Der Vollkommene CapellMeister Book II

Johann Mattheson’s
Der vollkommene
Capellmeister
A Revised Translation
with Critical Commentary
by
Ernest C. Harriss
Ww)
UMI RESEARCH PRESS
Ann Arbor, Michigan
The Second Part of
Der Vollkommene Capellmeister.
In which the Composition of a Melody,
Together with the Particulars
and CharacteristicsofIt,
Are Taught.
Chapter One.
Examination and the Care

of the HumanVoice.
* * a
‘i I-
In the preceding part we have dealt with those elements which are
more concerned with reflection than with the performance of music,
though this indeed substantially cleared the way for actual practice.
Qin
Phonology, however,really constitutes the starting point for singing,
and is a discipline which teaches a thorough knowledge of the human
voice and its apparatus, how to put it in a good condition, how to
maintain this condition, and how to observe and tune the perceptible
difference between intervals, with their characteristics in the voice, in a
more natural way than has previously been done.
=f=
One easily perceives that a rather large part of phonology pertains
to natural science, in so far as this is to be used and applied tothe art of
singing. Whoever wants to compose pieces which can be sung well must
be able to sing well himself, have sung well, or at lest, if his voice were
naturally deficient, possess a thorough knowledgeof singing. It is much
better if ability and knowledge, consideration and execution stand
together, than if one or another of them is lacking. Whoever wants to
sing well really must investigate diligently everything which pertains to
the voice, its conservation and tending, and musttrain, direct, regulate,
240 Der vollkommene Capellmeister: Part II
master and sustain it, particularly if he wants to head a Capell capably

and wants to have good male orfemalesingers.
sci as
Many voices are beautiful in youth. However, especially the male
ones change with the waxing ofyears so thatall flexibility, pliancy, and
suppleness is lost in the process. This is called mutation and is a
meaning of the word mutatione, which is essential to know, and which
hitherto was not presentin dictionaries.
-j—
Hence, there are no soprano voices more permanent than those

possessed by the female sex, which in this case is wonderfully consistent,
though one tends otherwise to accuse it of fickleness. It happens that
lads change their voices so very much when they become adolescents:
however, sexually mature maidens and women do not. Kircher! states
this insufficient cause: because the reproductive vessels of the daughters
have not so essentially subjugated the instruments of the voice as with the
sons. Here the truth is rather that with the last-named, the strongly
increasing ardors and humors generally enlarge and distend all of the
ducts and canals of the body. This does not have such a good effect as
is manifest with the female sex about the sametime.
-6—
Asis easily seen, the natural accretion and release of the ardors and
humors, hence also the enlargement of the passages and ducts in the
throat whence undeniably derives the lowering ofpitch, is impeded in
castrati by the early removal of those organs from which all of the fertile
humors come, and indeed before the power ofenlargementof this last
appears,
-7—
Other voices, which can scarcely be used in youth,later often

become the strongest, most skilled, and most sonorous, with the
increasing maturity of the males. During mutation the so-called descant
voice usually falls to a tenor and the alto to the bass. Hence nature
proceeds in an orderly mannerhere, through octaves, and the vessels of
the windpipe enlarge in doubled proportion, without being
mathematically measured.
Dine
However, just as one can in some degree come to theaid of nature
in all matters through art, there are also certain external and internal
Chapter One 24]
means to aid voices and to remove the rough quality and superfluous
thick humors from them, therefore polishing, tempering, strengthening,
and preserving them. Such knowledge was of such consequence in olden
times that there was a special profession made of it. Nowadays, many
musicians searcely know the name, let alone its proper meaning.
However,the Italian singers still retain a little ofit, and, as far as I know,
are quite alone in doing so. They have also used it to some extent, not
without benefit. Farinelli will confirm this.
—9—
Among the Germansingers, I have known no greater phonologist

than the famous Capellmeister Bimmler, who, if he were to sing in the
evening, would abstain during the day from the usual midday meal and
would from time to time consume something fennel, such as tea.
Meanwhile, he would practice constantly at the clavichord with a gentle
and light singing-through of his part. He would also devote such
diligence to this that he would always perform in a new way, with
altered, well-considered embellishments. Some years ago there was also
an English singer by the name of Abel who was held in very high esteem
and who was heard in Holland as well as in Hamburg,etc., with great
applause. He possessed several secrets for keeping his tender and natural
alto voice perfect until a late age. An uncommon moderation and
selection in eating and drinking helped this very much. He is mentioned
nowhere at all in books known to me except Roger’s catalogue de
musique, where at the very beginning Les Airs d’Abel pour le Concert du
Doule are found.
_ 10-—
It is not unknown to well-read people, that the ancient Greeks and

Romans maintained special, skilled masters for this who, while hidden
from view, by meansofa little delicate pipe reminded and advised not
only public orators but mainly actors of when they should raise or
strengthen the voice and when they should moderate or lowerit, and
pointed out mistakes in the other activities which pertain to speaking or
singing. Perhaps the custom that listeners whistle at those who do not
perform well comes from this practice; just as applause hasits source in
the ancient Roman plaudite, and denotes approval.
[f=
That use of the little pipe was, among other things, also a part of
the job of a voice coach, of whom the greatest singers and orators made
use in order properly to adjust the tone and the enunciation to the
242 Dervollkommene Capellmeister: Part IT
affection, not, however, in order to be prompted or helped, as the

present-day prompters or Souffleurs do in operas and other plays. We
read that Emperor Nero would never go to the theater without having a
phonologist behind him. That occurred in the five praiseworthy years of
his rule.
— 12-
As regards the apparatus of the human voice, the windpipe consists

of various cartilages which lie over one another as rings or hoops and are
fitted together by membraneous flexible bands. The cartilages are
themselves somewhat pliable, softer than bones, yet harder than tendons.
Two of them, which are smaller than the others and are situated above
the first rings of the windpipe, constitute with their closing together the
rim or the top of this pipe. They bear the name glottis, i.e., tonguelet.
This cleft produces sound by means of exceedingly subtle openings and
motions.
—[3-
One can also compare the form ofthis so-called tonguelet with the
mouth of a little watering can, yet on a smaller scale; hence such united
cartilage is also called cartilaginem guttalem, from guttus, a drop. Above
this there is yet another larger upper-tonguelet, epiglottis, whose
substance may be muchsofter, perhaps like parchment. The form of the
epiglottis is rather like a triangular, arched, small membrane, rounded
towards the mouth but concave on the other side.
-I4-
It is indubitably true that such an epiglottis contributes to the

delicacy and tenderness of sound, especially as far as trills, mordants, etc.,
are concerned. It also contributes much, perhaps more than the uvulain
the mouth, to everyday pronunciation. However, here the glottis most
certainly does the most and the most important part. Thus neither the
lung nor the tongue, neither the throat northepallet, is the true cause of
the tone. Even less are the teeth and lips, which have no part in this
except that the first yields the air, while the second, after the sound has
been produced by means of thirteen muscles through the cleft of the
glottis above the windpipe, emits it quite sonorously, clearly, properly,
and unrestrictedly.
-~(5—
Thus the unique human glottis is the most sonorous, pleasant,
perfect, and accurate instrument. Or, to put it better, it is the single and
Chapter One 243
only true instrument among the great numberofinstruments of sound,

be they produced through art or through nature; for all these wind or
string instruments, excluding only the violins, are altogether imprecise
compared with the human voice, even if they are perfectly tuned. These
words? of a-very scholarly mathematician also confirm my thoughts
expressed previously,? namely that the human voice is the most beautiful
instrument.
—-16—
Some have thoughtthatthe very first step to the practice of singing

cannot be made better than by means of church songs, since there one
not only has the opportunity to sound one’s voice loudly, as must
necessarily be done, but also to hide the errors which occur among the
multitude of fellow singers. However, because such a secondary purpose
seems to run contrary to the true goals ofthe religious service, I might
prefer to suggest other means. There are enough opportunities to be
found outside of the church.
-]7—-
For example, one could goto a lonely place in the field, dig a small
yet deep hole in the ground, place his mouth overit, and shout into it as
loudly and as long as can be done, yet always without forcing. In this
way or through similar regular exercises, especially in changing voices,
the sounding apparatus will become smooth and pure, like a wind
instrument which sounds the more charming the moreit is used and is
purged bytheair.
-/ 8—
Wealso find quite markedly with stringed instruments that theyall,

as long as they are yet new, are somewhat rough and hard in sound;
however, with time and through constant use they become increasingly
delightful. One calls such, playing out, and in young human voices,
shouting out. Henceold lutes andviolins, if they are otherwise good, are
far preferred to new ones, though these might be made with greater
diligence. This is just the way it is with the human voice. Good singers
would in fact not be so rare among us, especially altos, if this expedient,
so-called shouting out, were not neglected out of ignorance orlaziness.
—jj—
If the opportunity is found where one can put his singing to the
test and can give the apparatus of the throat something suitable to do;
then the next concern must be to sing at moderate voice in one breath as
long as it is possible without strain. Although this appears to depend

more on the condition and good constitution of the lungs than on our
volition, yet one can, through painstaking practice, improve so that the
breath is sustained longer than usual, so the inhaled air is not expelled
all at once nortoo frequently, but most sparingly andonlylittle bylittle,
since one very carefully holds it back some andis quite sparing with it.
This is a skill through which a singer can excel admirably and one which
the Italian musicians know masterfully. However, other peoples apply
themselvesto thislittle or none atall.
-—20-—
The third practical consideration for cultivating the voice is that a

singer apply himself, sometimes with quite a soft, then with medium-loud
voice, which the Italians call sotto voce, finally progressing through
various steps with a louder and ever louder voice in order to become
familiar with his abilities, since the degrees of softness and loudness of
the human voice are innumerable. The more of these which one knows
how to find or to accomplish, the more he will also move the emotions
of his listeners. This is one of those things which will be naturally
understood by everyone as an indisputable verity, though I have never
encountered a singing master hereabouts who had the desire or
knowledgeto train his charges in this practice and in the two preceding.
=
Fourth, just as little concern is taken in our singing schools for not
forming the sound midwayin the rasping throat, by means of the tongue,
or between the cheeks and lips. This the French greatly despise and call
chanter de la gorge. Yetif at first sufficient and full breath were drawn
and amassed deeply from the chest and lungs to the windpipe and then
the tone were given its correct form through a well-calculated division of
it by the glottis and its delicate cleft, then, if it has been well-formed to
this point, the hollow of the mouth together with the adequate opening
of it merely permits a favorable passage.
-22—
The French call such hollowing out of the voice Je creux de la voix,
and this on the one hand depends mainly upon the disposition and the
wide distention of the windpipe, according to whetherthis repository can
retain much orlittle reserve breath; on the other hand, it also depends
on theskilled formation of sound in the lower and upperglottises, in so
far as these instruments are capable of appropriate expression. Third, the
upper palate must vary similarly. Hence the teeth and lips must make as
Chapter One 245
much room as possible and mustnot be in the wayat all, for they simply
have no other function here than, quite modestly, to remain secondary.
—3F=
Now as the improvement and the training of the voice occurs
principally through singingitself, it is also helped to a certain measure by
good eating habits as well as some very few medicines. One might
indeed leave the first to the natural constitution and modesty of each
person andthe secondto experienced physicians.
—24-—
But because in the first place most men seem deficient in the
requisite knowledge of their body and, what is worse, in the never
adequately valued moderation, I only wantto say this to them at present:
a stuffed belly is just as useful in singing as in studying. School boys
will know this as the plenus venter. Further a glass of wine or Pauli
Néssel harms the delicate voice less than the coarser one, since an excess
of this, particularly without a small addition of healthy, boiled water,
narrows the pipes with time and otherwise causesall sorts ofinfirmity in
the breast. Further, a pure, well-fermented beer, drunk forits strength
and not for pleasure, helps male voices more than sopranos andaltos.
Finally, over-rich foods, among others oily stuff, and indeed all very
fattening things are to be avoided. There may perhaps be many more of
such preventive observations. These things actually concern the singers
and not the composer as such. Nevertheless, it is necessary for the latter
to know these things because they inevitably pertain essentially not only
to general knowledge, but also to the advising, maintenance, and
instruction of good singers in a Capell, even to appropriate employment
of them. A good commander does not think just on his commands but
also on the selection of his soldiers.
-25—
As regards the medicines of which some eminent so-called virtuosos
of both sexes make use for the preservation oftheir beautiful voices, I
would advise that one should use such expedients aslittle as possible and
indeed all purifying and purging things that are the most used, though
not use at all the juleps and the sweet pastries which are commonly but
erroneously considered good for the throat. Forall these things do in
fact produce a smoothness; however, they also producea slimy stickiness
and an unpurelubricity which never can produce good results in singing.
They supply the lungs as well as the windpipe, which is a part of the
lungs, with nothing but damp, thickening liquids.
246 Der vollkommene Capellmeister: Part IT
-~%6—
A little twice-baked bread or even a spoonful of vinegar are far
more advisable here, especially the first, since they purify, sharpen, cool,
and dry. I have known a couple of great female singers, one of whom
took only a biscuit and the othera little lemonjuice, if the throat needed
to be clean and if they were to perform. Many, who were of another
view and who would prefer to take their pleasure with raisins or candy,
were amazed by such unseemly expedients and would not imitate them,
especially the vinegar, and hence always came up short. In this matter,
everyone also has merely to examine the particulars and qualities of his
temperament and reject that which is not useful to him. Moderation
serves a great deal here in preventatives as well as in expedients; though
notatall in skill.
—27—-
Sixth and last, the exterior position of the body, the movement of
the face, the bearing of the head, the moving of the hands, and, if sung
from the musical score, the holding of it contributes not little to the
interest and the good effect of a singer’s voice. In all events, he seldom
will be at his best if he sits on a chair rather than stands, neither if he
bends forward nor backward, stoops, much less if he weaves from one
side to another, as many do.
—28—
However, there is an exception regarding breath support while
sitting. If one does not lean back too comfortably butsits straight and
supports the arms, as I have learned through experience, one can
markedly save breath that way. The body is quieter and has less
movement in sitting than in standing. Hence one can sustain a tone
much longer without drawing a breath, in the event this actually is
considered. The supporting of one’s arms must not be done with the
elbows but with the hands, and one must sit like a coachman on the
carriage box. We havetried it, as have others, and it has proven to be
true.
~29~
Manyturn their face so far to the rightin singing that the listeners
on the left side cannot see them at all. Others do the opposite. It is the
same with standing. Both legs and both feet never naturally rest at the
same time. Either therightor left foot bears the weight of the body ata
given time; but one can changewith skill.
Chapter One 247
= 30-
In singing, some throw the head back so that the sound ascends
into the air where no listener is. Others virtually bend it to the chest,
singing into the beard, as is said, and thus miss the real objective,
however skilled they may be otherwise. Many cannot hold their hands
still, which would be the best in the absence of propergesticulation, but
if they make no other absurd motion with them, they have to convey the
intrusive pulse in some way or another. This sort of thing will never
pave the way to the listeners’ hearts. Most, however, either from
nearsightedness, which can be excused, or from habit, which is to be
censured, hold the scores so close to the mouth and to the eyes that the
voice is trapped and cannotbe heard clearly by anyone exceptthe singer
himself, especially in large churches.
-3] —_
This brief presentation of some important aspects of phonology or

vocal training may suffice to give an idea of the delivery required and
useful for everyone who aspires to be a perfect Capellmeister, to have
some instruction in the main points on the human singing voice, and to
reflect further on it. For this is far from everything which can be said
on this. Yet this is sufficient, so that one who is concerned, if not for
himself but at least for his present or future students, might derive
something fruitful from it, transmit it, expand it, and put it to practice.
Chapter Two.
Onthe Qualities which a Musical Director and Composer Must

Possess, in Addition to His True Art.
* * &
a
Wealso reckon the science of temperament and the mathematical
expedients in harmonics as intrinsic to the art.
-2-—
Otherwise the first question will be: whether a true Capellmeister

(I will refrain from the new and absurd title, Hof-Compositeur), if he
wants to be appointed to a royal or princely musical establishment and is
to head it, would necessarily have to have studied? We use the word
head with the qualification that a Capellmeister would not actually
govern his subordinates in anything but musical matters, Study also has
a variety of meanings; however, here we take it as doing at the
universities that which is suitable for the acquisition of good scholarship.
—j}—
Beer’s* discourses, among others, deal with such a question, the

meaning of which we have previously found it necessary to explain, and
this author, who likes to debate, sometimes says yes and sometimes says
no’ to it: he writes, this question is a thorn to many a person who
cannot justify himself with studies, and concludes finally that art without
judicio is like a silken stocking over a crooked leg, coated pills which
look like sugar but taste like gall; or even a mill-horse hidden with a
lion’s head.
—4— .
An anonymous French author® says explicitly: a composer will
never be prominentin his art if he is not a scholar. A painter may be an
artist; but if he is not a historian he will produce art without the
historically appropriate affections. The same thing can be said of a com-
poser; his work may be said to be the achievementof a diligent master;
but if he is deficient in scholarship, he cannot have observed the nature
Chapter Two 249
of the text, just as the painter the passions of his painting. Beer adds
this: It is one thing to be skilled with the brush; another to beskilled in
expression. And in this he is not wrong.
-5-
If however the lower schools do not actually make so-called
students; then the universities do not really make scholars: for it is well
established that wisdom and insight may be restricted neither to one
certain place nor to a university, especially if one wants to understand a
thing demonstratively, which is true scholarship and cannot be attained
well without systematic philosophy; but if one wants to learn something
rightly, this can be done just as well at home or in any sort of place
under clever leadership as at a university, nevertheless doing this, though
it richly provides the means as well as the opportunity for scholarship, is
not recommended by manygreat people, for many valid reasons; when
they weigh the advantage and the disadvantage.
-6—
Now thoughthedisciplines are supposedly tied neither to languages

nor to universities, it is quite necessary that a composer master Greek or
at least Latin so that he might understand the books on music, which are
frequently written in those tongues. For it is ridiculous for one to
blabber a great deal of Latin the way the Jesuits do and to believe that
he has thereby swallowed all of scholarship. It does not follow: because
this one or that one speaks and writes Latin, ergo he has studied or
assembled a lot of learning on essential concerns from a higher
scholarship. Similarly, not everyone who can speak German is
intelligent; and therefore not all who speak Greek, Hebrew, or Latin are
learned. Thus understanding a tongue and being learned in it are two
different things. In the first case non occides means only thou shalt not
kill; but, in the second case it means that one should preserve, protect,
and defend his neighbors’ lives. Beer writes thus in the said place.
“Je
Languages are excellent expedients for scholarship, and if the most

important books were clearly translated or could be translated well into
German, then even the Lower Saxon dialect or any mother tongue could
furnish such an expedient: but because there is yet a great deficiency
here, especially in German, also because such perfect translations of
textbooks can hardly be hoped for, not just because of the many
technical terms but primarily because of the true meaning and opinion
contained therein; thus Latin is almost indispensable: though the French
are laudable forerunners in translating, who can already study the largest
part of knowledge in their own language.
—8—
For a poetit is very important to be bor to the art of poetry; the

same is true for a lyricist: since he not only will have to have brought
into the world one certain, innate nature for writing his melody, but must
be particularly skilled in those aspects of philosophy without which one
can be neither a sound poet nor an adept judge of other poets. For
when I speak of a poet, then I] am speaking of more than a great
philosopher, of more than a moralist, of more than a scholarof logic, of
more than a mathematician,etc.
=Dm
In ancient times true musicians were also poets, indeed even
prophets. This was easier then than now,since most disciplines were in
the cradle, as it were, whereas nowadays, with their maturity, each
requires its own specialist.
-—l0-—
Though it is true that one can have innate musical gifts without
possessing an especially great poetic spirit; a composer must nevertheless
be as versed as possible in the true art of poetry andits basic principles:
since almosteverything with which he deals is in the poetic language: he
must have sufficient knowledge of all types of verse so that, though
perhaps his librettist has done little or nothing at all in music (as is
common) and yet is to compose a poem for a song, he could lend the
other a helping hand, could help him along, and could be, so to speak, a
philosophical midwife for the birth of the idea.
-fj-
For this reason moreoverit is quite necessary that, at least in an
emergency, a composer himself be able to write a good verse, or at least
have such poetic taste that he knows how to chooseintelligently and to
judge poetry for music well. Now it is not even necessary that he bé a
poet himself; but that he demonstratively judgeit, ie., in a provable way,
and show mastery and understanding of it through convincingly sound
conclusions.
-12—
If one now understands Latin and poetry in this way, then he
should thirdly apply himself to learning French and especially Italian to
Chapter Two 251
such an extent that he could interpret it. And since it is also reasonable
that a Capellmeister would be a galant homme, it is not easy to see how
this attribute could be maintained nowadays without both these
languages. Nevertheless, | would regard Italian as the most essential in
this case, and he who possesses the twofirst requisites in the appropriate
measure will be able to attain these last ones even sooner.
=
If one were to ask an aspiring Capellmeister to compose some
music to Italian or French words, especially since the first occurs daily,
and he did not understand the languages, how would the good man
endure? If he adequately understood the languages to a certain measure,
yet not the prosody, muchless the writing, speaking, or reasoning style,
then he would make the long syllables short, the short ones long; the
caesuras would impinge upon the meaning and the purpose of the
narrative: consequently he would produce beautiful rubbish. Nowsince
almost everything in chambers and theaters is sung in Italian nowadays,
it is not necessary to demonstrate further the importance ofthis language
for a composer of melodies and choirmaster.
—([4—
There is for example an aria for Caius for one voice and thorough
bass: the latter is heard first in the usual way, and has a phrase of nine
measures in four-four time. Then the voice sings the following: Con
dolce aurato strale, un volto vezzosetto, vezzosetto. We write the comma
here just as it occurs in the melody; though this is nonsensical: likewise
the period. The singer then pauses for three whole measures while the
continuo finishes. When this is over the same words are repeated with
the very same melody, since it is so beautiful, before anything else
happens.
-/5-
Now the question is whether this could be called intelligent or even

intelligible? All of linguistics contradicts: for there is not even a Comma
muchless a Sensus present, except that which is first perceived from the
next words, which read thus: si vago nel mio petto scolpir sapesti, o
Amor! Here too the words have only half a meaning, and this addition
cannot provide a real conclusion to the preceding, much less a Da Capo:
for the poetic meaning is this, love has set such a beautifully carved
imagein his breast, that the sun has never shone on a more beautiful one.
But this becomes clear only from the remaining words, which can be
understood properly without the preceding, as little as can the latter
without the former, and are thus: Che mai bellezza uguale, con tante
gracie e tante, non vide il bel sembiante il sol col suo splendor.
—/6—
Here it should be mentioned that it probably should read: il bel
sembiante del sol: which, as is sufficiently demonstrated by the sixfold
repetition of the words, i/ sol, is not a mistake of the copyist but of the
composer, who in fact had beenin Italy and yet has no ability in Italian.
-/7—-
If we look at the melody, then miserable monotony peeks out of

every crack, just as when the same lyre is heard all the time. Worn-out
ormaments, on which more is soon to be mentioned, are found with
expressions whose meaning is not at all compatible with them. Having
the very same melody, which has neither the slightest relationship with
the content nor with the principal phrase, occur six times in two arias
seems a little too often to me. The mentioned principal phrase might
correspond more to the strangulation of a Grand Vizier than to a
portrayal of love, or to the affection existing in the above words.
-18—
All of this comes from ignorance of the language: pure
tastelessness, absurd trash; well-intended ideas which end up as fantastic
excesses; artificial dissonances which are used much too often, and
forbidden liberties which damage the understanding and are like
caterwauling,’
son 19—
To the question: whether a man whocan scarcely read or write,

who does not understand the catechism and Donatus, and who has
learned neither languages nor good morals be equal to an occupation and
discipline such as music and its direction? I received some time ago
from a composer and director who pretended to hear grass grow, to my
great astonishment, the answer of a clear: Yes.
-—20-
It was added that thefirst three errors were to be found among the
present great number of Evangelists, only in the north, perhaps among
the Finns and the Lapps: that Donatus and languages were not
essential; belonging only to theory; and that there was no lack of good
morals except amongthe tax collectors and sinners; that servitude among
the town pipers, ill-bred directors, and guild rules, would not detract
Chapter Two 253
from it [music]; that whatever is stupid would have to be beaten; that

composition could exist without thorough bass and would also be older
than the latter, which with its barren numbers would not be even worthy
of being used with powerful music; that the clavier was only a noise-box;
etc, all of these were accompanied with select rudenesses which reveal a
bad upbringing, such as: bruta, pecora, sluggard, and the like, and were
also intertwined with exquisite new words and slogans, e.g., philauticus,
Cathechismus, Cantata en Serenata, Corn. per forc.,, Voces & Cembalo
(ie., brawling voices and noise-boxes), 2 Cor grosso, Bassono, Violono,
altern. le Trio en quatre, Rigadon, Polonoisse, Slissato, Hoboe e
Traversiere, Aria di Choro, per Posto, Subson,. relator, concluding en
particulier en general, Stampo, a bon gout, ou livre ouvert, col Violinis,
serving a theologum, assuming something apodictice, etc.
Te
The essence of these cited, supposed reasons I must now reject out
of hand for the sake of the commoncause: without naming or insulting
anyone in the least. Hence I say the following:
-22-
There are three types of deficiences: in education, which afterwards
cannot be changed and for this reason is so much more dangerous; in
intellect, which are not censurable; and in volition, which are hard to
forgive. Reason consists of the intellect and volition, which often so to
speak may be more than healthy, and may be considered plethoric,
namely since the worst arises from an excess of the best saps. Now that
which purgative, perspiration and movement accomplish for physical
plethora, the bending of the volition and the sharpening ofthe intellect
accomplish with reason: but these improvements cannot occur without
sciences.
-23-
All sciences and arts depend upon one another like chainsor links
in a circle. Whoever knows only his own trade, knows nothing, but is a
pedant, even if he were a field marshal.
—24-—
Music is a substantial part of erudition and one of the disciplines
which is closest to theology, as Luther mentions: school can hence in no
way dispense with it. Reading and writing are so very indispensable
according to Donatus, and belong in such measure to the practice and
not to mere theory of every science, that there may sooner be a day
without the sun than the most humble artist without these most basic
tools.
-25—
Nevertheless there are also, in this time of presumed Evangelists

not to mention other things, groups of such people to be encountered
who single-handedly prove that there are choir directors and composers
who can neither read nor write as is proper. Reading is actually a
greater skill than writing: one could ask the English ministers about that.
Thereis also a certain type of musical reading which very few musicians
properly understand.
~I6=
To the north, particularly in Finland, we encounter very learned
people, especially at a famous university at Abo, where the way one
spells the catechism is quite certainly better known than what we have
seen above. Spelling, however, belongs in the lowest primary schools.
Laplanditself has eleven churches in which the teachers havetaught that
asserting a thing apodictice [with certainty] is a good theological style of
speaking; but assuming a thing apodictice is not at all customary:
similarly that errors cannot be said to be common. Onealso finds
beautiful pearls and crystals among Laplanders which are not found
elsewhere.
ao
Whoever considers Donatus and languages as unessential should
refrain from free use of foreign words and not mangle them.
—28—
Tax collectors and sinners have such a blissful company in

Evangelism that one becomes guilty of a great sacrilege by making fun of
them. And that belongs indisputably among the unforgivable faults of
the volition as something quite mischievous.
=I
Whoever advances in music and goes backwards in morals walks
like a crab and misses the proper goal. Whoever cannot speak is even
less able to sing; and whoever cannotsing also is not able to play.
~30—
Natural stupidity or innate simplicity is among the failures of the
intellect which no one can rightfully punish, though it can be deplored or
at best ridiculed. Desiring to make youngsters intelligent with thrashing
Chapter Two 255
is not only futile, but godless. Many examples verify that beatings make
heads ten times more dumb than they were previously. This is and
and
remains abysmally characteristic of education in almost every guild
apprenticeship.
—3]/—
Free arts do not tolerate the bonds of a handicraft, and the

academic rungs of scholars are of a very different nature than weaver’s
spools and joiner’s benches. Many slovenly, vexatious practices, such as
those of hazing andoath taking, etc., have also now been banished from
universities.
FFs
In Italy, France, England, etc., the Academici filarmonici and other
musical associations, which live in most beautiful orderliness, know
nothing of such slavery and thrashing as exists among the Turmblaser
guilds. And yet one does not hear that any of the former have had to do
without something in their gardens.
—33-
However, so dryly calling the masters of church music time-beaters,

the thorough bass sterile numerical instruction, the clavier a noise-box,
etc., are errors which can hardly be improved upon through education
and volition.
—34-
Preludes and fugues are pieces for hands just as hats and shoes are
clothing: for everything which is played on the clavier is divided into
only two types: into hand-pieces and thorough bass pieces; but whoever
wants to play the latter skillfully must be able to compose
extemporaneously. Composition cannot exist without the thorough bass,
since the latter is constantly included andis just as old as harmony. The
Lutheran teachings existed before Luther, and the thorough bass before
Viadana. Threshing out a concocted, figured voice or part without
knowledge of harmony is mechanical work.
—35-
There are many who play a good thorough bass and yet are not
remarkable at the organ; but who will master such much easier than the
best petty organists, if they are untried in thorough bass. Hence it is
then to be concluded that this last is not at all unworthy of acceptance
even by skilled musicians. With choirs of more than fifty voices in a
church with a capacity of three thousand people, each chord can be

heard; when played by skilled hand. That has been experienced.
—36-—
Yet, what further is to be said to such people? They deny the

familiar and recognized basic principles, indeed, they possess and are
acquainted even less with the true, single basic principle, from which
everything flows, than are our great, unphilosophical musicians, to whom
I have ranted? for the longest that we all are still lacking in the proper
demonstrable insight, i.e., in the form ofart.
-37-—
Polemic is thus no longer of any use: they desire to be called

unread, i.e.; they present themselves thus, and in fact even are;
nevertheless they audaciously judge things which pertain to scholarship;
blurt out scolding and insulting words which demonstrate nothing but a
very bad upbringing; tend to expostulate with letters, which in size (but
in no other regard) look like whole treatises, and do not even knowat all
how to give them therighttitle; are unable to spell their own words on
art, and yet strive inopportunely to make themselves appear vain and
ridiculous with the crumbs of foreign languages. So much for this. We
consider now thefourth characteristic of a director of music.
= fee
There are many composers who either from the negligence oftheir
teachers or for lack of voice have not had to sing; one can easily judge
how they again are lacking because of this deficiency, and how sour their
labors must becometo them.
—39-—
Commonly, when they want to excel, such composers from lack of

good melody revert to full-voiced works, to artificial counterpoint, and to
all sorts of fugal works: because they try to compensate in part through
the noise of instruments and in part through their bitter sweat for what
their song lacks in charm. Daily experience again attests that no
intelligent listener would be moved by such style, except to say: it
sounds quite good, is nice to hear, and harmonizes well.
—40—
If the stirring of the affections and passions of the soul depends on
something quite different, namely upon the skillful composition of an
intelligible, clear, and expressive melody; then no one whois not well
Chapter Two 257
experienced in the art of singing can reach this goal. The old Germans
used to say, you could always tell when a sow had rubbed against a
school building. Thus one also soon sees whether or not a composer
could sing. Whoever considers the above presentation might think it is
superfluous: for without a doubt a Musicus would indeed have to be
able to sing; but this is notatall the case.
-—4J—
All voices and parts, upper and lower as well as the ones in the
middle of harmony, must exhibit a certain Cantabile in their appropriate
style and be so constituted that they can be sung properly, without
constraint and repugnance, though they will not all have equal beauty:
even if the pieces are for instruments alone.
a
If this could not always be done very precisely in some middle
voices, then the leading upper and lower parts must proceed in their way
and dominate in fine melody. When this does not occur, there is some-
thing displeasing in one way or another, it sounds weak, unclear, unnat-
ural, tasteless and awkward; even if all the trumpets’ and horns’ conso-
nances are lying there in a heap, and there are no true dissonances atall.
=43—
However, if a composer does not have a beautiful voice, he must
nonetheless understand thoroughly the nature and the true character of
singing and must always modulate mentally when composing: which also
even a good copyist cannot avoid, even if he would wantto: since sing-
ing is so very, so particularly innate with man.
—44—
However, if a composer himself can sing well and knows how to
ameliorate his perhaps mediocre voice with pleasing embellishments;
then he is so muchbetter off and will far better please his listeners than
will all those who, without similar resources, merely follow their whims,
and most diligently set to work following the prescribed rules for
composing: even if they were to fill ten sheets a day. If Hasse were not
a singer and did not have a singer for a wife, he would not be nearly so
successful in composing. On the other hand, though many court
composers mayexert all their skills and powers, they will never succeed
in touching the hearts with deeply-felt pieces. Why? They cannotsing.
So much for the fourth principle which is a main requirement for a
musical director outside of his actual art.
258 Dervollkommene Capellmeister: Part II
—45—
However,it is not done with singing alone; a composer must also

apply himself to instrumental matters and, as much as possible, must
have command not only of his clavier or another principal instrument
but also the-other most common instruments, or at least know their
strengths and weaknesses perfectly. One sees this when someone who
does not have mastery of the nature of the violin composes a solo for the
violin and writes down things which are not at all comfortable to play on
it. One can usually perceive in basses how well the composer has
mastered the clavier. If someone composes a sonata in b flat or d sharp
for the traverse flute, then one perceives forthwith that he has no
knowledge of the instrument. Whoever does not know the range or
intervals of trumpets and horns or does not give them timely rests will
quite certainly reveal it. These observations refer only to the grossest
circumstances; if we were to explain the finer ones with examples, we
would be led too far astray. Yet there is also no lack of people whofail
in the most facile aspects.
—46—
The clavier is to be recommended as the main instrumentof all,

and should be available daily: it is the special instrument of composition,
and anyone who is or was not extraordinarily skilled thereupon can
hardly be outstanding in composition. Yet we do not mean that one
should produce all his works with this instrument and should not make
use of others in composing; but only that it could give a much clearer
concept of the harmonic structure than the others, even when the box or
machine is not available, but is only imagined: for the position, order,
and sequence of sounds is nowhere as clear and perceptible as in the
keys ofthe clavier, although even it has its defects.
—47—
Nevertheless, one should also become generally well acquainted

with all other instrumentsused, observe their characteristics precisely,
and, if it can reasonably be done, practice on this or that one (the lute
not to be excluded) to the extent that he could achieve academic
proficiency on it. Moreover, this can be done much easier if a good
foundation has already been laid in thorough bass: much practice with
clefs will also help one to become familiar with them, so that it will not
be necessary to take much time in thinking of what the names of the
lines and spaces are in this or that clef while composing: for that would
waste a great deal of time, as many often experience.
Chapter Two 259
—48—
Now since there is seldom more than a single clavier available at a
concert; though two or three of many otherinstruments are needed: one
has the best opportunity to practice everything, and evenif it were only
in the middle parts, no trifling benefit can be derived from looking at
them, properly understanding them, and practicing them,especially if the
pieces are by skilled masters and have been melodically composed, from
which one can learn more quickly than from many upperparts, and in
playing good examples can see how and with what skill the harmoniza-
tion must have been produced. This suggestion should not be scorned
and one should not be ashamedto take up a viola, as most people are,
and thus reveal morefoolish ambition than desire for learning.
—4o—
The sixth thing which is required cannot be acquired through toil

and diligence as can the other qualities, i.e., where it is not present it
does not come. These are nature’s gifts and are usually called a good
natural ability or innate instinct and spirit. But what is the best way to
discover whether this or that natural gift for music is present or not? I
know no better counsel here than that each would reach into his own
heart and see; whether he could undertake to invent something new; or
whether he would be satisfied with mere patchwork and pieces from
diverse sources, which were toilsomely collected by begging?
-50—
Weindeed bring nothing into the world with us except a good or
evil disposition of the mind and the animalspirits in the blood, on which
most seems to depend, and everything which we desire to know has to
be received primarily through the two main channels of seeing and
hearing: the difference however between what is seen and heard, and
what is accepted, grasped, and used, is, according to the style of
cognition, as great as night and day.
—5]—
Some minds are like wax and others are like stone. Now though
the one which is hewn in stone is most durable, in music we prefer a
brain which is more like wax than stone: because it grasps things more
easily, and has a morepliable nature.
Fim
One need only test himself by improvising on the clavier, the violin,
etc., draw out his ideas, arouse his mind, and allow his thoughts free rein
in singing or playing; he should rid himself of all compulsiveness and

vexation, and elevate the spirit in the best possible way; or if one is sad
and sick, he should endeavor through sad expressions to make the heart
lighter; for it is not a good sign if nothing pleasing is produced nor if
melodies will-not flow.
—53—
Many people possess the gift of producing thousands of good ideas

spontaneously on the spur of the moment: for they are gifted with a
strong power of imagination. Whereas as soon as they begin to write,
they fail miserably because their thoughts are not deep enough. Others
compose incomparably well; and yet do not have the slightest capacity
for executing something extemporaneously, without time for reflection.
Those whofirst discover their thoughts with improvisations, even in ever
so wild a manner, and who gradually accommodate themselves to basic
things, show the greatest inspiration and are actually the best ofall. In
this and a similar way one can compare and consider the diverse natural
gifts which each person has, and how they would be used most
appropriately.
Sie
Now even if one does not have a mind of the first rank, one need
not give up on this account, but can besatisfied if, with patience and
perseverance, one only attains the second or third rank: for as far as
usage is concerned, brass and iron are just as necessary if not more
essential in the world thansilver and gold.
—5S—
The seventh thing which is required is that a composer and director

of music be of a vigorous, high-spirited, indefatigable, diligent, and
energetic nature; yet also orderly: yet most often the most active are
deficient in this last. Idleness must be hated as a devil, becauseit is his
place of repose. A great deal of sleep is of no value here; much less a
superfluity of joys of the table, or an otherwise lascivious”life.
-56—
Neither impatience nor a sudden flush of emotion serves any
purpose here. If one does not have enough desire or deep-felt love for
the thing so that he can suppress many a displeasure over it and so that
adversity cannot alienate him from his noble plan; then he is not well
suited for the exercise of this discipline andits sphere of duties.
Chapter Two 261
—_ 5 7-
Indeed, with music andits pursuit very few roses are strewn in the
path; moreover persons of authority and in high esteem seek, though it is
unfair, to suppress and disparage everything aboutit as muchaspossible,
and indeed these are often the very people who should promote and
stimulate it to their greatest ability, as God and reason command. A
master must have the heart in such circumstances to set a cheerful
example for others, and must know how to create in himself so many
pleasures from this noble pursuit that he would always be in the position,
all obstacles notwithstanding, of finding his greatest peace in harmony
and of reviving his spirit.
—58—
Many wantto do this: they are very pleased when they hear that
here and there famous capable people receive great praises from
emperors, kings, and princes, and are also given substantial presents,
stipends, and medals: for as a matter of fact they too would want the
gilded carriage; but fighting for it is not to their liking: the praise, the
jewel really pleases them; though the work, the running within the ropes,
the perseverance, the constant thinking and studying, is not their cup of |
tea. That is the eighth point.
a 5!9 —
And likewise one sometimes encounters fine minds without true

desire and love forit; thus one encounters nothing more seldom than the
required diligence and necessary, untiring industry, joined together with
these two things, natural ability and real desire: because commonly not
alittle laziness and idleness, lasciviousness, comfortableness, and the like, |
tend to go side by side with innate gifts and inclinations.
-60—
A so-called natural disposition without ambition or love is like a

buried treasure; desire without aspiration and accomplishment is like an
enamored old man; diligence without desireis like a cart horse who pulls
from morning to evening but only because forced to and with bitter
complaint. Desire and diligence without natural ability is really the worst
of all: for such a mixture resembles that person who would like to be
tich and is frightened by neither work nor danger from achieving his
purpose; but does so purely through unnatural, unjustifiable ways and
means, because he does not want to or cannot find legitimate ones.
—6]/—
Thus these last three mentioned things, namely: natural ability,

desire, and diligence, are, in inseparable ways, highly necessary and
requisite to a composer and director: since, under the heading of
diligence, writing may reasonably be placed first: be it copying, writing
from dictation, rewriting, or transcribing.
~62—
Whethertraveling, and principally the Italian sojourn, is essential
here, as many believe, I can hardly affirm: not just because geese often
fly into Italy and comeout again; but because these traveling geese are
prone to adorn and decorate themselves foolishly with many swan’s and
peacock’s feathers, I mean to say, with great, borrowed weaknesses and
incredible arrogance.
-63—
Experience shows that there are many who have neverset a foot in
Italy who surpass not only others who have been there, but who
occasionally surpass native Italian virtuosos themselves. Meanwhile,
whoever can make good useof the opportunity and his travels, and also
knows how to fetch something of use from foreign countries, must surely
have something good in him, which will always be to his great advantage.
It is not absolutely necessary; often quite unnecessary and useless,
-64—
The ninth and final thing which might be required is, however, one
of the most important things that a composer and director would have to
master, in addition to his other studies, having mastery of the most
tefined teachings on temperaments. For no one whois not acquainted
with a passion as if he had experienced it himself or is experiencing it,
will be skilled in exciting a similar passion in other people’s feelings.
-65—
It is not really necessary that a composer, if for example he wants
to write down a dirge, a lamentation, or something ofthe sort, would
begin to cry and weep: yetit is absolutely necessary that he open his
mind and heart to the affection at hand to a certain measure: otherwise,
he will fare badly.
—66 —_
Onthe other hand, he must also study the affective disposition of

his listeners as much as possible. For thoughit is true: Each headhasits
own mind;still a certain propensity, a certain taste, usually predominates
Chapter Two 263
with wise and attentive listeners. For example in churches, where the
main consideration is devotion, one will seldom succeed where devotion
is not stimulated through means which canset astir all types of tempera-
ments at the proper time and in their measure. Composing a devotional
piece (in the normal sense) is somewhat commonplace, andthelisteneris
not at all moved if he hears a respectable, serious harmony; but devotion
has very many aspects and these must continually be renewed,
encouraged, and so to speak stimulated, otherwise sleep follows.
Tn
It is much easier to perform something pleasing at the homes and
courts of great nobles than at large gatherings: for one has only to
examine the temperamentof the nobles andto probetheirsensitive side,
then everything else is ordered according to the tastes of the most noble.
-68—
These observations could extend to entire cultures, to which one to

a certain measure can attribute a pervasive temperament, and can deduce
for example that one must not do things in the same way in France as in
England, and mustact differently in Italy than in Poland and Germany;
if one wants to move the affections according to the temperament of the
land.
-69—
Now only experience and diligent investigation can reveal of what
the various means andstyles actually consist. Hence we will also no
longer dally with this matter, but in the name of God will go on; after
we have given our reader in closing the chapter this small, yet wide-
ranging rule: hear many,but imitate few.
Chapter Three.
Onthe Art of Singing and Playing with Graces.

* * *
=
As has already been indicated by thetitle, the discipline which is
now to be dealt with, and which is called by its technical name,
Modulatoria, is twofold in practice, namely: first in so far as it deals with
human voices, and second instruments. One calls this Modulatoriam
vocalem & instrumentalem.
-2—
As essential as this division may be in teaching, yet hitherto one

finds very little information on it in those books wherein one ought to
seek it: and Printz is still the only one to my knowledge who has
mentioned this distinction briefly.” In the dictionaries there is neither
the denomination northeclassification for the art of singing and playing
with graces.
—3-
Now because it is established that no one could play an instrument

with graces who does not borrow the most and best of his skill from
singing, since. all musical instruments serve only to imitate the human
voice? and to be its accompaniment or companion: thus the art of
singing with graces clearly stands in first place and dictates many useful
tules to playing; on the other hand, there is also much which can be
played well which would not sound good atall if sung. From this the
necessity and usefulness of this distinction becomesclear.
dies
That which appears in this chapter can be used in playing as well as
in singing; however, the reader will find several things which are
additionally or especially to be observed on the first-named at the
appropriate place in the third part where theart of playing instruments is
to receive special treatment.
-j-—
Thus we turn primarily to the actual and proper discipline’ of a

skilled singer which shows how one is to conduct his voice with graces
Chapter Three 265
and in the most agreeable way. I say of a skilled singer: for, singing
exactly according to the provided notes and beats is a part of the most
basic knowledge. There are just as many in singing in Italy as we have in
reading. Here we are not dealing with mere basics, knowing the notes
and the intervals, but with completely different things.
-6-—
True, it is not necessary that a singer, as such, would compose his

melodies himself, which is what the word modulate would mean to
many; butit is necessary that he knows how to perform a precomposed
melody not only without the slightest offence against directions but
especially with much grace, ornament, and artistry: the first is bad
teading; the second is reading with expression and goodstyle.
-7—
This is based more on practice itself, on taste, and on the

understanding of the ornaments’ used than on certain rules and special
formulae; though one can teach a few things about this last-named which
indeed does good service at its time andin its proper place.
—-§—
Such ornaments are not only for the most part subject to many a
modification, fashion and innovation; but also to this or that local style
in the great differences in the voices and their management. Perhapsthis
biased proverb,! doubtless invented by self-praising Gaul, originated
hence; The Germansbellow; the Italians bleat; the Spaniards scream; the
French alone sing.
_9=
Now before we consider ornamentation, which requires great skill

as well as discretion on the part of the singer, we would wantto examine
briefly the faults in Modulatoria, which in fact are easier to examine and
reject than the perfections are to reveal and teach; yet they must be
cleared away before something of the ornamental can be demonstrated.
=< 10-
The multiplicity of deficiencies and defects in singing should almost

frighten me away from this work; nevertheless I will write down the most
important of these as briefly and concisely as is possible. The first and
most important abuse in singing may well be when through too frequent
and untimely breathing the words and thoughts of the performance are
separated, and the flow is interrupted or broken. The second is when
one slurs what should be detached; and detaches what should be slurred.
These are a pair of substantial failures.
-_ 1 1 ak
Third, when one either raises the voice little above or lets it sink
underall pitches without knowing or noticing it, and thusis out of tune.
This impropriety, which is caused by the poor quality of musical ears,
seems to be more common among those to whom the origin of the
above-mentioned proverb is attributed than others.
—~(2—
Fourth, when one so to speak gulps down the text; alters the
vowels to such a degree that an a becomesan 0, and so on: as well as
many other deficiences which are particularly prominent in
pronunciation. A certain cantor had brought the bad habit from reading
school, that he could not pronounce an s without an 4 prefixed. Once
when he sang in the choir the words: Should we strike there with the
sword, it sounded thus: d-should we d@strike there with the asword,
therefore coming out with three syllables more than required: hence then
with all this repetition the measure had to be drawn out pitilessly and the
good man becameviolently angry believing the fault was with others.
-—/3-
Fifth, when one sings through the nose, with clenched teeth, when
the mouth!” is opened far too wide, and when othersimilar detestable
circumstances occur: whichis not only visually obnoxious to the listeners,
but also unintelligible.
-/4—
Sixth, when the voice is loud where it should be soft; and when
one sings weakly when he should actually sound vigorous and ringing.
Forjust as phonology or vocal cultivation teaches how and in what way
one should sing loudly; modulation shows where and at which place such
is best done: which most singers disregard, indeed often even turn
completely around. .
sea lj
One simply must be amazed by the clever rule which has already
served for two hundred years, that each singing voice, the higher it goes,
should be produced increasingly temperately and lightly; however in the
low notes, according to the samerule, the voice should be strengthened,
filled out, and invigorated.’ It is even more amazing to us that such
Chapter Three 267
logical and select statements are virtually unused in the present wanton
world.
ef
Seventh, a great confusion arises when figures or embellishments
are used, be it in singing or playing, which are either in complete
dischord with the other voices; or, after the corrupt Italian manner of
forcing, are prolix to such an extent that they essentially destroy the
melody, and are indicative of very bad taste.
-/7-—
All these errors and more have their own classifications and names,
yet we have misgivings of burdening the reader with them here, since it
will be better to mention briefly the most used graces and ornaments
which a singer or instrumentalist must observe: merely let it be said that
such errors, as physical problems, are very easy to correct in the begin-
ning, though with rooted habit this becomesdifficult, even impossible.
-—18—
Nothing very specific can be said on the actual ornaments in

singing and playing. For just as was said very truthfully long ago, the
thing is not merely determined by rules but more so by usage, long
practice, and experience: it is yet this way to this hour; besides, one
should generally follow the clever Italians before others in this, yet
withoutslavishness.
fm 19—
Heinichen writes the following on this: "Embellishments or musical

ornaments are countless andare altered after the taste (of everyone) and
(individual) experience. Because this is not determined by rules as much
as by practice and (much judicium, that is,) good judgment, we can do
nothing in this limited space (the book has six alphabets) except give
some prima principia (or first beginning principles) and brief guidance.
We must leave the rest to the ocularen Demonstration (the visible
demonstration) of a teacher or to the diligence and experience of a
learner." Thus ancient and modern writers agree in this case, without
the one knowing anything ofthe other.
-70=
Nevertheless, we cite here certain particular ornaments which are
now quite in favor, which are not determined simply by everyone’s
individual experience andtaste, thus one should be aware
First of the so-called accent, which is called the appoggiatura” by

some and le port de voixby the French, since the voice, before the
following prescribed note is expressed, touches twice upon the adjacent
upper or lower pitch very softly and very quickly.
—2]—
Thus accents are sometimes ascending, sometimes descending, single

and doubled: with the single only a little of the value is taken from the
following note; however with the doubled half of it is taken, so that the
accented note is heard much longer, and with a pleasant delay, which is
often the most pleasing thing. In clavier pieces, moreover, the doubling
of accents requires two voices or two fingers, both making this ornament
simultaneously. I call the first of the two notes required here the
accenting; the last the accented; which I mention for the sake of greater
clarity; although I do not know if anyone has used such clearly essential
expressionspriorto this.
= 22-—
However, the accent must be so smoothly drawn out and glided,

especially in the throat, that the two pitches of which we speak seem to
hang quite closely together and sound almost as a single pitch.
2
The newest and nowadays very common use of this accent is
however that it must serve, in playing as well as in singing, leaping from
the fourth to the octave, upwards and downwards: especially since
something sarcastic, obstinate, audacious and arrogant can: be expressed
very naturally thereby; when such is required. And without a doubt
Heinichen had seen such a practice, as he says the accent could be used
at all intervals. _
—24—
There are sufficient examples in the printed textbooks to aid the

teacher and student on the stepwise accents. I thus name these because
they deal with seconds and are thereby set in opposition to leaps.
However, since there is not yet to be found, as far as I know, an
explanation in notated examplesof accents in leaps, notwithstanding the
occurrence of this type daily in recitative, namely at some cadences,I will
place here a couple of ascending and descending examples of these. Now
if the formula is thus:
Chapter Three 269
and one finds it well to employ ascending accents of the fourth andfifth,
it must be played or sung approximately thus:
-~25—
I say, approximately, for ornaments actually can hardly be expressed
with notation; the living voice of the teacher can always do the best in
this: though the written presentation gives a rather clear idea. Hencelet
us further assumethat the written form is perhapsthis:
OE
and if someone would want to perform the falling accent of the fourth,
fifth and sixth, conditions permitting, it would sound approximately like
this in performance:
-26-—
I must notpass silently by an as yet unmentioned theory of accents,

which. one could call crossings as reasonably as one called the former
appoggiaturas. These accents or crossings consist of the following: when
a descent of the fourth, fifth, or lower should occur, the upper note is
given a fine and short appendage or supplement™ from the upper
neighboring tone, which must not be written down but is optional, like
all other ornaments, and is very pleasing to hear, especially in pieces
which have something of plaintiveness or humility. For example, the

written phrase would bethis:
Sh will mid den Schickfal beugen, id) will mid) vem Schickfal Beugen tt.
Which was once performed so expressively by the famed MadameKeiser

in the cathedral here that this beugen seemed almost visible, as if one
could hear it with the eyes; simply because of the following small
supplementandcrossing accent:
PRR
iL
Pee Dy zt
Shy willmidh dem Sciefal beugen, ich will mid) dem Sdhicfal beugen x.
=I7=
The tremolo” or the trembling of the voice is neither a so-called
mordant, as manyassert, nor any other figure consisting of two tones, as
is asserted by Printz’s erroneous* view and his invalid example; but is
the slightest possible oscillation on a single fixed tone which in my
opinion must be accomplished for the most part by the upper tonguelet
of the throat (epiglottis) through a very soft movement orrestriction of
the breath: just as on instruments merely bending the finger tips without
yielding the positioning accomplishes this very thing to some degree,
especially on lutes, violins and clavichords, which sufficiently illustrates
that nothing more is required for it than a single pitch.
—28—
Whoeveris acquainted with the tremolos in organ works will know

that simply the wavering air itself performs the effect and no higher or
lower keys are touched on the keyboard: for such a tremolo is only a
valve in the windpipe of the organ which causes an oscillation of the
sound as rapid as one wants. Onviolins the same trembling can also be
accomplished on one tone within one bowing;% without another being
necessary forit.
—29~
Thus tremolo cannot be clearly indicated through notation until
certain signs for the wind andfinger tips have been invented: for if one
Chapter Three 271
would say that even the smallest movement, be it by means ofthe air or
the finger tips, would produce another pitch, then this is speaking
mathematically, not otherwise; however no one can describe nor measure
such a fine dividing of sound, much less present it with the usual signs.
One may point out where such a wavering oroscillating should occur,
but can show with neither pen nor compass howit actually happens: the
ear must teach this.
Sin
Thus one must not in the least confuse the tremolo with thetrillo
and trilletto: as almost all ancient writers have done: for the last-named
ornaments consist in a sharp and clear striking of two adjacent or
neighboring pitches, alternating one with the other as fast as possible;
and also thetrill is not distinguished from the trilletto except as regards
its duration, which for the last is only very short.
Smt 31 ‘eins
The good Printz is once more found on a pale horsesincehestates

that thetrill is merely a trembling on one pitch. He says,” thetrill is a
trembling of the voice (which is usually called a goat or sheep trill) on
one pitch on a long note with a somewhat sharp but pleasant and
appealing sound. Georg Falck sings the very same tune in his idea boni
cantoris as do so many others of his ilk; without being contradicted: that
is to say, without their having been contradicted by anyone. If I would
not do so, in this case as well as in others, I would go against duty and
conscience: for as a rule I willingly recognize honor which is due to
others. But in scholarly affairs one must not be sparing of the truth,
and as soon as someoneallowsone line to be printed, he subjects himself
willingly to universal judgment regardless of his other merits. My own
writing must likewise face this danger. It can do no harm if I say this
more than once.
-—32-
French singers, especially the women, are fond of a somewhat slow

sounding of the two alternating pitches of the trill: such shows, among
other things, that the instruments of the throat, or rather the epiglottis,
are very well constituted, indeed it sounds clearly and purely though
somewhat subdued.
a.
On the other hand, the Italians sound their common trills very
rapidly, strongly, and briefly, almost like trillettos; except when perhaps
one or another tone is to be sustained, which they call tenuta and the
French call tenué because they must do it a little more deliberately and
not so fast in order to save the breath, which in the rapidtrill escapes
more quickly andis soon lacking.
—34—
Occasionally at such tenutos slow trills are also intermingled with

and alternated with fast ones; however a more than usualskillfulness and
flexible or supple quality of the instruments of the throat are needed for
this.
is
Now nothing embellishes a good melody as much as a well-applied
trill that is quite fast and of appropriate length: on the other hand a too
frequent use of these produces, as excesses in all ornaments do, a great
indelicacy, disdain and disgust in perceptivelisteners.
—36-—
This same thing applies to the other vocal and instrumental

embellishments; yet becausetrills* are a part of everyone’s work and are
also appropriate everywhere (although many a singer lacks the gift of
clear performance); a composer or Capellmeister has to be so much the
more on his guard not to provide too many opportunities in his pieces
for a rathertrill-crazy vocalist or instrumentalist: since one usually writes
as one likes to sing, and for this reason not only a singer but especially a
musical director must have a thorough grasp of our art of modulation.
ee io
One useoftrills probably unknown to our forefathers appears not

seldom nowadays, namely, stepwise, ascending notes, with each one
having its own trill; but all of these must be joined together
uninterruptedly -as if there were only a single one, though they often
persist for five, six, or more steps; yet, as far as I know, they never
descend but always go upwards. For example:
Catena di Trilli.
fr. tt
tr. tr.
in|
Chapter Three 273
In want of a predecessor, we have taken the onomatopoeic or name-

making liberty of calling this ornament a Catena di Trilli, ie., a trill-
chain. This will do until better data are found and something more
appropriate is conceived.
—-38—
Earlier singing masters made much ado of an embellishment which

they called a groppo. According to my translation, that is like a knob in
cluster form. I cannot understand how it is possible that this word
groppo could mean a cylinder or sphere in Italian; though Printz,
Walther, and many others explain it thus in their books, It certainly
comes from Grappo, a grape, which is Grape ® in French and English;
andit signifies everything, in the literal as well as in the figurative sense,
which we call a cluster in Lower Saxon and English (as in ancient
German), namely, for example many small berries or other things which
are joined closely together or heaped up: as here with this ornament in
which the notes join together.
—39—
One commonly would use this cluster-ornament at the cadences of

the melody: as nowadays the greatest number of embellishments of songs
are found, like farewell compliments, at the end: hence such figures are
usually called cadences: not because they are such themselves, but
because they appearthere.
-—40—
In this regard we must notlimit ourselves to one particular place,
but groppos can appear sometimes as a mere incidental ornament and
sometimes as an inherentor essential part of the melody, forming entire
passages of it: these produce not inconsiderable harmoniousness in the
event the passion which one wants to express permits such twisting and
turning.
—4]/—
As little as it was necessary above to present an example in

notation of trills and their actual form: because not only is the
description clear enough but also they are quite well known; it would
seem just aS necessary to present groppos in notation: because they are
somewhat less familiar than trills, and are harder to make understood
with words.
Unornamented. An Ascending Groppo.
;
Pr mee
os
Unornamented. A Descending Groppo.
aS pe
—42—
The so-called half-circle, Circolo mezzo, is of nearly the same
nature; but perhaps half the size of the groppo,if the notes which so to
spéak visually form a half-circle are considered. Actually it is a type of
figure through which a few basic notes are made into more and smaller
ones in a certain way. In my opinion, such a half-circle is most
appropriate at a cadence or at a pause in the song: though opportunity
can also be found for it at other times, especially now and then where
one unison follows another.
Without Embellishment. A Descending Half-Circle.
v
S pesbags=
vwNy
Without Embellishment. An Ascending Half-Circle.
ij 3
FEEEES za
—-p
wh 3
m GY
pore tatters!
nf ce
pent
Eo : Lees =
ules
Now we come to the tirata, which is currently more widely used
than the preceding ornaments, and actually means a shot or hurling of an
arrow, but not, as most commentators would have it, a pull or stroke,
Chapter Three 275
because the voice is not merely pulled or stroked but shot upwards or
downwards very powerfully, and employs a quite fast sliding, usually to
Pan’sfifth, and also, but more infrequently, to the octave.
-44—
Hence I cannot possibly attribute the name tirata to the easy
ascending and descending ofthe scale (Scalae) in nothing but half beats,
as Brossard does and as someof his followers, without naming it: since
there would be in this case neither sliding nor hurling, neither pulling
nor stroking, much less something that resembles spear-throwing, arrow-
hurling or the like, but a pace is wholly Spanish, one foot after the other.
Examples of correct tiratas now follow; wherein incidently a half-circle
also appears.
Plainly. With an Ascending Tirata.

oN
Plainly. With a Descending Tirata.
oN oN
—45—
A short time ago people were so frightfully enamored with this

ornament that the composers writing in the most recent fashion would
almost never compose an aria or symphony in which they did not use
like figures frequently and explicitly; since this should rather beleft to
the choice ofthe singer or player and his discretion: for composers must
be somewhat frugal with such things, in so far as they do not want to
arouse any aversion. I say this much: if a tariff were to belaid to aid the
church choir on the following phrase or one similar to it, and the collec-
tion of this musical excise were charged to me, something substantial
would result for the evangelical Levites:
MisusedTiratas Aplenty.
mo oN
—~46—
The so-called slides, which pass through either the ascending or
descending third and are quite common, are nothing but small tiratas.
For example:
these were ascending and descending Tirate piccole, little shots or

hurlings of thirds; if they go to the octave, then one can quite correctly
call them Tirate maggiorior largetiratas.
—47—
Finally, the Ribattuta is well worth being briefly mentioned: it

consists of a dotted and discreetly detached alternation or two adjacent
pitches, where one always returns to the lowest and longest one and
establishes it as a resting point. The word means a stroking-back and
needs no further explanation; it is again found neither in music
dictionaries nor in ordinary method books for singers, a substantial
number of which I have perused; there are, however, someuses ofit in
manuscripts and unprinted works.
—48—
The tenuta, which we mentioned above, begins quite appropriately
with a ribattuta, which, after gradually becoming somewhatfaster, ends
on a longtrill, in about the following way:
Chapter Three 277
Tenuta Ribateuta
an LAL ey 2 * >. . > a
iT ee
eet —.
~49—
The worthy Heinichen mentions a passing tone (transitus) to the

third which is accompanied with a trill. We will gladly allow such a
namefor this pleasing and well-known ornament; though the same thing
also occurs in many other cases and thus different things are meant and
because of this they are made obscure. The passing tone is taken by
very many teachers as Passaggio; or at least they normally explain the
word Passaggio as a passing tone.
-50—
Transitus is also used when some pitches appearing in the upper
parts do not harmonize well with the bass and yet are traversed. In this
instance the said passing tone is something quite different, and is found
in the written, ordinary, one-voice melody, where it is embellished only
with a fast trill and a quick turn. It is such an indispensable ornament
that one canbarely sing or play a melody nicely without it. For example:
The So-called Passing Tone.
Ps hr
Embellishmentofit with Trills.
tt, te
-5]—
Nevertheless, because this embellishment always appears in

ascending notes, and no example of such an ornamental, descending
passing tone which does not use a trill is available in our printed
methods or textbooks, I want to beg permission to offer you one:
Basic Notesof the Mentioned Passing Tones.
* * x *
F
Their Embellishment Without Trills, Downwards.
ae
oN
= .
Tiraca per 7.
~52—
Here it is to be observed that in the first two measures of the
simple version or the plain phrase of basic notes it would of course be
necessary to use short trills on the passing tones which havethe asterisks
above them; but this. would create excessive embellishment, because a
little appoggiatura would do better service here. Incidentally, in the first
measure we also present a tirata to the seventh, so that one might see
that the ornaments can be fit together nicely: likewise, a half circle also
appears at the cadence.
—53-
The mordant might frighten many a person if one would make a

biter /Beisser] out of it. The first says that it would appear like
something hard-bitten or divided by such a biter, for example, a nut; but
another thinks it has to do with roosters, since the soundsare bitten from
the comb. They say this in pure seriousness, and thus it sounds so much
the funnier. However, Gasparini? writes: this mordant has its name
from biting only becauseit, as a very small animal, would scarcely grasp
and would immediately let go again without wounding. That would be
all right and does not have anything in commonwith either nut-cracking
or cocks’ combs.”
—54—
Meanwhile, the so-called mordant is not an ornamentuseful just on
instruments, as most or nearly all authors pretend; but it can also take
place in the throat of singers as well: nevertheless, the singing quality of
this ornament has not been discussed by anyone, in a good pedagogical
Chapter Three 279
style. The dear mordantreally has more to it than many believe; though
it is not so easy to prescribe and teach as to write down and hear.
-j5—
This ornament can beused in different ways in playing; but only in

one way in singing: since onefirst touches the written pitch, after which
the lower half or whole tone, depending on the key, occurs very quickly as
if done simultaneously, and then it comes up again just as rapidly, so that
these three strokes seem to cause one single sound, as it were, which
seems to hesitate only a little, to be delayed somewhat, or to be struck
softly. From this it is sufficiently clear that the mordant has nothing
divisive in it, much less something which breaks things apart, but rather
it joins together and unites the pitches.
-—56—
In singing an accent is almost never made ascending where little

mordant does not appear. One could thus represent this ornament in
notation, although rather imperfectly, as sixty-fourth notes which are not
considered in counting the beats on accountoftheir short content:
Written perhaps thus: Sung about thus:
__ + H
S
7) a,
an
=
pOee
Ww wa
Accent with the mordant.
gaa
secaietia
-57—
Finally, there remains the acciaccatura, of which Gasparini and

from him Heinichen certainly make more than it is worth: particularly
when far more essential and important things are slighted or disregarded:
for this ornament is nothing more than the mordant at the whole step; is
also never used except on the clavier in the thorough bass with full
realization; and is often the cause of much dissonance in the harmony of
the playing.
~5R=
The above-praised Germanauthor is of the opinion that the word
Acciaccatura derives from crushing and smashing. God forbid biting,
crushing ornaments! On the other hand, Walther writes that it derives
from Acciacco, which means superfluous orexcessive. This is a home-
made technical term and is not found in a Veneroni; it seems to me, that
the whole ornament, in so far as it is supposed to be something unique
as well as regards the cited shallow etymologies, is on the one hand
completely superfluous and on the other hand has many imperfections.
= 59-
Whyis this so far-fetched? Does not Accia mean a twine, and

cannot Acciaccatura better mean a uniting, than a squashing or an
excess? namely since the realization on the clavier is so much more
securely and closely united or so-to-speak closely knit with such a
mordant.
—60—
If perhaps there are other things to be said concerning these

matters, especially as regards ornamental figures which are very large and
long, as are the Passaggi, Bombi, Mistichanze, etc., such is really the
composer’s, not the singer’s work; and perhaps there may(as is said) be
occasion to mention something on this parenthetically below in the third
part.
Chapter Four.
On Melodic Invention.
* * *
ofc
Manywill think that the above is a glorioustitle: since it must rain
nothing but beautiful ideas! but I fear that if one has no natural
qualities, one will likely receive little comfort from instruction; no matter
how willingly we presentall imaginable helpful suggestions.
Pies
Invention can be described more easily than taught or learned. The
learned Donius called it: a contriving or fabrication of a song which
pleases the hearing.® And wewill leave it at that.
-j-
This depends mostly upon an innate quality of the mind and the
fortuitous disposition of the cells in the brain. It also dependsnota little
on the time and on a good mood,if one is to invent something proper.
=o
This does not always depend on our will, even if it were
indomitable: one often thinks a thing should turn out very well indeed
and firmly resolves to write down something excellent; yet this often
unexpectedly yields something very bad.
$m
On the other hand, occasionally a notion which is incomparable
comes without muchreflection and in a completely innocent and natural
way. One must not let such a momentpassidly by but should putit to
good use.
-6—
Good invention can also be aided a great deal if one is stimulated
and encouraged through honor,praise, affection and reward: since even
the bravest horses occasionally need a spur.
fo
Lacking these enticements, many good heads among us Germans
are quashed and suppressed so that the wings become heavy and our
spirits cannotrise as freely as they probably could and wouldlike to.
—8—
Now though invention, to the stated extent, is not easily taught nor
learned and consequently could only be brought into an art form
laboriously; still, when necessary, many a person can be helped and be
pointed in a direction which will assist his innate gifts and with which
he would be on the right path.
—-9—
I knew one Capellmeister who even knew how to search for a

method for invention in the carillon in St. Peter's steeple here, which, at
certain hours, sounds a tetrachord or a passage through the fourth by
meansofa clockwork.
a ee
Some consult the best-known evening songs, morning songs and

other types of songs, I mean the melodies of those sacred songs from
which they, sometimes here, sometimes there, borrow a phrase and
develop it nicely. For example:
affettuoso
Pl
xX
Mit Entpiceendich ansHers yudeicten rc.

Essentially.
i
Nun ruben alle Wilder re.
=Jj—-
One finds inexhaustible sources of inventions everywhere, in each
one, even in the mosttrifling thing, and they cannot be counted; yetit is
soon noticed whether one considers them, seeks and finds them; likewise
Chapter Four 283
if something affected creeps in which has not flowed out of the spirit,
but has been dragged in by the hair or fetched from a foreign source.
~]2—
Moreover, often someone accidentally follows certain pathways
which have already been trodden; without thinking on it or without
having explicitly chosen these very same phrases.
—]3-
Now if further instructive observation is to be undertaken here on
the art of invention, it first is essential that this art must have three
inseparable companions, without which even the most beautiful ideas are
of inferior worth, These three are called: Dispositio, Elaboratio &
Decoratio: i.e., skilled disposition, diligent elaboration, and clever
embellishment of the melody: which is to be dealt with in the fourteenth
chapter of this second part; however, Execution, i.e., actual performance
and execution, is to be considered in the very last chapter of the third
part.
—~l4—
Thefirst, insofar as musical invention is concerned, consists of these

three things: Thema, Modus, Tactus; i.e., theme, key, meter, which must
be especially well chosen and written down before one can consider
anything else; regardless of what the purposeis otherwise.
-1i5-
Certain special formulae which can be used in general utterance

must be available for the theme or principal statement, which in the
science of melody is what the text or subject is to an orator. That is to
say: The composer, through much experience and attentive listening to
good work, must have assembled something now and then on
modulations, little turns, clever events, pleasant passages and transitions,
which, though they are only isolated items, nevertheless could produce
usual and whole things through appropriate combination. If, for
example, I had the three following different and separate passages in
mind:
‘ fi
284 Der vollkommene Capellmeister: Part I
and wanted to make one cohesive phrase out of them, it could perhaps
appear thus:
—16—
For, though one or anotherof these events and turns might already
have been used by various masters and would occur to me again just so
without having thought of the first writers or knowing them,still, the
combination gives a completely new form andstyle to the whole phrase:
so that it can be considered as a unique invention. It is also unnecessary
to do such intentionally; it can happen by chance.
-[7-
These particulars must not be taken so strictly that one would

perhaps write down an index oflike fragments, and, as is done in school,
make a proper invention box out of them; but one would doit in the
same way as we stock up a provision of words and expressions for
speaking, not necessarily on paper nor in a book, but in one’s head,
through which our thoughts, be they verbal or written, can then be quite
easily produced without always consulting a lexicon.
oa 18—
True, whoever wants and needs to can always have a written

collection in which everything that pleases or is encountered now and
then in fine passages and modulations is to be found, organized under
certain chapters and titles, so that he could locate counsel and
consolation as ‘necessary. However, a lame patchwork will probably
result if one’s clumsy piece of work were patched together from such
rags, even if they were of silver and gold.
=19= ,
Now as such available and special moduli aid in composing a main
theme, which is the subject here; on the other hand certain general
things in the art of inventing also lead us to particulars: namely where
one can use many a common and familiar thing in one particular
application. E.g., cadences are something general and are encountered in
each musical piece; but they can occur right at the beginning of
particular main themes, though otherwise they belongat the close.
Chapter Four 285
-20-
All of this concerns the invention of a good theme, which wecall a
main theme, and requires the greatest art or skill; whereas the key and
the beat, though they mustlikewise be selected well, do not have such a
broad impact. Thus we will impart further below someinstruction on
these last; yet now we will note a few more things about the main
theme: since the familiar Joci topici (though I for my part make nogreat
thing out of them) occasionally can provide quite pleasing expedients for
invention in the art of composing melody as well as in poetry and
oration.
=
The splendid assistance which these Joci should provide for the
imagination of a composer, according to Heinichen, can be read in detail
in his neue und griindliche Anweisung, pages 30 to 88. Nevertheless, it is
wise to mention that an ungifted composer cannot obtain any real inven-
tions from them. These Joci, which one mightbetter call dialectical than
topical, can also be seen in the preliminaries of the Organisten-Probe,
p. 1. They are otherwise called sources for invention. Weissenborn®
includes only eleven of the most common of them, though he does
attribute many good things to them.
—22—
The mentioned loci seem to be greatly despised by those who

permit nothing which has the slightest relationship with schools;
irrespective of the fact that they really may not be without use and
benefit in various things: especially when the materials are themselves
unfruitful and the minds are not especially disposed to expansive
thinking. Thus no one should feel pangs of conscience in taking his
recourse to the below-mentioned fifteen means for invention rather than
to melodic thievery. Whoever does not need them has for this reason no
cause to forbid them to others.
=J3—
They are called: Locus notationis, descriptionis, generis & Speciei,
lotius & partium; causae efficientis, materialis, formalis, finalis:*
effectorum; adjunctorum; circumstantiarum;, comparatorum, oppositorum;””
exemplorum, testimo niorum: which we want to explain.
a)
Now though many might think that it would require a great deal of
coercion to extend all these to the art of musical composition; the
following will convince everyone that such not only could occur in a
completely natural way but that in fact it must be so in the theory of
invention: this is notwithstanding the fact that no one has attempted to
do this in an orderly manner nor even that each dialectic locus is equally
as appropriate and importantfor this, since, on the contrary, the first and
the second are preferred before all others.
-25-—
The first place [/ocus], namely notationis, furnishes perhaps the

richest source. Since notare means to denote, we understand through
notationem the external form and design of notes: as in oratory theletters
of a name orthing are understood as that which can give cause to many
ideas. Just thus, indeed, in even a better way, the form and disposition
of the notes, as musical letters, lead us to innumerable variations of
which especially these four ways are to be considered: 1) through the
value of the notes; 2) through inversion or permutation; 3) through
repetition or reiteration; and 4) through canonic passages.
-26—
It is hard to believe how wide a field this is; and yet this is
certainly true. For the worth of notes is the only visible foundation for a
well-liked type of obbligato® bass, which sometimes is composed out of
one type of note and sometimes from different types of note values.
—27—
If, for example, I execute my theme or main phrase without

otherwise limiting myself to any certain procedure except the use of only
quarters or eighths, etc., so that no different rhythms (rhythmi) appear: I
restrict myself to that. On the other hand, if I produce two or more
types of notes with regard to their value, such yields a new variation,
especially if the meter and key are considered. Also, the art of
permutation (ars combinatoria) can serve here as desired: there will be
moresaid on this in rhythmopéie: though I credit the mentioned art with
no great miracles; yet everyone is nevertheless free to have his own
mechanical opinion onthis. ,
SR
Inversion, technically called evolutio or eversio, namely where it is
unnecessary to change either the note form or value, onlyits position;
but, in this case, it consists merely in one making the ascending notes
into descending ones, the descending into ascending, the normal into
retrograde, etc.: frorm which good inventions can often result. What
Chapter Four . 287
meaning evolutio would have in other cases is to be mentioned in its

place. Meanwhile, this is the second point on invention.
—29-
The third path on whichthis notational source of invention leads us
concerns repetition, known byits technical term, clausulae synonymae, or
what one otherwise in the fugal pieces calls the reiteration, i.e., transposi-
tion of a certain phrase higher or lower.
—30-
Through this expedient very many pretty themes or main phrases
are devised not just for fugues but more so for other things andare very
skillfully worked through or worked out: especially when one modulation
alternates with several intermediating ones and subsequently is again so
skillfully produced that it would seem as if it came at just the right
moment.
—3]-
Reiteration is called repercussio and occurs when one voice answers
the other, not in mere repetition of the same pitches but on different
ones with like disposition, either higher or lower, and this can also occur
in a single voice. The hearing prefers very few things more than such a
pleasant repetition of a reiterated, charming main tune: especially if it is
transposed in a clever way, and appears at a place where it is almost
unexpected. That is called naturalness: and naturally all perceptible
pleasant things have this very quality.
=32-
The fourth path on whichthenotation locus being considered leads
us is derived from the canonical style of writing and is of uncommon
worth; if only one does notrestrict oneself too much in this. Of what
this style actually consists has, to the extent needed, already been
reported in the first part; but the significance of canons, what their many
types are, and how they must be constructed, will be more thoroughly
shown in the third part.
—33-
. Here, with the theory of invention, we are not dealing with strict
canon; but only with a certain type of canonic imitation wherein one
voice follows another, imitating it strictly in regard to the value of notes
as well as the intervals, yet with such freedom that it does not always
confineitself to the pitch.
Rf
That quite briefly would be the explanation of the first dialectic-
locus or first source of invention and its four openings or ducts through
which notation alone not only provides a main tune but can also develop
it rather substantially.
—35 a
However, it will be of use to give a small illustration of each of

these four ways so that one would have a modelof how to deal with the
remaining Jocis. For a rational reader can easily imagine that it would
tequire a thicker volume than this present one if we really wanted to
undertake a similar explanation ofall fifteen.
—36-—
Invention of a Main Theme.

With Notesof one Value:
OfDiffering Value:
Through Inversion:
Chapter Four 289
~37—
One can invert almost everything in this way and obtain many
different ideas; yet one must not makea regularpractice of this: because
this can easily result in a forced quality.
—-38—
As regards imitation or reiteration, one who simply looks around

intelligently in musical writings cannot be unfamiliar with what excellent
service it performs in invention. There are numerous examples. Wewill
be satisfied with the following.
sca
—39—
Everything which makesthis pleasing consists simply of imitation of

the first five notes, which, once at the second and then at the third,
|
display a certain type ofreiteration and pleasing similarity or uniformity. |
=fQim |
|
This expedient has even greater application for bass tunes than for
the upper voices; though it is absolutely indispensable in the
development of fugues as in all other melodic types, and one must be
able to transpose a very good theme through almost all intervals, if the
melody is to have fine cohesiveness and if one part is to stand in pleasant
relationship with the other.
—qj/—
As stated, one must not as strictly limit oneself here to exact

repetition as is the case with an ordinary fugue, but can arbitrarily
deviate from it sometimes in this and sometimes in that way, but
principally with regard to pitch: as if it occurs both for delight and so to
speak by happenstance in order to produce something better, for
constrained repetition which occurs too frequently and too monotonously
seems perhaps more unpleasant than charmingto the hearing.
Adm
The following may give a model for the fourth path, namely for
canonic imitation in passages of two or more voices: for, we have seen,
imitation and repetition also take place in a single voice, whereas the
canonic style must utilize more voices. And the explanation of the loci
notationis is terminated here, otherwise we would get too far off the
track.
Oboe|
{
ee
ttre TTRR WIR IER [RU

Voce |
3)
At 1) is a deviation from the canonic sequence; 2) is an exactrepetition;

3) a canonic succession at the unison; 4) an approximation of this
passage, otherwise called appropinquatio thematis,; and 5) a Ribattuta
which ends with trill.
—43-—
The second invention-locus in the series, namely locus descriptionis,

is, after the first, truly the richest source, indeed, in my humbleopinion,
the most reliable and essential guide for invention. For, if they are to be
portrayed or depicted in notes, the bottomless sea of human affections
belongs here; however, because of the very quantity and nature of such
abundant and multifarious passions, this description-locus cannotpossibly
be given as manyclear and specific rules as the preceding.
Chapter Four 291
hpi
Meanwhile the essential aspects of the affections have already been
discussed, and in fact in the third chapterof the first part, to which one
can refer from the natural theory of sound and can apply to the art of
invention.
—4j—
But whoever might think that the locus under consideration would
primarily depend upon the nature of some certain words set to music
would not be very wrong; since the so-called text of vocal music
principally serves for the portrayal of the affections. However, one must
know here that even without words, in purely instrumental music, always
and with every melody, the purpose must be to present the governing
affection so that the instruments, by means of sound, present it almost
verbally and perceptibly.
—46—
The renowned Neidhart wrote very well on this in the foreword of
his Temperatur, as follows: the purpose of music is to stimulate all
affections solely through tones and through their rhythmum, the best
orator notwithstanding. And that is a part of the description-locus of
invention.
—47—
In instrumental pieces (which also generally have their own

characteristics) the composer might occasionally conceive and construct a
special passion; in vocal pieces the poet often does this in verse, as he
can. This, among other things, undergirds anew my familiar axiom: it
would be easier to compose something good for singers than for
instrumentalists. For far more sensitivity and feeling is needed there for
spontaneously bringing out one’s inclination, than that neededtostir up
those instigated by someoneelse.
—48—
The still remaining Joci, such as generis & speciei, totius & partium,
etc., also have usefulness with musical invention, as we will soon see; yet
not as muchso as the two preceding sources,
wf
Hence it is not a good philosophical style of teaching if one here
does not cite Notation and Description at all, but simply refers to that
which precedes, accompanies and follows (to antecedentia, concomitantia
& consequentia): for, not to mention the fact that these things are not loci
topici at all, one must reckon them among the effectual causes, the
circumstances and the purpose (ad causes efficientes, circumstantias &
causam finalem); still, the two above-mentioned Joci do ten times more
service with invention than the former three presumed sources: indeed
the mosttrifling point in the other 13 can find in its classification more
benefit than these.
-50-—
Counterpoint, for example, is a whole genus or a whole branch in

the art of composing; but fugues are Species, types or categories. A solo
is a Genus; a Violino solo is a Species, etc. For the former or the latter
genus can be helpful to me, in a general way, according to the extent to
which it reaches agreement with the words or the intent; the former or
the latter species of melody can also lead me to a moreprecise or special
way to invention.
-5]—
All musical pieces are fitted together from different parts. If I
would want to reflect on this, then I would consider whether the words
or the intent of the work under consideration would be best suited to a
solo, to a tutti, to a chorus which consists of many members, or to a
duet, to a trio, etc. If it were such that a tutti would have to be made of
it, then this question would arise: What kind ofvoices or parts shouldit
have? as there are C., A., T., B., etc.
==
Requisites, requisita, such as the variety of instruments with their
proper application, belong likewise to the loco partium: and thus each
voice, each instrument, or, as is said, each part, in its way in so far as it
shows some analogy with the materials to be performed, also gives some
cause for invention.
—53-—
The effectual cause (causa efficiens) in oration, namely when a story

or action occurs, provides a fourfold expedient for invention: for it is
either a principal, instrumental, or propelling, or finally contingent
cause;?? which quality can again always be explained better with a written
text accompanied by musical phrases than can be donehere briefly with
mere theoretical words and descriptions. The former would lead us too
far, and the latter is quite enough for instruction and review.
Chapter Four 293
-~54—
The material one (causa maiterialis) is threefold: from what, in what,
and with what. (Ex qua, in qua & circa quam.) In orderto illustrate this
concisely, one would have to accept that our musical material would
consist entirely of sound: if no verbal subject nor even an explicit view
toward someparticular passion were to be taken into consideration.
— 55—
Now were I for example to set out to make a harmonization from

nothing but consonances, excluding dissonances entirely, then the
material from which my phrase were derived (ex qua) would certainly
yield something quite distinctive and could produce a special invention.”
—56—
On the other hand, though one in fact cannot make something

harmonious out of nothing but dissonances, it is nevertheless feasible to
use them so frequently that they seem to reign over the consonances, as
if the latter were almost completely disregarded.
-57-
One can for example so perform his bass that the vocal part would
begin each new phrase at the second after a pause, or conversely that
after each pause of the bass and a short rest, the vocal part would always
be a fourth or a sixth above the bass: which appears as pleasantasit is
strange, and is of the locus from what.
-58—
Further, one can represent quite horrid or dreadful things with
dissonances and canfetch his invention ex loco Materiae, For example,
a Symphonie terrible on poetic stories of infernal furies, plagues, etc.,
where nothing even can be conceived which would be so terrible thatit
would not be good and appropriate to invention in such cases.
-59—
And as such ideas can flow from prevailing consonances or
dissonances; thus it is easy to conclude that in still another way
inventions may be made from the diverseartistic, and to some degree
changing mixture of consonances and dissonances among themselves.
-60—
Materia in qua, or material in which one works, belongs in part to
the subject, to the text, or to the special passion which one has chosen
294 Dervollkommene Capellmeister: Part I]
for representation, and consequently maintains some relation to the

description-locus andalso, as is easy to see, deviates some from it.
=6i=
Materia: circa quam, with which or on whose account the thoughts
of a composer are occupied with his work, are voices and instruments,
singers, instrumentalists, and especially listeners, as these, according to
their various aptitudes and capabilities, draw the invention out of a
composer, and these can almost be more assistance to him thanall else.
=§2—
Ten good composers are often not capable of creating a single good
singer; but a single good singer, especially a beautiful and talented
female, is easily capable of inspiring ten good composers: so that the
latter sometimes do not know whence the magnificent ideas come to
them. Love does not seldom contribute the most to this, since it has
always been the best teacher! in music, even without the use of many
Tules.
-63-—
The material circa quam is hence always to be considered as one of

the strongest resources for invention, since it is uncommonly encouraging
and enticing to a composerif he knows that his work is to be performed
by this or that great virtuoso or by admirably-skilled people. Then he
considers working to be the greatest pleasure and joy.
-64—
It is deplorable that many anintelligent young man is deprived of

this invaluable source for invention by old envious people, and that the
performance. of his work is prevented in an unfair way, though he
demands nothing for it: some malicious examples of this have been
recently experienced in certain concerts whereby aspiring composers
receive little encouragement for continuing with their diligence; others,
however, too clearly reveal their unjustifiable self-love; which an honest
connoisseur and patron of music should completely banish from his
heart.
-65—
Next, the form and norm ofeach work, of each melody, shows, as it
is easy to perceive, how one should invent and intelligently erect his
passages: on which the two chapters on the distinction between
instrumental and vocal melodies and on their categories and characteris-
Chapter Four 295
tics will give detailed instruction below, if one wishes to apply them
correctly to the theory of invention under consideration, and wants to
combine this with these as formal causes (causas formales).
—~66—
The goal of our musical work, next to honoring God,is pleasing
and stirring the listeners. Now perhaps, were I to work at a prince’s
court, the position would give me good cause to speculate over the
prevalent tastes there, the mature consideration of which can lead to
many inventions: especially since necessity itself is also reckoned as a
mother ofinvention.
—67—
On the other hand, when we deal with a church in this or that large
city, the purpose is quite different and the preference of the most noble
people must reasonably take precedence over many other considerations,
in so far as this is to be adjusted to the listeners. Thus a certain,
different bias reigns in both places.
—68—
But whoever wants to work for the theater needs primarily to use
sound judgment, instead of just following a leader: for nothing but good
taste and the abandonmentofall prejudices should dominate in this. I
mention this only as the goal of composition and leave it to the poets to
contribute conscientiously their part, so that once the honorable theatrical
stage would be cleansed as muchaspossible ofall tomfoolery, and would
be considered as a true school for morals; no matter whom this
disgruntles.
-69—
One generally can soon perceive whether his listeners’ taste is

spoiled and whether they might quite properly find more pleasure in
other dishes. One mustselect those inventions which help most here and
must use them with prudence.
-—70-—
The locus effectorum also belongs here if for example we observe

how this or that phrase would have an admirable effect in chambers or
salons; yet on the other handit loses its strength in the church. Also
vice-versa. Here practical experience is an incomparable teacher for
invention.
a7]
The locus adjunctorum occurs in composition mainly with the
performance ofcertain persons (as in oratorios, operas, cantatas, etc.) and
one tends to look at it as threefold, namely as the endowments” of spirit,
body andfortune.
api
If someone might mention that indeed these things cannot be well
Tepresented in music; then one can assure and convince him that he
would be deceiving himself nota little. The famous Joh. Jac. Froberger,
court organist for Emperor Ferdinand III, knew how to represent quite
well, on the clavier alone, entire stories depicting contemporaneous and
participating persons, as well as their emotions. I possess, among others,
an allemande with all the trimmings wherein the crossing of Count von
Thurn andthe peril he endured on the Rhineis rather clearly laid before
the eyes and ears in 26-note cascades, Froberger was there himself.
-73-—
Buxtehude (Dietrich), the similarly highly-esteemed former organist
at Liibeck, also wrote such pieces with good success in his day, and,
among other things, portrayed well the character of the planets in seven
clavier suites. It is unfortunate that little or nothing is printed of this
fine artist’s profound clavier pieces, in which his greatest powerresides,
—74—
Nowif this can be done to some degree on a mere instrument, how
much more and-better it will be accomplished with vivacious voices. Yet
moderation must be maintained here: for, whoever would want
indiscreetly to push this too far might easily carry it to the point where
many forced, ridiculous and pedantic things creep in; in this the works of
ourbeloved forefathers also appear to us notto be lacking.
-75—
The former organist at St. Jacob’s in Hamburg, Matthias

Weckmann, who was no less famous than the above-mentioned, once”
composed and performed the words from the 63rd chapter of Isaiah so
forcefully, in accordance with the loco adjunctorum, that the known
Converter of Jews, the licentiate Edzardi, testified: He depicted the
Messiah in the bass voice as clearly as if he had seen him with his own
eyes.
Chapter Four 297
-—76—
Onecreates such inventions out of the sources at hand by means of

an active imagination, if for example one imagines how one with an
exalted bearing would say: I am he who teachesjustice; I tread the wine-
press alone, etc. If perhaps I would want to set in a Passion these words
attributed to Pilate:
Baume, die mit ihren Zweigen Trees which strive to grow

Wollenin die Liiffte steigen, Toohigh into the air
Kurzet manbei Zeiten ab. Arecutin time.
and if I would want to think only of this, because no special affection

shines forth from the words, I might only direct my thoughts toward the
wealth of Pilate and the fact that he was a great politician and ruler:
hence perhaps something proud and domineering would have to be
produced, which would provide the opportunity for expressing the
affections of lust for power and of majesty. In fact, growing too high
into the air would yield many a person his invention here; though inner
stirrings are always more noble than external, verbal signs.
-77—
The following locus circumstantiarum is the same type as the

preceding; yet with the notable difference that here the circumstances of
time, place, the preceding, accompanying, following, and other things
must be taken into consideration: examining all of this would require a
book of its own and would be much too prolix here; if we consider that
space yet required for the third part of this work, which cannot exist
without copious examples.
—78—
Heinichen alone appears to have derived his whole theory of
invention and perspective from this circumstance-locus when he
expounds purely on the antecedentia, concomitantia & consequentia;
which are just a part of a single Jocus out offifteen.
-79—
Next we have the locum comparationis, or comparison, where

similar things are compared with dissimilar, small with large, and vice-
versa: fictions and personifications also belong here since one for
example symbolically personifies day, night, and other things, so that
they can speak and sing. One day says to the other, etc.
—80-
Further, the /ocus oppositorum,i.e., the opposites, is also of no small

consequence andis not only very useful to music as a whole, but mainly
provides many expedients for producing good inventions:for, if I were
simply to consider correctly the different meters, the counter-movements,
the high and the low, the slow and the fast, the calm and the violent,
together with many other opposites, then well nigh innumerable
inventions comeoutof this, with or without the stimulus given by words.
so 81 en
The locus exemplorum could mean here the imitation of other

composers, if only fine models are chosen and the inventions were simply
imitated, not however copied and stolen. If, when all is said and done,
most is fetched out ofthis source for invention just in the sense we take
it here: such should not be censured, if only it is done with restraint.
Borrowing is permissible; but one must return the thing borrowed with
interest, i.e., one must so construct and develop imitations that they are
prettier and better than the pieces from which they are derived.
—%o-
Whoever does not need to do this and has enough resources ofhis
own, need not begrudge such; yet I believe that there are very few of
this sort: as even the greatest capitalists are given to borrowing money,if
they see special advantages or benefit in this.
—83—
The last Joco testimoniorum is most useful in music when one

quotes in a certain way a song by someone else which is known to
virtually everyone, as for example church hymns,etc., so that the quoted
material would serve as proof or confirmation, as a cifatum or allegatum;
this then is sometimes very beautifully expressive and can be seen as a
good invention, especially if such quoted phrases seem to comeat the
right moment and are developed with diligence andreflection.
—34—
Thus ends this very brief report or assay on how the familiar loci
topici or sources of inventions, in so far as they are taken from oratory,
can also perform unusual service in musical composition.
— 8.5 =
Yet, there is one more special type of inventing left, which onecalls
an unexpected, unforeseen and rather extraordinarily impulsive one
Chapter Four 299
(inventio ex abrupto, inopinato, quasi ex enthusiasmo musico), and for this

it helps:
1) If one delves beforehand into the work of an outstanding

composer, especially to the extent that he perhaps has dealt with the
same sort of material.
2) If one occupies oneself with one affection and as it were

becomes engrossed in it as if one were indeed prayerful, enamored,irate,
scornful, melancholy, joyous, etc., this is surely the most certain way to
completely unexpected inventions.
3) If one can also apply diverse inventions in a single melody, and

so to speak can almostinstantaneously alternate these in an unforeseen
way: which pleasantly surprises the listeners; if only it does not otherwise
interfere with the continuity or intent.
Example of a Scornful Saying Bursting forth in

Unexpected Joy.
adagio, allegro.
rc’ a _o@ eat Ag oP a
=) Pb ee E EPRIa
Pope le
Hct
Fae teGy = UF
4 —
Wol dem Vole, dem cd alfo gebet 5 8 aber wol dem Bole, des der Err cin Gott
: aSS @illegro, A A
adagio.
- Porpttrt FEA, ne Prat
Poeee~E
Ee EE:
EEEaP 4 REerer=—
ift! QWol dem Volct, dem eB alfo gehet; O aber woldem Void, wol demre,
Various Alternating Inventions.
SatpEBROE-TSFF- POPSgiOPPeEM
Unifoni.”
Chapter Five.
On the Art of Creating a Good Melody.
* * *
-jJ-—
Melopdie is an effective skill in inventing and making such

singable phrases as give pleasure to the ear.
-2-—
This art of making a good melody comprises that which is most

essential in music. Hence, it is quite amazing that such an important
feature, on which most depends, has been neglected by virtually every
teacher until now. Indeed there has been solittle thoughtonit that even
the most superb masters, and among these the mostprolific and most
recent,“ must admit: it is almost impossible to give fixed rules on this,
with the plea that most derive from good taste; yet the most fundamental
Tules can and mustbe given onthis: as regards common language, one
need only ask skilled cooks; as regards fancy words, ask moralists,
orators, and poets.®
-3-—
Thus those authors reveal more than too much their weakness and
poor understanding concerning the mostessential thing, melodic science.
However, others, who otherwise pretend to know everything, are
somewhat more intelligent here, as they prefer to remain completely
silent about it in their large books.
—4—
Consequently, I alwaysinsist that, aboveall, a single fine melody is
the most beautiful and most natural thing in the world, and I am
incontestably the first who gives published descriptions and systematic
instruction thereon: perhaps, as with myotherinitiatives, these will, now
or in the future, allow someoneelse to put on airs about this and without
even mentioning its originator. No one has, to my knowledge, ever
written purposely and expressly on melody. Everyone deals only with
harmony, and even the mostskilled composers are more deficient in
melody than in anything else: because they always put thecart before the
horse in their endeavors, and casually write four to ten voice parts before
Chapter Five 301
they have yet learned to do justice to a single one, or to make it

attractive.
-j-—
We however consider melody to be the basis of everything in the

art of composition, and cannot understandat all why the clear difference
between simple and many-voice harmony, which was long ago mentioned
in my writings for good reasons, is never properly taken into account,
when for example against all reason it is stated: that melody springs out
of harmony,® and all of the rules of the first must be taken from the
second.
—-6—
Melody howeveris in fact nothing other than the origin of true and
simple harmony, in which all intervals follow after, on, and behind
another; just as these very intervals and no others’” are perceived in
harmonized phrases simultaneously, at one time, and together, thence
producing a many-part harmony.* In both, good taste must reign of
course; otherwise they are not worth any praise.
-J—
This fundamental differentiation and explanation likely ends all

debate over this: because everyone must grant that the first elements out
of which a harmonization is generated consist of the bare intervals, as
they follow one another, and then that in natural philosophy, of which a
thorough musician must have mastery, the statement that the simple
preceded the complex, consequentlyis its source orroot is irrevocably true.
—8—
Now whoever wants to differentiate these properly must first

observe and understand well all aspects of their relationship. This
statement cannot be subject to any doubt; hence I will use it in the
following way: No one will know whatthesignificance of a third, fifth,
octave, etc., would be, who hasnotfirst of all touched, heard, seen, and
in fact verified that the first consists of three, the second of five, and the
third of eight sounds, as if out of so many simple elements and essential
melodic aspects which are joined together by certain regular degrees of
the scale.
-9—
Such an arrangement of musical degrees is properly and preferably
called Harmonia, Compages: as can be shown with the true ancient
Greeks, who made almostall of their musical marvels with simple harmony.
-10-
Accordingly, no one can undertake the dividing of a string or even
of a single octave before he has observed, grasped, sung, or played the
whole scale in its natural character and context, step by step, degree by
degree, without leaving out anything. And thatis melody.
a Il ove
Then the following examples should sufficiently demonstrate and

make manifestly apparent these things: that each and every harmony
would be present in the melodic scale; that many-part harmony would
derive its rules from melody; that a particular song could stand well even
without accompaniment, while a so-called harmony without melody
would only be idle noise and not a song atall; that everything of a
musical nature wouldbeof little or no significance without imitation, but
this imitation would be based on individual melodies, be it in fugues,
concertos or other types; that every theme would always have merely one
melody, on which, as if on the ground, the many-part harmony then
constructs its embellishment or ornamentation, andit is also governed in
the same way, either entirely or in part; that everyone would have to
learn his part alone before he can sing with the choir; andfinally, that it
is quite hard for beginners working in harmony with many various
melodies not to make mistakes, in spite of the fact that usually they can
sing their own part rather well alone. From all this, it follows that the
former in one sense would be moredifficult than the latter.
-]2-
Canone alla diritta a 4. Voci.
reiterate
en §.
Molto pia-ce Onor; ma non tan-to quanto Amor.
Here the diatonic scale alone, straight through its steps, ascending and
descending, produces with a completely natural cohesion such a simply
noble melody, that, without altering a single note, it contains the full
four-part harmony, with the imaginable consonances, as well as all
pertaining small and large intervals, seconds, thirds, fourths, fifths, sixths,
sevenths and octaves.
Chapter Five 303
=]
I nowplace this Scottish dance here and ask, how miserable would
the bass for it be, if it were not set in imitation of the principal tune?
and, on the other hand, how well does a two-voice harmony succeed,
when the accompanying voice takes the main one as a model, and plays
it most pleasantly in imitation or as a counter-voice using virtually all of
the same melodic passages? Everything which this harmony has unques-
tionably flows from the melody, which must be imitated by the former
and which must be consideredthe original.
Ecossoise.
| z
eS —--t
-14—
Ask honest dancemasters: s’ils commencent leurs legons par des
entrechats, ou par la Demarche de la Danse: if they first teach their
students cross-cabrioles and only then the walking step? One cannot, in
fact, demand adroit leaps using both feet simultaneously from anyone
before he has learned how to walk properly: as little as someone could
publish the third part of a thing without knowing anything of the first
and second. Here the one unavoidably relates to the other.
-1[5-
My next indisputable statement reads thus: Natural models yield the

artistic. Art is a servant of nature, and serves to imitate it. Too much
aft obscures the beauty of nature. Evenif it is possible, consciously and
arbitrarily, to strike or to divide isolated thirds, fifths, etc., without
knowing, measuring, and examining the sound which lay between their
ends; still natural singing by man (I say by man) existed earlier than
304 Der vollkommene Capellmeister: Part I]
playing, and the beautiful innate instrumentofthe throat yields only a

single note at a time. Normally.
-16—
Thence when the discussion is on intervals, one must primarily deal

with this type, since their ends are heard oneafter another, and produce
only one single sound or simple tone at one time; not however those
which are heard simultaneously, and constitute a simultaneity: For only
the former can normally by done by a human, and forthis reason is
more important, because the pure melodic song is simpler and naturally
older than harmonization;” while on the other hand the latter requires
more persons,or imitating instruments.
-—[7-
The very best, clearest rules on many-part harmony are based on
the above-mentioned computation and the silent calculation of the
intervening steps and notes of leaping intervals, Why thenis it incorrect
andstrictly forbidden to composethus?
eee
oO or 2
P= and the like
clearly for no other reason than because the degrees of the-melodic scale
lying between these leaps, which one always has in mind though they are
not actually written down, divulge the hidden fifths and octaves. Now
does this knowledge come from harmony or from melody: Here then we
indeed have a test of harmonic rules which flows from melody; and there
are morelike this,
~18—
Consequently, we use each and every interval in melody naturally;
while in harmonyin anartificial and contrived way. After all, we can do
no more in harmony with only octaves or thirds, fourths, etc., than in
melody or in the unaccompanied song; such a procedure would also be
just as absurd, indeed, even more foolish in many-voice harmony than in
melody: yet there is a one-sided and very insipid argument in this.
Seconds actually belong to both, and variety in all brings the greatest
delight.
Chapter Five 305
i=
The conclusion undeniably follows from the two cited principles,
that the proper beginning for composing would necessarily have to be
made with nothing but melody: in as muchasin all teaching there is only
a single good methodorstyle of teaching, namely, one proceeds from the
simple things to the complex and from the knownto the unknown.
—20-
Health and the temperate Horace” commend this emphatically,
though one whoenjoys all sorts of mixed foods does not know how good
a simple dish tastes. Why is such not appealing to them? Answer: They
never take succulent meat which always hasits juices within it; but serve
spoiled fish which needs much seasoning, many dissonances.
—2]-
There are some cooks who quite readily acknowledge in print that
often even the most beautiful harmony is tasteless without melody;*
hence I give them a simile here involving taste and foods: they
instinctively acknowledge that virtually all of the power of thoughts,
passions and the expression of these, are subject only to melody; they
also boldly promise, with titles and superscriptions and with plain, clear
words, to teach everything in their books and chapters which could
simply make music perfect: and when things come to a head, the dear
ones plead it is simply impossible to give rules on melody; yet they
themselves cannot deny that melody itself is the chief component and the
highest peak of musical perfection.” They beg forgiveness for having
discovered such a secret, confess their impotence in melody, and
acknowledge themselves conquered. What more might one want?
-2)-
I mustinsist on raising a couple more, pertinent questions before I
proceed. The first is whether music could ever be good which is
composed according to certain artificial, harmonic rules, regardless of
whether, whenall is said and done, this impinges upon the orderof the
melody, of the song, of the meter, of the meaning, of goodtaste, etc?
The second is: Whether such a theory as the latter could coexist and
coincide with the one above on the precedence of melody, since they
both come from Rameau? If these two questions would prove to be
essentially correct and my preceding syllogisms (not to mention the other
cited empirical reason) have been rightly refuted: then I will not waste
any more wordsfor the sake of melody as long as live.
-23-
Amongthe scholars, the peerless Doni did indeed remark in the last
century that there were people by the dozens who did not know how to
differentiate properly between melody and symphony, nor how to
separate Melepdie from Symphoniurgie. He says: though harmonization
has a great power either to increase or decrease the sounds, nevertheless
it is a thing which is foreign to and not inherent in the keys: because one
must really observe such in a pure, simple vocal melody, and only
afterwards may onefirst speak of harmonization. His own words deserve
to occur below.”
=)
But the good Doni, although he wrotea special treatise on melodies
which has a quite different goal than our present work, has properly
understood the evil and yet has not obviated it at all; much less given
ways and means through which someone could succeed in composing
pleasant melodies.
a 95
It is simply impossible to say that many voices might be found
together with much melody and in fact a quite good one: because the
latter must be so greatly divided, and besides, by being protracted, it
loses all suitable continuity. I say by being protracted: for this would
work more easily with short phrases, in the hands of a skilled
harmonizer, and indeed especially in instrumental pieces. However,
where words are to be sung, they become indiscernable if all of the
voices are to be worked out in the same way: the melodyofthe principal
voice, wherever it is, becomes unclear, and the constraint makes the
harmonization unpleasant.
Dee
On the other hand, the ear often derives greater pleasure from a
single, well-constructed voice, which has a nice clear melody in all
natural freedom, than from twenty-four voices which, in an effort to
communicate everything, are so mutilated that one does not know what
they mean. Melody alone moves hearts with its noble simplicity, clarity,
and distinctness in such a way that it often surpasses all harmonic
artifices: are wordsof a very learned theologian, formerly of Strasbourg.
_o7—
But if one wants perhaps one or two voices to have precedence and
a fine vocal line, as is quite proper under certain circumstances and with
Chapter Five 307
and
certain types, then the others must necessarily be at a disadvantage,
what the former do well, the latter miss out on altogether. A master is
expected to provide three or four simultaneous voices with clever
passages and arrangements of sounds: and how can someone do such if
he has never learned to compose a single voice truly melodically?
—28—
Harmony is nothing other, or should by rights be nothing other,

than a combining ofdifferent melodies; although the latter cannot all be
perfectly beautiful in the highest degree. On this account, the Greeks
called their composition simply Melopdie, i.e., the fabrication of melody:
almost the whole of their music consisted in this; they performed great
marvels with it, as we have been reliably informed; though they thought
little of harmonizing, or quite certainly used no such thing as nowadays
is common among us.
-29—
Now if we desire to proceed in a truly orderly manner, we must
first describe this melody thoroughly and definitively, namely that it is
this:
A fine song wherein only single sounds follow one another so

correctly and desirably that sensitive souls are stirred thereby.
-—30-
Thus not merely high and low sounds (for these also commonly are
a part of the many-voice type); but actual single pitches are specifically
the proper material of melody.
-3/-
Second, the desired sequence of such sounds, as the form of
melody, consists not only in a stepwise progression; but also in certain
leaps which have a proper relationship with one another: which is
precisely our simple type, as the true source of all many-part harmoniza-
tion, which in fact is an explanation but not a definitive description.
=
Third, if the thing which should movesensitive minds must, above
all, be facile, clear, flowing, and agreeable: then the natural and the
sublime, as well as the calculated, come into consideration. For nothing
can be clear which has no order; nothing can be flowing which is
unnatural, etc.
=33=
Melody of course can and must comply with and meetthis purpose
of stirring sensitive minds; thoughit may not always do it alone in such
a measure with such splendor and force as whenfull voicing comesto its
aid: in this way then even hearts which otherwise know little of tender
things, and whose number is doubtlessly the largest, are often moved.
~34—
Ancient and modern history, daily experience, nature and common
sense reveal that mere melody, entirely by itself, can stimulate certain
affections admirably well, express these, and can move receptive listeners.
-35-—
But because these affections are themselves not of one sort, they are
also awakened by the combination of harmony with melody quite
differently than when this last causes them alone without assistance: in
as much as a beautiful accompaniment, even if it is only a bass, much
less a full voicing, helps the former to present with greater vigor that
which for example pertains to a friendly encounter, a sweet embrace,
affectionate compatiblity, the friendly competition or contest,
magnificence, nobility, etc.; On the other hand, simple melody in certain
circumstances actually can by itself effectively excite all tender
inclinations such as love, hope,fear, etc.
—36-
With what did the ancient learned Greeks accomplish their musical
miracles? What stirred the heart of Augustine in the Ambrosian
community? What penetrated so deeply into the soul during the
Protestant Reformation? What is it even nowadays which one moment
will bring tears to the eyes of many people in fine churches, and in the
next will inspire their tongues to rejoice? How does one put the infant
to sleep? What happens to a bird; and constrains him to imitate the
person who whistles something to him? was andis it anything but simple
melody?
—37-—
One of the most powerful and most remarkable effects of melody
is
probably in dancing, where it matters very little whether there would
only be a bass or even any accompaniment at all: indeed, the most
experienced. dancing masters gladly dispense with such an
accompaniment, and the English say of their Country Dances that a two-
voiced texture would sound rather nice, though would give a
little
Chapter Five 309
emphasis to the main part, and that the middle parts or full-voiced
ingredients rather stand in the way of all dancing pleasure; since on the
other hand, a single melody, even if it is used becomingly five or six
times on a single violoncello, would be more than adequate.
—38—
Now people who do not perceive such great effects in simple
melody might reasonably be confronted with the familiar Biblical words:
We have piped for you, and you have not danced. There is not a lack of
like minds: however they are commonly reckoned among the coarsest,
and can take nothing away from the power of a one-part song, even if
they deprive themselves entirely of the pleasure derived therefrom.
—39—
I recall an aria which I formerly sang on the stage in the character

of one dreaming which began thus: Appear to me soon, etc., and another
in a Passion on these words: All, all is accomplished, both of which
without theslightest accompanimentelicited more attentiveness or stimu-
lation than if they were provided with the best harmonic settings. But
singers who do not need a special instrumental-mask are also needed for
this.
-—40-—
A certain air from one of the most recent Parisian ballets, which
begins with the words: Les tresors de la Fortune ne font pas un parfait
bonheur, was recently sung unaccompanied by a noble gentleman with
such charm that it enraptured the listeners, and even those who were
thoroughly accustomed to praising something full-voiced; then the same
gentleman played this same melody on an alto transverse flute: which in
truth was so plaintive and touching that it caused real sorrow among the
bystanders. There are examples from all styles.
—4]—
Finally, since music also consists of melody and harmony; though
the former is by far the most important andthelatter only an artificial
collecting or uniting of many melodic sounds: then the simple song at
least cannotever rightly, consistent with the precepts of good sense, be
deniedits significant role in the vigorous moving of sensitive minds.
-42—
As regards invention, with which the beginning®” ofall songs, sound
and other orations which are to be composed must always be made, (as it
tends to be the first or second main part in rhetoric) it has no place in

our above description of melody, but instead has its own chapter, since it
actually pertains to the explanation of Melopdie. The best Greek*® melo-
poet shows us how this is different from melody.
Bm
Nonetheless, it is astonishing that there is no writer on music who
has given us a proper, concise definition of melody before the writing of
Kern melodischer Wissenschaft. There is a great difference between
generally understanding a thing, and thoroughly describing it in detail.
Nothing will be accomplished in pedagogy by our thinking that: One
need nottell a musician what melodyis.?
—44—
And even when something on this may have appeared,it has either
not been systematically correct as regards substance, form, and purpose,
since it is sometimes lacking in this and sometimes in that; or such
lengthy statements have been made that one can scarcely measure them
with long yardsticks, and yet they say very little in many words, indeed
nothing specific at all, but things that apply to more than one thing.
-45—
Some time ago I had occasion to deal with this in its essentials in
Critica Musica, and at that time the vollkommene Capellmeister was
already in progress; however I did not want to extract such pertinent
material from the latter and hoped that the writing of the present work
would go somewhat faster: Now this has not been the case, also since
that time some ideas have become somewhat more mature, and
accordingly no instruction comes too late as long as it contributes
something good.
—46—
A good foundation for useful rules for melody can thus be gleaned
from the above accurate definition and its explanation alone, and the
imagined impossibilities here can very easily be eliminated. For, if first
of all one only considers rightly the four characteristics: facile, clear,
flowing, and lovely, and investigates further, then four classes or
classifications of such rulesfollow.
-47—
If we consider secondly, the moving or stirring nature, as wherein
true melodic beauty first exists, and for which the four above-mentioned
Chapter Five 311
qualities are only expedient and useful; then we have the entire theory
on natural affections before us, and no lack in good rules will be
perceived; but perhaps there will be a deficiency in their intelligent
application. This is not the place to enlarge on this last matter, which
belongs specifically to philosophy as well as natural science, but only to
examine diligently the four mentioned characteristics.
—48—
Accordingly, the following can produce a good foundation for the
tules flowing from: a facile quality:
Wecannot have pleasure in a thing in which we do notparticipate. One
derives seven rules from this in a natural way:
l. There must be something in all melodies with which almost
everyoneis familiar.
2. Everything of a forced, farfetched, and difficult nature must be
avoided.
3. One must follow nature for the most part, practice to some
degree.
One should avoid greatartifice, or hide it well.
OME
In this the French are more to be imitated than theItalians.

Melody must have certain limits which everyone canattain.
Brevity is preferred to prolixity.
=[
One prefers the French taste as regards the facile, because it
requires a cheerful, lively spirit, which is a friend of decorouspleasantry,
and an enemyofall of that which reeks of trouble and toil. There are
even clever Italians, like Marcello and his kind, though there cannot be
very many of them whohold inappropriate difficulties in contempt.
~50—
Much is said of clarity, and it also requires more rules than the
other characteristics. We wantto cite only ten as examples.
1. The caesuras and divisions should be observed precisely: not
just in vocal but also in instrumental pieces.
2. One must always aim at one specific passion.
3. A meter must not be altered without reason, without need,
nor without intermission.
4, The number ofbeats should be proportionate.
No cadence should appear contrary to the usual division of
wn
the beat.
6. Theaccentofthe words should beclosely observed.
One mustvery carefully avoid embellishment] See p. 324.]
o.98 1
One must aim at a noble simplicity in expression.
One must precisely examine and differentiate the writing
style.
10. One must not base the aim on words, but on their sense and
meaning: notlook to sparkling notes, but to expressive sounds.
-5I-
The recognition of the compass of each key is indispensible to the
flowing quality. What this word compass means here is shown in the
OrchestreThe cadences, pauses, and caesuras, which are not incorrectly
called clauses, are very importantin this. For if a melody mustlose its
flowing character because of frequent stops, then it is easy to see that
one has reason not to use such interruptions frequently. Eight rules
serve for this:
oe One should pay careful attention to the uniformity of the
meters or rhythms.
2. Also, preserve precisely the geometrical proportion of certain
similar phrases, namely the numerum musicum, i.e., the
measurement of melody by numbers.
The fewer formal cadences which a melody has, the more flow-
ing it most certainly is,
Cadences must beselected and the voices for these managed
well before one proceedsto the pauses.
In the course of melody, the little intervening resting places
musthave a certain connection with that which follows.
The overly staccato style is to be avoided in singing; unless a
special circumstance requiresit.
Do not take the passages through many sharp jolts, through
little chromatic steps.
A theme must not impede or interrupt the melody in its natural
course.
5D
Now as far as charm® is concerned, one could cometo its aid with
these eight rules:
1 In this case, steps and small intervals are preferred to large
leaps.
2. Oneshould cleverly vary such small steps.
3. Collect all sorts of unsingable phrases, in order to avoid them.
4. On the other hand, select and amass ones which sound good as
models.
Chapter Five 313
Observe well the relationship of all parts, members and limbs:
2S ou
Employ good repetitions, yet not too often.
Begin with sounds which are pure, related to the key.
Employ reasonable runs or colorful figures.
—-J53—
Now whoeverreflects on it at all can easily perceive that these rules

could be greatly supplemented, if one were to want to increase their
numberfrom 33. They are already too many for me, and I have wanted
to undertake the very first endeavor on this, and also have broken the ice |
with this in the firm trust that he who has mastered the cited
fundamentals on melody will derive more useful consequences therefrom
with time, and if he takes the aid of experience to a reasonable measure
he could continuously refine the thing towardits artistic perfection.
A multitude of rules makes a discipline difficult; a few good ones

make it easy and pleasant. A total absence of rules threatens failure.
And since likewise things are not by far settled if only the very brief
Tules are known, butit will be highly helpful to their implementation to
provide an explanation on them; hence I will go through them in
succession and explain them asbriefly as possible.
-55—
Regarding this, the assumption is: That there must be a certain

something in a good melody, an J know not what, which so to speak the
whole world knows: which does not at all imply that one might quite
artfully use many worn-out things and spent little formulae; notat all.
We mean rather that one would not go too far with his newfangled |
inventions, would not become an eccentric, and besides would not just
make his melody strange, but also heavy and unpleasant.
-56—-
The ear always desires something whichis familiar to some degree,

however trifling; otherwise nothing can appear facile to it, much less
pleasing. Meanwhile, the more seldom one follows the same familiar
paths, and the more one knows how to mix them with otherdifferent yet
appropriate things, the better the work will succeed.
-§7—
The second rule on the facile arises from thefirst: For, on the one
hand, one must not completely discard everything familiar; on the other
hand, everything of a forced, pretentious, and too-farfetched nature must

be diligently avoided. Whatis said here one can better see and hear from
the works of mannered composers than describe with words. The
examples of this are very detestable; besides many could be produced.
5h
Frequently when the good people are lacking in fine inventions and
in intelligence, yet do not want to copy or steal blatantly from other
composers, they tend to becomepure eccentrics and take their refuge in
nothing but stubborn caprices: so that they strive to replace the loss of
natural fertility with wondrouscuriosities. As clumsy as this may be to
composers, it is equally unpleasant to auditors: excepting some few
dandies who wantto appearas if they understood something aboutit.
—59-
The third rule, that one should follow nature for the most part, and
accepted pratice only to a certain degree, likewise flows from the stated
principles, and is closely related with them. The natural babbling of one
inexperienced in the science will yield the best melody, and indeed the
more so because it is remote from all artificial constraints and is only
somewhatrelated to practice; though such a person must have heard
much that was good in his day and must possess an innate talent.
—60—
Nothing can be morefacile and more comfortable than that which
nature itself makes available, and nothing will be ponderous which
practice and custom call good. Hence the composer must occasionally,
when constructing his melodies, if they are to be facile, act as a mere
dilettante, and with the latter imitate the natural quality which he seeks
in vain in greatart.
-61 —_
Fourth, if we reject artifice, then true art should not be confused

with it; however, to produce the latter skillfully and to mask or drape it
modestly, that is precisely the very difficult point. My advice would be
that the most accomplished composer would rely just as little on the
embellishment as the practiced fencer on hisfeints.
aul
Since the fifth rule brings us to the French, and advises us to follow
these more than the Italians in the facile in melody: thus one can do no
better than take in hand the work of Lully and some composers famous
Chapter Five 3b
shortly after him: for some of the more recent French imitate theItalian:
to too great an extent, and aspire to be Great Artists in spite of thei)
inclination to naturalness; but they damage thereby the facility which i:
incontestably inherent and innate to them, so that they make the thing
unnecessarily difficult for others as well as for themselves. Their owr
countryman, the anonymousauthorof /’Histoire de la Musique, has tolc
them as muchin his last two tomes, which are not by Bonnet.
—~63—
Theskilled but also anonymous authorof an already cited book*
writes on this thusly: “If we find Italian music to be a rival, then we
must not forthwith banish it to misery; but also must not quote it
foolishly, but avoid all of the most superficial and enrich ourselves with |
its beauty. For although we French occasionally adopt Italian teachings |
on the high art, the Italians on the other hand, as regards grace and
charm,are also frequently inclined to consult the harmonyofourland in
order to be so muchcloser to charming Nature: which is always simple,
always sincere, and finds no beauty where constraint reigns, no
tenderness where artifice plays the master.”
—64—
Overly prententious and constrained art (I cannot say too much on

this) is unpleasantartificiality, and deprives nature of its noble simplicity.
If nature seems to produce many deformed things, then this alleged
ugliness relates only to the superficial appearance; not the inner essence. |
Nature never lacks beauty, naked beauty, only sometimes it buries it
under a discreet disguise or a theatrical mask. Our gem cutters can
polish the diamond; but they cannot give it any other luster or purity |
than that which nature has already given it. The art being employed
thus does not give nature any beauty, also it does not increase it by even
a hair; but through its efforts, merely places it in its true light: which
must certainly be more darkened than brightened, where a despotic art
gives the orders.
-65—
Thefacile is aided a great deal if one, following the sixth rule, sets
certain limits to his melody which every normal voice can reach
comfortably. For, if a song goes either too high or too low, then this
makes it difficult for people, and it must be transposed sometimes one
way, sometimes the other, which causes nothing but inconvenience.
Those whoare good singers will at least find nodifficulty in reaching an
octave; yet I do not know whatspecial advantage is to be found if one
makes these bounds even narrower, perhapsat a seventh orsixth: for the
more a composer insists on this, the more he accustoms himself to
modulations which are simply stuck together, detached and disjointed.
Then one proceeds aimlessly, with a presumed freedom, and produces
nothing which enters pleasantly or concinne into the mind.
—66—
I am not here speaking ofthose skilled composers who are masters

of melody, who have performers at hand capable of performing their
melodies, and who know howto use liberties at the proper place, one
cannot set such precise limits for them; however, I would advise that a
beginning composer of melody chooseas a limit the compassof the sixth
or octave; but in such a way that even the peasant would notnotice it.
Certainly, it will help a great deal to make his melodies facile and
suitable. For what special benefit is it to meif that this or that person is
skilled in performing an aria which for example encompasses over two
octaves? I might want to sing along, though only mentally, for therein
consists the greatest pleasure; yet I am notallowed to do it: the piece is
too wide-ranging for me.
-67—
Thelast rule of this classification is not the least, namely: that one
should prefer brevity to prolixity. This needs even less explanation, the
more we can understand that a concise and not too widespread melodyis
easier to retain than a long and extended one.
-68—
Nevertheless, this does not mean that composing a short aria would
be a facile task: for with brevity we also include quality. Facility here
concerns only the hearer, not the composer: though to the former a thing
will seldom seem facile which has been quite difficult to the latter, in a
certain toilsome or laborious sense.
-69—
I say: seem. Forthere are certain composers whose work,toil, and

improving actually only serve that they eliminate everything which does
not show uncommon facileness, or has the appearance of such: and the
more they examine and review their works with a view toward such, the
more often they bring naturalness and facility into play in them.
However, these geniuses are seldom encountered, and they may quite
properly use the Italian saying regarding their works: Questo facile
quanto é difficile! How very difficult this apparently facile thing is! We
Chapter Five 317
must do it cleverly as if it were only play; although often we secretly

break out in a sweat therewith, which moreover no one must perceive;
otherwise he sweats in empathy, like that Sybarite who encountered a
bungler in hard and unnecessary work.
-70-—
“Consequently, I do not mean facility of composing, which can

often be felicitous but must always be suspect. I simply mean thefacile
quality which a hearer finds in works which are already composed, and
have been as difficult to the composer as anything in the world. One
might compare them with thoseartificial gardens which are composed of
sod and grass, the cost of which one does not perceive but considers as
something accidental and as a mere work ofnature; although they have
cost millions,"®
-7/—
I have recently read an opinion of a master which reads thus: That

which I have been able to accomplish through diligence and practice,
another who has only half the natural ability and skill must also be able
to do. At that I thought, if that were true then how could such a master
be the only one in the world and there be no other like him? Pieces
which are difficult to play can indeed bejustified in another way;® yet
because most in fact who do not lack the will are actually completely
lacking in the esteemed natural abilities and skills, thus hard work is
useful to very few of these. That is incontestably true and is confirmed
by adverse experience.
—72~—
The second main characteristic of a well-composed melody is

clarity: here the first rule is, that one should observe precisely the
caesuras in the text, which few words say a great deal. It is almost
unbelievable how even the greatest masters often violate this: inasmuch
as they commonly use all of their powers bringing the hearing to
Tebellion with noisy and thundering figures; so that the mind is not
pleased at all, even less so can the heart be moved.
—73-—
The most amazing thing is that everyone is of the opinion that no

such remarks would be needed for instrumental music; however,it shall
be shown brightly and clearly below that all, long as well as short,
instrumental melodies must have their proper Commata, Cola, periods,
etc., no differently, but in the very same wayas the song with the human
voice: because otherwise it is impossible to find clarity therein.
wlPfianw
One also never really attains such clarity if the following guiding
principle is not observed, through which we must set as our primary goal
one affection (where not more than one) with each melody.
7m
Just as a clever painter always provides only the one or the other of
his figures (where there are many of them) with especially prominent
colors, so that it would stand out among the other images; thus the
composer must also set his sights perpetually and primarily toward one or
another passion in his melodic phrases, and so arrange or express it that
it would have far more significance than all the other secondary details.
-76—
We might consider, with regard to painting, that the purpose of a

skilled artist would perhaps not merely be to paint a couple of black or
blue eyes, a prominent nose, and a little red mouth; but he always
endeavors to present in such features one or another inner emotion, and
employs all his best ideas so that the spectator may say, for example:
there is something of love in his eyes; something generous in his nose,
and something malicious in his mouth.
-J7—
A composer of melodies must be just aslittle satisfied to paint only

fine colorful notes, to display diligently his intervals and other apparatus,
and to ornamenteverything with the most splendid epithets; but he must
really endeavor to have an extraordinary affection reign in his
composition. If he does not possess the latter himself or does not know
how to imitate it naturally, how is it possible that he could stimulate it in
others?
-78— °
However, if nothing like this is expressed in a melody, then it has
little or almost nothing of clarity, and the most attentive listener cannot
make anything of it but idle singing and playing. Now this rule only
prescribes the essential need for presenting such a passion, and indicates
why this is so urgent; how one should approach this belongs in another
place.
Chapter Five 319
~79—
Yet it is amazing that pieces which are merely composed for
instruction are particularly praised for earnestness, for the greatest impact
and for the most precise expression of the words, the harmony, art and
concertizing, and that the desire is rather to amplify these theories and
powerful ideas than deal with the affections and passions.
—80—
The greatest expressiveness, the most powerful ideas, and the most
precise performance of the words, i.e., of the meaning that is in the
words, indeed stems from the affections and passions, and withoutthese
they can no more stand than a carriage without wheels: if these are not
present, then it is no more than a sledge or a dray. If one would make
the application from good and long experience, then it will become
evident.
—8]—
What do our teachers do from the rostrum; do they not become

angry, do they not perspire, do they not rejoice; do they not cry; do they
not clap their hands; do they not threaten? Who wants to say that this
would pertain more to mere, cold instructions, than to the vivid
affections? Who can contradict Paul and David in this? If one wants to
enhance strong ideas and theories and wants to make a worthy
contribution to them, then such cannottake place half-heartedly.
—-82—
Earnestness is itself a very important affection, and is a national

characteristic which a Spaniard would not want to do without for all the
good of the world. In short, everything which happens without
praiseworthy affections, is nothing, does nothing, signifies nothing: be it
where, how and when it may. Teaching withoutaffection is of the kind
of which the formersang thus:
Ich lobe mir die guten Lehren,

Undso thut jedes Mutter-Kind,
Daseben so wieich gesinnt:
Sie kénnen trésten und bekehren.
I Praise Good Teaching,

And so does Every Mother's Child,
Whois of the Same Mind asI:
It can Console and Convert.
~33—
The most simple child's game is never without passion, not only
incidentally, but by preference: no infant can be said to be free of it.
Andif for example a teacher does not have an eagerness to instruct his
pupil in something proper; or if the latter feels no joy from learning
something thoroughly: then what good are they both? But are eagerness
and joy not affections, and does not the breathless attention of a learner
show eagerness? Let us go on!
—84—
When the French vary the pulse in almost every line of their
recitatives, very often in their airs also, then they go to lotof trouble
for nothing, and could with less effort imitate the Italians in this, if their
dissimilar speech wouldallow it: in as much as theItalians together with
us do not observe a measured pulse in vocalrecitative at all; except in a
poetic phrase. Moreover it is almost the same to have no meter as to
have a new one every moment.
—85—
Since, however, recitative cannot actually be called melody; while

on the other hand melodic phrases, in so far as they are to be clear,
should avoid too frequent variation of the pulse: it thus becomes
apparent that the soul of melody, namely the meter, simply must be
uniform. And that is the third rule for advancementofclarity. But if
the rhyme-scheme or an unexpected affect requires the alteration of the
pulse, then necessity does not abide by rules; yet, in my opinion, the
poet should notlightly alter his meter in an aria significantly, unless he
simultaneously wants to awaken a different passion in a sudden way (ex
abrupto).
ee
The fourth rule of clarity is based upon the number ofdivisions in
the beat, otherwise called mensuration. Although this relationship cannot
be so easily recognized by everyone in great and long phrases, its
convenient and intelligible construction will give the song not a little
clarity, in spite of the fact that many do not understand whence it
comes; on the other hand such foresight is always necessary in short and
lively melodies (airs de mouvement), because otherwise a lively vocal line
makes no more sense than perhaps having two arms, one with two hands
but the other. with three or more hands.
Chapter Five 321
eh7e
Nowit is in fact not difficult to ascertain to some degree the actual
numeration of this mensuration in certain styles of writing, as for
example in the hyporchematic and the choraic; but in otherstyles this is
so much moredifficult. Where there is much movement, the melos must
display the greatest correctness of division in this regard; but, on the
other hand, when things are slow and sluggish, or even only slow and
serious, one can make more exceptions contrary to the uniformity,
becauseits absence is not so noticeable.
—88—
Usually one does best, even in the greatest Adagio, in choosing the
even numberof pulses rather than the odd. This muchis certain, that a
fast song should never have an uneven numberin the mensuration; and
we could even take as the foundation hereall these airs de mouvement
and consider them as model: for they are, as stated, the mostcorrect and
the clearest among all types of melodies in this regard.
—39—
The observation of the orderly division of every tactus, namely the
so-called caesura, gives us the fifth rule of clarity. Such a division always
occurs on either the downbeat or upbeat when the measureis even,
never on the second andlast quarter. But in the uneven pulse this divi-
sion occurs only on the downbeat: or better said, there is rather no divi-
sion at all because the caesura is merely atthefirst note of the segment.
-—90—
It is as much a failure in composition to construct a cadence or an

otherwise noticeable pause in the voice contrary to this nature of the
meter, as when a Latin poetstresses the endof the poetic foot, and thus
lets the caesura hang: this may be doneonly at the end of a verse.
-9]—
The primary occasion for this frequently-encountered malady is

usually in the composition of melody, when one carelessly mixes
common four-four time with the one which only requires two half notes.
The former manifestly has four different sub-divisions, the latter only
two, which in both types have no more than two divisions, consequently
also allow just this many cadences or pauses in the melody, namely with
each division, not with each sub-division, when one division has more
than two of them: for in such a case it must be done only on the first
and third, where the divisions begin, not however on the second and
fourth, where they end. There is more on this in the first volumeof the
Critica Musica, pp. 32 sq.
=02=
The following example by an otherwise good master shows how
easily one can err here. This also shows simultaneously how easily such
failures might be prevented, and really right at the beginning: for
otherwise they roll always onward, and grow like snowballs,
Incorrect.
te
Correct.
~93~
It is necessary to make one small exception here, namely that the
last part must serve for caesura to a certain extent in some choraic and
melismatic things, even occasionally with uneven meters: if a special
uniformity is sought and is to be continued throughout. However, such
occurs intentionally, and not accidentally or from ignorance of the tule.
For example:
-94—
Just as the accent in pronounciation of the words can make an
oration clear or unclear, according to whether it is employed at the
proper or improperplace; thus also the sound can make the melodyclear
or unclear, according to whetherit is accented correctly or incorrectly:
and that is the sixth rule of clarity.
Chapter Five 323
-95~
A composer must have complete mastery of both types of accent,
oratorical as well as musical, so that in vocal pieces he would not
impinge upon the length and brevity of the syllables, nor in the
instrumental pieces upon the musical prosody. However, the significance
of this, and the usefulness of the clever application of it, can be learned
more thoroughlyat the cited place in the Critica.
—96 —
Here it is also proper to discuss the actual stress or the emphasis:

because the word which is provided with such always requires a certain
|
type of musical accent. Only what matters here is that one should know
how to judge properly just which words are actually to be stressed. And |
here there is no better advice than that one should examineall sorts of
utterances, especially in prose, and should endeavor to find the right
word, perhaps through the following means.
-97-
If I for example would want to know where the word-stress would
be in this sentence: Unser Leben ist eine Wanderschafft; then I would
only need to present the proposition in question and answer form,
namely: Was ist unser Leben? Eine Wanderschafft. Thus this reveals
that the emphasis would rest upon the word Wanderschafft: and if the
composer makes such a word prominent in one or another unconstrained
way with his tones, he will be clear.
—98 —
Since this has broad impact, a few more examples will not offend
anyone. For example: Wer hier auf der Welt in stiller Ruhe zu sitzen |
vermeinet, ist sehr betrogen. Here constructing the question is important, |
which, in my opinion, must read thus: Is not the one mistaken who
thinks of living in peace and quiet in the world? Answer: Very much!
Thus the true stress would fall on the adverbium intendens, and no other
place; in the absence of this adverb, however, the verb, betrogen, would
have to bear the greatest emphasis. It is to be noted here that these very
adverbia are often the most expressive, and thestress often falls on them,
especially when theysignify size, quality, extent, comparison, explanation,
etc,
—~99—
Yet one more: Der Weg zum Himmel ist mit Dornen bewachsen.
Hereit is asked, as it were: What is the path to heaven guarded with?
and answered: With thorns. For, if this single word is taken away no
meaning remainsat all, or the statement does not convey whatit intends:
which is a sign by which one likewise may see the placeof thestress.
-100—
Occasionally the place seems to be ambiguous, so that the emphasis
can sometimes pertain to more than one word, according to the propriety
of the meaning. For example: Mein Engel, bist du da? Here either the
person or the place is subject to inquiry, and thusin the first sense the
stress is placed on du but in the second upon da. The context must be
the determining factor. Everyone can practice this further and sharpen
his mind.
-101-
The seventh rule of clarity teaches us, to use all embellishments and
figures with great discretion. Daily experience shows us what kind of
terrible patchworks are pasted together from neglecting this
commandment of melodic beauty, One anonymous person recently
wrote the following on this: "The arias are so varied and intricate that
one becomes impatient before the end comes. The composeris satisfied
if he writes only nonsensical notes, which the singers, through thousands
of contortions, make even more absurd. They laugh during the saddest
performance, and their Italian excesses always appear at the wrongplace.
The arias, which the excellent T. has composed, are much too orderly:
their passages are always augmented with ravings which are suited for
droll throats, but not fit for the intellect.”
—102—
Such embellishment, whether produced by a composer lacking in
taste or an arrogant vocalist, reminds me of nothing other than a far too
opulent livery for pages or trumpeters, where all is completely covered
with gold and silver lacing to such an extent that one can perceive
neither the cloth nor its color. This comparisonis still too kind. Since
however there really should not be such excess in ornaments, an intelli-
gent composer finds so much the more reason to shun them, the easier a
bad style or mode can develop from the corrupted taste with many.
-103-—
These are precisely the pernicious pomposities about which
Quinctilianus” knew how to sing a little song even in his time, since he
explicitly asserted that he could not at all approve of what was
undertaken with music on the stage at that time, namely where
Chapter Five 325
everywhere the effeminate and obscene style of singing contributed nota

little to thoroughly suppressing and stifling that of the masculine or
virtuous which was perhapsstill present in some minds.
—104—
Now we come to sensible simplicity, with which the eighth rule of
clarity deals: which however must not be understood as something
stupid, absurd, or vulgar; but rather as something noble, unembellishec
and quite singular. Simplicity constitutes the most important point in
writing and reading as well as in singing and playing, indeed in the
whole of human affairs: and if ever innate characteristics were to occur.
this certainly would betherightplace. |
-105—
This much is beyond dispute, that men, some more than others,
also excel in this matter according to how the physique and the orderly
or disorderly mixing of the humors are fit or unfit for sensation. Noble
thoughts always have a certain simplicity, something of the unaffected
and only a single aim. Whoever presents such without any constraint
according to the simple laws ofnature, will best succeed.
-106—
If one wants models and prototypes, then one need only conside1
ancient painting, sculpture and engraving. What strong features, majestic
faces, and expressive postures does one not encounter there? yet hardly
|
the slightest excessive embellishment is to be found, but rather the mos’
beautiful simplicity and the most pleasant plainness is prominent
However this plainness is not wretched, but noble and discreet; noi
unpleasant, but delightful: becauseit is in its true light. This thusis alsc
just the way our melodies should be formed. |
-107-
Now we have two rules on clarity left to explain: the ninth, whick
requires differentiating the styles of writing from one another well. This
says in a few words that one should not mix together vocal anc
instrumental styles in the church, on the stage and in the chamber:
should not place a prayer where a sermon should be; should not require
the voice to do things which are appropriate for violins; should not se:
military pieces for lutes, and many more such things on which more ha:
already been said above.
~108—
The tenth rule of clarity is quite accidentally the last here; but in
content almost the most important. For if we, according to it, want to
set our main objective not on the words; but on the meaning and on the
thoughts contained therein, then it is appropriate here to have no small
impression of the affect which resides in such words, which matter will
have to be dealt with in detail in anotherplace.
-109—
Moreover, this rule has two branches, one concerns the human
voice, the other concerns instruments, and emphatically commends to us
more clarity and expressive sounds, not variegated masses ofnotes. For,
the fact that not a single melody should be without meaning, without
aim, or without affection, even though without words, is established by
this, and through the laws of nature. So much for the second
classification in the explanation of our melodic groundrules.
-110-
The third characteristic of a good melody was then that it must be
flowing. For this it helps first, that one constantly observe rhythmic
conformity and the proper variation of the arithmetic relationship of
certain rhythms. This is not to say that one must retain one sort of
rhythmum, as this would cause an impropriety and disgust; rather one
must necessarily alternate various rhythms with one another, just as such
occurs in Latin poety, in its way. However these same rhythmi must
appear in the melody just the same at one place as at another, so that
they as it were answer one another and make the melody flowing.
-I1-
The ordering which is observed in such a presentation and
alternation of the rhythmsis called a geometric relationship: for, just as
in the arithmetic ratio, wherein the melody moves along, considered in
and for itself; the geometric relationship shows how they are united and
how their divisions must be properly indicated. For example:
a b € d
a, is a certain rhythm of three notes which vary in content. }, is however

of just the same numberbut of uniform value: Then in each of these is a
Chapter Five 327
special arithmetic quality; c and d on the other hand, both taken

together, exhibit the orderly alternation of the preceding rhythms, and
make from them oneentire geometric phrase.
-112-
No one should be ashamed oftaking prosody in hand with this
regard and making an index ofall meters in poetry in order to compare
such with the melodic ones: among which there are after all many which
are strangers to poetry, because music surpasses it herein in its riches,
and also everything which the former has, comesoriginally from the
latter. This matter actually belongs to rhythmopoeia, which requires
special application if one wants to practice it artistically. We will examine
it in the following chapter.
—113-
The third rule as well as the fourth for the furtherance of the
flowing character in the melody concerns the cadencesor closes: For asit
is of course certain that many closes and pauses obstruct the course of
the song; thusit is easy to see that a properly flowing melos would have
to have very, very few full cadences.
-114-—
It is true that occasionally themes appear which frequently cadence
and expressly have a good purpose in this: also that our chorales, some
of which have very beautiful melodies though they often scarcely extend
to the limits of the fifth (like the German Gloria), consist in almost
nothing but cadences: however here the discussion is not on this, namely
on the nature of style in fugues and odes; but on the paucity which
reveals itself when one does not know how to produce anything but
cadences. They must be avoided or hidden even in fugues.
-115-
The worst here is when contrary to the fourth rule such cadences
are very badly chosen and the song proceeds to an untimely repose
before it even completes the shortest phrase or can have somereason for
fatigue. It is good, pleasing, and beautiful, if at the very beginning a full
cadence on thetonic is heard. E.g.
For in this way the hearer forthwith receives information on the entire
key, and on the way in which the composer plans to proceed; if he has
first gained such a secure foothold: that is nice. However the untimely
cadence-makers do not have such an intention atall; in minor keys they
immediately cadence on the third, and with the major keys cadence on
the fifth: since these are easiest for them to do. This is the end ofit,
afterwards they simply no longer know whatto do.
-116—
One can also add to this explanation the gain which a melody
obtains in its flowing quality when right at the beginning the arpeggiated
triad is heard in a clever way: for from this the listener obtains still
greater capability for judging where his hearing will be led. Everyone
likes having advance knowledge and judgment: for this reason such a
passage is pleasing.
—117—
Connecting or skillful joining in melody helps a flowing quality a
great deal: fifth, one therefore has to take care, especially at certain
pauses or cadences, so as not to blurt out something, but to combine and
join everything together without a long pause, by means of appropriate
approaches and progressions, as occurs in a good speech pertransitiones.
The French carry this almost too far in their music, and thereby make
their phrases very monotonous. Thus moderation must also be main-
tained in this: for what is all-too-flowing becomes slippery and easily
slips away.
-118-
Also if an overly staccato quality, especially in vocal pieces, can
possess little or nothing flowing within itself, here the sixth rule
commendsus to avoid such. One mustnot be so punctilious in preludes
and fantasies, where a regularly-flowing melody is not required; nor,
generally, in the whole of instrumental music; indeed in entrées and
similar elevated dances, and occasionally in overtures, it will be explicitly
essential to produce much that is detached: this sounds very fresh and
lively, expresses quite well various, gay affections, as well as some violent
ones; but it is never flowing.
-119-
The perpetual drawing and dragging through the half tones and
dissonances, with which so manyare truly enamoured, hasits time and
place, as the circumstances permit or require it; but whoever wants to
Chapter Five 329
compose something flowing, must not seek such crooked, chromatic

paths. But where such is not the intent, everyone has a free hand. I do
not want to restrain anyone.
-120-
Now as a good, unforced interface, whereby one does not act too
timidly, makes a phrase very flowing with that which follows; a great
obstacle to this quality results when oneinterrupts the natural course of
the song with inept pauses, for the sake of one or another theme, and
retards the progress of the melody: for this indeed cannot possibly be
flowing.
—121-
Here however, we understand the theme to be a primary or
secondary voice; not a subject in a fugal piece: that is to say, if perhaps
the bass or the violins would not be so prominent in an aria so that the
most important or vocal part would have to suffer and be overshadowed
merely in order that the former might also seize the theme (beit created
as it may); such runsagainstall reason, and yet occurs daily.
-122-
The classification of charm is more important than the three
preceding; although they by contrast are more necessary. In so far as the
eight rules on this require little explanation, the first has as its aim that
one must employ more degrees or steps and generally more small
intervals than large leaps, if it is to sound charming.
—123-
Whoever has the desire to seek out and organize examples on this
can place these as locos communes under certain general and specific
titles, from which no small gain is anticipated. We want to make a short
sketch and indicate thus how the diligent researcher might have to
proceedin this:
First General Title, on the Ascending Halfstep,

Provided with Select Examples:
gesrarsne
ghe e o i
po
et
ce
er
ii
ot
pp
el
re
te
. . .
e tee
Son laffa, fi, fon laffa &c.
Berfliffe meinen Sdmerg xe.
Second GeneralTitle, on the Descending Half

Step, with Choice Examples:
pepe het aU. j d. g.

ORge retren
b, 4
wa ee, pet = 4
toadea f- fe teS
Ach! ende meine Quajen rc. Torna o Sol, tornaa me, torna torna &c.
To these two are to be added: Two specialtitles on the minorhalf tones,

ascending as well as descending. E.g.:
4 Cott
Here, Hore mic), mein Ponig und mein Gott, vernimm mein Sdhreien.
Third GeneralTitle, wherein Select Examples on the

Ascending Minor Third are Contained.
gucteretirrettrerretrere |!
b 4» _— eee, eg Ss wal .. on ~ od
Cepia koeteeC peck =

Poffo ben con quefto cor trovar alra bela - et
aby beg 5
— ms re é -eF= ud. g.
-b- =]
bt
meno incoftante.
Fourth General Title, on the Descending Third,

andso on, to the Fourth.
-124-
Now if we observe the above rules and for the advancement of
charm of a melody proceed more through steps than leaps then the
following basic principle requires: that one would cleverly vary such steps
and small intervals, this means, that one should not use only steps, only
thirds, much less only fourths, nor use the sametype in strict sequence;
but instead divert the hearing with frequent variation, so that the song
will become most charming.
-125—
For example, three or four half tones in succession, especially the
minor ones, will be too many if otherwise there is no ulterior motive.
Five to six steps, especially diatonic ones, are also somewhat unpleasant;
unless the words or circumstances, or as stated, a special intent, a theme,
Chapter Five 331
a passage, and thelike, explicitly would require more. Here we only

speak of the charm of a melody in general; not of special cases, where
every rule has its exception.
-126-—
One can have two to three thirds in sequence and no more of one
type without destroying the charm: but one can seldom have more than
two fourths, if they are stressed. The downbeat and upbeat of the mea-
sure create some hesitation here; yet this is not of the importance to
weaken or cancel the rule in and for itself. Whoever will go to the
trouble to examine music thoughtfully in this regard will find the truth.
Eg.
These 3 fourths would not sound charming:
These two do sound well, however:
=127—
Herewith we are subtly led to the third rule of charm, by virtue of
which one should diligently seek out unmelodic or unsingable examples,
bringing these into certain chapters; observing their bad sound, wherein
it consists; discovering the causes ofthis, and carefully avoiding the like.
—128—
One indeed need not search far for such things, becausetheevil is
usually encountered more frequently than the good; however, with those
who: make a trade of counterpoint one more often encounters a more
curious accumulation of crude and unpleasant passages: this becomes
rather clear from their failures.
-129-
If for example someone wereto write the following:
4
re
anyone who had any concept of charming melody would have to readily
acknowledge that such an ascending minorthird, b to d, followed by an
ascending, accented half tone could not sound natural, much less
pleasant.
-130-
Now if someone might say: I hear this; but I do not know why: it
is useful to tell them that the two extremities, b to e flat, constitute a
harsh dissonance, namely, a diminished fourth; that they both are
accented, and sound even worse with the intervening d than otherwise,
due to the clumsy separation. This is the reason.
-I3l-
For if the intervening note, d, were omitted, and if the b were
a half a beat, one would not perceive the dissonance nearly as strongly,
since the b would then receive a pause or rest, and could therefore be the
more easily forgotten. Also, the combination of said ascending
diminished fourth would not have so bad an effect if it were to appear in
shorter notes of equal value; if only both ends had no musical accent;
but one of them were on the fourth part of the measure. E.g.
Yet here the execution would also require for camouflage a certain
ornament, the Schleufer, which we have indicated with dots; one would
not need this if the diminished fourth were descending instead of
ascending.
-132-
Underthe article on skilled alternation with intervals, the following
unmelodic example could join the rank of bad ones:
Chapter Five 333
Here however the cause is not in dissonance: but in the untimely empty
leap of the majorthird, b flat to d, which does notrelate with either the
preceding nor with the following, and is thus not at all appropriate for
variety.
—133-
That is to say, the intervals possess a curious arrangement: two
ascending steps; an ascending major third and an ascending half tone.
Many might think that the fact that all four of these intervals ascend is
indeed rather consistent and good; however, we respond: that the
ascending is achieved in such dissimilar intervals that the pretended
uniformity disappears completely, and an obstacle is created to charming
variety. If only the third were filled in, it would be tolerable; but it
would be still better if the descending third were employed instead of the
ascending one; thus:
-134-
From such precise examination of badly constructed passages many
curious rules invariable are-developed: of which we now want to give
only a small example: According to the above instructionit is certain:
1. That an ascending half tone, followed by an ascending major
third with then an ascending half tone, would not make a good
melody.
2. That two ascending fourths, much less three of them, can
scarcely sound good if they are stressed; for then a poorly-
mediated seventh occurs in the melody.
3. That the third and the second, if they come after one another
thus:
are very weak and unmelodic. It is quite doubtful whether

even accents can much improve the one part, or the dots the
other. The reason is that our ears, after the descending third
and the ascending second, would prefer to hear a larger interval
downwards, and not a smaller one, since the former would
expandthespirits, which are constricted by the second. Eg.
= ps4 ——
Ene iraweEe
-135-
These very natural reasons also apply in the example cited in
paragraph 129: namely that widening is agreeable when a narrowness
precedes. Thus:
or
pele
—b- 3 Lg Pj
If this is reversed, then it causes the opposite effect; i.e., all constriction
depresses even more when an expansion has preceded, Consequently, it
is better if one shuns such passages; except in an uneven meter, with a
special addition which would generate a connection or nice embellish-
ment. E.g.
Sara
I]
Ee
ChapterFive 335
or
{LAL
where the unmelodic example given in the 134th paragraph acquires a
completely different form through the accent, likewise through the
downbeat and upbeat, just as through the modification of the notes and
ornaments. However, with all similar passages, that which precedes and
follows is very important.
oe [36 —
We want to add another pair of observations or rules on
uncharming passages, namely:
4. Two seconds in sequence with a vacant space between will not
produce anything charming, neither after nor before, in this
way:
PoP
for, after the step, g-f is heard, one would like to hear a
continuation of this descending diatonic type of movement;
or perceive an expansion upwards; however a gap follows here, |
the melody is broken and becomes unsingable. There is nothing —
to help here except thefilling of the fissure.
5. A descending fourth followed by an ascending major third is
much more disagreeable: the causes are bad dividing and the
accent, together with the similar value of these three notes: as is
to be seen from their better dividing, proper accent, and
differing lengths:
gaara.
tape
(unnatural.) (quite natural.)

-137-
Now just as one must diligently endeavor to avoid the bad Passages,
and to investigate their causes; one also has on the other hand to observe
the ones which sound good as models, which is the fourth rule whereby
one can bring about charm to his melody.
—138—
Bononcini, the younger, is an excellent composer; Telemann,
likewise: and I would want especially to recommend these two to an
eager student, without offending anyone,to select their most charming
passages from their world-known works, and to make certain observations
thereupon after thorough examination. We find for example this fine
phrase in cantatas of the first-named:
-139-
One could therefrom perhaps obtain the following rule: A dactyl in
the minor third descending; a fifth leaping upwards and downwards again
produces a beautiful effect, especially when, as here, the tonic is heard
three times; the third and the fifth once each, and the lower ornamental
sound of the half tone also once: so then one has a perfect grasp of the
whole key.
—-140-
Now if this phrase then appears once again, by means of a
reiteration, a third above the tonic, then its charm is doubled, and indeed
from the above natural cause, by dint of which widening is agreeable if a
narrowness precedes it. Above the third was minor; hereit is major.
—14]-
Here, besides other things, there could be a new, special rule on
charming progression in song, which would state that after three and
moreleaps ofthe fifth much stepwise motion may be appropriate, from a
desire for variation: such as in the following.
Chapter Five 337
-142-
In Telemann’s works one encounters a marvelous supply of such
beautiful passages, from which we merely want to place here asillustra-
tion the very beginning of an aria. Its words express heavenly splendor
very majestically and musically, since in a very few notes notonly a full
concept of the key is to be perceived, but, in addition to pleasant charm,
muchofthe stately:
—
Welche Pract, Beglftes Auge x.
—143—-
One sees here how well the steps and leaps alternate with one
another, how the descending, ascending, and going is very cleverly
intermixed. At an earlier time I could nottire of singing certain pieces
by this important composer: in particular, he has composed the chorale:
Ach! GOtt vom Himmel sieh darein, with a thorough bass so melodically
rich for the organ that nothing surpasses it. One finds this chorale in
Telemann’s engraved little works, and I might well say, without dwelling
on this, that an organist who does not knowofit is missing a great joy.
—144—
The fifth rule of charm consists in the precise observation of the
proper relationship of all parts of a melody with one another. Our
previous concern only related to the relationship of the intervals, which
one must distinguish well from this last, where the parts themselves are
compared.
-145—
This rule not only refers, for example, to the fact that the second
main part of an aria would so to speak be related to or on good terms
with the first; but also to the fact that the smaller subdivisions would
exhibit their required uniformity. Whereas most galant composers now
do this in such a manner that one would often think that one part of
their melody would belong in Japan, the other in Morocco.
—146—-
One in -fact must not be so precise that he would take up the
compass and the ruler; however, great dissimilarity and the adverse
relationship in the sections are just as detrimental to charm, indeed
occasionally to the requisite clarity itself, as a large head and short legs
to the beauty of the body. If for example the first part of the melody
Then it would have to sound nice if in the second part perhaps the
following would answer, which would sustain good comprehensibility and
thus would sustain the relationship of the two parts:
—147—
The sixth rule of charm requires that one would employ pleasant
repetitions and imitations, yet not too frequently. True repetitions occur
more frequently in the beginning of a melody than in its continuation:
for there they often follow one another literally, and also without
transposition; here however there is always something intervening.
—148-
Wehave already spoken above on reiteration, the way in which it
contributes a great deal to the aptrelationship of the parts, and thus we
know what would be meant by this. When we cometo fugues the
matter will be explained even more. Here one should observe only the
distinction that simple repetition uses the same pitches; but reiteration
and imitation are used sometimes higher, sometimes lower. Onthefirst,
this little morsel can serve as a model, and in fact, because of the last
descending note, it can serve as quite a good one:
Chapter Five 339
Occhi vezzofi, io non wii pento,
It would not be as nice if the voice at the word penfo continued the
precise repetition and left out the descent. So much can often depend
upon a single note, which is well worth noting.
-149—
Not only does it sound charming in the last main part of a melody.
if we compare it with the first, to employ reiteration aptly; but it alsc |
sounds very nice in the subdivisions and articulations of each part, il
doneintelligently and discreetly.
-150-
In the preceding the relationship of whole parts of a melody wat
taught; in this paragraph on the other hand and in the following we
investigate in particular a couple of expedients and circumstances whict
contribute a great deal to this. Forit is first to be observed that the "
repetitions at the beginning of an aria are not undertaken from dearth o:
paucity, but for charm and grace: which are even the more noticeable i
perhaps, as above, one or another note is altered, incidentally as it were
and yet with good forethought. Anyone could write something new fo
the words: io non mi pento: however, it would not be nearly as pleasin; |
to the ears as repetition.
-151-
Next, it also sounds very beautiful if repetitions are well mixed witl
reiterations, in the beginning as well as in the continuation of th:
melody: and I want to present the following excerpt as a model for that
The beginningis thus:
Buononcini.
Po im re fee
Piu vaga e vezzofetta

Then the composer continues with the melody, and closes on the
fifth; pauses a couple of beats; then undertakes the repetition of the
beginning; afterwards he producesall the words and proceeds to the end
of the first part. In the second, he commences with the reiteration and
uses it in two ways; first at the sixth and then at the third, which all
sounds very charming: especially since the words also thyme, for a
reiteration never soundsbetter than in such places, vezzosetta, simplicetta.
ie
bb, eG
nonvedi, o femplicetra
and further on:
-152—
No one whoenjoys studying will be lacking in all sorts of pieces
and choice examples, in the present-day wealth of music in the world;
however the greatest problem really is that not everyone knows what he
should seek and study in such pieces which actually would be of service
to his purpose. Now this instruction gives some guidance in this, without
it being essential to accumulate further examples.
-153-—
Many ancient and recent composers might secretly thank me for
not publicly revealing as manyof their treasures as I could easily have
done above while mentioning unmelodic phrases; but I will have neither
cause nor desire to speak with such abstinence of the golden vessels as
has occurred before, when I haveoccasion.
-154-
The seventh rule of charm requires that every beginning of a good
melody would be made with such sounds which either present the key
itself or are very closely related toit. Again we need notsearch far for
Chapter Five 34]
examples; but need only observe the immediately preceding, in which

the full chord of the key can be heard rightin the first four notes, and
with oneleft over.
-155—
This occurs in the indicated place in nothing but leaps, and does
not sound as proper as when it is accomplished in steps; yet, on account
of the material, such cannot always be done, and one must not only
excuse much to love of ornamentation but mustalso distinguish whether
the meaning of the words would be fresh and lively, or passive and
quiet. The following gives us an example of this last, where the
significance of suffering in patience is expressed very naturally, through
nothing but steps and very small intervals; nonetheless the key is
therewith adequately revealed.
Adagio.
b rx o~
Soffro in pace
~156—
Nowadays, the effervescent, playful, and exuberant character often
meets with the greatest approval in melodic composition, and also mine,
so much so, I would not lightly advise anyone to swim against the
stream. Now whoever simply desires to please the greatest number of
people, and nothing else, must occasionally discard gracefulness and
other essential qualities of song to a certain measure. I know some who
seem to know how to temporize in this regard; yet they always eventually
swing again into the saddle, and conform with the goodtaste.
-157- \
Thelast of our rules on melody will be that for the advancement of
charm one should only use moderate melismas or running figures. Here
we do not inquire into the places or the words for which such ornaments
are well or poorly suited: for that is a most essential part ofintelligibility
or clarity, which has already been discussed. Here we are only dealing
with the form of the melody in observing such embellishments, without
special regard to a different aspect of it, and consequently say that the
melismas, if they are used immoderately or are extended too far, hinder
charm and arouse digust. This example is good:
Reiteration.
peeee
eepe P rears wali
I = bo alia
—158—
There is not really any shortage of adverse and uncharming
passages; still I want to insert one here, which like the former, is by
Buononcini: for great people err also.
peeee
b -p-
atepidnonverra = eee
~ ose + + a te pil non verra.
-159-
T have ‘in the last example intentionally underlaid words which
signify nothing special and which are not worth such flourishes, and I
believe this would be one ofthose instances which have been mentioned
in paragraph 156.
-160—
Moreover, one can note that the reiterations in fugues or church
pieces, if they should be proper, must always answer major keys with
major keys and on the other hand minor with minor, which is optional in
the madrigal and dramatic style of writing, in cantatas, arias, etc., as is to
be seen from the above examples.
-161—
A composer occasionally has to deal with singers, especially female
singers, to whom heeither wants to give as much to do as they can do,
Chapter Five 343
ie., he wants to enable them to excel in every way because they possess
the requisite skill and are his favorites; or he is plagued, worried and
tormented by them until he must fulfill their foolish desires, and not
infrequently having to write down things which he disapproves of
himself, because they are nonsensical; just so that he can keep them in
good humorand can prevent their hacking out something from their own
brains which is ten times worse, throwing his aria at his feet and saying
that it was not composed fortheir throats.
~162—
Hence it indeed happensthat in the works which bear the name of
a great, famous master, one often encounters passaggi or running figures
which have so little charming moderation that they can rightly be called
top-heavy, if not something worse.
-163-
In both cases, one must judge this with discretion, when proof of
the good taste of the composer is otherwise present; but no one needs to
imitate this when similar constraints are not present, which for the most
part are nonetheless present with the Italians. For a Frenchman, because
of the character of his subordinates, to the extent that they are
compatriots, simply will never be constrained by them to such excesses:
because the Italian vocal flexibility and versatility is not bestowed upon
the Gauls by nature. Although among the most recent composers in
France there are some who want to excel in this; however they just
become the moreridiculous, the more they require their nature, which is
otherwise inclined toward charm, to such excesses. Perhaps there will be
occasion below to mention moreon this.
-—164-
Meanwhile the ice is now somewhat broken here, since we have
appended some explanations to our rules on melody; which can in part
serve instrumental music; but most pertain to singing voices, as this is
where the source and root ofall melodic essence is to be found: so that
now it should be an easy matter to carry this discussion further, to even
more precisely differentiate one thing from another, to furnish more
examples, and to add to the invented things.
it de
Matthesen, Rook IL, ad
Chapter Six.
On the Length and Shortness of Sound, or the

Construction of Tone-Feet.
* * *
-j]-
Whata rhythmusis, is taught to us by prosody, or that instruction

in the art of speaking by means of which it is ascertained how one
should properly place the accent, and whether one should utter a long or
a short. The meaning of the word rhythmus however is merely
quantitative, namely, a certain measuring or counting out, there the
syllables, here the sounds, not only with regard to their multiplicity; but
also with regard to their brevity and length.
-~2-
What meters are in poetry, rhythms are in music, for this reason we
will call them tone-feet, since song as it were walks along on them. But
the uniting and other manipulation of these tone-feet is technically called
rhythmopdia, and thatis the thing with which the present chapter deals.
—j=
The power of rhythm in the composition of melody is uncommonly
great, and truly deserves a better analysis than it previously hasrated. In
this regard and in many other noless important matters of the melodic
discipline, composers have obtained nothing more with all their work
than a confused or unclear concept, scientiam confusam, no art form:
just as the plebians use rhetorical idioms without knowing them as such.
—4q—
Somescholars, though very few, have taken the trouble of looking

rather more deeply into the subject of poetry than others, and Gerhard
Johann Voss has written a special little work on the powers of rhythm,
de viribus rhythmi, which can be very useful here.
ot fe
Now before we go further I want to keep my promise given in
another place® and illustrate with examples which are clear, knownto all
Chapter Six 345
and easily understandable how one, by means of nothing but tone-feet

and their variation, without at all altering the flow of melody itself, nor
the tone or pitch, could makeall sorts of dances® from church songs and
moreover turn the former into pure chorales” if it were necessary and
useful. The experiment is new, and we do it for no other purpose than
to demonstrate the uncommon power of rhythmopodia and thereby to
provoke further thought.
A.
Wenn wir in hochsten Nothen,etc.
psseer
page
Pee 4-44
wy a yp
B.
Wieschonleuchtet, etc.
ey apphP heen
—E-cz oe
See —
Gavotte,
Sarabanda.
Hits} BLU
D.
Werde munter mein,etc.
= pep 7 Ee PFE ps
ga ppPPP poe tte
Titel
i PpSomunaPoap PRPPEER J
iii
Chapter Six 347
Bourée.
= Peete
E.
Ichrufzu dir, etc.
Saas
HU IN
{
apa pa S22essscee 55
per
Polonoife 1.
LLB
greeeae
Polonoife 2.
ful lH
EERfe.
ECepaetrfetreadleree
ALidSfavreteeae gt E
F.
pePee rea
Menuet.
=F:
i Pastaaes ade
= xO gt——-
Choral.
Chapter Six 349
G.
Angloife,
Thus we will proceed to the task, place here some meters from
prosody, and see how they can be presented in tones or notes.
Feet of Two Syllables
1) Spondee - - - -
2) Pyrrhic v v
3) Iamb vy - -
fr. tt.
4) Choraeus or Trochee - - v
a Fn
The spondee, which consists of two tones of the same duration, is
properly first among all rhythmis, not just because of its respectable and
serious character; but also because it is easy to grasp. This observation
would give rise to a good invention, if one would want to compose
something devotional, solemn, devout, and yet easy to grasp.
—8—
Spondee therefore derives from the Greek word oov6i, libatio, a
libation, because it was used at an earlier time in sacred music on the
conclusion of solemn covenants and the like: just as also those fifers
whoplayed at the pagan idol-worship” werecalled spondaulae.
—9—
The contemporary Italians occasionally compose whole arias in

which the voice part and the bass consist of and proceed principally in
this: tone-foot; with this however the violins and other accompanying
instruments continually perform all sorts of omaments and figures, in
twelve- or six-eight time.
as ffs
Most of our church hymns have this spondee throughout, and
whoever wants to guide his student properly should have him workfirst
with this before all else.
—]J-
; The pyrrhic consists of two sounds which are equally short.
According to some, it has its name from the Epirotic king Pyrrhus, who
is said to have been a connoisseur or the inventor of it, andis said to
Chapter Six 35]
have introduced certain warlike dances with this meter. Seneca” and
from him La Mothe le Vayer? explicitly place this king among the
eminent dancers; Plutarch however, who wrote a very extensive
biography on him, mentions nothing on this, It may well be that when
naming such fiery leaps one would have considered the speed more than
the person: since they are both from one root, and derive from mvp,
which meansfire and heat.
-—{2—
At least Athenaeus” is of the opinion that the nameofthe pyrthic

foot derives from quick or fiery movement, and says it was.a dancing
style of young armed soldiers’> that was performed quite quickly and
vigorously: for the conditions of war do not permit dallying either in |
fleeing from or in pursuing the enemies. Pyrrhus himself is called a |
redhead because fire has the same color. The French again to this day |
call such a battle tune Jes Combattans, and it never sounds better than
whenthe pyrrhic is prominent. |
-
The iamb gets its name from sarcastic, cutting poems, quasi ab cou
|
Bagewv, jacula loqui, because one tendsto useit in satires: just as one |
often compares sharp words with spears and swords. It consists of a |
short sound followed by a long one, and has the uneven mensuration so
to speak as its special property; though it is also no stranger to even
meters, principally six- and twelve-eight time.
—1/4-—
This iamb is most readily combined in minuets with the trochaic

foot which follows, and frequently occurs there: just as also Polish and
German dances never suffer a lack of it, particularly the so-called
proportions, of which we have given an example above in both the
polonaises in paragraph five. The Germanscall such rhythmic permuta-
tion from an even pulse into an uneven pulse Vortanz and Aufsprung.
However the fact that Brossard says that theItalians call all triple-types
by the general name: Proportioni, requires a good explanation. Now
just as the spondee reigns in the Vortdnzen; the iamb is most used in the
Aufspriingen.
af[5=
If we would wantto be prolix, a thorough illustration of each type
could be presented here, and it would not do any harm; only where
would we finally end with the large book if it went on thus? Yet this
BPP Der vollkommene Capellmeister: Part II
may serve as a small example. Whoever wants to train his students

according to our humble suggestions will sufficiently be shown his way
with this.
Vortanz. Aufsprung.
3 . Z —Fpae raceFY
E oI ee E SEcie——
Spond, Spond. Jamb. Jainb.
~ (6
The iamb must always be used for the Neapolitan orSicilian style
of singing and playing, as one often finds entire arias in which for the
most part it prevails. For example:
del R. Cesare.
¢.
‘&e.
—~ ——- ——
Nonmidite che m’amate, occhi non vi crederd, non crederd &c.
-/7-
The character of the iamb is moderately gay, not hasty or running.

The trueSicilian style is quite tender with a noble simplicity. Onereally
should do the same with true minuets and their composition, as has been
done sensibly by Lully; and one should not chase around with so many
swarming feet and leaping figures as nowadays occurs with many
composers who might never have heard of rhythms.
=~ JR
I must beg for a little space to present here one more small
example on this, for the deliverance of minuets: and thatis to beall.
Menuet.
Jamb. Jamb. Jamb. Troch, Jab,
~19—
The trochee or choraus, about which we have said, and also
illustrated, that it combines well in minuets with the iamb, gets its first
Chapter Six 353
name from running, and the second from dancing and singing” It
expresses, melodically, a little of the sarcastic and brittle in tones, and is
very rarely used a lot or unvaried. The Swedish valley-peasants really
like to dance to it; it is best suited to Spanish Canary gigues, and
likewise to lullabies or cradle songs,” indeed at the same timeit possesses
therewith somethingsatiric yet rather innocent; nothing of the serious
nor mordant.
For peasants.
Troch. Troch. Troch. (mixed)
Forlullabies.
Hie
nothing but Trochaei.
-—20-—
Onesees from this that the first note of the choraic tone-foot is
long, but the second short, and thus it is a reversed iamb. Skilled
composers will probably find occasion now and then to use this rhythm;
especially in uneven meters, also more with instruments for the
accompaniment than with vocal parts. However, in order to make the
nature of such a tone-foot quite apparent, one mustlet it be heard at the
very beginning of a composition: because the pedes intermingle a great
deal in the melodic sequence and become ambiguous so to speak. Now
let us proceed, and observe
aI
Feet of Three Syllables.
5) Dactyl. - vv
aie Qe—
gee
6) Anapaest. vv -- etc,
8) Tribrach. vv v
9) Bacchius. -- v
a DIs
The dactyl, which gets its name from the finger” because its three
parts, one large, the other two small which correspond to some extent
with the joints of the finger, is a very common rhythm: for in musicit is
Chapter Six 355.
suited to serious as well as to light-hearted melodies, according to the

affection.
—23—
We have given two examples of this rhythm for the following

reasons: the first, in which thefirst note is exactly twice as long as each
of the two others, corresponds with the prosodic foot in poetry; in the
second example, however, one sees that music can produce innumerable
melodic feet which do not occur in poesie, since here the length and
shortness of sounds vary as muchin their proportion as 3, 1, 2: whereby
the last or third in the measure, though it seems to be twice as long
according to its external aspect as the second or miiddle one; is
nevertheless just as short in its intrinsic value, because of the upbeat of
the measure. Such a meter would bea little too intricate for poetry.
—24—
Those rhyme schemesof the German poets which onecalls dactylic

do not oblige the composer to use only the dactylic in his melodies: the
tribrach and other melodic feet often are more appropriate in such a
case. This observation is quite generally applicable to all; as we have
already seen above, the words: Non midite, etc., are in the iambic, and
yet the notes are in the trochaic. Thusit is not at all necessary for the
melodic feet to follow the prosodic ones always.
~25~
The anapaest is namedforcertain sarcastic and satirical poems” for
which the Greek verse makers may have made frequent use of it at an
earlier time: it is besides a reversed dactyl of two short notes and a long
one; however, it is more appropriate than the dactyl in merry and
unusual melodies. The anapest is also very useful in serious pieces, yet
more often with the combination of other feet. One can arrange and
give examples of it, without intermixing as well as with mixing. Here
space cannotpossibly permitit.
-—26—-
The molossus, which gets its name from hard toil or from pitched
battle, in which there is no small amount of work, has three long
syllables or sounds, and expresses arduousness or something toilsome
rather well. The majestic pace of this foot can also serve quite well for a
march or procession, especially with drums. The molossus is little used
in other cases, and is least suited for lively pieces or dances; but so much
better for very serious, sad, or melancholy circumstances. In instrumental
concertos this tone-foot is often interpolated for variation between an

allegro and presto, in short movements; but only quite sparingly, in few
measures, Staccato,"i.e., where the strokes of the violin bow must be
well detached from one another, as if rests stood between the notes: to
which end one marks the notes as can be seen above in paragraph 21,
number7.
-27-
Nowaslittle as the molossus is used, conversely the tribrach is used
very much nowadays, whichgets its name from three and short®? because
it consists of three short syllables or sounds.
—28—
This rhythm is most used in gigues and that which is related to

these: although it often occurs also in serious pieces where there are
running figures in a type of notes which one calls triplets. With such
notes, three sixteenths are worth only one eighth, and three eighths only
one quarter, which contraction is indicated by the three which is written
over or under. Here one may then have a sample, first of all with a
gigue® in twelve- or six-eight time; then in a vocal aria, which can have
litle melismas consisting of the mentioned triplets, which all belong
dissimilarly to the tribrach. For example, in one voice:
del Gasparini.
=
Occulta - 2 J J tum inveni - re,
~29—
The bacchius got its name from Baccho,the wine idol, because one
tended for the most part to make use of this rhythm, whichas it were is
rather hobbling or reeling, with offerings to him. It consists of one short
and two long syllables, and has no small use in present-day melody
writing: especially in fugues with different subjects or principal tunes:
as we will see in its place.
—30—-
It would be much too tedious, and require fully a quarter-year of
instruction, if we were to traverse the full length of this matter and
Chapter Six 357
present all of the remaining rhythms not just as above but with a full
explanation and exposition of practice, consequently illustrating through
adequate examples. Meanwhile, that which has been previously cited
gives the reflective person guidance and information enough on how and
which way to proceed with that which follows and how to derive good
advantage therefrom.
—3]—
Wethus wantto allude to the remaining melodic feet very briefly;
nevertheless, leaving out nothing essential, and everyone can see what
kind of extraordinary reserve in inventions and expressions would reside
in all these things, if one knowshowto use them correctly.
—ij=
MoreThree-Syllable Feet.
10) Amphimacer, - v -. Thus named from pitched battles and

fights because it has been used on warlike instruments, andis still apt at
doing such: from app , circum; paxopat, pugno. It has a long, a
short, and then anotherlong syllable.
allegro.
-33-
11) Amphibrachys, v - v.
From api, circum, and Bpaxie, brevis, because here a longsyllable is
surrouned by two short ones, which is presently very fashionable. It was
named from the Island of Crete, also Creticus.
vivace,
~—34—
12) Palymbacchius, - - v.
From wéAtv, rusus; and B&kxtoa,i.e., a reversed bacchius: because it
has two longs and then a short tone; just as the earlier bacchius has a
short and two longs.
andante,
Hau
-35-—
Four-Syllable Tone-Feet.
13) Paeon, the first, - vv v.

From zatwy, hymnus, because it was devoted to the songs of praise and
it serves us in overtures and entrées, It consists of one long and three
short notes.
eens)
-36—
14) Paeon, the second, v- vv
The first sound here is short, the second long, and the last two are again
short.
Chapter Six 359
-37-
15) Paeon, the third, v v- v.
Thefirst two sounds areshort, the third long; and the last again short.
se —38-
16) Paeon, the fourth, vvv-.

Hasfirst three short, and then one long sound. These four paeons have
all been used for songs ofpraise; also still do very well for that.
lOc
Met
17) Epitritus, the first, v - - -.
From tpémw, verto, and emi, super: because one also employs four
inversions with its four syllables. This one consists of one short, and then
three long soundsfollowing that.
ex patS tea6 ee
at
Vk
{_- —
—~40-
18) Epitritus, the second, - v - -.
It has first one long, then oneshort, and finally two long sounds.
Als
rereree
mh) c
Ye
AT
19) Epitritus, the third, -- v -.
Consists of two long sounds, then one short, andfinally a reiterated long
sound.
pei
ppPERE te
~42—
20) Epitritus, the fourth, - - - v.
Is composed of three longs and a short.
saa lst
So
21) Jonicus, a majori, - - v v.
Named for the Ionian nation, this meter is very appropriate for dancing.
The appended a majori means that the two long syllables precede and
the twoshortfollow.
Siex
Ye
rivazameiaaras
~
aff
22) Tonicus, a minori, v v- -.
Here the two short sounds precede, and the two longs conclude. This is
the significance of the appended: a minori, andis thus the reverse ofthe
preceding foot.
rf ps 5 me
3 Fo c.
cet
Chapter Six 361
-—45—
23) Antispastus, v - - y,
From ovaw, traho, and avi, contra, because the
syllables or sounds are
So to.speak drawn against one another: the first and last of these are
short, but the middle ones long.
catecefogpfos P+
Hee
pee
—46—
24) Choriambus, - y y -.
With the chordéo and iambo combined, where the first
and last are long,
but the middle ones are short.
a
]
|
at
|
=
25) Proceleusmaticus, v y y y,
From xeAebw, jubeo, and indicates a commanding,
rousing cry of
Sailors, clamorem hortatorium nautarum. This pattern
consists of four
short sounds.
Siar
peceeerrrerr aS
PFA- by ,
a
—48—
26) Ditrochaeus, - v- v.
A doubled trochius, as the dijambus and disponddus are simply doubled
iambi and spondii, which for this reason we do not bother listing.
However the ditrochdus, when it is doubled, appears different than the
simple one above, paragraph 6, number4.
YV
—49—
All of these rhythms can also be expressed in various other ways;

so that our appended notes do not exhaust the matter by far: for the
length and brevity of sound has many degrees in music which are
unknown in poetry, to which still more diversity comes from the
manifold types of measure, etc.
—-50—-
There are thus only twenty-six rhythmic tone-feet, which produce

virtually innumerable variations in their changing and mixing. Yet music
has many more rhythms, andthis gives an indication that poetry derived
from it;* not only the mentioned various degrees of length and shortness
but also the number of sounds, namely since there are seven and more to
one foot which can again be increased through the transposition of the
longs and shorts, demonstrate such ratherclearly and in superabundance:
not to mention other circumstances.
-S]—
It cannot hurt if at the close of this chapter we ponder the manner

and way in which the tables of permutation® are to be constructed in
order to discover how many variations can be produced with certain
numbers and sounds. Onesingle thing cannot be permuted; two may be
changed twice; three however six times; and four indeed twenty-four.
The rule for this is that I multiply the number with the product of the
preceding permutations, for example if 4 is the number of sounds and |
want to know howoften it is to be permuted, then I multiply it with 6,
which was the product of the preceding 3 (for three things can be
permuted six times, as has been said), then there are twenty-four. Now
if I proceed similarly with 5 as the number, and multiply such with the
Chapter Six 363
product 24 (five times twenty-four makes 120), then
I can permute five
things that often, namely one hundred twenty times, etc,
~52—
From -this it follows that 24 tone-feet can
be permuted
62,044,840,173,323,943,936,030 [sic] times. Now if someone
would calcu-
late the degrees of various longs and shorts in
each rhythm, together with
the types of meters, he would be quite astounded
to find himself, as it
were, admiring infinity in a mirror, and asking: Who can
calculate it? grasp or
Chapter Seven.
On the Time-Measures.
* OF Ed
=p
We have dealt in the preceding chapter with rhythmopdia, or that

art by means of which one is instructed in how to make all sorts of tone-
feet or parts of a melody. Now order requires that we also learn how,
from such parts, certain components of the whole can be joined together:
so that the time and movement of the tone-feet receive their proper
measure and size. For rhythmic, which we deal with here, and its
distinction from rhythmop6ia, actually consists in this.
=
Rhythmic is accordingly a measuring and orderly disposition of time
and movement in the melodic science, how slow or fast such is to be;
whereas rhythmopdéia probes only the length and shortness of sounds. In
a word it is, in the commonparlance, the tempo and beat which derive
from the sense of feeling (a tactu).
—j3-
For no melody has the power to arouse a true affection or a real

feeling in us; if the rhythmic does rot regulate all movement of the tone-
feet to such an extent that they achieve a certain pleasing relationship
with and against one another.
—4—
Hence also the chorale and usual simple church hymn is to be
included as music only in so far as it deals with some mere tones and
singable passages; since it is acquainted with or is based on rhythmopdia
just as little as rhythmicitself. Besides, it requires an artistic hand.
~j—
Consequently, only the figural song has the advantage of tempo and
beat, which so to speak animate and inspire it, so that it can thereby
penetrate much more deeply into the heart than the unmeasured chorale.
Chapter Seven 365
-6-—
However, the classification of these time-measures is of two types:

one concerns the usual mathematical classifications; though through the
other one the hearing prescribes certain extraordinary rules, according to
the requirements ofthe affections, which do not always correspond with
mathematical propriety but look more towards good taste.
-J—
In French, the first type is called: /a Mesure, the measure, namely

of time; the second kind however: Je Mouvement, the movement. The
Italians call the first: /a Battuta, the beat; and they commonly indicate
the second only with someadjectives such as: affeftuoso, con discrezione,
conspirito, and the like. Thus it may be said of such descriptions: that
there would be more to be understood through them than is written.
=G
The distinction between both types can quite generally and very
grossly be indicated by slow and fast; although there are many fine
secondary classifications everywhere, which we at least must compare
with a brief examination.
—9-—
The principal character of the mensuration is established once and

for all on the fact that each mensuration, each segment of the time-
measure, has only two parts and no more. These have their source or
their basis in the arteries, whose pulsations and relaxations are called
systole and diastole by experts in medicine.
=ii=
Musicians as well as poets have taken such qualities of the body as
a model, and arranged the time-measures of their melodies and verses ac-
cordingly, but they havecalled the ebb and flow in the beat thesis and arsis.
ie LE li
Now since it was soon found that such an ebb and flow could not
always be proportionately related, the classification into even and uneven
mensurations was evolved: and these are the two only and true bases of
rhythmic or time-measure.
ape
More errors than one would think arise in music from ignorance of
these so natural, as well as easy and simpleinitial lessons. Namely those
who seek four parts in an even, and three in an uneven mensuration

impinge upon the first principium: which causes nothing but confusion.
~—[3-
However, whoever takes the above statement as a basis, which is

taught by natureitself, that no musical time-measure could have more
than two (though not always like) parts, and that everything consists in
Thesi and Arsi: he learns further from that, that an even number of
parts cannotyield a so-called® triple mensuration; but that the whole of
rhythmic divides itself into even and uneven numbers, without examining
whether the former could be analysed or dissected by thelatter.
—]4—
The evenor like-divided mensuration has either 2, 4, 6, 12, or even
16 to 24 parts, though one must not confuse these with their smaller
articulations or articulis.
-I5-—
Whereas the odd or unevenly-divided time-measure, in so far as is

still revealed by its present-day usage, never has more than three parts;
for, although we use the metrical types of 9/4 and 9/8, yet these same
nine are only small limbs and not whole members: they are only Articuli
and not Membra. Three of the former belongto each of the latter.
-16-
There are fifteen common metrical types in all: nine even and six
odd. The erste Eréffnung des Orchesters already lists all 15 where one
can examine them further, as well as in the kleine General-BaB -Schule.
—|7-
The above-mentioned arithmetic or mathematical part of rhythmic,

namely mensuration, could beillustrated and learned quite well; though
performance serves best with the matter: since experience shows that
many heads are so unharmoniously constituted’ that they find no delight
in harmonic order, also consequently can never keep a correct”
measuration. Harmony includes not only the sound,but alsoits soul, the
mensuration.
=J3e—
However, the second and more spiritual® thing, since the former is
more physical, I mean the Mouvement, can hardly be contained in
Precepts and prohibitions: because such depends principally upon the
Chapter Seven 367
feeling and emotion of each composer, and secondarily upon good

execution, or the sensitive expression of the singer and player.
-19—
Those who would want to remedy such a difficulty with many

expletives miss the mark. Everything allegro, grave, lento, adagio, vivace,
and however the list reads further, indeed indicate things which pertain
to time-measures; however, they produce no changein the thing.
= 20~
Here each one must probe and feel his own soul, his heart: since
according to the state of these our composing, singing, and playing to a
certain degree will obtain an extraordinary or uncommon movement
which otherwise neither the actual mensuration, in and for itself, nor
even perceptible slowing or accelerating of it, much less the notes’ own
value, can impart; but which stems from an imperceptible impetus. One
indeed observesthe effect, but does not know howit happens.
Ole
I say observe: for essentially the melody will be more or less
altered in its subtle movement so that it either appears more lively or
slower; but nothing appreciable will either be taken away nor added to
the mensuration and the note value. Here the singer and player can help
a great deal if they understand and feel what they perform; however, the
composer himself must give them the best possible opportunity to do
that: also often the poet.
~22-
Jean Rousseau, a French singer and gambist, whom we have just
now quoted with regard to the spiritual essence in the mensuration, has
written a little work which has already been printed four times and bears
the title, Methode claire, certaine & facile pour apprendre a chanter la
Musique, i.e., clear, certain and easy method forthe art of singing.
aa
The focus of this little book is principally towards seven-syllable
solmisation, and thus it belongs with those writings which reject the
Aretino plague, as is reasonable and proper; yet the author has appended
right at the end a particular question which deals so precisely with our
present matter that we are compelled to translate one and another thing
therefrom: since as far as we know no oneelse has written so well on
this. The question reads thus.
—24—
“What is the difference between mensuration and movement?

Answer: mensuration is a means; its aim however is movement. Now just
as one must distinguish between the meansitself and the end whence the
means leads: thus there is also a difference between mensuration and
movement. And as the voice or the song must be led by mensuration,
thus measuration itself is led and animated by movement.
9s
“Hence, with one sort of measuration the movementoften turns out
quite differently: for it is sometimes more lively, sometimes more lan-
guid, according to the various passions which oneis to express.
—26-—
"Thusit is insufficient for the performance of a piece of music for
one to know well how to strike and maintain the mensuration according
to the prescribed signs; but the director must as it were guess the
meaning of the composer: that is, he must feel the various impulses
which the piece is supposed to express. It follows from this then, that few
persons are able to direct properly, since only the composer, in fact he
alone, can do best: because he must have the best mastery of the intent
and movement.
ave
“Here many a person might perhaps want to know: how is the

true Mouvement of a musical piece to be discerned? yet such knowledge
transcends all words which could be used: itis the highest perfection of
music, and it can be attained only through considerable experience and
great gifts.
=29-
“Now whoever listens to a piece which is performed by different
persons, today here, tomorrow there, if the last of which were to achieve
the true Mouvement but the former were to miss it, can easily say which
of the two would becorrect." .
=o
This much is Rousseau, and so much for now on the extrinsic and
intrinsic character of time-measures: particularly since the last can not
be captured by the pen.
Chapter Eight.
On Emphasis in Melody.
* * *
= fu
The emphatic, which deals with emphasis in thoughts, sounds and
words, interprets these and makes them clear, requires mature reflection
and is primarily concerned with the following four observations.
wd
First, one considers actual emphasis, i.e., the tone and stress of
words in and for themselves: on which one and another thing has
already been mentioned above in the chapter on melody, which must
now here be pursued further and elaborated on as regards sound.
—3-
Second, one must consider here that long or short pronunciation of
syllables, which one calls the accent.
a
Third, the subject of the passaggios or ornamental passages in song
is to be examined.
-j—
Fourth, one observes repetitions not only in words, but also in

instrumental and vocal tunes, the passages, descents and progressions in
melody, insofar as these and the preceding call for a certain emphasis.
This all relates to the emphatic.
lfm
Yet before we take up each item in particular, we must show
briefly how true emphasisis to be distinguished from accent.
-7-—
Here accent only means unusual sound on onesyllable of a word;

for we have seen above that in modulation an embellishment or
ornament is demanded. In poetry it is called: Accentus metricus, a metri-
cal accent; in music it is called Accentus melicus, an accent in singing.
eG
The mentioned distinction then consists primarily in the following
characteristics. First of all the emphasis always falls on an entire word,
not according to the sound ofit but according to the meaning contained
therein; whereas the accent only deals merely with the syllables, namely
with their length, brevity, raising or lowering in punctuation.
-~9—
Second, each word of more than onesyllable has at least one
accent, if not more; however, not every word has emphasis. Besides one-
syllable words often do not have a true accent which often can indeed
have an emphasis.
JO
Third, the aim of accentis only the pronunciation; emphasis on the
other hand so to speak points toward the emotion, and illuminates the
sense or meaning of the performance. Herein resides the difference.
-Ii-
To examine the above four qualities which belong generally to the

emphatic, one can first present the instrumental and vocal emphasis
alone, in a very short melody, and therewith give as the principal rule
that such emphasis would almost always require a raising, and in fact a
perceptible though notlarge raising of the voice in singing (for often a
semitone can accomplish it best); in spite of the fact that the note
emphasized need not always be accented.
~12—
Let us for example consider the following words:
Il Ciel ti fé si bella,
Leggiadra Pastorella,
Perché tu sia pietosa; non cruda al tuo Pastor.”
-[3-—
Here there are three emphases: on the little word si, on pietosa,
and on non®! They mightalso be expressed perhaps thus in music.
Arietta,
oa
Il Ciel ti ft ff bella, leggiadra Paftorellal, per-

Chapter Eight 371
by
|
ché tu fia pietofa, non crudo al tuo Paftor.
%
= =
il Ciel ci £2 ff
pt fete Pe, _—_——~ =f

= PE2E
2
Set la, —pet-
bella, fi bella, leggiadra Pa - ftorel
a
a
che cu fia pietofa, mon cruda, non cruda al tuo Paftor,
eae l4-—
The grace of a well-employed accent can no better be illuminated

than when it is compared with one poorly used: for in teaching and
learning the greatest benefit is to be derived from the observation of
opposites.
a [fi
Now here the length or the brevity of the syllables is not always of
great importance; inasmuch as often with two long syllables only one
requires the accent, and the second noneat all: especially with three- or
four-syllable words.
—16—
Yet the word-accent absolutely must fall on an accented melodic

pitch: and here it does not matter much whether the soundis especially
raised as with emphasis; so long as one does not contrariwise lowerit too
much.
-17-—
The general rule one has to observe with the accentis this: that
the note belonging to it must be long or prominent. It is to be observed
here that emphasis is not restricted to this; but occurs also on short and
passing notes, if they otherwise have something prominent about them.
-/8—
For the explanation of this rule it is necessary to say that neither

the raising of a note nor even its external value alone could make it long
or prominent, in the present sense; but the inner content and the vocal
accent are the decisive factors here.
-19—
Now wherein this content and vocal accent consist, Critica Musica
has already given sufficient information on pages 40, 41 and 42 and 43,
to which the interested reader is referred, since we must not be
immoderately prolix with this. Here it is virtually the same as with coins,
which also have an external and inner content, often quite different.
-20-
Let us give an example here of poorly used musical accent, and ask,
on which syllable in the word zweiffelhafft is the spoken accent? and
whetherit is used in the properplace in the following?
‘ ‘
fe ‘&e.
niemahls groeiffelfaffe su (enn, niemahls grveiffelbafft su (enn.
-2)-
Here the third syllable, Aafft, is especially prominent both times,
namely because of range and note value; yet really the first one should
be. And doubtlessly it must be thus:
niemaBis;roeiffelbaffe gu feyn, niemable sweiffelbatft su fen.
—~22—
That was a little example of accent from an ordinary aria.
However,the fault manifests itself still more and moreoften in recitative:
hence we will also not be averse to presenting a little something onthis,
and, so to speak, holding black against white.
Chapter Eight 373
potepainprertesse
i
Sie machten vier Theil, einem ieglichen Kriegstnecht ein Theil.
—23-
Everyoneeasily sees that here the main things are the numbers vier
and ein, rather than the ones on which the accent together with the
emphasis falls, and not the word Theil. Now ifthis is expressed neither
through raising nor through the inner value, since in both cases the notes
are short, valueless, and also not prominent, then the phrase would have
to be altered tothis:
|
Boepeal
Sie madhten vier Sheil, einem iegliden Kriegstnedht ein Tyerl. |
|
—24—
A few moreofthe like:
No. 2.
papieerauice|
cen er Singer pufid.
Wad von Stund an nahm fie der
|
here the word accent clearly falls on the little word zu; which, however,
the composer has deemphasized, snubbed and devalued: accordingly, it
could be produced in an emphatic way better thus:
92
Lind von Stund an nahm fie der Slinger gu fid.

~25—
No. 3
Byer
EET)
pF I Eb
DoF fie abgenommen wirden.
In the word abgenommentheaccentis incontestably on thefirst syllable;

not on thethird as the above notes would haveit: hence it would more
correctly be thus:
=pp-ERZEEp- i
tid
CEEebb
DaF fic abgenomnten roiirder.
-6-
No. 4
Paes Diemeil 0as Grab nahe mar.
Here an accent can be placed neither on the syllable weil nor on the
article das; but on Grab and especially, in an emphatic way, on nahe:
Base eee
Dieweil da8 Grab nahe war.
a
In number 1 the emphasis and the accent are together in one place,
namely on vier and ein: hence the counterpart generates a twofold error.
In number2 there is a compound word zusichnehmen, which is separated
in the third person. In such words, be they three- or four-syllable ones,
the accent always falls on that syllable which is first in the infinitivo,
regardless of where it is found in the derivative.
Chapter Eight 375
= DR
The same is the case with word abgenommen in number 3. In
number4 neither thelast syllable in dieweil, nor indeed even less so the
article das, can have an accent orstress. Das is very frequently accented
when it is a pronomen demonstrativum; but never as an article. On the
other hand, here the accent is on Grab, however together with this the
emphasis is on nahe,
—29~
It is to be noted that in two-syllable words, when both syllables are
otherwise long, only thefirst, not the second, would have to have the
accentin singing. Hence this would be incorrect:
Butcorrect as:
-> 7
fe Und alsbald rc.

The reason is that the first of two like syllables must always have
primacy: as prima inter pares.
=. 30-
Now since with German twocsyllable words the accent usually falls
on the first, hence the second is frequently made short, this one
exception is to be found in melodic passages: almostall final notes in
song must be performed on the strong beat or with the accent, even
though the last syllable may be short.
—3/-
I say almost all, that is, almost every final note of the melody, and
mean here authentic and full cadences: for one often stops unexpectedly;
and that is something different. At an earlier time no one observed this
good practice in composing, but concluded thus:
—5- Peppe
fonft mui mein Kind ertrinden.

Now, however:
—-a.9-bg. oan
td = — fa cP
fonft mufimiein Sind ertrinden. ~
maim
The issue is this: Where a spoken accent occurs in a text a singing-
accent must invariably be there also; however, where the syllables do not
have an accent, one canin spite of this quite frequently use an accent in
the melody. That is one of the privileges of melody.
—33-
Next we come to the passaggios and can ask, with the words of
Pilate in the Passion: Would a melody become emphatic or vigorous if
someoneset, for example, Weist du nicht, daB ich Macht habe, etc., and
used a melisma of 28 sixteenths on the word habe? I hardly believe that
the question could be answered affirmatively, even if one were to poseit
to the author himself; for he would think, like David, that Nathan’s
sheep story did not concern him.
~34—
It might be better with Aabe though, than if on the word Kind, in
the very first strophe of an ode where our hands are not tied, we
presented the following notes:
ee e
fonft mugdein Kind —« ‘ s « cttrinden.
=35—
Would we not find a very broad field before us if like things
should be researched and written down? It is to be hoped that
thoughtful composers henceforth will proceed more cautiously, not
repressing the music instead of the accent, and indeed if, for one reason
or another, theystill want to, should and must use such ornaments with
the barren words which occur, that they will not select ones which are so
very unsuited.
Chapter Eight 377
-36—
Because repetition, in as much as it gives stress to many things,
consistent with the accurate proverb: repetitio habet emphasin, one has to
remember that multiplicity or superfluity, here and everywhere, is more
detrimental than serviceable, especially when isolated or even innocuous
words, which are harmless and have no meaning in and for themselves,
are tortured therewith. For example: Does the world despise the pious,
de-s-=-++ spise the pious, does the world despise the pious, despise the pious.
Both the running figure and also the repetitions are very bad.
Bie
Disgust must necessarily result if one should hear the same
meaningless word ten and more times in succession; still, on the other
hand, energy,”? power and strength of presentation is at a considerable
disadvantage when certain forceful and meaningful words are not
repeated at all. The sagacious advice of Horace, which he gives on
another subject, serves here: one should not do a thing™ either too much
or toolittle.
—338—
Yet these repetitions in composition are not to be judged according
to common standards of speech, where they occur seldom or notat all;
but simply with regard to melody, which dons an almost new garb with
each emphatic repetition of words which deserve it, be it through the
transformed pitches, through their loudness or softness, through length
and brevity, through decoration, embellishment, ornamentation, etc.
—39—
Consequently, words of importance might very well be effectively
Tepeated three or four times, if the circumstances would otherwise permit
it, in order to give the performance much more emphasis: for that must
always be the most important reason.
—40—
I say justly, if the other circumstanceswill permit it: for this would
not sound as good in a monody, i.e., where only a single voice is heard
without bass, as in a multi-voiced work, where freedom is also much
greater.
—4]—
Yet in both cases the rhetorical meaningof the proposition must al-
teady have been perceived before the repetition may properly be under-
taken: on which the second bookof Critica Musica imparts full instruction.
if
Herewith we do not wantto disregard the testimony and the sound
ideas of Doni, when he® writes thus: As regards repetitions, I am of the
opinion that one cannot reasonably employ them appropriately in our
language, whatever style the verse may be, except in the cases where the
meaning is clear, and then no more than thrice. Amen!
—43—
But why is this amen here so timely? It reminds us somehow of
those fashionable and ingenious amen-sayers who can use the lovely
word 35 times in 24 beats: presto moderato. I will not mention what they
do with alleluja. However, everyone can easily imagine how much
emphasis is placed on it. Yet even thestars of the first magnitude are not
exempt from that, and do notfear the press.
—44—
Now just as no slight strength results from a clever and not
" exaggerated repetition of the melody, it is no less accomplished by so-
called melodic analysis or elucidation, which was mentioned for thefirst
time in Critica Musica, pp. 18 and 24 of the third part.
—4q5—
For example, let us consider these words:

Triufle doch in dieses Herze, Bestowinto this heart,
GOtt, bey allem Siinden-Schmerze, Oh God,forall suffering of sins,
Nur einen Tropfen Christi Blut. Only one drop of Christ’s blood.
These can be performed and analyzed in five different ways, if they
have been first perceived in their proper order. 1) Bestow, oh God,etc.
2) Only one drop in this heart. 3) Bestow Christ’s blood into this heart.
4) Forall suffering ofsins, into this heart. 5) Oh God! only one drop.
—46—
This figure has the most emphasis at the place where the sense of
the words is rather intricate, or is somewhat involved, or even, as here,
where there are three or four caesuras before one can graspit: for this
not only aids our analysis of clarity, and is almost essential: but also
yields exceptional beauty and an unexpectedly stirring emphasis.
—47—
Yet, nonetheless, one can with good style and with a few words
often also use such transpositions as e.g.
Chapter Eight 379
Ist das Paradies nun offen? Is paradise now open?

1) Ist es offen? 2) Das Paradies? 1) Is it open? 2) Paradise?
Erschallt ihr hellen Liffte! Ring on bright air!
Erténet, Zions Kliiffte! Resound Zion’sclefts!
1) Helle Liifft erschallt! Zions 1) Brightair ring! Zion’s
Kliffte ertont! clefts resound!
2) Ertént, erschallt! erschallt, ert6nt! 2) Resound,ring! ring, resound!
Sprich fiir mich, mein JEsusgut. Speak for me my Jesus,
1) Sprich gutfiir mich, mein JEsu. 1) Speak for me my Jesus.
2) Mein JEsu, sprich gutfiir mich, 2) MyJesus, speak for me.
Wer will uns verdammen? Whowill damn us?
1) Werwill verdammen? 2) Wer? Wer? 1) Whowill damn? 2) Who? Who?
3) Werwill es thun? 3) Whowill doit?
Ecce, quomodo moriturjustus, & nemo percipit corde.

Behold how the just man dies, and no oneperceives it in his heart.
Transposed in four ways: 1) How the just man dies! 2) No oneperceives

it in his heart. 3) He dies, he dies: behold, behold how! 4) Noone, no one
perceives, no one perceives in his heart, etc.
Chapter Nine.
Onthe Sections and Caesuras of Musical Rhetoric.

* * *
-|/-
This theory on incisions, which one also calls distinctiones,

interpunctationes, posituras, etc., is the most essential in the whole art of
composing melody, and is called diastolica in Greek;* however, it is so
neglected that hitherto only the smallest rule has been given thereupon
or the slightest instruction: indeed, one does noteven find it in the most
recent musical dictionaries.
-2—
Some years ago a great German poet thought he had made the
unique discovery that music is almost exactly the same in this regard as
rhetoric. How amazing! Musical masters, especially those who want to
and should instruct others in composition, should really be ashamed that
they have been so negligent with these things: for though here and there
one or another of them may have come uponsalutory thoughts, purely
from commonsense: the good gentlemen have as yet remained only on
the periphery and have not been able to penetrate to the central point,
much less bring the thing to its proper technical form, neither overtly nor
covertly.
-j-—
Now in order to redress this deficiency as well as many others, even

to some extent, we must go to the trouble to take up beloved grammarin
acertain way as well as esteemed rhetoric and worthy poetry: for without
having the pertinent information on these fine disciplines in particular,
one undertakes the work unaware of other endeavors, quite unprepared
and virtually in vain.
afis
I have no doubt that the real reason for the negligence in this
matter which has existed until now is to be found nowhereelse but in
the gross ignorance and want of learning of the present-day composers
(be they even Imperial Capellmeisters) who often can scarely write three
lines in their mother tongue correctly, and yet would grind out notes
Chapter Nine 381
from morning to evening orinstruct others, indeed even put on airs with
ill-spelled Italian and French.
-j-
Every idea, be it verbal or written, consists then in certain word-

phrases, or periods; but every such phrase also consists in smaller
caesuras up to the close with a period. A whole structure or paragraph is
developed from such phrases, and from various of these paragraphs a
main part or a chapter is finally developed. That very briefly is the
stepwise outline or climax ofall that which can really be spoken, written,
sung, or played.
-6—
In melody, as in musical speech, we usually employ only one

paragraph at a time, a whole structure and section, which commonly
forms the bounds of an aria, and, as stated, must consist of and join
together at least two different smaller sentences or short statements.
Though occasionally there is an exception in pedagogy,if clarity requires
it.
a
Now those great poets (no offence I hope) frequently impringe
upon the necessary and natural character of a phrase or air earmarked
for music who for example in a cantata pass off the following lines as a
paragraph, i.e., as an aria or whole section; yet there is merely one single
period contained therein, which is called a Peribole or a Periodicum, on
account of its prolixity.
Wesen, das nicht nur die Zeiten Being, whichfills not only
Und die Ewigkeit erfiillet: Time and eternity:
Nein, aus des Vollkommenheiten Nay,flowsfrom perfections
Selbst das Meer der Ewigkeiten, Ofthe sea ofeternity,
Wie ein kleines Bachlein, quillet: As a little brook:
Und des Grisse doch nur Giite: And whose magnitudeis only
Kindness:
Dich vehrehret mein Gemiithe. My mind honors thee.
~19—
Emperor Augustus and his good friend Horace were of this very
opinion and did not even have any musical aims at all therewith. The
first” admonished Agrippina that she should be careful that her style not
become too prolix or irksome. The second says explicitly: one must
make brief statements so that speech flows rapidly and does notfatigue
the hearing with burdensome words. Augustus and Horace are a couple
of names which have to be given a great deal of attention in the field of
writing.
~20-
But, since enough has been said for the present on the paragraph
and period, we want to proceed to the small caesuras, making the
beginning of course with the smallest, the commaorarticulation,” where
much is to be observed. The sign for this is made thus (,) in writing: as
probably will be known.
=)
Isidor calls the Comma a particula sententiae, a particle of the
sentence: for here sententia and periodus are inadequate words. However,
he calls the Colon, membrum, a member; but the period an ambitum, a
compass, sive circuitum, or a range.
—22—
Lipsius describes their force thus: Comma sustinet, the Comma

makes a little pause; Colon suspendit, the Colon delays longer; Periodus
deponit, brings the sentencetorest. In short, the Commaisa little part of
the sentence through which the discourse obtains a little caesura; though
there is not a rhetorical but only a grammatical and imperfect meaning:
for very often a single word requires its own comma.
-23-
One will seldom find that inexperienced or poorly instructed
composers leave out a commain discourse; though skilled ones dothis
frequently and quite deliberately even in writing. Yet only too frequently
Chapter Nine 385
do the former makea break, a caesura, a pause, or a resting place where

a comma should not appear or be heard. Examples of this are so
innumerable that I fear one might view the presentation of a single one
as an exception. However, if great Capellmeisters proceed in print thus:
Woldiesem, den der Siinden Grésse (a pause)

Nicht mehr mit ihren Centnern schreckt:
Dem unser Hort der Fehler Blosse (again a pause)
Mit seinem Purpur-Mantel deckt, etc.
Blessed is he, whom the magnitudeofsins (a pause)

No longerfrightens with its load:
For whom ourshield covers naked faults (again a pause)
Withits purple mantle, etc.
then one probably cannot help noticing, and being careful to avoid such |
gross academic errors.
—24— |
It cannot hurt if we give as companion to the above,silly, German
example one no less foolish, though in Italian. To wit, a good friend
composes an aria which begins with these words: Posso con questo cor[I |
can with this heart] and then pauses for a whole measure: when this is
done these words are repeated yet once more with exactly the same |
melody, before anything else happens. Now there is not even a comma
here, much less a rhetorical indeed not even a grammatical concept, as
suchreally is to be expected from the context. Even a purported Imperial
Capellmeister!
-~25—
Wedesire yet to add one by a prince whose works, whence we ex- |
cerpt, are printed and lie beforeall the world, just as the two preceding
curiosities:
Qual pensier tormentoso

What torment darkens
D’ogni mia spemeil bel sereno imbruna?
The beautiful sky of all my hope?
E a turbarmiil Ripdso (Cadence and a three
And troubling my repose quarterrest).
Gravi Timor, fieri Sospetti aduna. (Suspension, which
Summonsdarkfears, strong suspicions, later resolves).
E piu mia Fé (Long note, with a

And myfaith Test).
Noncura,
No longer heeds,
Se ben sereni-a me
Whether the clear skies (Long note, with a rest).
Nonvolgi i Rai, etc.
Orthe sun returns, ect.
==
I do not want to pursue this any further, and will leaveit at this
trio: however, I have on hand quite a good supply of similar miserable
masterpieces by various Capellmeisters and court composers: which could
some day appear at another appropriate opportunity." In the meantime,
we go on.
fpf
It is best to pick out an example of words where nothing but
perfect Commata are to be encountered which require a proper
grammatical pause, and first of all set these words to a melody alone,
without a bass: for then rests are required in very few places: since
everything quite reasonably can be expressed through certain natural
vocal alterations; and this is much better than always setting down little
signs at each articulation.
—28—
One will for example encounter five perfect articulations in the
following. There is not the slightest pause in any of them, and yet there
is opportunity enough given for breathing, also a full cadence is made in
a related key at the endofthe sentence.
ail
Sedato.
HR
Getroft, mein Heg, nunfanft duGnad umfaf + fen, dein IEfus

7
a nN z
=
alse?
sill die Giinder nicht verlaf + fen, und follt es auch am Rreuge feyn, und
Chapter Nine 387
a “>
=
= ‘ec.
follt es auc) am Kren + be fey
—29—
Then another one follows, with three caesuras which are expressed
through pauses: so that one would have the choice, The Commaafter the
word getrost in the preceding example is pendulum, or imperfect;
however, the Comma after the word schauet in the following example
can in fact be pendulum as well as perfectum; but the latter more than
the former.
Grave,
e
|
z ad
mein FEfus iff Rofen yu leiden, welche den

‘
Sz
Hurpur mit Doren umbillen. Sdauet mein BEfus if— Rofen gu
gleicen, weldye dew Purpur mit Doren umbitlen,
—30—
A certain thorough theoretician prefers to have the Commatia
expressed in the bass or in the accompanying lower voice, rather than in
the principal melody, and indeed all through cadences. He establishes
that as a rule.
—3]—
Now although it is correct that for necessity or variety one cannot
inappropriately indicate the Commata through such bass cadences which
rise or fall in an imperfect manner(per clausulas imperfecte ascendentes &
descendentes): such is so muchtheless admirable since the melody might
become more wretched and more miserable with so many bass cadences,
and since it would sound more mangled, because it would indeed of
course have to be adjusted and constrained according to them.
GJ
On the other hand, there are a thousand more reasons why the
lower voice has to be governed by the higher melody, as the servant by
the master, or the maid by her mistress. My advice on this has been
given above in paragraph 27, on initially completely omitting the
accompanying bass if one wants to do an exercise in this; since I well
know how one generally is very eager to give it something to do and
thereby sometimes neglects that which is more essential. Besides, what
does the bass have to do with the melody? it pertains to harmony. One
must not mix these two things that way.
Fe
Meanwhile, the Commata of this admired theoretician appear in a
manuscript thus:
Comma. Comma.
2° YE
Claufula imperfecte afcendens. Claufula imperfecte defcendens.
=34—
However, because littte‘comfort is to be gotten from this and since
not every articulation in speech (not to mention in singing) which is
indicated through orthography requires a special pause: thus one can
easily see that keeping a distinction, not only those Commata which are
virtually unnecessary in speaking though necessary in writing, but also
many others of the kind can and must so to speak be jumped over in
melody. Hence then the distinctio inter comma perfectum ac pendulum
made earlier in Critica Musica, ie. the distinction between a complete
and an incomplete articulation of rhetoric, has to be remembered.
~-35—
Because we have already produced a twofold example above on the

perfect Commate, without as well as with pauses, it will also appear
necessary here to give a special, little example of the imperfect ones.
However, be it said in advancethat the uncertain or indefinite Commata
sometimes tolerate a very concise cadence, but sometimes, and for the
most part, almost never a full one.
Chapter Nine 389
—36—
The first, namely the concise cadence, takes place, when a
melancholy exclamation (exclamatio) or an imperative word (imperativus)
occurs which truly indicates a delay or requires reflection. As for
example:
Ach! daB die Hiilffeaus Zion Oh! thatassistance should come

iiberIsrael kdme, From Zion overIsrael.
oder or
Halt! Erschlag ihn Nicht. Halt! do not slay him.
Esist der Konig u.d.g. It is the king, and thelike.
=V7=
However, with the interpolated Vocativis, and also with the
Imperativis, ie, where is some exclamation or command which expresses
a passion or violent emotion; as with the adverbs or Adverbiis™following
twice in succession, ach! ach! nein, nein! ja, ja! and so on, everything is
halting because of the pervading zeal, even more in singing than in
speech. We cannot give an example of this in notes; but can do it with
words alone.
Lésche, Cupido, dein schmeichelndes Licht! (punctum.)

Quench, Cupid, thine flattering light!
Phlegeton, schencke mirfunckelnden Schwefel! (punctum,)
Phlegethon, bestowon me sparkling brimstone!
Gebt mir, ihr Sterne, Medusens Gesicht, (commaperf)
Give me, ye stars, Medusa’s visage,
Daf. ich bestrafe den schddlichen Frevel! (punctum)
So that I can punish the shamefulcrime!
LaB mir, o Himmel, die Freude geschehn, (commaperf.)
Let me oh Heaven, havethe joy,
Rache zu sehn! (punctum.)
To see revenge!
—38—
Besides the four periods or sentences and twoperfectarticulations,

here are seven indefinite Commata, namely the four vocatives: Cupid, ye
stars, oh heaven, and Phlegeton, are called upon, and three impassioned
words of command or imperatives: quench, bestow on me, andlet me; all
of which together, that is the seven last named, are simply not regarded
as caesuras in the melody. And thus can onejudge theothers of this sort.
-39—
Now since a Commain speech represents that which in the human
body is the Articulus or the joint: thus by comparison the Colon indicates
a membrum, and whole member, as the Greek name implies; but the
semicolon (;)- indicates only half of one. We want to deal with the last
onefirst, and say that it is a caesura which represents the middle point
between a Commate and Colo. The same is found with disjunctivis,
oppositis, or relativis, i.e., with those forms of expression which signify a
separation, an opposition, or something which relates to something else:
especially when such things are contained in a few words.
-40—
The semicolon has yet its own characteristic, namely this, that it
often occurs even before the grammatical sequence of words is
completed; which however does not occur with the Colo, since that
actually requires a formal grammatical sense. Wherewith nonetheless the
complete meaning of the whole rhetorical presentation or structure is yet
to come.
-4]—
Disjunctiva are really a division or separation; though notreally a

contrast or opposition, and thus can be properly expressed in melody
with sounds which are somewhatdistant from one another. For example
with these words: dich hab ich mehr geehrt; ihn aber mehr geliebt.
Likewise: Ich muB den Leib dir iiberlassen; doch fordre nicht das Herz
von mir. In the first sentence honor and love are in fact differentiated
from one another; but there is no opposition of them. In the second
sentence, heart and body are separated; but without being set against one
another.
—42—
Therefore in such cases the melody must make a marked

differentiation: the one part of musical rhetoric must, in a certain way,
be separated or distinguished from the other; yet one must not introduce
opposing sounds, be it in tones or intervals, when they are regarded in
and for themselves. That is to say: I must not force any opposing sounds
from the intervals, place a major third where a minor one was and the
like, nor even produce perhaps ascending against descending and vice
versa, in the pitches alone; but I simply would alter the key in a pleasing
way, and go into another neighboring and related one, e.g., from A to C
in a recitative.
Chapter Nine 39]
la
tT]
Dich hab id) mehr geefrts ifn abermepe geliebt,
In anarietta, from D to F.
™
Sh mug den Leib div uber + zs laffens dod) forbre

+ BErtp cree aes
1 -6- :
nicht das Herg von mir.

a
That by which the melody is primarily governed in such
circumstances depends upon thestress and the emphasis, which in the
first phrase principally concerns the pronouns dich and ihn; but then
also, though notas strongly, the verbs geehrt and geliebt. In the second
phrase the strongest emphasis is to be found on the adverb nicht;
somewhat less on the noun Hertz, Yet a full cadence is not always
neededin this, as here.
~44—
Whenexplicit contrasts occur, then it is quite another matter. For
the opposition of the words also requires a similar thing in the music,
and here quite opposing ideas have to be precisely observed in recitatives
as well as in arias, etc. Yet everything without constraint. E.g., in the
melismatic style:
Da sagt man zu mit Mund und Hand, Whereasone vows with mouth
and hand,
Kein Wort soll seyn gesprochen; Not a word should be spoken;
Doch, wenn der Riicken nurgewandt, Yet the momentthe backis turned,
Ist schon das Wort gebrochen. Thewordis already broken.
here are clear opposites, to keep and to break the word: hence one may
express these opposing actions through contrary movements in the
intervals and sounds, which gives the hearing an idea of them.
—45—
I say, one may, or can do it; not that it would be an absolute

necessity, without which the melody, as melody, could not exist. Greater
clarity is nevertheless greater clarity. Such observations also help one
with invention: for opposites can be expressed in different ways in song,
be it through certain pitches which reverse their course; through intervals
which run against one another; through abruptalteration of the key, the
pulse, etc. To avoid prolixity we want to give one example only of the
first counter-movement:
allegro. . S -f“Pye
fs.
fe:
———
Ruden nur gewandt , iff (don das Wort gebroden.
—46—
The Relativis is moreover unique and special (also all descriptions

following in rapid sequence belong to it): for there really should be
nothing adverse or contrary used, rather there should be a certain
similarity or resemblance in the sounds orintervals; though this is not so
much the case in the sounds, as these must necessarily retain their
diversity and variation to some extent. For example:
Unzehlbar ist der Sternen Heer; Infinite is the stars’ host;

Unzehlbar ist der Sand am Meer; Infinite is the sand on shore;
Doch weichen sie der Menge Yet they yield to the multitude
meiner Schmertzen. of my griefs.
Here are a pair of phrases in thefirst two lines, a pair of comparisons,

which relate to one another and must be expressed through like melo-
dies; however, the third line contains a contrast, and thusalso requires a
certain counter-movementin the sounds and keys,as follows:
oN 2 b an
—}-3= pp:
elidl
mee
Unjehlbariff der Sternen Heer; ungehlbariff der Sand am Meer; dody
Chapter Nine 393
gaperan .
i aL.
7
wei =z + 4 Gen fie der Men z + ge meiner ESdhmergen,
ww
—47—
Whenit happens with the caesura of the semicolon that the phrases
which relate to one another (Relativa) also have a certain similarity in
thyme and formation or that such occurs noticeably in one or another
phrase, e.g.,
LaB nuralle Liebes-Zeichen Let all signs of love

von dir weichen; desert you;
LaB der treue Bande schwinden, Let the ties of trust,
die dich binden. which bind you disappear.
then there are easy and nice transpositions with regard to the
Relativorum; and good repetitions with regard to the rhyme.
ardito.
Ea fer=: SENT
mad Speer le & ress pe
Lafi nur alle Liebesseidhen von dir weidyen; [ah der Treve Bande
Fi ==PRP
—¥'e-
Pe
= =e
—Xi
=f
-F-|—-*
rs See a
~48—
In arias one will encounter few of the so-called detailed
descriptions, since they make for a long performance; yet they are often
used in recitative, and with goodeffect, if one deals with them intelli-
gently. We want to present here an image of despair which consists in
many small or half members (Semicolis);
Unsédglich ist mein Schmerz; unzehlbar(sind) meine Plagen;

Die Lufft beseuffzt, daB se mich hat genehrt;
Die Welt, dieweil sie mich getragen,
Ist blo8 darum Verbrennenswerth;
Die Sterne werden zu Cometen,
Mich Scheusal der Natur zu tédten;
Dem Cérperschlagt die Erd ein Grab,

Der Himmelmeiner Seel den Wohnplatz ab:
Wasfang ich dann,
Vereweiffelter, verdammter Morder an?
Eh ich mich soll so unertriiglich kriincken,
Will ich mich hencken!
Enormousis mypain:infinite (are) my miseries;

The air bemoanshaving nurtured me;
The world, because it supported me,
Is worth burning simply for that;
The stars become comets,
To destroy this monsterof nature;
Earth denies my body a grave,

Heaven denies my soul a dwelling place:
Whatdo I do then,
Desperate and damned murdererthat I am?
’Ere I should suffer such unbearable pain,
I will hang myself!
—49—
These exquisite, and in their way, very beautiful descriptions can perhaps
be set to music in this way:
I| PP .
Fs x
Unfaatich iftmein Sdmerg ; unjehlbar meine lagen;Die Luft bez
eS 4
‘ 6 6 6
{|
a
fenffst, Daf —_ haternehrts Die Walt, Dieweil fiemid) getragen, iff Blof Dar:
HH
L
Chapter Nine 395
tg nw— nee PPR pp

Baer sete eet
umVerbrennensiverth ; Die Steme werden ju Cometen,1 mid) Scheufal der Natur yu
7 - 4
iz
ALI
Vv Vv
fs
r
b=
ae
thoteen; Dem Sbrvee fort die Erd ein Grab , ber, Himmel meiner
6
GSeel den Wohnplag ab; Was fang ich dann, verpweiffelter, verdammter Mbrder
6 6
eo
eerhserr
: pee SerrrFy
c Bee
an? ib
ef mid) foll fo —uunertrdglidy frdudlen,
a
toil ich mic) hencfen!
-50-—
Space will not permit us to examine the similarity each of these

above four to five half members has with the other. Whoever considers
the context or the whole paragraph properly will find that a semicolon
always indicates a certain fall of the voice; that the bass does not hesitate
to contribute its part to the caesuras also, especially in differentiating a
new phrase, and indeed not in a contrasting but in a similar manner; that
at the five articulations or commas the procedure is quite different, and
the bass voice does not even approach a perfect cadence; that on the
other hand, where the whole colon or member occurs, a full close with
rests appears to allow further reflection; that the subsequent part
proceeds in another key; that the question is contrasted; and that finally
a final cadence appears at the exclamation point.
—S] —
Occasionally an antithesis or a contrast also occurs between the first

and the second part of an aria: for the semicolon standing at the end of
the first part of course requires a complete cadence in the tonic, because
afterwards on the repetition from the beginning it must necessarily be
changed into a period and make the final cadence. Wegive an example
of that in the following words:
Soll ich ein andre lieben? Should I love another?

Die Ehrsucht saget ja; Ambition says yes;
Doch trag ich fast ein Grauen, Yet I seem to bear dread,
zu schauen, Ofseeing,
Wie die es wird betriiben, Howthatwill distress,
Die mich mit Gunst ansah. The one who looked at me with
favor.
(von vorn). (from the top).
so
Outside this special case, which I would prefer to avoid by means
of writing out the da capo, the semicolon must never have a full cadence,
much less a complete one. Also one must not always heed the poets who
often do not have much reason for their caesuras.: because it is a rare
and somewhat prickly matter for them. Some prefer to leave them out,
and use only Commata and periods.
-—53-
The composer must rely mostly on common sense, and on a clear

idea of orthography; even if the verse-maker used nothing but Commata
and periods in order to avoid revealing that he does not know where a
colon or semicolon!” must be used. The former will likely be aided
through this little instruction; if he will only allow it to help him: I am
not going to concern myself with the others now. They are much too
clever for me.
-54—-
Now we cometo the Colonitself (:), which indicates more than the
preceding caesuras since it includes a larger part of speech, and contains
one complete grammatical idea; although everyone observes that still
more is to follow for the completion of the rhetorical presentation. And,
Chapter Nine 397
just for the last reason given, the Colon can in fact not be subject to
complete final cadence in melody, but indeed a pause, an expectant
pause, clausulam desiderantem.
-55—
This member occurs with the presentation of a cause, an effect, a

narration, an example, a conclusion, a simile, a title, a quotation, and the
like. Causes begin commonly with the conjunctions, because, for, etc.;
effects with the particle through; conclusions with therefore, hence, etc.;
the simile, indeed its usage, with thus, in such a way, etc. Narrations,
examples, titles, quotations or otherwise noteworthy words are not
restricted to one form, and are also much easier to perceive by their
context than the former.
—56—
If one would want to present poetic and melodic examples ofall

these things, a separate chapter would be required. Whoever just opens a
good, well-written book, especially by our best German (though few)
poets, will encounter examples enough,if he first has gotten to know this
method, by means of a look at composition. For otherwise many might
look at the books recommended for reading like a cow would look at a
new gate.
-57—
Only the most necessary which is to be observed on this in a

melody cannot remain unmentioned. And one has to know: that one can
have mastered the sense of the causes quite well; but cannot cadence
earlier than before the cause is adduced. However, if a narration is to
follow, the melody must be indecisive as it were: which commonly is
done through thefifth of the tonic with the 7-6: or even in another way.
And then Lipsius is correct when he says: Colon suspendit, the Colon
indicates a pause,
—538—
It is that very way with examples; but not, however, with a

conclusion, as this does not require expectant clauses at all. Similes can
in fact have an anticipatory cadence; titles on the other hand cannot at
all, and must be expressed through monotony, ie, where one pitch is
often used repeatedly, almost following the strict church style. Finally,
when a quotation or otherwise thoughtful saying occurs in excerpt form,
then not only must the melody be interrupted, but the key mustalso be
altered.
—59—
Now since the diverse usage of each caesura becomessufficiently
clear from this, thus a reasonable person may easily judge whether it
would be sufficient (especially since the Colon alone has six or seven
modes) if an otherwise famous and learned Imperial Capellmeister plans
to place his Colon and semicolon undera single rule, and wants to
dismiss, without further inquiry, both of these merely through the
progression of the bass, in the following way:
—60—
I quite understand that one would escape quickest this way: in
teaching as well as in learning. Such errors however have three powerful
sources which seem to need a good stopping up so that they no longer
flow from the rostrum to the student’s bench and flood everything. The
most important of these sources is pedantic arrogance which will not
admit advice but always pretends to be correct: the others are deficiency
in thought, and deficiency in melody andits science.
-6]—
Questions in musical speech, as are indicated with the familiar sign

(?) in the text, follow now in the systematic investigation, and are literal
or figurative. Many composers are rigid in the idea that the question
mark would always have to be expressed in singing through sometype of
raising of the voice; but one must in no way think such a proposition is
infallible.
—62—
It is true that in everyday speech and pronunciation the voice is

always raised more or less with a question; but in melody there are many
circumstances which not only permit an exception to this but often
require it. Besides, one encounters many figurative questions in verses
where there would be no doubtat all as to whetherit is this way or that.
Yet doubt is the true indicator of a real question. For this reason a
composer of melody mustrightly distinguish the one from the other and
organize his notes accordingly. If e.g., it is asked:
Chapter Nine 399
Kan ich Arzeney gewehren, Can I administer medicine,

Daich selber soll vergehn? If I am perishing myself?
Then the meaningis this: that no one, who requires aid himself, would be
able to assist another. And that is at bottom a proposition whichis true
beyond all doubt. One must therefore not restrict oneself so strictly to
the usual form with questions of this type; though a skilled composeris
not forbidden for this reason from producing, in an interrogative manner,
a clever melodic solution with such and similar words, through emphatic
inversion.
=63=
Howeveras an incidental examination has already been given above
in paragraphs 49 and 50 on how an actual and ordinary question in
which some doubt appears would be arranged in notes, without the voice
ascending yet so that the indecision will still be clearly perceived, yet to
be added here is: that an imperfect consonance is most appropriate for
this, when for example the question closes on a sixth; whether one would
do it ascending or descending: that does not always matter, especially in
recitative.
-—64—
Gasparini sets the question: why doth thou not believe? in an aria as
number 1 below, namely descending and ending on the sixth. At another
place, number 2, he uses the usual form and ends on the fifth. This is
also good, and we do not wantto criticize it in any way; yet it can also
be feasible through the sixth, as in number 3, and it is not as ordinary as
the former.
No. 3.
* Pies es
ao epee=
Ge. HS
quid dolecis? &c,
ESSE
-65—
Now would anyone believe that there would be a threefold
distinction in exclamations, just as there is a twofold distinction in
questions? yet, on investigation, this is found to be quite tue, and of
course obliges the composer to fashion such outbursts in just as many

ways, though only one type of sign (!) is used for it. The first type
comprises astonishment, a joyous acclamation, or a rousing command.
Eg.
I, Monarch!
GroB michtigster! Du bist der unbesiegte Held!
1. Monarch!
Mostpowerful! Thou art the unvanquished Champion!
2. Vivat! Vivat! ewig lebe,

Ewig bliih Hammonia!
2. Hurrah! hurrah! live eternally,

Flourish eternally Hamburg!
3. Knalle, donnerndes Geschiitz!

Krache, mit beflammtem Blitz!
3. Fire, thundering cannon!

Crash with flaming lightning!
And here joy plays master; it is the reigning passion: Hence nothing but
lively and rapid movements of sound must be used here; though
especially large and wide intervals.
= 66 =,
The second type of outbursts or exclamations comprise all wishes or

heartfelt yearnings; all entreaties, appeals, laments; also fright, dread, and
terror, etc. The last ones require melodic vehemence, which is best
expressed through rapid or fast sounds: though yearnings and the other
traits always have grief as their mother. E.g.
Himmel!hast dufiir mich Armen

noch Erbarmen,
Ach! so steh mir itzo bey.
Heaven! hastthoustill compassion

for this poor wretch,
Oh! then help me now.
Chapter Nine 401
Here, according to the circumstances, sometimes large intervals but not

common ones, and sometimes small and extraordinary intervals must be
used. Tenderness reigns there aboveall else.
-67—
The third type of exclamation is true scream, which often originates

from extreme consternation, astonishment, or from frightful, horrible
events, which often ascend to the heights of desperation. As when a Cain
is represented as exclaiming:
Erdéffne dich, Rache, der schmauchenden Hole!

ReiB mich zu deiner Glut hinein!
Ich liefre dir meine verzweifelte Seele! etc,
Vengeance, open yourself, to densely smoking hell!
Draw meto thy fire!
I deliver unto thee my despairing soul! etc.
~68—
I would truly, for my small part, readily approve the complete
discarding of such much too ghastly, dreadful ideas from beloved music;
yet if they are still encountered, one must nevertheless know how to deal
with them properly. What mostly matters are the different affections and
cognizance of them. Now here is pure despair, and one may thus
accomplish this with nothing but confused intervals which have an
unruly relationship with one another, such as major and minor thirds
together, etc., and one may choose a frenzied tumult, fiddling and
whistling for accompaniment for the impious, wicked scream, for which
the Pyrrhic meteris well suited.
-69—
Perhaps writing here par parenthese, as it were, a few words on

parenthesis itself, would not be inappropriate for the conclusion of this
chapter. This caesura is an interpolation where certain words which are
isolated from the rest through an enclosure ( ) interrupt the course of
continuity of performancea little. The thing is not really very musical
and in my opinion might just as well not be used in the melodic
discipline. However, becauseit occasionally appears in arias, though more
often and more fittingly in recitative, he who may want to proceed
correctly with such enveloped words might only consider whether his
interpolation disgresses muchorlittle from the principal aim of thetext:
in as much as the melody mustbe interrupted little or a great deal
according to the circumstances.
-~70—
The following may serve as an illustration of such a parenthesis
which seems to digress rather far from the true course of the text:
althoughit is aslittle made for music as the second example.
Wie leicht ists dem, der so mit Raupen handelt,
Daf. er auch unsern Staub (da ohne dem (dies) bekannt,
DaB nichts zu nichtes wird) zu seinem Ruhm verwandelt.
Howeasy it is for him, who deals thus with whims,
To transform our dust(since anyhowthis is known,
That nothing becomes nothing)into his fame.
If such. is to be sung, then the tune would probably have to go low as

perhaps from the mid-range ofthe soprano to the mid-range ofthe alto,
at least a fourth orfifth, as if it were another part.
pals
Here we have a second example of notable interpolated words
which is not so farfetched:
Um deine Gnade nun, o GOtt, recht zu ermessen,
Und der vergangnen Noth so bald nicht zu vergessen:
Soleite mir (daB ich der Kranckheit Jammer-Stand,
Und der Gesundheit Schatz recht bilde) selbst die Hand!
In order to consider thine mercyrightly, oh God,

And notto forget the past need so soon:
Lead me(so that I properly recognize the misery
of sickness, and the treasure of health) by thine hand!
wD
In an ode:
Dieser ungeheuren Griinde

(Die dochin sich selberleer)
Grund-und Grenzen-lose Schliinde
Schlagen, wie ein wallend Meer, etc.
Limitless and boundless abysses
Ofthese immense realms
(Which themselves are empty)
Pulsate, like a boiling sea, etc.
Chapter Nine 403
Andin an arioso:
Er will (0 Wunder-Huld!) fir alle seine Gaben,

Fiir die so herrlichen unzehlichen Geschencke,
Nichts, als daB man nur Sein gedencke,
Nichts, als ein friliches Herze, haben.
Hewants (oh wondrousgrace!)forall hisgifts,

Forthe so noble, incalculable gifts,
To have nothing, but that one would only think of Him,
To have nothing, but a joyous heart.
In an aria on theflagellation of Christ:
Dem Himmelgleicht sein buntgestriemter Riicken,

Den Regenbigen ohne Zahl,
Als lauter Gnaden-Zeichen schmiiken:
Die (da die Siindflut unsrer Schuld verseiget)
Derholden Liebe Sonnenstrahl
In seines Blutes Wolcken zeiget.
His weal-covered back resembles the heaven,

Whichis adorned by countless rainbows
Assigns of grace:
Which(asthe Flood of oursin dries up)
Reveals the bright sunbeam of love
In the clouds of His blood.
73
Nowif interpolations have such a becoming continuity with the rest
of the presentation or contain short exclamations, then one also does not
need an unusual division of the melody; but needs to proceed according
to natural discourse. Pauses and resting places are not at all suited for
that: For they hinderthe continuity and injure the cohesion of the rhyme
as well as the sounds in their course far more than can be useful to the
intellect.
—74-—
I believe, whoever freely and sincerely has desire to promote truth,

even if he were the greatest poet of our time, will have to admit that
frequently the parentheses andinterpolations are of a constrained nature,
which must very often be employed only for the sake of the rhyme. No
one however who hastheslightest insight into the melodic sciences will
deny that all interpolated wordsareoflittle or no use in song and should
therefore be dealt with quite rarely.
ee
Yet to give an example from David of how a parenthesis can best
be used in music, one should set the words of Psalm 124: If the Lord
were not with us, for the whole choir; and should then let one voice sing
alone: (Thus sayeth Israel!) followed with the Tutti: If the Lord, etc.,
then this and similar interpolations will have a beautiful effect.
— 76 =
Since the period (.) ends everything, thus consideration of it should

also now conclude the observations of this chapter. And though it is the
greatest among the caesuras of musical speech, there is very little to
observe on it in melody: for one has nothing further to do but apply, at
the place where the period is found, a full cadence, a truly complete
close, and lastly a complete andfinal cadence onthe tonic.
Chapter Ten.
On the Meters Appropriate for Melody.

* * *
-j/-—
In the sixth chapter of this part we have spoken of the mother,

namely rhythm; now in this tenth chapter the daughter, i.e., meter, will
also be briefly considered: for they as it were have this relationship with
one another. The role which the former has in poetry originates entirely |
in music; however, whatever laws the latter gives to song are actually |
.
inherent in poetry. We will bring up only as many of these as serve our |
purpose with melody.
A meter or rhyme schemeis the orderly combination of different or

even similar syllabic feet, by means of which they are enclosed within |
certain limits and are measured. It follows from this that the melodies in
some pieces are constructed according to rhyme schemes and must also |
set similar limitations. But never identical ones. |
—i—
It is therefore certainly incumbent upon a composer to investigate

diligently the nature and character of metrics, together with all the
pertinent matters. Otherwise his work will often be imperfect, or will |
overstep the line.
~q—
The poets have a proverb: Metra parant animos, i.e., the emotions
are animated through verse. They say such quite rightly: for nothing
penetrates the heart as much as a well-arranged rhyme scheme,especially
when it is animated through an agreeable melody.
~S—
We notice this verity most often when poetic and prosaic
presentations are alternately sung: for then the former would necessarily
always please far more than the latter. The reason is that prosaic
speaking always has a curious mixture of the syllabic feet and has no
measured, uniform constraints by which it is easily grasped, noted and
certain to the hearing.
-6-
On the other hand, the ordering of the feet in poetry and the well-
constituted alternation of meters, even if there were no rhyme scheme,
produces something initially so certain and clear in the hearing that the
mind enjoys a secret pleasure from the orderliness and accepts the
performance so muchtheeasier.
Ja
One soon sees that this whole metrical theory actually belongs to
poetry. However, a musician cannot really compose something correctly
who has not also done something in poetry, as has already beenindicated
above several times.
—8—
In olden times these two arts, music and poetry, were as though
inseparable, together with everything which concerns tones and words:
and by rights they still should be. But just show me one present-day
introduction to music or method in which something would be found
which could be related to this.
—-9—
It is true that a completely different form has been acquired

nowadays byall sciences andarts (if one compares them with antiquity),
and they have so to speak attained their mature years whereby each is
expanded and explained so far that each has to have a specialist who
would practice each exclusively: as has already been mentioned above in
another context.
-10-—
Yet this is not to say that one shouldset aside other related sciences
or disciplines, and should cultivate them neither with works nor with
words. Noart can exist without the help of the others: they take one
another by the hand. However the aim must only be set toward a single
objective or focus.
-fj=
Certainly no one will require of a composer or Capellmeister that
he be a poet ofthe first or second magnitude. For to possess similar
exceptional merits in both, namely in music and poetry, might really be
considered a miracle.
Chapter Ten 407
af
Yet meanwhile a melo-poet must have good instruction in all types
of verse; even if it were to no other purpose than to show better paths to
the frequently unmusical rhymesters. But how can one show another
such paths who has never walked them himself, or is not familiar with
them at all?
==
Even more, a melo-poet must as necessary be able to write a good
verse himself, or at least know how to judge thereon so that he could
choose something good. Now anyone who does not understand metrics
at all, not to mention anything else of poetry, would not be capable of
doing either the one or the other.
Jd
Now we should really go through all metrical types, indicate their
source, and make evidenttheir application in music or melody. Though
this would cost us much too much time, and also would consume no
tifling amount of space. Meanwhile one has the prosodies before one’s
eyes and can after all focus on the nine types of rhyme schemes reckoned
therein.
-/5-
Onewill probably not soon have occasion to produce Greek meters

around here. Though quite recently the noble French have been so
perverse that they have produced these on thestage, what is more in the
Greek language.
-16—
Mr. Niel, a composer in France, has recently written and produced
a Ballet des Romans.Its second act is called La chevalerie, and has on
pp. 120-134 in the score, which is neatly engraved, an ode, a Greek ode
dedicated to love.
-/I7-
The beginning of this ode reads thus: Ted emer a tis ouden
melpestai, men abra, gelason, etc, which is translated in the following
way: Que chacun dans un si beau jour ne songe qu’ a chanter & 4 rire,
etc., i.e, On such a beautiful day let no one consider anything but singing
and laughing!
sere
=< 18—
I quote this the more readily because it is something quite recent

and the sort of thing which one would scarcely look for in a galant work.
Moreover it is not to everyone’s liking to give seven salers for eight
verbose pages. Onewill spend scarcely as many marks on a thing of this
sort, even if the notes are crowded togetheras closely as possible.
-19—
The Latin rhyme or verse schemes might well be needed by many.

One can in fact not even intelligently evaluate the church pieces of the
French, Italian, and other peoples without knowledge of Latin rhyme;
not to mention the propriety of their musical setting. Neverthe-less, they
sound quite well. E.g.
Exultate, jubilate,
Coelestes Chori!
Honores dare,
Animae gratae,
Deo Redemptori.
-~20—
Meanwhile we still must direct our primary and greatest attention
to the German meters, of which some countfour, the iambic, trochaic,
dactylic, and anapestic types; others however count fewer, and trace the
difference to the fore-syllable. They seem to have a good reason for this:
whereby then the iambic and the trochaic constitute only one type; the
dactylic and anapestic the second, namely with the addition or omission
of the so-called fore-syllable.
-2] —
There are seventeen categories of the iambic and trochaic rhyme

schemes, namely from twoto sixteen syllables in each line, all of which
frequently require special consideration in the composition of melody;
yet with this exception, that neither the two-syllable ones nor the very
long meters, especially in so far as they exceed eight syllables, can be
best used in melody. Thus the middle road is here also the mest secure
and the most commodious.
-22~
Wewill give a few examples on this. One commonly encounters the
iambic type of three syllables mixed with other species: because it other-
wise alone, after a while, might sound tootrifling and childish, and also
could require great constraint in composing as well as in rhyming. E.g.
Chapter Ten 409
Erschiittert, Ohconvulse,
Erzittert, Ohtremble,
Thr Pforten der Holle! Ye gateways of hades!
Jz
Now such a phrase would be set to music in at least four ways.
This is considering rhyme scheme alone: for otherwise it can be done in
several ways. Here is an effort at showing how this could be done twice
in even, and twice in uneven meters:
Ee Sep P
eee
Erfchinttert, ersittert, ihe Pforten der Hote!
_pul
pTper esft ¢,
—
——
C
: Erfchittert, ersittert, irae. Erfchittert, erpittert, ihe Pforten derre.
Crfittert, ers git tert ihe Pforten der a.
~24—
We do notparticularly want to pay attention here to the character
of the words: especially since convulse and tremble, if they are to be
expressed strongly, might be better suited for the accompanying
instruments than for the voice. All that is now considered are the various
ways in which the meters can be treated in melody, and which
combination of metrical feet is best suited to this or that rhyme scheme.
-—25—
Such permutations enrich melodic composition uncommonly

because they simply occur everywhere, andarising from their advantage
are means by which the musical rhythms add to or subtract from the
length or brevity in different ways, according to what the composer
deems as good. Now whoever understandsthis advantage, as it has here
been demonstrated clearly and in German, can markedly ameliorate his
task with it
-26—
The Italian tongue allowsshort verse lines better than German; and
they are also very frequently encountered in Italian poems appointed for
music. However, it could do no harm if the like were used more by our
compatriots, and the long meters were used rather more sparingly.
ao
Apostolo Zeno, the Imperial poet and historian, is a master and
paragon of such short meters. E.g.
E debolezza, Tis failing,

E Frenesia. Tis folly,
Finger Fermezza Feigning tenacity
Per Albagia, etc. Forconceit, etc.
a8
Iambic metrical lines with four syllables occur quite frequently in
German,and are especially well suited to cheerful, lively pieces, as:
Auf! tapffrer Muth! Up! Stout courage!

Auf, auf! zur Wut. Up! Up! Torage.
ay |
And one can examineall of them one after another thus, up to the
seven syllable ones, which sound somewhat serious and meditative with
nothing but trochaic feet, though morelively with the iambic. E.g.
Zarte Blatter, meine Lust. Tenderpetals, oh myjoy.

Ruh und Sonne Peace and sunshine
Strahit auf eure frische Brust. Beam on your innocent breast.
* * *
Weg, unbekannte Schmerzen! Away, ye unknown troubles!

Thr bleibt aus meinem Herzen —_Youare banished
Aufewiglich verbannt, Forever from my heart.
—30-
The dactylic type, though it can be used in various ways, yet

appears to be most suited to music when it has only four to six syllables
in each line of rhyme: for the shortest meters in this as well as other
verse types are always the best for the composition of melody. The
reason among others is because they permit and insert the spondee
frequently, namely at the end oflines, with feminine rhymes, and thus
make more variations available for the melody: which even increase in
Chapter Ten 411
number when the trochees are alternated, perhaps line by line or

otherwise according to the circumstances, with the iambs in masculine
rhyme terminations.
=i
The ancient mastersingers, who sang uninterruptedly without orna-
ment, wanted no more in a line of verse than thirteen syllables at the
most: because one, as they said, probably cannot have enough breath to
sing more syllables at once; especially if a charming metaphoris to be
perceived in the rhyme.™ NoItalian poet uses more than 11 syllables in ,
a line intended for singing.
sn PF ne
The most common dactylic meters are also from 11 to 12 syllables;

the shortest from 5 to 6. An example, in which they both occur together
with the above-mentioned permutation, mightbe the following:
Jauchzet nun freudig, ihr kriegrischen Schaaren!

Die Augen, die selber dem Himmelgefallen,
Erscheinen euchallen:
Drum lasset das Jauchzen auch Himmelanfahren.
(A shorter one):
Lebt alle vergniiget!

Die himmlische Macht
Hatdieses gefiiget,
Wie’s keiner gedacht:
Thr habet gesieget,
Drum lebet vergniiget!
Exult now joyously ye warrior hosts!

The eyes which arepleasing even heavenitself,
Appearto youall:
Hencelet the rejoicing also reach heavenward.
(A shorter one):
Letall live pleasantly!

The heavenly power
Has achieved what no one
Hasthought possible:
Thouhast truly triumphed,
Thereforelive joyfully.
=
Now how this metrics, if one takes the time and leisure forit, could
be of incredibly great help to a composer who perhaps suffers a little
deficiency in invention would be further elaborated on here. But we must
save space for the third part of the work.
3p—
Yet not only is the truth of the usefulness of such a metrical
discipline sufficiently illuminated from the little which has been said; but
also those who might want to pursue their teaching according to our
proposal and endeavor can glean from this a basis for further reflection
and for the entire practice, Still one more thing might not remain
unmentioned here, namely the following.
-35—
With the dots on notes, with the ties which join one note onto the
other, consequently with the manifold values which are most precisely
arranged, we caneasily obviate all haituses; with which the composers of
the Middle Ages found so muchdifficulty, when the meters at the end of
the one and at the beginning ofthe secondline did not always run along
in one type of foot: for they made all sorts of difficult movements and
patched in much by way of unnecessary pauses in their songs.
Chapter Eleven.
Onthe Sound of Words.
* * *
-j]-
Just as the theory of passions or affections! is the most important

in the science of melody; that of the caesuras of musical rhetoric! is the
most essential: Then conversely one might boldly consider as the
smallest point the matter at hand, which deals with the character of the
sound of words which are to be used with a melody, if one considers
them in and for themselves, but with a view to the tune of the song.
Hence we just want to have a few words on this.
—2—
Here many a person might ask: if this is so, then why make a
special chapter made for this small matter, and whyreally is it presented?
Answer: For this reason, because in it resides the common and great
error of most of the composers who easily become enraptured with the
quality of words; dally excessively with their mere sound; employforced,
untimely imitations on them, and bring in things the mind knows
nothing of, has no part in, indeed, which often run precisely contrary to
it. What we therefore learn hereis that we imitate the nonsensical.
-j-
Now whoever really understands this can avoid similar obstacles,

and whoever knows how to makethe least of said qualities and sterile
word-sounds graspsthis little chapter correctly and in a general way. Yet
so that we present the matter still more clearly and more specifically,
some unsuccessful examples should be given for discussion as well as for
admonition.
=o
If one set e.g. the words: Twelve disciples follow Jesus, etc., and
thought he was doing best if he would not only compose a long, long
passage for the instruments, but also for the vocal part, so that twelve
parts saunter in canonically, one after another. Now the question arises
whether this would be particularly judicious? I should simply say no to
that, and should rather find something constrained and miserable in it,
all artifice not withstanding: for the context and the function of the
words do not refer to following at all; but to its opposite, namely to

abandonment, since all disciples eventually leave the Saviour alone, so
that finally Joseph alone had to take his remains.
-j—
It in fact is not to be disapproved if with just such an opportunity
or another perhaps a little play on sound (lusus sonorum) occasionally
appears in the accompanimentas if by chance; however, it must happen
very discreetly; one must not make a big thing out of it; much less
commend and urge such nonsense on thelisteners as something desirable.
-6—
There are certain puns in speaking and writing which come out
very foolishly and pedantically, and which an intelligent writer or speaker
will shun like the plague. E.g., if someone would want to Latinize the
name Villars by multipodex and the like. In the same way often purely
musical puns occur in composition which are almost insufferable, as
when one would want to express the trembling shimmer of the murmuring
waves with the following notes:
Co
Das jit + : 4 . ‘ ternde Gldne

- fee Ff Pt es cette
# 5 $ ’ 3 6 ben Der fprnd 6

Chapter Eleven 415
then this would seem rather excellent to many a depraved taste: yet the
above is not only somewhat excessive and extravagant, but also very
offensive, and in a word, quite forced, on accountofthe hi, hi, hi, and
the hu, hu, hu, in zittern and sprudlen: since such non-essentials are
better suited for instruments than for voices, considering that trembling,
shimmering, and murmuring are only epitheta or adjectives, but not
expressions of the sort on which the meaning of the discourse rests,
They should hence never be worthy of suchattention.
-7—
On the other hand, there are other assonances which are certainly
nice and worth lot. Augustinus and Bernhardus were very successful in
that, and one by the first of these comes to mind, which reads thus: si
modo credis, quae vides, quid est tua fides? Cicero occasionally amused
himself in prose works, and indeed in things that were quite serious, not
only with mere assonances but also with Latin rhymes, as if they were
accidental. I recall that he says this in one place: ad quam legem non
nacti sed facti, non instituti sed imbuti sumus.
cases
Thusit is also praiseworthy and clever if someone provides an aria
which deals with transitoriness with an accompaniment from which this
quality is perceived more than from the melodyitself. E.g., from Telemann:
¢.
("#4
It is as little to be criticized, when the words principally concern

ascending and descending, if the composer of melody does not ignore
such primary considerations in his notes modestly and without special
constraint: E.g., by the same person:
Wie hod bit ou geftie + + gen, fo tief verfalines MenfdenSind? x.

-10—
But if one will thoughtlessly never let the words: deep, high,
heaven, earth, joke, suffer, joy, descending, ascending, tears and
thousandsof the like, pass by in the melody without having their special
figures and melismas; regardless of whether theintelligence deems such
as worthless: then one makes a mockery of music. I do not see what
reason there particularly might be to express exaltedness in these words:
Donotstrive for noble things. Losing heaven, and winning the earth, is a
proposition which is not spatial or literal, but figurative, also therefore
requires no special raising or lowering. Saving the eyes from tears is
more consoling than weeping; thus does notlend itself to lamentation.
The words: I speak not of joys, and I do not feel like laughing would
sound bad if one used runsorleaping notes on joys and laughing.” The
entreaty: Keep me from falling into sin, must not be indicated through
the fall of the voice, and there could be more such observations which
aim not at the words but at their meaning.
af
I may well say, there would hardly be a single musical work, in
fact, hardly an aria, in which such weak andill-considered artificialities
do not appear; especially if the poet gallantly contributes, and, in the
place of sound thoughts, deals merely with the sound of words.
=72-
Now as the characteristics of certain words are often dealt with so
badly that the singer almost seems to laugh where he should cry, and
vice versa; thus also the mere ring, tone, or sound of certain syllables has
its own burden, and diphthongswill not emerge unharmed without being
miserably hacked to pieces and dismembered into many ha ha ha, he he
he, ei ei ei, etc.
= [=
Whyis it essential to prescribe four motley beats for the ev in
every? Why mustthefirst syllable in terra have twenty-four notes before
the second is heard? Death, though it is a fearful things, deserves a
rippling of 5 beats, and subsequently oneofsix to seven. How does the
first syllable in serpent’s-head obtain so many crooked turns, when the
tail of this animal is more entitled to this? Speeding is an unfortunate
word, it must always be tortured. Whoever has speed tends otherwise not
to hesitate long. Haste would be permitted neither to greet nor to thank;
but our hasty composers, one should think on this, their endings are too
long because they often place nice little morsels in the midst of them,
Chapter Eleven 417
see, they are still there, come again, and begin anew with spee----ding, so
that the more they continue with this the longer they delay. Here the
Lower Saxon proverbis true: The more haste, the less speed. Recently I
have encountered onthe little word always a flower of 40 petals, | mean
notes: why should that be? Fatherly had there a run of 6 to 7 beats,
aaaaa
-/4-—
Indeed, even if it were always quite all right that an a, e, or o
would serve as the pretext for such ornaments; still the i and u are
spared just a little, Bullet and basilisks must have ornaments. And oh!
what a wide field one has here to judge and justly punish? It can be
observed already from this small sample. Whoever desires to know more
can refer to Critica Musica, and indeed to its second part, especially if
he searches in the index for the titles which deal with Neuma, Melisma,
Passaggio, Worten, Texten, Wort-Aeffung, Zerreissung, and so on.
a
What moreis there to say on this? Lastly in fact it will be said:
that music is nothing but an empty sound, a tinkling ring: Vox,
praetereaque nihil, if we do not again consult common sense and choose
the kernel [Kern] instead of the husk.
-16—
Thereis still one more thing, Is it a great weakness if I make such
a joke out of the words of the Evangelist Luke 23, 5: He has taught
round about in all Jewery, and have the choir dally with the round about
so that the listeners not only laugh; but also are led to entertain I know
not what improper thoughts? This all derives from the wrong comprehen-
sion of the character of the words. I warn of that here conscientiously
and with goodintent.
-]7-—
Meanwhile, my reader can rest assured that as certainly as this
chapter is the smallest in the present book it could just as easily be
the
largest; if I purposely included a citation of everything here which is
created on this daily and anew, and which in the greatest
degree is
worthy of reasonable criticism. Yet, we are done with it for now;
we can
use our time and the remaining space muchbetter.
Chapter Twelve.
Onthe Difference between Vocal

and Instrumental Melodies.
* * *
-/] =
All music making is done either vocally or instrumentally, and

indeed the latter is done oncertain tools suited for it, which, preferably,
are called instruments. Just as the human voice likewise has its own
natural tools; though these are distinct from theartificial ones: the latter
are made, the former inborn. From this it follows that there must
principally be two differentclasses of melodies, which one calls vocal and
instrumental. For one must deal with things differently which are made
through art than with thé natural and inborn.
-2—
Now there are indeed plenty of people who say, a melody is a

melody, be it sung or played. It is also to this extent true, if one
examines already constructed melodies in the most general way and
considers, that those appointed for singing can be played much more
easily than those intended for instruments can be sung; but here the
question is of those melodies which are yet to be constructed, and of the
differences which we should make use of with these.
-j-—
Others even say: no difference would otherwise be necessary than

that which the construction ofthe instrumentpresents; and therewith the
matter is aided exquisitely. Finally, the third group notices that this
subterfuge does not help at all, and that the difference must certainly
reside more in other things; however, they do not know howtofind it.
Now the latter must be enlightened, which is to be donehere.
eG
Thefirst difference, of seventeen between a vocal and instrumental
melody, consists in the fact that the former is, so to speak, the mother,
but the latter is her daughter. Such a comparison shows not only the
degree of difference, but also the type of relationship. For as the mother
Chapter Twelve 419
mustnecessarily be older than her natural daughter; so also vocal melody

undoubtedly existed earlier in this netherworld than did instrumental
music. Hence the former not only has rank andprivilege, but also directs
the daughter to adjust herself after her motherly precepts as best
possible, to make everything beautifully singable and flowing, so that one
might hear whosechild she is.
-j5-—
From this observation we can easily perceive which among the

instrumental melodies are true daughters and which on the other hand
are produced as though outside of wedlock, that is according to how they
take after the mother, or again are different. On the other side now the
motherly quality requires much modesty and reservation just as
contrariwise childishness is more lively and youthful, also from this it can
be concluded how improper it would be if perhaps the mother would
deck herself out with the attire of the daughter; but the latter would
select the attire of the matron. Eachin its proper place is the best.
-6—
The second difference between singing and playing flows

automatically from such a principle, namely the former precedes, and the
latter follows. As natural as this rule appears, indeed, as fair asit is; yet
it is usually almost always done in the opposite way. For who begins in
composition with a vocal melody whenheis to instruct others? Does not
everyone first reach for all sorts of instrumental pieces, sonatas, overtures,
etc., before he knows how to sing and write a single chorale correctly,
not to mention developing oneartistically?
-7—
I have been so deceived myself; despite the fact that I was

instructed in playing and singing at almost the same time. But in
composing another and a reversed order has been maintained. Now
indeed everything instrumentalis merely an imitation of singing, as it has
even already been mentioned thatit is said: sibiis, fidibus, canere, because
men presumably had earlier use of their throats, then they could
subsequently make instruments. For again can anyone who has never
been exposed toa true original construct good copies?
-§—
After the above natural reasons there are yet four others for why
one should begin with singing in the composition of melody, which
reasons, though they would permit a lengthy examination, must here be
referred to only briefly. Thefirst reason is that it is much moredifficult

to compose something for instruments which would be in the proper
style and would find approval, ie, would move the feelings of the
hearers to this or that passion: because there are no wordspresent, but
merely musical discourse. For, hearing a noise and even a harmony from
which one could not conclude whether it were fish or fowl would be
useless.
-9-—
The second reason is that one is blown along by the great freedom
with instruments to purely shapeless melody, and finally deviates so
much from the true singing style that subsequently it is almost impossible
for one to produce the original flavor from the new pot. We daily
perceive this with composers whose tradeis either the violin or another
particular instrument, namely that their vocal pieces smell of such, and
have more or less melodiousness in proportion to how the favorite or
chosen instrument is moreorless appropriate to the vocal style.
-10—
Wefind the third reason in the fact, that one does not in any way
learn the so very essential caesuras with the usual instrumentalstyle; but
takes his ideas as law: Subsequently then, when words are to beset to
music the sense comes off badly. However, the fact that the instrumental
melody would have to have its caesuras as correctly indeed almost more
correctly than the vocal melody will becomeclear below.
=J/J—
Fourth, with such instrumental pieces as sinfonias, concertos,

overtures, etc., one almost always directs his attention more to the
harmony and to the suitable texture of the parts than to a flowing
modulation; though this last should everywhere be the true goal. These
are the four reasons why the beginning must be made with vocal music
in teaching and learning: in so far as such concerns composition.
-I2—
Now similarly a young maiden naturally possesses and also

sometimes shows more fire than a serious mother; so that one is also
more lenient with the former than with the latter. And the third
difference in our melodies flows from this, namely that instrumental
melody would always have more fire and freedom than vocal. One
perceives the truth of this statement nowhere more clearly than when we
modulate some vocal aria, which has its own accompaniment, onto an
Chapter Twelve 42]
oboe or some other appropriate instrument, letting the remaining

instruments play the accompaniment forit. The violin style in particular
will not tolerate anything indolent, except for variety, but it will almost
always tend to have a certain lively movement; the singer on the other
hand, generally speaking,is ratherrestrained in this respect.
—/3-
This general principle produces its various special ones. Among

others revealed is also the fourth difference, that the vocal melody does
not allow the kind of leaps that the instrumental one does. If one would
for example compare Vivaldi’s concertos, particularly his so-called Estro
armonico, with the cantatas of Buononcini, then notthe slightest doubt
will remain in this regard.
—14—
If work of these composers are not available, there are many other
works which can serve the purpose; only these composers are
exceptionally strong, the first in leaping, the secondin restrained melodic
passages. They also have great perfection in both characteristics, each for
himself: For Buononcini composes many lively, bubbling instrumental
accompaniments for his restrained vocal melodies, and thus often
palpably reveals with a single little aria this difference in construction.
Vivaldi, though he is no singer, knew well enough to ban fiddle-leaps
from his vocal pieces so that his ariettas have becomea real thorn in the
flesh of manya practiced vocal composer.
=
If we consider singing and playing in and for itself, then we
encounter this fifth difference: that with vocal melody the nature of
breathing must be considered; which is not nearly so important with
instrumental pieces. Aslittle as this point might seem to many, just as
thoughtlessly is it sinned against by composers who are accustomed to
instrumental work and who try to compose something vocal; for they
makethelife of the singer bitter, and do not properly know how to give
him breath suitably.
-—16-
Most of those organists who have not themselves been singers lie
sick in this hospital, and often do not even know what the cause of the
malady is: they think that whatever is possible on their organ with ten
fingers and two feet can also be done well with the single, narrow little
tube of the throat; and thus they observe this difference very badly in
their melodies.
= fx
It is not our purpose here to show such composers how or when
they should facilitate the work of the singer: for to do this each par-
agraph of this chapter would have to become an entire chapter. We only
want to demonstrate briefly that there would be a big difference here in
the melodies.
—18—
Everyone will assent if I add the following as the sixth mark of
distinction: that some wind instruments likewise require their special
breath control, and that the instrumental melodies also deviate in this
markedly from the vocal. All readers who understand the language will
grasp this; though perhaps not everyone will have noticed it before now.
—19—
Whoever knows anything about wind instruments, and considers
that for example a trumpeter is not capable of outlasting an oboe or
bassoon; that thus the melody of the first must be short, occasionally
somewhat interrupted, subsequently the pieces appropriate for it would
have to be different from all the others including vocal melody, which
will have even less difficulty on further inquiry.
-20-
That which above we have established in general on the fire and

freedom in instrumental melodies and from which we derived a special
rule, yields even more of them which explain the difference before us,
especially: that vocal melody does not permit such an impetuous,
punctuated nature, as does the instrumental. And that would be the
seventh difference.
—-2j/-—
If the French, whom I consider simply because of their innate

vivacity to be great masters in instrumental matters, should give up the
dotted notes, they would be like chefs without salt. Yet it is certain, that
such sharp and pointed musical rhythms, as lovely and cheerful as they
may be for instruments, seldom have a good effect in the throat of a
singer, and to some extent are to be considered to be strangers in vocal
music, also as such, should appear only now and then, with great
moderation.
Chapter Twelve 423
~2-
If one now considers the range or compass of the human voice,
which rarely goes in the same strength far beyond an octave, then the
eighth difference follows just so: that the limits are not as narrow with
instruments as with singers. This relationship is almost as 2 to 1, indeed
in some instruments as 3 to 1, if one compares the human voice with
them.
~23-
Thus in such a wide space completely different leaps, runs and
turns can and may be made thaninthe limits of the throat: hence very
different melodies are appropriate. The ambitus makes this difference a
very considerable one, and whoever does not observe it will deserve little
thanks, if not from the listeners atleast from hiscolleagues.
4
In addition the various keys give a different aspect to the matter,
since vocal melody, which otherwise so very restricted, finds no difficulties
with any key; while instrumental melody commonly encounters very many
and substantial ones. For whether I compose piece for a singer in c
sharp orc,it is all the same to him: since he finds one key just as easy as
the other. But with instruments this is not the case: which reveals not
only their character but also very often the inexperience of the
performers.
—25—
If for example a flute is not suited to the key of g sharp minor and
its like, it is not the fault of the instrumentalist; however, if an organist is
taken aback by this, then he is to blame. Consequently, this ninth
difference is that one mustselect of keys according to the nature of each
instrument, which one does not have to do with vocal melody.
a IG
The tenth concerns the more artificial melodies (in so far as they
can be called melodies) as these equally reveal the difference between
singing and playing, and indeed this, that the instruments permit more
artificialities than do the voices. The many-tailed notes, the arpeggios and
all broken chords, as well as the little clever harmonic devices of
counterpoints, fugues, canons, etc., are easy to construct on instruments:
yet they require great discretion if one wants to perform them with
human voices: for there the principal phrases must be prudently
organized and contained within such boundsthat the principal part and
accompanimentfind room in a narrow space, which is not necessary with

instruments. Not to mention other circumstances which one can easily
imagine.
D7 as
Indeed originally fugues, counterpoints, canons, etc., were used only
for instruction of the choir boys in schools; even nowadays the players
do not have as much to do byfar with this as certain singers. Yet most
of the otherartificialities are not suited to vocal music at all; but are
more inherentto the instruments, and thus require a differentiation. To
be specific: partitas and otherartificial things are for the clavier; cou-
rantes and gigues are for the violin; so-called subjects are for the viola da
gamba; solos are forthe flutes,etc.
~28—
Moreover because, in the present-day style of composing human
voices are virtually always mates to the instruments, thus their eleventh
difference is specifically this: that, when both function together, the
instruments must not predominate. The intent here is not that the
instruments must absolutely never be heard in pieces of this type; but
only that they, when the voices move along together with them, should
take a step back, not be very loud, elevate the former, but not
themselves.
—29~—
The instruments may otherwise come into prominence in their own

way with. those modulations where the voices stop; yet so as not to
produce any detrimentto the principal goal. Many a beautiful picture is
almost obscured by the fact that it is enclosed in a golden carved frame
which alone attracts the eyes and impinges upon the painting, especially
with those viewers who do not think deeply. The comparisonis easy to
make here, and every connoisseur of painting will prefer to choose a
dark rather than a bright frame. It is just the same with instruments.
—30-
The twelfth and most familiar difference between vocal and

instrumental melodies is indeed this: that instrumentalists do not have
any. words to deal with, as do singers. But here there is something quite
unfamiliar, or at least unobserved. Namely, that the instrumental melody
can indeed do without the words themselves, but not the affections. How
most of our present-day concert makers and fathers of notes will answer
this point I do not know. They will disavow basic principles and prefer
Chapter Twelve 425
to displace the true purpose of music rather than yield in this: which
they can indeed doin practice yet never in theoretice.
-3] ~
Meanwhile because the proper goal of all melody can be nothing

other than the sort of diversion of the hearing through which the passions
of the soul are stirred: thus no oneat all will obtain this goal whois not
aiming at it, who feels no affection, indeed whoscarcely thinksatall of a
passion; unless it is one which is involuntarily felt deeply. But if he is
stirred in a more noble way and wants to move others with harmony,
then he must know how without the words to express sincerely all the
emotions of the heart through selected sounds and their skillful
combination in such a way that the auditor mightfully grasp and clearly
understand therefrom, as if it were actual speech, the impetus, the sense,
the meaning, and the expression, as well as all the pertaining divisions
and caesuras. It is then a joy! much moreart and a better imagination is
|
required if one’ wants to achieve this without, rather than with words.
—32-—
Now one might scarcely believe that the affections would have to
be as greatly differentiated even in little, disesteemed dance melodies just
as much as light and dark always can be. I only give the small illustration
that for example the affect is much more sublime and stately with a
chaconne than with a passacaglia. With a courante the affect is turned
|
|
toward tender longing. I do not mean howeveranItalian violin courante.
With a sarabande nothing but dogged seriousness is to be encountered;
with an entrée the aim is towards pomp and conceit; with a rigaudon
|
towards agreeable joking; with a bourrée the aim is at contentment and
pleasantness; with a rondeau cheerfulness; with a passepied vacillation
and instability; with a gigue ardour and passion; with a gavotte exulting
or unrestrained joy; with a minuet temperate diversion, etc.
—33-
With the jubilant joy of dancing it occurs to me that the wise

Spartans occasionally had very drunk slaves dance and rejoice before
their children in order to produce an abhorrence of immoderation in
them: whichis an usage” of the art of dancing and its melodies which is
well worth taking special note of, since certain ugly passions and vices
are being made despicable by it; while other praiseworthy affections and
virtues are being awakened.
RY
On examination of greater and more imposing instrumental pieces,
uncommon diversity in the expression of the affects as well as the
observation of all caesuras of musical rhetoric can be perceived even
more clearly if the composers are of the right sort: where for example
an™! Adagio indicates distress; a Lamento lamentation; a Lento relief; an
Andante hope; an Affetuoso love; an Allegro comfort, a Presto eagerness;
etc. Now whether a composer has thought onit or not, it can still work
out if his genius functions properly; which can very often occur without
our knowledge and co-operation.
~35—
If I hear the first part of a good overture, then I feel a special ele-
vation of soul; the second expands the spirits with all joy; and if a seri-
ous ending follows, then everything is brought together to a normal rest-
ful conclusion. It seems to methat this is a pleasantly alternating move-
ment which an orator could scarcely surpass. Whoever pays attention can
see in the features of an attentive listener what he perceives in his heart.
—-36-—
If I hear a solemn sinfonia in the church, then a prayerful

trembling comes over me; if a powerful instrumental choir is also worked
in, then great admiration is aroused in me by this; if the organ begins to
roar and thunder, then I am seized by a fear of God; thenif everything
is closed by a joyous hallelujah, my heart jumps in my body; evenif I
should know neither the meaning of this word nor should otherwise
understand anything else, on account of the distance or for other reasons:
indeed, even if words were not used, merely the effort of instruments
and expressive sounds.
~37-—
Now: though one cannotreally say that a composer of melody feels
a lack of or counts his cadences and rests, nor even that he always
considers in advance whether he should use a musical comma here, a
Colon there, and the like, which conditions nevertheless are indispensable
for clarity and for stirring the affections; yetit is quite certain that-skilled
and successful masters always diligently do it instinctively, thus do as
actually must be done, and always accomplish it with great diligence in
graceful rhetoric or writing. However, one enlightens a pupil not
insubstantially when, as occurs here, he is given opportunity to note such
things in their artistic form, and to get, though unconstrainedly, a clear
grasp of the need for such components, related matters and differences in
melodies.
Chapter Twelve 427
~33—
More occasion for considering this will be found in the next
chapter, with the presentation of the categories and typesof all or at least
of most melodies. And thus I mention this only briefly here, for, as we
have seen, instrumental melody differs from vocal pieces mainly in the
fact that the former, without the aid of words and voices, tries to say just
as muchasthe latter does with words. So much for the twelfth difference.
~39~
In poetry or prose all words have their syllabic feet, their measures
also in addition to the rhyming and verse-composition: and these pedes
are of the greatest strength in speech, as in singing and playing. Yet the
meters or rhyme-schemesare not present in prose, i.e., the measuring of
whole regular verses, lines, rhyme-terminations, etc. And in this vocal
melody reveals another, and indeed a thirteenth difference from
instrumental melody, because metrical music does not relate so much to
the latter as with the former, which is very fond ofverse.
—4Q—
One might say, it would indeed beself-evident that instruments,

because they do not use words, also do not require verse. Thatis correct.
However, because all verses are composed ofsyllabic feet, and our
instruments use the material, although not the form, then this fine
distinction is well justified. Moreover, despite the fact that the rhythmic
quality is nowhere more at home than in instrumental melodies, ‘where
virtually everything depends on it; the latter nevertheless are not
delimited by meter, but have the greatest freedom, that is they need not
restrict themselves to any of these as vocal melodies usually must do.
—4ql—
On the other hand, we base the fourteenth difference on the fact,

that a vocal melody need not observe its geometric progressions nearly as
precisely as the instrumental, especially the dance-melodies. These
progressions and their meaning are probably known in part from the
second Orchester and in part from that which has already been
mentioned above onthis in the chapter on melody.
-—42—
Here only this much serves instruction, that the metrical

relationship ofall instrumental melodies consists as it were in that which
otherwise, as we have just seen, is really retained by the vocal parts and
in certain respects there alone. Thus one can say: geometric progressions
serve the instruments in the place of meter.
fF
If the necessary feeling and expression of the affections in
instrumental melodies were mentioned above; then it is easy to see that
also the theory on emphasis would belong here, only with the difference:
that vocal melody derives this emphasis from the words, but instrumental
melody derives it from the notes. And thatis the fifteenth difference. This
appears to be quite a state of affairs. Yet whoever will not shun the
trouble of picking out certain prominent passages in good French
instrumental pieces will soon find where the knot would be undone, and
how one could make his tones speak with good emphasis. This musical
emphasis is unusually prominent in the ascending half tone. E.g.
—44—
It is rather striking that the small intervals generally serve much
more often than the large, for such matters of emphasis: almost as much
so as we have seen above with seemingly-insignificant conjunctions. It is
also to be considered here that not every melodic accent would contain
emphasis; but that the latter so to speak would contain a double accent.
In the cited few notes 8 are accented, and yet only one has true
emphasis, there the asterisk stands.
—45—
If we investigate the styles of writing music, then we will

immediately find that an important difference is generated from these,
which may be the sixteenth. Every reader can with little difficulty make
this clear to himself from the tenth chapter of the first part, and can
bring the style into the proper category.
—46—
Finally the types or categories of melodies themselves show as the

seventeenth the most obvious distinction of all, namely, vocal melody
requires a completely different species of song than instrumental melody.
Yet one should not confuse this with the styles of writing: for in a single
style very many different categories of melodies appear. Thusit is not
necessary to deal with this more extensively now, since the next chapter
is entirely devoted to the mentioned categories.
Chapter Twelve 429
-47—
It would not be difficult to amplify the noted differences even

further; yet, because everyone already perceives adequately, from what
has been stated, the kind ofscience contained in such differentiations,
and how essential this is for a musician who wants to distinguish himself:
that which remains will reasonably be left for now to the further reflec-
tion ofthe artistically assiduous.
Chapter Thirteen.
Onthe Categories of Melodies andtheir

Special Characteristics.
* * *
pa 1 _
Just as there are in music three main styles and ways of writing
which have their own subdivisions or derivatives, after the mannerofthe
content of the tenth chapter ofthe first part of this work; thus I find at
least some thirty categories of melodies which are contained in these
styles of writing, of these sixteen belong to vocal music and twenty-two
to instrumental music, and almost all of these possess certain derivatives.
-3-
Now since the indication of the organization and arrangement of
such categories must be just as much to the advantage of a composer and
to the clear grasp of his science, as inexperience in this respect causes
complication and impediment; we will briefly review the above-named
categories, together with their appurtenances: not as if everything would
be ended and perfected by this; but only so that a certain guide might be
given, through whose assistance one could afterwards progress. For I so
little desire herewith to limit the number of these categories, that I would
rather feel much joy if someone would take the liberty of increasing
them. I can easily say too little on that; but not too much.
—j-
The paths of nature lead from imperfection to perfection. We want

to follow in her footsteps, which no one can censure in matters of teach-
ing, and begin with the easiest song of the most familiar category of mel-
odies. Consequently, the most important but simplest type of aH vocal
piecesis:
Chapter Thirteen 431
I. The chant, cantus Recitativum ecclesiasticum

choralis planus, 5. stilum ligatum,
gregorianus, &c., e.g., the Collecten
to which one at- before the altar, etc.,
tributes Antiphonam, the antiphon
Canticum, the song or ode,
Psalmum,the Psalm,
Hymnum,the songof praise,etc.
—4—
As it is of antiquity, namely chant in general, when neither the beat
nor the value of the notes but only a rather limited compass of the notes
was used, consequently some imperfect things were created, such belongs
to the history of music. Nowadays, our chorales are mostly regular and
simple odes or songs, with various stanzas or strophes, and, as far as the
melodies are concerned, their aim is toward nothing other than a rather
restricted musical style, without special consideration of the caesuras or
other musical matters, and toward facility.
-j5—
Beauty however, as it appears in a heart-moving way in some of

our chorales, exceeds even the greatest art, and would alone suffice to
support our so often-invoked favorable opinion of noble simplicity. The
hymns, which include only pronouncements of praise and God’s great
deeds, the cantica, etc., were arranged initially, on their introduction into
the church, only for singing, as the altar recitation and the antiphons
between the priest and the choir still are. Nowadays the formerstill
continue somewhat; but psalms would use instruments.
-~6—-
Odes, if we consider them a category of melodies, sacred as well as

secular in content, gradually have been somewhat displaced from the
church by so-called arias: and truly not without reason, because the
various strophes require different settings, and hence can hardly be sung
sensibly on one type of melody, especially in the madrigal style of
writing.
4
—143—
Andthis is generally about the same as with the other chapters; yet
our goal, by virtue of thetitle, is only to give a report: thus we turn to
other things here, and leave this matter for further reflection to those
who desire to teach with the thought, that, just as a theologian reads and
comprehends the Bible more precisely than the layman, so also a closer
investigation of melodies is necessary for those who want to be
composers (especially for the praising of God) than those who are only
listeners. The writers or authors already cited offer good rules and
commentaries, in fact a helping hand; yet one’s own diligence and
serious contemplation of beautiful pieces of music, especially by
Telemann,can bring thegreatest benefit.
Chapter Fourteen.
On the Disposition, Elaboration,
and Ornamentation of Melody.
* * ok
-]/-—
Many a person supposes, if he has perhaps a small supply of

inventions then he is well off as a composer. This is however by no
means correct, and nothing is achieved by invention alone; although it |
certainly comprises about half the matter: since the start must be made
with invention. The work is half done which begins well. Howeverit is
also said: all is well that ends well. Disposition, elaboration, and
omamentation, which otherwise are called by their oratorical technical
names: Dispositio, Elaboratio, & Decoratio, pertain here; mention has
been made ofthese above, here however follows a broader explanation.
-2~—
Many begin a thing with such liberality that finally they simply
cannot keep the same pace: Horace complained about this in his time
thus: It started out to be an amphora, and ended up as little pitcher.”
We have no few examples of musicians whoare rather rich in inventions;
but in whom the fire soon goes out, and who, because of neglected good
disposition, of which they almost never think, do not properly elaborate
any piece, nor persevere to the end. Marcello is of a completely different
opinion, as we soon will see.
-j-—
On the other hand there are others who gladly snatch away
someone else’s invention from the great numbers of notes which fall ir
their hands, and often use very few of their own; yet they know how tc
dispose, elaborate, and ornamentthis theft skillfully to the extent that ii
is a joy. If I were to choose one of the two,either fortuitous inventior
or skilled disposition, etc., perhaps I would take the first; but I woulc
really prefer both together. It is as unusual to encounter this combinatior
as to encounter beauty and virtue in the very same person.
=
Now first of all as regards disposition, this is a neat ordering ofal
the parts and details in the melody, or in an entire melodic composition
about in the manner in which one contrives or delineates a building and

makes a plan or design in order to show where a room,a parlor, a
chamber, etc., should be placed. Our musical disposition is different
from the rhetorical arrangementof a mere speech only in theme, subject
or object: hence it observes those six parts which are prescribed to an
orator, namely the introduction, report, discourse, corroboration,
confutation, and conclusion. Exordium, Narratio, Propositio, Confirmatio,
Confutatio & Peroratio,
—-j—
It in fact no more entered into the minds of the very first

composers to arrange their compositions in conformity with the above
ordering than it occurred naturally-gifted, uneducated orators to follow
these six parts precisely, before eloquence became a formal science and
ar. Even now it would frequently sound very pedantic, despite the
correctness, if one were scrupulously to restrict himself to them, and
would always measure his art according to these academic limitations.
Nevertheless it is not to be denied that, with diligent examination of
good speeches as well as good melodies, these components, or most of
them, can actually be discovered in a clever sequence; though many
times the authors might have sooner thought on their death than such
guidelines, especially musicians.
—-6—
Even in everyday speech nature itself teaches us the use of certain

tropes, or figurative, allegorical meanings of words, certain arguments or
reasons, and how to maintain a certain order in them; irrespective of the
orators who have never heard the least of a rhetorical rule or figure.
And from this very natural impulse, which entices us to produce
everything with a good ordering and elegance, rules have finally been
discovered and specified by ingenious minds. Now only with music has
this seemed obscuretill this time; we hope howeverthat it will gradually
be cleared up somewhat, and our contribution to this will not be
withheld.
The Exordium is the introduction and beginning of a melody,

wherein the goal and the entire purpose must be revealed, so that the
listeners are prepared, and are stimulated to attentiveness. Most often,
when we examine a piece without instruments, with only the vocal part
and thebass, this introduction occurs in the playing of the thorough bass
before the vocal part; if a larger accompaniment is present, in the
Chapter Fourteen 471
ritornello. For we call that part which occurs at the beginning with
instruments, a ritornello: because afterwards it is repeated, and a piece
can as easily close as begin with it.
—8—
The Narratio is so to speak a report, a narration, through which the
meaning and character of the herein-contained discourse is pointed out.
It occurs with the entrance or beginning of the vocal part or the most
significant concerted part, and relates to the Exordium, which has
preceded, by means ofa skilled connection.
cassis
The Propositio or the actual discourse contains briefly the content |
or goal of the musical oration, and is of two sorts: simple or compound,
wherein also belongs the varied or embellished Propositio in music, of |
which nothing is mentioned in rhetoric. Such discourse occurs
immediately after the first caesura in the melody, namely when the bass
speaks up asit were, and presentsit as briefly as simply. Then the vocal
part beginsits propositionem variatam, unites with the thorough bass, and
accomplishes the combined discourse. Later on we will take up an aria
and, examiningit accordingto this ordering, see whetherthisis really so?
In this way everything which has been said here will seem much clearer
to the eyes and ears; though it may seem as new andstrange as ever.
= 10 it
The Confirmatio is an artistic corroboration of the discourse, and in

melodies is commonly found in well-conceived repetitions which are used
beyond expectations; this again must not be understood to relate to
ordinary reprises. The repeated introduction of certain pleasant vocal
ideas embellished by all sorts of good variations is what we mean here,
as should beclear from the example which follows.
-/[]-
The Confutatio is a dissolution of the exceptions, and may be

expressed in melody either through combining, or even through
quotation and refutation of foreign-appearing ideas: For through just
such antitheses, if they are well stressed, the hearing is strengthened in its
joy, and everything which might run against it in dissonances and
syncopations is smoothed and resolved. Meanwhile one does not find
this aspect of disposition in melodies as muchas in other things; yetit is
uly one of the most beautiful.
af Qi
The Peroratio finally is the end or conclusion of our musical
oration, which must produce an especially emphatic impression, more so
than all other parts. And this occurs not only in the course or progress
of the melody, but especially in the epilogue, be it in thorough bass or in
a stronger accompaniment; whether or not one has heard this ritornello
previously. Custom has established that in arias we close with almost the
very same passages and sounds with which we have begun: consistent
with which then our peroration is replaced by our Exordium.
-13—
Yet a skilled composer of melodies can also often nicely surprise his
listeners and produce in the conclusion of vocal melodies, as well as in
the instrumental postlude incidentally, completely unexpected changes
which yield an agreeable impression, from which completely unique
affections arise: and this is the true nature of peroration. The cadences
where one breaks off suddenly, ex abrupto, also provide useful means to
arouse affections here.
—14—
As evidence of that which has been reported up to here, let us
examine an aria by Marcello, according to which model one can
subsequently much more easily judge all other melodies regarding the
point of disposition. For, though the cited parts should not always occur
or follow one another in the same sequence; they will almost all be
encountered in good melodies.
iit lj-
The Exordium or introduction of our aria is this phrase or this bass

theme:
Immediately and without wide digression this is taken up by the vocal

part and, because it already discloses the whole intent of the melody, is
imitated in the following way sounding almost the same, at a higher
pitch:
Chapter Fourteen 4)
Andthis actually is the Narratio, which is continued up to a cadenc:

with the complete text.
=—J5—
Now next follows the contrast at the third, the bass takes up th
repetition, and as it were the discourse itself, which, as propositio simple)
appears thus:
For, though the same themeis kept, it acquires an entirely new strengtt
through transposition: and because this appears for the first time in the
bass alone, it is only a simple discourse.
=
The vocal part then joins in thus, with a marked variation, and
makes a propositionem variatam.
Whereupon the melody is continued some measures further in this way,

ull the sense of the text again requires an interruption.
—18—
Thenthe bass undertakes the theme again, and indeed just as it had
in the introduction: before it again ends the imitating vocal part meetsit,
gives the melody a completely different aspect, and thus in association
with the thorough bass accomplishes combined discourse, Propositionem
compositam, in the following way:
—]9-—
Moreover, after a few measures one again perceives the

confirmation, or corroboration of that which has already been performed
in various ways; but with a marked and beautiful variation, as is seen:
Half of musical oration is thus constituted, which then, usually, is closed
just as it had begun, andthis constitutes the peroration or conclusion.
—=
&e.
~—20-—
In the second part, after the writer has brought in his new narration
and has introduced an apostrophe,”hetears off so to speaka little piece
of his previous main theme, and makesa special one outof it; elaborates
it through linking and confutations (I mean dissonantreplies), until he
quite nicely thwarts the confutation, resolves it well and brings his period
to rest at the fourth of the tonic, after the manner of the Hypodorian. I
will place the whole phrase here and will explain it with annotations:
Chapter Fourteen 47.
a) Here the Peroratio ends. b) Here is a Transitus or transition, b:

force of which the preceding is joined with the following and the forme
transverses to the latter. c) The apostrophe or aversio begins here. d
This is the repetition or repercussio at the sixth of the tonic. e) Here the |
confutations acquire their resolutions: confutatio, rhetoribus dissolutio |
nobis resolutio.
-2/-
Next the bass takes up the full theme, through anotherrepetition a

the fourth; does something unusual with it, and is followed in this by the
vocal part but with further improvement: which looks almost like ar
amplification and verification (amplificationi & argumentationi) througt
which the melody approachesthefifth,
(ere
Ds
Then there follows a new repetition, or a repercussio at the fifth of
the tonic, which figure in the art of rhetoric, and in fact in the Figuris
dictionis [figures of speech], is given the namerefractio seu reverberatio
[refraction or rebounding]: yet so that this time the vocal part does not
imitate, but rather undertakes a contrasting motion. Finally the above-
mentioned, distinct clause ventures on to a new confutation with which
the second phrase or period closes, and thenit is repeated from the top.
{= aoa se ae
-23-
That can serve rightly as a fit outline which not only is well
disposed but also, before all in the second part, is most diligently
elaborated and reveals simultaneously with the six described aspects of
disposition some places which resemble the figuris dictionis & sententiae
(figures of speech and sentence), and which, though they actually belong
to ornamentation, we nevertheless cannot leave unobserved in passing.
Whoever so desires will not be diverted from examining this matter
further, and will be amazed how these things are to be foundso clearly
in almost all good melodies, as if they were intentionally appointed
thereto.
-24-
A great deal moreover resides in such an arrangement, and all
relationships of the parts which a piece may have depend on it: for often
excellent people and inventive composers tend to overlook this greatly.
Occasionally they succeed here; yet only by chance: since, except for
their natural gifts and instincts, they never have examined the true
fundamentals of nor at any time have made themselves theslightest rules
onany sort of orderly disposition.
-25—
The cunning device of the orators is, that they present the strongest
points first; then the weaker ones in the middle; and finally impressive
conclusions. That certainly seems to be the sort of trick which a
musician can use just as well as an orator: especially in the general
disposition of his work. And though it seemsas if this guiding principle
Chapter Fourteen 47
approved the procedure of those who know how to give their
aria
nothing but an outstanding Da Capo, where the beginning
and the en
appear equally strong but the middle is often miser
able; yet such
disposition still does not serve for this, becauseit is const
ructed mor
with a view to particular whole parts than to the gener
al well-being c
the presentation: for the mentioned cunning device itself
is not to b
understood as a general, but rather as a special arrangem
ent, so the
generally all parts, each for itself, has to observe these
three steps o
degrees: weaker, stronger andstrongest.
~26-
Yet moderation may also be advised here, so that one on
the on |
hand would do neither too much, nor toolittle: but rather
would giv |
the mentioned rule its rein: which occurs when one arranges
a wor.
beforehand and so to speak sketches it before proceeding
to elaborate it
Most composers, when only one supposedly good
idea is at hand |
proceed immediately, so to speak with unwashed
hands, to th
elaboration; no matter how it may turn out: when prudent
foresight her: |
Tequires making an orderly estimate in all things before
setting to work. |
-27—
When constructing large oratorios my Practice tends to be

t
proceed first with the conclusion of the entire work, and
thus dispose o
it with still fresh and untired strength of mind, but with
a certain viev |
toward the rest of the piece, so that it turns out properly.
Everyon:
should follow his own instinct: I do not mention this from
vanity, nor a
a precept; but merely because this has always worked
well for me, an
without boasting, has so stirred thelisteners, mainly at the
end where ji
also is most necessary, that much of it has taken root in
their memory.
—28-—
I have been told that the world-famous Steffani, even
before hi
took up a pen, constantly carried the opera or the work
at hand, a
written by the poet, for some time, and so to speak
reached a quite
detailed understanding with himself as to how and
in what form thi
whole piece might be best disposed. Afterwards he brought
his ideas t
paper. It is a good way; although one may suppose
that nowadays wher
everything must happen on thefly, few will be found
who care to usi
such considerations: be the reason ignorance, or laziness,
or even at
absurd arrogance.
99
Moreoverif uniformity in all things contributes a great deal, so that
such not only is pleasant to the human senses but also for that very
reason becomes more lasting, as is probably well known to good
architects: then it is easy to consider why some things, with age, lose
little or nothing of their inner quality and durability, though they might
receive a little damage from the elements as it were, whereas others, as
muchas they shine and boast, soon find their cradle to be their grave. It
depends for the most part on the good or bad disposition.
—30—
Thus whoever, regardless of his skill in composing, wants to make
use of the above-mentioned method in an unconstrained manner,
perhaps should outline his complete project on a sheet, sketch it roughly
and arrange it in an orderly manner, before he proceeds to the
elaboration. In my humble opinion this is the best way ofall through
which a work obtains its proper fitness, and each part thus can be
measured to determine if it would demonstrate a certain relationship,
similarity, and concurrence with the rest: in as much as nothing in the
world is more pleasing to the hearing than that.
-—3/—
This requires time and patience; whoever does not have these will
do better if he only writes spontaneously, as do most who do nottrouble
themselves in the least with either the general or the special nature of
disposition: for in this case there also are frequently curious and strange
contrasts in the pitch, in the beat, etc., which cannot be heard without
confusion and disgust. So muchfor disposition.
—32-—
Elaboration itself is roughly twice as easy: hence it requires little

instruction. For one encounters a path which has already been prepared,
and already knows for certain where one wants to go. Meanwhile elabo-
rations are not considered more trifling by anyone than those whoflatter
themselves with many inventions; which mostly amount to empty strange
whims. Where one rightly conceives neither the disposition nor the elabo-
ration of a work, there even the best invention is like a forsaken
Ariadne: good,nice, beautiful; but without support, protection andshelter.
—33—
People who do not want to make a sensible disposition then find
the elaboration much moretroublesome, and it takes them a great deal
Chapter Fourteen 4)
of time and work: that frightens away the easy-going and pleasure-lovir
gentlemen; work is especially not pleasing to them; they presume th
their extravagant distortions are just as good as a well-based inventic
that is intelligently disposed, and is therefore just as easily elaborated .
it is listened to with pleasure. According to the ideas of such hurric
composers a persistent application and a precise observation of tt
necessary precepts is suited only for the most dusty pedants and ba:
slaves. Who would want to be tied down and spend so much time c
the elaboration? A fine ornament, an artistic embellishment, a ric
trimming, etc., can compensate fully for that which perhaps is missing i
the thorough patterning or in a strong seam. My meaningis this:
Truly free, yet in constant obligation:

Circumscribed; but notservile.
—34—
Nowit is true that the quickest and most fervid minds, which ar
most suited for music and the related beautiful sciences, seldom have
superabundance of patience and time. Many can compose nothing
unless it be done in haste, or, as it is said in letters: raptim! Others, o
the other hand, the longer they pondera thing, the more theyerase an:
insert, the more insensible they become; and the more elaborately the
would want to elaborate their work, the worse and more constrained i
often becomes: this is because they undertake everything injudiciously
The first is an arrogance which is closely related with The Fall; fea
causes the second, as a simple emotion which also occurs in oysters anc
mussels when a knife penetrates their shell. And here it should be said
Nec tumide, nec timide, One should have neither too much confidence
nortoolittle.
= 35-
Each person should examine himself to determine whatheis like ir

this regard, and, with a certain moderation here, be guided by his innat:
impulses. Forit is always better, if one cannot change, to commita littl
artistic mistake in a decent natural manner,than to avoid orto disguise i:
through torturous efforts and constrained diligence. Such an untroublec
error is preferable to a laborious correctness,if it is not done too crudely
One must yield somewhatto one’s inclination.
—36—
However, strong impulses also do not always turn out well:

occasionally they succeed; very often they fail. This muchis certain, that
no good elaboration can suddenly appear without disposition preceding;

but time and patience are required. If however deliberation is properly
effected, one needs less time and patience. Even if I were to say this
several times, it would not hurt anyone.
—37-—
Invention requires fire and spirit; disposition, order and measure;

elaboration, cold blood and circumspection. It is said: a good thing
requires time. I mean that more for disposition than elaboration: for
where the latter happens languidly, indolently and constrainedly, it has
the very same impact onthe feelings of the listeners, namely languidness,
indolence and constraint. One should consider that as the absolute truth.
FR
On the other hand whatever is made in haste and yet turns out well
does not for this reason have any superiority to other works. Moreover
it is also unreasonable that one should pay an artist for his time rather
than his work. Still nature has not intended that a great thing which
aims toward praising God and toward moving human hearts should be
finished on the fly; but she has given a special_weightiness to each noble
task. Thus read the words of the honest Schuppi in the ungeschickte
Redner.
—39~—
Finally, neither all persons are capable norall times and hours fit
for good elaboration: and manyfeel like doing something today whichis
adverse to them tomorrow. Oneseldom finds a master rich in invention
who elaborates his pieces skillfully; on the other hand the most
painstaking artists are generally the most miserable inventors. In short!
whoever disposes well is half done with elaboration: it takes him only a
little time and attention; no great amount of work. It would be far
worse if the latter were too muchin evidence thanif it were not present.
~40—
If we finally say yet a word on embellishment, then it will be most
important to mention that such depends more on the skillfulness and
sound judgmentof a singer or player than on the actual prescription of
the composer of melody. One must add some ornamentation to one’s
melodies, and the abundantfigures or tropes from rhetoric can really do
goodservice here, if they are well arranged.
hf
One however should not by any means use decorations excessively.
The figures,? which one calls dictionis, have a great similarity with the
changes of the pitches into long and short ones, into ascending and
descending ones, etc. But the Figurae sententiae [figures of sentence]
concern whole phrases, their variations, imitations, repetitions, etc., etc.
So-called ornaments spoil many a beautiful melody, and I can never
pardon the French musicians, as much as like their instrumentalstyle,
when they crinkle and disfigure their doubles to the extent that one can
hardly perceive anything more ofthe true beauty of the basic notes. All
word-figures disappear in those figures of sentence, which in music,
where we substitute sounds for words, are best and should come into |
prominencebeforeall others, even with all transposition and alteration of |
the statement, i.e., of the passagesorlittle formulae.
-—42—
Concerning the famous Josquin, Printz“ relates the following

which pertains here: "When Josquin™’ wasstill in Cambrai and a man
performed an inept coloratura in one of his musical pieces which Josquin
had not written, it annoyed him to such an extent that he said to him:
You ass, why did you add a coloratura? if I had wanted that, I would
have added it myself: if you want to correct properly composed songs,
then make one of your own and leave mine unmolested.”
~43~—
This does not mean we despise ornaments. Well-used

embellishments are not to be despised at all, whether the composer
himself designs them,if he is a skilled singer and player; or whether the
performer produces them extemporaneously. We however most severely
criticize misuse, and also the insolence of the singers and players who at
the wrong time and without discretion presume to use such excessive
ornaments, from lack of good taste, indeed, good sense; as well as the
annoying fanaticisms of some much too fantastic composers with their
insane ideas, which they consider as jewels and pearls regardless of the
fact that they are usually only polished and coated glass. The
constrained and all-too-often repeated variations with dissonant intervals,
together with the many excessive freedoms which these cranks use,
produce finally an absolute Hottentot music.
—44—
The most clever among the true Italian composers harbor
completely different thoughts on this than their fanciful forefathers and
uncultivated colleagues. They prefer an unadorned, pure and simple

quality far more than all sparkling puppetwork,especially in vocal pieces.
And if indeed they cannot always check the run oftheir ideas, then they
tend to give the decorations to the instruments, which is quite good and
reasonable when for example the vocal parts proceed in a gracefully
simple melody, so then the instruments with good style add and
interpolate certain lively modulations and ornaments. I speak of such
composers as Buononcini, who was fashionable in England some time
ago, who knew quite precisely where the ornaments must actually occur
when they are prescribed by a composer.
—45—
Space and our purpose do not permit it, otherwise one couldeasily
introduce here the 12 word-figures together with the 17 sentence-figures
and see how many and which among them arefit for the decoration of a
melody. For what is for example more common than the musical
Epizeuxis [connection] or Subjunctio [joining], where one pitch is
repeated strongly in the very same part of the melody?
simple: figural:
—46—
What is more usual than the anaphora[repetition of a word at the
beginning of several sentences] in the composition of melody, where the
very same sequence of sounds which has occurred before is repeated in
the beginning of various subsequent clauses and makes a relationem or
relationship.
The Epanalepsis [repetition], Epistrophe [turning about], Anadiplosis

[reduplication], Paronomasia {word-play], Polyptoton [a figure of speech
where several grammatical cases of the same word stand together],

Antanaclasis [use of a word in an ultimate sense], Ploce [repetition of the
same wordin an alternate sense], etc., have such natural places in melody
that it almost seems as if the Greek orators had borrowed such figures
from music; for they are nothing but repetitiones vocum, repetitions of
words which are used in different ways.
edie
Concerning the sentence-figures, where the purpose in music is
aimed at the whole modulation, who does not know of the usage of
exclamations, three types of which have already been considered above!
as one part of the rhetoric of music? Where is Parrhesia [outspokenness]
greater than in the composition of melody? One can almost touch
Paradoxa, which presents something unexpected. The Epanorthosis or
the echo takes place in almost all of counterpoint. The Paraleipsis,
Aposiopesis, Apostrophe, etc., are all in some way at homein music.
—4g—
Manywill think here, we have already used such things and figures
for so long without knowing what they are called or what they mean: we
can hence be content, and put rhetoric aside. These seem even more
ridiculous to me than Le Bourgeois gentilhomme of Moliére, who did not
know that it was a pronoun whenhesaid: I, you, he; or that it was an
imperative when hesaid to his servants: Come here!
~49—
To tell the truth, I also cannot be moreprolix in this at this time:
partly because every intelligent reader will have already found the truth
of my statement from the above indications; partly also because J do not
want to seem a novice nor to drive the matter too far at onetime.
-50-
In the past our learned musicians have compiled whole books in

the usual instructional style on nothing but vocal ornaments (which call
Figuras cantionis, just as my predecessor would call them Figuras cantis),
which however have norelationship with the above-mentioned and must
not be confused with them. Among others wefind an example ofthis in
the work of the former Niirnberg Capellmeister, Andreas Herbst, as well
as in Printz, with which the third chapterof this part has dealt.
a
Although since things change almost yearly and the old ornaments are
out of style, are changed, or even make room for the more recent
fashions; thus one to some degree considers such writings sympathetical-

ly, and, if one were to write these down according to present-day
practice, in a few years this would probably be just as out of date as the
former. Yet there are some embellishments, as for example the accents,
the slides, the appoggiaturas, etc., of rather more enduring longevity, on
which, in so far as they concern the clavier, Kuhnau has mentioned a few
things in the foreword to his suites, which cannot be read without useful-
ness, Such ornaments really belong to the vocal and instrumental
performers’ art; however a composer of melody must give opportunity
for them.
~52—
One more thing is to be mentioned, namely that among the great
figures for elaboration, of which there are some thirty and which serve
more for lengthening, amplification, embellishment, ornamentation or
show than for real persuasion ofthe intellect, the familiar and renowned
clever device, the fugue, is quite properly to be classed, wherein the
Mimesis, Expolitio [embellishing], Distributio [distribution], together with
otherlittle flowers which seldom ripen to fruit find their residence, as in
a greenhouse. Moreinstruction onthis will follow in its place.
End of the Second Part of
Der vollkommene Capellmeister

Notes
* * *
Quod vasa spermatica in foeminis non tam necessariam dependentiam habeant cum
organis vocalibus. Musurg., Book 1, Anatem., Ch. 14,corollar. 2.
La seule Glotte de l'hommeest le plus sonore, le plus agréable, le plus parfait & le
plus juste des instrumens, ou pour mieux dire le seul juste dans ce grand nombre
des instrumens, soit artificiels, soit naturels. Car tous les autres soit a vent soit a
cordes, sont faux, en comparaison de la voix, méme les instrumens les mieux
accordés, excepté le violon seul Dodart, Memoir de l'Acad Roy. des Sciences
l'An 1700, p. 338.
Orchest. I, p. 254.
Joh. BEER (BAHR), the late, princely, Weissenfelic concertmaster, musicalische

Discurse, Niirnberg, 1719, octavo, in the 41st Chapter.
Namely secundum dici simpliciter, & secundum quid [it was a thing of secondary
importance to speak straightforwardly].
Un compositeur n’excellera jamais dans son metier 4 moins qu'il nait de l'erudition.
Hist. de la Mus.
Les disparates de la Musique, ses prétendues sailles, qui tourment souvent en

extravagances, ses detonations affectées & trop souvent repetées & les licences dont
elle est chargée, qui font une Musique de goutieres. Recueil de Perrin, Lettre du
30. d’Avril, 1659.
A historical description of Lapland, whose author was Johann Scheffer from

Strasbourg, was published at Oxford in 1674. One should not promote empty
jokes about things which he does not understand.
See among others the sixth strophe of the ode to Heinichen which precedes his
last work. However, what I briefly have to say on this in the third part must not
be ignored.
10. Some years ago I wrote the rough sketch for a Moral-Music, and assembled
sufficient material for thirty chapters: whetherliving and other affairs will last
long enough for me to put into effect the wholesome plan, stands with God; this
is as it should be!
ll. See Les Oeuvres de la Mothe le Vayer, Tome Il, Lettre VII, de U'inutilité des
voyages.
12. In his Compendio Musicae signatoriae & modulatoriae vocalis, p. 34.

486 Notes for Pages 264-268
13. Hence derive the proverbs: cantare tibiis, cantare fidibus, etc.: everything must
sing; that is, even that which is played mustsing.
14. The Greekscall it 2c5exOv, which meansthe art of singing, which teaches to
sing with various adornments. Doni, de Praestant Mus veter, p. 78.
1s. The so-called ornaments in music were previously called by their technical names,
coloraturas and figures, and were also not unjustly divided into simple, compound
and mixed ones, which would likewise have to be considered, if one would want
to write a special work thereon.
16. Germani boant; Itali balant; Hispani ejulant; Galli cantant, The good English
must have gotten around to. singing later than other people; otherwise this
braggart would not have spared them in his remark. Hermann Finck, who was
formerly Capellmeister of King Sigismundi 1 of Poland, who is also called August
I, in the fifth book of his Practische Music printed in Wittenburg in 1556, 4, very
nicely calls the mentioned boaster nescio quem parum nostrae genti aequum
censorem. It is to be mentioned of this very old book and its author that the
Finck whom Herberger mentioned, and Walther after him, was called Heinrich
and was an uncle of Hermann. Consequently he was much older and served
King Johann Albert and Alexander afterwards. The latter joked on account of
his name and income thus: if I place a finch /Fincke] in the cage, he sings to
me through the whole year and costs scarcely a ducat. That this was a joke is to
be concluded because King Alexander is otherwise praised on account of his
almost excessive generosity by all historians as well as by our Hermann Finck
the younger. Conrad Matthdi does not mention the Practicae Musicae at all in
the forward of his treatise on the Modis, but merely places the name Hermann
Finck among those authors of whom he had made use in his work. One can
observe more ofthis in the dedication of the above-mentioned Practische Music of
which the fifth book cited by us deals with our present matter, namely, artem
eleganter & suaviter cantandi, and therefore so much the more deserves this
position.
17. With distorted and gaping mouth, it was called some one hundred eighty years
ago by Hermann Finck, Lc.
18. Quaelibet vox, quo magis intenditur, eo submissior & dulcior sonus usurpetur; quo
autem magis descendit, eo sonus sit plenior. Id. Ibid.
19; Non solis praeceptis, sed verius usu, multa tractatione, longaque experientia
comparatur Ars eleganter & suaviter canendi. Herm.Finckius, Le.
See General-BaB in der Composition, p. 552, paragraph 3. The first words inserted
(according to the taste of everyone in individual experience) reasonably occasion
reflection. The others are placed here to please us Germans.
21. The appoggiatura is described in the esteemed work of Heinichen, p. 525. He

says that it is one of the ornaments known to Jncipienten (beginners) and could be
applied in all intervals by exercirten (practiced) people. The other definitions are
almost all equally as thorough andintelligible.
Notes for Pages 268-286 487
The port de voix consists in designating a note to a part
of the one which
Precedes it for anticipation of its value and sound or
for the anticipation of the
sound which is natural to it. J. Rousseau, Methode pour apprendre a chanter, p.
56. These are marvelous definitions,
23. The word supplement [Zusatz] is poorly suited to this ornam

ent because the word
Accen t is virtually the same since it is composed of ad to,
and canere, sing, and
means an addition, adjunct, or supplement [Zugesang, Zugabe,
Zusatz).
24, Tremolo is not a good Italian word: Tremolante would
be much better. Brossard,
p. 191, where he cites for example the Trembleurs (whic
h one now calls the
tremblers) from Lully’s opera Isis.
Mus. modulator, p. 41.
Brossard, in the indicated place, speaks of it thus: producing

on the same pitch
several notes with onestroke ofthe bow,as if imitating tremo
lo of the organ.
27. Mus. modulator, p. 51.
The word seems to be of German origin, coming from

Drehen from which Drillen
or Trillen derived. This, as is well known, is a military
practice consisting of
twisting and turning. The fact is that linen which is called
Drell [canvas] derives
from Drehen and our Trills or Driller are nothing but
alternating twistings and
turnings ofpitches.
29. In painting one calls it Groupe, that is, an assemblage of

several bodies one after
the other.
Generally such ornamentation is called Diminutionem Notarum

which in common
language is a variation.
31, L’Armonico Prattico al Cembalo by Franc. Gasparini, Venet., 1708,

4, p. 91.
32, If one could eliminate the very small animal there, I would
prefer to derive the
word from an impassioned kiss.
33. Est excogitatio modulationis quribus gratae, Don., de Praest. Vet Mus.
Theorator says that particular things must be drawn to
general things,
35. See Christoph Weissenborn’s Sriindliche Einleitung zur Teuts
chen und Lateinischen
Oratorie, etc., p. 223.
36. Some make only one /ucum causarum from these four.
37, This Jocus is also occasionally included in the preceding,
38. An obbligato bass is one which always or almos

t always must sound certain
written notes.
488 Notesfor Pages 292-305
39. principalis, instrumentalis, impulsiva & accidentalis causa.
At certain times and under certain circumstances such phrases result in the best
effect in the world. Capellmeister Hasse, my friend of longstanding, has often
shown that true charm would consist least of all in the use of dissonances.
41. According to the true proverb: Amor docet Musicam.
42. Adjuncta animi, corporis & fortunae.
43. Melopoeia is the faculty or effective skill of making song. Aristid, Quintil, LZ. de
Mus., pp. 28, 29.
As Monsieur Rameau and his gang are. Recently I saw something of his musical
work for clavier which pleased me much more than his inexplicable
contemplations. One perceives from the former that he must be a good organist
and from thelatter that he must be an affected composer; though the Jesuits now
praise him to high heaven. Traité de l'Harm., p. 142.
45. See J.U. Kénig’s Untersuchung vom guten Geschmack.
46. See the Traité de I'Harmonie by Rameau, BookII, ch. 19, p. 139; ch. 21, p. 147.
The most precious thing which is written is that harmony would be generated
first. I add: that which is generated must have parents.
47. Thus it is very absurd for one to want to imagine an essential difference between
the harmonic and melodic intervals. id ibid.
48. Zarlino, Institut, Part II, ch. 12, pp. 96 sq., and his Sopplem., Book 8, ch. 2, p.
279, where he instructs: qual appresso gli Antichi susse I'Harmonia, N.B. terza
Parte della Melodia. See loh. Magiri, a very learned priest and superb Musici,
Art. Mus., etc., Book 2, ch. 24, p. 98 de Harmonia simplici; likewise, ch. 27, p.
105 de Harmonia composita. The edition I have of this book is of 1592, judging
by the dedication: though the title page is lacking: this I mention because in
Walther's dictionary the date for the first edition is given as 1596. Plato also
deals with this simple harmony, Book 3 de Republ., and the true ancients knew no
other.
49. Quia cantus simplicior concentui & prior natura G.J. Voss, de nat. & Constit.
Poeseos.
As above. Variae res.
You may realize how harmful to man is a variety of dishes, if you recall that
plain fare which agreed with you in other days. Horace L. II. Satires. 2.
51. Rameau, lc. p. 142.
52. Melodyis no less forceful than harmony, but it is almost impossible to give fixed
tules on it, since good taste plays a greater part than the rest: therefore, we will
leave to successful geniuses the pleasure of gaining distinction in this matter, on
Notesfor Pages 305-315 489
which depends almost all the power of the sentiments, and we hope that the
clever people, about whom we have nothing moreto say, will not be angry that
we exposed somesecrets, which they may have wanted to keep for themselves,
since our insufficient enlightment does not permit us to dispute with them this
last degree of perfection, without which the most beautiful harmony becomes
Sometimes insipid, and by which they are always in a position to outdistance the
others. Rameau, Jc, p. 142.
53. Ibid, p. 137.

Musici da Dozzina, che non sanno distinguere la Melodia della Sinfonia & la
Melopoeia della Sinfoniugia: perche se bene il Concento ha gran forza d'accrescere
0 diminuire la proprieta de i Modi: tuttavia, come ho detto tante volte, quesia é
cosa entrinseca alla natura loro, i quali s'hanno da considerare fondalmente in una
simplice Aria, e poi parlare delle Consonanze Doni, sopra i Tuoni o Modi veri,
p. 123
55. Discorso sopra la Perfecttione delle Melodie, (de’ Concenti appears in the general
title) as a supplement to the Compendio de Tratrato de’ Generi e Modi, etc., which
tuns to four quires, the very beginning of which gives an idea of the contents
with these words: It is not my intent to deal in this place with what constitutes a
true melody and the extent ofits types, . . . I only propose to lay bare some of
my thoughts on music of one voice alone . . . and that which makes up that of
more voices, etc., pp. 95, 96.
56. Nuda Melodia tantopere corda commovet simplicitate, luculentia & perspicuitate sua,
ut nonnunquam artificium vincere harmonicum aestimetur. Jo. Lippius, in Disputat.
Mus. III.
57. See Orchestr. I, pp. 40, 202.
58. Aristid. Quintil., p. 29: Melopoeia differs from melody in this respect: the latter is
the mark of song; the formeris the effective faculty.
59. Heinichen, p. 543 of his neuere Anweisung. If this is called reproval, then it is
sensible reproval. See the index.
La superiorité du gout francois & ce genie vif, ami d'un badinage gracieux, ennemi
de tout ce qui porte lair du travail Discours sur I'Harmonie, p. 82.
61. Erste Eréffnung, p. 106, under the denomination etendué, also p. 147, under the
name Ambitus. Somecall it the expanse.
62. The Italians are superior to the French in charm or the flattering style of
composing, by the admission ofthe latter.
63. Si l’Ausonie nous offre une Rivale, sans la proscrire tristement, sans la proferer
Sollement, fuyant tout extréme, enrichons nous de ses beautez Et si pour le sublime
de l’Art nous ecoutons quelques fois ses legons, que pour le gracieux de la belle
Nature, elle consulte souvent I'Harmonie de nos bords: celle-ci toujours simple,
toujours vraie, ne trouve point la beauté ow regne I'Affectation ni la tendresse ow
regne l’Art. Discours sur l'Harmonie, p. 80.
Ludentis speciem dabit; & torquebitur. Hor., A. P., v. 124.
65. Je n’entens pas la facilité de composer, elle peut quelques fois étre heureuse; mais
elle doit toujours étre suspecte. J’entens la facilité que les Auditeurs trouvent dans
les compositions deja faites, qui a eté souvent pour I’Auteur une des plus difficiles
choses du- Monde: de sorte qu’on pourroit la comparer a ces jardins enterrasses, dont
la depense est cachée, & qui, aprés avoir couté des millions, semblent n’étre que le
Pur ouvrage du hazard & de la Nature. Pelisson, dans la Preface des Oeuvres de
Sarrazin.
For example, All excellent things have a certain weightiness; however, all weighty
things are not for this reason excellent: likewise, Things wherein there is no
weightiness do not serve as examples, etc.
67. I think that it should be openly declared that I do not teach this effeminate and
lewd music of the stage which has in no small degree taken away whatever manly
strength remained in us. Quintilian, Instit, L.I. c. 10.
In the Géttingische Ephoro, p. 73.
69. A.B.C.D.E.
70. F.G.
71. Salmas. in not ad Vopisci Carin.
ee Lib. I, de Tranquillitate, cap. ult.
73, TomeI de ses Oeuvres, p. 94, de l’instruction de Monseigr. le Dauphin.
74, Concitatae saltationes Pyrrhichae vocatae sunt. Athen., Dipnosoph., L. XIV, c. 12.
1B. Pyrrhicha, militaris saltatio, quam pueri armati saltabant, velocitate exercetur. Opus
est autem in rebus bellicis velociate, & ad insequendum & ad fugiendum Id ibid.
76. TOXAW,curro: XOPOS, coetus canentium & saltantium.

71. One must not scoff at lullabies or evening songs and sleeping songs: for not to
mention the great pleasure which the dear children derive therefrom, these are
very useful and widely used in serenades as well as plays, often even in churches;
they also require their own master. For example with these words: My spirit hears
the lovely chant of angels! I go to rest peacefully with these sounds, and the like.
78. The Greek word 8@xTvA os means digitum in Latin, in German a finger.
79. avaactw,illudo, 1 mock.
80. MOAos, labor, pugna.

81. In French, detaché, which is separated, and not connected. The word taccare is
Not attaching, but blurring; blotting; which occurs to a certain extent with
attaching. Staccare however means to detach.
82. tpister: Bpaxvs brevis.

83. An exampleofthis is in paragraph 21, number8.
84. Compare J. Alb. Banni, Dissertatio epistol de Musicae natura, paragraph L Poesin
esse rem ingeniosam ac Musicae subalternam.
85. Tabulae combinatoriae.
86. Hereone mayconsult the kleine General-BaB -Schule, pp. 93-124.
87. Non est harmonice compositus, qui Harmonia non delectatur. Marsil. Ficin., de
Relig. Christ. & fidel pietate., L. V1., c. 37.
88. Les mouvements différents sont le pur espirit de la Musique, quand on y fait bien
entrer. Rousseau, in his methode pour apprendre a chanter, p. 86.
89. From &y, in; & pots, apparitio, dictio: the theory of the especially
emphasized words of a speech. Emphasis est, cum vocabulum adhibitum singularem
habet vim & efficaciam: thus reads the description of the orators, which one can
easily apply to sound.
German: The heaven has made you so beautiful, charming shepherdess, that you
should show compassion; not cruelty, towards your shepherd.
91. The si is an intendens, and it increases the beauty; pietosa is the word on which
the whole sentence hinges, and cruda would contradict it if the non did not
prevent this, Those are the reasons why thestress falls on the indicated words;
where many would probably notseek it
92. I am not unaware that usual notational practice would have the twolast notes on
' a te ca y |
the c; but here I have writtenit as it is sung.
93. Evépyeta, from in, & Epyor,opus, efficacia

New desis operae neve immoderatus abundes. Horace, Lib. Il, Sat V.
95. Quantoalle repliche non mi pare, che si possono convenientemente usare, ne meno
in nostra lingua in alcuna sorte di Poesia, se non in Clausole di Senso perfetto e
sino a tré volte al pit. Don., Discors. sopra le Melod, p. 113.
From dtastoAq distinctio, diffentia. The divisions or distinctions themselves the

Greeks call Qéaets, Diomedes the grammarian testifies,
97. Opusest dare te operam ne molestescribas. Seuton., Octay., c. 86. Tacit, Annal. 4.
492 Notesfor Pages 384-425
98. Est brevitate opus, ut currant sententia, neu se

Impediat verbis lassas onerantibus aures. Horace, L. 1., Sat. 10.
Koppa, graec. segmen, a KOmTW, caedo, scindo, | carve or cut: in German, a

caesura, splinter, fragment, which also resembles the shape of the commatis in our
writing. -I call it an articulation because without the commatum discourses’ are
stiff, rigid, incomprehensible and unarticulated, and this is seen more in the
meaning than in the word. That which the two famous Spaniards, Quinctilian in
instit. orat. and Isidor in originibus have written, is rather well known. Though
perhaps not everyone knows that which the two famous Netherlanders: Lipsius in
an Epistolam de distinctionibus and Putean in a Syntagma have left on this very
matter, the first of these has been printed with the latter, and both are useful
writings. His Musathena shows that the latter, Putean (whose first name was
Erycius), was a great expert and friend of music, consequently would have known
well how to apply his theory of caesura. Lipsius however, whose successor in the
professiorial chair at Lowen was Puteanus, had created a bad reputation: he had a
ingenium docile & capax; excipio Musicam. See Lips., Epistol Miscell. Centur. III,
Epist. 87.
100. I declare herewith once and for all before God and my conscience, that I have
never cited these and like things, nor will I ever mention them in the future, with
the intent of insulting anyone in the world; but only with the intent of improving
and most vigorously supporting the melodic discipline as much as I can: which
cannot possibly be done without examples.
101. One will easily understand and in the best way excuse me for taking the trouble
to explain the grammatical technical terms, and others, as much as possible with
equivalent German: for I unfortunately fear! that there are many among my
otherwise musical readers who would find difficulty in saying what an exclamatio,
an Imperativus, Vocativus, Adverbium, etc., actually means or signifies. It grieves
methat I have reason to make this remark.
102. This half member is also called a Colon minus by some: and as many other
things, was unknown to the ancients.
103. Whenciting the types of melodies we will give a short description of this ballet.
104. See Wagenseil de Noriberg. notabil, p. 525.
105. See the third chapter of the first part.
106. See the ninth chapter of this second part.

107. I said to Laughter, you are mad; and to Joy, what do you do? Setting these
words to notes could serve as a test of a would-be composer: however he would
have to know nothing of our present chapter.
108. Harmony can express, personify, and articulate everything, even without the help
of words. Discours sur I’Harmonie, p. 76, Paris, 1737. From this one sees that
the intelligent French are also of my opinion in this respect: as if we had agreed
on it.
109. As a strong man rejoices who comes from drinking. Psalm 78:66.
110. In short, the dance itself, which at first glance seems to be nothing but pleasure,
also hides useful lessons, Disc. sur I'Harm., p. 79. Though anger, rage, despair,
weakness, sensual pleasure, and voluptuousness are also represented by dance.
1. It is known that these adverbs which indicate the particular affects in melodies are
often used as actual nouns in order to differentiate movements.
2 Especially in Ephorum Goettingens., p. 104, where there is a considerable set: to

this one can add Psalm 57:6, 12; Psalm 92:10; Psalm 93:3; Psalm 116: 14, 18;
Psalm 118:10, 11, 12, 14, 16, & 29; Psalm 130:9, 16; Psalm 144:7, 8, 11.
13; Besides if one cannot nor will not use any instruments, then one might with a
cavata easily give the indispensable clavier something extraordinary to do; since
this instrument must frequently substitute for all the others. Why nothere also?
114. According to the edition of 1721.
is. See the first volume of Critica Musica, p. 131.
16. See the second volume ofthe aforementioned work, pp. 23, 28, 43, 48, 51.
i. See the first part of the Orchester, pp. 158 sq.
118. It occurs to me, that at Liibeck around the time of Christmas, certain evening
musicales are performed in the church: then in such a case serenades also belong
to the sacred style of writing, and deal with a child to whom the whole world
owes tenderness andlove.
119. It takes its name from that which is stronger.
120. These for some time, probably on request ofclerics, have become very much like
the pure Dialogis in the local main churches; although narrations are nonetheless
intertwined with arias. In the smaller churches, the Passiones are composed in
poetic form, and in accordance with the true oratorical manner.
121. Elongations must also have the quality among others, that the words on which
they fall can also keep their meaning after the elongation. Hereit is not tolerable
as regards the meaning; though a careless scamp might suggest that it is quite
tolerable as regards the body.
122, See the Gérting. Ephor., p. 59; Critica Musica, in the first volume, pp. 308, 309;
likewise, die kleine General-BaB-Schule, p. 23.
Which occurs in motets: whereso to speak a pele mele rules in the highest degree.
124 Oneotherwise calls these numerum sectionalem and rhythmum.
125. See the sixth chapter ofthis part, paragraph 17.

126. They are called in Latin: Diminutiones Notarum, as has already been mentioned
in another place; yet it cannot do any harm hereeither.
127. See the Gértingischen Ephorum, p. 102.
128. See the tenth chapterofthefirst part, paragraphs 88 to 98.
129. It is called capturing of good will by the orators.
130. Snie & Seeg‘Amphora coepit

Instituti; currente rota cur urceus exit?
Horace, Art of Poetry, v. 21
1 It appears that the composer has but chosen the transposed Dorian mode here:
but because we cannot place here the whole aria, but only want to show the basic
design; the following staves are not provided with the sharp, and the majorsixth,
or the f sharp, is only added in the course of the melody. One meanwhile sees
that even the ancient modes can be used in a galant way.
132. An apostrophe occurs when an orator quite unexpectedly seems to turn to other
listeners.
133. Word-figures, expressions of which are good and pleasant to the ear, consist in the
repetition of such words which sound almost alike or even completely different.
There are 12 of them and theycan easily be used on single pitches. Figures of
sentence, where a whole sentence contains one specific affection, occur either
outside of or in conversation. There are 17 of them which onecan refer to in
thetoric and almost all can be used in melody.
134, In his historische Beschreibung der Sing-und Kling-Kunst, chapter 10, paragraph 33.
135. It is noteworthy that the greatest Capellmeisters in France were imported. Josquin
was a Netherlander; Lasso also; Lully was an Italian, etc., etc.
136. In the ninth chapter ofthis part, paragraph 65.

The Third Part
of
Dervollkommene Capellmeister.
Which Details Information on the Combination of Different
Melodies,or on Full-voiced Composing, Which One
Actually Calls Harmony.
Chapter One.
On Many-and Full-Voicing in General.
***
-—[-—
Whoeverhas previously learned whatpertains to the composition of

a single melody, as has, I hope, been adequately shown in the preceding
part; and whoever has therewith experimented little in each category of
melody with the help of its direction; can now think of taking up this
matter of combined or many-part harmony. But he must not do this
before he has become quite secure in all the above matters. For
otherwise the work would be just as wrong as if someone were to
procure the buttons and braids, together with the other trimmingsofhis
garment, and then to buy the cloth.
-~2-
Myadvice would be that one would begin with a short vocal melo-
dy, first without the bass, whereby there are always eight things to be
observed here as well as with the other categories: the affect, the key, the
accompaniment, the beat, the caesuras, the relation of the parts, the orna-
mentation and finally the character of the words. One should proceed
from the smallest to the largest vocal pieces, and then from the smallest
to the largest instrumental pieces in the same way. Thethird point of the
above eightis set aside, at least until the bass comes into play.

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Johann Mattheson’s

Examination and the Care

master and sustain it, particularly if he wants to head a Capell capably

Hence, there are no soprano voices more permanent than those

Other voices, which can scarcely be used in youth,later often

Among the Germansingers, I have known no greater phonologist

It is not unknown to well-read people, that the ancient Greeks and

affection, not, however, in order to be prompted or helped, as the

As regards the apparatus of the human voice, the windpipe consists

It is indubitably true that such an epiglottis contributes to the

only true instrument among the great numberofinstruments of sound,

Some have thoughtthatthe very first step to the practice of singing

Wealso find quite markedly with stringed instruments that theyall,

long as it is possible without strain. Although this appears to depend

The third practical consideration for cultivating the voice is that a

This brief presentation of some important aspects of phonology or

Onthe Qualities which a Musical Director and Composer Must

Otherwise the first question will be: whether a true Capellmeister

Beer’s* discourses, among others, deal with such a question, the

Now thoughthedisciplines are supposedly tied neither to languages

Languages are excellent expedients for scholarship, and if the most

For a poetit is very important to be bor to the art of poetry; the

Now the question is whether this could be called intelligent or even

If we look at the melody, then miserable monotony peeks out of

To the question: whether a man whocan scarcely read or write,

from it [music]; that whatever is stupid would have to be beaten; that

Nevertheless there are also, in this time of presumed Evangelists

Tax collectors and sinners have such a blissful company in

Free arts do not tolerate the bonds of a handicraft, and the

However, so dryly calling the masters of church music time-beaters,

church with a capacity of three thousand people, each chord can be

Yet, what further is to be said to such people? They deny the

Polemic is thus no longer of any use: they desire to be called

Commonly, when they want to excel, such composers from lack of

However,it is not done with singing alone; a composer must also

The clavier is to be recommended as the main instrumentof all,

Nevertheless, one should also become generally well acquainted

The sixth thing which is required cannot be acquired through toil

in singing or playing; he should rid himself of all compulsiveness and

Many people possess the gift of producing thousands of good ideas

The seventh thing which is required is that a composer and director

And likewise one sometimes encounters fine minds without true

A so-called natural disposition without ambition or love is like a

Thus these last three mentioned things, namely: natural ability,

Onthe other hand, he must also study the affective disposition of

These observations could extend to entire cultures, to which one to

Onthe Art of Singing and Playing with Graces.

As essential as this division may be in teaching, yet hitherto one

Now because it is established that no one could play an instrument

Thus we turn primarily to the actual and proper discipline’ of a

True, it is not necessary that a singer, as such, would compose his

This is based more on practice itself, on taste, and on the

Now before we consider ornamentation, which requires great skill

The multiplicity of deficiencies and defects in singing should almost

Nothing very specific can be said on the actual ornaments in

Heinichen writes the following on this: "Embellishments or musical

First of the so-called accent, which is called the appoggiatura” by

Thus accents are sometimes ascending, sometimes descending, single

However, the accent must be so smoothly drawn out and glided,

There are sufficient examples in the printed textbooks to aid the

I must notpass silently by an as yet unmentioned theory of accents,

which have something of plaintiveness or humility. For example, the

Which was once performed so expressively by the famed MadameKeiser

Whoeveris acquainted with the tremolos in organ works will know