUND.

THE effect of metrical, rhythmical, and pathetic accents is, as we have seen, to produce opposition and contrast the force given
;
to
one note necessarily inducing weakness in

produces shade.
its
neighbours,
just as every effect of light
These accents
would therefore be incapable of imparting poetry to the musical picture without the help of the most skilful gradations and
delicate nuances.
transitions, to soften the notes
bring into
These are necessary to tone down abrupt which are too prominent, to relief those that are not sufficiently perceptible, and
harmonious unity. and Every composition every phrase requires the sonority or The nuances thereintensity of sound suitable to its structure. fore embrace not only the rhythms, note for note, but the whole of a musical composition from its first to its last phrase. They form the cement or link which unites, connects, and combines
to blend the contrasts into
these different
* dynamic elements.
Of all the phenomena of expression, nuances seem to be the most arbitrary. And yet this is by no means the case. They are really in such intimate relation with the structure of the
phrase that
impossible to separate them, for in the case of any given phrase there is a certain degree of intensity of sound which suits it, and no other. In this, as in all things, there are
it is
certain rules
taste,
It
which are instinctively observed by anyone with and which the artist cannot depart from.
tions of expression, this

is
should be recognised, moreover, that of all the manifestais the one to which the most care
generally given.
The
*
old composers
Seep.
115.
gave no other
in-
198
MUSICAL EXPRESSION.
dications but those referring to the nuances, and it is the same Even to this day the greatest professors pay no attention to the metrical, rhythmical, and expressive
in old editions.
accents,
and confine themselves to teaching
their pupils the
mechanical processes and the
way
to
manage the
nuances,
and develop the crescendos and decrescendos* To fulfil our task on this point, we shall now establish certain
evident
nuances,
principles
which ought to guide us in the use of and then we will apply them to a critical study of
shall
certain compositions.
Thus we
have the threefold advantage of ascertaining

faithfully
how
far
composers have
observed these principles

corrections as
of being able, in case of need, to
make such
seem
reasonable
the
manner
and of familiarising ourselves of applying them.
by
this practice with
I.
RULES FOR THE STUDY OF NUANCES.
principles for directing both the performer and the composer in the use of the processes relating to nuances, and intensity of sound, are as follows
:
The
i.
Crescendos, that is to say, a gradual increase of force
sonority,
to resist
and must be employed in ascending passages. To rise is natural tendencies and attractions it means struggling
;
against obstacles and conquering them. Struggling implies a display of force, followed by exhaustion and fatigue. (Seepage " The Emotional Element 165: ")
:
Ex. 511.
ROSSINI.
" Stabat Mater."
>~f^r P^-\
NUANCES AND INTENSITY OF SOUND.
199
2. There must be a decrescendo, and a diminution of sonority and vehemence in descending passages. To descend is to yield passively and without effort to natural tendencies
:
Ex. 512.
BEETHOVEN.
Op. 75, No.
2.
Herz,
mein herz was
soil
das
ge-ben?\Vas be
dran-get dich
so
200
MUSICAL EXPRESSION.
in
Though
bar 3
the
melody descends,
it
still
;
requires
great energy, because it contains: (i.) A high note (2.) The chord of the subdominant (or the 3rd chord of At?) (3.) A modulation into the submediant (4.) A series of long notes
;
notes widely separated A in the midst of a melody in consecutive motion (6.) doubling of the parts, both in the melody and in the accompaniment (7.) Contrary motion between the melody and the bass
three crotchets in succession
;
(5.)
Two
(8.) Four crotchets to a bar in the bass, instead of two minims. 3. The more parts there are in a passage, the greater must
be
its
sonority.
more
force
than one.
4.
the piano, for instance, it is evident that required to set six or eight strings vibrating (See the Example to the 5th rule.)
is
On
longer the notes, the greater must be the force with which they are struck, so that the tone may be sustained.
5.
The
The
shorter the notes the less force
is
required
Ex. 515.
STEIBELT.
6.
The more
force required.
energetic the metrical figure, the greater the Passages containing the third and fourth figures,
:
dotted or with rests

J~.
f-
or
first
require a fuller tone than those containing the figures, or

:
and second
2OI
j
Ex. 516.
3"
CLEMENTI.
Op.
26,
No.
2.
WEBER.
" Invitation."
~T4-_SE
Ex. 518.
p-t
"
r-
g=
MEYERBEER.
Huguenots/'
Jd
0|
L_
"
J
""
|
m
,
*|
gv
("See also
7.
great sonority for instance, the second inversion of the third chord, or subdominant, and the first and second inversions of the
;
Certain
the Minuet of Haydn's i2th Symphony.) chords of an impressive nature require
fourth chord formed on the supertonic, require force and energy when they occur by exception, or at the beginning of a
subordinate phrase.
519.
(See page 117)
WEBER.
" Oberon.
<i
t-jt.
ft
i-,^r
1
it
202
Ex. 520.
MUSICAL EXPRESSION.
ROSSINI.
" Guillaume Tell.
_|
L4-.
203
The accompaniment
keyboard.
triplets of quavers in a bar,
of this passage contains twenty-eight and extends almost over the whole
The
initial
notes of each beat descend in con-
secutive intervals, whilst the

extraordinarily
effective,
melody ascends. This passage is and is, in fact, one of the finest
compositions
Ex. 522.
we know
in the style of Thalberg.
LEYBACH.
5th Nocturne, Op. 54.
The modulation from
into El?, in the third bar,
and the
See the change of design, give great force to this passage. Adagio of the Senate Pathetique, bars 41 and 42 Mendelssohn, Rondo Capriccioso, pages 3 and 8 Chopin's Polonaise in A
; ; ;
Schulhoff's Nocturnes, Op. and 19 Thalberg's Fantasias on the Huguenots, and Moi'se Ascher's Brindisi from the Traviata " Kriiger's Harpe Eolienne," &c.
; ;
;
10. The sonority must be varied and full of contrasts, so as to avoid monotony. Continuous fulness of tone is fatiguing to the And therefore it ear, which requires the relief of soft passages.
is
necessary to swell and diminish the long notes and the repeated notes. (See the expressive accent, page 130.) Every subordinate phrase, after a modulation, or after a passage with an energetic close, requires softness, especially if
204
it
MUSICAL EXPRESSION.
begins
with the chord of the dominant seventh of the
original key, or is
composed of short notes

LINDPAINTNER.
in
an ascending
progression
Ex. 523.
"The
Standard-bearer."
Ex. 524.
BOIELDIEU.
"
La Dame
blanche.'
Nevertheless,
it
if
must be accented,
the subordinate phrase contains long notes, in spite of the chord of the dominant
when the end of the preceding phrase is soft. a small group of low notes occurs suddenly after a series of high ones, there must be a sudden pianissimo :*
seventh, as also
When
VERDI.
Ex. 526
MOZART.
Sonata
in
A, Minuet.
always most striking. Rachel and Ristori never produced so as when, after displaying their utmost force and power, they restrained their sullen heart-felt storms, their passionate vehemence, to a mere stifled murmur. One of the most striking examples of this in all music is in the Eroica Symphony, at the entrance of the episode in E minor, when the sudden piano, after in the working out of the first movement the tremendous explosion of the preceding three pages, has an extraordinary effect. But Beethoven's orchestral music is full of similar contrasts.
is
* This effect
much
impression

Ex. 527.
2O5
MENDELSSOHN.
"Auf der
Wanderschaft,'' Op. 71.
& *4
6
ih
-
Und
wie ge-win-ket
re
Hand; und
sah, wie sie
den
=siss
Mund
ge-rcgt,
/.
-^
*ih
-
fczfc
-
und
\vie
ge-win-ket
re
Hand.
KUCKEN.
"
L'PIirondelle," Duo.
Et sous nosyeux,
Ex. 529.
El-le reprend son
vol
joy-eux.
DONIZETTI.
"
La
Iîlle
du Regiment."
tZ-
-*
played an octave higher they will a produce fresh, strong augmentative effect. After an ascending progression, where great force has been exIf these four last bars are
pended, there should be a sudden pianissimo on the highest note

MENDELSSOHN, Op.
Ex.530.
14.
*^=?==
PP.
206
MUSICAL EXPRESSION.
BEETHOVEN.
Waltz, No.
2.
Ex. 532.
Ditto.
(See also the Andante and Adagio of Weber's Sonata, in A,
Op.
39-)
fifth
In this last quotation there must be no pianissimo in the bar on the highest note. In Example No. 531, after
the
highest note, there is an abrupt return to the original key of but in No. 532, on the contrary, there is a the phrase
;
sudden modulation from
immense energy and

the ear.
Though
F minor to D^ major, and it requires fulness of tone to force this change upon from the fourth bar the notes form a
dis-
descending progression, great energy must nevertheless be

played, especially on the chord
bar.
viz.,
207
the sixth
GP, Bb,
El?, in
is
This Example shows
how much
the application of nuances. theme, when it returns after several bars, or before a note
desired by the ear, a sudden rest should be introduced, instead of attacking the next phrase without interruption
;
necessary in Often before the first note of the
discretion
BEETHOVEN.
Op.
27.
CHOPIN
Ex.534.
f=
20-S
MUSICAL EXPRESSION.
CHOPIN.
Op.
7,
Ex. 536.
No.
2.
3
r
similar rests.
14,
In the Adagio of the Fantasia-Sonata, Mozart has marked See also page 2 of Mendelssohn's Rondo, Op.
where such
rests
may
be used.
This
effect,
when made use
of with taste and judgment, in caprices, galops, waltzes, or socalled morceanx de salon, always pleases, but it should never be
introduced in classical music.
A sudden pianissimo should be used in a loud phrase, when a short passage modulates abruptly up into the minor second, for example, from C to Di?, or from A into Bi?. This produces
a.
most singular
effect,
and
it is
difficult to
explain this sudden
pianissimo otherwise than by the absence of impetus, the shockto the musical feeling.
Ex. 537.
BEETHOVEN.
Adagio of the Sonata
in
Cj; minor, Op. 27.
J.
rft
r&
C
r
to
Twenty-eight bars further on there is a modulation from P. where the sudden pianissimo is also very effective.

Ex. 538.
AUBER.
"
Un
Jour de Bonheur.'
y^
In this
is
last
example the modulation to the minor second above
a pedal-note a double reason in favour of the pianissimo, though the end of the preceding rhythm, occurring by a
made on
Nevertheless, if the words skip, was piano. are expressive of force and energy, the passage may be forte in Thus, on the Dj? of the fifth bar in the spite of the modulation.
wide descending
next example, Rossini marks forte in his score, whilst Thalberg uses a piano. This is not surprising, for this sudden modulation may be made equally impressive by great power or extreme
delicacy all that tion of this effect
;
is
is
wanted is a brusque
;
contrast.
The explana-
very simple as there is a progression of strength in the continuous crescendo, the highest note would become almost painfully loud, and, at the same time, the artist
being exhausted, the sudden pianissimo seems almost inevitable. ROSSINI. " Guillaume Tell." ^ Ex.
539.
Sui -vez
moi,
sui
vez- moi,
d'un
mons
tre
per
de
trom-pons
1'es
pe-rance ho
mi
ci
de,
trom
pons
1'es
pe-rance
ho
mi
ci
de.
210
It is
MUSICAL EXPRESSION.
the same with the A]? of the second bar of the next example
BELLINI.
\.
Ex. 540.
" Sonnambula."
. f -r f * fr^-2 O T -U
.>
|
L/-
'
\ '
^
r
f
is fuller,
But
if
the accompaniment
or
if it
:
forms thirds or sixths

STEIBELT.
with the melody, there must be a forte

Ex. 541.
This passage owes
its
force especially to the fulness of the

initial
accompaniment, and to the fact that the forms a sixth with the melody note.
note of each bar
Fulness of tone is required when, after a soft passage, there is a sudden modulation to the minor submediant for instance, from
;
to
Ab
from Dl? to
Bbi?, or
Ex. 542.
enharmonically to A natural, &c. WEBER. " Oberon." A

Ex.5438va.
2H
ADAM.
r^-N^Fl
4
" (See also
Le Lac," Niedermeyer.) Phrases of simple structure on a pedal-bass require very

sonority
:
little
Ex, 544 .
AUBER.
" Premier Jour de Bonheur," airs des Djins.
Ex. 545.
-v
ROSSINI.
" Guillaume Tell.'
pp
Ex. 546.
^
rrri
!
* J
33^ nn rm rrn nm JT~

\o
\\
\*
\\
J ^-d
P 2
212
MUSICAL EXPRESSION.
is
the natural result of the calmness produced by the pedal-bass, which supplies a point of rest to the ear. Of course,
This
this rule
may
be modified by the metrical figure.

|
Thus, a
phrase composed solely of the following figure
^ might
be loud in spite of a stationary accompaniment.
No.
(See Chopin, Op. 9 No. i, Op. 7 Op. 57, &c.) There must be a sudden pianissimo on passages forming an ascending echo
i,
; ;
LYSBERG.
-
Idyllc.
Ex. 547.
Ex. 548.
PP
Echo.
Descending echoes, occurring in unison with the bass, require, on the contrary, a sudden fortissi mo :
Ex. 549.
Descending echo.
ff

Great sonority
is
2I 3
is
required in passages where a small figure repeated in ascending motion, as a rising sequence.
(See Example, No. 461)
:
E X.
550.
BEETHOVEN.
Waltz, No.
2.
>v
pp
rnrrrt
Great sonority and breadth are required in passages introducing
long notes by exception, or the following metrical figures
:
Ex. 551.
MERCADANTE.
Ex. 552.
BELLINI.
_
" Norma.'
m-a
Ex. 553.
DONIZETTI.
"
Favorita."
V=r
Ex. 554.
AUBER.
" Muette.'
The
necessity for contrasts

to
it.
must give way
Every
it
so great that everything else passage which, by its structure or by

is
the forcible elements
contains,
would demand vehemence
should be piano
if
immediately preceded by a great forte.
The
214
force
MUSICAL EXPRESSION.
which ought
its
mainly on
position,
phrase. Thus in there is a descending subordinate phrase modulating into A|?, and beginning with the chord of the supertonic, both which facts
any passage, therefore, depends and on the sonority of the preceding the Adagio of Chopin's Impromptu, Op. 29,
to be given to
seem to demand fulness of tone.
Nevertheless, as the preced-
ing passage has a very forcible ending (two ascending triplets containing chromatic notes), it is more effective to introduce a
sudden pianissimo :
Ex ^^
CHOPIN^ Op.
29,
No.
i.
The same
Ex. 556.
in the following
Example
BEETHOVEN.
Op.
13.
&Sr
NUANCES AND INTENSITY OF SOUND,
215
In the
fifth bar,
though we have the chord of the seventh on
the supertonic of the scale of Eir, there should be a pianissimo and not a forte, because the F, occurring by a wide descending
skip
is
;
minor
3.
By
preceded: i. By a modulation from Eb major to C By an expressive note, the high F of the fourth bar; a reiterated note which, by contrast, strengthens the E)
2.
and softens the F.

See the two
" bars of the " Madchens Klage of Schubert. In the same way, though a modulation would seem to involve
last
if it is
strength and sonority, there must be a pianissimo

ately preceded by an energetic passage
Ex. 557.
-JZ-.L4Z.
, :
immedi-
WEYRAUCH.
" Adieu."
^F
2l6
Ex. 560. con 8va
MUSICAL EXPRESSION.
217
Though
there are only four flats in the signature, the phrase

this
Afr.
which precedes
modulation into
rallentando.
Example is The melody
in D!?,
and
finishes with a
in the last bar but
one
is in
descending motion, and the composer has marked

It is
number
it piano and evident at a glance that this example contains of expressive elements which demand power and
animation.
The
first
bar begins with the chord of the sub-
dominant of Db, the original key, and contains a syncopated repetition, the BP, which is also the longest note in the whole
phrase.
The second bar
contains a higher auxiliary note, the
Cb, minor submediant of Ej?, and is accompanied by the chord of the dominant seventh of E?. These facts would of them-
and animation to the passage. But it is the accompaniment which gives it its greatest impetus, for it is in descending motion, the initial notes of the three first bars
selves impart strength
being Gb, F, Eb, whilst the melody ascends.

therefore
This passage
demands great
fulness of
tone,
and contains the
elements of an accelerando and a crescendo.

" Douce Pensee," Op. 41, page 5, after an Ravina, in his excessively loud phrase, marked con f^toco, gives the following
indication for the next passage: ff marcato, con passione
This passage being built upon a pedal-note, and occurring after a loud phrase, would surely be far more effective if played
pianissimo, for the soft
relief
felt in
and contrast
a
after the loud one.
passage would come as a welcome The difference will be

it
moment on
trying
in
both ways.
218
MUSICAL EXPRESSION.
In Dussek's " Adieu"
we meet with
=
the following indications;
more
to
In bar three, though the phrase descends, a crescendo would be suitable than a diminuendo, since the modulation from Bj?
ends there
in addition to
which the bass

fuller.
is in
contrary
motion to the melody, and the chords are

following this
is
The phrase
marked
dolcissimo,
and twelve bars further on
we have
In the last bar of this phrase we should prefer a diminuendo, followed by a piano, because the phrase is in descending motion,
2ig
on a pedal note, and preceded by a crescendo of several bars, and also because there is no modulation, and the next phrase
begins with
g
_^
a.
forte.
WEBER.
"
Euryanthe
"
(Flaxland's Edition.)
.
__^^^^fl
The pianissimo
there
is
in the last bar but one is evidently wrong, where so fine a modulation as that from AJ? to C, in ascending
motion. It should be forte instead of piano, and all the more so as the preceding section ends softly. Schulhoff, in his Op. n, page 4, writes the following passage without any indications to mark the rhythm in the right hand *
:
Ex. 566.
PP
dolente.
^
-^
1
i
*~^\ '*
ÊFtr
-&--
* ~H^ S'^~*~ir
W >r^p
^
i
~^
On page 3, second line, third bar, he marks a piano instead of passage immediately followed by an appassionato.
a.
forte, in a
22O
If
MUSICAL EXPRESSION.
analyse these eight bars
we
we
shall find that the preceding
phrase ends in Ab major, whilst this one begins in F minor, giving a change of both key and mode, and this demands a The C at the beginning of the rhythm is the highest note forte.
of the bar,
and has,
therefore, a rhythmical accent as well as
an
expressive one. The Bb of the first bar, being a reiterated note, the penultimate of a section and a suspension, should be very loud, whilst the Ab which follows it, being the last note of a
new
feminine section, should be very soft. The second Ab begins a section, and is also a discord and a longer note, and
should therefore be accented.
The
initial
is
of the second bar
a reiterated note, the must also be accented, because it The penultimate of a feminine section, and a suspension. F which follows, being the last note of a feminine rhythm,
should be
soft
it
ends the modulation in Db.
The
last
of
the second bar being the initial note of a rhythm, a tied long The Ab and note, and part of a discord, must be accented.
the
of the third bar, as well as the

if
of the fourth,
must
The they were exceptional long notes. second rhythm ends in F minor. The high F of the fourth bar is the initial note of a rhythm, and being the highest of
be accented as
the group, a long tied note, and part of the chord of the dominant seventh of Bb, must be accented. Observe that the
rhythm of which
of the
first
it forms the initial note repeats the design a fourth higher therefore we have a fresh start The first section of this rhythm is in Bb of the theme.
;
minor, which gives us a change of key, since the preceding rhythm ends in F minor. The next section is in Gb major, and the last in Db major. All these sections, modulations,
discords,
suspensions,
&c.,
are
so
many
elements
of
ex-
pression demanding force. phrase, though requiring a moderate amount of power, should therefore be written
The
and played according to the following indications
221
The above Examples

of the
manner
in
will be sufficient to give the reader an idea which our rules about nuances should be applied.
III.
THE examples
of incorrect indications of nuances already given the reader that, even in the works of the great will convince masters, he must no more trust to the prescribed nuances than
the structure of a piece and discover
necessary to examine contains exceptional ascending and descending passages, so as to make a crescendo on the former and a diminuendo on the latter. Nevertheless, if
to the rhythmical accents,
it
and that
is
if it
such passages contain modulations or complicated harmonies they must be taken into account, and in such cases even a
descending phrase must be loud.
for similar
The
student must look out
groups or rhythmical repetitions, and be careful to alternate the pianos and fortes. Knowledge of rhythms is
therefore a prime condition for the correct use of nuances.
If
the piece resembles a dialogue, with questions and answers, the The repeats questions should be forte, the answers piano. should be varied in the same way the first time forte, the
:
second piano, and vice versa. If bars or passages are repeated an octave higlier they should, if possible, be played softly, so
222
MUSICAL EXPRESSION.
If a subject is repeated in octaves
it
as to produce an echo.
should be played forte.
With whatever degree
of intensity of sound a passage
may be
performed, forte or fortissimo, piano or pianissimo, due attention must be given to the metrical, rhythmical, and expressive
accents, so as to bring
of expression,
them
out.
They belong
and must not be overlooked
equally to beauty in favour of the
nuances.
Many
a pianissimo, but this
musicians think that they should disappear in is a mistake. They must be retained
relief,
and brought into

as
with proper dynamic proportions, quite
much
in a cavatina
sung
in delicate
mezza
-
vcce, as in the
most powerful and

Crescendos
brilliant finale.
and diminuendos ( -*), which refer only to the rhythms, must be kept within their proper limits. In quick pieces, the nuances resulting from crescendos and diminuendos, or the opposition of piano and forte phrases, should
In dance music, quadrilles, paramount attention. the same where phrases are often repeated, it does polkas, &c., not matter whether they are played loud or soft, so long as there is plenty of contrast and variety. In pianoforte music
receive
(-==)
the pedals play a great part in the matter of nuance. By means of the pedals a clever pianist can manage to swell the sounds,
or at least, the passages, so as to give the illusion of a real The best thing for young pianists to do is to listen to swell.
and imitate singers and

all
violinists, for
from them they
will learn
indications are manifestly to the contradiction in structure of the phrases, as incorrect,

in the
about nuances.
Wherever the
examples which we have quoted, they must be corrected.
Besides knowing the rules for nuances, the performer ought to be thoroughly acquainted with the terms and expressions
referring to them.
dolce, dolcissimo, sotto
tre
Those most in use are crescendo, diminuendo, or mezza voce, una corda, con sordino,
:
corde, forte, fortissimo,
con tutta forza, slargando, altar-
gando, strepitoso, rinforzando, largamente, pomposo, grandioso,

subito pp, cantabile, harmonioso,grazioso, smorzando, pcrdendosi,
calando, &c.
CHAPTER
THE
IX.
ON THE NORMAL OR METRONOMIC TEMPO.*

so-called normal tempo of a piece is the pace to which the performer must adhere throughout, as long as the general
structure
is
not disturbed by exceptional

:
influences.
The
three principal tempi are i. Quick tempo, or Presto, Allegro.
Moderate tempo, or Moderate, Andante. Slow tempo, Grave or Lento, Adagio. 3. Composers generally indicate the tempo by one of these
2.
;
Italian
terms at the beginning of each piece sometimes it is specified also by the name of the kind of composition, such as Rondo, Minuet, Polonaise, March, &c. These terms are evidently not
It is impossible that they should suffice to give an exact indication of the tempo, unless they each denote a definite number of bars or sections of bars, to be played in a
sufficiently precise.
given time. But this is not the case, for these terms have the most varied significations according to the different writers who make use of them.
Thus, the different editions of the Senate Pathetique, annotated by Moscheles, Marmontel, Le Couppey, and Lemoine, give us the following discrepancies in the indications of the
tempo for the different movements
:
224
MUSICAL EXPRESSION.
The fifth Nocturne by Field, for want of metronome marks by the author himself, is published with the following different
indications
:
Marmontel
...
...
...
&
4.
.
So. 92.
70.
Le Couppey
Lemoine
end of his " Grande Methode de Piano " gives a table of the different views which various composers have held
Hummel
at the
of the
same terms, and shows
that Beethoven's Allegro
is
not so
quick as Cramer's or dementi's.
Not only do composers disagree in their estimate of the terms, but their estimate varies even in works by the
composer.
same same
Thus
in
Cramer's Studies the signification of the
word Allegro varies from Jg2 (3ist Study) to J 168 or ^84 whilst the word Presto in 2-4 time is marked J 138 (8th Study) Second (i;th Study, Book), JI32 (29th Study), and the Prestis;
simo e) 76 (37th Study). Nor is the vagueness of the terms used for normal tempo the only difficulty which the performer meets with in reference to
the speed of a piece. The foreign origin of the Italian terms, and ignorance of their original signification, involve further risks of error. Thus, some take Allegretto, the diminutive of Allegro,
for its
of a slower one.
augmentative, and render it by a quicker tempo instead The same confusion exists with Andantino,
other terms. the
the diminutive of Andante, and with

faults
Other
are
due
to
haste
in
adding
indications,
and
composer persuades himself that the pace at which he plays his piece corresponds to a certain metronome figure, and he marks it accordingly without verification. And even if the author has given his
indications with precision he may, nevertheless, mislead the performer. For at the time of producing his work he is in a
state of exceptional excitement,
carelessness in correcting the proofs.
and agitated by
even
his inspiration
and
one
this gives
him a tendency
to exaggerate the tempo either
way
or the other.
He may
have been
entirely
ON THE NORMAL OR METRONOMIC TEMPO.
225
mistaken as to the speed suitable to the true character of his work, and may have given it a wrong or, at least, an inappropriate
one.*
Extraordinary as this
pieces
may seem
it is
none the
less true.
the name of Weber's " Derniere " " Le Desir"f are really waltzes. and Beethoven's Pensee But they lose all their beauty when played in the quick tempo And there are numbers of other pieces of modern waltzes.
Thus the
known by
where popular
feeling has fixed the right tempo, as
it
has done
in the case of the
two
just
named.
greatest difficulties as to tempo proceed, however, from On the one hand, in the absence of a the performer himself.
The
metronome, his memory may fail him in calculating the exact number of oscillations corresponding to the prescribed tempo. The state of his nerves, or something in his disposition, may prevent him from forming a sound appreciation of the time. Thus no one plays the same before eating as after, and once the
most imperceptible mode, metre, or rhythm, will affect the If the feelings are deadened, tempo, and arrest the speed.
feelings are aroused, the least thing, the
irregularity in key,
these influences will pass unobserved, the performer will have already said insensibly abandon himself to his impulse. that some musicians are absolutely deficient (p. 10, footnote f)
ail
We
in the sense of tempo.
Everybody knows that conductors often
mistake the correct tempo and spoil the piece by beating too
quick or too slow. It would seem, therefore, that the normal tempo suitable for a musical work is more or less left to the decision of the composer
But this by no means proves that the or the performer. rate of performance is a matter of indifference. piece, ac-
Andante.
* In the Quartet in E[? (Op. 127) Beethoven had marked a passage with But it is said that the famous violinist Bohm, who was leading it
in his presence, retained the tempo of the preceding movement, thinking that he could thus make a greater effect. Whereupon Beethoven got up, and, taking a pencil out of his pocket, scratched out the word Andante in the four parts, and turning to the performers thanked them. Dr. Marrath: Silhouetten des Alten 'ttnd des Nenen, Vienna. f Two pieces by Reissiger and Schubert respectively.
226
MUSICAL EXPRESSION.
it
cording to the pace at which

different character
;
is
taken, acquires a totally
whether gay or sad, cold or passionate, it will gain or lose in expressive power, and consequently produce a different impression. For this reason, therefore, the normal tempo is a chief element in musical expression. It can never be
the result of arbitrary rules and depends neither on the comIn fact, the true tempo of a poser nor on the performer.
;
composition, that which best draws out
its
true natural physiog-
nomy, and most exactly interprets its inmost thought, is the That alone tempo which results from its actual structure. will reveal its real character and arouse in the hearers the particular feelings which it is destined to awaken. That alone will answer to its true vocation. It is its centre, its native air, the only atmosphere in which it can fully expand and develop its strength and beauty, and -give out all that it is capable of
. . .
expressing.
It
is,
therefore, of the
utmost importance to know
how
to
estimate the true tempo of a piece from its structure, and the question is, by what signs can this be discovered ? Everyone
knows
that in order to get a general idea of a picture as a whole, the broader its outlines, and the fewer and simpler its details, at so much the greater distance should we view it, whilst on the
other hand the more complicated, numerous, and confused are It is an its lines, so much the nearer ought we to be to it.
effect of
the laws of perspective that the objects scattered over
a large canvas converge the further we withdraw from it, whilst, on the contrary, the nearer we approach the more we are able to distinguish the details which at a distance seemed confused.
It is the
same with music.
must be so
detail
As the point of view for a picture much the nearer the more complicated and full of
it is, so the tempo for a piece of music should be all the slower the more condensed it is in form, the more rich in
expressive elements
rhythm, and harmony.

a quick tempo. It is follow a quick piece
in irregularities of key, mode, metre, These elements are incompatible with difficult even for the most practised ear to
i.e.,
when
it
is
written in several real parts,

or when the harmony
sions, anticipations,
is
227
complicated by dissonances, suspenunexpected modulations, &c. The ear soon becomes exhausted with the effort, and incapable of either
distinguishing or understanding the music.
For such a work,
therefore, a slow tempo is necessary in order to give sufficient
time
for the ear to recognise
and follow each of these divers
elements in turn.
On
the other hand, as a fresco or sketch in broad and salient
must be seen at a sufficient distance for the eye t6 the whole, so a composition which is clearly and broadly grasp and not confused by details and accessories, must be denned,
outlines
played in a quick tempo, so that the isolated elements may be brought nearer together and into connection, otherwise the
ear will try in vain to catch the general idea of the scattered elements, and the plan and unity of the whole work. Compositions of this sort resemble those optical toys in which a figure
in
The
fragments only assumes its perfect shape by rapid rotation. public does not generally care about Adagios; this arises
from a sort of shortsightedness of the ear (if such a phrase be permitted), which fails to grasp or embrace the rhythmical scope
of the piece.
By such considerations every performer will be able to discover from the structure of a piece what its normal tempo ought
to be.
In determining the tempo of a movement, we must therefore -examine the number of notes contained in each bar and beat,
the
number
of notes the accompaniment has for each of the
melody-notes, and the most prominent metrical figure. We must see if the notes follow each other with regularity or irregularity, in consecutive or interrupted steps, ascending or
descending motion, thirds or sixths; if there are chromatic intervals or very wide skips, reiterated notes, higher or lower
.auxiliary notes, triplets, &c. All these elements denote a slow tempo. If the metrical structure be clear and the metrical figures simple and uniform, the
-tempo must be quick, so as to
draw the
scattered notes together
Q 2
228
MUSICAL EXPRESSION.
and give them coherence and unity. The rhythms must be examined in the same way to see if they are regular or irregular, varied or persistent if they contain occasional long notes mixed with short ones if they begin on the strong or the weak beat, or on the strong or weak part of the beat, &c. Irregular rhythms of 3, 5, and 7 bars, and those which begin on the weak beat or weak part of the beat, require a slow or moderate tempo. Regular rhythms, on the contrary, require
; ;
a quick one.
must also consider the number of parts or instruments employed. The more chromatic chords, dissonances, suspensions, anticipations, and retardations there are in the harmony, the more necessary is a slow tempo, so as to give the hearer time
to unravel
We
and distinguish all these details. A simple harmony, on the contrary, is easily caught, and the pace may be
accelerated.
Finally, we must observe the pitch, the key, and the mode of the composition. Pieces written for the lower register of an
instrument
demand a slow tempo to be effective. The low sounds are produced by long thick strings with few vibrations, and require, so as to gain the necessary breadth and fulness,
a firm attack and a slower tempo.
The minor mode being suggestive of sadness and melancholy, generally reduces the pace. And, besides, as it contains chroto a slow tempo,
all
matic, augmented and diminished intervals, it is more suitable which makes it easier for the listener to grasp
We
i.
the expressive elements and delicate nuances. thus see that there are three principal kinds of tempo : Pieces with rich harmony, full of suspensions, anticipations,
;
discords, reiterated notes, appoggiaturas or pieces written in irregular rhythms, in a low pitch, or in exceptionally long notes,
a slow tempo. These are the A dagios, Largos, A ndantes, Nocturnes, Reveries, &c. In such compositions the rhythmical
demand
and expressive accents, the nuances and the emotional element should predominate ; they demand a passionate rendering, full of expression and sentiment.

2.
22Q
Pieces of regular and but slightly varied metrical and
rhythmical construction, in which the rhythmical and metrical accents coincide, and the harmony is simple, require a quick tempo. In such compositions the metrical accent and the normal
tempo must predominate.
They
by forte and piano, crescendo and diminuendo, but

rallentando, accelerando, or expressive accents.
is like
require the contrasts produced little or no
quick tempo
a carpenter's plane, which passes over
all inequalities
and
It irregularities, levelling and carrying everything before it. the first notes of to dwell on the hardly permits the performer
rhythms unless they coincide with the metrical accents.
Com-
positions written in this tempo require a brilliant, clear, and extremely decided execution, without a vestige of affectation or
false sentiment.
Amongst these we reckon
Prestos, Allegros f
Tarantelles, Galops, &c.

3. Compositions which have a certain richness of harmony and rhythm, and are yet devoid of complications and irregu-
larities,
require a moderate tempo.
In these compositions the
metrical, rhythmical, and expressive accents, nuances, tempo rubato in short, the emotional element may come into play, but with moderation and discretion. It is evident that the
tempo indicated at the beginning of a movement does not necessarily rule it from beginning to end. Changes in the
rhythmical and harmonic construction of the phrases must produce a modification of the speed. Often the wildest and
most
suddenly take a melancholy and such phrases or passages it would be dreamy maintain a uniform to impossible tempo, for it would destroy the poetry of the work. On the other hand, in Adagios one often meets with phrases which require a greater speed, and
brilliant Allegro will
turn,
and
in
thus
evident that to gain a correct estimation of the tempo which ought to regulate a piece we must study it not only as a
it is
whole, but in its separate parts. By applying these principles to our previous remarks on melodic, rhythmic, harmonic, tonal, and modal structure any performer will be able to discover the
normal tempo of a piece and guard against the mistakes which
230
MUSICAL EXPRESSION.
arise
may
from the
false
a contradiction between the Italian terms and the
judgment of the composer, from metronome
figures,* from the impossibility of performing the piece in the time indicated,! from the incompatibility of the tempo with the structure of the music, J or, finally, from the absence of any
indication, as
is
often the case in the original editions of classical

it
music.
is only artists and advanced amateurs these difficulties, and even they only appreciate after long study and persevering practice. But the feeling for tempo may be cultivated like any other faculty, and a good
Of
course,
who
will
musician after hearing and playing classical music, where the

speed
is
pretty well fixed
by
tradition, will at last acquire the

it
instinct for
normal tempo, and be able to apply
to all kinds
of music, just as a painter acquires the instinct for discovering the point of view from which a picture is seen to the greatest
advantage.
Practical Exercises.
It is essential for
figures
the pupil to be familiar with the metronome corresponding to each of the principal tempi, and
thoroughly to understand the relative value of these figures in every piece of music from the very outset.
The following table will assist the performer to establish the connection between the chief terms in use for indicating the
beats.
tempo of a piece and the corresponding number of metronome But before submitting this table to the reader, we must
explain the basis on which
It
it
has been made.
seems logical only to
apply
the
metronomic figures
plicated
f
J
Regata Veneziana," by (see page 231). See the Minuet of Mozart's Sonata in A. The second phrase is full of dissonances, suspensions, chromatic chords, &c. and all these points would be lost and destroyed by a quick tempo. Besides, there is a certain gravity about
;
As, for instance, the word Grave, accompanied by J 92, in bars so comand fully charged as the introduction to the " Senate Pathetique." As in the " Liszt
demands a slow time rather than a quick one, and we must be careful not to hurry it, on the pretext of making it sound more brilliant and difficult, for this would only spoil it.
the Minuet which

to the duration of a beat or bar,
23!
the only units which the
ear recognises in the tempo.

If
we wish
in this
to give the
:
metronomic duration of a
beat,
we must
do
it
way
In
Common
time or 4-4 (the musical sign for 60 will signify 60 beats
one crotchet to the beat)* M.M. ^

in a minute;
If
first
M.M. s = 80,
to give the
80 beats in a minute.
bar, in the
we wish
case
it
metronomic duration of the
would be:
is
M.M.
o = 20;
It
G=
i$',
in
the second,
M.M.
that
would be
to say, 15 or 20 bars in a minute. irrational to give the metronomic indications
corresponding to the value of notes which do not represent the duration of a beat or bar. For instance, in a piece in 6-8 time,
we
sents two-thirds of a beat
should not mark the value of a crotchet, since it only reprenor in a piece in 3-4 time should we
;
give the value of a minim, as that woul$ represent only twoIn an otherwise excellent edition of the thirds of the bar. " Invitation a la Valse " we find the following indication of the
Allegro
& = 88. Now the piece

metronome
is
being in 3-4,
it
if
each
oscilla-
must be denoted by a crotchet if, on the contrary, it is to mark a bar, it must be denoted by a dotted minim. Any other indication would be false or open to confusion. Liszt has committed a similar error in his " Regata Venetion of the
to
mark
a beat,
ziana,"
by marking
^=192
for 6-8 time.
Here the crotchet
neither represents a beat, a bar, nor a third of a beat, but twothirds of a beat. However, this is most likely a misprint, for
192 would give too rapid a tempo namely, nine notes for âch oscillation, since there are triplets this is impossible at
;
the rate of 192.
Liszt must have intended to write J

:
= 192,
which we would interpret as follows

tion of a beat in this 6-8 time.
64 giving the dura-
In the following table every oscillation represents a beat, no matter what the note by which the beat is represented and
;
M.M.
signifies Maelzel's
Metronome
that in ordinary use.
232
this for both
MUSICAL EXPRESSION.
common and compound times.
For instance,
in a
Moderate marked 80
= ^ the figure
in
indicates that the
pendulum
makes
80
oscillations
crotchet.
In one minute
we
each representing a should therefore have to play

minute,
80 crotchets or 40 minims, 20 semibreves, 116 quavers, 232 semiquavers, &c.
Table of the principal tempi with their corresponding number of metronomic oscillations.
Oscillations in a
SLOW
....
. .
Minute.
Largo or Adagio from

Larghetto
40 to 60 to
72 to
60
72
....
MODERATE
Andante
Andantino^
I
. .
84
84 to 120
Allegretto
QUICK
....
Allegro
120 to 150
Presto
Prestissimo
.
. .
<
150 to 180
180 to 208
Of
course,
we do
not pretend to attach a fixed
number of
oscillations to
each tempo.
In compound time or in simple time subject to a ternary subdivision there would be three notes to a beat, and these extra
notes
make
We
we must take into account, since they would naturally the tempo seem more pressed and hurried. would recommend composers entirely to relinquish the
and to substitute
for
Italian terms
them metronomic
figures,
chosen with the utmost care and precision. This is easily done if before fixing the figure they will examine the structure of the
new
composition, and play it over again and again at different times of the day, both morning and evening. They should consult the
metronome each
time, not before beginning to play, but
233
time.
during the performance, and mark the corresponding figure each The mean of the figures thus obtained will give the
tempo almost exactly. To amateurs and pupils we would recommend the frequent
practice of the following exercises Beat the time corresponding to the rate of speed indicated by the metronomic figure or Italian term at the beginning of the
:
piece,
by the metronome itself. Play the beginning of any piece with the metronome, and then put it aside. After an interval play the piece again, but first without the metronome, so as to compare and rectify. Mark the metronome figures used by different composers for the same term, for instance, Andante, in different pieces, classical as well as modern, and compare the result. In very quick tempi it is better to reduce the number of oscilFor instance, in a lations to half, in order to avoid confusion.
and then
rectify or confirm
it
piece in 4-4 time with 160 oscillations per minute it is better to have only 80, and to consider each oscillation as worth a minim
instead of a crotchet.
is
better to double the
the other hand, in very slow tempo it number of oscillations so as to represent
On
80 crotchets instead of 40 minims.

Reveries,
though useful
Nocturnes, Adagios, and other expressive pieces, in giving the pupil a feeling for melody, are often
just the contrary with regard to the feeling for tempo.
The
pupil after playing too long in slow tempo gets into a habit of Pieces in quick tempo rather tend to playing too slowly.
destroy sentiment and produce a merely mechanical style of playing it is therefore necessary to study both kinds of music
;
metronome he can supply the deficiency in the following manner. Take a few well-known popular airs, where the correct tempo is unmistakable. Three
that or four will be enough for by doubling or halving the speed, is to say, by singing them twice as quickly or twice as slowly as their normal tempo, we shall obtain the twelve principal
;
equally. If the pupil should not have a
tempi.
Supposing we take
"Au
clair
de la lune" as a type,
234
MUSICAL EXPRESSION.
air, in
the normal tempo of this
duple or 2-4 time,
is
6o=i
or
Now, if Moderate, every oscillation representing two notes. we want to discover the tempo of a piece marked Allegro or
i2o=J
its
all
we have
to
do
is
to sing "
Au
clair
de
la lime
"
in
normal tempo of 60 = with two notes for every oscillation, and then suddenly to sing it half as quick again, with a beat for each of the two notes, always keeping exactly the same time, which will give us 120 oscillations, exactly double the
normal tempo, corresponding to " Allegro, 120= s
If,
"
on the other hand, we take a piece marked Largo or 30=^1 must, whilst keeping the same time, suppress one out of every two oscillations, and sing four notes, that is to say, a
we
whole bar, to every oscillation of the pendulum

thirty oscillations per minute,
this will give us
answering to the required tempo.
The Polka tempo is n6 = J; by doubling the number of oscillations we get 232 per minute, answering to Prestissimo by reducing them by one-half, that is to say, only one for every two, we get 58 oscillations per minute, answering to Larghetto.
;
Waltz tempo
in 3-4 gives us
84 dotted minims a minute
this
tempo being easy to recollect
we can with
speed of 84, 168, and 42, by humming practical, and useful method, by the help of a few popular airs, actually supplies us with a portable mnemonic metronome. It
i
facility calculate the a waltz. This simple,
analogous to the old practice of using the words minuet,
gavotte, chaconne, &c., not to specify the nature of a piece, but to indicate that it was to be performed in the time suitable to that particular kind of piece.
As every kind
and tempo,
it is
of piece has
its
own
special form, character,
necessary for the
musician to be familiar with
all the different varieties he may meet with in such pieces as the tarantelle, galop, march, bolero, minuet, waltz, &c. take this opportunity of reminding teachers of the im-
We
portant part which the tempo of a piece ought to bear in their appreciation of its difficulties. They should beware of white
235
" Invitation " often, for instance, is Weber's given pages. to pupils who might work at it for years without being able to play it satisfactorily and the result is that the piece being too
How
difficult for
obliged to
them to play in the correct tempo, the teacher is let them play it too slowly, thus corrupting his own
music beyond their powers
and
The mistake
his pupil's feeling. of giving pupils
often arises from a superficial estimate of the difficulty of a piece an idea that it must be easy because it contains only
whereas
ning
After
crotchets and quavers, and therefore looks white and innocent if the teacher had noticed the indications at the begin!
the
all,
terrible word Allegro he would have hesitated. the chief difficulty of a composition lies in the rate of
it is
speed at which
of
What we have
other
compositions, " Pathetique and Sonata in At? (Op. 26), where the white pages offer the greatest technical difficulties, whilst the blacker ones
are far easier.
to be played. " said of the " Invitation applies to a number for instance, Beethoven's " Senate
inherent in
its
Every instrument has its own peculiar difficulties construction. For instance, on the piano every
difficulties
left-hand passage in descending motion, either in scales or
arpeggios,
offers
when
it
occurs
if
These
written
difficulties are
considerably increased
dotted
notes
or
exceptionally. the passage is
staccato
(Jj) with
or
in
prolonged quavers
I;
or
if it
J"35\
tied
(J^J Jq J
or, again,
intervals
contains exceptional interruptions in the progression of the by consecutive and disjunct degrees, or an exceptional
sequence of thirds, sixths, &c.
The
teacher cannot give too
much
attention to facts of this sort.
We have
Accent
in
now
its
passed in review
all
the different
phenomena
of expression.
have analysed the so-called Expressive threefold manifestation of force, tempo, and
We
236
MUSICAL EXPRESSION.
nuances, and the analysis has shown us in a striking the intuitive force of the sentiment of expression.
manner
cannot help being overpowered with reverence and enthusiasm at a divine intuition which discovers with such marvellous
certainty and quickness the most subtle and imperceptible irreguFor centuries instinct larities of key, mode, metre, and rhythm.
We
has discovered
inspired artists
all
all
these delicate, varied, and complex facts, and

effects
with those sublime
which charm and
who are able to appreciate them. But it is only now delight that reason understands the cause of these phenomena of expression
and the laws which govern them, or that science can lend an efficacious support to feeling, and supply its deficiencies. Thus, while feeling spontaneously grasps these phenomena both in their detail and in their sublime synthesis, the light of reason
only penetrates slowly, and after years of study and experience. Who could refuse his homage to musicians gifted with so mar-
Let us enlarge the scene, and rather say : vellous a faculty ? could refuse his admiration to artists, painters, sculptors,
Who
how
>
orators,
and poets
it
to subject
gifted with exalted sentiment and yet knowing to the laws of pure and delicate taste ?
THE END.
ORATORIOS,
HANDEL
ATHALIAH
continued.
s-
&c.
Continued.
d.
HUMMEL.
FIRST MASS IN B FLAT COMMUNION SERVICE, DITTO SECOND MASS IN E FLAT COMMUNION SERVICE, DITTO THIRD MASS IN D COMMUNION SERVICE, DITTO ALMA VIRGO (LATIN AND ENGLISH) QUOD IN ORBE (DITTO)
s.
i
d.
3
3
ESTHER SUSANNA THEODORA BELSHAZZAR
2
I
3
3
2
I
THE
MESSIAH,
IS.)
EDITED
BY
V.
NOVELLO
2
i
... THE MESSIAH, DITTO. POCKET EDITION ... THE MESSIAH, EDITED BY W. T BEST ISRAEL IN EGYPT, EDITED BY MENDELSSOHN
(SOL-FA,
2 2
i
O o o o
4 4
W. H. HUNT.
STABAT MATER
...
ISRAEL IN EGYPT, EDITED BY V. NOVELLO. POCKET EDITION
o
o
JUDAS MACCABEUS (SoL-FA, is.) JUDAS MACCABEUS. POCKET EDITION SAMSON (SOL-FA, is.)
2
i
H. H. HUSS.
AVE MARIA (FEMALE VOICES)
F. ST. JOHN THE DIVINE
I
...
SOLOMON
TEPHTHA JOSHUA
2 2
DEBORAH
SAUL CHANDOS TE DEUM DETTINGEN TE DEUM UTRECHT JUBILATE PRAISE THE LORD WITH ONE CONSENT (SIXTH CHANDOS ANTHEM) ORONATION AND FUNERAL ANTHEMS. Cloth
.
2 2 2
i i i i
o o o o o o o o o o
o O
8 3 8
ILIFFE.
CRIED UNTO
JOHN WILLIAM JACKSON.

GOD
THE YEAR
W. JACKSON.
2
o
o
A.
5
THE FEAST OF ADONIS

ECCE HOMO
JENSEN.
i
THE KING SHALL
Or, singly:
W. JOHNSON.
2 o
ZADOK THE PRIEST
REJOICE
o
...
HEART IS INDITING LET THY HAND BE STRENGTHENED THE WAYS OF ZION

">DE
MY
O O
i
i
C. BLOW YE THE TRUMPET
WARWICK JORDAN. IN ZlON

N.
ON ST. CECILIA'S DAY ILEGRO
KILBURN.
I
THE SILVER STAR (FEMALE VOICES)
HAYDN.
1
ALFRED KING.
2
i
CREATION (SOL-FA, IS.) :REATION. POCKET EDITION

is.)
.. ..
THE EPIPHANY
THE SEASONS (Each Season, singly, FIRST MASS IN B FLAT (LATIN)
OLIVER KING.
BY THE WATERS OF BABYLON (PSALM THE NAIADS (FEMALE VOICES)
J.
137)
...
3
i
.. i DITTO (LATIN AND ENGLISH) ... SECOND MASS IN C (LATIN) .. i THIKD MASS (IMPERIAL) (LATIN AND ENGLISH) i i DITTO (LATIN) SIXTEENTH MASS (LATIN) i THE PASSION OR, SEVEN LAST WORDS 2 ... TE DEUM (ENGLISH AND LATIN) i INSANE ET VAN^ CVRJE (DITTO) o
;
KINROSS.
...
SONGS
IN A
VINEYARD (FEMALE VOICES)

SOL-FA
DITTO,
2 o
6 6
H. LAHEE. THE SLEEPING BEAUTY (FEMALE VOICES)

DITTO,
6
...
SOL-FA
2 o
6 6
BATTISON HAYNES.
THE
FAIRIES' ISLE (FEMALE VOICES)
2
LEONARDO LEO.
DlXIT DOMINUS
x
o 6
o O
o o
6 o 6 6
H.
JUBILEE ODE
HEALE.
i
H. LESLIE. THE FIRST CHRISTMAS MORN

6
C.
FAIR
SWINNERTON HEAP.
(SOL-FA,
2s.)
F.
3
LISZT.
3
ROSAMOND
THE LEGEND OF ST. ELIZABETH THIRTEENTH PSALM

C. H.
EDWARD HECHT.
ERIC THE DANE
LLOYD.
3
3
i i 1
O MAY
3
I
ALCESTIS
JOIN
THE CHOIR INVISIBLE

130)
GEORGE HENSCHEL.
OUT OF DARKNESS (PSALM
2
6
HENRY
PASTOREL
(USADERS
HILES.
6 2 6 6
ANDROMEDA HERO AND LEANDER THE SONG OF BALDER THE LONGBEARDS* SAGA (MALE VOICES) THE GLEANERS' HARVEST (FEMALE VOICES) W. H. LONGHURST. THE VILLAGE FAIR ...
FERDINAND HILLER.
AND DAMAYANTI A SONG OF VICTORY ...
JNALA
4
i
HAMISH MACCUNN.
o o
HEINRICH HOFMANN.
FAIR MELUSINA CINDERELLA SONG OF THE NORNS (FEMALE VOICES)
2
4
i
O o o
OUTWARD BOUND
LAY OF THE LAST MINSTREL (SOL-FA, is.fid.).. LORD ULLIN'S DAUGHTER (SOL-FA, 8d.)... G. A. MACFARREN. SONGS IN A CORNFIELD (FEMALE VOICES) MAY DAY SOL-FA, 6d.) THE SOLDIER'S LEGACY (OPERETTA)
..
(
2
1
6 O 6 O o
2
I
6
I
ORATORIOS,
A. C.
JASON
&c.
Continued.
MACKENZIE.
...
s.
d.
THE DREAM OF JUBAL THE STORY OF SAYID

...
HERBERT OAKELEY.
SELECTION FROM A JUBILEE LYRIC
.
1
2
...
...
......
o
6
...
...
...
3 2
i
THE BRIDE (SOL-FA, 8d.) THE ROSE OF SHARON SOL-FA, 2s.) JUBILEE ODE THE COTTER'S SATURDAY NIGHT THE NEW COVENANT
(
I O
o
6
REV. SIR FREDK. OUSELEY.

THE MARTYRDOM OF
ST.
POLYCARP
......
2
I
O 6
6
...... THE PRODIGAL SON ............... GREAT is THE LORD ............
R. P. PAINE. THE LORD REIGNETH (PSALM 93)
F. ROLAND'S HORN
W. MARKULL.
2 2
i
i
PALESTRINA.
o o
MENDELSSOHN.
ELIJAH ( SOL-FA, is.) ELIJAH (POCKET EDITION) As THE HART PANTS (PSALM 42) COME, LET us SING (PSALM 95) WHEN ISRAEL OUT OF EGYPT CAME (SOL- FA, NOT UNTO us, O LORD (PSALM 115)
ST. ST.
i
gd.)
HYMN OF PRAISE (LOBGESANG) (SOL-FA, is.) LORD, HOW LONG WILT THOU FORGET ME
DITTO,
PAUL (SOL-FA, is.) PAUL (POCKET EDITION)
2
i
...
...
i
I
o o o o o o o O
4
MlSSA ASSUMPTA EST MARIA ......... MISSA PAP^ MARCELLI ............ C. H. H. PARRY. ODE ON ST. CECILIA'S DAY (OL-FA, is.) ... BLEST PAIR OF SIRENS (SOL-FA, 8d.) ...... AJAX AND ULYSSES ..... ..........
JUDITH ..................... L'ALLEGRO ..................
PROMETHEUS UNBOUND
.......
...
...
NEBUCHADNEZZAR ( SOL-FA,
B.
DR. JOSEPH PARRY.

is. 6d.)
SOL-FA HEAR MY PRAYER (s. SOLO AND CHORUS) ... DITTO DITTO SOL-FA DITTO, LAUDA SIGN (PRAISE JEHOVAH) (SOL-FA, ori.) ... THE FIRST WALPURGIS NIGHT ( SOL-FA, is.) ... MIDSUMMER NIGHT'S DREAM (FEMALE VOICES)
o
i
PARSONS.
3
p
2
i i
ATHALIE (SOL-FA, is.) 2 ANTIGONE (MALE VOICES) (SOL-FA, is.) ... A. L. PEACE. 4 MAN is MORTAL (EIGHT VOICES) i ST. JOHN THE BAPTIST ......... FESTGESANG (HYMNS OF PRAISE) i PERGOLESI. DITTO (MALE VOICES) i STABAT MATER (FEMALE VOICES) (SOL-FA, 6d.) CHRISTUS (SOL-FA, 6d.) i THREE MOTETS FOR FEMALE VOICES i o GIRO PINSUTI. SON AND STRANGER (OPERETTA) 4 o PHANTOMS FANTASMI NELL' OMBRA ...... LORELEY (SOL-FA, 6d.) i o A. H. D. PRENDERGAST. CEDIPUS AT COLONOS (MALE VOICES) 3 O ............ o THE SECOND ADVENT To THE SONS OF ART (MALE VOICES) i SOL-FA o 3 DITTO, E. PROUT. O GOD O 4 ME, (PSALM (S')L-FA, 43) ijd.) JUDGE DAMON AND PHINTIAS (MALE VOICES) ...... WHY RAGE FIERCELY THE HEATHEN O 6 ... THE RED CROSS KNIGHT (SOL-FA, 23.) MY GOD, WHY, O WHY HAST THOU FORSAKEN THE HUNDREDTH PSALM ............ ME (PSALM 22) O 6 FREEDOM .................. SING TO THE LORD (PSALM 98) o 8 HEREWARD .................. Six ANTHEMS FOR THE CATHEDRAL AT BERLIN. AIMEE (FEMALE VOICES) ......... FOR 8 VOICES, ARRANGED IN 4 PARTS O 8 QUEEN ... AVE MARIA (SAVIOUR OF SINNERS), 8 VOICES i o PURCELL. DIDO AND /ENEAS ............... MEYERBEER. TE DEUM AND JUBILATE IN D ......... i o NINETY-FIRST PSALM (LATIN) I o J. F. H. READ. DITTO (ENGLISH)
.
p 4 3 o o o o o o o o o
THE CRUSADER
T. M. PATTISON. MAY DAY (SOL-FA, 6d.) ......... THE MIRACLES OF CHRIST (SOL-FA, gd.) THE ANCIENT MARINER ............ THE LAY OF THE LAST MINSTREL ......
..
...
2
2
6 6 o
4
i i 1
4 2
o o o 6
2
i
B.
ABRAHAM
KING THAMOS
MOLIQUE.
3
MOZART.
FIRST MASS (LATIN AND ENGLISH) SEVENTH MASS IN B FLAT COMMUNION SERVICE IN B FLAT, DITTO
...
o o o 6
TWELFTH MASS
BARTIMEUS .................. CARACTACUS .................. THE CONSECRATION OF THE BANNER ...... IN THE FOREST (MALE VOICES) ......... PSYCHE ..................... J. V. ROBERTS. JONAH
HAROLD
..................
4
I
2
i
(LATIN)
DITTO (LATIN AND ENGLISH) (SoL-FA,gd.) REQUIEM MASS DITTO (LATIN AND ENGLISH) SOL-FA ... DITTO DITTO, LITANIA DE VENERABILI ALTARIS (IN E FLAT) LITANIA DE VENERABILI SACRAMENTO (IN B
FIRST MOTET GOD, WHEN THOU APPEAREST. DITTO HAVE MERCY, O LORD. SECOND MOTET GLORY, HONOUR, PRAISE. THIRD MOTET
FLAT)
o o o
o
W.
S.
ROCKSTRO.
l 6
4
THE GOOD SHEPHERD

PRAYER AND PRAISE ...............
ROLAND ROGERS.
ROMBERG.
o 6 6
THE LAY OF THE BELL (NEW
EDITION, TRANSi
SPLENDENTE TE DEUS.
...
... ... ...
3 3 3
LATED BY THE REV. J. TROUTBECK, D.D.) SOL-FA ......... DITTO, THETRANSIENTANDTHEETERNAL(SOL-FA,4d.)
o
I
DR.
JBREMIAH
JOHN NAYLOR.
3
STABAT
o
ROSSINI. MATER (SOL-FA, is.) .........

IN
MOSES
EGYPT
....... .......
.
ORATORIOS,
CHARLES
DIVINE LOVE
&c.
.
Continued.
B.
RUTENBER.
8l
MUSIC PRIMERS
EDITED BY
NOVELLO,
EWER &
CO.'S
SIR
1.
JOHN STAINER.
(Price 2s.)
is.)
2.
3.
4.
5. 6.
THE THE THE THE
PIANOFORTE
KING HALL. SINGING (Price 45. Paper Boards, 55.) A. RANDEGGER. SPEECH IN SONG (SINGER'S PRONOUNCING
-
RUDIMENTS OF Music (Price ORGAN (Price 2s.) HARMONIUM (Price 2s.)
\V. H.
-
E. PAUER. CUMMINGS.
J.
STAINER.
PRIMER)
7.
8.
(Price 2s.) (Price 2s.)

-
MUSICAL FokMa
(?iice 2s.) COUNTERPOINT (Price 2s.) 9. 10. FUGUE (Price 2s.)

11.
12.
HARMONY
...
-
A. J. ELLIS, F.R.S.
J.
SCIENTIFIC BASIS OF Music (Price
13. 14.
15. 16.
DOUBLE COUNTERPOINT (Price 2s.) CHURCH CHOIR TRAINING (Price is.) PLAIN SONG (Price 2s.)
INSTRUMENTATION
(Price 2s.)
-
E. PAUER. STAINER. DR. BRIDGE. JAMES HIGGS. DR. STONE. is.) DR. BRIDGE. REV. J. TROUTBECK. REV. T. HELMORE. E. PROUT.
IN
THE ELEMENTS OF THE BEAUTIFUL

Music
(Price is.)
VIOLIN (Price 2s.) TONIC SOL-FA (Price is.) LANCASHIRE SOL-FA (P/ict is.) COMPOSITION (Price 2s.)
E. PAUER.
-
17. 18.
THE
19. 20. 21.
BERTHOLD TOURS. J. CURWEN. JAMES GREENWOOD.

J.
STAINER.
22.
23. 24. 25. 26.

27. 28.
29. 30. 31. 32. 33.
MUSICAL TERMS (Price is.) STAINER AND BARRETT. THE VIOLONCELLO (Price 2s.) JULES DE SWERT. TWO-PART EXERCISES (396) (Price is.) JAMES GREENWOOD. DOUBLE SCALES (Price is.) FRANKLIN TAYLOR. MUSICAL EXPRESSION (Price 35.) MATHIJ LUSSY. SOLFEGGI (Pricey. Paper boards. 55.) F. A. MARSHALL.
Or, in Three Parts,
is.
bd. each.
-
ORGAN ACCOMPANIMENT (Price 2s.) THE CORNET (Price 2s.) MUSICAL DOTATION, Part i (Price is.) MUSICAL DICTATION, Part 2 (Price 2s.) MODULATION (Price 2s.) DOUBLE BASS (Price 3s.) EXTEMPORIZATION
of the above
DR. BRIDGE. H. BRETT. DR. RITTER. DR. RITTER. JAMES HIGGS.

A. C. .VHITE.
T
(Price 2s.)
DR. SAWYER.
extra.
(TO
BE CONTINUED.)
CO.
Any
may
be
had strongly oound in boards, price 6d. each
LONDON AND NEW *ORK: NOVELLO, EWER &

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O

The English Translations by

NATALIA MACFARREN and BERTHOLD TOURS. NATALIA MACFARREN and the

AUBER. FRA DIAVOLO. French

and English words

PURCELL. DIDO AND ^NEAS

(Act II.). Italian and English words . . .

French and English words

..36 50- TRISTAN AND ISOLDE.

French and English words

..36 50- TANNH^BUSER.

and English words

..60 80 English words MENDELSSOHN. THE SON AND STRANGER 4 o 10 LORELEY

LONDON AND NEW YORK: NOVELLO, EWER AND

Novellas Original Octavo Editions of

ORATORIOS, CANTATAS, MASSES,

F (LATIN AND ENGLISH)

WATER-SPRITE'S REVENGE (FEMALE VOICES)

SIR JULIUS BENEDICT.

HEZEKIAH ST. JOHN THE EVANGELIST E. ASPA.

THE PASSION THE PASSION

THE LAY OF THE BROWN ROSARY YOUNG LOCHINVAR

THE SONG OF JUBILEE PRAISE THE LORD

F. BRIDGE. ROCK OF AGES (LATIN AND ENGLISH) (SoL-FA,4-l.)

BOADICEA CALLIRHOE (SOL-FA, NINEVEH

OUT OF THE DEEP (PSALM

THE ANCIENT MARINER (SoL-FA, THE RAISING OF LAZARUS

ERL-KING'S DAUGHTER ZlON

SPRING'S MESSAGE (SOL-FA, 3d.) ( SOL-FA,

CHRISTMAS EVE (SOL-FA,

ALCESTIS (MALE VOICES) COLUMBUS (MALE VOICES)

OF THANKSGIVING SLEEPING BEAUTY (SOL-FA,

WILL MAGNIFY THEE, O GOD (PSALM

A TRIUMPH SONG (MALE

THE WATER-LILY (MALE

THE REDEMPTION (ENGLISH WORDS)

SOL-FA (LATIN AND ENGLISH)

LUDMILA DITTO (GERMAN AND BOHEMIAN WORDS)

DITTO (GERMAN AND BOHEMIAN WORDS) STABAT MATER

G ALLIA( SOL-FA, 4d.) A. M. GOODHART.

SALVATOR MUNDI ELECTRA OF SOPHOCLES

H. THE ASCENSION THE EPIPHANY

DITTO, NEW EDITION, EDITED BY J. BARNEY DITTO, DITTO, SOL-FA

THE PASSION THE TRIUMPH OF TIME AND TRUTH

EDITED BY DR. STAINER.

VOCAL AND INSTRUMENTAL MUSIC;

TRANSLATED FROM THE FOURTH EDITION

PRICE THREE SHILLINGS.

LONDON & NEW YORK

TORONTO & MONTREAL,

two ways of accounting

for this fact.

Musicians fancy that in making these changes

The object of this work is known reason which guides

to demonstrate the hitherto un-

other Methods, and addresses

also to perform with expression

by preference, without regard to

pieces, written for voice or piano, as representing