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    Kirnberger, II 4 PDF

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    Isaac López

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    The Art of vn ane i oF Strict Seren nacreniiconrostiont Alerioed from reliable principles and Musical Composition aeereaaoees by JOH, PHIL, KIRNBERGER (Court Musician w lr ReyalHighnes, JOHANN PHILIPP KIRNBERGER coer Translated by VOLUME II DAVID BEACH and JURGEN THYM Introduction and Explanatory Notes by DAVID BEACH NEW HAVEN AND LONDON YALE UNIVERSITY PRESS 374 MELODIC PROGRESSION AND SMOOTHNESS OF LINE “The diminished fourth—melancoly, anxious; the small calm, content; the large—very depressed the augmented or te rtone— desperately Sa. “The small ifok—tenderly sad the fale—imploring the perfct—content, soothing; the augmented (occurs only inthe bass)—timid, Luo4] "The minor ssth—depresseds the major—rather timid the augmonted ‘doesnot occur in melody. “The diminished seventh—lamenting; the minor—ratherFeightful the major tremendously fight “The oave—very soothing. 1 do not mesn to imply that these melodie progressions have only the ‘fects indicated and cannot be changed in any way. Rather, I mean only ‘that thes effect seem to me tobe most appropriate other. Much depends hete on what precedes and follows and, in general, on the totality of the melodic phrase in which these progressions occu; it also depends on the Postion ofthe intermingled minor and major seconds of the scale or mode, land above all onthe bet ofthe measure on which they are used and on the harmony thats placed under ther. Every melodic progression can acquire a diferent shade of expression from the harmony’ Nevertheless it it certain thar the effect mast be al the greater when the melodic progression in itself swell chosen ands supported by apowerful harmony. This god choice of melodic progression is necessary above all in compositions whose greatest expressive power must lie in the melody, and in which no harmonie ac- ‘companiment is necessary, as in arias and songs, Great men have always been very careful in chis choice. Consider, for example the fist phrase ofan aria by the famous Renedetto Marcellin example 3.68.4 Can one imagine 2 progression that is more striking and better suited to the words? Assprae cruda quello pe-ra EXAMPLE 3.68 Wor nies. CHAPTER 4 Tempo, Meter, and Rhythm {205} A succession of notes that mean nothing by themselves and are sliferentited from one another only by pitch canbe transformed into real ‘melody-—one that his a definite character and depicts a passion or par ticuaesentiment-—by means of tempo, meter, and rhythm, which give the ‘melody its character and expression. [tis immediately apparent to everyone ‘thatthe most moving melody would! be completely stripped ofall its power and expression if one note after anather were performed without precise regulation of speed, without accents, and without rest points, even if per~ formed withthe strictest observance of pitch. Even common speech would became partly incomprehensible and completely disagreeable if a proper measure of speed were not observed inthe delivery, if the words were not separated from ane another by the accents associate with the length and brevity ofthe sylables, and finally ifthe phrases and sentences were not difereotated by rest pains. Such lifeless delivery would make the most beautiful speech sound no beter than the lewer-by-leter reading of shildsen ‘Thus tempo, meter, and rhythm give melody itlifeand power. Tempo defines the rate of speed, which by itself is already important since it ‘designates a lively or quiet character. Mater determines the accents in d- dition ro thelengeh and brevity of the notes andthe ighteror more emphatic delivery: and it shapes the notes into words, s0 10 speak. Bur vhydhm tstablshes forthe ear the individual phrases formed by the words and the periods compose of several phrases. Melody i transformed intoacompre~ hhenible and stimulating speech by the proper combination ofthese three things. Butt mustbe Kept in mind that none of these elements is sufficient by 375 376 ‘TEMPO, METER, AND RHYTHM ‘itself to give the melody a precise character; the true expression of the melody is determined only by ther synthesis and theie interaction, Two ‘compositions may have che same rat of allegro or largo, yet sll have am entirely differen effect; according to the typeof meter, the motion is more hurried or emphatic, lighter or heavier, even while the sped remains the ‘same, From thisit is clear that tempo and meter must combine theit forces, [196 The same is also true of rhythm: the components fom which a melody is formed can assume an entirely different expression depending on meter and tempo, ‘Thus, whoever wants to write a melody must pay attention t0 the combined effect of tempo, meter, and rhythm and must consider none of ‘these without regard tothe other two. Nevertheless, itis unavoidable for me to discuss each of them separately here and to tell the atpiting composer what he needs to know about each individual point. 1. TEMPO ‘The composer must never forget that every melody is supposed tobe a natural and faithful illustration or portrayal ofa mood or sentiment, insofar as it can be represented by a succession of notes. ‘The term Gemith ‘eaegung, which we Germans give to pasions or affection, already in- icates their analogy to tempo Tn fact, every passion and every Ssentiment—in its intrinsic effect as well asin the words by which it is ‘expressed—hasits faster or slower, more volent or more passive tempo, ‘This tempomust be correctly captured by the composer conform with he typeof sentiment he has to express, ‘Thus I must admonish the aspiring composer above all that he study Uiligently the navure of every passion and sentiment with regard t tempo, So that he does not make the terible mistake of giving the melody a slow ‘tempo where it should be fast, or a fast tempo where it should be slow. However, thsi feld that isnot limited 10 music, and that the composer hs in common with the orator and pac. Furtermore he must have acquired a correct feclng forthe natural tempo of every meter, or for whats called tempo ginsto, This is attained by igen study ofall kind of dance pieces. Every dance piece has its definite ‘tempo, determined by the meter and the note values that are employed in it. The German words usd Kimber forte ae Brey ae Tlie The ‘omer a amore eer mening that a een snes cough meson ‘TEMPO, METER, AND RHYTHM. 377 Regarding meter, those having larger values, lke alla breve, 3/2, and 6/4 meter, have aheavierand slower tempo than those ofsmlle values, like 23, 3/4yand 68 meter, and these i curate less lively than 3/8 oF 6/16 meter ‘Thus, forexample, a lourein 3/2 meter has a slower tempo than a minuetin 3/4meter, and the later isin turn slower than apassepied in 3/8meter. 107] Regarding note values, dance pieces involving siateenth and thrty-second ‘notes havea slower tempo than those that tolerate only eighth and at most sixteenth notes af the fastest note values in the same meter. ‘Thus, for example, sarebande in 3/4 meter has a slower tempo than a minuet, ever though Both are written inthe same mete. ‘Thus the topo aso is determined by the meter and by the longer and shorter not values of acomposition. Once the young composer has a feeling for this, hewillsoon understand ro what degree the adjectives largo, adagio, andame, eller, pro, and their modifications larghewe, andantno, alle veto, and presi add to or take away fom the fast oF slow motion of the natural tempo. He will soon be able net only to write in every typeof tempo, bat aso in such a way that this tempo i captured quickly and correctly by the performers. “However, tempo in music ie not limited just to the diferent degrees of sow and fast motion, There are passions “in which the images flow mono- tonously like gentle brook; thers where they Raw faster with a moderate stir Dut without delay; some in which the succession of images is similar to ‘wild beooks swollen by heavy rains, which rush violently along and sweep swith them everything thatstandsin their ways and aguin othersin which the ‘mages are similar 9 the wild sea, which violently beats aginst the shore and then recedes 10 crash again with new forc."* Similarly, tempo in ‘melody canalsobeviolentor tender, skipping or monotonous, fiery orbland even when the degree of fst or slow motion the same, depending upon the type of note values chosen forthe melody, Consider example 4. EXAMPLE 4.1 (ob continued) 6, See the atte “Ausdeuck” in Sue's [Alemeine] Theorie der chien une Leip 1771-74, EXAMPLE 4.1 (oni a) j EXAMPLE 4.1 (continued) 380 ‘TEMPO, METER, AND RHYTHM [11] Each of these example is distinguished from the others by characteristic motion that selfs of all through the differences of tempo snd meter, and in those that have the same tempo and meter thraxgh the iference of note values from which the melody is composed. The young composer must pay particular atention to this and mast, by diligent study ‘ofthe works of excellent maser, gain suificient experience inthe particule eect of each type of note value in every meter. Assuming he ha a correct feeling fr this, he wll thereby obtain contol over the means by which he Incorporates into his melody exactly that type of mation which allows the ‘mood ofthe chosen passion to be perceived most clearly. “Thus che composer, in constructing apiece, has 1 consider two things ‘regarding tempo: (1) the slow or fast pace of the tempo; and (2) the charac- ‘erste motion ofthe pars ofthe measure, or the type of rhythmic changes, Lively semtiments generally equire a fst tempo; bu the expression can ‘become playful, or flirtatious, or happy, or tender, or pathetic by means of ‘the ype of characteristic motion of the parts ofthe measute, or the ehythmic eps. Likewise, a slower tempo generally is appropriate tothe expression of sad sentiments, but through the second typeof motion the expression can become more of lees agitated, ender or violent, gentle or painfl. Ofcourse, itismot the motion alone that has this effet; the remaining good qualities of an expressive melody must be united with it, but then i conteibutes most ‘oscefully tothe expression. "This may be sufficient to draw the prospective composer's attention to ‘the effec of motion in general. In the fllowing two sections ofthis chapter ‘we will have the opportunity todiseussin greater det the particular eects ‘of metric and rhythmic motion. [112] Therefore, itmay suffice here toad a couple of remarks fr the young composer regarding motion in general Hee must be careful in writing piece not to make it hurry or drag Although these words are common onlin the theory of performance, they ‘an also be applied to composition. It can easily happen that a composer, ‘without noticing rushes the tempo in writing fiery allegro, or lets it drag ina sa largo or, out of fondness fora phrase, he may unwittingly become laxabour the tempo, so thatthe phrase becomes vague because of is fast ate ‘of rhythmic motion or dll because ofits slowness. The composer sues in the performance of such pieces, but through his own fault. He must not overstep the limits of fast or slow tempo. What is too fast ‘cannot be performed clearly, and whats too slow cannot be comprehended. ‘This applies mainly to pieces where the composer himself indicates the cempo. ‘TEMPO, METER, AND RHYTHM 381 ‘Because ofthe fong period of wbration of ow notes, all short note vals ‘must be avoided inthe low registers but in the high register they are mote ‘fective than long sustained notes. ‘The progression ofthe bass generally relates to that of the highest pat like the walk of amature man to that of & young git. Where she takes twa or three steps, he rakes only one, yet both over the same distance. Not that @ young girl could nor go slowly and 2 ‘mature man quickly, but i 6 not as natural, Similarly the voices in the middle registers can be considered as gaits of boys and young adults by tnalogy 0 the shorter or longer note values oftheir rhythmic steps. Finally, the comporer must not neglect 10 designate the rempo of is piece as precisely se possible whenever it cannot be determined from the features given above, He must use the tems allgro asa, allgro moderato, poco allegra, et, wherever the word allegro would indicate a tempo that is 100 fast or not fast enough. The same is true of slow pieces. The words that refer to characteristic motion, such as macsas,scherzando, vivo, mst, ae often ofthe greatest significance n expressive pices, and not meaning- less for those who want ro perform a piece well. Hasse is so precise in the esignation ofhis tempi that often makes lengthy descriptions of how the piece is tobe performed: Andantino grazior, ma non pauico, non languente; “Allegro vivo, econ spirit, allerovive,chearrivi quasi all allegroimer poco leno, € mao, ma cheno Tanguisa,e abba il devo suo moo. 11, METER [113] fone imagines a melody in which all the note are presented with the same intensity of stress, and in which they have the same length or ‘duration (aif, for example, the melody were 1 consist only of whole notes), i would be comparable to 8 monotonously flowing stream. What dis- ‘inguishes one melody from another is the faster or slower current: one is comparable toa thundering stream, another toa gentle, somewhat faster oF slower flowing river, and athied toa gently rippling brook, Ifamore or less full and consonant harmony is imagined along with such a melody, one has everything that could distinguish one melody from anther. ‘Theentte power or expression of sucha melody would consist only of ‘gentle andlghtor lively and strong current, which would lll ust sleep ot ‘wake us up. If melody isto become similar to speech and adapted to the ‘expresion of various emotions and sentiments, individual notes must be turned into meaningful words and several words into comprehensible 382 ‘TEMPO, METER, AND RHYTHM Phrases. This transformation ofa mete steam of nots into a melody re- ‘sembling speech is accomplished in part by accents that are given to a few notes, and parly by the difference of their durations. Is just he same as with common speech, where we distinguish words and sentences only by ‘means ofthe accents and durations of syllables. ‘Meter actully consists of the precise uniformity of accents that are sven toa few notes and ofthe completely regular distribution of long and short syllables. Phat is, when these heavier or lighter accents recur at regular intervals, the melody aequites a meter or a measure. If these accents were not distributed regulary, so that no precise periodic recurrence occurred, the melody would be similar oly to common prosic speech; but with this peridie return itis comparable to poetic speech, which has its precise [1] This matter can also be conceived by picturing simple motion. A melody that just flows along without accents resembles a continuous mo- tion like that created when a body falls ors thrown through the ar; but an sccented melody is similar toa motion divided ino steps oF to walking. Just, as walking receives its particular characte from the type as well ste speed ofthe steps, melody receives its character and expression in quite a similar ‘A regular walk has steps of equal length, each of which represents 2 measure ofthe melody. However, thesteps can consistof more or fewer ite smovernentsof Beas, and these mavements or beats ll of which are of the same duration, can have smaller divisions or parts; they can also be dis- tinguished by ether modifcations—by gradations of heavy and light, low ing or leaping, ete. Ifa precise uniformity is observed inthe steps and smal ‘overents, this results inthe measured walk which we call dance, nd this is precisely analagous to measured melody. In just the same way as dance ‘expresses or portrays various sentiments merely by motion, melody does it merely by notes ‘Whoever considers this closely will easily understand how much the character ofa melody depends on tempo and meter. The clearest examples ofthis ean be found in the various dance melodies. However, i is Hot possible ro give definite rules that would specify the most suitable tempoand meter for every typeof sentiment. Fr the most pat it depends ona refined and accurate sensitivity. Everything that can be sad toa composer about this subject beyond ‘what Ihave already stated about tempo is contained inthe following main \ | ‘TEMPO, METER, AND RHYTHM. 383 topics) thatall ypes of meters invented andin use up tonow be described toi each according tots re structure ands precise execution; (2) that the sprit or character of each meter be defined as precisely as possible; (3) finally, forthe situation where the melody i 10 be written to given text ‘hat directions be given how the best ora least a suitable ype of meter ito be chosen frit Iwill have to discuss these three points here 1. fone hears a succession of equa pulses that are repeated at the same time interval, asin example 42, experience teaches us that we immediately vide them metrically in our minds by srranging them in groups cont ing an equal number of pulses; and we do this in such away that we pura accent onthe frst pulse of each group or imagine hearing itstronger than the ‘others [115} This division ean oceurin thre ways, as shown in example 43, EXAMPLE 4.3 “That is, we divide the pulses into groups of two, three, or four. We do not arriveat any other division ina natural way. Noone can repeatgroupsof five and even les of seven equal pulses in succession without wearisome strain. Team be done more easly sith six, especially when the pulses go rather ‘quickly; however, one will notice that groups of six or more pulses are not cusly comprehended without thinking ofa subdivision, in which case they fonce again resemble the above-mentioned groups of 1Wo, thre, and four [See example 4.4.) 384 ‘TEMPO, METER, AND RHYTHM. EXAMPLE $4 [116] Here many kinds of pulses are used in one group. The dots indicate the main pulses to which the others are subordinate, since they are not fleas strongly asthe former; thus these groups become similar again to those mentioned above, or rather they are the same. With fast pulses, ven many more can be subsumed under one principal pulse, but the arrange- ment of the groups i always the same. Tis easy to apply this, Instead of the word “ple,” one uses beat, and measure instead of “group” sin this ay one gets an idea of wha the measure isand ofits many varieties, The measure consists of two three, or four equal beats; besides these, there is no other natura type of measure “To all appearances, only thre time signatures would be required to indicate these meters, namely, one that indicate a measure of to, another that indicates ameasure of thee and athird that indicates a measure of fut beats. However, from what we have stated already in the preceding section ‘ofthis chapter about tompo aiuo and the natural motion of longer and shorter note values, ic becomes clear, for example, that a measure of 169 ‘quarter notes and another of two half notes, and likewise a measure of three (quarter notes and anotther of three eighth notes, indicate a diferent tempo, ‘ven though they have the same numberof bests. In addition, longer note ‘values ae always performed with mote weight and emphasis than shorer ‘ones; consequently, a composition that sro be performed with weight and ‘eraphasiscan only be notated with long note values, and another thatistobe ‘TEMPO, METER, AND RHYTHM 385 performed inalight and playful manner can only be notated with short note values. "From this the necessity of diferent meters with the same number of ‘beats becomes apparent, which we shall now consider in greater detail. In gencral, metersate divided ino even and odd even re those oftwoand four ‘eats; and odd, those of three beats, which are also called tiple meters, Furthermore, distinction is made between simple and compound meters: simple meters are constituted in such a way that each measure amounts f0 tly one foot, which cannot be divided i the middle; however, compound ‘meters can be divided inthe middle ofeach measure, since they are com- posed of two simple meters, as wil be shown in greater detail below. [117] Before we list the meters inorder, it must sil be noted that tis justas easy to divide each beat of meter into three parts or totepleitasitis to pereive triple meter; ths is already obvious from {the existence of] triplets, This gives ise to meters of rple beats, where three pulses fal on fone beat, We shall indicate these now, along with the meters from which they are derived, and shall note what is necessary regarding thet tue strvcture, their usefulness of unusefulness, and their exact execution, [See table 4.18] TABLE 4. ‘Simple Even Meters of Two Beas Tah meter or Grp 62 meter 2:2) meter or tripled 6/4 meter. S2dmeter. tripled 6/8 meter. ABM meter: teed 6/16 mete. Simple Even Meters af Four bens 1 2 meter or Oipled-—12/¢ meter. 2a} ever or C:tpled— 1208 meter Sa)Amecer tripled 12/16 meter Simple Odd Meters of Tee Bests 1 i) meter ov &wipled—9/? mater 2p meter wiped 9/4 mete, Sitemeter) tipled—9!8 meter. Mamer — tupled—9)16 meter Sitemeter: tpled—182 meter ice om hi bess Kren conception hedtitionBewee mple 386 ‘TEMPO, METER, AND RHYTHM {118}(A)2[t mete, which isalso called Large alla reveby some, consists ‘of ewowhole notes or semibreves [per measure]. However, asisthe case with the 6/2 mete of two triple beats that i derived fom it, ii no longer used because ofthe confusion caused by the rest, since the same rest hasa value ‘of half « measure atone time and a whole measure at another. In place of these, it is better to use 2/2 and 6/4 with the adjective grav to indicate the emphatic and weighty performance required by these meters. I know of nly one Credo by the elder Bach in the large alla breve meter of two beats, Which he designated, however, with C to show that the rests have the same ‘value as in ordinary ala breve time * Telemann, however, has even written church pieces in 6/1 and other similar meters; one can easily se that these are only eccentricities. (B)2/2 meter, or rather lla breve, which always designated by € or 2, ' most often used in church pieces, fugues, and elaborate choruses, Is t6 be noted about this meter that it is very serious and emphatic yet is performed twice a fast as its note values indicate, unless a slower tempo is specified by the adjectives grave, adapio, etc. The same is true of the 6/4 ‘meter of two tripe beats that i derived from a/2 meter, but the tempo gto ofthis meter i somewhat more moderate. Both meters tolerate no short rote values than eighths (©) (4 meer has the same tempo as la breve but is performed much ‘Forma ttl)

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