To

Charles

Marie

Widor

THK

ART

OF

IMPROVISATION

handbook

of

principles

and

methods

for

organists,

pianists,

teachers

and

all

who

desire

to

develop

extempore

playing*,

based

upon

melodic

approach.

by

T.

CARL

WHITMER

by

3VE.

V^ITIVT^VIR.K:

"

SONS

ID

3Ex"rrro3sr IVI. AAmriVI^.R.K: "^ S01STS

by

TJ.

S.

FOREWORD
is of use granted usually that improvisation only to the professional The real situation is this: organist.Nothing,is further from the case. It is taken for

Improvisation is
is
a

but

the

natural in

bubbling over
music It learning.
comes

of instinctive student. is

musical

creation

and upon from

talent

that
nor

lies dormant upon

nearly every

It is not

dependent
comes or

great
one's

technic
"

great
or

musical

just something

that

fingers awkwardly
of
our

It fluently. from

out

of

high

or

low, educated
average how

ucated unedmade
out.

just as poetry gushes forth

most Of folk

the It

Welsh out
one

bards. without carry

Just

people
it
came

poems

and

folk

songs.

came

course,

contemporary stage.

education

demands

that

knowing thing beyond

this

conscious sub-

Now,

while

this

new

book

carries

the work
or

subjectinto
is

the

complex needs
to amateur

of the concert
no

organistthe far greater part of the in knowledge or keyboard technic

the

exactly adapted

of "people
can

pretence"
use

musical
as

experience. An design

it for ible flex-

shortest
as

of ditties and

can

expand
another.
to

wished, the

of the

book

being as

talents

differ

one

from
be well

In

conclusion, it may
as

compare

the study briefly

of

and improvisation'

position com-

usually

understood.
are

In the with is the

first, ideas

"tickled"
been is

out

of

one

at

once

upon

contact

with the basic

keys; while,

second, ideas have

Emotion in stressed

left

largelyin the
the
so.

background until
in the
one

knowledge
ing, train-

pretty complete.
much

immediately stirred

while control.
as

intellectual

composition,keeps
tested
not

under feelings much in the

one

is expectedand Originality

in the

other. is

Mind mind

and

doing

his

while the act togetherin improvisation fingers work at leisure, in place of "off the reel."
once

composer

nearly

pure

Some
may be

is expected at fluencyof simple expression worked in both

as a

in the
on

one

while

that

fluency

out is

graduallyby usually a

the

one

who

puts

his

ideas

music

paper.

However,

fluency
And

matter

of

practice.
this

final

to suggestion

students

work
student

can

be

used
more

as

method

in

musical

compositionclasses
There is

for
wrench way

causingthe
in

hesitant from pure

to

pass

into the easily Art

doing.

always

going

theory to practice.This
musical

sation of Improvi-

will open

the

towards

freeingthe

spirit.

THE
T. is Carl Whitmer
as a

AUTHOR
as

is the author composer

of several choral
was

books,
and

well

as

of innumerable

essays

on

musical

known,

also,
Now

of much

instrumental years

music, notably of -his Six

an

subjects. He Symbolic Dramas.

and teacher of organ,

of New

York, Mr. Whitmer

for many

choir organist,

director

composition and

in Pittsburgh. improvisation

M.W."Sons

19521-75

2.50

t"y

3Vt.

WTITOVLAcJaiC:

"

SONS

SO1STS

XT.

S.

FOREWORD
It is taken for is granted usuallythat improvisation

of

use

only

to

the

professional

organist. Nothing.is further Improvisationis

is
a

from
natural in

the

case.

The

real

situation

is this:

but

the

bubblingover
every music It learning.
comes

of instinctive student. is

musical

creation

and

talent

that
nor

lies dormant
upon

nearly

It is not that

dependent upon
comes or

great technic
one's

great
or

musical

just something

from

fingers
"

awkwardly
and

It fluently. from

out

of

high

or

low, educated
average how

ucated unedmade
out.

just as
most Of of
our

poetry gushes forth

poems
education

the It

Welsh
out
one

bards.

Just

people
it
came

folk

folk songs.

came

without
carry
a

course,

contemporary stage.

demands

that

knowing thing beyond

this

conscious sub-

Now,

while

this

new

book

carries of the

the work
or

subjectinto
is

the

complex
to

needs

of the concert
no

organistthe in knowledge
the

far
or

greater part

exactly adapted

"peopleof
amateur
can

pretence"
use

keyboard
differ
one

technic
can

musical
as

experience. An design

it for ible flex-

shortest
as

of ditties and

expand
another.

wished, the

of the

book

being as

talents

from
be well

In

it conclusion,
as

may

to compare

the study briefly

of

and improvisation

position com-

usually understood.
first, ideas
are

In the
with is the

"tickled"
been is

out

of

one

at

once

upon

contact

with the basic

keys; while, knowledge

ing, train-

second, ideas
stressed
in

have

left

largelyin the
the
so.

background
in the
one

until

pretty complete.Emotion
much

immediately stirred

while

intellectual

composition,keeps
and
tested
not

feelingsunder
much
in the
one

control.
as

is expected Originality Mind mind and

in the

other. is

while fingersact together in improvisation his work

of at

the

composer

nearly

pure

doing

leisure, in place of "off the reel."

once

Some
may be

fluency
worked
both
a

simple expressionis expected at

in the
on

one

while

that

fluency

out

by gradually usually a

the

one

who

puts

his

ideas

music

paper.

However,

fluency in
And
as

is

matter

of

practice.
this work
can

final

to suggestion

students

be

used
more

as

method

in

musical

compositionclasses
There

for
wrench way

causing the
in

hesitant from

student

to pass
to

into easily Art

the

doing.

is

always

will open

the

towards

going theory pure freeingthe musical

This practice..

sation of Improvi-

spirit.

THE
T. is

AUTHOR
as

Carl Whitmer

is the author
a

of several choral
was

books,
and

well

as

of innumerable

essays of 'his

on

musical

subjects. He
Dramas. of organ,

known,

also,
Now

as

composer

of much Mr. Whitmer

instrumental
years

music, notably
an

Six

Symbolic
and

of

New

York,

for many

choir director organist,

teacher

composition

and

improvisationin Pittsburgh.

M.W."Sons

19521-75

7.50

PREFACE
Any day
to

musical build and is

no

person

can

learn to

fullyestablish
great
secret about

provided he improvise, fluency.

it; and, with
the

allow

time

each

and

every

There
no

exception

of concert

improvisation,

great basis
As to

of theoretical
technical the

knowledge

is demanded.
is not
are

great

(mechanical)

basis,that Just
as

at

all

prerequisite except
in

in

improvisationof
so

higher forms.
be very

there and

very

charming pieces
up

the

early grades,
in very

there may

adequate

pieces built delightful

extempore

simple guise.
a

Of course,
and

book

such
worker

as

this

certainlyis by becoming
who

not

"breviary for idlers?"but, a

great inner
sense

petent com-

patient
will I
was

will

nevertheless

achieve
a

of mental

faction satis-

which

seem

like sport

"composer

for the moment." the

Recently
of this work

tellinga country boy"

of
course.

occasionallyplays
said, wouldn't
it be

guitar for

me

"

for "pianists and

He .organists'!

equally good
us

for

tarists. gui-

I words "for

said,"Why,

Why
think
are

didn't I think of it
as

of that'.' So, let

for

disregard the
plays.
art

and organists"
wrote: must
most

rather

written for

everybody

who the

Guilmant instrument the many

who "Organists,

solicitous
at

the

dignityof

of their
in

methodically work
forms.
very

improvisation and

develop

themselves

different studies

musical
must

All such

be made

slowly: it

is the

only

way

to

play well

and

provise im-

happily."
The
name

early writers
ad

of technical

handbooks

liked to call them

we

by
many

some

highly
it

stilted age of
is

like "Gradus
or

Parnassum".

But, do

not
are

know
on

that

at the

ripe
no

seventeen necessary

twenty-two feel that

them there! worked

they already

Parnassus,

that

longer

to lead

Nevertheless, I
and

have

this
even a

book

out

as

Gradus,
to
at

in

the
some

old

sense,

quite fullybelieve
in
case

it will lead
on

musical

sophomore

least

farther

temple"
The
is the

he

really is
consulted

the

mount.

author has
work

all available

works

in several

languages and by
means

believes that this of

one

only
use

that illustrates

nearly every

pointin progress
a

givenmotif.
the

The

of many

motifs differing
One
can

has been

stumbling block

to the

of explaining

art of "unfoldment".

illustrate most consists in

anything if one

has the world's most

one

ly careful-

chosen
worst

subject.But
as

the rub

the point when illustrating

has

probable

subject,

often falls to the lot of that this work

improvisers. good
musicians
an

It is my
more

hope

will lead many

to

make

yet finer
basis

and

use far-reaching of those development successors

of their powers. of little talent

as

I believe that it forms

adequate
be

for the and

well

as

for those who of

may

rich in

genius

worthy

to the Great

Masters

of the Art

Improvisation.

M.W.

"

Sons

19521-75

PART

ONE

THE

CHURCH
CHAPTER

ORGANIST
I

GENERAL
(Read
The this

BASIC
back
to it for

PRINCIPLES
restudy.)
fluent improvisationis the exhaustive study

chapter. Later,come

of the
as one

principle underlying an melodic, rhythmicand structural

or

chief

easy

and

aspects and
theme be
run

possibilities of a fractional part"

selected. of
as a

such

two

measures"

of the
bit of and

basic melodic

Every
must and be

thematic
to

must improvisation

conceived
its
course.

short musical

idea

which first

adhered

extended

until

it has

An

-structure unfolding

last will be The harmonic

the

ideal.
must

aspects

been

accomplished. Invariablythink
and clear

In other This

disregardeduntil all other generating words, a short rhythmic-melodic entity must

is your

be

of

effects
a

has

become

er longinite def-

entity by expansion.

problem.
as put togetherwith beginning of wisdom.

of this basic

melody
is the theme-

other

melodies

in very

voice-parts. This
that to the the basic

Always
.

consider
turn

normal effects.

and

inverted-

has

hundreds

of

facets,

if

one

but

them

varying lightsand

Never consider

consider it
as

given tonality of the theme as final, i.e. as keys. possiblyexistingin six or seven
if
one

settled

thing.Rather,

All
and

improvisationis relatively easy migrations of a given melody.

the basic notes
as a

has

studied

the

endless

possible shapes

Regard

spidermight
as as

its web: how how

a) b)
The
are

spinningdesign"

long;
built.

differences between

essentially different
is

second

extempore playing a set printed phrase and expanding one the The first is reproductive,while psychological processes. in or generativeresulting budding, flowering,unfolding expansion.
the player functions reproductive, to create unto a god, with power it
more as

In the he is "like

mechanism.

In unfolding

an

idea

good
the

and

evil"

Usually
that

puzzles the student, who

as are

likely has studied

are

Harmony,

first of all to

learn

harmonizations,
of his efforts

he knows

them,

least of

listed under

the heads

portant important of his efforts. The most imand structure, (polyphony) counterpoint

but not only limitless, are Contrapuntalcombinations of static character without or having the finality

process givesa forward harmonizations.

the
more

ment, move-

Harmonies,
The chord

as

are devices,

fewer

in number that is

andsure

as

stated-

static
one

in

tendency.
started. too
scious con-

Also, chord
of

plan has a are hedged about by rules progressions of inculcating the instead rightand wrong,

fixityof purpose

to

stop

one

before
make

is well

that will necessary

the

student

of forging ahead. feeling

M.W.

"

Sons

19521-75

If the
a

improviser "gets
and

stuck"

(his favorite

word!)

it is because
or

he

sees

his in

theme

as

finished
result.

this

complete entity. Harmonizing usually produces The idea, on the contrary, must always be kept in a
paper
to

assists

producing

state

of flux.

any

Copy on harmony
The
role One in
must

music

and
it.

place

on

piano

the

given melody
a

for

improvisation without

attached
of

Later, omit

clefs.

process

extempore
one's

playing
spinning
terms

is

synthetic, but
little with Three say
can

preliminary analysis plays

and form style Form, Minuet, Sonata the
set

big

developing
get
on

power.

intimate

little
as

by
and

the

of

all

the

different

sorts

of structures of these

such

Two

Part that be

Form,etc.
must

In conclusion

I generalizations before
one

would

theme into
or

material action.

be

hausted ex-

by

mental

processes

one's has
use

emotions

when Also, in improvisation,

error

made

do

not

correct

it.

Rather,make
all will

a note mistake, of it,repeating that

rhythmic
in the the

or

harmonic

"error"

following
scheme may
error

phrases.
be

In

other

words, incorporate

the

error

and very
not

it becomes

part of
with the
meant

pattern or
do'!

itself. When

skill is attained

merge

naturally
what

plan. An
to

only
Do

an

unintentioned

Tightness;good, but
about how and for every and

"you

not
are

get too
at

fussy

first awkward

thing; instead, strive

wrong;
It

clumsy a rough go-ahead

has

part of the "thing" sounds. "funny" Polishing is

energy. Do
not

Go
not

ahead.
at

All processes
portant imof

all the

be

afraid

being

just

be

afraid

of

being uninteresting.
remember in what
one

be

always is difficult to (as repeated in essence,

all

improvised in
plan
and method

order easy. and

that

the

part

may

That, too,becomes Song Form, etc.).

to recall

It is not

necessary

to remember

details,but it is necessary
are

general character.
and the other is

In

there general,
use

two

ways

to

improvise.The
in doubt
use some

first is set

by expansion

by

the

of

set

form.

Whenever
one

until It makes

you

get

this

thought deep
sort of

down:

In

pansion form, but experiment with exexpansion the form is generated.

in itself,
in the

other

words.
such as A-B-A mold, the player first decides on a form (until he gets his stride) to build each subject; less there concentrated need be very and

Whereas,
and then

classical
or a

proceeds more which is perhaps

of achievement. is
an

less

mechanically
and

shorter

therefore

easier

way
a

to

the but

sense

However,
amount about

little of too most

regulating
technic

get theory

there I
am

immense

of the

doing

in the muscular

direct

of ways.

asked usually" third

to

technic; i.e.the

abilityto play. A
essential
same as

ing includ-

the

grade

is

usually presupposed. But,

person's muscular

it is not be the

to

work

on

visation Impro-

expect

one

agilityto

another's.
or or a

or

The way to improvise is to improvise. Use the technic at hand, much fast. If scales are weak, or perchance arpeggios^ consult a "method"

little; slow
teacher.

every

improviser will practice

and
ease

some

technical

exercises of

daily

if he be

But, expects his playing

written
or

smoothness in the

to increase. witness Technic work

But, pieces
Bach's
will

great charm
Anna

may

vised improBook.

early grades:

so-called

Magdalena's
training
to the matter

Clavecin

Rafael
exhaustive rise

Josef fy's Piano Alberto Jonas'

with

give
on

excellent any and

in connection There
a

help refractorydigits.
can

every

that

fingers. Or, the can possibly a-

every

side charming lithograph, by Odile Redon,of a 'part of a part' of a tree outMay we not be happy, also,in fragmentary ideas occasionally in improvisation. has a few sketches would that no one Every composer part with. Surely not the subject. and the last word thing we build has to be monumental on
a

is

window.

M.W.

"

Sons

19521-75

CHAPTER

II

PRELIMINARY

STUDIES

FOR

GIVEN

THEME
based upon the first

two

at different Play slowly, hands, the following sequences registers, alternating of Sir Henry Gauntlett's Hymn, "University measures College?

Theme

fragment:"

i
Sequences above

Sequences below

"
minor above

r r N

j r

etc.

Sequences in

etc.

Sequences

in minor

below
etc.

Sequences contrary motion

above (passing notes)

etc.

r j ^

\u
minor" above

Sequences contrary motion"

etc.

Sequences contrary

motion"

below"

major
etc.

Sequences contrary motion"

below"

minor

etc.

Sequences based

upon

theme

without

signature
etc.

below) (also

M.W.

"

Sons

19521-75

Sequences

based

upon

signature

of two

sharps
etc.

(also below)

Sequences

based

upon

signature

of

three

sharps
etc.

*"

^
as

(also below)

Sequences

above

in

3/4time
I

:"

p """"!
*

etc* ====='

*n

al*

a^"ve

ways

II
Sequences
based

upon

second

measure

^
In minor

^^
i

etc.

(also below)

^
Contrary

etc.

(also below)

motion

"

i="

etc.

(also below)

etc.

(also below)

r ?

^
^ "^

etc.

(also below)

^ *" f
*U

etc.

(also below)

i i

etc.

(also below)

if

P
M.W. "

etc.

(also below)

Sons

19521-75

Ill
Sequences based
on

both

measures

and

throughout

the

whole

previous series.

IV
Reverse the
measures

etc.

throughout

series.

Include

now

passing

and

notes. auxilliary

v
Reverse
the notes

ir r

JJ
VI

etc.

Alter

intervals
F

and
"

rhythm:etc.

VII
Add
a

bass- voice

to

all the

precedingsequences,

such

as:"

etc.,

variations making slight

in bass

voice

and

adding passing notes

etc.

VIII
Place also in time:" 3/4

Slow
etc.

Fast
or

etc.

M.W.

"

Sons

19521-75

CHAPTER

III

THE
It may
seem

PHRASE

but jxamination,
ve

should

play

lookingphrases for at this late date of the world to hold tip innocent unnecessary it is doubtful whether playersgenerallygive "creative thought" to it. Ultimately, without too much analysis of our vehicle. But, in a work we as speak Englishof a restudy types of experience,
on our

ike this for many Note the

the

phrase

is essential.

all based following phrases,

measure

theme:

Two

Three

measure

"

Four

measure

Five

measure

Six

measure

Seven

measure

a) Place a simple bass part to all b) Play backwards to see effect.

A

the

above;

phrase may
is

be

any

lengthwhatever.
of Beethoven's

But, once
first

used, it

must

be well adhered

to

as

to its scheme.
measure

In the last movement

piano Sonata

we

have

(inthe middle
it with the

phrase that
last the

in its "purposeful movement? interesting learn

Compare
go to the

part)a ten opening theme.

Beethoven

In the
are

the only to analysis way really

thingsis to

sources.

B.ach and

great

musical

sources.

"

Ri.W.

"

Sons

19521-75

The
A
a

Thesis
or

and
answer,

Antithesis
to
own a

good way
in
some

to

discover the consequent,

phrase
answer,

is to

play

the

of question (thesis) it

phrase

piece new
composer.

to you.

Then, put in your

very

that
a

given by

the

It is

practical way

to

get

the

comparing immediately with of forward movement that feeling

good, complete phrase

A

possesses.
unit.

hhrase

is yotir

essential

"

phrase questions, using our

now

almost

too

familiar

theme.

IS

ANTITHESIS

*"

"*

3 B

Alto Alto

part
and

to

above;

Tenor and

JOJ

IS3fl63tf

parts
Tenor

to

above,above.

lit
e

Bass, Alto

parts to
the

(XouoSy)
OL
f of the

phrase,examine

chapterson
The

same

in

"Homophonic examples

Forms
numer-

of

irmer) by Percy

Goetschius.

given

musical

are

M.W.

"

Sons

19521-75

CHAPTER

III

THE
It may
seem

PHRASE

at this late date of the world to hold up innocent lookingphrases for unnecessary but it is doubtful whether players generallygive "creative thought"to it. Ultimately, examination, much too without analysisof our vehicle. But, in a work should we as ve

play

speak English-

ike this for many

of a restudy types of experience,

on our

the

phrase is

essential.

Note the
Two

all based phrases, following

measure

theme:

Three

measure

Four

measure

Five

measure

Seven

measure

a)

Place

simplebass part to
to
see

all the

above;

b) Play backwards
A

effect.

phrasemay

be any

whatever. But, once used, it must length of Beethoven's first

be well adhered to

as

to its scheme.

In the last movement

phrase that
last
the

is

in its -purposeful movement? interesting learn

the onlyway really to analysis

the middle part)a ten measure pianoSonata we have (in In the Compare it with the opening theme Bach and Beethoven thingsis to go to the sources. are

great musical

sources.

M.W.

"

Sons 19521-75

The
A
a

Thesis
or

and
answer,

Antithesis
to
own a

good

way
some

to

discover

the
to

consequent,
you.
a

phrase
answer,

is to

play

the

question (thesis)of
it

phrase

in

piece new
composer.

Then, put in your

very

comparing

immediately with
movement

that
a

given by

the

It is

practical way

to

get

the

feelingof forward

that

good, complete phrase

A

possesses.
unit.

phrase

is your

essential

Here

follow

some

answers

to

phrase questions, usingour

now

almost

too

familiar

theme.

THESIS

ANTITHESIS

rj
a)
Place Place

simple simple

Alto Alto

part
and
Alto

to

above;

b) c)
For Musical and
more

Tenor and

parts
Tenor

to

above;

Place

simple Bass,

parts to above.
Forms
are ous numer-

in "Homophonic the chapters on same study of the phrase, examine musical The Goetschius. examples given Composition" (Schirmer)by Percy extended

of

valuable.

M.W.

"

Sons

19521-75

Cadences

As

part

of the

phrase, when

harmonized,

we

have

cadences,

or

endings,with

the

usual following

and

chief classification:"
-

Authentic

"

Plagal

"

Half

"

Interrupted

SD

to

relative than

minor,
the

or

chord

other

Tonic.

Two

general types
on an

of

endings

are

those

which off the

accent.

a)

close

accent;

b) those

which

close

a)

Masculine

[SeeChopin's Polonaise in for typical case of b)]

M.W.

"

Sons

19521-75

10

CHAPTER

TIME

MARKS

Not

so

time, 4/4

'folks' seem many for example, means

to not

understand

the real
to

of significance
a

our

very

time signatures. simple The

accent

only

four counts

measure,

but

two

accents.

is the

essential thing*

So, lining up the usual time

marks,

we

have:"

Note:"

Beat

these

out

as

upon

drum

many

times

until distinctions

are

very

evident.

*For

further

study of rhythm

and

accents

see

Music

to the

ListeningEar

by

Will

Earhart

(Witmark).

M.W.

"

Sons

19521-75

11

CHAPTER

VI

MODULATION
(HARMONIC
AND

MELODIC)

Most every
man

everyone,

during

his musical of

studies life,

more

or

less "at"

modulation; which

as

knows, is the process

I rise to say that

However,
and
core

changing easily and smoothly from one key to modulation which brings the keys closer together may
ideas is the
or

another.

bring,
one

usually does
is
to
or

force the actual

core

themes

further and

apart unless
essence

matic the essential theof the theme

This preserved.

rhythmic

contour

modulates Our

from.
should
not

chief the

plan
old

that his in

pieces into "disconcerting"and

At any

call unify keys but to unify themes, or ideas. One will reto for that matter) too, attempted bring style accompanist (and recitalist, related tonalities and succeeded admirably (asmy experience goes) closely

be to

the divorcing

themes. music music New

cognizes re-

knows that the new anybody who is even a very mild modern modulation be So if all keys as equidistant. that, attempted in new of bad things. list the in worst the is the accompanist, long thing doing fashion. another in conventional to from doesn't one key simply go

rate,

he,

music

But, since
to

few perhaps have

reached

that
on

blessed
some

state,the many
of
to

will

have

to

tinue con-

make

studies in modulation
examine

based

textbook

Harmony.

After which Sonatas.

and

duringwhich they will

the transitions

from

key

key

in the B-eethoven

M.W.

"

Sons

19521-75

12

Essentials

of Formal

Modulation

a)A

note

in

common

between

two

chords

will help to swing most

modulations:

Ex.

b) Enharmonic
F to

modulation:

Fjt

i
0

Ex.

nif soberly
j
"

J U.
t1

if

c) The
F

old

augmented

sixth

chord:

to A

Ex.

^
*

M.W.

"Sons

19521-75

13

d) The
F

dominant

seventh

chord

method,

such

as

one

hears

in vocal studios:

to Al"

U J
fg

U"J j
11
W

e) Note
Rather

the

way

an

altered

chord

too assists; albeit,

chromatic

to be

highly

musical.

second-rate: minor"
not

FJtto Bt

in

hurry,

Ex.

only.

1) A good rule,no matter which of the and swing on it like a monkey on a 2)

Never
be in
a

above tree!

ways

is

used,

is: Select your

note

or

chord

hurry
to
new

to

modulate.

Abruptly jump 3)
A
or

key

rather

than

feel rushed.

modulation

must

be based

in

all

cases

upon

motif

taken

from

piece

or

part before,

piece

or

part

after.

M.W."

Sons' 19521-75

14

Exercises:"

Modulate

from

F F

minor minor

to to to to to to to

D G A

F minor F

major
"

F#
D G

Fj| F# F#
-

At

using

our

theme

as

in

earlysequences.
At At At
Sonata
to to to

Modulate

from

At
At

to to to

C D

E B G first movement.

At
%

Fjt

using

theme

of Beethoven's

Op. 26,

Modulate

always

with

some

con expression,

amore!

Melodic
Harmonic
The modulation notes may be is not the

Modulation
The
melodic

only
as

kind.

type

is

even

more

useful

for

our

pose. pur-

conceived

harmonic

by suggestion.

a)

b)

Examine Notice Examine

Beethoven's

Presto

con

fuoco, Opus 31, No, 3.

there continuously, first page. is
no

that,

althoughfigureis used Opus 81, I"

monotony.

Beethoven's

M.W.

"

Sons

19521-75

15

Modulation
Eric

from

the

given
"

motif

Thiman

(M. Witmark

(inF) Sons).

to the

anthem

"Author

of Life

Divine"

(inE) by

Slowly

^"K-

pNfe
j
j

Slower

than

before

j
[Themeanthem]

^^"

^CT

[Anthem]

M.W.

"

Sons

19521-75

16

Or, suppose
the
same

it is

festival

motif

to Handel's

Sunday and more Chorus. Hallelujah

brilliance

is desirable."

Let

us

modulate

from

Con

moto

iJ
J*

"
-

W
3
Heavy Fed.

j 4, 8, 16
Sw.

j j j

i="

rr
end

"77

-O

[Goto Chorus]

M.W,

"

Sons

19521

CHAPTER

VIII

TRANSPOSITION
Up phase
the to
a

to

this
our

point

no

mention be

has

been

made for
a

of

transposition. This,
weeks. After that in

of course, time
the

is

very

necessary

of

work, but may

postponed
be
are

few

basic

theme,

suggested sequences, should many fifth. Seconds, thirds and fifths

American
a

studied

keys higher and lower by intervals useful intervals in practice. particularly

using increasing

The
to

Guild

of

only
a

third.

But, for concert

and
our

Organists requires transpositionfor its Fellowship degree below and above ing improvisation,it is better to include all intervals up to and includinstinct
are.

fifth above

below.

First, transpose

degree.

Observe
see

where how

hymn 'by ear' or stickingpoints

look with

or

in

any

usual

way.

1)Up

one

degree; 2) down

one

Second,

notes

different

the clefs,

notes

on as

same

these these French and Alto clef"

a

clefs
notes

the use lines, just to see transposing agents. Or, think

as

of of

for Clarinet in F and

written

in A,

in

Bt;
in F

Horn

other

keys; Trumpet

other

keys.

seventh

below

J
Tenor clef"
a

^
ninth below

Soprano

clef"

third

below

a)
Bass
e;

clef"

thirteenth

below

Now,
relation One

third, transpose the melody only of the

to tonic

usual

two

measures,

getting

the

'high points' in

and up:

dominant.

degree

3
and
so on

P
through keys
one

m
of B,

C#, Ek, E,- after which, transpose: f) perfect fourth

For advanced up down up down

a)
b)

degree
third
"

down up down up down

minor
"

g)
i)

"

"

c) d) major e)
'

improvisers
"

fifth
"

third
"

"

A.
B.

Transpose
"

one
"

melody

daily. daily. piano piece daily,

at

hymn-tune

C.

"

first at

one

short, easy interval, then

"

another.

M.W.

"

Sons

19521-75

19

CHAPTER

IX

FREE
Perhaps Imitation, an adept in:
very easy lead Bach
as

IMITATION
most

used

in

inventions, is the

important
the

one

thing

to

study
Bach

and

make

oneself

l) A

into the

subject of
Note

imitation

is
the

through
whole

Anna

Magdalena
free.

Clavecin

Book, written
I

by

for his second the Menuet.

wife. the

Play
exact

bookful! and then the

quote

now

from

imitation

Menuet
Moderate
cant ab He

cresc

fJft

Pr

-^

^
^

M.W.

"

Sons

19521-75

20

2) Next, play two

After which continue

or

three

of the the

two

in

writing

part Inventions following start based

of Bach upon

(one in C,
our

one

in

F,

one

in

minor).

given

theme:

etc.

to

eight

measures

3) Write

out

this

Invention

first and

then

4) improvise

one.

In Bach's very much

as

Toccata
an

in D

minor

the (not do it.

organ

work, but the

Clavecin

the piece)

theme

is

developed

improviser would
will form
to
a

This
the

example
it sticks

pretty complete education

in

imitation. the

It is here

way

the up

idea

given

out

in the

first two

measures,

quoted in part.Note variety of registers, and the

balancing

of motion

by motion

downwards.

Toccata
then Play slowly first, with

in

minor

gayety.

""!

vaw

V fV

M.W.

"Sons

19521-75

21

I
9
"

KjM
0
"

"

ii

j"

M.W.

"

Sons

19521-75

22

CHAPTER

TWO
The
a

PART
for interesting

CANON
many
moons,

student's

canons one

will not

sound

but the

making of

one

short
neces

on can-

day" day the Finish, in writing, elementary improvisation. sarj to even before doingthem extempore.

day"

written

another and improvised

will

bring about
few

the concentration
canons

'starts' of

here

suggested

Moderate

etc.

Slowly

etc.

an [if supply an organist,

easy

sustained

Pedal

part to

above.]

Gaily

etc.

^ j j

i_

etc.

M.W.

"

Sons

19521-75

23

Staccato

i
PP
etc.

etc.

etc.

Canons from
one

may of the

be

at

any

interval. short organ

For

example, here

is

one

at the

seventh

below, with

free

parts,

writer's

works:"

from (Excerpt

the

development)

"*M

if
i
(Pedal)

etc.

For
at many
care

further

study
the

of canons, The Violin

if

desired,
free and

see are

Bach's models

30

Goldberg Variations,
of their

most

of them

canons

different

intervals. Franck

parts
Piano

type.

Violinists

and

pianists may

to

study

Sonata,

last

movement.

M.W.

"

Sons

19521-75

24

CHAPTER

XI

FACTORS
No has matter how the

IN

GETTING

VARIETY
not

varietyin

ideas interesting following:

staccato ppp

(themes) are, they will

"get

across"

unless

one

1) legato

2) dynamics

jff

sfz
Bach from quotation the

3) variety of register(studythe 4) speed

Toccata)

5) rhythms;
strict time
-

rubato
no

or 6) pedaling- damper, sostenuto, sustaining,

pedal at

all. Or,

on

organ,

use

and

non-use

of
-

pedal
chords

7) 8) 9)

solid chords scale work

-

broken

arpeggios

cadences

10) limited

tonality
-

many

keys

Note

to

organists:
the "assets" of your

Restudy
than you

instruments.

Its

resources

are

greater

think

1)

Take
"

all
"

Diapasons
Reeds

alone
"

and
"

together
" "

"

"

Strings
Flutes
each of the

"

"

"

"

"

"

"

2) Then,

take

above

and

couple with

every

other

quality, and

so

on

through the

organ.
re-examine tone above the

3) Then,

effect of all 4, 8, 16 and

32

foot

couplers on
cent

each

and

ery ev-

qualityof
The

possessedby the organ. restudy nearly always produces

fifty per

increase

in

new

effects.

M.W.

"

Sons

19521-75

26

CHAPTER

XIII

IMPROVISATION

IN

ACCOMPANYING

To

the

writer, songs
be
so

never

should
and

have

improvised connecting
that all other tonalities without

links. is

Their

ment arrange-

should in Schumann's

contrasted

dove

-tailed

music

of the juxtaposition "Papillons"

*

[See superfluous. bridge making.]

case

However,

not
can

all make

accompanist

playersfeel this way. the followinguse

from
one

So,
of

brief statement

of the

is that

the

improvisation:
another when

1)
are

To

provide transitions

piece to

key changes"

to

him

"

sudden; 2)
To

quiet

more

or

less

socially inclined
the

audience

at the

beginning
a

of groups. the

Concerning
finished song, of
a

the

first
a

point
the

good practicealways
out

is to
a

use

motif

from

just

making
motif from the

simple
new

modulation song

of it at used the

register. A different
whichto
come a

weaving
pause.

tnay be
either latter.

After effectively. motif from

the song

slight slight
or

Concerning
kind

second

point use
the

the

simplest

of chords/

Preferably

But, again, a-

pause.

M.W.

"

Sons

19521-75

27

CHAPTER

XIV

WORKS

TO

ANALYSE

It is of the

highestimportanceto "go on
and

tour" of much

music works

which and

will

offer

the

improviser fertile
mind, heart
Where
What Where Is there and

generative methods.
Ask
some

ear.

such

Play slowlysuch questions as these:

"listen" with your

does

the

of register

the

melody lie?

is it's thickare

throughness,or transparence?
of the theme

the

inversions

used?

any

augmentation or
or

diminution?

Homophonic
Fofm Are

polyphonic?
flexible? does all

rigid or
there

different subjects or

proceed

from

singlegerm

with

subjectcontrast?
What Of the is the
nature

of the

second

subject?

episodes and
and number

transitions? of cadences?

Nature

Stylesof accompaniment?
One Music
cannot

get

good "method"

without

consultation

of hundreds like the

of

plans.
best

suggestedfor dailyreference efficiency:

Beethoven's Bach's Bach's Bach's
Brahms'

will be

something

for following

Thirty-Two

Piano

Sonatas

English Suites
Choral Well
-

Preludes

-Tempered

Clavichord

Sonata

in F minor Three

the Or, for violinists,

Brahms'

Violin Sonatas
Sonata.

Franck's
For

Violin

and Piano

organists,
Franck's Widor's Handel's
Three Chorales
at least V

Symphonies,

"

VI

Organ

Concertos
Built largelythe way extempore playing technique.

usable (very
an

thinks). improviser
//

I works

am

confident that it will be of considerable

aid to illustrate

the way

use

these

by

few

from analyses

the

of stimulatingideas. standpoint

M.W.

"

Sons

19521-75

28

Examine

the No.

Op. 31,

followingBeethoven vivace. 3, Allegretto

chord

Piano Note

Sonatas staccato

for

style:

left hand.

Op. 53, I,

for staccato

effect.

Economical

upbuildingat

end:-

Rondo

for

playfularpeggiofigure. Op. 57, II,theme

Last for
note

chord

usage.

Note

same

chords
out

as

broken and

up

in the

tions. varia-

movement,

figure of Rondo
different

made

of

arpeggio
Closeness

scale, a fine generating

and
velous* mar-

scheme.

Only
of

four

types
I.

of chord

used.

of texture

growth

idea,

especiallyin
thesis very of

Op. 106, I, for

Construction manage.
*

subject in chords,
of

with

antithesis
has three

in three

parts

and

tended. ex-

Scherzo original.

same

very styles,

difficult to

Op. 109, 1- lyrictheme

Ill- Variation V

has

with recitative. alternating with treatment polyphonic Sonatawhich form inversion have
new

fine staccato

and

effects. legato is interrupted

Op. 110, I, good example

by
a

without is used. and

second

subject. Fugue

lyricpassage,
and

after

Op. Ill, Arietta John melody

C.

Variations

and skillfully rhythms. interesting merged

a

Hollidays "Jack- in
and then used
as

-the

Green" (Schirmer) has

Note how easy, and

"neat"

presentation

of

in bass For

top. melody

yet it "sounds?
then

another

example

of

first alone

harmonized,

see

MacDowells'

Indian

Suite.

Griegs
un-monotonous

Album-

Leaf, Op. 28, No. 3, is

in

good example
style.

of monotonous

rhythmmade

by change
Rousseau's
basis.

harmony, position,and
Theme

Samuel
for folk song

Double

for Organ gives fine

theme

treatment

suitable

Chopin's Ballade, Op. 38. of theme. Lovely simplicity Note development of idea, which
without

is

highly organized,

becoming

too

"mental?

Chopin's Fantasie, Op. 49. Note variety of stylein composition, style in piano technic.
Noticeas one

melody

with

staccato

5) obvious proceeds- l) octaves, 2) solidity,3) octaves, 4) solidity, chords, 6) arpeggiosand scales, 7)broken chord accompaniment,
notes

8) melody
The

in double texture

etc., etc.
a

surface

is

very

vital

part of every

composition.

Great

example,

this.

Bach's

48!

Talk

about

styleshow!

*See

also

Music

to

the

Listening Ear, by

Will

Earhart,

page

146

(Witmark)

M,W.

"

Sons

19521-75

29

For
es

Toccata

models, see

Widors

Fifth

Symphony,

Dubois'

in G

and

Mulefs"Tu

Petrus?
Handel's March from Occasional Oratorio
is fine easy March model. The first

movement

gives

ideal Overture

design.
over

Sonata Rheinberger's Theme. The

Eighth example

Tone of

gives simple treatment

of

Gregorian
theme from

fugue

is beautiful

and combining of fugue subject

first movement. Franck's Three Chorales

one

for theme

Organ

and

Symphony
large unit.
related.

in D minor

will
uses

reveal
a cue

his

specialgift of expansion of
All figure. best work is germane. in

into the

Franck
That

never

useless
to

Always, always, always

is also the

one's

improvisation.
Tanzstiicke No. 1 will providethe modernist JT3 j provide three pages of merry going. Several over give delightful "splutterfuss" nothing in particular. how

Paul
scheme.

Hindemith's

with of the

usable
amples ex-

Note also

other

Consult

also

"Paeans"

"Alcott"

movement) by
and
a

Charles

New (No. l) by Rudhyar ("New Music"),E. Ives (privately which printed)

England
contains

Sonata
a

(The
oven Beeth-

both

motive See also

Scotch Ballet

hymn.

from "Daphnisand Chloe"(Durand et Cie.); Milhaud's "Daphnis" "Silhouettes from Mortimer (Max Eschig et Cie.); Wilsons Screen" "Laranjeiras" the Music Arnold Schoenbergs"Six Little Pieces" Opus 19. (Uni(Composers' versal Corporation); "Pictures at an Ex Edition); Jacque Ibert's "La cage de crystal"; Moussorgsky's Ravel's
-

hibition"; Zatacwitsch's
Shostakovich's

"Chant

des

Kazak", Part

13; Stcherbatcheffs

"Choeur

Danse";

"Preludes", Nos. 3 "4.

Note: of this work dance accompanist maybe appliedto the needs of the modern the working technique/Then, developingthe theme as given on Page 3 to secure by taking a given motif from a modern or ancient dance theme and spin into set or eThird, by becoming familiar with the structures and types volvingforms (seePage 37). and improvising within those structures and types. of dance music used by choreographers and organists who "plytheir A similar of distinct method be to advantage pianists may The text

by

first

trade" in radio studios.

M.W.

"fSons

19521-75

30

CHAPTER

XV

HOMOPHONIC

IMPROVISATION
and FUN

In order time
1

to

become

is good extempore player it occasionally easy

necessary

to have

good

by improvising unseriously some

to

types.
has been

Up

this

part only
of

melodic
a

work (polyphonic) is most far

used, for the

it results than

reasons

already
the

given, and
continued Books Slavic
or

also because
use

harmony

reaching

when

largely from

parts,best thought being

horizontal

rather

vertical. I

of Folk

Songs, with
German
matter.

the
or

melody only given,-form

Frenchor

special stimulus.
a

suggest
"

Hungarian,
that

Indian-

makes

good starting point

or

ending place,for
In this the

freer,more type
if

spinning and
In this goes
on,

homophonic and of less mental "hunks" of use weaving processes)

set

nature

the (after instead of

mind

is tired

of odies. melas

themes advance

expansionof
allow

the

form
so

rather

in arbitrarily

and then

it to vary

one

inspiration guide.

SOMETHING
The basis of chords

ABOUT

HARMONY
the harmonic series:-

(Harmony)is

l!

10

0
0

1"

Find notes.

out

how

many

of the usual

chords
are

may

be

made
the

out

of, say, the first nine

harmonics.

or

ten

Some

of the

newer

chords

based

upon

upper

M.W.

"

Sons

19521-75

31

Most

desirous
octaves

improvisorswill
and
one

have

heard
means

of certain

prohibitionsin harmony
the
or

such of the

as

secutive con-

fifths. But, that

thinks in four

type.
a care

Whenever
to

pattern one part harmony (whichbelongsto counterpoint)

only

when

scheme

is

older have

must

avoid

these

parallels.
is based
on

But, suppose
the writer's

one's scheme

fifths parallel be incorrect

or

paralleloctaves
to

like the fifths and

examplefrom
octaves.

Choral

Triptych*then

it would

not

have

the

Very slowly

portando

God
"

laughedfrom

ver

depthsof

love

Ah!.

portando
PP

J-VF_

laughed from

ver

depths of

love.

Ah!

portando

God_

laughedfrom

ver

depthsof

Very slowly

Reproduced

here

by permission of

C.C.

Birchard

" Co.,

owners

of the

copyright.

M.W.

"

Sons

19521-75

32

with Now, proceed to the free improvisations

different stylesto select from.

well

Complete

lowing the fol-

'starts'.

First, take

an

accompaniment

in the

R. H.

made

out

of

our

worn

theme, with the melody

followingin
As,

L. H.

1)

r^rrfrrrffr
ff vigorously

i
i

i
etc.

I
3)
seem

melody l) Arpeggio style,

included.

etc.

[Makethree
A

more

types.]
way
out of nothing,is to put some get stimulus, to get juice and structural lead until your own its rhythmic following to

fine specially

pungent spicy,
ideas come, that

rhythm
For

in front of you, very

own.

your

example,base pieceupon

MacDowell's

"Wild

Rose" plan.Use

same

series of notes:-

etc. aEj-^-p-

base pieceupon [Also,

M.W. "Sons 19521-75

Preludes Chopin's

Nos. 7 "

2Q, and

upon

his Nocturne

Melody inverted

etc.

5)

Choose

types of accompaniment for homophonic style,as below

"

and
seven

also

this

same
-

exercise

in various

keys

with

four

flats,two

and

three

sharps,using

the

usual

notes.

6) Now, get gay

once

in

while

and

make

up

Hornpipe,a

la Edward

German

(FourEnglishDances).

ffast

continue

(Ancient Hornpipe

was

in

time.) triple

Build

one

over

Purcell's Hornpipe.

7) Next, try
whatever.

Waltz,

an

old. time
'hot air' out

Cake

Walk,

Jazz trifle"
is to

on

either

some

subject or.no
and

ject subin.

Getting
work

of one's

system

keep repressions out

expression

[See the

Hindemith

referred

to

in Section

XIV.]

Marcel in

Proust

says: "Like the

those

expressive themes
rush the

composed by
peace

musicians

of

genius which
to

paint
the

splendidcolors who, having first right direction?

glow

the of fire, eyes

run over

of water, the program,

of fields and

woods,

audiences in

let their

have

their imaginations trained

M.W.

"

Sons

19521-75

35

These

fine

words
are some

give the

reason

for

player's using a get the

2nd

title in

case

inspirationgives

good

one.

So, here

to subjects suggested

student started:

Winter_

Subject .1st low register"

^

medium

Subject high"register
low

Spring" high" JugglerLove" Hate" Sunrise The very

sonorous

medium
very low

high"

throughout
strident and low

strident and high" etc.,etc., with

a new

subjecteach day.

stressed because little attention is paid to it. Analyse well the are so problemsof register of in writers. ring the Schumann's [See interesting Fantasie, Opus 17, for stirshifting position great examples.]

SPECIAL Make
short studies in

HARMONIZATIONS

improvisingpieces

a) using

minor

chords
chords

only; only;

b) using major

and secondary) chords only; c) using seventh (dominant

d) using combinations 8)
A

of the

above.

favorite and

schemed easily

effect in such

accompaniment

may

be

modelled

after "The

Sleigh"* a

song

by Richard

Kountz,
molto

in

some

manner:-

Allegro
M.

^
S
~

*
etc.

"j
" 7

aaLp
,

K "r J )
,

"/
i

K
,

"/
/

*f

*LP

}
"

^ti="

'

f/i
i

*f

"

ffji
.

*/

$""

r
G.

r
of the

r
copyright.

^Reproduced here by permission of

M.W. " Sons 19521-75

Schirmer, Inc.,owners

CHAPTER

XVI

PLANNED

THOUGHT

The

beginning
timeis

and

end

of the

work

of

skillful of

improviser-

as

every

reader

will

see

by

this

planned
to

thought;

blueprints
at

action. into

It is difficult
into

tell the is
to
no

point
definite "till

which

thought

merges

emotion,
the

and

emotion to

thought.
all he
can

There and defined

line
it

of demarcation.

So,

it behooves

player

feel

think

hurts? whose emotions

the

Some and A

one

genius

as

one

and will

intelligence develop

function

equally

synchronously. good practical

of
a

Bearing
rule and before The
is:

this To

in train

mind,
the

student

himself

all-roundedly.
of
all

intelligence to
will take
care

take

consideration

ble possi-

phases
In other

theme

the

emotions

of themselves.
must

words,

any

person

have The

magic
emotions

he

have urge.

digested plan

or

conceived pre-

design.
A

mind

plans.

give

thing
and

may

be
are

mathematically
below and

fit, but
the

emotionally

spineless-

or,

the

reverse.

But,
a

urge

surge

beyond

intellect.

So, thought

plus feeling

form

fect per-

working

team,

cooperating

always.

Always
do

keep

in

the

foreground
work"
on

of

your selected

mind theme

the

following:-

For

the

first few
is done

months
in
ex-

all the

"laboratory

each

before improvisation

tenso.

Also,

all

extemporisers
present
is not
to is

of

the

first

rank

keep

procedure

in

readiness

to

take

the

place

of

doubtfully

inspiration. always
so

Inspiration
shoulder fit any

accommodating
a

as

one

wishes.

It
a

doesn't

sit and

on

one's ly mentalat

ready

descend used.

like This

dove. leads

So,
to

as

earlier

suggested, coming

planned

blueprint
prevents
the

often

fresh
to

ideas flow.

forward;

and, always,

rate

stupidity
has follow

when

"juice" fails
all the such studies

After
set tune

student should

made
some

for, and

has

fully extemporised

upon"our"

he

plan:-

1)

Select

tune,of the soaked first

two

2) Study
the tune

possibilities
has

or

three

measures

in

all

the

indicated

ways

til (un-

completely
the

in);
tune

3)

Reharmonize

hymn

or

in the

ways

indicated

and

also

put eighth

note

tion mo-

in

Alto,

then

in Tenor,

then

in Bass;

M.W.

"

Sons

10521-75

37

4) Play whole
then harmonize

melody backwards, making

in two
tune

the

at "dead" rhythm interesting

spots and

ways in:

with

this "crab" if in

inversion;

5) Treat

whole

a) minor, b) major,
at

major;

if in minor. and

6) Study
7) Make

with short second

a

Pedal. Points
theme theme
out out

top

bottom;

of the tune, of new,

using

free

accompaniment;
then,
return to

8) Make
9^ Make
a

unused

measures; out

first theme;

March, Sarabande,

Toccata

of

same

basic

earlier sugidea, taking (as gested)

typical model.
one

10) As
or

dailyexercise
from

use one

imitation voice
to

in

rotating parts, moving

That
voices.

the "two

againstone"
to

"three
notes

against one"
of the
term

another. other

is, place againstthe,largely, quarter

melody eighthnotes
in
to

in the

["Two to

one"

"Three

one"
or

etc.

is

used

Counterpoint
Cantus
a

indicate

number
or

of notes

in the

counterpoint,

secondary melody, againstthe

The

Firmus,

chief

melody.]
every chosen theme.

aboye plan is

good working designfor

Each and

week

the

student

will make form.

thorough study study

of

one

new

and playform, analysing ing Minuets vistas and Scherzos

in that improvising

The in

of,say, the

Beethoven up
new

will reveal

unsuspected variations
the order
a

design which

will open in

of ideas. B
or

Perhaps
C each

best

for the

elementary student

tackling forms

A or (letting

represent
Piece Piece Piece Piece
on,

theme) is
on

to build:as subject,

a) b)

based based based based

just one
A, B
A-B-A

(See Chopin's Prelude, No. 7);

No.

on

Chopin'sPrelude,
Coda

20);
A Wild

c) d)
point

on

(MacDowell'sTo

Rose);
No.

on

A-B-A-C-D-C-A-B-A

(Beethoven's Minuet, Op. 2 varieties);

I) [Fromthis

Concert based based

Extemporisation];
on

e) f)

Pieces Pieces

Rondos Sonata

has (Efeethoven Form. forms have been

about

six

on

After
be

these
on

homophonic
as

well

assimilated

the

polyphonicforms

will

carried

in

Chapters 20, 21 and 22.

also should be used-

An in church service extemporisation. especially isworked of after a predecidedplan development complete evolving form is a form which is. the piece is but that is only when short motif developed, out. As a rule, there is but one

Evolving forms

short,or
when

of medium

length. A
has been

form

that

is not

set

form
a

is

complete

and

satisfactory

its material

evolved to the utmost

of

simple clarity.

M.W.

"

Sons

19521-75

38

CHAPTER

XVII

THE

ORGANIST
and the

CHURCH

SERVICE

All the his

precedingpages
to

will

of

course

hold
to the

job. But,
will

be

of

use special

good for in organist

any

kind

church

ever whatimproviser, playinga few more agraphs parof

an

help. Keep
with
on or

First the

essential: written be
out

organ without

console bars

during
and
or

service

the notes

of the

theme else

chosen
on

for

day,

in singlenotes. clefs

Nothing
organ

sheet.

Theme

to

chosen, of
or

course,

from

hymn

anthem

or

chant

or

work.

ably Prefer-

from
As his
to

hymn
one

anthem.
to

great contribution
various

the

church

service and

the

has organist

double

function:

a)
"

unify the
the

parts of,the service;

b)

to render

dominant
The of the

for the

the atmosphere more unfolding penetrating, day. In other words, one theme, one mood.

moods

which

should

be

of study to the melodies in the music organistshould apply all suggestedmethods following Sunday. Only then can he "let loose" and give radiance to his work.
to one,

at

will not spontaneously come Improvisation sightin publicWidor's Tenth Symphony should Every organist

any it

more mean

and make

than an organist can play anythingemotionally.

study a
with

Bach

Choral -Prelude other voice. Do

each

week, playingit twice

as

and

then

each

voice

alone
come

and

every

Jhisas long
may force

you
to

are

an

ist organdown

and your At

ideas

will

fast; so fast and

strong that they

you

write

ideas.
any

rate, it is the radiance

of the

playerthat

counts

in his

immortality.

tf.W. "

Sons 19521-75

39

CHAPTER

XVIII

GREGORIAN
This

MUSIC

the the fact that almost of misgiving arising from subjectis approached with feelings with the handling of modern tonalities, vast, the procedure so widely at variance the literature from that type of emotional pression exso incrediblyrich and the metier so far removed of whicli modern be put into a book Whatever has been built up to voice. can tonality is a and liturgicalmusic this kind be offered only as suggestive. In other words, modal can complete subject,a subject almost entirelyseparate from music as we understand it today, and and that should be studied under proper one tutelage. There, are worthy and adequate teachers schools for this purpose of Gregorian music, namely, approvedby the acknowledgedrepository Catholic the Roman Church. For the subjectof modal harmonization, the student is referred to field is
so

"Mediaeval

Modes"

by

Dr. A.

Madeley

Richardson

For (Gray).
to

concise

and

handbook -practical of

on

Gregorian music
Chant"
see

in all its

phases, the student

a source

is referred book

"The

Complete Method
most

Gregorian

by

Dom

P. 44

As Gregory Sunol. from J.Fischer (procurable

of the

musical

literature,the "Liber Usualis"

"

Bro.,New

the York) is probably

compilation. practical
of the student's
tention at-

However,
toward

(and bearing in
the music in mode

mind

the

itself is

direction some foregoingqualifications), to will serve important here. The following with
case

illustrate the The open

eight
the

ecclesiastical modes
dominants of each
course,

Gregoriannotation
are

modern corresponding

notation. other

finals and
notes"

indicated lower

in

one

by open

neums,

in the

by

final,of

being the

indicated note.

The
NOTATION

Ecclesiastical

Modes
MODERN

NEUM

NOTATION

MODE
Dorian

(Authentic)

MODE
*

II

Hypodorian (Plagal)
"

MODE

III

Phrygian (Authentic)
B *

"J"

MODE

IV

Hypophrygian (Plagal)

M.W.

"

Sons

19521-75

:0

MODE

Lydian (Authentic)

MODE

VI

Hypolydian (Plagal)
m

MODE

VII

Mixolydian (Authentic)

"

-^

cr

MODE

VIII

Hypomixolydian (Plagal)

"y
Tote tants the
are

similarityin responsible

note for

sequence the marked

between difference

the

Dorian in

(Mode I) and

the

Hypomixolydian

(Mode

VIII).

The

differences

in the

Finals

and

Domi-

character.

Of

importance particular

in

ised: the C Clef

similar to
our

"

and the F
C clef

of which two varieties are reading Gregoriannotation is the clef, *C clefs movable for convenience in notation of Both these Clef are
.

movable

of ||"

The pitch of today).

the

GregorianC

and F is respectively

"oth

in append eightexamples,one in each of the eightmodes, using in each case a Kyrie Eleison modern for and modern notation. Observe that the notation actual sounds the gives Gregorian to the octave, in the G clef- a style which irst four, the remaining four are transposed prevails hareditions of Gregorian music. n modernized Followingthese melodies are three authorized lonizations of the first sentence from the first Kyrie. I

FIRST
1.

MODE

Eleison (Kyrie

IV-

In Festis

I) Duplicibus

"
-

lit
"

J":
-"
"

"-

Ky-ri-e

le i
-

son

etc.Chr i-st e

le-i-son

etc.

2.

SECOND

MODE

Eleison(Kyrie

Cantus

ad libitum

III)

Ky-ri-e

le

son

ett.

Chri- ste

le

son

etc.

.W. " Sons

19521-75

42

EIGHTH

MODE

Eleison-I(Kyrie

Tempore Paschali)

P.' X. Mathias
.

X" Kyrie Eleison

IV

Ex

"Organum
seu

Comitans

ad

Kyriale

Ordinarium

Missae"

Rev. L. Manzetti

I) Kyrie Eleison

IV

"

Ex

"Organum
seu

Comitans

ad

Kyriale

Ordinarium

Missae"

By permission of J. Fischer

"

Bro,,

owner

of

the

copyright

Julius Bas

I) Kyrie Eleison

IV

Ex

"Organum
seu

Comitans

ad

Kyriale

Ordinarium

Missae"

Copyright

1921

by

Desclee

et

Socii,Tournai, Belgium
serve

The

two

will fallowing quotations

to

illustrate

freer

stylein Gregorianmelodic

structure.

3.

Mode) (Third

PANGE

LINGUA

(InFesto CorporisChristi;

Pan

ge lin gua
-

glo ri
-

si

Cor

po

ris mys

te

ri

um,

San

gui-nis que
-

pre

ti

-' 6

si,

i=^
Quern in
mun-

-m

"-

di pre

ti

um

Fru- ctus

ven-tris

ge

ne

ro

si

Rex

ef

fii dit
-

gen

ti

um.

J
*

-I
"

'

^m

Note

divergence of rhythmic pointing Sons 19521-75

in each

version.

tf.W. "

43

1.

Mode) (First

AVE

MARIA

(Festa Octobris 7)(inII Vesperis)

A-ve

Ma-ri

a,

a gra-tipie-na:

Do-mi-nuste-cum:
I
I

be-ne-di-cta k

tu

in mu-li

ri-btis.

f"1

Studies
The viser:writer believes the

in Mode

Extemporization
the essentials
to be

following pointsare
mode is
a

kept in

mind

by

the

impro-

1) That
mode

the

purityof
of the

each

necessary

basis to

defined character; strongly

2) Mixing

modes If

character. the

of effect and a weakening of individual is,of course, a neutralizing desirable however, do it as simply and unobtrusively as ning planpossible,

effect in

advance;
use (homophonic), onlysimpletriads

3) In

all harmonizations

and

first inversions

of the and

same,

using the seventh, ninth, eleventh essential parts of the chfird; as

and thirteenth

as

passing and auxiliarynotes

not

4) Always keep in
can

construct

melodic one character of all the traditional "tunes? Thus the essentially with the various melodies synchronously producing piece strictly polyphonically, harmony that will usually be in keeping, providedone has Mozart's idea of a good

mind

"ear,eye and heart";

5) The

essential

differences

in the modes

lie in the location of the half such

a

plusthe steps,
between the

nature

of

the finals church

and

dominants, which
and the

latter make and

great difference

opulent

modes

limitingmajor

minor

scales;
the
must always be preserved. relationships the scale becomes on C, c-d-et-f-g-a-bt-C;

but to any desired pitch, 6) Modes may be transposed For examplethe Dorian (First Mode) is based on D.

Based

7) The
for

dominants

are

the

notes reciting

of the chant.

They
chord

dominate.

The

finals

are

notes

endings;
harmonizing,the organist the same, of modes are pair
are

8)

To the each

finals while

suggestthe
the

endings.

Note

that the finals

of

dominants

differ;

9) B 10) As
or

and Bb

almost

ancient equally Rossini

usage;

stated by Father
in
use

of St. Paul's

Pa., "each of the Gregorian Cathedral, Pittsburgh,

to beginning

melodies
mode

in the has been

Catholic

Liturgyis built from

the composer

end
as

upon the

single scale
to
times somenever e-

which

by preferred

to the

other

seven

better suited

the development of his piece the composer express the meaning of the text. During field the invaded have belonging to a "relative" scale or mode, but might

nough
be

so

as

to

change the

modalityof original
because of the absence call modulation.

the

piece?harmony, only some

there
sorts

11) Also, "in GregorianChant,

of any
are

is

nothing that
or

may
das, co-

compared with
at the

what
some

.we

There which
case

of cadences

end of

by pieces Gregorian
easier for the

the return the chant

passage

to the

beginning

of

the With that

same

pieceis made

in singer

should be

repeated?
mind

the

in the

proceedto the studies,keeping in may thoughtstresses the improviser foregoing lies strength. the modes of of the treatment purity and simplicity

M.W.

"

Sons

19521-75

[4:

Procedure
1) First
make
a

complete study

of the

laid generalprinciples

down

in the

preceding chapters;

2) Second,

study

given

"modal"

theme

in the

manner

developed

in these

earlier

ters; chap-

3) For

gest sugsimple material upon which to base studies in the beginning,I would "Patrem the words 1),267 (at Gregory Hymnal" especiallyNos. 221, 265 (line 200*? (theold Arcadelt tune. See Liszt's arrangementfor piano), 233? omnipoteiitem"-), 269 and Edition of the Antiphonale), harmonies. It is according to the Vatican 234 (notice excellent the "St.
,

216;

4) Now,

build

upon

each

of these

hyms

and

chants

6, then

7, 8, 12 and

16

measure

phrases,

keeping the idea of derivingcloselyall ideas from the motif chosen from each hymn or in the above, we is established proceed to the motifs in the ochant; after facility may larly Any authorized book of the kind will do, particutype of staff,clefs and notes. riginal
the Liber each Usualis of the

referred previously

to;
extensions of the chosen

5) Build
then

upon drawn

Kyrie melodies
and

quoted,first,short

notes;

five minutes to three minutes, developed polyphonically, and ten minutes in length so as to suit every purpose. Finally create out of them specific in the works in free style, Pontificale, Canon, etc., as suggested as a Toccata, Marche Examine closely the variety of contours in these ancient melodies previous sections.

out, extended

"

and

follow

suit!

BIBLIOGRAPHY

1)
2)

The The A

Complete Method
Mediaeval Modesarticle

of

GregorianChant"
A.

Dom

Gregory Sunol.

(Desclee" Co.,Tournai);

Madelcy W. Goodrich" "GregorianAccompaniment" by Frederick (American Organist- June, 1933); 4) Counterpoint" Charles W. Pearce (for rules on progressions); 5) The St. Gregory HymnalNicola Montani (St.Gregory Guild, Philadelphia); 6) Dorian Prelude, for organ" Br'uce Symonds (OxfordUniversity Press); ?) Concerto Gregoriano- Ottorino Respighi; 3)
brief
on

Richardson

(Gray);

8) Three 9) Ninth

Preludes

and (Gothic)

10) The Art of 11)A New School

Edition); Gregorian Themes" Respighi (Universal (Romane) Symphonies for Organ" Widor (Hamelle Edition); Max Fischer " Bro.); Accompanying Plain ChantSpringer (J.
based
on

Tenth

of Gregorian Chant12) Liber UsualisDesclee, ho. 801 13) Organum Comitans ad Kyriale seu

Rev.

Dom

Johner, 0.
MissaeMissaeMissae-

S.B.

(Pustet); (Pustet);
Fischer " Bro.); (J. (Descleeet Socii).

Ordinarium

F. X. Mathias L. Manzetti

14) Organum Comitans

ad

Kyriale seu

Ordinarium Ordinarium

15) Organum

Comitans

ad Kyriale seu

Julius Bas

M.W.

"

Sons

19521-75

45

PART
CHAPTER

TWO
XIX

CONCERT

IMPROVISATION

Da

Vinci which

said: "Without

good

and

solid

theory one

can

do little in the 'hazards' ofpainting"-

appliesto

all the Arts.

PREAMBLE

Since did when down

not

nearly all
circulate

the

early pianistsand organistswere

made their
own

also

composers, it
was

and

since music

widely, men

music.

Sometimes
works

for the became

moment;
written

it was, music.
we

of course,

improvisation.These
"Musical

extempore

usually

(See Bach's

Offering")

So,
milk

find
sour

Bach, Beethoven, Hummel,

for miles

turned

Franck, and
In the almost
a

others

Abt Vogler(who made thunderstorms until the around!), Mozart, Chopin, Wesley, Guilmant, Bonnet, Widor, the composing faculty to service or recital needs. fitting of music We
must
we

early days
dead issue.

find

improvisationa livingthing.
make it alive.
wrote:

It has

now

become

once

more

After

hearingHummel
in
exact
a

of all kinds figures be

more

improvise,von Weber supremelylogicalway

in
a

"He

used, with
this

masterly control,
could not

in innumerable he
was on

positions. One
occasion?

pure

and

notated

work wide

than

Concert
an

extensive forms

Improvisation opens up a knowledge of, and

and usages.
our

field in which

few

caper

intimate and

acquaintance with,
the

all the and

It poses brilliantly. presuphomophonic and the forms

polyphonic
be at ones' studied.

The

Sonata
so

Suite, the Canon

of the
to

Fugue
have the

must

tips. In finger
the

progress

far, some
now

two-part necessary Prelude, the Three -Part Canon, Fugue and the homophonic forms
and

Also

Canon.

It is

homophonic study Variations,

of the

been Choral Sonata

Suite,

Symphony.

Also

SpecialScales.

M.W.

"

Sons

19521-75

46

CHAPTER

XX

VARIATIONS
As

preliminary study play slowly

of Mendelssohn. This

Beethoven's work

Sonata,
possesses

Serieuses this

latter

the

Op. 26, I and continuity

the

very

fine

Variations the best of

demanded

by

type.
do
not

Variations of

need upon

to be

the

same one

length, nor
figure
on a

the

same

key. Just keep

some

constant

iety var-

figure
in

based

contour:

to

each

variation. vends des

l) Notice
following

Chopin's early variations

variants,
a

theme

"Je

scapulaires" by Ludovic,

the

melodic

very

usable method

for the

improviser:

m
Var.
I

Var.II

Var.

IV

2) Invent
Theme of

continuations

of the

variations.

hymn

is:"

etc.

[Have hymn

on

desk.]

continue

^through hymn.

Var.

II

la

gigue
continue

3) Improvise
Note:" It is

seven

more

melodic

variants, using variations

in L. H. hands

as

well

as

in R. H.

important
to

to

develop
the

melodic

thought
hymn.

in the

two

equally at

all times.

*This M.W.

melody happens
" Sons 19521-75

contain

notes, used

in

our

47

4) Improvise
Theme

variations be:"

from

these

'starts'.

may

a)

continue

Or:-

b)

continue

Or,

start

in

single notes,

thus:"

c)

continue

Then, in chunks,

staccato:"

5) a) b)
6)

Put
"

the
"

above
""

in two
"

sharps;
flats.

five

Here

is

start

with

our

theme,

over

Beethoven

idea

from

Op. 109:

continue

M.W.

"Sons

19521-75

48

?) See
the fine

Mendelssohn's

Sonata

VI.

Notice

solid

Chorale, the aeration

of theme

in the first variation, is how the third

moving

bass

in the second

and the

featheriness exquisite

of the third. This

would

sound:

etc.

"i==i
Fed.

r
our

8) Compare the
D

effect of

theme

harmonized

in the D

followingtonal
pure

schemes.

minor

Dorian

(withB natural)

etc.

Whole

Tone

M.W.

"Sons

19521-75

50

CHAPTER

XXI

THE
Keep
material in mind from
a

CHORAL
the
constant

PRELUDE
faculty of deriving importance to the improvising blossoming method.
examine the

for the few

notes
as

n^l1 time
:"

the
as

budding

and

It will be Martin

of interest

well
on

importance to
seventeenth

followingold examples taken

from

Fischer's

great work
old

the

(See Bibliography.) century*

l) Originalform of the

melody.

2) Derivatives:
etc.

It will Choral Take

now

be

well to Vom

quote from
Himmel

Walter

Rummel's

of piano adaptation

Pachelbel

(1635-1706)

Prelude the and

over

Hoch. it
our

'far off

figurehe uses and placeunder of a scheme. is a- delight

theme. omnipresent

The

Pachelbel

is not figure

etc.

Developthe figurefirst,as
theme
below.

an

exercise

for 8

measures

and

then

improvise

with

the

usual

Next, take
models
See Me for

and up Bach's Orgel-Biichlein improvisation. of this

the

other

Chorale

Preludes,using

two

or

three

as

Karg-Elert's works
so

type. Also, there

useful
as an

are

number

of American

works

(Noble,

not Kinley etc.)

but involved,

improvisedtype.

Martin

Fischer the

says:

"The and

and

parcel of
"Sons

thought

significanceof improvisation at this time cannot be too highly estimated? traceable to it. practiceof the time and much written music is directly

That

is,it was

part

M.W.

19521-75

51

CHAPTEB

XXII

THREE

-PART

CANON
and is useful for this purpose his
canons are

Canon The Three-part concentration requires extraordinary never degree.Even if the player highest gets to the point where

in the worth

he thinks

to, listening

at least he will increase

stoutlyin- attention,
Canon'.'

his basic need.

For theoretical

inary prelim-

study see
Write
out to

Prout "Double
12
or

and Counterpoint

14

measures.

Then, put aside written

work

and

try to improvise 8

measures,

adagio

assai! On

Note:"

alternate

days,improvise two

and

three

-part

canons.

Canons

in Three

Voices

Etfifr

III

etc.

if
M.W. "Sons 19521-75

52

CHAPTER

XXIII

ESSENTIALS
of Fugue, theoretical pursuit [For

OF
the

FUGUE
short work

by Higgs.]
to difficulty special

treatingof the essentials of Fugue, proviser. Perhaps the only great problem is constructingthe different types,the tonal and the real.
Tonal is where
tonic and the
answer

l)In

I refer to those

points of
answer.

the
are

imtwo

Note

first that there

respondsto
used in that

the

these high-lights of the subject, being the 'high-lights'

dominant

notes

subject.
is:

Subject in Bach's big E

flat

(tonal) Fugue

(Starts on Dominant,

ends

on

Tonic.)

The

answer

is:

(Startson T,

ends

on

D.)

(Itstarts
That would
never

on

T., ends

on

S.D,)

do for

Fugue! self-respecting
minor

Examine

the

C Tempered Clavichord),

tonal fugues: Bach's big G following minor (No.2. W. T. C.) Bach's C

Organ Fugue, C major (No.1. Well-

Next

examine

major Fugue"

real

fugue.

Subject:
* 4

Answer:

J
D

Examine

in W.

C. Book

II

Fugue

No. 9

and

the brilliant

major Organ Fugue.

It is very difficult
to
member. re-

2) The

is Countersubject

the

But, the joyfulthing about

t

used first with the answer. counterpoint of a free C.S. it is frequent use
also the have
to

Examine last named Note:" The

the has

above
a

Fugues

and

masterwork others?

in E

minor

for Piano

by Mendelssohn.

The

free C.S. be
a

What contrast

the

C.S. must

material subject

in

rhythm and

contour.

3) The

whole

Fugue

is made

out

of and developedfront Question,Answer

and

Counter-

Subject.

M.W.

"Sons

19521-75

53

4) The generalplan a) b)
EXPOSITION" INTERLUDE-

of the

Fugue (for example, a

contains Counteror

Four

-part Fugue) is:

Subject-AnswerExposition-S-A-S
close.

Subject-Answer.
-A in different

key

(if desired) rearrangement.

subjects come
in

c) STRETTO" d) PEDAL

"

where

POINT"

sometimes used

sketchy, sometimes omitted, climaxes. long cumulative

but much

e)
5) Now,

CLOSE"
write

an

ending of varying length.

II W. T. C.
a

out

from

Book

number

of

subjectsin

this

manner:

i
0

59)Write
to
scores

out

answers

to these

and any

compare

later with the

the Bach
as a

answers.

of

Fugues
same

before

of building

Fugue

whole

is

I suggeststudying the attempted.

swers an-

6) Take
\

these

subjectsand improviseanswers
out your
own

to them.

Some

will be

remembered, others
*

not.

write 7) After this thorough study, compare with the Bach

counter-

counter-

subjectsto

five of Bach's

answers.Then,

subjects.
Fugue
No. 1, in Book

8) Study
for strettos and

the

stretto

of Bach's of

I, W. T. C. and in Bach's big A minor

take
a

Fugue
build

Organ. Also the

compare. three

strettos

Fugues already suggested. Next,

Bach

subject and

9) Write
short lovely,

of your subjects Piano Fugue in D.] the student

an

own.

Build

brief

Fugue

upon

each.

Mendelssohn's [Examine

10) Perhaps by
very, very

now

will be

ready to
of
our

first write

slowlyon

extension

usual

a Fugue. Then, put subject:"

it aside

and

provise im-

Fast

[butimprovise slowlyat first!]

Subject:

j r r

Answer:

^
does subject subject'neatly!] this not need is short

[The Codetta"
get
back to the

one"

ending placedat

end

of

answer

to

M.W.

"Sons

19521-75

54

The

Counter

to -Subject

answer:

[Maybe
C.-S.

used

exactlyor

approximately.]

Answer:

a) b)

When When

used used

exactly,C.-S. only
in essence,

is strict; C.-S. is

free.

Stretto

etc.

[Pedal point]

r
in

augmentation

A to

great many

years various

ago

Bernard

Boeldemann

some published

Bach

Fugues,usingdifferent colors

the represent

essential

parts.Any

reference

to these

will repay the trouble.

.W. "Sons

19521-75

55

CHAPTER

XXIV

SUMMARY

OF

STRUCTURES

Musical

architecture in

is the

great singleessential of all great

the
a

music.

Structure, good

or

bad, is shown
Concert

simple phrase to improviser will,therefore, study the structure

as

from everything

cathedral-like

Symphony.

The

of all basic

types.

1) Sketch Forms,
A A B

Preludes; Chopin's

2) Song 3)

Forms ABA with Scherzos and

or as or

without

Coda,

as

MacDowell's

Woodland

Sketches?

Minuets

and

ABA-CDC-ABA

modifications

as

in Beethoven;

4) 5)

MarchesWaltzes-

ABA
as

Minuets;

above-

See

Chopin;

6) Rondos;
ABACA A ABA B A C A D A ABA

development

7)

Sonata

Form;
A B Cl T-

Devt

Cl T Canon

8)

Canon

see (withfree parts),

F sharp delightful

by Jadassohn

in addition

to the Bach

and

Franck

works;

9) Fugue-

see

under

Fugue;
Theme-

10) Fugue coupled with

11)Fugue
with Chorale

Rheinberger No. 8;
Mendelssohn Piano in E

ending-

minor;

12)Basso

Ostinato

(seeArensky);
"

13)Passacaglia- Bach,

of course!

14) Evolving forms, (see Page 37.)

ESSENTIALS
First scheme
movement

OF

SONATA

FORM this form. It is

a

of

Sonata

or

Symphony

usually has

three

part

highlyorganized.
A B is is

fullybuilt

theme.

usually lyric. contrasting,

Theme is

Closing
So
or

reallyan

episode.
any

far is called

any

part

of

Exposition.Development Exposition.
the

follows-

length- deriving from

all

M.W.

"

Sons

19521-75

56

At

close of the

(Thismeans
Dominant,
The
or

the DevelopmentGroup is a return of Exposition with keys stressing that B and ClosingTheme are transposed from some key other than relative minor or major) over to Tonic. music
casts

chief Tonic

ality. ton-

ally (usu-

forms

into which

itself

are

Homophonic"
go
over

contrapuntal.Polyphonic pieces seldom primarily

may shift

and Polyphonharmonic" ic" primarily into homophonic.Homophonic pieces

occasionally.
may be any but length,
a

Themes

and completenessmust solidity

rule.

[SeeOp. 2, No.
of other The

3, I

ity solidSecond
a

of first three themes

lines. So

solid that

they
up.

balance

two

and

one

half pages last

matter.]

are oppositesof first themes. sketchy theme. It hasn't quite grown

[See Moonlight Sonata,

It has less finish line.

movement.]

episode is

and

Or, Op. 2, No. 3, I Op. 106.]

fine birds- eye view of the

from older

fourth

"Forms" [Pauer's

in [Seeepisodes poise and finality. a (Novello), long ago, gives published

structures.]

The
The first movement No.

Sonata

as

Whole
Sonata-Form.
be
a a

(ina
an

four movement

work) usually has

second
a

Beethoven's Op.26 [See

movement in any

and

Op. 27,

2,

for

The exception.]

movement

may fourth

slow

form

desired. in

The

third

movement

usually is Op. 57.]

Scherzo.

The

Rondo.

Beethoven's [See

Rondos

Op. 13, Op. 26, Op. 53

The Rondo is
a

and

Theorists Models

like to

of the

good extemporising form with its chief theme coming back over and over again. rondos into six or seven in Goetschius'work: classify types. [See chapteron subject Musical Forms, Schirmer.] Principal

SuggestedStart
Maestoso

for First Movement

M.W.

" Sons

19521-75

58

The
is

Organ Symphony
not
so. necessarily

only a Sonata, perhaps Symphony

I II V has

on

bigger scale, but

Widor's

five movements:

Allegrovivace

(a Theme

with

Variations)
fine

Allegrocantabile

melodic, with (very

motion)

III Andante IV V

quasi allegretto

Adagio (a Canon) Allegro (aToccata)

The

Widor

Symphony
energy.

should

be

studied

from

the

standpointsof

marvelous

trast, style,con-

cumulative

[Seea)

the writer's essays

on

the

1899-1900; subject(Music,
the

The American

1934) Organist

b) Harvey Grace's work on c) Albert Riemenschneider's

subject; notes.]

The
This is
a

Suite
almost any combinable

favorite combination
as a

of

pieces in

forms, with

less

sponsibility re-

rule than
or

the

Symphony.
on chapter

divisions [For

see combinations, probable

Ways

and Means

in

Public.]

Note-"
so

that

A thing has good they have

form

or

musical

shape when

ideas

are

arranged

a) clarity; b) consecutiveness; c) power of reachinga climax; d) repose enough never to seem in a hurry; e) a conclusion that finishes and does not simply stop;

l.W.

"Sons

19521-75

59

I believe and

the thematic used

index Bach

only theme
-

by

the process,

the progress, the theme

.

Art of Fugue, showing various transformations of the one work, will give the improviser all he needs to know about expansion and extension and infinite varying that is possible for a in his last

to Bach's

four

measure

Fuga XII Fuga

I
a

4 voci

4 voci
con

Un

poco

Allegro
S S

Andante

moto

Fuga II
Andante

4 voci
ma

molto

mosso

Fuga XII (inversa)

u.

Fuga
"

III

4 voci

Fuga XIII
Allegro

3 voci

Andante

Fuga IV
Andante

4 voci
con

Fuga XIII (inversa)

moto

"i
Fuga XIV
Un poco

Fuga V
Andante

4 Voci
con

voci (Variante zu a 4. Allegro

No.

X)

moto

3="=

EE

Fuga VI (instile francese)a

Andante
'' b "

4 voci

Canone

augmentationem (per
moto

in motu

contrario)

sostenuto

Allegrocon

Fuga VII
Andante

4 voci
^

Canone

II

(airottava)

sostenuto

J.

Allegro

r
Fuga VIII
a

3 voci Canone III

Allegro moderate

decima) (alia
i M

Allegro assai ^$=

'

S
P

pr

Fuga IX

4 voci

Canone

IV (aliaduo decima)

Allegro molto

assa^ Allegro

Fuga X

4 voci molto moderato

ma Allegro,

Fuga I per due Pianoforti moderato Allegro

Fuga

XI

4 voci

Fuga II per due Pianoforti (inaltro modo) moderato Allegro

^

Allegro moderate

Fuga XV

tre

ed soggetti
e

4 voci

Allegromoderate
H-^

maestoso

P M.W. "Sons 19521-75

30

CHAPTER

XXV

SPECIAL

SCALES

Pentatonic

Scale

^
Whole
tone

i
Scale

i^P
An artificial Scale

i
Here is
a

^
Dervishes:-

Scale

used

by

some

dancing

^
"Modern

i
Harmony"
for further ideas

Hull's [SeeEaglefield

and

idioms.]

Exercises

for

SpecialScales
as

1)Harmonize 2) Harmonize
a

the the

hymn

in

quasi modal

manner

if it in

were

Lydian.

F) omitting hymn (in

Bl? and

other notes, making melody, substituting

'sort of

pentatonic effect.
whole
tone

3) Make
Now idea.

scale from:-

play (inthe hymn)

all C's

as

sharp,and

D's

as

sharp.

This

will give the

whole

tone

4) Take

the

artificial scale each

to

and very

slowlyharmonize
the

it and

make

measure

phrase.

5) Harmonize
The
essentials

GregorianScale accordingto keep in mind are:

scale has its
own

strict Church

Mode

theory.

a) b)

Each All

specialchief notes;
as

Plagalscales

end

their relative

authentic

ends-

as

to

chord.

M.W.

"Sons

19521-75

CHAPTER

XXVI

ORGAN

REGISTRATION

For

some

time

keep
like

on

paper,

in

full
to

sight, something
the

like

the

ideas

below.

Try

to

lect se-

registration

the

following

get

idea

of

color

changes

clearly:

I
ABCl

Foundation
Reeds

stops

Ep-

Reeds

and

flutes
to

Dev.ABCl Full Reeds

Strings, Organ
and

reeds

Full

Organ

on

(Crescendo Pedal)
strings strings
and flutes

Ep-

Reeds,
Full

Coda-

Organ

(Sforzando Pedal)

II
ABASolo Soft Solo Clarinet flutes Clarinet with

secondary

voice

on

strings

III
Flutes

chiefly
manuals,
Flute all reeds

ABA-

Alternate Solo Concert

and

flutes

mf

Alternating
Full

departments

of

organ

Coda-

Organ

M.W.

"Sons

19521-75

62

CHAPTER

XXVII

WAYS

AND

MEANS

IN

PUBLIC

Invariably have
of with all kinds

two

plans thought
For kind and

out

upon

which months friends

to

improvise,to
the

suit most

any

acter char-

subjects submitted.
of themes

at least two

before

first

"show," vise impropublic

the
two

unkind

will submit

upon

ferent quite difSonatas

tif mo-

of four blue-prints
e.

movements

each.

One

always finds that

that
an

hundreds

of

g.

are

written

on

same

general plan,so
to throw out

do not think

will be
over

strange enough
and
row on

On one's engineering.

unexpectedlystrange being given the themes

be

look

list of forms used in

a

styles.See
the
not

in which

order

they should
wish them.

used. Stand

up all themes any

to be

desk.
more

Copy
than

in
one

key

you

Then, "go to it" without

do it any
better. earlier has the smooth is made been and
on

hesitancy, knowing
dull is the
to. The

that

in the

audience

could

Being
ferred resuave.

only vice, so

make

it have

the is
a

rough go-aheadness which

better

rough-hewn and rugged

"floor

startingpoint than
of forms

Here

are

plans"to keep
is what is most

near

you

until selection

tion recep-

of themes.

Suppose
combinations.

Suite

one suitable,

has

the

choice

of

an

endless

array

of

Old

Style Suite
(on Gt.)
'

Any
a)
b)
k

kind

of

Suite

a)
c)

Prelude

Prelude
Choral

(Sw.) (Ch.with on Gt.)

to

b) Allemande
Courante

(onSw.) (on Ch.)

(Sw.Strings)

a) b) c) e)

Prelude
Canzone Scherzo

Choral

d) Sarabande

"/ c) Fugue (Gt.

ffi)

d) Adagio
March

e) Gigue (Full Organ)

Two
,

formulas Formula

(touse
No. I for two
movement

when

inspiration pressure
-

is

low!)

(For Postlude motifs)

based
on

March)
in

(Always look
A
Solid march

whole

melody

noble

style-/-

play on

full swell

closed B

(withpedal)

(jp)(16181 " 4')derive from motif 2 or by inversion Whole Melody. staccato or Accompaniment dreamy. (/)on Gt (" Sw) theme as before, add heavy moving pedal. Coda (SFZ Ped) (a)double pedal point or
-

(b)fugue ending
Formula Select No. II

over

singlepedal point (Maestoso)

for Prelude) (Chiefly

opening motif- 6 or 7 notes. Play in singlenotes low registerand two is reached. voices,three voices, etc. until higherregister contrapuntally
Start
yp
on

develop

16' "

81 Sw.

Develop cresc. j"oco a poco until Full Swell is reached. given and build up broadly, homophonicallyad lib.until Full
M.W. " Sons 19521-75

Then,
organ

use

all of theme
dim. (or
yp

as

is reached

to

organ).

Sonata
I II Note-.- For

63

Allegro
Minuet for

III IV

Adagio
In

Styleof

March

Marches stirring

Organ seeWidor's

First and Third

Symphonies.

Symphony
I II

Allegro Adagio

IV V

Canon
Toccata

(slow or medium

slow)

III Scherzo

How

long does
as

it take
a

one

to

do

all these

things?Just
seem a

as

long

as

organ

daily schedule

part of the organ work, it will

to think

very

natural

If put playing. procedure.

on

-Many organists
are, of course,
on

seem

they

should To

an

unfruitful track.

-justnaturallydo it. That is,without study. Such quires rekeep improvisationfrom becoming "impover ishation"
follows the will faithfully subject

continuous

An application.

organistwho

become

ing shin-

light.
It will be in the of Prix

general interest
de Rome

to transcribe in Paris.

here

few

of the themes taken

contests They are d'essai etc." compiled donnes aux concours by provisation by Heugel et Cie.,Paris,1900.

from

the past century given during d'imde themes et "Sujets fugue Victor Desire Pierre and

Constant

lished pub-

1807
tl

a JLJLi

H_gt

0.

ONSLOW 1853
"

ftr?

F. BAZIN 1873

CHERUBINI 1827

A.THOMAS 1888

M.W.

"Sons

19521-75

64

1825,1835,
-*

1840

girr LC
1826, 1838

"

""

1827, 1839
'

^r LJ r

H r crr
1891

\r r r
.

TH.

DUBOIS

r
1837

1884

Janvier
1*
1*

A. BAZILLE

r
1843

Juin

HAYDN

(Quatuor)

CHERUBINI

Andantino

con

moto

M.W.

"Sons

19521-75

Something about alert Pupils

A he

pupil may
have

be

bright in
is

set

music

and

give

no

response
to

to

creating it
time. have

himself. Some

When
of this

does

-he respond,
no

usually

delighted and
to

wants

do it all the
effects

type
some

but originality

like
are

keep

on

repeating

they

while discovered?

unpromising youngsters

quite experimental.

Matter
About half the

of

Title
a

time, titles
to

are

of

good effect; usually

stimulant

to

the

imagination.

But, it is well

also

try
gay sad
a

music music

dance song music

rain

Suggested Titles
Since

great composers
the child

often

use

titles of all sorts when he of my of the

wants

as

medium

of understandable
a

tact, con-

surely

is in the

right

to

"compose"

Sleep
Dance

Baby
Sandman

Sunshine

Elephant
Fierce Lion Drum

Big
No

Bass

theory,but

lots

of fun!

Ways
1) One
or

to
lets four

start
make
measures

way

is

suddenly to suggest:
One
chord

0
to

up

piece

now

about first

rain-

or

onsli-

drums.

strung

out

might

be

[See piece.

model

lesson

page

70.]
way is to start

2) Another
a

singing things;singing a

half

phrase,having pupil sing

little farther.

3) Then
create

reverse

it, pupil startingsomething and

teacher

finishing. Not

difficult to

interest

when

melody

is in mould

of child's Reverse.

experience.
Short phrases first, say two
that
to

4)
measures.

Teacher This

clap rhythm;
can

child finish. little

four

be

extended

by

little

so

teacher

can

make

up

theme

A,

child theme

B, and teacher

repreatA.

Form

is thus

suggested.

M.W.

"

Sons

19521-75

67

A and

child's

is improvising that is
a

associated of

in the minds

of most

persons with
fact

strumming
energy.

banging

manifestation
an

physicalenergy
for the

only. Which

provides the

creative -music
There is and
a

enthusiast with
wide

argument
a

that necessityof directing to

a

gulf between
discussed

young

pupil's response
that
some

rection dithoughtfully organized This danger is deplore.

as

the much

sheer

imitation the

critics

exaggerated
menace

beyond all

by proportion
that may it
comes

who anti-improvisors the

regardit

the

opposing

to any
a

possible good
of when fact,

result from to the

practice.

As is in
once care

matter

greater perilthan acquired a

to do.
measure

the child. Children of

assurance

the adult a pupilaping his teacher, and when they have naturally insurgent they will fightfor their own ideas as few adults
are

point of

It is not what
seems

an

unusual better
a

experiencefor endings for

chord "But minor

child who

has

improvised for
One studying.
to the

time child

to

suggest
had
com
-

to him

certain the sad

pieces he is

objected

to Bach been

ending
the

with

when
a

composition up

last

moment child

consistently major.
form taken

it'snot
one

he protested.Another piece,"

plainedof
If it
can

by

of his musical and

his objection studies, being that it"felt crooked." of perceptions sustained it the child it has be
a source

improvisationsharpens the
do
even more.

done of

lot,but

Properlyguided
in mind lesson young is

can

increasing
own

joy
on

to him.

Bearing

the fact that each

teacher

will,no
one

his doubt,have

ideas

the

this sample subject, tried out with very

suggested onlyas
and has

approach to

that improvising them. Not The

has

been

children

proved
his

popularwith

child with

of four if interested the

same

will he

as respond just as quickly

his older brother.

perhaps

but ingenuity of lesson works constitute

may

surpriseyou
in

with the

capacity
and
ear
-

This

type

hand

glovewith

regular rhythm exercises

stock in trade. upon for older up It
can

that training

part of

the modern
can

teacher's

be

adapted
As
it is duction introan

to the individual

need pupil's

and with

be elaborated effect with the

children.
as

presented it has
to

been used

good

children

to ten years,

gettingreallyacquainted with

keyboard.
upon the child's wish
to do.

Improvising,unlike
His desire must of any be

exercises, is dependent five-finger

at any cost
even

preserved

if it be

means

the further and further

as

ponement postin

progress.

Improvising

should

regarded

the child's

play

time

music,
And

to be
now

enjoyed,not merely endured.

let
us

start

our

play with

the

simple

chord

of C. As

the child is introduced

see

to different scales

he will take

in pleasure

his transposing the middle

to improvisation of the

in which

key

he likes

it best.

But, for stimulating.

C and
seems

Changing the registerfrom the beginninglessons,we rhythm

most has been used

piano

is

usually
to Middle it

will accustom
in this

the small hands

its environs. the

March
to which

exercise particular

because

rhythm

children respond

quickly.

M.W.

"Sons

19521-75

The
The teacher says:R.H. Let The And For
us

Lesson
The child

plays:-

take of C
a

chord make you

piece
me.

and

Play it
In Not Or
a row

four

times

too not

fast
too

slow.

The
A

child

sings and
A

plays
A A

Play
Like

it

now

tramping feetSoldiers marching

Down the
street.

The

child

sings and plays/

and

Play it
Then As the

loud.

softlyplay
soldiers
away.

T
Play it
loud
etc.

March

The

child plays

answering rhythm

Hear Turn Hear Turn-

the
-turn

drum!
-turn

the

drum!

turn -turn.

After the chord the

different variations
of

of the

above

the

teacher

suggests that
been such

the

child build

piece using
to
ber remem-

C; to make
The

it about the

soldiers they have

drum!

are following

from attempts resulting

talkingof and to be sure a They were suggestion.

uted contrib-

by children
M.W. "Sons

of five and

six.

19521-75

69

Hear

the

sol

diets

march

ing

j j
Turn
turn

turn

turn

turn

turn

Turn

turn

turn

turn

turn

turn

come

come

come.

And

here

is the

carried further by suggestion

an

eight-year-old:-

Drum

Boom!

Other
^

:suggestions

Gal

lop

ing-

Gal

lop

ing-

Gal

lop

ing-

Gal

lop

ing.

a)

Rock

Ba

by

On

tree

top.

^
b)

M.W.

"Sons

19521-75

It will usic
as

be

of real

help

to

teachers

of the

subject

to

refer

them

to

some

of

Mildred

Westonsown

follows:-

Little

Gray Dote,
chord from

from

Ten

Fingers

at the

Zoo, (Schmidt) was

Gentle
tune

improvised

for the' class

to

show

;oinghome"
Lady
inaent

leading to/'home" chord.

The

music.

Moon,
was

Sandman,

was

piece. Melody

played first, after

Gruff than

which

accompa-

added. showed Bear, (Goldilocks) class what time the how

tune
can

Father

be

made

out

of scale.

music.

And,

as

'Coda'

to

this

chapter
At the Note

could

be

more

y"of the pudding "proof

Love
was

child's

im-

rovisation

put into

writing.
Weston.

Rebecca

Frances

in Miss

Simonson's

in School,

under ittsburgh,

Miss

good 'phrase thought!

Santa

Glaus

is

Merry
REBECCA FRANCES

LOVE,

VI

s
San
A
-

b
la Glaus
is
mer
-

j.
-

A
as

*
can

J
be.

ry,

Mer

ry

^
'Round he danc
-

es, 'round

he pranc-

es,

'Round

the Christ-mas

tree.
.

Then
A

he

calls his rein-

deer,

llll

Stamp-ing

in the

snow,

'Round

he danc-

es, 'round

he pranc

-es,

Then

hear

him

go!

.W.

"Sons

19521-75

71

BIBLIOGRAPHY

Improvisation
Bach, Carl Philipp Emanuel.
C. Leipzig, Versuch F. Kahnt iiber die wahre Art das Klavier
zu

spielen,-

1906. Nachfolger,

M. Capps, Stanley

The

Capps system

of

for piano. 1924 by StanleyM. Capps. improvising

Czerny, Charles.

L/art

of Bach-

Paris, Maurice Schlesinger. d'improviser. a Potpourri [Includes Handel -Gluck- Haydn- Mozart -Cherubini and Beethoven.]
.

Dupre,

Marcel.

Traite

a 1'orgue. d'improvisation Paris, A. Leduc,

1925.

Fernand, Ernst.
Fischer, Martin.

Die

in Improvisation

der Music.

Zurich Rhein-Verlag,

1939.

Die

im Improvisation organistische

17. Jahrhundert.

1929. Kassel, Barenreiter-Verlag,

Gretry, Andre

Ernest

Modeste.
avec

Methode les

simple pour apprendre a preluderen

ressources

peu

de

temps

toutes

de Tharmonie.
x

de la Republique, an Paris, De Timprimerie

1802.

Home,

Ethel.

method a simple Improvising,

of

to teachingthe subject

children of average

ability. London,
Kehrer, Jodoc.
Die Kunst des

K.

Paul, Trench,Trubner

"

Co.,Ltd. 1922.
freien

Praludierens; systematische Anleitungzum

Rom,
F.

Orgelspiel.
"

Regensburg und
1916.

Pustet; New

York

und

F Pustet Cincinnati,

'Co.,

Kessel, Johann Christian

und

Bertram.

Unterricht bei Leipzig,

im

Generalbasse

zum

Gebrauche

fur Lehrer

Lernende.

C. G.

Hertel, 179J.
to the Art

Kollman, August Friedrich Christophu

in Six

An

Introduction for the

of

Lessons,

Harpsichord or

Preludingand Harp. London

temporising Ex1798.

dedicated Respectfully
Hamilton Macdougall, New Crawford.

to Miss

Crawford.

First lessons

in

extemporizingon

the

organ.

York, G. Schirmer, Inc.,1922.

Neill, Jack.

Neill

system. Chicago,The improvising

Elizabeth Improvisation: Newman's

Neill

Company,

1925.
,

Newman,

Elizabeth.

Own

Book.

Pierre,Constant

Victor
cours

Desire.

d'essai pour le

Sujetsde fugue et grandprix de

themes Rome.

donnes d'improvisation

aux

con-

1900. Paris, Heugel " Cie.,

M.W,

"

Sons

19521-75

Constructive Reed, Mrs, Clare (Osborne).

harmony and improvisation. Chicago, ClaytonF. Summy Co., London, Eng., A. Weekes
New

" Co.

1927.

Richardson, Alfred Madeley, Extempore playing.

Rinck,
C. Ecole et

York,

G.

Schirmer, Inc. 1922;

pratiquede la modulation demontree chez les quartre parties. Mayence (etc.),

*

par des

examples, a deux,trois
B. Schott.

fils de

^^

Sawyer,

Frank

Joseph. Extemporization. London

William.

"

New

York, Novell

o,

Ewer

" Co.

Schlieder, Frederick

Boston, New

York,

Lyric compositionthrough improvisation. 1927. " Company C. C. Birchard

Schonf elder,Emanuel.

Praludierschule,oder Theoretisch-praktische Anleitung, nach

zu regelrecht

eigenerFantasie
Breslau, Im

spielen.

Selbstverlage des Verfassers,1845.

Schwing, Henry.

and modulation. guide in improvisation practical Md. and Baltimore, Washington,D.C, Sanders " Stayman Co., 1902.
A

Sekles, Bernhard.

Musikalische

Mainz,

New

der Improvisation. Elementarschule Geduldspiele, 1931. B. Schotfs Sohne, York (etc.),

Sorge, Georg

Andreas.
aus

Anleitung zur Fantasie, oder zu dem Kopfe zu spielen. Lobenstein,

Practical

der schonen Im

Kunst, das Clavier

Verlag des Verfassers,1767.

Stubington, Huskisson. Tournmire,Charles.

Extemporisation.Epworth Press,London.
de Max
et d'improvisationa registration 1936, Eschig,

Precis d'execution

1'orgue.Editions
Johann Vierling,
Gottfried. Versuch

einer

Anleitung zum

Praludiren

fur

Ungeiibtere.

Breitkopf" Leipzig,
#

Hartel, 1794.

Virgil, Mrs.

A.

Practical and

exercises

theory and harmony playingleadingto improvisation composition. New York, VirgilPiano School Co., 1928.
in New

Wedge, George
Wehle, Gerhard

Anson.

Keyboard harmony.
Kunst der

York, G. Schirmer, Inc., 1924.

Minister

Die

Improvisation.

i.W, E. Bisping, 1925.

For

on bibliography

Music, Gregorian

see

page 44

,W.

"

Sons

19521-75

THIRTY
For the

TRIOS
in All

Sight ReadingExercises

Keys

Organ

By
HAROLD
of organ of which is the important The
art

HEEREMANS,

F.A.G.O, F.C.T.L
individual, though coordinated
the technics, is
most

playingcomprisesmany to perform with ability

past and present

freedom demands

and this

ease, music

which

Not contrapuntal.
nature

only the
embodies

literature for the organ, the

but prerequisite,
a

the very

of the

instrument, with its largeand complex tonal

resources,

presupposes
or

form

of musical

which expression

of independently moving principles

voices

parts.

yet

of reading confronted with the necessity Candidates for examinations in organ playingare invariably of right hand, left hand and pedals, a completeindependence a short Trio,or work involving sight and auditory of aural, motor senses. a coordination requiring
at

The them
as

of these ThirtyTrios,many composer SightReading Exercises in all Keys, and

or

of which
as

are

used

in organ

examinations,designates
to

such, they are

invaluable
a a

any

candidate organist,

for examination constitute and

a

otherwise. in

Aside

real achievement of its own.

undisputedworth as as each embodies writing, contrapuntal

from their
PRICE

technical

these Trios vehicle, rhythmicscheme, color style,

purpose

$1.75 IN

U.S. A,*

JVL WITMARK

" SONS, RCA

Rockefeller Center, New Building,

York

SCORE

READING
Edited

Compiled and

by

MARTIN

BERNSTEIN

It is not the purpose of this manual modern to train musicians to performcomplicated scores at the for the beginningstudent who must piano.It is rather a guide designed not acquire only a theoretical but also sufficient practical knowledge of orchestral notation, to transpose immediatelyany experience While many musicians can do this mentally, given part to its actual pitch. performanceof the score at the pianoconstitutes the onlysatisfactory test. The exampleshave been chosen so as to allow a systematic of the various elements of presentation the readingof several parts, the readingof the C clefs, and of the various transposing score-reading; instruments. Scores presenting have been avoided inasmuch difficulties deals only pianistic as this manual with fundamentals. The excerpts will, in most the actual reading of every part since examples cases, demand of transposing instruments by non-transposing containing doublings the B-flat clarinet by the ones (e.g. oboe) have been avoided as far as possible. As the ability and their customary abbreviations in foreign to read the various musical terms the excerpts are languages is extremely important in score-reading, as given precisely printedin conductor's score. A listof the most a used terms, with their Englishequivalents, frequently is given.

$3.00
Edition) (Revised

M. WITMARK

" SONS, RCA

Rockefeller Center,New Building,

York