Thoughts on Musical Composition by Lucien Cailliet
By virtue of the definition of the ART itself, a work of ART must have before all: an educational value, as it must contribute to the exaltation of the inner esthetic sentiments of others by the communication of the impressions of the artist, THE ROLE OF THE ART BEING TO MAKE HUMANITY PROGRESS.
To Mr. Vito Pascucci, the American who, by its artistic fabrication and diffusion of Musical Instruments, collaborates best with the Composer.
Thoughts on Musical Composition
Without faith, Art could not be.
Education is ever the essential condition at the base of ALL ARTS.
By virtue of the definition of the ART itself, a work of ART must have before all: an educational value, as it must contribute to the exaltation of the inner esthetic sentiments of others by the communication of the impressions of the artist, THE ROLE OF THE ART BEING TO MAKE HUMANITY PROGRESS.
MUSIC is the youngest of the ARTS. Obviously, this is not the place not the purpose in these lines to tell its history, but It is fitting to remark that, if the elements of music are as old as humanity, the musical art, as we understand it, dates from the 16th century. It is not surprising that it is still uncertainly defined, and sometimes wrongly taught.
Music is an ART which—like all the others, has its rules, its precepts, its laws which have nothing arbitrary and were not invented needlessly. These rules are not the work of one man, nor one or several generations, it is the work of centuries. It is by studying the works of the Masters, analyzing them, that the theoricians of all times having added to it their personal experience, have succeeded to establish a set of “doctrines”, which without having the absolute character of the exact sciences, offer nevertheless a solid base to education.
Whether or not we want, we are succeeding our learned and illustrious ancestors, whom we are called upon to continue.
We should not condemn in advance any innovation under the false pretense that “it was never done before”, as such an attitude would be the glorification of the routine: this absurd tradition.
Yet, we must be aware that innovations sometimes proceed from a revolutionary spirit, or from the false pride which searches for originality at any price. In the contrary: nothing is less original than revolte or false pride.
The originality of an expression does not depend on the discovery of NEW WORDS! nor that of a painting on the invention of new colors.
There is a long time since the musical chords, the harmonies of colors, the general principles for the sculptural techniques have been determined, and very probably, nothing could be added or changed to it.
The originality does not depend in any way of all this.
Let a man of genius take any style, the style of his period, let him use it and he will excel, and every one of his works will seem as fresh as if all his inspirations came from Heaven.
Whatever novelties or modifications will always be interesting, instructive, natural, and beautiful without being far-fetched. The originality and novelty, in the case they are good (and it is always charitable to suppose them as such) must never be far-fetched for themselves, nor obtained by struggle and rebellion against the common laws. In fact, neither is necessary!
MUSIC must fulfill three functions:
Entertaining, Educational, Spiritual.
Music, in reality, takes after the Arts and the Sciences.
MUSIC has for its basis the SONOROUS VIBRATIONS; for elements: the RHYTHM, the MELODY, the HARMONY.
RHYTHM, resulting of the inequality of times, expresses itself by numbers, and thus depends on the laws of ARITHMETICS.
MELODY, which takes its origin in the accent, proceeds from the LINGUISTIC.
HARMONY, based on the resonance of bodies, obeys to the laws of vibrations, therefore depends on the SCIENCES.
MUSIC therefore arises altogether from:
the mathematical Sciences by the rhythm,
the natural Sciences by the melody,
the Sciences of physics by the harmony.
Nevertheless, these three elements of scientific origin could not attain the artistic effect: namely:
THE EXPRESSION
The expression is the putting one’s sentiments into value by rapport of the ones with the others.
The force—or compultion—which spurs the artist to create is the need to express his sentiments, and communicate them to others thru his works.
Expression is the goal of the ART.
“The Musical Composition and the Architectural construction.”
To compose is the ORDER uneven elements.
The first thing to be done in starting a composition is to determine which will be the principal element. The ensemble of all which has been written, or taught on PROPORTION, is not worth—to my opinion—for an architect, this UNIQUE and IDISPUTABLE RULE: “have a big, grand motive together with some other smaller secondary ones, and join them well together”. Of course, the arrangement varies to the infinite, but the LAW remain UNIVERSAL, namely: “That something should dominate all the rest, either by its grandor, or by its function, or by its interest.”
This definition, applied to Architecture, is as well that of every artistic composition, and possibly still more that of MUSICAL COMPOSITION.
How right Saint Saens was when he stated: “MUSIC IS AN ARCHITECTURE OF SOUNDS”!
In certain arts: Architecture, Sculpture, Painting, the “ensemble” appears before “the detail”, in other words: the assimilation of the work takes place from the general to the particular.
In others, in the contrary: literature, music, the detail strikes first, and leads to the appreciation of the ensemble, thus: the assimilation takes place from the “particular” to the “general”.
To understand better the difference in the reception of artistic impressions, let us examine a CATHEDRAL: a magnificent ensemble, a general line harmonized in beauty, a majestic aspect in the proportion: this is what strikes first…Then, in analyzing, we discover little by little all the details of the architecture, the columns, portals, stained glass windows, statues, all these contributing to the impression of primitive ensemble.
…Let us now listen to a Symphony: the fifth of Beethoven for example; what do we perceive first?
A detail! a particular and precise design, which our spirit grasps, an idea that we follow with interest through all its developments until its final climax. Out memory constantly alert to this process of assimilation, reminds us of the principal idea every time it reappears under a new aspect, and thus, we elevate ourselves progressively to its synthetic impression of ensemble thru the successive perception of the details.
Incidentally, we can see by this the importance of the MUSICAL IDEA in the construction of a musical work. This musical idea must be very clear and very precise so that the memory may be able to grasp it quickly and find it again without too much difficulty.
We can also see that MUSIC and ARCHITECTURE have a characteristic affinity and a striking anology.
To know how to construct is ultimately the indispensable knowledge of any composer worthy of the name.
There is a tendency to believe too easily that the studies of Harmony, Counterpoint Fugue and Orchestration constitute by themselves a sufficient vehicle towards Composition. Sorry error which attributes to the TOOLS the peculiar virtue of bestowing to the artisan (craftsman) who possesses them, the ability to use them efficiently. As useful these studies are, they are still a preparation, and introduction to COMPOSITION.
If I may here suggest a course towards the techniques—the tools—of composition, let me say first that there is not such a subject as “free counterpoint”. This form of counterpoint is not taught at the French National conservatory of Paris. There is however, later (much later) the “composer’s counterpoint”, but this is not for the student, and there is so much to study in the “STRICT” Form that, not only there is no time for the free form, but there would be so much contradiction and confusion that this so called “free” technique would promptly and completely lose its purpose and spell the end of the study and progress. Such principles have had long periods of experimentation, they were ultimately accepted and became traditional and “classic”—meaning worthy of being taught in class.
The classical and judicious “course” towards acquiring the “tools” of composition is: Harmony, (strict) Counterpoint, Fugue, Orchestration.
The harmony course should begin with the study of CHORDS PROGRESSION—or “succession”—which knowledge is lacking in America.
The important chapter of “modulations” is also often misunderstood. Modulations should be regarded as a means towards “expression”, therefore, a modulation should always be motivated, and not in aimless attempt for trivial effects or showmanship, besides this being uneducational, it would soon be rejected. One should keep in mind that modulations to higher tonalities (keys) are an ascension towards the light—a “lift”—while modulations to lower tonalities: a descent towards darkness—a depression—which explains why sharps proceed from fifth to fifth higher, and flats go from fifth to fifth lower.
COUNTERPOINT is at a similar standard with Harmony, but in a stricter style: the mechanism of notes. Only the harmonic science is constituted by the ensemble of the Codifications of the mechanics of the notes in functions with the laws of physics which command them. Harmony deals with a vertical ensemble namely: the CHORDS.
The SONOROUS DECOMPOSITION OF A TONE, through its Harmonics, analogical to that of the sunlight being decomposed by a prism into various colors – the rainbow for example --; our musical rainbow is the “HARMONIC SERIES” on which reposes our entire musical system – also very important in the science of orchestration.
These harmonics not only represent the perfect chord (always major), but also the natural “dissonant” intervals which compose the principal dissonant chords: the dominant 7th and the dominant 9th.
This enunciation must simply lead to this conclusion: that the major mode is the most perfect, as it is the closest to the natural sonority.
This explains the reason that – in modulations – while the major can “borrow” from its relative minor:
Example in C major:
The minor cannot (successfully) borrow from its relative major:
Example in C minor:
The recommended course in COUNTERPOINT IS: Five species of strict counterpoint (with cantus firmus) simple and combined, in 2,3,4,5,6,7, and 8 parts. While most teachers do not go beyond the 4 parts, the 8 part counterpoint is the only way to teach how to write a “Double Chorus”; on very interesting and well known double chorus is in Wagner’s Lohengrin: Elsa’s Procession to the Cathedral” which is for double male chorus and orchestra. Such composition could not be achieved without previous teaching in eight part writing.
Next in counterpoint are the IMITATIONS. The imitation is either regular or irregular, by similar of contrary movement, by retrograde movement, by retrograde and contrary movement, by augmentation and by diminution.
Next is the CANON. The word Canon means “rule”, and, in music, is applied to that form of counterpoint in which the principle of imitation is strictly followed. Such writing is regarded as the most difficult practice in composition. The Canon is a closer and continued imitation of which the two terms: antededent and consequent are superposed.
A Stretto (a term used in Fugue, and which means “contraction”) is a suite – or succession – of several canons.
Canons are practiced with or without Cantus Firmus.
Perpetual Canon is one which – having no conclusion – is continued so as to return in each part from the end of the imitation to the beginning (Da Capo) without stopping. A popular illustration of this form is “Frere Jacques” or “Three blind mice”.
INVERTIBLE COUNTERPOINT
We call “invertible” a counterpoint of which each melodic design may be placed without incorrection either above or below the others.
The exchange of the melodic designs is called “inversion”.
Invertible counterpoint is said to be: double, triple, quadruple according to the number of voices: two, three or four which invert.
The invertible counterpoint is studied in 2,3,4 voices with and without cantus firmus, it is called “double counterpoint if 2 parts are involved, triple if 3 parts are involved, and quadruple if 4 parts are involved.
The usefulness of the invertible counterpoint is that it serves principally in the composition of the counter-subjects of the Fugue – which must invert with any of the other parts --. Ancient composers called the Fugue: “Counterpoints in imitation”.
A Fugue is a musical composition established on a theme after the rules of the periodical imitation. It makes use of all artifices of counterpoint – simple, combined and invertible – so as to accompany the principal theme, and present it under various aspects.
Fugue is the perfection of counterpoint. All that a good composer ought to know may be introduced into FUGUE.
There are “themes”, and there are “themes for Fugue”, which means that while an ordinary theme may lend itself to limited developments, such as in the sonata form, or the paraphrase, a theme for fugue must be so perfect so as to have every portion of its melody exploitable towards such development or elaborations.
A convincing example of such theme perfection (and development) is the Allegro portion of the Overture to the MESSIAH by Handel.
The study of the Fugue is, in fact, the best preparation to the acquire the Art to develop an idea, and draw from it the best advantage, as well as all the elements contributing to the composition of a piece of such nature, must emanate directly or indirectly of the primary idea of the principal theme which is named “subject”.
This is how Cherubini expressed himself about it: “Fugue is the type of all pieces of music, namely: whatever is composed, in order to be well conceived, correct, with all its details clearly heard, it must – without having precisely the character and the form of the fugue, it must have its spirit.”
Before closing, a brief discussion of another important form of counterpoint namely: the MODAL COUNTERPOINT may be in order.
The MODES, also called “Church MODES”, or Ecclesiastic MODES, completely dominated European Music for 1100 years, and then influenced composers for 400 more.
Some European teachers strongly recommend the use of themes taken from Gregorian Chants, which have a beauty of line not found in those written (hurriedly) by the teachers.
But these Gregorian Cantus Firmi carry a harmony whose basis is often that of the Grecian modes: Hypodorian, Locrian, Phrygian, Hypophrygian, Hypolidian, etc., etc. The four following scales are recommended for exercises:
SPECIES. The students should work out Modal Counterpoint in two species only: whole-notes (first species) and Florid (fifth species).
The chord successions and cadences of this GREGORIAN character agreeing well with the style of counterpoint, is nevertheless very difficult for the inexperienced pupil, the more so since the harmony treatises omit them completely and for inexplicable reason.
In the ascending and descending minor scale, the altered VIth degree may exceptionally take a harmonic value in a conjunct ascending or descending movement:
A) The F# may exceptionally take a “harmonic” value when it is placed in a conjunct ascending movement.
B) The G natural may exceptionally take a “Harmonic” value when placed in a conjunct descending movement.
Example in G minor:
SUGGESTED EXERCISES in COMPOSITION
An eminent composer became occasionally sterile, either from too much composing or fatigue…, instead of going fishing, he worked on BACH CHORALS, harmonizing them, then working it out in Variation Form by composing a second theme which could combine with the Choral in invertible counterpoint, introducing a divertissement period, Coda with Strettos and pedal. This practice soon brought him back in good form; it should likely be a good practice for any of us.
Here, let me quote the great 19th century French composer and teacher VINCENT D’INDY in his discussion on “THE WORK OF ART AND THE ARTIST”:
The sincerity of a work arises from the artistic conscience. The artist may be endowed with GENIUS or TALENT. Genius is the ensemble of the faculties of the soul elevated to their highest expression. Genius has for effect: the creating; he is the prototype of all which he engenders.
TALENT is the ensemble of the faculties of the soul sufficient to assimilate the works of genius, but not powerful enough to create works essentially original.
There has been, there are, there will be latent geniuses, which, for want of necessary “talent” to express one’s self, did not leave, nor will ever leave after themselves any trace, any work of durable beauty.
Genius is inborn, no teacher could teach it, no human power could suscitate there where it is not. But the talent can be acquired from good teaching and logical study. Talent is – so to speak – the nurse of the genius; it is through talent, and only with its help that genius can grow and fully manifest itself through works.
The genius without the talent would be nothi8ng. Therefore, the artist must be gifted with genius and provided with talent.
But he must also possess the TASTE, namely this fine and delicate attitude to discern the qualities and the faults in other artists’ works as well as in his own, and to appreciate them with a sane judgement.
The GENIUS creates
The TALENT imitates
The TASTE appreciates
Artistic education, regardless how excellent and complete it may be, could not give genius, but it can originate the talent and must form the taste.
But may the pupil, called upon to deserve the title of artist, never lose of sight that besides his natural endowment, three virtues will be necessary to him to arrive to the maximum of expression which is given to him to attain, three virtues enunciated in a text of a Holy Thursday anthem, of which the music is as admirable as the words are elevated:
“May in you live these three virtues:
FAITH, HOPE, LOVE
But the greatest of the three.”
Is LOVE.
YES, the Artist must before all have FAITH. Faith in GOD, Faith in ART, as it is FAITH that incites to KNOW, and by this knowledge to elevate one’s self more and more on the ladder of the human-being, toward his term which is GOD.
YES, the Artist must practice HOPE, as he has nothing to wait for from the present time. He knows that his mission is to SERVE, and to contribute thru his works to the education and to the life of the generations which will come after him.
YES, the Artist must be touched by the sublime CHARITY: the greatest of the three, to LOVE is his goal, as the unique principle of all creation is the Great, the Divine, the Charitable LOVE.
