Document Text Contents
Page 1
RUDIMENTS
OF
THOROUGHBASS,
FOR
YOUNGHARMONISTS;
AND
PRECEPTSFORTHEIR PROGRESSIVEADVANCEMENT,
EXEMPLIFIED BY NATIONAL AIRS, SOLFEGGIOS, SERENADES, CAVATINAS, DUOS,
TERZETTOS, GLEES, MADRIGALSAND CHORUSSES—INSTRUMENTAL
GROUNDS,VARIATIONS, PRELUDES, MODULATIONS,EMBEL-
LISHMENTS, SONATAS, TRIOS, QUARTETTOS,CRE-
SCENDOS,CADENZAS, OVERTURES,
ANDSYMPHONIES:
WITH
ANNOTATIONS, ANECDOTES,FAC-SIMILES,
AND
A HARMONICALSYNOPSIS;
ALSO,
A SUCCINCTACCOUNT
OF THE
^im anU ^rosmsi of tf)t ^^ilj^armonic ^otittUt
/ RECENTLYESTABLISHED IN LONDON.
BEING
AN APPENDIX TO AN INTRODUCTIONTO HARMONY.
BY
WILLIAM SHIELD,
MUSICIAN IN ORDINARYTO HIS MAJESTY.
LONDON:
PRINTED FOR THE AUTHOR,
ANDSOLD BY J. ROBINSON, N°. 5, PATERNOSTERROW
an
Page 2
T. DAVISON, Lonibanl street,
Whitefriars, Loudon.
Page 49
1«=4=^
ffl
, r
-p- ^^
4.1
_ pleiely and swee-t ly, Taiighf by hap_py Shepheiap_py Shepherds pipes, Ten<JL^ _. ijigfl<)cJ<s up _
Taughf by hap_py Shepherds pipes, Tend iugflocJts up _
^ ^ ' , ' hr{\hl ! ! .ni .' ,m i ^i1y r J r_ on fhe mounfains, E_ choes from the neighb'ring fountains Charm my fa _f hers house.^ ^ r?^4-^-i ^i
r. I' \:
U" c;
' m • » d
_ on the mounfains^ E _ choes from f he neighbouringfounfams Charm my fa_thers house.
3^ Verse
i tt J . ^ I .1 i J J J J jl j J J J I ^-,-r .^ J,' ^3'
\ I I ijj r .^ I ^ : t f f=f=^When the fen oard skiff ar_ rives La _ den with the fi_nesf pel_fry Then the boatmen's
^ ^ g ^i s
W^hen theten oarM skiff ar _ rives La _ den with the fi_nest pel_try Then the boatmen's
Spiccato
i
i=il ^ J J J I J J ^=j*?
J,„.. C.J.. i .1 ™,r ^I-^T,,..k
^ I r I rT=
^ happy wives Sur_
round my fathej"\ house They smile and sing ting ting ting ting "WJu'le
Salterello^ ^m
iappj^
=t
wives Sur_ round my fathers house
2
They smile and sing ting ting ting ting ting
m s ^ i ^ ^^ ?;
bundlinj
- r I
I ^ f 1
•
J p 1
j
F
j
1
g their bea _ _ _ vers Hap _ py with em_ ploym^nt full None H^e grievers^ ^^ ^i ^fc
ting ting ting ting tinka tinka ting Hap _ py with em_ ployment full None are grievers
None de_ cei _ vers La —bouiTi Sons are ne_ ver dull Be _ hiiid my fa-ther's house.
-K^
\ r : 1 . -TZ^^ . 1 \ L
None de_ cei _ vers La hours Sons are ne_ ver dull Be _ hind my fa_thers house
. The- six Chapters of musical Rhythm in which the following" citations occiir,deserve
to be registered in the memory of every Composer. "The disposition of Melody or Harmony
in respect of Time or Measure is termed Rhythm. The knowledge of this Rhythmic
suhdivision of Melody is of gfreat importance in practical music as the singer must nottaT<e
hreath, nor the Performer on keyed Instruments seperate the Notes in the middle of a footV
It is not enough that nothing offends the ear, but a good Poet will adapt the very
sounds, as well as words to the thing he treats of.
Page 50
,/2..
We ( annot omit remarking to the glory of Tasso tJiat the greatest part of the Gondoliers can recite by heart tJ}c
1 L'K fpart of the Jerusalem Deliverotl,t]iat many knOM it entirely and spend the night in their Boats singing it alternu.
\\\ < Ix liom one -Vessel to another, that it it is assuredly a most inimitable BARCOROLLE.Homer alone had the Jionctrr
') lore tiimself ot being thus celebrated, and no other Epic Poem has since met with similar renown" I transcribed
(his article from Rousseau's entertaining Dictionary,( for a inemorandum,)the night before I left London, for Italy,
\^il're.I easily obiair.edthe Music of these Curiosities, and I exhibit them to the reader without the alteration
of a note,>i ord, or :rtcident.
Passag-allo.
CE, NB- Those who cannot recollectthe most striking Passages of Tasso,
-K-i — 1^ ^-1 . t . » L, \ K V . N k . N K k mi
arme pietose e'lCanto I a
, .
• ' r
pencil them underneat^ the ijiotation, or place the Poem on the music Desk.
^trrr-^i^q "^ j.p^ i.}\J^\i m
^: ^r^ rff=^^ m
Ritornello
^m
h^^grVj-^.4^¥f^.fW?7
|
.rW^4^.j^
^ i:*M ^ ?^ ^
m CantoMv Yt tl i^vlt ^^i :i£i=aTtdUJJ tj^N'*^
*-rT ^3 ^*—t-i —0.
^
2^=i
Page 97
8!)
The obliging Maestro amused me chiefly with his extemporising faculty. But a lesson
being placed upon his music-desk, which I had often listened -to with rapturous as-
tonishment; (having heard it repeatedly expressed by the brilliant finger of its com-
poser, who is univeisally allowed to have formed that school which exalted the style of
piano forte music in our country), I entreated him, and successfully, to convince me
that the lights and shades in that composition might be harmonized upon his cembalo,
which he executed most effectually ; for the buono mono and dolce maniera were con-
spicuous in their proper places ; on which account I have often regretted that a similar
instrument, for which I bargained with its ingenious inventor, never reached England,
where it would have been improved by an artist who was then an honour to human
nature, and whose death taught many as well as myself to feel the loss of a liberal
friend ! " He was one of the noblest works of God, —he was an honest man."
It would have been an unpardonable omission not to have mentioned the Maestro
Anselmo Montu's effective method of accompanying a young female Sardian while she
was singing sweetly a national ballad. It was not with that too fashionable arpeggio,
but with a dispersed melody different from the voice part, yet supporting without
stunning it. Here I cannot avoid expressing a hope that some of our best composers
may adopt the same mode occasionally, for that I am not singular in my preference
will be made evident by a quotation from an author, who will have every claim to natural
originality, if we may except the copying his master, who was his father. " It may be
confessed that an accompaniment altogether independent of the voice will, to the
singer (who is also to accompany) require some previous practice ; but let him hope that
while the elaborate and almost insurmountable difficulties of modern piano forte music is
vanquished by perseverance, that the forcible and more natural claims of vocal skill will
not be overlooked. It is only from repetition that novelty, generally speaking, how-
ever excellent it may be, will find its way to the understanding or the heart."
Retraction, directed by conviction, is a necessary exposition; I therefore acknowledge
that I erred greatly when I supposed that this work might comprise the beauties of our
resident composers; for having filled many sheets with them, the revisal convinced me
that their republication might be followed by prosecutions or injuries ; in consequence
of which I have only retainffl thn«e which were extracted from original MSS., expired
copyrights, and foreign productions.
lam Ukewise apprehensive that I may appear, in some of my accommodating pages,^
to be an advocate for the aboHtion of the tenor cliff; I will therefore make the amende
honorable, by the insertion of a paragraph written by an organist, whose compositions
and performances cannot be imitated but by superior excellence.
" It was suggested that it would be better to publish all the vocal parts (except the
bass) in the treble clef; but as I consider this practice as an innovation, Iwas unwilling to
afford an additional example of an erroneous custom that has already become but too pre-
valent. The treble clef, when applied to the counter tenor and tenor parts, does not in-
dicate the real or true notes that are required to be sung, the C clef does, and I trust
therefore that no apology is necessary on my part, for preferring truth to falsehood, or
that which is proper to that which is improper."
Should the above judicious remarks induce a few patient English ladies to include a
universal knowledge of cliffs in the 'adopted foreign fashions, the laudable example
might benefit many followers.
I have appropriated a large portion of this work to vocal harmony, because the best
part of it may be old, but never can be obsolete. This opinion I will back with a pas-
sage in an Historical Enquiry, respecting the performance on the harp in the Highlands
of Scotland, drawn up by an author, whose variovis productions have proclaimed his
useful erudition and didactic powers, and who never lessened their consequence by
quoting falsehood.
*' It was on a lute of the smaller size that Queen Mary used, for the most part, to
accompany her songs. The accomplished ladies, and even gentlemen of that period,
could sing a part of madrigals, and other vocal compositions of four parts, at sight ; and
many of the excellent vocal compositions in three and four parts, of that period, are
Page 98
90
still sung with pleasure in England, and are among the most difficult and intricate mu-
sic of that description, that is sung at this day. Queen Mary's private concert consisted
chiefly of music of this kind.
*' Queen Mary had three valets, who sung three parts, and she Avanted a person to
sing a bass or fourth part. David Rizzio, who had come to France with the ambassador
of Savoy, was recommended as one fit to make the fourth in concert, and thus he was
drawn in to sing sometimes with the rest ; and afterwards, wlien her French secretary
retired himself to France, this David obtained the said office."
The harmony of a well arranged score is the picture which charms the mind of a well
educated musician, who appreciates and feels all its beauties during his silent admira-
tion ! But the ear must have been previously formed to the true intonation, and the
eye to the accurate perception of harmonious combinations.
When practical musicians are capable of reasoning in a philosophical manner, their
science greatly adds to the respectability of the art ; I therefore felt an elevation of my
profession while I was transcribing part of an excellent commentary for this article, be-
cause it is the production of a learned graduate in music,
*' As the colours of the painter would not present any picture to the eye, unless art-
fully disposed upon his canvass, so the light reflected by the picture, if not refracted by
the visual humours, would be unintelligible to the mind ; in like manner as the sounds
of a musician would be without meaning to the ear, unless they were reduced to modu-
lated harmonies, so would the harmonies be unfelt by the mind, if not modified by the
mazy channels of the ear. And again, both the picture'and the music would be unim-
pressive to the senses, if the senses were not in communication with the mind. Sensations
then are composed of sensuality and intellectuality. And iis without mind the eye and
ear would never have heard and seen, so without the ear and eye the mind would never
have had the ideas of light and sound."
If this book should exceed expectation, and prove the best of its kind, I hope it will
not continue to. merit that distinction long; for although the necessary endowments to
form so great and good a musical historian as the one we have recently lost may never
again adorn an individual, we have still among the living professors excellent lecturers,
classical translators, profound theorists, and Hidar.tin authors, whose pens will (I hope)
be constantly employed to facilitate and extend the harmonic art.
I casually met a composer of celebrity, immediately after he had been examining the
score of a sacred composition, the performance of which he assured me must delight
and astonish the musical world. Another professor, whose glees and songs are univer-
sally admired, delivered his opinion (of the composition alluded to) in the following
words : '* It is most exquisite pantomime music, but not the least like an oratorio." I
have been fortunate, for I can bear witness of its first representation; and whatever may
be its disputed pretensions to title or merit, the conductor, singers, and accompaniers,
were highly entitled to unqualified praise for affording such a delicious treat to their
auditors, whose applause was hearty and unequivocal.
During its attractive repetitions, many enthusiastic admirers of descriptive originality
raised its chorusses above the sacred productions of the last century ; while as many
firm adherents to ancient sublimity levelled them with the secular finales of Italian
operas.
" Vain his attempts, v/ho strives to please them all."
I must therefore not be dismayed if I shouldhearas many critics acknowledging
that I have done my best, v/ithout approving of m}'^ labours : but should they censure
candidly and judiciously, the continuation of this work may become more perfect than
the present part of it; for while gracious Providence grants me powers, and the public
at large encourage my exertions, 1 will not shrink frona the performance of my duty,
FINIS.
. Davisou, Lou)barcl-^t^«>ct,
Whitefriarg, Loadon.
RUDIMENTS
OF
THOROUGHBASS,
FOR
YOUNGHARMONISTS;
AND
PRECEPTSFORTHEIR PROGRESSIVEADVANCEMENT,
EXEMPLIFIED BY NATIONAL AIRS, SOLFEGGIOS, SERENADES, CAVATINAS, DUOS,
TERZETTOS, GLEES, MADRIGALSAND CHORUSSES—INSTRUMENTAL
GROUNDS,VARIATIONS, PRELUDES, MODULATIONS,EMBEL-
LISHMENTS, SONATAS, TRIOS, QUARTETTOS,CRE-
SCENDOS,CADENZAS, OVERTURES,
ANDSYMPHONIES:
WITH
ANNOTATIONS, ANECDOTES,FAC-SIMILES,
AND
A HARMONICALSYNOPSIS;
ALSO,
A SUCCINCTACCOUNT
OF THE
^im anU ^rosmsi of tf)t ^^ilj^armonic ^otittUt
/ RECENTLYESTABLISHED IN LONDON.
BEING
AN APPENDIX TO AN INTRODUCTIONTO HARMONY.
BY
WILLIAM SHIELD,
MUSICIAN IN ORDINARYTO HIS MAJESTY.
LONDON:
PRINTED FOR THE AUTHOR,
ANDSOLD BY J. ROBINSON, N°. 5, PATERNOSTERROW
an
Page 2
T. DAVISON, Lonibanl street,
Whitefriars, Loudon.
Page 49
1«=4=^
ffl
, r
-p- ^^
4.1
_ pleiely and swee-t ly, Taiighf by hap_py Shepheiap_py Shepherds pipes, Ten<JL^ _. ijigfl<)cJ<s up _
Taughf by hap_py Shepherds pipes, Tend iugflocJts up _
^ ^ ' , ' hr{\hl ! ! .ni .' ,m i ^i1y r J r_ on fhe mounfains, E_ choes from the neighb'ring fountains Charm my fa _f hers house.^ ^ r?^4-^-i ^i
r. I' \:
U" c;
' m • » d
_ on the mounfains^ E _ choes from f he neighbouringfounfams Charm my fa_thers house.
3^ Verse
i tt J . ^ I .1 i J J J J jl j J J J I ^-,-r .^ J,' ^3'
\ I I ijj r .^ I ^ : t f f=f=^When the fen oard skiff ar_ rives La _ den with the fi_nesf pel_fry Then the boatmen's
^ ^ g ^i s
W^hen theten oarM skiff ar _ rives La _ den with the fi_nest pel_try Then the boatmen's
Spiccato
i
i=il ^ J J J I J J ^=j*?
J,„.. C.J.. i .1 ™,r ^I-^T,,..k
^ I r I rT=
^ happy wives Sur_
round my fathej"\ house They smile and sing ting ting ting ting "WJu'le
Salterello^ ^m
iappj^
=t
wives Sur_ round my fathers house
2
They smile and sing ting ting ting ting ting
m s ^ i ^ ^^ ?;
bundlinj
- r I
I ^ f 1
•
J p 1
j
F
j
1
g their bea _ _ _ vers Hap _ py with em_ ploym^nt full None H^e grievers^ ^^ ^i ^fc
ting ting ting ting tinka tinka ting Hap _ py with em_ ployment full None are grievers
None de_ cei _ vers La —bouiTi Sons are ne_ ver dull Be _ hiiid my fa-ther's house.
-K^
\ r : 1 . -TZ^^ . 1 \ L
None de_ cei _ vers La hours Sons are ne_ ver dull Be _ hind my fa_thers house
. The- six Chapters of musical Rhythm in which the following" citations occiir,deserve
to be registered in the memory of every Composer. "The disposition of Melody or Harmony
in respect of Time or Measure is termed Rhythm. The knowledge of this Rhythmic
suhdivision of Melody is of gfreat importance in practical music as the singer must nottaT<e
hreath, nor the Performer on keyed Instruments seperate the Notes in the middle of a footV
It is not enough that nothing offends the ear, but a good Poet will adapt the very
sounds, as well as words to the thing he treats of.
Page 50
,/2..
We ( annot omit remarking to the glory of Tasso tJiat the greatest part of the Gondoliers can recite by heart tJ}c
1 L'K fpart of the Jerusalem Deliverotl,t]iat many knOM it entirely and spend the night in their Boats singing it alternu.
\\\ < Ix liom one -Vessel to another, that it it is assuredly a most inimitable BARCOROLLE.Homer alone had the Jionctrr
') lore tiimself ot being thus celebrated, and no other Epic Poem has since met with similar renown" I transcribed
(his article from Rousseau's entertaining Dictionary,( for a inemorandum,)the night before I left London, for Italy,
\^il're.I easily obiair.edthe Music of these Curiosities, and I exhibit them to the reader without the alteration
of a note,>i ord, or :rtcident.
Passag-allo.
CE, NB- Those who cannot recollectthe most striking Passages of Tasso,
-K-i — 1^ ^-1 . t . » L, \ K V . N k . N K k mi
arme pietose e'lCanto I a
, .
• ' r
pencil them underneat^ the ijiotation, or place the Poem on the music Desk.
^trrr-^i^q "^ j.p^ i.}\J^\i m
^: ^r^ rff=^^ m
Ritornello
^m
h^^grVj-^.4^¥f^.fW?7
|
.rW^4^.j^
^ i:*M ^ ?^ ^
m CantoMv Yt tl i^vlt ^^i :i£i=aTtdUJJ tj^N'*^
*-rT ^3 ^*—t-i —0.
^
2^=i
Page 97
8!)
The obliging Maestro amused me chiefly with his extemporising faculty. But a lesson
being placed upon his music-desk, which I had often listened -to with rapturous as-
tonishment; (having heard it repeatedly expressed by the brilliant finger of its com-
poser, who is univeisally allowed to have formed that school which exalted the style of
piano forte music in our country), I entreated him, and successfully, to convince me
that the lights and shades in that composition might be harmonized upon his cembalo,
which he executed most effectually ; for the buono mono and dolce maniera were con-
spicuous in their proper places ; on which account I have often regretted that a similar
instrument, for which I bargained with its ingenious inventor, never reached England,
where it would have been improved by an artist who was then an honour to human
nature, and whose death taught many as well as myself to feel the loss of a liberal
friend ! " He was one of the noblest works of God, —he was an honest man."
It would have been an unpardonable omission not to have mentioned the Maestro
Anselmo Montu's effective method of accompanying a young female Sardian while she
was singing sweetly a national ballad. It was not with that too fashionable arpeggio,
but with a dispersed melody different from the voice part, yet supporting without
stunning it. Here I cannot avoid expressing a hope that some of our best composers
may adopt the same mode occasionally, for that I am not singular in my preference
will be made evident by a quotation from an author, who will have every claim to natural
originality, if we may except the copying his master, who was his father. " It may be
confessed that an accompaniment altogether independent of the voice will, to the
singer (who is also to accompany) require some previous practice ; but let him hope that
while the elaborate and almost insurmountable difficulties of modern piano forte music is
vanquished by perseverance, that the forcible and more natural claims of vocal skill will
not be overlooked. It is only from repetition that novelty, generally speaking, how-
ever excellent it may be, will find its way to the understanding or the heart."
Retraction, directed by conviction, is a necessary exposition; I therefore acknowledge
that I erred greatly when I supposed that this work might comprise the beauties of our
resident composers; for having filled many sheets with them, the revisal convinced me
that their republication might be followed by prosecutions or injuries ; in consequence
of which I have only retainffl thn«e which were extracted from original MSS., expired
copyrights, and foreign productions.
lam Ukewise apprehensive that I may appear, in some of my accommodating pages,^
to be an advocate for the aboHtion of the tenor cliff; I will therefore make the amende
honorable, by the insertion of a paragraph written by an organist, whose compositions
and performances cannot be imitated but by superior excellence.
" It was suggested that it would be better to publish all the vocal parts (except the
bass) in the treble clef; but as I consider this practice as an innovation, Iwas unwilling to
afford an additional example of an erroneous custom that has already become but too pre-
valent. The treble clef, when applied to the counter tenor and tenor parts, does not in-
dicate the real or true notes that are required to be sung, the C clef does, and I trust
therefore that no apology is necessary on my part, for preferring truth to falsehood, or
that which is proper to that which is improper."
Should the above judicious remarks induce a few patient English ladies to include a
universal knowledge of cliffs in the 'adopted foreign fashions, the laudable example
might benefit many followers.
I have appropriated a large portion of this work to vocal harmony, because the best
part of it may be old, but never can be obsolete. This opinion I will back with a pas-
sage in an Historical Enquiry, respecting the performance on the harp in the Highlands
of Scotland, drawn up by an author, whose variovis productions have proclaimed his
useful erudition and didactic powers, and who never lessened their consequence by
quoting falsehood.
*' It was on a lute of the smaller size that Queen Mary used, for the most part, to
accompany her songs. The accomplished ladies, and even gentlemen of that period,
could sing a part of madrigals, and other vocal compositions of four parts, at sight ; and
many of the excellent vocal compositions in three and four parts, of that period, are
Page 98
90
still sung with pleasure in England, and are among the most difficult and intricate mu-
sic of that description, that is sung at this day. Queen Mary's private concert consisted
chiefly of music of this kind.
*' Queen Mary had three valets, who sung three parts, and she Avanted a person to
sing a bass or fourth part. David Rizzio, who had come to France with the ambassador
of Savoy, was recommended as one fit to make the fourth in concert, and thus he was
drawn in to sing sometimes with the rest ; and afterwards, wlien her French secretary
retired himself to France, this David obtained the said office."
The harmony of a well arranged score is the picture which charms the mind of a well
educated musician, who appreciates and feels all its beauties during his silent admira-
tion ! But the ear must have been previously formed to the true intonation, and the
eye to the accurate perception of harmonious combinations.
When practical musicians are capable of reasoning in a philosophical manner, their
science greatly adds to the respectability of the art ; I therefore felt an elevation of my
profession while I was transcribing part of an excellent commentary for this article, be-
cause it is the production of a learned graduate in music,
*' As the colours of the painter would not present any picture to the eye, unless art-
fully disposed upon his canvass, so the light reflected by the picture, if not refracted by
the visual humours, would be unintelligible to the mind ; in like manner as the sounds
of a musician would be without meaning to the ear, unless they were reduced to modu-
lated harmonies, so would the harmonies be unfelt by the mind, if not modified by the
mazy channels of the ear. And again, both the picture'and the music would be unim-
pressive to the senses, if the senses were not in communication with the mind. Sensations
then are composed of sensuality and intellectuality. And iis without mind the eye and
ear would never have heard and seen, so without the ear and eye the mind would never
have had the ideas of light and sound."
If this book should exceed expectation, and prove the best of its kind, I hope it will
not continue to. merit that distinction long; for although the necessary endowments to
form so great and good a musical historian as the one we have recently lost may never
again adorn an individual, we have still among the living professors excellent lecturers,
classical translators, profound theorists, and Hidar.tin authors, whose pens will (I hope)
be constantly employed to facilitate and extend the harmonic art.
I casually met a composer of celebrity, immediately after he had been examining the
score of a sacred composition, the performance of which he assured me must delight
and astonish the musical world. Another professor, whose glees and songs are univer-
sally admired, delivered his opinion (of the composition alluded to) in the following
words : '* It is most exquisite pantomime music, but not the least like an oratorio." I
have been fortunate, for I can bear witness of its first representation; and whatever may
be its disputed pretensions to title or merit, the conductor, singers, and accompaniers,
were highly entitled to unqualified praise for affording such a delicious treat to their
auditors, whose applause was hearty and unequivocal.
During its attractive repetitions, many enthusiastic admirers of descriptive originality
raised its chorusses above the sacred productions of the last century ; while as many
firm adherents to ancient sublimity levelled them with the secular finales of Italian
operas.
" Vain his attempts, v/ho strives to please them all."
I must therefore not be dismayed if I shouldhearas many critics acknowledging
that I have done my best, v/ithout approving of m}'^ labours : but should they censure
candidly and judiciously, the continuation of this work may become more perfect than
the present part of it; for while gracious Providence grants me powers, and the public
at large encourage my exertions, 1 will not shrink frona the performance of my duty,
FINIS.
. Davisou, Lou)barcl-^t^«>ct,
Whitefriarg, Loadon.
