^^epmrn'^M 
 
 mSK LIB. 
 
 MT 
 
 182 
 
 ^^^^ MACD0U3ALL 
 
 0^ 
 
 
 
 
 
 8 
 2 
 3 
 4 
 3 
 5 
 
 
 
 3 
 
 
 FIRST LE^ SON nN EMMFO^IZIN^ 
 ONTHtOr,AN
 
 THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA 
 
 LOS ANGELES 
 
 MUSfC 
 
 ubrmw
 
 IRST LESSONS 
 in EXTEMPORIZING 
 
 on the Qrgan »»>.♦♦ 
 by H. C. MACDOUGALL
 
 Copyright, 1922, by G. Schirmer, Inc. 
 
 30612 
 
 iPfintttl' ht the U; S'.'A.'
 
 Music 
 Library. 
 
 MT 
 
 in 
 
 '^ To MISS ROSE PHELPS 
 
 en 
 
 V 
 
 2'7a(>49
 
 PREFACE 
 
 Experience teaches every church organist that the ability to extemporize even 
 in modest fashion is not only a very convenient thing, but also", very often indeed, a 
 positive necessit}'. 
 
 Natural aptitude and intelligent practice are the foundations of good ex- 
 temporizing, as indeed they are of good organ playing. Natural aptitude alone will 
 not enable one either to play the organ well or to extemporize on it acceptably; 
 one must practice extemporizing regularly, day by day, over and over again, just as 
 one practices the pieces in one's organ repertoire. A seventeenth-century writer 
 (Francis Quarles) puts it somewhat inelegantly, but squarely, when he writes: "I 
 see no virtues where I smell no sweat." To invent and play, on the spur of the 
 moment and without specific preparation, an unwritten piece of music, long or short 
 as the case may demand, conforming reasonably to the principles of musical com- 
 position, is to extemporize. 
 
 Since improvisation is something that forms a part of the business of every 
 organist, the present little book is extended as a helping hand. No attempt is made to 
 teach more than can be taught, to do more than give the player a fair start, nor to 
 induct him into the mysteries of the whole-tone scale, the Wagnerian endless melody, 
 or the modern dissonant style. The musical illustrations have been written to give 
 the average organist with a fair amount of harmonic knowledge and rather more 
 than a fair amount of musical intelligence, an idea of what is expected of him. These 
 are "first lessons."
 
 CONTENTS 
 
 Page 
 
 Preface v 
 
 Section I: Fundamental Principles 1 
 
 Tests as to Natural Aptitude 1 
 
 Section II: Harmony and Musical Form 2 
 
 Four-measure Form 2 
 
 Change-Endings — Getting Away from the Theme 3 
 Two-Measure and Eight-measure Phrases . 4 
 
 Suggestions as to Practice 5 
 
 The Eight-measure Phrase (Four phis Four) 5 
 
 Taking Account of Stock 6 
 
 The Six-Four Chord, Second Inversion 6 
 
 Contrary Motion between Highest and Lowest Parts 7 
 
 A Twenty-eight Measure Piece (Song-Form) 7 
 
 Recapitulation 1 1 
 
 Section III: Choosing the Theme — Extending the Form 1 1 
 
 Themes from Hymn-Tunes 1 1 
 
 Suggestions for Practice Iv^ 
 
 Harmonic Technique 14 
 
 Section IV: Other Forms 14 
 
 Sixteen-measure Phrases 16 
 
 Extemporizing in Four Parts 16 
 
 Section V: Inversion of the Theme 16 
 
 Melody in the Bass 16 
 
 Melody in the Tenor 17 
 
 Section YI : Varying the Harmony — Registration 18 
 
 Consistency in Accompanimental Figures 18 
 
 The Developmental (Continuous) Style 18 
 
 Importance of Attractive Registration 19 
 
 General Schemes 19 
 
 Section \'I1: The Chorale Prelude 19 
 
 Section \III: The Fugato and Other Forms 22 
 
 Technique through Writing 22 
 
 Other Forms 22 
 
 Bibliography '2-i 
 
 I vii 1
 
 FIRST LESSONS IN EXTEMPORIZING 
 
 SECTION I 
 
 Fundamental Principlks 
 
 1. Do not stop the flow of the music for reflection; one must keep going. 
 
 2. Keep to the meter with which the start is made; do not, for example, inter- 
 polate a measure of 4/4 into a 3/4 movement, or a 3/4 into a 4/4 movement. 
 
 3. Nothing is to be written, save possibly one's theme, and it is much better 
 to accustom one's self to memorising the theme. 
 
 Note. Further on ;i methoci of practicing certain particular points in improvising through 
 writing will be suggested; but these methods must not be confused with extemporizing itself. 
 
 Tests as to Natural Aptitude 
 
 4. (a) Observing pars. 1 and 2, play any well-known melody (Robin Adair, 
 Old Folks at Home, The Long, Long Trail, etc.) in several keys. Do this with 
 variety in the figuration of the accompaniment. For example: 
 
 ^ or 
 
 £S 
 
 ^ 
 
 M 
 
 ^^ 
 
 m 
 
 or 
 
 m 
 
 ^^ 
 
 fs 
 
 pf 
 
 r 
 
 r 
 
 ♦V 
 
 n y \H 
 
 m 
 
 m 
 
 rf 
 
 ^ 
 
 ^ 
 
 r 
 
 (b) Do this with a listener or listeners, and note whether the extemporizing 
 is done as easily as if alone. 
 
 Note. The result of trying the tests suggested in par. 4 may be discouraging, but the con- 
 clusion that natural aptitude is entirely lacking ought not to be drawn unless the melodies cannot 
 be remembered ; or, if rememliered, cannot be played "by ear" ; or, if remembered and played by ear, 
 can be played in one key only. The particular melodies named in par. 4 may not happen to be 
 known to the player, but the test is valid for any melody that is familiar to him. 
 
 (c) This test ought to extend over a considerable period of time, for a week 
 or two, with daily experiments, and may well employ anything known to the player — 
 national airs, folk-tunes, vaudeville tunes — in short, anything good, bad or indififerent. 
 
 5. In all practice have at the keyboard a list of the major and minor keys, 
 also a table of the more common time- (or meter-) signatures. For example: C major; 
 C minor; C sharp minor; D flat major; D major; D minor; D sharp minor; E flat 
 major; E flat minor; K major; K minor; F major; F minor; F sharp major; F 
 sharp minor; G major; G minor; G sharp minor; A flat major; A major; A minor; 
 B flat major; B flat minor; B major; B minor. Time-signatures: 2/2,2/4,3/4,4/4, 
 6/8. 
 
 Make this in convenient form (columns), and check off each key and time- 
 signature as 3-ou use it, taking the whole list, not necessarily in the order given, as 
 time goes on. The extemporizer must be at home in all the principal keys, at least. 
 
 [1]
 
 First Lessons in Extemporizing 
 
 SECTION II 
 Harmony and Musical Form 
 
 6. The definition of extemporizing given in the preface speaks of a "reasonable 
 conformation to the principles of musical composition." Since improvisation is often, 
 in the organist's case, a necessity, it is obviously unfair to subject his extemporizing to 
 the same tests that are applied to written work. On the other hand, he cannot 
 claim total exemption from these tests. Granting equal spontaneity and beauty 
 of invention in two improvisations, the one which is most correct according to the 
 principles of musical composition must be adjudged the better. So the player should 
 continually strive for harmonic and formal accuracy. It is not rare to find organists 
 who have a natural harmonic sense, and these players will improvise, so far as regards 
 the harmony, with few solecisms; but, generally speaking, very little beyond the 
 merest beginnings of extemporizing is possible for one who is ignorant of harmony, 
 counterpoint and musical form. 
 
 Four-measure Form 
 
 7. All improvisations are or ought to be based on some plan or "form." The 
 first of these to be taken up is the four-measure form. 
 
 This form usually begins with the tonic chord and ends with the tonic chord 
 in the last measure accented, preceded by the dominant or subdoniinant chord un- 
 accented. 
 
 Allegro 
 
 i 
 
 Wa 
 
 ,/• 
 
 ^s 
 
 W 
 
 mm 
 
 I 
 
 J* 
 
 T 
 
 r 
 
 Andante 
 
 m 
 
 
 r 
 
 p 
 
 n 
 
 j=j=j= 
 
 ^ 
 
 ^ 
 
 r r r T ft 
 
 s 
 
 r 
 
 Illustrations 2 and 3 are ordinary four-measurt' jjhrasis, but in (liflVreiit styles 
 and i(iii|)i. 
 
 Moderate 
 
 'hH J F J 
 
 ^ 
 
 ^ 
 
 ^ 
 
 
 P 
 
 *
 
 Hiinnony and Musical Form 
 
 Allegro 
 
 ■hiif^r^ i rlfiirj^ 
 
 w 
 
 Illustrations 4 and 5 employ the plagal cadence (tonic chord preceded by sub- 
 dominant for the last two chords), while Nos. 2 and 3 use the authentic cadence (domi- 
 nant chord followed by tonic chord). 
 
 Change-Endings — Getting Away from the Theme 
 
 8. Just as in writing English a word or thought leads naturally to another 
 word or supplementary thought until a paragraph is written, so in music the theme 
 is merely a point of departure, suggesting other terminations or endings; these in 
 their turn leading to other bits of music, and so on. But in his early practice in 
 extemporizing the player finds it difficult to leave the subject, especially if it be a well- 
 known theme. To overcome this difficulty, as well as to stimulate invention, take 
 familiar hymn-tunes and give each phrase an ending different from the printed one.* 
 For example: 
 
 Eventide W H. Monk 
 
 ± 
 
 « r i 
 
 /J o 
 
 m- 
 
 frrr 
 
 o J -^ 
 
 6 
 
 ^ 
 
 1 
 
 o 
 
 J=A 
 
 ^^ 
 
 SJZ 
 
 r r r r 
 
 i 
 
 m 
 
 zxn 
 
 rTTT 
 
 ^ 
 
 n^ 
 
 -oo o- 
 
 *It surely is hartily necessary to say that when suggestions as to alterations In well-knowri hymn-tunes are 
 made here or elsewhere they are made for instructive purposes only, and not with the thou^lu of improvini,' on the 
 original tune.
 
 First Lessons in Extemporizing 
 
 9. After assiduous practice in the manner of No. 6, make a change-ending for 
 the first phrase of many hymn-tunes, taking the new ending as a point of wide de- 
 parture. 
 
 Petra R. Redhead 
 
 s 
 
 
 r 
 
 r 
 
 i 
 
 r=»=f 
 
 J. 
 
 J. 
 
 te 
 
 -o- 
 
 e^c. 
 
 ^ 
 
 P^ 
 
 f 
 
 f^ 
 
 ^ 
 
 Note. A good hvmnal ought to be at hand for practice-material. The newer American 
 h>mnals, the Oxford Hymnal, Hymns Ancient and Modem, or the English Hymnal, will be found 
 useful. 
 
 10. The four-measure form is so natural to all musicians, and so imbedded in 
 our musical consciousness, that the player will have little difficulty in "feeling" it, 
 that is, in knowing exactly when it is time for the cadence. In case this is not the 
 experience of the player, he should count aloud as he plays; suppose the meter is 
 3/4, count thus: 1 two three, 2 two three, 3 two three, 4 two three. The Arabic 
 numerals mark the number of thc> measure and the first beat, while the "two three" 
 stand for the 2d and 3d beats. This counting aloud may well be kvytX up until the 
 four measures are "felt" without the counting. The player will note that as he says 
 "4" he must be playing the tonic chord. If his i)hrase had begun on the third beat 
 the counting would go "three, 1 two three, 2 two three, 3 two three, 4 two." 
 
 Two-measure and Eij^ht-measure Phrases 
 
 11. Many of the old syllabic tunes, with four beats in a nu-asure, ha\-e phrases 
 two measures long; but if the rhythm is considered to be duple — which is usually 
 the case — the meter-signature becomes 2/4 or 2/2 and llic i)hrases are four measures 
 
 long. 
 
 Flight measures is a long distance for (he mind (o carry oxer the musical 
 
 thought, but eight-measure phrases are by no niciiis rare. 
 
 St Chrysostom 
 
 J. Barnby 
 
 8
 
 Harmony and Musical Form 
 
 The longer phrase is made out of the shorter one by "side-stepping" the 
 cadence, delaying it until the 7th-Sth measures. 
 
 Suggestions as to Practice 
 
 12. The work up to this point has been fundamental, and therefore of the 
 greatest importance. Hard, steady practice is absolutely necessary to get results. 
 A comparatively small degree of natural aptitude for improvising, and much hard 
 practice, will take one farther than a greater degree of natural aptitude and little 
 practice. Beai* in mind especially pars. 1 and 2. 
 
 Discouragement arising from poor harmony, and inability to get away from 
 certain stereotyped melodic or harmonic sequences — these are inevitable parts of the 
 "game," and must not be allowed to lower the player's morale. 
 
 The Eight-measure Phrase (Four plus Four) 
 
 13. After the four-measure phrase with the complete stop (authentic or plagal 
 cadence) at the end is extemporized with some readiness, the extension of the four 
 measures to eight may be attempted. There are at least two w^ays of doing this; (1) 
 to end the first four measures with a half-cadence, or (2) by a modulation to a re- 
 lated key, in each case repeating the original four measures, bringing them to a 
 complete stop. It is also effective to make the eight measures different throughout. 
 
 [, » JJJ i J I , I I I I \ , >^i rn , I — ^ 
 
 Illustration 9 shows a half-cadence in measure 4. 
 
 ri 
 
 Risoluto 
 
 10 
 
 -^'tififilFitr i 
 
 tt^ 
 
 m^ 
 
 J: 
 
 * 
 
 m 
 
 rrf. 
 
 W 
 
 Nj I lp'%: | |f = 
 
 ^ 
 
 f 
 
 r 
 
 J5U 
 
 P 
 
 ^ 
 
 r 
 
 ^ 
 
 f 
 
 r 
 
 Illustration 10 shows a half-cadence at measure 4. 
 Cantabile 
 
 11 
 
 
 m 
 
 nr^ 
 
 J J J_ 
 
 r 
 
 
 i 
 
 f
 
 First Lessons in Extemporizing 
 
 Illustration 11 shows a modulation to the key of the dominant in the third 
 measure. 
 
 12 
 
 ^ 
 
 Allegro 
 
 ^ 
 
 i. 
 
 jrr 
 
 f 
 
 ^ 
 
 ^ 
 
 ^ 
 
 i^ 
 
 r 
 
 TT 
 
 ^ 
 
 i 
 
 Tfr 
 
 % 
 
 EE 
 
 TTf 
 
 ^ 
 
 i=i 
 
 m 
 
 ^ 
 
 ^ 
 
 rT 
 
 ^ 
 
 % 
 
 ^ 
 
 rr 
 
 M 
 
 i 
 
 r 
 
 Illustration 12 has the half-cadence, but measures 5 to 8 are not repeated from 
 measures 1 to 4. 
 
 In working out these various plans, think out carefully what is to be attempted, 
 mentally rehearsing the melody and harmony before beginning. The player must 
 make up his mind, once he begins, to go on manfully without stopping and without 
 losing the rhythm. His slogan must be, KEEP MOVING. 
 
 Taking Account of Stock 
 
 14. It will be encouraging at this point to see what one can do in stringing 
 together various airs playable by ear, never using the same sequence of keys more 
 than twice. For example: 
 
 Introduction in 4 measures, ending on the dominant chord of F major. 
 
 "Bluebells of Scotland" in F. 
 Modulate to d minor, ending the modulation on the dominant chord. 
 
 "O, Charlie is my Darlin' " in D minor. 
 Modulation to B flat major, ending the modulation on the dominant chord 
 of B flat major. 
 
 "Annie Laurie" in B flat major. 
 Brief Coda of two measures. 
 
 Repeat the extemporization in this order and with these key-changes: 
 Introduction in B flat major. 
 
 "Annie Laurie," in tliat key. 
 Modulation to G minor. 
 
 "O, Charlie is my Darlin' " in G minor. 
 Modulation to E flat major. 
 
 "Bluebells of Scotland" in \\ flat major. 
 Coda of two measures in E flat major. 
 
 By this lime the general command of the keyboard (iiii;!!! to be distinctly 
 greater. 
 
 The Six-four (.1iord, Second Inversion 
 
 l.S. If (lie player has the iuiidil of professional criticism or that of a candid 
 friend, he will have heard a good deal about the second inversion of the triad and its 
 iniquitous use in improvisations. Tlic <li(ird with its lifth in llie bass (second in- 
 version) has a fatal fascination for the cxtcnipoi i/.cr and is usually the .second chord 
 he plays; in fact, it seems to ihc critical liciicr tii.it that particular chord is the only
 
 Harmony and Musical Form 
 
 one ihc unlortimate iiiiproi^isaleur has in liis mind! Let him avoid it in improvisa- 
 tion as he would the pestilence, until he can use it properly; of course, it is legitimate 
 when it is the tonic six-four, the third chord from the end of a phrase and accented. 
 For example: 
 
 13 
 
 
 ^^-j- 
 
 M 
 
 P 
 
 m 
 
 ^ 
 
 ^ 
 
 M 
 
 f 
 
 w 
 
 ¥ 
 
 ± 
 
 F 
 
 Two other uses of the second inversion of chords on the second, fourth and first 
 degrees of the scale are safe; (a) when the six-four is followed by a chord on the 
 same bass note, the latter being the root of a chord, and (b) the six-four whose bass 
 is the middle of three bass notes moving scale-wise. For example: 
 
 ,14^ 
 
 ^p 
 
 ^ 
 
 ^^ 
 
 m 
 
 r 
 
 ^==B 
 
 1 
 
 P 
 
 ^ 
 
 te: 
 
 14b 
 
 ^ 
 
 Wit * 
 
 r 
 
 J=^ 
 
 i 
 
 1 
 
 r r r ' I- 
 
 i5^ 
 
 J J J 
 
 ^^^ 
 
 ^ 
 
 j-4. 
 
 Contrary Motion between Highest and Lowest Parts 
 
 16. In the excitement of "keeping it going" the extemporizer will fall into 
 many errors — positive and bad errors, to say nothing of infelicities; but he must 
 remember that application and work will do wonders. A simple rule will help to avoid 
 the grosser mistakes, and this is. Avoid parallel motion between the highest and lowest 
 parts. Many times, of course, these parts may progress by thirds or sixths to the 
 advantage of the music, but the contrary motion suggested will take care of consecu- 
 tives (parallel fifths and octaves). This idea of contrary motion between extreme 
 parts is a great help, too, when improvising a melodious upper part to accompany 
 the air in the bass. (See par. 26.) 
 
 A Twenty-eight Measure Piece (Song-Form) 
 
 17. By this time, let us say in two months from the time of beginning the 
 study, the player will be able to "feel" his eight-measure phrase (4 plus 4). He is
 
 8 
 
 First Lessons in Extemporizing 
 
 then — provided we have not overestimated his progress — in a position to combine 
 two eight-measure phrases into what is usually called the Song-Form, adding four 
 measures to mark the close of the piece (Coda). The 28-measure piece has this 
 form: 8 measures (4 plus 4), plus 8 measures (4 plus 4) in a related key, the first 8 
 measures da capo, and 4 measures added as Coda. The whole piece may be made 
 up on change-endings, or on original matter; or the change-ending style and original 
 matter may be alternated. 
 
 15 
 
 Andante 
 
 f i ,"^. J J J 
 
 ^ 
 
 P^^ 
 
 mM 
 
 p^ 
 
 j=^ 
 
 m^F 
 
 wav 
 
 k 
 
 I 
 
 s^ 
 
 \z 
 
 ^ 
 
 i 
 
 ^ 
 
 ^F^=^ 
 
 ^B4=t 
 
 ^ 
 
 f 
 
 ^^ 
 
 ^isis^a 
 
 ? 
 
 r' 
 
 r — M — r 
 
 r 
 
 ^ 
 
 •'!f 
 
 i 
 
 1 
 
 siiTin} 
 
 T 
 
 Coda 
 
 ^ 
 
 ^^£ 
 
 rit. 
 
 i 
 
 ^W 
 
 atrerBJlm 
 
 D.C.C071 repeti 
 zione epoial Coda 
 
 i 
 
 ^^ 
 
 ^^ 
 
 f 
 
 16 
 
 Alleg retto
 
 Harmon V and Musical Form 
 
 Til ' hi' f^ 
 
 3^S 
 
 sfefe 
 
 - JlllJ ■ J' JQ» 
 
 
 r=T 
 
 *rr 
 
 
 4. in 
 
 ^S 
 
 tt 
 
 m 
 
 ^ ^ V 
 
 ]> "y 
 
 -9 — i. • 
 
 f 
 
 r 
 
 it. Coda 
 
 rit. 
 
 Allegretto 
 
 ^ 
 
 t^^ 
 
 m 
 
 h^ 
 
 * 
 
 i^i 
 
 ^^ 
 
 r^ 
 
 rrr 
 
 rr-r 
 
 17 
 
 r ' r 
 
 J 
 
 5t 
 
 N 
 
 ^^ 
 
 ■ » g 
 
 F 
 
 ^' J J ^J 
 
 ^ 
 
 r "f r 
 
 ^Cantabile 
 
 /^ 
 
 ?^ 
 
 ^^
 
 10 
 
 First Lessons in Extemporizing 
 
 $ 
 
 Coda, senzartt. 
 
 ^ 
 
 m 
 
 i 
 
 i» — ^ 
 
 D.C. 
 
 '>^ J f \ 
 
 i 
 
 ^ 
 
 ^ 
 
 ^^ 
 
 ^^ 
 
 £ 
 
 ■=■: 
 
 i 
 
 r — g 
 
 ^ 
 
 No. 17 has both sections in the eight-measure phrase that is practically con- 
 tinuous. (See par. 11.) 
 
 ^ 
 
 Briskly 
 
 i 
 
 ^j /3 
 
 ? 
 
 J J ' l j - ^ I J .^. J ^ 
 
 ^^ 
 
 18 
 
 ^ 
 / 
 
 r ^ « ^ 
 
 f=f^ 
 
 ^ 
 
 = !^EE 
 
 ■I i f - ^ l.^ . ^,.J P 
 
 r V j t 
 
 ^ 
 
 ^ 
 
 j-Ai 
 
 ■sf 
 
 
 ^'=f 
 
 ^^ 
 
 M •_ 
 
 E»=F 
 
 -• •- 
 
 simile 
 
 3 ^ I t * 
 
 I 
 
 ^ 
 
 ^-1-H^ 
 
 ^^ 
 
 ^ 
 
 ^ 
 
 .P 
 
 '^^i' g V J F 
 
 r 
 
 i 
 
 ^ 
 
 ■_ 
 
 Iff m 
 
 p 
 
 ^ 
 
 ^ 
 
 J Fj F 
 
 J i^j F 
 
 ^ 
 
 « 
 
 D.C. 
 
 ^ 
 
 /- 
 
 t** 
 
 ^
 
 Choosing the Thcnic -Extendi no- the lu/rin 
 
 11 
 
 Coda 
 
 ^''' j ^ m 
 
 accel. 
 
 ^ 
 
 ^^ 
 
 iS 
 
 •rataib 
 
 =F 
 
 ^^ 
 
 t *l 
 
 No. 18 has shorl phrases in the folk-song fashion. 
 See also Illustrations 19-21. 
 
 Recapitulation 
 
 18. Practice regularly. Keep going. Do not lose the rhythm. Plan your 
 improvisation. 
 
 SECTION III 
 
 Choosing the Theme — Extending the Form 
 Themes from Hymn- tunes 
 
 19. Since the hymn-tune is a form of music with which the organist has much 
 business, and since it is something with which his audience is pretty sure to be familiar, 
 well-known hymn-tunes furnish excellent material for improvisation. One essential 
 of an effective improvisation is that the theme shall be familiar to the audience. 
 Having heard a masterly and most exciting extemporization from Guilmant on 
 "Jerusalem the golden," the writer remembers his keen disappointment on hearing 
 him extemporize on an unfamiliar plain-song melody; the second improvisation was, 
 no doubt, as good as the first, but it was not enjoyed. How can the audience enjoy 
 the extcmporizer's art if it does not recognize his theme? 
 
 Hymn-tunes dififer much in their value for the purpose. The first phrase may 
 be used to advantage, since it is usually quickly recognized, but one needs more than 
 one subject to work with if one is to go on for more than a few measures. In the 
 majority of hymn-tunes the phrases following the first phrase are very much like it 
 in rh>thm, and it is to differences in rhythm more than to differences in harmony or 
 in melody that we have to look for suggestions. 
 
 Scan the tune, however, and select those phra.ses or parts of phrases that 
 have some mark of distinction about them. Play over 50 tunes, dissecting them for 
 contrasted phra.ses; having found the phrases, make little pieces of 28 measures. 
 (See par. 17.) Use the first selected phrase for the theme of section one, and the 
 second selected phrase for the second section; or, if it can't be made to go that way, 
 take a phrase from another tune, or take an entirely original phrase. 
 
 The following illustration is derived from the hymn-tunes St. Gertrude and 
 Ellers.
 
 12 
 
 First Lessons in Extemporizing 
 
 j-J J J J 
 
 IT 
 
 -^-^LJ 
 
 i 
 
 19 
 
 / 
 
 ^^ 
 
 ^ 
 
 ^_^ 
 
 ft: 
 
 m 
 
 i 
 
 # — (► 
 
 ^im 
 
 ^ 
 
 ^^ 
 
 S 
 
 U ^H J J 
 
 
 rr 
 
 r^ 
 
 i J 
 
 j- 
 
 ^P 
 
 
 ii 
 
 1^ 
 
 M 
 
 ^UJ^ 
 
 ^ 
 
 pp 
 
 g 
 
 f 
 
 vtr 
 
 r^ 
 
 Coda 
 
 S 
 
 ^ 
 
 ^ 
 
 i 
 
 J-iO- 
 
 ^ /0\ r^ 
 
 i^ 
 
 4h-''-0 * 
 
 rfT 
 
 f^ 
 
 ^"=^ 
 
 =8= 
 
 
 r 
 
 r 
 
 gjiip 
 
 !_ 
 
 ti 
 
 7-<y. 
 
 ^ 
 
 ~nr 
 
 IDI 
 
 Xo. 20 has one phrase from 5i. Athauasius, by E. J. Hopkins; the other ])hrase 
 is original. 
 
 20 
 
 ^^ 
 
 r 
 
 ^9^ 
 
 ^ 
 
 suL^ 
 
 F^f 
 
 ^ 
 
 ii 
 
 I 
 
 l-^h^fui 
 
 li^ 
 
 ^ 
 
 1 
 
 J' 
 
 IE 
 
 
 J- J 
 
 ^1 
 
 a' r rr f =^= r r 
 
 IT 
 
 iE^ 
 
 lUd M 
 
 $ 
 
 ^ 
 
 
 
 
 
 JjJ 
 
 i?na~r-rf 
 
 J 
 
 ji 
 
 ^^ 
 
 i 
 
 ^^ 
 
 m
 
 Choosing the Theme Extefidin<r the Form 
 
 13 
 
 In No. 21 the first section is from Neander (J. Neander), the second from 57. 
 Athanasius (Hopkins). 
 
 1 
 
 PTTT 
 
 # 
 
 i i ' tAf "r r 
 
 ^fe 
 
 :?=p: 
 
 ^ 
 
 Coda^ 
 
 i 
 
 ^ 
 
 J^:^ 
 
 n 
 
 
 rr 
 
 g 
 
 i^^u 
 
 ^ 
 
 *^ 
 
 j: 
 
 i).C. 
 
 rP 
 
 ^ 
 
 J=J: 
 
 xe: 
 
 xe: 
 
 ^E^ 
 
 fe» 
 
 ^¥ 
 
 20. The centre of gravity in extemporization nmst be melody or rhythm, 
 rather than harmony. Listen to an organist "showing off" a stop. Does he invent 
 a melody? Nine times out of ten, no; he simply crawls along on chords without 
 melody or rhythm. The effort must always be made to think in terms of rhythm and 
 melody. Melody precedes in the thought, harmony follows. Rhythm brightens 
 up the whole, even if it be not the vitalizing [jrinciple of the whole. 
 
 Suggestions for Practice 
 
 21. Select a regular time for practice, and do not depend on "feeling like it" 
 as an incentive. It is true that one is more disposed towards all sorts of musical
 
 H First Lessons in Extemporizing 
 
 Avork at one time than at some possible other time, but it is fatal to progress to give 
 in to those feelings. 
 
 After fifty tunes have been examined, divide them into classes; the first class 
 including those tunes that have two excellent themes, the second class those that 
 have only one theme, and the third class those tunes, grouped by twos, that may be 
 used as first and second themes. 
 
 Play the improvisation on the tunes selected at least three times; after three 
 times the mind works about as it did before and the piece becomes stereotyped. Do 
 as many twenty -eight measure pieces as can be done in the time set apart. On the 
 next day review the more promising of these, taking as many new ones as time 
 will allow. As study proceeds it will be more readily ascertained what subjects 
 promise well, and it will be possible to throw out those that are seen to be com- 
 paratively worthless. 
 
 The twenty-eight measure pieces do not amount to very much as music, al- 
 though they are by no means to be despised. Their form is one of the standard 
 forms, and it is only on account of their narrow range that we are inclined to look 
 down upon them. How can one do well in the larger forms if one cannot master the 
 small ones? 
 
 Harmonic Technique 
 
 22. Before this time, even, the player will have discovered how far his knowl- 
 edge of harmony is a help to him in his improvisations. If he find that he is deficient 
 in harmony, then let him review his harmony and advance in it, too. If he can go on 
 with Counterpoint, so much the better. Harmonizing melodies, and putting the 
 melodies into tenor and into bass as well — these are the ways to make the study of 
 harmony practical. Counterpoint is essential if, later, the player wishes to make 
 fugatos on hymn-tune subjects. (See Section VIII.) 
 
 If the pla>er wishes to study his harmony in such a way as to advance his 
 extemporization work directly, he may do his writing under (as nearly as possible) 
 the extemporizing conditions; that is (1) he must make no erasures; (2) he must not 
 tr> the work over on the organ before it is completed; (3) the writing must be steady- 
 in point of progress, that is, not done by fits and starts. Of course, it is absurd to 
 think of writing as done in tempo, but it can be done with some steadiness. After 
 finishing the writing it must be played, the criticism written, and the time taken in 
 writing set down. It is thus possible to combine a certain disciphne in writing with 
 practice on tlic keyboard in extemporization. (See ])ar. 3, Note, and Section VIII, 1.) 
 
 SKCriON IV 
 
 Otiii<:r Forms 
 
 23. After one has mastered the siMi])lc twenty-eight measure form, one has 
 the key to a gfjod many other forms, such as {\\v March, Waltz, and many jjicces of 
 the type. The proljicm is sinipb' one of making up one's mind just what combinations 
 of eight-measure phrases will |)riili,iM\ siiii llif llunic one has taken, or that has 
 been given, and linn iiKnccd to work il oiil. 
 
 For example, a March. SiilH\an's I u lie. S7.C/VT/r//f/r suggests a March. I'"()llf)w- 
 ing the ordinary custom, a Iruniix't fanfare of four measures will serve as introduclion ; 
 
 I
 
 0th 
 
 er 
 
 ^orms 
 
 15 
 
 4 
 
 measures 
 
 8 
 
 M 
 
 8 
 
 I J 
 
 8 
 
 If 
 
 8 
 
 measures 
 
 8 
 
 T) 
 
 8 
 
 M 
 
 4 
 
 measures 
 
 24 
 
 n 
 
 4 
 
 t> 
 
 this may be followed by an eight-measure phrase to serve as A; next, another eight- 
 measure jihrase to serve as B ; then the da capo of A. Now will come a second section 
 constructed precisely like the hrst but, on the whole, in a related key; the trumpet 
 fanfare and the twenty-four measures following the fanfare will be repeated, and with 
 a Coda of perhaps four measures the piece will end. A sample "scenario" of the 
 March might he written thus: 
 
 Fanfare in G major, ending on donu'nant of G 
 
 (A) 8 meas. in G major 
 
 (B) 8 meas. in D major (related key) 
 (A) 8 meas. like first (A), or somewhat varied 
 
 TRIO: 
 
 (C) 8 meas. in I) major (related to G major) 
 
 (D) 8 meas. in B minor (related to D major) 
 (C) 8 meas. as before, or somewhat varied 
 Fanfare 
 
 (A), (B), (A) as before, so far as can be recalled 
 Coda 4 meas. on tonic pedal 
 
 Total: 84 measures 
 Another "scenario" for the same improvisation might be this: 
 Fanfare, 4 meas. in G, ending on dominant of key 
 
 (A) 8 meas. in G major 
 
 (B) 8 meas. in E minor (related key) 
 (A) 8 meas. as before 
 
 TRIO: 
 
 (C) 8 meas. in D major (related to G major) 
 
 (D) 8 meas. in A major (related to D major) 
 (C) 8 meas. as before 
 Fanfare and (A), (B), (A) repeated 
 Coda 4 meas. 
 
 Total: 84 measures 
 
 As one goes on in the practice of this short and simple March-form one will 
 naturally learn to distinguish the different sections (A), (B), (C) and (D) rhythmically; 
 since the March is essentially a rhythmic form, the rhythmic figures become of im- 
 portance. It is easy to fall into a rut in this respect. After one has accumulated 
 four or five dilTerent and effective figures, it is the proper thing to store them in one's 
 memory for the future. A good improvisateur has all his plans, his rhythmic figures 
 for different meters, his little technical "dodges," always ready for instant use. Be- 
 low are some suggestions for different rhythmic figures to be empKned in the March. 
 
 4 
 
 measures 
 
 8 
 
 M 
 
 8 
 
 )I 
 
 8 
 
 II 
 
 8 
 
 !l 
 
 8 
 
 l> ■ 
 
 8 
 
 >l 
 
 28 
 
 l> 
 
 4 
 
 II 
 
 22a ijmic r ii" iL'irpr r ^P 
 
 >^r- p r- F ir r r r i |- r
 
 16 
 
 First Ll'ssoiis in Extemporizing 
 
 ' sr Lirir prjir r r 
 
 ■ ■ 
 
 p 
 
 " i^r CUT ^ 
 
 ^^ 
 
 ■ ■ 
 
 Sixteen-measure Phrases 
 
 24. As one practices the short IMarch-form worked out in par. 23, a feeling 
 that the various sections are too short for an eflfective and "grown-up" extemporization 
 will naturally manifest itself. \Vc ma}' well enquire how to improve the form. 
 
 A study of forms of this nature, that is, forms made up of definite bits of 
 music sharply set ofif from each other by cadences marking their limits, shows that 
 sixteen-measure phrases give just the sense of extension that satisfies. The sixteen- 
 measure phrase is manifestly an 8 plus 8; or a 4 plus 4 plus 8; or an 8 plus 4 plus 4; 
 or a 4 plus 4 plus 4 plus 4. Taking the last distribution of cadences we find that it is 
 often managed as follows: 4 measures in tonic kej' (half-cadence on dominant); 4 
 meas. modulating to key of dominant; 4 meas. on a dominant pedal, which pulls 
 the tonic key back; and the last 4 a repetition of the first 4, with full cadence in the 
 tonic key. The player ought to practice this sixteen-measure scheme until he can 
 work it instanter with any hj-mn-tune phrase suggested. Other ways of working 
 out the sixteen-measure plan will be noted in the study of hymn-tunes, although 
 the element of recurrence to the first phrase is too often missing in hymn-tunes. 
 Of course, it Avill not do for the cxtemporizer to use the same formula for all the sec- 
 tions of his March; he must ha\e at least two formuhe at command. 
 
 Extemporizing in Four Parts 
 
 25. Although the illustrations presented in "First Lessons" have been written 
 usualh' for four ])arts, it is by no means suggested to the student of extemporization 
 as one of the necessary things to work for; such an ambition would handica]) him 
 so that he would be unable to do anything at all. On the other hand, entireh- to 
 neglect all the principles of part-writing would be fatal to true progress. The first 
 steps the writer himscll took in im|)r()\-isation were wholly nullified 1)\' his being 
 obliged to work with three parts only, a task far too difficult for him. .\ "reasonable 
 conformation to the i)rinciples of nuisical composition" is all that ma\- be demanded 
 of the student. 
 
 SECTION V 
 
 Invkrsion of the Theme 
 
 Melody in the Bass 
 
 26. Nf) inipro\isation can be carried along vi'r\- far without some appcvarances 
 of the melody or of the theme in the lowest i)art (ba.ss), or in the middle part (tenor). 
 It is much more difficult to adapt one's self .ind one's ideas to I lie melody in the lowest 
 part for this reason : It is ol ici im possible 1o use the s;inic li.n inonics lor I lie melody 
 in the lowest part as were used loi- ili;ii s.inie nielod>- when it ai)i)t'ars in llie highest 
 or a nn'ddlc i)nrt. The first four ni< asiires of Xirca, for exaniple, use llie Ionic anrl
 
 Inversion of the Theme 
 
 17 
 
 subdominant harmonics onl}-; Imt if oiu- puts the air into the bass the fifth melody- 
 tone cannot, without using a most distressing 6/4, be harmonised by the tonic chord, 
 but must be a part of the dominant chord. This change of harmony is momentarily 
 as disturbing to the neophyte as a slight inequality in the road is to a trotting horse: 
 the horse will very likely change his gait at the inequality. So soon as one change 
 in the harmony is made, other changes will be involved. The point of these remarks 
 will appear after inspection of Nos. 23 and 24 below. Note the changes of harmony 
 here and there made necessary by the avoidance of the 6/4 referred to, and note how 
 much superior No. 24 is to No. 23, in that 24 carries out the rhythmic motion suggested 
 in the iirst measure of the theme (air). 
 
 23 
 
 Nicea (Dykes) 
 
 t 
 
 ^ 
 
 « 
 
 ^ 
 
 mp 
 
 ^m 
 
 ^Ther 
 
 J 
 
 9=9 
 
 i 
 
 Theme 
 
 n 
 
 n 
 
 $ 
 
 rz: 
 
 IE 
 
 -9- 
 
 S= 
 
 ft-0-m- 
 
 t 
 
 i 
 
 s 
 
 V 
 
 =B= 
 
 etc 
 
 ^^ 
 
 u 
 
 ^ 
 
 ^ 
 
 f 
 
 n 
 
 24 
 
 a=B 
 
 ■=E 
 
 ^ir^ir^ 
 
 fV' h I -J 
 
 j=^ 
 
 
 mm 
 
 ^ 
 
 rr 
 
 ^^ 
 
 m 
 
 I 
 
 ? 
 
 f 
 
 Melody in the Tenor 
 
 27. When the mclodj- is in the tenor (a middle part), there will be none of the 
 difficulty connected with the harmony suggested in par. 25. Every improvisation 
 may be considerably freshened up by the transference of the theme at times to the 
 violoncello range. If the player makes any attempt to add a counter-theme in the 
 highest part it is well to stick to contrary motion between this part and the melody. 
 (See par. 16.) Only a practiced improvisafeur will be able to add with any musical 
 success a counter-theme to the principal melody.
 
 18 
 
 First Lessons in Rxtemporizin^ 
 
 25 
 
 ^*^ 
 
 Sw. 
 
 S 
 
 Ped. 
 
 m 
 
 simile 
 
 Ch. 
 
 "f\ 
 
 s 
 
 r 
 
 ^?= 
 
 * 
 
 i=^ 
 
 i. i 
 
 r^ 
 
 i 
 
 ^ 
 
 »: 
 
 ii. } i 
 
 e/c. 
 
 SECTION VI 
 Varying the Harmony — Registration 
 
 28. In warning the would-be extemporizer (in par. 20) against a mere string- 
 ing together of chords without melody or rhythm, it was not intended for one moment 
 to suggest that it is not an excellent plan, as an extemporization develops, to vary 
 the harmony which clothes the theme. In fact, this is one of the easiest and most 
 fruitful of all the devices for creating color and interest; it may easily be overdone, 
 of course. There is nothing less difficult than to overload a melody with chromatic, 
 complicated and bizarre harmonies destroying the very object for which they were 
 introduced. 
 
 Consistency in Accompaniniental Figures 
 
 29. By "figure" is meant the arrangement of the chord-material for the pur- 
 poses of accompaniment, especially with regard to the rhythm. 
 
 The principle to be observed is: Stick to the rhythmic pattern and general 
 arrangement with which the start is made. In No. 25, for example, the accompani- 
 niental figure was a quarter-rest and three quarter-note chords; any figure must be 
 adhered to rigidly for at least one section, or until it is evaluated, when the figure 
 may be changed. The arrangement of the chord-material irrespective of the rhythm 
 is also to be noted; a chord on the second beat in the measure is followed by the same 
 chord on the third beat, but in the next higher position; this is kept up consistently 
 until worked out. 
 
 The Developmental (Continuous) Style 
 
 30. So far in "l-irst Les.sons" the suggestions as lo extem])orization have all 
 been directed to making music with the four-, eight-, or sixteen-mcasure unit. This 
 results in defmite blocks of music, each block .set off against its neighbor-blocks in 
 perfectly definite .sections. In .some respects this is the most difiicult form that 
 improxisation can lake, for an>- defects in the form are immediately apparent to the 
 niiisi( ai listener. ( )ii I 1h' nihcr li;ind, lorn is made !)> com billing in \arious ways the 
 loiii -measure units are very easy to understand. 
 
 But if one examines a composition like Mendelssohn's Ilioiliiiii •'^'"/.?. or a 
 movement from one of the earlier .sonatas of Beethoven, one notes that, while the 
 four-measure phrase is by no means absent, there is a continuity in the music that 
 is opposed to the square-(nl, well-balanced structmc of the Chopin Nocturne in IC 
 flat, for exami)lc. It is no |)art of "First Lessons" to go into a subject .so difiicult to 
 reduce to a pr.i(ti(;il leaching basis; a player who has mastered the lessons so far
 
 The Chorale Prelude 19 
 
 given and who has heard a good deal ot good music will quite naturally find his way 
 into the new paths, combining with the continuous enough of the square-cut and 
 formal to keep the improvisation somewhere near the ground. The lessons following 
 are based on the assumption that the player has absorbed a good deal of the con- 
 tinuous or developmental style, and is able to "keep going" without losing his rhythmic 
 way, yet without consciously balancing every eight measures by another eight. 
 
 Importance of Attractive Registration 
 
 If the player will make the experiment of repeating an organ improvisation, 
 so far as memory will serve, on the piano, it will be patent even to his ears how much 
 more attractive the former extemporization was. Organists will probably not quarrel 
 with the fate that has made it possible for them — granted a rich-toned organ, with 
 the fascinating modern tone-colors — to interest a congregation in something that is 
 less good than it sounds! The improvisateur ought not to become so absorbed in the 
 working-out of his theme that he forgets to clothe it richly and appropriately. 
 
 Some of the things that suggest themselves as important in registration are, 
 (1) to see that, wherever possible, melody and accompaniment are contrasted in tone- 
 color, as well as in strength; (2) to change, when one does change, from one tone- 
 color to another contrasting color; (3) to avoid restlessness, changing without purpose; 
 (4) to suit the combination or the single stop to the sentiment of the music; do not 
 play on the \'ox Celestis what ought to have the Diapason tone-color, or expect a 
 sensuous, passionate phrase to be expressed by a Melodia. 
 
 General Schemes 
 
 The best general scheme for all-round use is that of the Song-Form, or the 
 Introduction, A, B, A, Coda. This is capable of expansion into a large piece of 
 music, or it may extend over twenty-eight measures only. (See pars. 17, 19, 23.) 
 A lyric melody (Bluebells of Scotland, Schubert's Ave Maria, etc.) is possibly best 
 treated in this form, for the middle section, B, seems to invite contrast. 
 
 SECTION VII 
 
 The Chorale Prelude 
 
 If the student will get down his volume of J. S. Bach's Chorale Preludes for 
 the organ, he will note that the phrases of the Chorale are separated by florid or more 
 elaborate passages based on the Chorale phrase. It is difficult for any organist, no 
 matter how gifted, to imagine himself doing the same sort of thing with any approach 
 to the work of Bach, but there is a suggestion in the Chorale Prelude of the Leipzig 
 cantor for us with our more humble powers. Take any syllabic tune (St. Ann, St. 
 Bride, or tunes where a long pause at the end of each phrase is effective), and inter- 
 iect, as it were, florid extemporizations based on some melodic or rhythmic figure 
 derived from the phrase just played. Play the hymn-tune phrases on the Gt. Open 
 Diapasons with pedal, following this stuiuy and robust registration by softer and more 
 luscious combinations for the interjected, ilorid phrases. These interludes, as they 
 may be called, must end each time with the last chord in the phrase on which they 
 are based, and hold it; the player is thtn ready to go on with the next hj'mn-tune 
 phrase. The chorale prelude is more difficult than would seem from simply reading
 
 20 
 
 First Lessons in Extemporizincr 
 
 the above, for if one uses the tunes that admit of a pause at the end of each phrase, 
 it will be found that the rhythmic suggestions from them are few; and if pauses are 
 not possible rhythmic suggestions are more numerous. To see exactly what is 
 meant, try York, Xicea, St. Gertrude, making a hold {fermata) at the end of each 
 phrase, noting how impossible it is to make the pause after some phrases. 
 
 No. 26 gives the melody of St. Ann (Croft), and the first few notes of the 
 interludes; No. 27 will expand the interludes a little farther. 
 
 / r^ P f r> P 
 
 26 """ 
 
 fe 
 
 anzz 
 
 ^ 
 
 ^ 
 
 * 
 
 "t 
 
 =P 
 
 Interlude 
 
 Interlude 
 
 * 
 
 / 
 
 /^ Interlude 
 
 f 
 
 rs P 
 
 re 
 
 zzi 
 
 ^ 
 
 ^ 
 
 P 
 
 w 
 
 ^ 
 
 "p 
 
 From Alto 
 
 Interlude 
 
 i 
 
 r\ 
 
 ^ 
 
 £ 
 
 Gedackl 8' 
 
 
 27 
 
 First phrase 
 P 
 
 ^^ 
 
 t^ 
 
 r^^ 
 
 Fed 
 
 without Pedal 
 
 u 
 
 $ 
 
 i 
 
 /C\ 
 
 r\ 
 
 ' J I j tj j ^ 
 
 * 
 
 f 
 
 ^ 
 
 r 
 
 ditn.poco rit 
 
 '11 J- 
 
 r 
 
 •'" r " T r 
 
 U^ 
 
 r) Second phrase Sw string-tone Ch 
 
 i J J j 
 
 Flute 8' 
 
 J J i 
 
 Sw. 
 
 i 
 
 ^ 
 
 i 
 
 ?^ 
 
 ^?= 
 
 7" 
 
 VO" 
 
 Ped. 
 
 without Pedal
 
 The Chordlc Prelude 
 
 21 
 
 i^'j f^i 
 
 r\ 
 
 r^ 
 
 ^ 
 
 rr 
 
 f 
 
 rt 
 
 Cb. 
 
 Sw. 
 
 rzt. 
 
 f 
 
 ^W 
 
 -^Al^ 
 
 !_ 
 
 Third ^^ ^'"' celestis 
 phrase -~= 
 
 fe 
 
 «= 
 
 te 
 
 =§: 
 
 
 Ped. 
 
 without Pedal 
 
 t 
 
 S 
 
 i 
 
 i 
 
 tt 
 
 r 
 
 simile 
 
 r 
 
 7" 
 
 ■J 
 
 te 
 
 r 
 
 ^ 
 
 -Vt- 
 
 r 
 
 r 
 
 i 
 
 ^(^ 
 
 ^ 
 
 Brightly 
 
 t 
 
 ^m 
 
 pp 
 
 35 
 
 rr 
 
 * 1: " 
 
 r 
 
 .1-^ 
 
 ^ 
 
 fe 
 
 y* Sw 8' 
 
 Fourth 
 phrase 
 
 r\ >> — 
 
 P 
 
 ^ 
 
 m 
 
 <J 
 
 Pad. Ch.Gedackl 
 
 ^^ 
 
 ^^ 
 
 ^m 
 
 m 
 
 
 IE 
 
 IE 
 
 (f /w . 
 
 HI 
 
 if^ 
 
 ^^ 
 
 ^ 
 
 ff 
 
 ^ 
 
 ^ 
 
 r r 
 
 r r 
 
 poco rtdl al fine 
 
 
 m 
 
 r 
 
 m 
 
 r 
 
 301 
 
 
 -in-
 
 22 First Lessons in Extemporizing 
 
 SECTION VIII 
 The Fugato and Other Forms 
 
 By "fugato" is meant free fugal imitations. Any one who has heard Guihnant, 
 Lemare, Alfred HolHns, or Marcel Dupre, extemporize will have been fired to 
 emulation of their facility in using the fugal imitations, often going far towards the 
 improvisation of a formal fugue. If the player has never studied counterpoint and 
 fugue it is hopeless for him, until he docs study, to attempt even the faintest fugato. 
 
 But let us assume that he has written fugues of doubtful value and is very 
 much in earnest in his wish to extemporize fugatos; what course shall he pursue? 
 Why, the usual course of having a plan, and practicing. The plan will include three 
 or possibly four successive entries of the theme, beginning with the lowest part and 
 rising in order to the highest (for this is the most effective order) ; these to be followed 
 by perhaps two more entries, one in the Pedal, ff, and one in the highest part; a free 
 coda will finish the fugato. Not a very ambitious plan, to be sure, but a practical 
 one. For the practicing, both writing and playing are recommended. (See pars. 3 
 and 22.) The writing, however, is to be entirely independent of the keyboard work; 
 writing is merely a mode of technical discipline. The fugatos written are never to 
 be played as extemporizations. 
 
 Technique through Writing 
 
 (1) The writing must be carried through as nearly as possible under extempo- 
 rizing conditions; (2) subjects may be taken from "500 Fugue Subjects and Their 
 Answers" (Novello, or H. W. Gray & Co., New York); (3) write three-part fugatos 
 first, beginning with the subject in the lowest part. (4) Take only those subjects 
 that admit of "real" answers. In public improvising it is well to remember (a) that 
 Prout says that a real answer is possible to any subject, and that (b) if the subject is 
 too much modified by a tonal answer the audience fails to recognize it, and loses 
 interest. There is always an element of the spectacular in extemporizing that must 
 be taken into account. Guilmant always asked to be given a. familiar theme, and in 
 extemporizing on the Bridal Chorus {Lohengrin) he gave the real, that is, the un- 
 modified, answer. (5) Writing must also be absolutely without erasures to be 
 preparatory to extemporization; (6) Further, it must be at a fairly regular speed. 
 It is nonsense to expect writing to be done in tempo, but it can be done with a fair 
 amount of steadiness; the quick decisions that must be made in effective extemporizing 
 may be practiced just as efTectively in writing, provided no erasures are allowed. 
 It i^ indispensable, after wrilini;, that tin- fugato shall be played and the liiue taken 
 in writing noted. X'arious jjlans for the free cdda ina>- be made. Keyboard work 
 will be as before — much of it, and steady tempo. 
 
 Inijirovising the fugato is by no means beyond the i)ersevering i)layer who has 
 some natural contrapuntal taste and facility. It is, possibly, the most brilliant form 
 that extemporization can take. 
 
 Other Forms 
 
 The organist who has gone as far as this i)age, and has worked out with some 
 success the various schemes recoimiK nded, has no need of suggestions as to comljina- 
 tions or extensions of the forms already practiced: he can go along as far as he likt-s,
 
 The Finrijto ijiid Other Forms 23 
 
 putting into practice the schemes that his own ingenuity will suggest. He ought by 
 all means to hear all the j^lajers in his vicinity who have even the least skill in the 
 art. There is no reason wh>' a professional friend should not join with him in mutual 
 practice ami criticism. Men do not seem to do this sort of thing as often or as help- 
 fully as women, but the suggestion may be worth considering. 
 
 Bibliography 
 
 Books in Knglish treating on the subject of extemporization are few; the 
 present writer knows of two only, "Extemporization," by F. J. Sawyer, published by 
 Novello (H. W. Gray & Co., New York), and "Extempore Playing: Forty Lessons in 
 the Art of Keyboard Composing," by Dr. A. Madeley Richardson (New York, 1922). 
 
 2TO()49
 
 1 
 
 Aids for Choirmasters and Organists 
 
 FROM THE PUBLICATIONS OF 
 
 3 East 43d 
 
 St G. SCHIRMER, INC. Newv 
 
 orj 
 
 Musical Ministries in the Church 
 
 Studies in the history', theory and administration 
 
 of sacred music 
 
 BY WALDO SELDEN PRATT 
 
 Third edition enlarged 
 
 In six chapters, "Rt;ligion and the Art of Music," 
 "Hymns and Hymn-Singing," "The Choir," "The 
 Organ and the Organist," "The Minister's Re- 
 sponsibility" and "The History of Hymnody." 
 
 The History of Music 
 
 A handbook and guide for students 
 BY WALDO SELDEN PRATT 
 
 A comprehensive survey of the whole range of 
 facts and tendencies that constitute the material 
 of the history of music. 
 
 Johann Sebastian Bach 
 
 The organist and his works for the organ 
 
 BY A. PIRRO 
 
 With a preface by Ch. U. Widor 
 
 Translated from the French by 
 
 Wallace Goodrich 
 
 The author describes the organ works of Bach 
 ajid traces the development of his style from his 
 first attempts down to his final work. 
 
 A Biographical Dictionary of Musicians 
 
 BY TH. BAKER, Ph.D. 
 Third Edition 
 
 It covers its subject — the life and works of every 
 musician (composer and performer), every writer 
 and theorist on musical subjects, and every man or 
 woman who has played a part or exercised an in- 
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 has ever before been attempted in the same com- 
 pact form. 
 
 Illustrations in Choir Accompaniment 
 
 With Hints In Rcfiistration 
 BY DUDLEY BUCK 
 
 A h.inrlbook (provided with ni.irgiml notes lor 
 reference) for the use of organ sluflents, organists, 
 and those intorcslcd in ( Inirrh-mMsic. 
 
 The Choirtrainer's Art 
 
 BY DR. A. MADELEY RICHARDSON 
 
 Part I takes up the management of the choir 
 members, the practice room, practices and re- 
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 duction. Part III treats of the value of words, 
 words and music, fi.xed plain-song (monotones, 
 versicles, responses, litany), psalm chanting, Mer- 
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 The Organist's and Choirmaster's 
 
 Register and Service Record 
 
 BY J. H. STRICKLAND KING 
 
 A conveniently and attractively arranged blank 
 book for keeping in clear and concise form records 
 of attendance, salary and efficiency of choir mem- 
 bers; together with a record of the music performed 
 at each service of the Episcopal Church. An in- 
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 Hints for Boy Choristers 
 
 BY RONALD M. GRANT 
 
 A pocket-sized pamphlet setting forth in col- 
 loquial and easy style the most important points of 
 boy-choir training. It is written primarily from 
 the boy's point of view. It also includes brief de- 
 partments dealing with vocal exercises and the 
 aid to the boy chorister, or to the choirmaster. 
 
 The Choirmaster's Manual 
 
 BY HAROLD NEWTON CLARE 
 
 A guide for busy and amateur choirmasters, 
 especially for the development of the boy's voice antl 
 for the training ancl discipline of boy-choirs. 
 
 Extempore Playing 
 
 BY A. MADELEY RICHARDSON 
 
 The art of keyboard composing, otherwise called 
 improvising or extempore playing, is an essential 
 part of the equipment of every organist; it is a 
 soiMTc of delight and interest to every pianist; and 
 it is a suhjiit that should be studiccl by every in- 
 telligent music teacher. 
 
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