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SYNOPSIS OF CONTENTS.

PART I.—OF THEMES.CHAPTER I. -.OF.

Preliminary ... ... ... ... .. ... ... ... .. ... i

CHAPTER II

To Extemporize A Theme of Eight Bars .. ... , 2

(a) Melodic Basis.

(b) Harmonic Basis.

CHAPTER III.

To Extemporize a Theme of Sixteen Bars .., g(a) Melodic Basis.

(6) Harmonic Basis.

CHAPTER IV.

To Extemporize Themes of greater length .. ... .. ... 17

PART TI.—OF MOVEMENTSCHAPTER y.

To Extemporize Short Preludes (op Voluntaries)... .. .. .. 20

CHAPTER VI,

To Extemporize Longer Preludes ... .. .. .. ... ... 27(a) The Andants. Movement.

(6) The Melodic Intermezzo^

(c) The Theme and Variation ;

CHAPTER VII.

To Extemporize Short Postludes ,. . . .. ... ... ,,. 44(a) The March.(i) The Finale.

CHAPTER VIII.

To Extemporize Longer Postludes ... ... ... .. .. ... 50(a) The Developed March.

(b) The Overture.

(c) The Modern Binary Movement.

{d) The Fugue and Fugato.

CHAPTER IX.

On the use of the Hymn-Tune in Extemporization 56(a) On Extemporizing after the conclusion of a Hymn.

(6) Variations over a Hymn-Tune.

(c) The Hymn-Tune in the Prelude.

(rf) The Hymn-Tune as Central Section of an Andante or Inteume,tzo.

(e) The Hymn-Tune in the Postlude.

<f) On Extemporizing before an Anthem.

CHAPTER X.

To Extemporize Extended Fantasias in several Movements 64(a) The Introduction, Andante, and Finale.

(b) The Complete Son.ita.

The original of this book is in

the Cornell University Library.

There are no known copyright restrictions in

the United States on the use of the text.

http://www.archive.org/details/cu31924021748565

EXTEMPORIZATION.

PART I.-OF THEMES.

CHAPTER I.

PRELIMINARY.

Improvisation, or extemporization, is the art of creating and performing music at one and the sametime.

As music is the combination of well-balanced rhythmical phrases, welded together by the symmetry of

form, so the mere rambling from chord to chord, without aim or design is not extemporization, since it is

not music.

It is frequently said that the power of " creating and performing music at the same time " is a gift,

but this is only true to a very limited extent. " Fancy," or the " power of imagination," is undoubtedly a

gift, and to this power the student must turn for the invention of his original themes, and of the phrases or

figures that he will need in the development of his movements. To this extent, therefore, the beautiful

German word for improvisation—" phantasiren " to " fancy "—is appropriate.

But beyond this power of imagination, which will only assist the musician in the origination of bis

themes, there is the great power of " development," on which he will depend, to work out from this created

theme the completely-balanced movement. And while the creation of melody is a gift, the power of

development is to be readily attained by properly directed study.

Nor must the student approaching the art of extemporization fear that the absence of the gift of

creating melody may frustrate the attainment of his object. Let him remember that the creation of

" original " melody is a great rarity in the present day, but that the power of imitation is possessed in a

greater or less degree by all.

If, therefore, unable to create an absolutely original theme, let him base his movement on a theme

shaped like someone else's original theme, his working out of it is certain to be different, and by degrees

only the " style " of the theme will be not his own.

Finally, let him who would extemporize without due form, and without any attempt at development of

his theme, remember—that rambling incoherence, without form or design, is meaningless, valueless, and is

not music, which alone attains its power and effect over mankind by the directness and force it contains in

the perfection of its rhythm, the even balance of its parts, and the complete connection of its varied

sections.

It is pre-supposed that the student, in taking up the study of extemporization, is already

thoroughly acquainted with harmony, and with the resolutions of the various discords of modern theory.

Without this previous knowledge, it would of course be impossible to adequately study this branch of the

musical art.

As extemporization lies chiefly within the province of the organist, this work is designed more especially

for his use. Yet all that applies to the extempore playing of the organist, who needs it so frequently in the

exercise of his duties, applies equally to the pianist desiring to acquire the same power.

The present work treats the subject in two sections, firstly, the extemporization of the theme, and

secondly, the development of the movement from such theme.^

CHAPTER II.

TO EXTEMPORIZE A THEME OF EIGHT BARS.

1. The student will notice that, at the outset, his attention has to be given in three directions :

(a) The melodic basis of his theme must be accurate ; and

(6) The harmonic basis that supports his theme must be correct ; and further,

(c) His memory must retain both melody and harmony so that both can readily be repeated.

MELODIC BASIS.

2. Treating first of the melodic basis, he will note that, with very few exceptions, all melody proceeds byrhythm offow bars (sometimes of two bars), at the end of which this member of the musical sentence comesto a more or less decided close.

3. Taking the shortest form of melody (that of eight bars), and giving the student the opening four

bars, his first exercise is to extemporize four bars more of melody only.

4. Taking the following theme as an example :

—

i W:^ =#

we notice that, as to its melodic basis, it begins on the third beat of the first bar, flows by three bars of three

crotchets each, to the fourth bar, which contains a minim, and ends on the fifth degree of the scale.

All good melodies are formed of portions or periods, which have a symmetrical affinity to each other

not unlike the affinity of rhymes in poetry.

I.

ist Phrase. and Phrase.

^ nri \ p j iu iPjj^3rd Phrase.

" Home, Sweet Home.4th Phrase.

fir?-r ^^3 -^^-^nq5t=at ^ •

2.

^jifiJ'lJlJrf^^^

" Lorelei," German Volkslied.m^^ ^i v-v^-h- r^m^ -»^-Jl--»^JZ^

^fei^sWiegenlied, Schubert.^ gP*=S f F

^I I

I s^Huntsman s Chorus," Weber's Der Freischiitz.^ ^Sg= ^ ^ ^>=^.=^^ ^

' Vedrai carino," Mozart's Don Giovanni.

Menuet from Sonata for Piano, Beethoven, Op. lo. No. 3.

i -F^^^ TZi-

it :?=^^ ?^=!=:

Duet, " Ah ! dearest child," Dvorak's Spectre's Bride.

^ -=1—t^ :?2= -q—P-^ ^The student will note that in all the above examples, taken from all styles of music, the affinity, 01

rhyming of the phrases, is at once observable. That the grouping of the phrases may be the more readily

observed, the termination of each has been marked by a double bar.

In the previous examples, the rhyming has taken place between the first and third strains, and between

the second and fourth strains, but it is by no means to be understood that this is always the case with

melodies.

In poetry it has often been suggested that rhjmies might be as symmetrical at the commencement of lines

as at their close ; this is actually done in music, where frequently the affinity by which several strains maybe linked together may arise by the resemblance or rhyming of the commencement only of two phrases.

More •vrill be found on this subject in Chapter III., § 2.

As all good melody thus rhymes as to its various members, the student has now to take the short

melodic phrase of four bars, and add to it four bars more, properly rhyming, and completing the theme by

ending, at first, on the tonic.

1st Phrase of four bars. 2iid Phrase (a)

7^-^*——•'-F— *- f''^ f ,"-f r—^— /f— -r—^— *- r'^f —-^^-r—r^

6. As most melodies extend beyond the limit of eight bars (though still progressing by four-bar rhythm),

the student has now to add a melodic member of four bars, ending on some chord other than the tonic, so that

(as will be shown in Chapter III.) another complete phrase of eight bars could be added.

When finishing not on the tonic, the dominant—approached either by a half close (imperfect cadence)

or by modulation—offers itself most readily as concluding chord.

Thus to our original theme we might add, (§•) (A) four bars with half-close on the dominant chord, {i) (j)

four bars with half close in the dominant hey, (h) (I) four bars lending in other attendant keys.

(g) Compare with (a). (h) Compare with {b).m^¥ ^ i:f=F ^

>) (;) Original phrase repeated in (g).

'

7^-=^=P r^r ^ ^=^=r

—

10. It now remains to add harmony to the four-bar melodic phrase, which we have already evolved to

complete our melody in the tonic or in an adjacent key.

Harmonic simplicity is still desirable, but the special use of certain chords comes prominently before

the student.

A supertonic chord leads naturally to the dominant, and so prepares the way readily for the perfect

cadence. Thus, in the key of C :

1 2 3 4.5^ ^ i J r) J 4--rzT' ^ c^ izz:m r =g= ^

#

J-^ -rr- -^L-^M A. 3z:~r:r ^ "j-s-: ^ 321 ?^

-7!^

P^22jT T TV

Examples i, 2, and 3 show the use of the triad and seventh on the supertonic ; example 4, the chromatic

triad (with sharpened t^ird) on the supertonic ; example 5, the supertonic seventh, all resolving either

directly on the dominant chord, or else arriving at that chord through the six-four on the dominant.

Taking our old four-bar phrase marked {b) and its altered form {h), also (c) and its altered form {k), as

examples, we might thus extemporize harmony to them, to connect with the harmony already given (at mabove) to the first four bars.

i iflii^5

IJ

,J-"J

r^ ^

f^^T^

-T=^

J=

(6)

iE-J

J.J^J J . J^J J .

J

w? ?=^

:?2=

rt

Exercise 4.—Take the melodic themes, Nos. i to 20, extemporize harmony to them, and add four bars,

to complete each in either of the various ways mentioned above.

The harmonization of each theme and the new extemporized portion must be firmly fixed in the mind,

so that the student can repeat the whole at once.

Exercise 5.—Write out a series of at least twenty themes, capable of extemporary development, and

submit them to your master for his criticism.

Exercise 6.—Extemporize the whole of the eight bars (creating the theme also) in the presence of

your master, he suggesting key and time.

MELODIC THEMES.1 5

iw^^

is

iA^-r7

^4

fe5

22 ^

^ =P2-

-(=2-=-

r^':P2=

^

mr^^ ju.^ 't^-j-

^ :^2i

* ^S

1£a:

^ 3E S

t ) ft I

^

10

i Wgp^ ^ zz 3i:

i11 A minor.

:c|) ?,^-^ g^ ^ ji ^

I12

Is^-rz)-

:& ^^ ^16

.^^"(i iJ^^ ^'=?

i^ISE jjjg^p 2i:

.14

!^'^C/'iLf'!^

IE

15 E minor.

4-^S

pn: ^B

^^^

17

i ^ li18

^^ S q^ 1^^ 32=

19

m20

I* 'f f f r5S¥ r f;r Or mW ^ ^—

^

21

30

J ri. J- J . J J ^- .-^p-

fi

r r rP^Ftrz2i

31

7p^^=

—

--}\ ~n~ \

—

^

r

39 In March style.^^^f^ ^ J. ^ J.

m'¥^r r r

I

r r r^^^ ^^ r

40 Funeral March style.

^m i ^^^ iS fjr^^s ^ ^j. "jg>- .^^ -

=2=i: ^. ' r r r ^-T* (^

r f r

CHAPTER III.

TO EXTEMPORIZE A THEME OF SIXTEEN BARS.

1. In the previous chapter it has been shown how to extemporize an eight-bar phrase ending, not on

the tonic, but

—

(a) On the dominant.

(&) In the dominant.

(c) In any other attendant key.

(d) On the dominant of an attendant key.

Our next work is to add to such a phrase of eight bars a further phrase ending in the tonic.

MELODIC BASIS.

2. The affinity, or rh)niiing of the phrases or members of a melody, has already been alluded to. As

our melody has now to consist of four members, each containing four bars, it is evident that this rhyming

may occur in various ways :

—

(a) Phrases i, 2, 3, and 4 may all rhyme.

(6) Phrases i and 2 may rhyme with each other, and 3 and 4 may also rhyme.

(c) Phrases i and 3 and 2 and 4 may rhyme.

(d) Only phrases 2 and 4, or even phrases i and 4, may thus rhyme.

(e) Phrases i, 2, and 3 may rhyme, while 4 is free.

I. Minnelied, Mendelssohn.

h I ^ I . II I

^-^—^^^ ^^ ^ ^ ^ ^^ !;*•I*

I*cu=q

$^^=¥- 5^ t<—

}-

=i»^ :q^=F t=^ ^=R^ 5 ^=±L

iftfa=d?ti=d^^^ ^ ^ ^

' The Linden Tree," Schubert._8

Jj V l J.J^^1^^Jji

EEP=

~J^ I J . J J J" ,

riJ-

J

i f^^

itt^

ii=2:i: zd±zat=:i3bti^fcc

^

lO

IhA J

1

II

Exercise 7.—To the following melodic phrases of four bars, add twelve more, making in all sixteenbars, consisting of four four-bar-phrases, maintaining the unity of the melody by means of some variety ofrhyming.

41

P43

42

W ?2= -firmt^

:^

44

i&z122

PE=?2-^

45 G minor .

^^^3 ^46

f'hr; i Lji.r rc„riJ,^^£fe

47

12

HARMONIC BASIS.

6. The harmonic basis of a sixteen-bar phrase is attended with somewhat more difficulty. Firstly, it is

necessary to seize at once on the melodic tendency of the phrase, in order that the right cadence may comeat the end of each member of four bars. Generally the cadence will, as mentioned before, be one of four :

—

I. Half close (imperfect cadence) on dominant.

II. Perfect cadence in dominant key.

III. Perfect cadence in other attendant key.

IV. Imperfect cadence on dominant of attendant key.

ist Phrase. , i^ .

I- Ending on G.

J J| j J ^m i^+=j=mT"-^

^=r^-J. ^ ^

-i—M-

J.mJ-. -•- -m- -^- -»- *r j=L

T^ a>-i-^^ T^Fed.

ist Phrase.

iII.

J I J J .' :^EE:i

Ending in G.

*'

ttJl±:^ =F= f^=^ -m - ft*-

J--^=ti J-

4- A^ ^:?=-: r t^

III.

rFed.

ist Phrase.

V T^'

i JI

j -J J iEnding in relative minor.

3^ ^^J ^ ^

. i iJ

=r "T r- I

—^^S?'

7!J-iJ ^ Jz

^^ ^ :^^-rEnding on dominant of D minor.

Fed.

ist Phrase.

i Jr; J J

IV.

EiEi jrj J JrJ=J=:#»

S ^J-

"r

^ :?^J. 1^w^ ^g^ r r f"

Fed.

Having thus decided the cadence with which the second phrase of four bars ends, it is possible, and

advisable to make the third phrase ryhme with the first. Thus if the second phrase ends on the dominant,

we may repeat all or part of the first phrase in the original tonic, while if the second phrase end on the

dominant of an attendant key, the third phrase can consist of all or part of the first phrase transposed into

that attendant key. Thus in example IV. above, ending on the dominant of D minor, it would be possible

to transpose part of the first four bars into D minor for the third phrase.

The student will notice, that by this seeming repetition of the opening phrase to form the third, he is

not only greatly simplyfying his labour, but is also paying that due attention to the phrase-rhyming which

forms so important a factor in a good melody.

13

Exercise 8.—Take the harmonic phrases 59 to 83 at the end of this chapter, and make harmonized

melodies of sixteen bars, according to the following plans :

—

Plan I.

I.I-I T f-H 2.

1-

Given bars.

I I

-I 4. I-

New phrase ending on

dominant.

First phrase repeated

with other cadence.

1 I

Second phrase modified

to end on tonic.

Plan II.

I i rGiven bars.

_L L

New phrase ending in

dominant.

I

'

\

'

1

First phrase partly

transposed to domi-

nant.

I

' ^ ^

I

Resembling second

phrase, but ending in

tonic.

I. I-

Given bars.

J L

Plan III.

-^1 3- I-

I I I

New phrase ending on

dominant of relative

First phrase trans-

posed into relative

Resembling second

phrase, but ending in

tonic.

As specially suitable for Plan III., take Nos. 59, 67, 6g, 70 (3rd phrase in relative major), 79, 80.

I-I-

1 I I

I I I

Giveil bars. New phrase ending in

attendant key.

Plan IV.

3- I- I

New phrase modulating

back to dominant of

original key.

Phrase i, with newcadence in tonic.

The harmony may now become less simple, but the melody and harmony of the whole sixteen bars

must be strictly remembered, so that at its close the student can repeat the whole.

59 A ndanU.

'^ 1 M r i.t* I r i .r

60 Lento.

a11 •

" A

r'ek'yi i^ F=

? ^^

PJ

lJ J

-

E=^J - J* *

=P2=

d=

61 Andante.

fe

5^i

62 Lento.

mf^ip

T^ ^m- -1^-

isS3

Ti

^mf- n^

-*-

m j J j l

--! JIJ J^d^r^m f" f> ttQ

14

63 Andante. .

15

72 Moderate.

ii^i^ J:

^s

^ J,/J J.J-i-*^

'

''

'i^^ g

73 Co» moto

\,iS^\i J^

i J. ' j-ii naS'"r ' LT-&r"/^V

74 Lento.

^J^ I h

1 r ^ r 1 r fSE^jEtgESp

75 Cow wo^o

14(1 ^^^^h^' TJ^i/J^

T'^asus ^ ^31= jTn .

j^^T^ m^FFg^^LLj'i££fia^^fW^ ^^

76 /» March style. ^,^KF^ ^f=jTJ

ij.

,r7^| :^V^J3-j:^

^^F=^^

^ZIf=?=

^ JZ3-"C^^^ ^

:i

17f=^ ^ ^

I I

^^ ji^ i^ r r

777» sZoi» March style.

78

^ r 1^ il_# T r f r

/» Cantilene style.

J'.-i -.Ti "t^^ S

^f

1 r

3 I r

79 /» Postlude style {Allegro moderato).

§i f^V\ 3f£

^ j^4 -A^-i -J^i ^- -^ -^ r^^V r ' r -w r

=?=

i6

m

de style (Ci80 In Postlude style {Con moto).

J—^J^Sl SS3E .SS^-^4^-^ *^*lyr^r^"^r^Lrcrf^-^iCr^ r

/

^ ^^^^~:^-i^/]j ..nij-^- J-.-^Q^Jg:221 231

81 /» Postlude style (Moderato).

J=F^ -RH—*-t^P \l i tfea^ sS

82 In Pf dude style.

»W=i m^$=^mf

P

oq In Postlude style (Moderato).

-i-

8. The student is now recommended to extemporize the whole sixteen-bar phrase, creating his ownopening theme. In doing this, he is reminded that many an excellent melody for extemporization may grow

out of some very small, but equally striking little passage, as, for instance, the following :

—

i zQzU=^^p^s

N J.

\ 'A A 3 I

—

t I, -f-

^^i^

W^. ^^^

r &c.

Sfir

T^^^

Endeavour also to obtain for your theme as much character and style as possible, as, with the exercise

of a little energy, the imagination will soon grow more active, and produce themes with more life andmeaning than those which, at the commencement of his studies in this direction, will come to the mind of

the student.

Exercise 9.—Write twenty themes of four bars in various styles, capable of extemporary development,

and submit them to your master for his criticism.

Exercise 10.—Extemporize the whole of the sixteen bars, creating your own theme, your master

suggesting time and key.

CHAPTER IV.

TO EXTEMPORIZE THEMES OF GREATER LENGTH.

1. In extemporizing themes of greater length, perhaps more appropriately called a melodic section, such

as would stand subsequently for the opening section of a fully developed movement, we have but to extend

the process on which we have already worked.

2. Thus a twenty-four-bar phrase may easily be extemporized on the following plan :

—

Three Phrases of Eight Bars.

I. _ 2. 3.

Eight bars ending in tonic. Eight bars in dominant or

relative minor.

Repetition of first phrase

of eight bars.

Various modifications of this can be made, but the primary rule of form—that a return to the original

key must conclude the melody—must not be forgotten.

3. Still larger sections may be easily extemporized when the student has once obtained the power of

manipulating the sixteen-bar phrase.

A thirty-two-bar phrase, on the ancient binary form, is easy to work, thus

—

Plan I.

I.

Eight-bars in tonic. Second phrase of

eight bars, related

key.

First eight bars in

dominant.

Second eight bars

transposed partly to

tonic.

Or still easier

—

Plan II.

Eight bars in tonic.

2.

Second phrase of

eight bars, related key.

First eight bars re-

peated.

Second phrase in tonic.

A melody of forty-eight bars is of similar construction, consisting of three phrases of sixteen bars, of

which the last phrase may be merely the repetition of the first phrase, to which a short coda, or concluding

strain, may appropriately be added.

THE CODA.

The coda, a most useful, as it is simple, addition to our form, consists of a short phrase, often on the

sustained tonic, added by way of additional cadence or elongated close at the termination of the melodic

phrase itself. It frequently, in its simplest form, consists of the chord of the seventh on the tonic resolving

into the subdominant, and thus paving the way for a plagal cadence. It will usually be found that somepart of the theme will readily adapt itself as a figure for use in this coda, which thus serves to intensify the

effect of rest and conclusion which the performer is desirous of producing in the mind of the listener.

The following are several chord progressions, which are available by way of coda, over which somepreviously used phrase or figure, or, even if this is not possible, the rhythmical movement of such a phrase

or figure may be worked, to maintain and continue the unity of the whole melody.

Ff=^

lb

i

As a simple specimen of a forty-eight-bar phrase (with coda) the following may be examined :

—

Moderate.

^i i ^ nP diJAf=^ i

:e:^^^^^^f e

^ n=rj:a J^I^- ran^ I

'^i::^.'^-^'^ !

n^"^' w. ^^^^f^©i=a^ ^^-a ^Pf«;.Man. Ped

i J ^^1 /7T3 ^ ^-Tphr- ^ i=^r^=pE r

J-j-JJ2«> i n Tj. i:^^ nm-^m^=^=F^ H*-4l*- ?^rr^-T- Man.

l

:.K?r]ur-^ &f^ ^V w^ I

r^ iif ^^-E^fa^j^ i=:3-rr#

^^UEg-M ^iJ /^

(-)

.n.jP^ SJ^^Bm m !E

Ped. ^*J '

:?2=i^:^^

Ped. Man.

^ J^^^^P-i rs-i^ i ^^^SIQe ^^^ f ?^ e=9

—p^ ===-£^if I

- --iPfj

M:aSfaHt • "Cr^^S

Pcti. Man

.

^m sm«j P i^ ^ 'hhJ-^-i

^C5?^

i^ J: J. n jv

]^-T3?^A-JpP.rr^

?TI^J-

=?C5Itt

Man.

19

^^^•>'T} \ P^^ 3ejfcab J P i /7?T$ ST^u ^ff cj

'

r Cj-' f ^"=?ir

v"^ Xg'P JTJl^

Ip.^Sl^ 7i/:^T2

^^Fed. Man.

i b J J J- S ^^ s^ ^ p f zr tzf- ftrr^

w J rDtu: ^ ^ ^^^ S ^=^=^ :^ :f^ "P"

(a) First phrase of sixteen bars. {b) Second phrase of twelve bars.

(c) Repetition of First phrase. (d) Coda.

4. It is hardly possible, nor is it advisable or necessary to the student, to extend a theme beyond the

limits given in this chapter, as it is far easier for the extemporizer to obtain more by developing the themes

into movements. To this we turn our attention in the succeeding chapters.

Exercise 11.—Extemporize for thirty-two bars according to Plans I. and II., paragraph 3, taking your

themes from those already given, or from those written by you, and approved by your master. In each case

terminate with a coda.

Exercise 12.—Extemporize for forty-eight or more bars according to the following plan :

—

Plan for forty-eight bars.

16 bars, ist phrase. 16 bars, and phrase in

related key.

16 bars, ist phraserepeated.

Coda.

Use themes as above, terminating with a coda.

Exercise 13.—Extemporize for thirty-two, forty-eight, or more bars, creating your own theme in the

presence of your master ; key and time being suggested by him.

20

PART II.-OF MOVEMENTS.

CHAPTER V.

TO EXTEMPORIZE SHORT PRELUDES.

1. Before it is possible to extemporize movements, it is absolutely necessary that the student shall

have acquired the power and habit of completely retaining in his memory the melodic and harmonic basis

of his theme.

2. Possessed of this power, the following plan offers a simple means of extemporizing a short

movement :

—

(a) A first section, like an extended melody, say of thirty-two or forty-eight bars' length, but without

a coda, coming therefore to a definite cadence in tonic.

(&) A second section in a related key, having new themes and presenting variety to the first section,

although still maintaining the 'unity of the movement.

(c) A short modulating passage, worked over the dominant pedal of the original key of the first section^

leading to :-^

(d) A repetition of the whole of the first section, adding now a short coda, based perhaps on a tonic

pedal.

Plan for Short Prelude.

First section, themein tonic.

Second section, newthemes in related

key.

Short modula-tion, on dominant

pedal.

Repetition of iirst sec-

tion in original key.

Coda,tonic pedal.

The student will notice that it is not necessary to remember the second section.

In commencing the extemporization of movements with two sections, an excellent plan is to write the

opening of both sections before beginning. The following are some themes thus arranged :

—

Exercise 14.—The student has therefore to extemporize a first section on the first theme ; a second

section on the second theme ; then to return and repeat the first section, and add a coda.

3. Let the player always remember that the result of his extemporization is to be music, and therefore

he must exercise taste and forethought in the method by which he presents his themes. Thus in a short

organ prelude, if the first section has been in smooth flowing harmony, the second section can, with

advantage, open as a solo accompanied, and placed either in soprano or tenor. So, also, much effect can

be produced by the elegance of the coda, in which frequently a slight reference to the opening of the first or

second section may be made.

84 (a) 1st Section.^^

•+ gi m I <:s —i—rr

(6) 2nd Section, in E minor.

1' Jrr^ir^^

21

85(a) Andante religioso.

^^^^^^ ^^^&^^^^^^ S

r¥=^ ^^p^

^1 Jsfefe^

^ji ^m86 (a) Andante con tnoto.

S\:rin~}

-n .i-fcS

^ gt) <i rg-f g- f r c 7 g

h

^s JJ /J J.^ J-j: g,-i"JP -^

r 'g r 'e'^^ ^ ?^ ^T(6)

Ch.

^ J^/ J-> J-'—U"^

[S[rr 02^ I ^ckL-f^^^^^^"J—^TT-l

:^-ft^ ^. JiT^ =i

^b I* •

f-. \ T ^ ^ rPei. -r r

87 (a) Moderato. Harmony to be added by the student. (6)

^^^ ^ ^88 (a) Lento.^ ? 1^-

^?F=^^ :J=i

(6)

^ ^^ ^^^m

fi- JTj.j

^^ ^

89 {u) Moderato.^ 4:

S

:1^=P3t=^ i ir rfl-r '^ r tff ^'

g^;b^ J. hJjiJkJ^^^ ^

(6)

^J: ffll J J I

jT^^^i I IrrrrrT

cf)^J. J^J lbJ.j-UJ^JJjU.___r 1^ V rx^

22

90 {a) As Trio. (b) B minor.

S^ ^

i) J «' «*I

-tS^-^ -^ -J- J J-

r T

91(a) Con moto.

^r- r^ r =i^

i-fe-^^

T^T=r3fc=

r

-i.tirT*P^ ji »

j_A.

^

rijJ|J.>

^^1^-iiLJjJ-^

4) ^r T^

rVr^Trrr ^'tsr^^m

^^ ^i^^^-^:g=g=

Solo Sw.X- r^J.^ ,

(gj^=^If- r

1—

h

^-1!)^^ =^

92(a) Allegretto.

r^!^^'-^ J iJ"^^ ^=it:i=

P^» ^^MMmr

^S_g^^ ^J^^P r =^

93(a)

iM fjvl'^^(6)

94(a) /4 ndante religioso.

^^'^4-J ;^H- ^

(6)

T r 'rf P'^' MIT

it=^

- J ,J-^J J . J^J J , J -^J

.

J

^ "F"52= ^

isJ.i^^

—J L-,— fSBL.

..tf-rt-.-rzfw

smMan.

95(a) Co» moto.

^^

&i\ri r-r* i rrfr

^^^^^^e. , J^.Ni

,-^^Ai

,

- *^^- ^,

J^-^

23

(a) Moderato.^ 1i—f-

2i3 ^^(i) CA.

#:4=g^^^^iH-^^';^^'^'^^

1

^-^

n-T ^M^

VIZSl =#^-=^

:^. ^J-% J.

Man. W97(a)

ife(6)

>vBT"

W=fr:r98

rTtr

i£^

^

i«t«j^ rI3S3E

^ i :r Ml-

S 3^^ ^g^ ^.^^^^^#^ (6)

^

^-v-*-^

:....a^,^^.^^by h ;

.

R^Lc5r ^

iitre

bJTP

gr 'tr ir ^=i^^^ ^ft^ ^

rExercise 15.—Write ten pairs of themes capable of extemporary development, and submit them to

your teacher for his criticism.

Exercise 16.—Extemporize short movements, creating both themes, your master suggesting key

and time.

MELODIC INTERMEZZO.

4. Presenting not greater difficulty than this simple style of movement is that which we may term the

" Intermezzo," or " accompanied melody." In this a definite melody of single notes may be placed in one

hand, while the other hand and the pedal play the accompaniment to it. The middle section may be

obtained by transposing the opening of the melody to a related key, and also to the other hand, returning

to the old melody and the first arrangement for the repetition and coda. Of this we may make the

following plan :

—

Plan for Accompanied Melody.

-I

First section, melody ia one hand, Second section, melody in related Repetition of first sec- Coda,

accompanied by other hand and key and in other hand. tion, as before or

pedal. varied.

As a most beautiful specimen of this class, notice the Allegretto from Mendelssohn's Fourth Sonata for

the Organ.Bars 3 and 4. ^ Bars 24 and 25.

^SS 'ii 1^^^^^tiiM'M^^m -'^—s^ ^t

fm^Wi^A^m

•I

r '' r'^

5fe

24

Bars 44, 45 and 46

—

F

^ ^r^ ^ r ^

rmj^ &am •j^ 1 1 ?^^^

^

Exercise 17.—Extemporize short " accompanied melody movements " on the following themes, the

opening of the second or transposed section being given in each case :—99

2nd Section, in F major.^^ . ^ J

ist Section.

^yjx ^ » 1 ^j-i-5-i-f-i-r^ ^Sw. Reed. TT^^-4^ 1^=^

ir

s

=^F?«=

^—

^

100ist Section. Modcratu.

§u .[7TJ 5 g^7f^

#(>^ ^ i;^^ *^jt^ •i~ ^'^SF^ ?^ ^

Solo.^S ^^ ,.r5^-j. d. i ^ T^p f"=^

and Section, in G major.

fci m 1

^-37 rr],

j~3]j__J j j

—

^te^ ^3^^ ^^^^ ^^E i^n^^A^m^^ i^^-^^m.

*=» |ci=«: *=^ ^P ^ ^1 1 tj"

101Allegretto. 2nd Section in E minor.

i

^ "^rs J 5 ^^s

i„,.^^ nja.g71,^Br" <'rj^ i

25

102

mAndantino (ist Section in A minor).

(a) Oboe Solo.

Urrr l fl-DTg

Ped. I

and Section in C majoi.(b)

SotoI ^ P^-rii ^__ wJ -J I

J.' ^^jira^s^

103(a) Ch. or Sw.mtff^ J J i

j J1.1

^sPed. f-r

{b) Flute Solo. Reed Solo.

l(^"r ^

I J iC'i

Kee

L g -g— T-»^ ^J

—

rt-

Ped.

r c'

r^ i

104.(a) Flute, con moto.

51.^ m rK=^

ijy):n h_^

I^H fg

P.1 >^

{b)_Ch.

<^^ rj J J I fJ J, Jit^J JzjJ:iU"Tj

Soh^^Sr -^ J.

mPed.

^^^1^5^==^

«i:^^105

Lento. Ch.

^m d: iffj: ^ ^: ^ss tW- i rJS :J^

Solo Sw.^ .r7^.„jT^. J^m nB^r??^ Sjn^J-

fl*J:^P^- -"PC -r*

2nd Section in B minor.

.(^WJ4PW#1 • *0* ,J. W

g ib^tjl ^=fr^i *:it;^ ^ ^

26

106 ist Section.

Andante.

m^ JJ I 1-

rfe ^m r rrri'hP

fc:4. r!^=a c l[ g ^E I Lr r r If

znd Section.

^ P:y--

5ofo

r

Allegretto, ist Section.

27

CHAPTER VI.

TO EXTEMPORIZE LONGER PRELUDES.1. The Andante movement in Sonata form makes now only a slight increased demand on the student,

i.e. the power to remember and to transpose by memory at least the opening, if not all, of the second

section.

THE EXPOSITION.2. Before this, however, let him practise the extemporization of expositions, i.e., a first theme or

section, a slight bridge, formed, if possible, from some figure, turn, or run hitherto used, and leading by this

means to a second theme or section in the dominant.

For practice, let him afterwards always try to transpose part or all of this second theme or section into

the tonic. To do this readily take a very simple form for the second theme, opening with some quickly

recognised passage on the common chord.

To a movement in C. To one in F majoi. To one in A minor. To one in G minor.

P ±^

±- l^ W =^4=^

By this means the start of the transposition is rendered easy, and even if the player is not able to

complete the whole theme or section, yet enough will have been done for the exigencies of form.

THE BRIDGE.3. The bridge, or passage, by means of which we pass from the first section of our movement to the

second, will present more difficulty to the student. While still progressing by four-bar rhythm, it is

advisable that the termination of the melodic phrases should be less marked than in the theme itself.

Supposing that the second section is to be presented in the dominant key, the object of the bridge is to

pass, by simple modulating passages from the tonic, to some chord from which the wished-for dominantmay be reached. Frequently its dominant {i.e. the supertonic of the original key) forms the desired chord.

In the Mozart period this was the favourite way of approaching the second subject.

ist Subject. Symphony in C major ("Jupiter"), Mozart.

^ J

i f?i<- ^ ffir ' ^^^ r r 1 I

* J. fJ- J

m ^ f^^ jfe ^ ^^ ^^ {^ ^

-p—p-^

if

End of Bridge with introduction of 2nd Subject.

|^z=| ii -p——

-

Supertonic oforiginal key.

tand Subject in G major.

<=i^^ '— 18^ ^ ^IP=^=ff1—t^—

^

s=5=a=Pi

W ' ' ' : !I :_ I I I [ 1

.

J I1 '

28

Other examples may be found in Beethoven's Piano Sonatas. Thus, in Sonata 2 (Op. 2, No. 2), Sonata 4

(Op. 7), Sonata 10 (Op. 14, No. 2), the modulation to the second subject is in each effected through the

supertonic chord.

Op. 2, No. z.

iSfea>-" I

H

L-

11^^^ 3= t*-^Prr^rl -^aJl* ^^

gyijCl

* ..f?^ ^|*»^*S^ l*^!*- .J«^^ *^l«

iiE^EptlE^i^t

Op. 14, No. 2.

(a) Start of first subject

;

(6) Supertonic chord used to introduce

—

(c) Second subject in dominant.

Frequently also the early classic writers in modern sonata form concluded the bridge with the

dominant chord itself

—

Piano Sonata in D, Haydn.

liMI r ^ r r ^ ' r ii^ ^-^ J - ii^^^tj -J-- -J--J-

=«J?E=P:1 i "i i I U 1

mA 5 ^ ^^^ i^^ i|)^ g ^ g tf S'riXj. j-^^^"^^^^^

13

(«) (6)

Op. 10, No. 3 Beethoven.{cy

^*^>U j5?^ti^j-

iiELy'^^^^ii^j^ i ar - tst

I I

32= *t *l

:aa^r - i

29

The student has therefore to extemporize a short passage passing from the conclusion of the first

section, and leading by means of the supertonic or dominant chord to his second section in the key of the

dominant. Should he, however, choose some other key than the dominant for his second section, the

dominant of that key will always afford an easy means for its introduction.

The thematic matter, over which this bridge is developed, is usually taken from some previous phrase

or figure. Thus, supposing a theme to have finished with the first two bars of the succeeding example, the

following six might be added to form the bridge :—

J-m-^-

^ zs-rfrrrr^ -^-j- u^ i^f f=^ -r^r- -r-r- f=

Frequently, in the development of such a passage, it is easier to take a harmonic basis or modulating

plan, such as, when passing from C to G, the following simple passage :

—

& -izr

making the melodic figure follow this, or similar harmony.

Exercise 20.—Taking the first two bars of the following exercises as the conclusion of the first theme,

extemporize a bridge, leadmg into the second section, of which the first two bars are given.

In io8 to 113 the bridge to pass from a major key to the major dominant.

108

SJH

i=tt*t

H J. .J ^^^ =pz:

Extemporize a bridge to

\l ^- J7^^

^r =1t?2=

-^- Sl -^ J-

-&- p109

^ ^=^±:

TI

Extemporize a bridge to

I ^110

^^-^«^^^^^^^^r -^ r

^ j-^, J bjy*^ J.

^^r

Extemporize a bridge to

:^^7?>^ ^

^rff'/ i r:;

30

lit

, h ^nnii.Extemporize a bridge to

t:£^liLJLJ• r r?

i'' i i*^-

^ 5112

faitW=^

J J Jl

I

i ) : r g Sz»:

Extemporize a bridge to

-4^-^ ^^^^^f—

F

113

S

|

e^ fi 1 -^' F I - —Extemporize a bridge to

^

ffi4«~J- ^

f

e';" r'f__r

ife^114 to 119. Themes in which the bridge is to modulate to the relative minor key.

114

f"^r-?^':KM ^J. 4 4-^4 A.

Extemporize a bridge to^ m~r ^

f^ :^^"T

-^ J- J J J- A

? ^115

^rJ. .^ J ^

^T

Extemporize a bridge to

^ IS ^ T ^

^^Jl-Zi^ J-

r ^^ i:^ ripz:

116

^ J P,j:P

,

^j; JExtemporize a bridge to^

^= 'V

^9 ^

3^

i

117

tfr r \^

^^^S118 ^119

Lj/-,i G^ I g ,'

^ jTLi^t^^r^

•^ ^^ 1=

Extemporize a bridge to

^ s-«»

Extemporize a bridge to5 f—

r

Extemporize a bridge to

|

.|/ii' C C y

P^iN j.i

120 to 125. Themes in which the bridge is to modulate from the minor tonic to the relative major.

120

4^"il/^ I J ^

feta - fimi^-Cj- r

121

ll'^'rJi*

'•^C

"^

^r*^

Extemporize a bridge to

Extemporize a bridge to

^^^^^

rr^^ ^/:SJ^^^

i

122

w^3 J^J J .. !

^g=g= =f== ^Extemporize a bridge to

^..=^ ^ -^.j 4: -^^

^ ^ !

* =*? ^

i

123

M?*g

=«f

^1^ ftI

r^T^-.-^ --^.^

r

^ ^^ ^- ^^fei^

r124

32

Extemporize a bridge to

Extemporize a bridge to

rfr l ' J J JI

J

r=^J ^bi^^S

Pl*=i=

33

Key in Exposition.

Relative major

Dominant minor

In Minor Movements.Key in Recapitulation.

... Tonic major, occasionally tonic minor.

{See Beethoven, Op. 2, No. i.)

... Tonic minor.

In Op. 13 (Pathetic), Beethoven brings the second subject to a movement in C minor in E flat

minor; in the recapitulation, he places it first in F minor and then in C minor.

It is not necessary to transpose the whole of the second subject, if any difficulty is experienced in so

doing. Provided the opening of the phrase is given in its proper key, the exigencies of form will have beencomplied with. After the second subject comes an extended coda, completing the movement.

Exercise 24.— Extemporize complete movements on the pairs of themes given below (126 to 138.)

Examples 126, 127, and 128 give the opening of the first theme, a figure for use in the bridge, the

opening of the second theme, and a figure for use in the development, while both themes are given as they

appear in the recapitulation, the second theme being properly transposed.

The later examples (129 to 138) leave the choice of bridge and modulating figures, as well as the

transposition of the second theme, to the student.

Exercise 25.—Write ten sets of themes, consisting of :

—

(a) Opening of first section. (c) Opening of second section.

(6) Figure for use in bridge. {d) Development figure.

Submit them to your master for his criticism.

Exercise 26.—Extemporize complete movements in the presence of your master, he suggesting time

and key of first section, and key of second section.

126 {a) ist Theme.

^3;=P2=^

S22:

3:

r-? I J r

^ ^^ -JL

^J-

(6) Bridge Figure.

J ;rJJ| JJf

r

r ^ tW

*: p*

m .W=s^(6) 2nd Theme ia C major (Dominant).

Opening of development.

i UJDevelopment Figure.

ist Theme varied at its return.

-fr . .. A -^^,J- J . J j^-n, n I

2nd Theme transposed to Tonic.

rjznL

\^^ r-,

127 (a) ist Theme,Andante.

34

Bridge Figure.

«i\)' 4 f \ r?

^iJ^JlI JIJf "T

i

s :^^ 2=1-

b r I

dt

i5±^

r ^ ^2i:

I I 1

22^

Another harmony.

BtSE lf^^«-^:2z:

r^tfz±: g J-^O- J- -^

-F—P-^

(6) 2nd Theme.

nPnJ' 'T^ r-^T^— P r/^n 1

1

35

ist Theme varied at its re-entry.

(^•gfii if^J1

r"gij* ' ^8^

^ ^Su' C

'' ' c

^^ :^=t^ir

2nd Theme transposed to Tonic.

129 («) ist Theme.

Juluj Jj l

I

>|-'| ^j JJ

(6) 2nd Theme.

ffT ^)^\hi^J.J^J

I I

i-^J^J'^fiJ

^ l3P=fi(

N.B.—In recapitulation the second theme must appear in B flat.

130 (a)

5tt*=:W^^

^Jl^^JJlJ%

W^M^ ^z: r rr'rr r^

(6) A mint

^JtP |

JjjJ.J I

^?4

rrm-j^ E^^f>:».^f-r f nr1^^ftVf#^

N.B.—In recapitulation the second theme will return in D minor.

131 (a) ist Theme.Cow moto.

ffj. J -S ^ ^ rj-;! JT^T i

1^—I TV r C CJ.V f ^J r g'g tttfW^

^*aT^-^ ^ .m,

-^ ^j ^.^g^-^Sft:^

=F =^r CTf^

(ft) 2nd Theme.

S^ % i ^ 3=1^ X4^ *I CA. or Gt.Sw.

^ m;^-

ir -^ ^•

^=f $ p

36

132 (a) AndantifW.

U»!iM.«|l'"P ^

mt—m =p=t^ ZJ^r

(*)

te^ J« fl7^:^,fn^^ C/j>

bt^

133 (a)(6) and Theme in relative major.

KK ft *i

^ l^^^x^J i ^^PLJ£tt fe

Man.

N.B.—In recapitulation the second theme must appear in G major.

m134 (a)

--L h N s^ r g

'

rr£j' r=rT

^f^

n=^^Z r^r^

(6)

i^.AJ: JU^

^tell*'—

^

135 (a) Lento e mesto'.

K Jr rrir rr rl^^ dE^r-* .g?

^^^ ^l>^^ J-J«iV J

(6) 2nd Theme in relative major.

-I 1-

*: » m r* d i JJ j-

4mr-

_y^^

-^^-^

136 (a) ^ PL_-l.' -J^

'r-^^U^^

r ijr

mSF? =fti^J*«^^y

fi ^

137 («)

i;g^Jni^

^3I

i i^r-f-r

s

37

(ft) 2nd Theme in relative minor.

T^eZn^TTN.B.—Theme commencing on subdominant chord.

r^rv i i' iJTJ

S^^-"^ r t^iT

g ;^,

,rr].

/J^f ^'^..Xrrl, HT

(6) 2nd Theme in relative minor.t

i ^>j |

J^^4^^^>^s ^s^^£4.^ai*^s^^^^^^^^

(6) 2nd Theme in relative maj or.joQ / X (0) 2na xneme m relative maj or.

^ ^^^TT^^ u^j^i^smjT^

^f r

EXTENDED INTERMEZZO.

5. The more extended Melodic Intermezzo (the shortened form of which as an "accompanied melody "

we have already had before us) is not readily capable of treatment in sonata form. Referring to such

examples as the Allegretto from the "Hymn of Praise" Symphony, or Guilmant's popular Cantilene

Pastorale, we find that contrast is only obtained by an extended central section in a related key, to which

after the return to the "accompanied melody" has taken place, no subsequent reference is made.

Thus the form for the "Melodic Intermezzo" (one of the easiest forms in which to extemporize) may

be thus given:

—

First section.

I i

ist phrase. 2nd phrase. ist phrase.

Melodic Intermezzo.

Middle section

as contrast

in attendant key.

Recapitulation of

sfirst section. Coda.

!

1 \

38

Exercise 27.—Extemporize a "melodic intermezzo" on either of the following sets, the second phrase

being for the opening of the central section.

139

i* _>.t^ t r r\f=^ r p|» r r g-fi Ir ^ r r Ir ^ r r i^^ p-p-

i^Es ^

J- 4=^/7S J.J^^J lJ,J-^----^-,jJ^^--^

4r f r r r rIrT r r f ^-r~rr--p-i^

;i7f-n^ r~rCentral Section.^m ^ *i rJ

Jll^^bJ'j

J^^

' r r r i^^^ ^^ -l=-'T-

?" J-^-^L-g.7~^^^f

^iffiJ ; -i J- ^ -i.; J J j-5_^

^140

i5o/o. Ohoe,.

^g=^i^^C/j,f T

, iy^ ' M t*^i -^fi-h^

^S ^ i i -^

Central Section.

rriTF ^^^^^^r^a£U'[g gjS-JJ-

i

141 8

^ i^i!^^^ir'

g

y^ r\ «aJ-^i^So/o.^ g i^Ss •1 1^ 1 T

Piii mosso,

i9 M#

i

s; ^

39

142Con moto.

g-^-''g T'rrTT^

Central Section.

i' i':\^ : kiri ^

m

^^t:iP^

^Jr-^. ' rt -'r'^^143

1^

mSi

J/^ l ^_dJ S"i

_ 1 r -=H^

5.^S-i3JI'r •'T rjr

Central Section.

i^^ t±4

Vox humanaJ

^^

Stir^

FF"^' "f'f^-p^

144 ^ib^n ^ g 1 1 y i|1 j 1 -I g i5 S=F i^^ ^

Solo. 03 ,

-^

^ jri,^j- .^,.^7] 3l^ -^^jj/js

^'

^ - U H\ --^X-^VtX^^^r-^fCentral Section.

PJK mossa.

i5 \S&ii}'S f S]{^ iU

Exercise 28.—Extemporize several melodic intermezzi in the presence of your master, he suggesting

time and key, and character of central section.

THEME AND VARIATIONS.

6. The theme and variation offers to the intelligent musician perhaps the most interesting, if also the

most difficult, form of extended prelude in which to extemporize.

Here far more will depend on the fancy and imagination of the performer than has hitherto been the

case. Few rules or suggestions can be given. The theme must, of course, be capable of variation, that is,

it should present an easily recognizable harmonic basis, that at each recurrence the harmony may be

discerned. The variations should grow in interest, the simple coming first, the more intricate later.

Modern examples (as Rea's Andante con Variazioni, Hesse's Theme and Variations in A) show that a large

40

number of variations is not

ject is variety and contrast in

of Rea's Andante con Varia-

tions, are as foUovi^s :

—

Var. I.^ 1

Theme.

e'li'a r

err-necessary, but that the chief ob-

style. Thus the opening bars

zioni, and of the Six Varia-

^

$ «^^^ s=s

^^ m ^^X f

Var. 3

p^jg^f^^^^^

J'[:

<»):ft,

1t 3

P

*

Var. 3^^ ^^Var. 4.

Jm

A.

^ d:

^'F0^ »

^ rff

^^

^.^ ^

Var. 6. ^

m J-——^-j^ ^^

K

@ S^^Theme.

Hesse's Theme and Variations in A._ * Var. I.^^

s ft.r1

^-^-Var. 2. Sze".

=^

^M: -^ ^£= :

^^1S=FS^^ ;

^ .ETj^ . ^^T^j

^^ffi ^Gi. Diap.

'p-y^

^75 f^^^

Var. 4. 1^^ pq—pa

^;>

^ "2 ^-^^ J * !-•

41

The student has now to extemporize variations; in this he should remember that if the melodic form is

altered the harmony must remain more or less unaltered, while if the melody remain, the harmony may befreely changed. In this way only can the development of the theme into the variation be noticeable, since

if both melodic form and harmonic basis be varied all connection with the original theme would becomelost, although even cases of this occur in the works of the great masters.

Exercise 29.—Extemporize variations on the following themes, commencing your variations as given

below:

—

145 Andante

.a^^^ i^^'-'^i/'

ir^ i "^^^iji-j'^ ::hzjt£^^mIj^ ' -g:

Var. I. Var. 2.Fl. Solo.

iVar. 3. Ch. Lento

s!!fria_^r ^"^jj

h^ JJl^gs^^Sw. Solo f" "Si _^

Reed. V- -^ -^-J-

«aJ.

Jl^SS

Var. 5. Minor.

Man.Ped.

iVar. 4. Piu vivo. r-

t=^F^RtGt. to .

Prin. •'

g^Pfe^^^-^JUJ-

m3^=a

^»ii ^jp^jj^^fl|1q/3

r xT^^^^^

iVar. 6.

^¥^

«S^=^^^^^^

42

$

146 Lento.

^i^ T ^;^=^P^ rr-^E^ I J

-I I r r Y T~J

I 4e^^3E :^ :^r ' f- r

' r-p—*^"T

^H -I-=st ^' L^: J-U

fr=rA J-'

9 r^ r~2=^

?2:i 3 -' ^^

I

J . J

,

i

r^f r f

^ r r r^Var. I.

C/s. 8 &iji.

-r

—

^ 2Z3r V- i?r- •j'-f

iVar. 2

:^J

I

gri"^Gf./...i^t tr

'

r er r

Var. 3. 1^, f*l

[J «ii' 'OTj JTTii ITT] »^-^

^Var. 4,

Siei. 16//. (S-2/f,

^^ ^.m^^m^ACh. Gamba.

EFP tr:^=?^

tn^^:?2Z

f=

Var. 5. Lento.

Ch.Fl. '

f^r^f^ r .if

C/t. to P«<i. I—'^^

Var. 6. Allegro con brio.

^^

Gi. fo Pn».

f.):i,1 t n i* 1 "^^"^-^ •^?^ 1 i^1S T=^

43

147 Moderato.

^i I "^

^=Fw ^ r d

iA. ^^d--:?2: i^

>b "^-^

r ' r ' r ' r PC^F'

148

^^-n- •T'?; rJ^^^ ^ ttJ yc^ ^IE^ ti^ ' -cji-r

J^-' lLt ^^' r- '^' -^ 'r^^

g):Vi4 lig

IlJl-^^^a.SJ^\^^4 g f=m3s^t=f=^m fW

^^ rTi JI,"/jTi /, ^^ X. ^T r^. I

^- ^ II

"^1

11'' J J-I

IJ"^f!i-JE

(M » r "nj^ fer^-

. f r ifefe£ ^^

p:^:7^- ^ifT^/^Bi=^

^i '

r cJ^ t' r 'F ^5" Cjlf -p

c'iV r r T ill ijj A rjLf L2/\ ZLt gIr.^*f

r ^^Exercise 30.—Write six themes capable of extemporary variation, and suggest, by giving the first

two bars, how these can be commenced. Submit them to your master for his criticism.

Exercise 31.—Extemporize a " theme and variations " in the presence of your master, he suggesting

time and key.

44

CHAPTER VII.

TO EXTEMPORIZE SHORT POSTLUDES.

1. Hitherto the student has been recommended to exercise himself in slow movements, as giving more

time for thought, and making less demands on the vigour of his imagination. The postlude requires in its

extemporization life, energy, and style, and should therefore be placed later.

THE SHORT MARCH.

2. The short march presents the easiest of all means of extemporizing a postlude. Let the theme be

characteristically marked. It can be developed much on the same plan as the previous melodies have

been, i.e.—

March Plan.

First section, tonic. Second section, dominantor other related key.

Repetition of first

section.

A short introductory passage (not necessarily a trumpet fanfare) may precede the march ; the first

section (of sixteen [i.e. two eight] bars, or of tw^enty-four [i.e. three eight] bars) may end either on tonic or

dominant, and may be repeated. The second section (of nearly equal length to the first) may be in a

related key, and will lead to the return of the first section of the march. This second part, from the

commencement of the second section, may also be repeated. This will be followed by the trio (or central

section), forming a contrast, and usually consisting of an accompanied melody, or of some quaint themewith peculiar registration. It may be built just like the march, in two divisions, and will lead either

directly to the march, or to the introduction and then to the march, which may finish with a coda. Thecomplete form may therefore be thus exhibited :

—

Short March Plan.Introduction, ad libitum.

March. I

First section, tonic. Second section, dominantor related key.

Trio.

Repetition of first

section.

First section of trio.First section, accompanied Second section, relatedmelody. key.

March repeated with Coda.

The student will note that the recollection of each section, and particularly of the march strains, is of

primary importance.

Exercise 32.—Extemporize short marches, menuets, or postludes on the following themes :—Nos. i

and 2 have the start of the trio given ; to the others the student is to make his own trio.

149Tl./! «V.

i

m

March.JiT^ ^^ SJ :J=

ff

SEI

St-

^I

^

45

Trio.

fll]\' ''^

Ch. Reeds

IS i^ .iifni i J ''J

r f ^(?;" t^J" ^^ ^^g ^150

iMarch. ^s

r ^ r

m ^J JTJ J~3, ^^^r- LLJ" I r ^^

Trio.

i1=^ E* ^ ^ :d=

fe^-^^^^f^' "r ^ i3^^^^^

H-

^ t «=F*^^ J ,^JT3

r r r=?==

i

151

ft^^ i it ^ J; ^3^Jl *l ^ ^ ^r r ^- f- r r#

s3 ^'

-^1—i-5^

J-' 4 j^-^-g—^g-

* r ^ ?^=F^=^ ?^1-

—

r-

152

MeSlow March.

f^ ^ jn zi:

gi^ t}^^ j^^^^

^

(^=i i*^^-J J J'-JJJ^'

^ f= f^^^3E^

r r153

Moderato:f^e:e ^

^ i^I

i-L-i=2-.

P—

^

W mp=^B^

46

i

154 Menuet Style,

Moderato.

g)4 p- ip^- —ipfr pi p

^iJ/

3i iir

156 Funeral March Style.

i^£±±=S*

155 Meauet Style,

A llegro.

i^fei

!J'M" 11° r "f

teil ^ i-i^ -c:^

^=r^

^2^

f^r

158Grand Choeur.

157 " Grand Choeur " Style.

^^^ 3^^

?^^wri. if n^^^ir- ccr^^^^

159 Alia inarcia.m.#V'

^^n j g ^

r '-I' ZfZf r ^rv'

i^ Sr

Maestoso.^ I—r^

^gS'aestoso. _i— S r

r r ; ^g ^'pg^160 Tempo di Menuefto,

I

I I I'

s i"Trr

i 4> 4 ^ ,4 ij::*c

r rI

f "r r

m

^:

47

„162 Lento, s

^^^^^^m^4 l- >sa?=^ ^

r

163 Lento.

't^W^^ n^st I ^#

rFTi "-^-'r^t^

^ -H^^'"tfi _

-» '^'P

—

^

164 Moderato.

^^m^^ =^=F

Ji],J i ^'^'r iJJ

>»/

i^ ?=2

l^-fr4=

H^—

V

L^^r r r 'T rrT r r

^

165 ^/' Orgarese.

#JT?; -j"iga-^

r.

^

T167 , ^ r-

166 Tempo di Menuetto. ,

^^

/^^ i ^

^

-JU2M J.

^ If/ '

"T

nF?^^

Exercise 33.—Extemporize a short march, with trio, in the presence of your master, he suggesting

key.

THE SHORT FINALE.

3. The Short Finale is again but a slight advance on the short march in difficulty of extemponzation.

A suitable theme, perhaps broadly designed on a tonic pedal (therefore easy of recollection), will have an

extended middle section worked on somewhat of the same theme in the dominant or relative minor, and return

to the opening theme to which a strong coda should be added to bring the whole to an effective close. Such

short movements scarcely need (in fact are better without) a contrasting central section, which would seen:

to demand a more extended development.

The simplest form, therefore, in which these may be extemporized may be thus shown in pian-

ist Section.

Plan for Short Finale.

2nd Section. ist Section. Coda.

Tonic.

(33 or 48 bars.)

Dominant or relative

minor.

48

Exercise 34.—Extemporize Short Finales on the following themes :

168 Allegro moderato 170 Moderato.

f

PJim] jrnji -I7\

^ ^ p169 Allegro.

i J—^-

-*i—iH-^—^^^a

g-'bit I I I

—

'=='-

L.H. ^^—

^

.arSi

rs--^--!

M ^

171 ^«eg-yo.

'

il^^ rf ^^?

s -7n- "y^^-

172 Allegro moderato.^^5

fA' ciJip r r

*=^

^# i I ! J^ ^ ^ ,^i

1^Ped. Lu:

:ft==ft

i^ir r 1^

173 Moderato.

/ 1 II I : II J

mi ^J. -iZJtL

r174 Allegro moderato.

^F?4 i

i^ ?3pi?

-— '~t: . I ^=i

f175 Moderato.

f=^^^^^^^^/r r r r r ^^

:-^Bi^5S=F^jS^-f-^^ ^g#c

^?^=^F I f i

-i-rrr\ A^ -4

¥ ^^^

49

176 Allegro.

ph^

50

CHAPTER VIII.

TO EXTEMPORIZE LONGER POSTLUDES.

I. The extended march may readily be extemporized by adding a second trio, and by extending the

coda. The student is referred to Mendelssohn's " Wedding March " and " Cornelius March."

It is not necessary to remember either trio, as they are not repeated. The extended march form can be

thus given in plan :

—

EXTENDED MARCH PLAN.

March. First trio. March, with or Second trio. March, with coda.

First section. Second section. Repetition. without repeats.

Exercise 21.—On the themes given in Ex. 19 extemporize extended marches, adding new second trio

(Nos. 149, 150, 151, 152, 153, 156, 159, 163, 167.

MODERN BINARY MOVEMENT.2. We now approach, in the overture and modern binary movement, the highest form of extemporiza-

tion. Both may be prefaced by a prelude or introduction, in which no special form need be apparent, but a

bold striking effect be aimed at that may arrest the attention. It should not be too greatly developed

;

then must follow the binary movement. Let the first theme be clear and easy of recollection. In the

case of the overture, it will immediately be repeated ; then will follow the bridge leading to the second

subject. Again, it should be pointed out, that the second subject having to be transposed, should be simple

at its start ; the coda that follows may work up to a broad climax. The development will offer more

difficulty. Frequently, however, the themes will contain some phrase which can readily be treated as a

sequence of modulation, being repeated in ever varying keys. Beethoven put the second subject of his firsi

piano sonata to such a use, while in the first movement of the "Pathetic" he so uses the first theme, turning

it over, however, to the bass. Remember the use to which, in the development in the Overture in C for

military bands, Mendelssohn puts the little phrase :—

Wz^Should the development flag, interest may be sustained by introducing a new broad theme in semi-

breves and minims—a device frequently resorted to by Gade—and thus, passing from this, we reach the

recapitulation. To what extent the coda may be developed, will depend on the subject and on the player.

Plan for Binary Form.

{a) Prelude or introduction ad libitum.

(b) Exposition, i.e., first theme, bridge, second theme, coda :|| N.B.—In overture first theme

immediately repeated.

(c) Development. Possible introduction of broad theme in semibreves and minims.

(d) Recapitulation of exposition, but with second theme in tonic; coda.

Exercise 37.—On Sets 181 and 182 below extemporize overtures. No. 181 without prelude, No. 182

with prelude and development theme.

On Sets 183 to 191 extemporize modern binary movements in Nos. 183, 184, and 187, using development

themes given.

51

181 (fl) ist Subject.

f^i^-muOverture in F.

^ T^^-^3-^= s prti*—

i

^ r=» i=*=Alkgro.

J ^: ^ i J.=P=3=^ =P2=

=f=

(6) 2nd Subject.

Solo.

fc i r f b,

^S

i i=gi^ 'f'-^gj^

-rMan. Ped.r

182 Introduction.

^^ -S-^t*=

Overture in D.^^ ^^^ r^

3sJ-j.

«*f^, ii

J J^^ist Theme. Allegro.

h I hm ^ r r I f f=

i^?=^=F =&

m m ^ =g=

^

pCh. ,

5ff=^tTtT:

New Development Theme. „

^^^^ ^i

-P =1-5= ^

d=i ^ rrj 1:£///

^H* =1—

^

=?2=

^^4.3^5^

52

183 ist Subject.Allegro moderato.

d-d>A rm YTJj^

.^ Modern Binary Movement for Sonata in B flat,

and Subject.

Soft Sft. and id ft. legatissimo. ^^s

r r rri*=?c

.^^ Sk^'^^'-cj^r ^^

-^tff frfTt^Development Theme (can be used again in the Final Coda). Chorale, " Nun Danket.'

i TiP=^ It

^ :st:z2=

#

S184 ist Theme.

Allegro moderato.^W^^ ^EE^ ig •

^» .^^ J. -J ^I2S: ^^¥^ f=r=^ ^~r r

2nd Theme.

^-==*-

ISii^J liS

,

?^f

Development Theme.

itfes

i? e?^ ^

- f^ '-

, fr* I - g'^'^TJTi'^

^±^

fj,mf-T'

r'- tir^- r ^ '-

185 ist Theme. Moderato.

t, ^ J. ^ J . ^5^:c) "4 t ^ s ^ yi ¥r\

^S.J^

^

t^^ =i*=^-i.

=F=^=F^ -^ . 1 J J^2nd Theme.

:^

CA. Fl.

)^\ iiij ufj I^^iJi.

53

186 ist Theme. Allegro

tr^ ^r-- pr-—i ^

r r1 I

ihr .'J* ii

p""

f' r fi

-F-tS'

^

i

"^^

Allegro moderato.

187 Sw.Reed.

Sw.and Theme,

i

B J J J J J J .^ ^^=fr=^

S321 £f^ e

^ ^ /^ .jFed. i6 6- 8 ft. {staccato.]

^2nd Subject

i

Development Theme

±i^ ¥=^^^f

J-*!- I' J I

Modern Binary Movement for Sonata in D minor.

188 (a.) ist Theme for Sonata in D minor. {b) 2nd Theme (F major will recur in D major in Recapitulation).

rt-l-f?S^E ^j;jj ihJjrJ.i|

i, ^.^pjj|

i'^.f^ -i=£^ Ji& ^^?=^" Mfl».

Modern Binary Movement for Sonata in D major.

189 (a) ist Theme. ^ (Opening of Easter Hymn.)(6) 2nd Theme. i

(Derived from " But Thou didst not leave.")

4^

_^ Moderato.

P=

eg

Modern Binary Movement for Sonata in E Minor.

190 ist Theme. Allegro risoluto. 2nd Theme in G major.

f^

J?tf r 1 ^ p^ r^ lI

"p^ tr^^ I* 1

'

[^P=S: i

N.B.—2nd Theme vi^ill recur in E majorin recapitulation.

54

191 Molto

i 3^^ -U^^Ojj^^^^#.f:^f t?^

Se^m I

J

-T5*-

i2=i^ J-

Smcp ^

^ 1= "C?

THE FUGUE.

3. The extemporization of a fugue is of such extraordinary difficuUy that only the extremely talented

few can ever attain in any way to it. Beyond the study of harmony it demands a perfect knowledge of the

art of counterpoint and fugue.

The extemporization of a " fugato " or fugal movement is not of so great difficulty, not demanding such

great resources of skill. To attain this, let the student, who has studied fugue, attempt to extemporize

short fugal expositions. In these he will find that his counterpoint must be purposely thin at first, and

devices such as " added thirds " be frequently of help. The episodes may be more or less free, have little

reference to the fugue theme. A species of counter-exposition in the middle will keep up the fugal idea,

while to this can succeed a second episode and the pedal point.

He, who can do even this much, moderately well, may count himself a clever extemporizer.

Exercise 38.—Extemporize "fugatos" or fugal movements on the following themes:

—

192

w^S 3 =^

193

WS^ s =?E=^

200

55

208

^ • » ^^^ ^

209

^fT^pi r rrr r » "nrrr^ ?

210 " Adeste Fideles."

I^rir ^g^^ r ^ r

^p^ :z2

211^ V- " Old Hundredth."

DT|tfC/|pg"te:^SExereise 39.—Write twelve fugal themes for extemporary development, and submit them to your

master for his criticism.

Exercise 40.—Extemporize fugatos in the presence of your master, he suggesting time and key.

56

CHAPTER IX.

ON THE USE OF THE HYMN-TUNE IN EXTEMPORIZATION.

1. The organist is so frequently obliged to make use of a hymn-tune in his extemporization, that it

will, perhaps, be best to devote a separate chapter to the various ways in which this may arise. The

ability to treat skilfully the melody of a hymn-tune will frequently enable him to produce suitable

voluntaries for special festivals or other occasions, whereby he can maintain the prevailing idea of the day.

ON EXTEMPORIZING AFTER THE CONCLUSION OF A HYMN.

2. This, the only piece of compulsory extemporization during Divine Service, is at once one of the least

artistic, as it is one of the most awkward, occasions in which the organist's power is called into play.

Since the period during which he will have to extemporize is to him unknown, no definite movement form

can be adopted. Yet this by no means implies that the so often heard "mooning" from chord to chord

is necessary.

Supposing the hymn to have been, "O God, our help in ages past," and the tune the well-known

"St. Ann's"—

i p

Short Methods.

Plan i.—After the "amen" make a short modulation to the dominant key of G, and, modifying the

melody of the tune, extemporize a sixteen-bar theme, beginning thus :

—

Should this prove nearly sufficient, a coda of four or eight bars, with a rallentando, will bring your

improvisation to a graceful termination.

Plan 2.—After the "amen" proceed as before, by a short modulation to the key of the dominant, and

then play over the first line of the tune (reharmonizing it if possible). At the end of this line extemporize

four bars, over some easy figure, leading to the second line, which can also have fresh harmonies. Again

play four extemporaneous bars between lines two and three, and after playing the third line, again between

lines three and four. After line four a short coda may conclude the whole.

Plan 3.—Proceed as before to the key of the dominant, place the melody of the hymn-tune as a tenor

solo for the left hand on diapasons or swell reed, and accompany with the right hand, arranging the parts,

and, where possible, putting fresh harmony. Add a short coda. (See Smart's Choral, Variation 2).

57

Exercise 41.—Extemporize according to Plan i, taking the following as the hymn-tunes, the

melodies of which you will modify as you find necessary:

—

1. The Old Hundredth.

2. Tallis' Canon.

3. "Abide with me."

4. "O come, all ye faithful."

5. St. Matthew.

6. The Easter Hymn,

Exercise 42.—Extemporize according to Plan a over

—

I. Winchester (Old),

a. Melcombe.

3. St. Bride's.

4. St. George (" Christ the Lord is risen to-day ").

Exercise 43.—Extemporize according to Plan 3 over

—

1. "0 filii et filise" (" sons and daughters let us sing").

2. "Christians, awake."

3. " Hark, hark, my soul."

4. " Nearer, my God, to Thee."

Exercise 44.—^Take the opening lines of ten tunes, and write melodic modifications of them to submit

for your master's criticism. (See also next paragraph).

Longer Methods.

If the organist knows that the period during which he must play is of longer duration, more artistic

means are available to him.

Plan 4.—After preparing the way for recommencing in the key of the hymn-tune, by making a short

modulation to the key of the dominant, the melody of the tune may be modified, so that it may be used as a

theme for an andante or melodic intermezzo. It should, however, be noticed that the stiff, regular

progression of the hymn-tune itself will always be the better if made more melodic. The modifications, of

which a tune is thus capable, are very many and various. For instance, " St. Ann's " may be thus adapted

to become a suitable theme :

—

^ * W ' L ^ te e

m m 3

^^S ^ linj^j J"^ e

4) 4 \j^—1^^-

^^ 1^ & ^m5 ^ ^Z2I

5«

Plan 5.—The tune itself may be treated as a theme for variations. This plan proves of great use,

since the player can readily terminate his extemporization, while, in an andante movement the need for a

sudden termination frequently spoils his efforts.

In what way these variations on a hymn-tune may be made, the student may readily see by referring

to Smart's Choral with Variations, or, to a still more classical example—Mendelssohn's Sixth Organ

Sonata.

Smart's Choral with Variations.

Choral.^^W^"^ rryjM? 4 J J,^ J^^T^^^¥4^

T^ f^^

Var. I.

i hi J JI

J I J f]^

^mfTC . j /J-gSU.jEf£B^

Var. 2. I J I

I w,^

Man. 2. J J

m^ i"

Var. 3.

m3Gt.-r-r

^ ^m r^.-^jm

tJ^Cj^'u:^

Var. 4.

-fr-^

^P#JJl^

^^i

^^gf',

'^^^-^rj^m^'i^^ ^ s

Var. 5.J

Sr^f m J^

^ M»». ^ ^Pei.^ m f -1

Var. 7.W^ fs ^^L^:Gt.f

-^ ^^ifr?^ ^ ^^^^ -t—I- ^i^

59

feChoral.

^

Mendelssohn's Organ Sonata, No. 6.

^ . Var.

:t ^^g'-^^^

lif^^l^f^

-2=t

r=r

s

^ ^

^Var. 2.

3 =35r 1

J; i= ^Bfcdaffl ftrW^cJ/ng

fi=:=f- e^*- «f4,^ I,

f=i-- i=F

^?:i^:S=^

Uzw^

Var. 3.

Clav. 2.

l

4^i ^ 'if^

^Ctew. I.

J-

=B=Q1 K^

^ -^-J-

-^ii

J \

ipsf* d-

^-g-^^-^'g ^ r^ -w^

-=1—p-:^

Var. 4.

Allegro molto.

Z 7

13^

2:21

Several specimens of variations on chorals by Bach will be found in " Bach's Organ Works " (Peter's

Edition, vol. v.)

Exercise 45.—Extemporize, according to Plan 4, over hymn-tunes selected by your master.

Exercise 46.—Extemporize at least four variations over hymn-tunes selected for you by your master.

In each case conclude the whole by making a fit cadence at any point at which he may, for practice, see fit

to stop you.

6o

ON EXTEMPORIZING A PRELUDE OVER A HYMN-TUNE.

3. If the contrapuntal powers of the extemporizer be well developed, an excellent introductory voluntary

or prelude over a hymn-tune may be played. It is advisable to take some contrapuntal phrase easy of

manipulation, extemporize eight bars ending on the dominant to serve as introduction, and then work in

the tune, line by line, allowing about four bars between each as interlude. To what extent this may be

done, the student may see by turning to the hundreds of developments of chorals which Bach has left us.

The opening bars of several specimens are appended. Even the so-called Giant Fugue itself is only another

example of this. Some very beautiful modern examples are to be found in Merkel's "Zwei Ausgefiihrte

Chorale und Fuge mit Choral " (Op. 12). The opening to the first of these is also appended :

—

mBars I and 2. ^

j-:rj5\fTi

Schmucke dich. Bach (Peters, vol. vi., p. 50).Choral. Bars 11, 12 and 13.

^^ SW^ X±i^Wr f

ss ^1 v: \ vvfj.iij J:a^

fe^=f

This development by Bach was a great favourite with Mendelssohn, who included it in his organ recital at the ThomasChurch, in aid of the fund for the Bach Monument at Leipzig, August loth, i84o.

iBars I and 2.

S¥ ^^^^^^Wachet auf (" Sleepers, wake ") Bach (Peters, vol. vi., p. 72).

g^j-pJjv'^ri^^^i* =F=

Bars 13 and 14.Choral.

i^£ ^^ Ji:3t^^^UllTf '' '^ ^^^

Bars I, 2 and 3.

Nun danket alle Gott (" Nov5r thank we all our God ") Bach (Peters, vol. vi., p. 34).Bars 5 and 5.

.

Merkel's Development. Choral, " Straf mich nicht."

In each of the above cases the opening bars have been given, followed by the bars in which the choral

commences.

6i

Exercise 47.—Extemporize preludes or introductory voluntaries, using the contrapuntal figures and

hymn-tunes as suggested below :

—

212 Figure.

SYH f^^

hXa- '' ^ 1 J V.

-^-i

m.-r

Tune, " Holy, holy."m & St"27"

I V^s^

-^-

:f'&c.

:^ :czi

213 Figure.

#4=

i5 122

122

Tune, " Easter Hymn.

-2:;i

—

&c

s214 Figure,

\IU2\ ^^^1 rrr^Tune, " O Sacred Head" (O Haupt voU Blut).

is

"7?"

W

X

&c.

215 Figure.

^^S''^ ' i

i

-V-

^^^ 1

i

^

Tune, " While Shepherds watched."

ZZZ

&c.

216 Figure.

i^1^ -J^JJ j^Ti

SEJ

,J ^ J J jTT^It^r=r 1="

iT=^;?2=Tune, " Now thank we all " (Nun danket)

\ \ d ^-r^

f-rzT'

irzzj

t\ F I r f :-t^&c.

THE HYMN-TUNE AS CENTRAL SECTION OF A SHORT ANDANTE OR INTERMEZZO.

4. In a short andante, the hymn-tune will frequently adapt itself as a basis for the central section.

Smart was particularly fond of using a choral-like phrase in this manner, usually varying it with some light

flute passage. The student may refer to the " Quasi Pastorale " (No. 6 of Twelve Short and Easy Pieces,

Novello Series, No. 12) and to the " Allegretto Pastorale " in G.

62

An excellent example of the use of a hymn-tune as central section of an intermezzo is afforded in the

second movement in Mendelssohn's Lobgesang Symphony.

Exercise 48.—Extemporize preludes in the presence of your master, he selecting the hymn-tune.

Exercise 49.—Extemporize a short andante movement, using a hymn-tune as central section.

Exercise 50.—Extemporize a melodic intermezzo, using a hymn-tune as central section.

THE HYMN-TUNE IN THE POSTLUDE.

5. In a similar way to that adopted in the prelude, but of course in a style suitable to the altered

circumstances, a postlude may be developed over a hymn-tune. An excellent example of this is to be

found in Merkel's Op. 100, No. 4, in which the melody of " Sleepers, wake " is thus treated. The first

eight bars serve as introductory symphony, after which the melody is taken, line by line, interludes occurring

between each. The first four bars, and also the opening of the first line of the choral, are here appended.

Merkel, Op. 100, No. 4, " Sleepers, wake."

iRisoluto.

't^

^^S. zs=tiz

f\

^^=^^

r~r-

^^^ =F

T ^ -^M A -i

T^ =^ff==ifeI.L

iChoral.

f=^ Z2=

Q-f ' I r r- u>f rm 2:^:

r

=*=»J-. ^^

J i J r^r u r

ik 11*^ q?=qe

^ ^'r- CJExercise 51.—Extemporize postludes over hymn-tunes, chosen for you by your master.

It is only necessary to casually point out to the student that in order to give an ecclesiastical tinge to

his sonata movement, the choral, or hymn-tune, may be used in a variety of ways :

—

1. In the introduction to the binary movement.

2. As first or second subject.

3. As broad subject for introduction in the development.

4. As climax of the coda. (See Smart's Fantasia with Choral.

EXTEMPORIZATION BEFORE THE ANTHEM.

6. Though not strictly within the limit of this chapter, yet as the style is somewhat similar, a few

words may be added on extemporizing before the anthem.

It will generally be best, especially if your anthem opens quietly, to modify and adapt the opening

phrase, and develope it as a short andante, in which case frequently a later phrase in the anthem will lend

itself readily as the opening of the central section, or as the second subject. The organist must always

bear in mind, however, that his performance is to serve as an introduction to the anthem, and must not,

therefore, be incongruous in style, or of such a nature as to detract from the merits of the work to

follow, by placing it in any strange light.

63

Exercise 52.—Extemporize introductions to the following anthems, to which, ia several cases, possiblefirst and second subjects have been given.

217 ist Theme. " God is a Spirit." Bennett. 2nd Theme.

I^^^^=P=

^ ^' r (^O^^r

m± r p

218 ist Theme. " O love the Lord." Sullivan.

m ffltG?'

^f- r—r f

A - ^ J ,_jf=

=?2:

and Theme.

i vP»A.. ! I J J lJ J^H-.. I J J

/

(^=^ii:'^fl r

r > r 'r r r =r^ ^

219Introduction.

i^ ^ ist Thenie.Andante.

' The Wilderness." Wesley.

,,,.T?|MJJ^^H^^^tj-r « f cfi"¥^

I

rit.

fcy.iiX^ ^ -k-ii m 5=i

I#:aji -=1

—

i-^

2nd Theme.4-m ^

5

^^=flp^

220^_^^___ .^_^.^^ ^. Solo.

"God is gone up." Croft.^ 4- eris^/

I* -^

^sTT^--zm_-jniJ^g s "^=i M

Exercise 53.—Extemporize introductions to anthems chosen by your master.

64

CHAPTER X.

TO EXTEMPORIZE EXTENDED FANTASIAS.

1. Finally, it only remains now to show the possibilities of grouping the extemporization of several

movements together to produce the effect of one whole.

2. A simple fantasia may thus be easily formed by grouping together the prelude (somewhat more

extended, perhaps, than when it occurred before a sonata movement), following the prelude by an andante

or melodic intermezzo, and concluding with a finale or extended march. This form was most successfully

used by Merkel in some of his fantasias.

A Fantasia Plan.

Prelude. Andante. Finale or March.

3. Another form may be obtained by combining the theme and variations with the finale, march, or

modern binary movement.

Second Plan.

I 1 I 1

Theme varied. March, Finale, or Binarj' Movement.

4. Lastly, now that the student has been shown the method of extemporization of all the varied

movements, he may crown his work by extemporizing a complete sonata with—

(a) Prelude or introduction.

(6) First movement.

(c) Andante or theme varied.

(d) Menuet in march form.

(e) Finale.

5. However difficult the first attempts at extemporization may be, if the student has but a very moderate

amount only of musical fancy, he is, with careful and patient practice, bound to achieve a satisfactory

result. The writer of these lines has abundantly proved, both in his own case and in that of many of his

pupils, that, given but a small amount of musical imagination, it only needs the same assiduity of study

and constant and careful application as is given to other studies, to attain a considerable amount of

success in this most neglected but most beautiful branch of musical art—the Art of Extemporization.

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Organ Accompaniment -

The Cornet ...Musical Dictation. Part I. -

Musical Dictation. Part H. -

Modulation . . -

Double Bass -

Appendix to Double BassExtemporizationAnalysis of Form500 Fugue Subjects and AnswersHand GymnasticsMusical Ornamentation. Part I.

Transposition - - - -

The Art of Training Choir Boys -

Do. (Exercises only)

Biographical Dictionary of MusiciansExamples in Strict CounterpointSummary of Musical History

(to be continued.

Berthold Tours

J. CurwenJames Greenwood

J. Stainer-Stainer and Barrett

Jules de SwertJames GreenwoodFranklin Taylor

Mathis Lussy- Florence Marshall

-J. F. Bridge

H. BrettDr. RitterDr. Ritter

- James Higgs- A. C. White- A. C. White- F. J. SawyerH. A. Harding

A. VV. Marchant- T. Ridley Prentice[Paper boards, 6s.)

E. Dannreuther- J. Warriner- G. C. Martin- G. C. Martin

W. H. CummingsGordon SaundersC. H. H. Parry

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25'9/93.

Any of the above may be had strongly bound in boards, price (5d. each extra.

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