Music. Variation may take place either in the bass or treble, but it should not be carried to excess in the bass, especially Music in vocal Music; and the ear, moreover, does not so well distinguish and separate quick progressions in low tones. We subjoin an example of variation in the bass. e Anticipa tion. Discords, as passing notes, may be used in several ways; we shall however only mention two others in addition to those already given, one of which is called anticipation and the other postposition, but they are both more commonly known by the name of driving notes. They may be used both ascending and descending, and in the treble as well as the bass. If a note be brought upon the unaccented part of a bar in such a manner that it has not yet obtained its right harmony, but by keeping on it will acquire it upon the succeeding accented part of the bar, the other note moving to give it the harmony, it is called anticipation. It is used in ascending as well as descending, and as we have observed, in either part. In ascending, rising takes place when the part anticipating rises one degree to make a discord in the unaccented part of the bar, the note keeping on becomes a concord in the next accented part by the motion of the other part. Hence if the treble anticipates a fourth on the unaccented part, the fourth becomes a third on the succeeding accented part of the bar if the bass ascend a degree, or an eighth, if the bass descend a fifth, and a sixth if the bass descend a third. So when the treble anticipates a seventh it becomes a sixth if the bass ascend one degree, or a third if the bass fall a fourth. When the treble anticipates a second, it becomes a fifth by the bass rising a fifth or falling a fourth. When the bass anticipates in ascending to a second, the second keeping on becomes a third by the treble ascending one degree, or it becomes a fifth by the treble falling a fifth. Music. When ancticipation is used in descent, the part which anticipates falls one degree to a discord in an unaccented part of a bar, and that holding on becomes a concord in the succeeding accented part by the other part moving. Thus, suppose the upper part to anticipate, by descent, one degree to a second, that second becomes a third by the bass descending one degree, or a unison by the ascent of the bass one degree. Music. If by descent one degree the bass anticipates to a fourth, the fourth becomes a third by the treble falling one degree. If by descending one degree to a seventh the bass anticipate, the seventh becomes a sixth by the descent of the treble one degree. Though there be many other ways in which anticipation may be effected, both ascending and descending, we do not think it necessary to give any more examples. The student by practice on the discords cannot fail of finding them out and using them, if what has been premised be well understood. If we place a discord on the accented part of the bar, and it be followed by a concord on the next accented part, Postposi such position of the discord, without that preparation and resolution which the laws of harmony require, is called tion." postposition or retardation of the harmony. It is effected in the upper part when a discord taken on the accented part becomes a concord on the succeeding unaccented part by rising one degree, the note in the bass keeping on. A second thus becomes a third. It takes place in the bass when that having a third on it in the unaccented part of the bar and holding on the treble has a fourth as a discord upon it in the following accented part of the bar, which, by the ascent of the bass one degree whilst the treble keeps on, afterwards becomes a third. fe 343 43 4343 4 3 3 4 34 3 4343 4343 VOL. V. 5 E Music. In descending, postposition takes place when the discord on the accented part of the bar is made a concord on Music the following unaccented part, the bass holding on and the treble descending one degree. Thus a fourth becomes a third. Cadences. A cadence may be defined as the conclusion of a strain, or of the parts of it in places of the composition dividing it as it were into so many clauses or periods. It is in short, as the term expresses, the fall or conclusion of a series of harmony which the ear seems naturally to expect as its termination. There are two sorts of cadences perfect or final, and imperfect or middle. To make the former three different modes may be adopted. We shall commence by examples in two parts only, in which the cadences should always end in the unison. It is effected by a minor third in the penultimate note, which afterwards falls a whole tone or semitone major to the unison, the last note of the cadence. If it descend a whole tone, it is necessary that the under part should rise a semitone major to meet it in the unison. But when the minor third in the upper part falls only a major semitone-major to the cadence note, the bass rises a whole tone to meet it in the unison. The semitone major may be natural or accidental by means of a sharp or flat. The following is a cadence in two parts in the key of C in the unison. 3 2 b3 1 Here the second, which is a prepared discord, appears upon the antepenultimate note, and is resolved by a minor third upon the last note but one, upon which the upper part falls a whole tone, the bass at the same time ascending a semitone major, whereby the cadence is completed. The next example is in the unison on E, 3 2 3 1 in which the difference between it and the preceding example arises from the upper part descending a semitone major, while the lower part ascends a whole tone to the unison. This turning the cadence in E differs, moreover, from that of the other keys, inasmuch as the whole tone takes the place of the semitone, and the semitone that of the whole tone in the others. The remaining perfect cadence in two parts, is in the octave or eighth, and is best by contrary motion and as gradual as may be. In this the penultimate must be a major sixth, namely, the note in the upper part which ascends to the final or cadence note by a whole tone or semitone major. When the upper part rises a whole tone, the bass descends a semitone major. If, however, it ascends a semitone major, the bass descends a full tone, in order that the two parts may close the cadence in the eighth. Thus, 7 #6 8 There are, however, two ways of making a cadence on the eighth, whereof that which is above given is the best if two parts only be employed. The example shows that the seventh here, after preparation, is struck on the antepenultimate and resolved into a major sixth in the following note, upon which the upper part rises a major semitone, the bass descending a whole tone, which leaves the parts an octave apart and closes the cadence. The next example of the cadence is on the eighth in Ein two parts, and as follows: 7 #6 8 It is only necessary to remark upon this cadence as on that in the unison, that it is in the key of E, and we have a semitone where the other keys have a whole tone, and the whole tone where they have a semitone. The remaining method of taking the cadence on the eighth, which in truth is similar to the cadence in the unison, is as follows: ᎾᎾ Music. in which, comparing it with that cadence, it differs only in the parts being a tenth instead of a third Music. apart. We now subjoin three cadences in C and two in E, in which they are exhibited with the best harmony on the last note of the cadence. The mode of making these in four parts and accompanying the discords in them, has been already laid down. The first of the above cadences is sometimes called the grand cadence. It closes in the unison or eighth, and differs from the other, inasmuch as the last note but one must be a major third, which then rises a major semitone, whilst the bass falls a fifth or rises a fourth to the cadence note. If the bass rise a fourth, it is a cadence in the unison, if it fall a fifth, it is a cadence on the eighth. It should not be used in two parts because of the skip to the last note in the bass, which is better where there are more parts. These cadences in the unison and the eighth seeming to answer to the full stop in writing, appear thence to have acquired the name of final cadences. The imperfect, or middle cadences, are so called from their being used in the middle of a strain where it is not the composer's intention to close it finally. The fullest of them is on the fifth, seeming to answer not only to the colon and semicolon in writing, but also to notes of admiration and interrogation; when seeming to denote the latter, the upper part rises to the cadence note, which is a fifth. A melancholy expression is produced by its rising, and the contrary by its falling to the cadence. The next in order as to excellence are middle cadences in the major third or minor sixth; they are a species of weaker interrogation when the upper part rises to the cadence. They both rise and fall to the last note of the cadence. 의 Music. The middle, or imperfect cadences, which are considered the worst, are those in a minor third or major sixth. In all cadences, perfect as well as imperfect, if the words or sequence of a particular movement require it, they may be divided and subdivided in the part occupying the syncopation or ligature of the cadence, which may take place in any part of the composition, as may be seen by the examples. A cadence is avoided when, after having prepared and resolved the discords preceding it, we go to some other note than that on which it ought to conclude and thus break it off, and it is then called the flying, avoiding, or deceptive cadence. O Modulation. The reader, we presume, will be able, from what has been already given, to form examples for his own study; we shall therefore leave this part of the subject to proceed to the following important section. When in the course of a melody the key note is changed and the original scale altered by the introduction of either a sharp or a flat, such change is called modulation. More properly speaking, it is the method of keeping in and using the principal key; but it is more generally received in the sense of the definition we have given. As the key is the result of harmony, from that harmony also arise the laws of modulation. These are simple enough in their nature, but difficult to follow. They are, if you desire to keep in the key, first, to use all the different sounds of the scale as much as possible, uniting them in a good melody, and dwelling principally on those which carry the essential chords. Or in other words, the chords of seventh and key notes will be frequently wanted, but in different forms and by varied methods in order to avoid a monotonous effect. Secondly. To take cadences or pauses on these two chords only, or at furthest on that of the fourth of the key. Thirdly. Never to alter the scale, because if a sharp or flat is introduced which does not originally belong to it, or one is taken from it, the key is then quitted. In order to pass from one key to another, it is necessary to consider the analogy or relation between the two Music |