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It recognizable nature. The Amen is a mere cadence. treatment it consists of but In its most popular two chords, those of the subdominant and tonic (Ex. VII-a). This progres is called a plagal cadence and it is the favorite sion ; 25 THE THEORY OF MUSIC 26 Amen, beyond all others, because of its and soothing character. Another solemn peculiarly device for the somewhat common progression is called the authentic cadence for the Amen (Ex. VII-&). what These is are both called perfect cadences, and are usually em ployed as final Amens that is, after the last of a series of prayers, or at the end of a hymn.

QUARTET The quartet usually written for four single voices. " quartet in which each of the parts is sung by two voices to strengthen the quartet ; but it is music is wrong to sometimes called a double name it so. RECITATIVE This is a kind of musical declamation. It is tempt, as far as possible, to imitate spoken means of musical sounds. exactly done, still there is Although this an at words by cannot be in recitative a musical effect produced which we cannot call melody, as it wants melodic connection, both as regards its tone-succession THE THEORY OF MUSIC 41 and rhythmic construction.

Ingredients employed, are much cal form; and pounded just the same, in their simple nature, in it that the referred to all musi only when they come to be com difference arises. ; a certain and less more or bearing important, being It is not our purpose here relationship to each other. the different in detail to describe pieces mentioned, nor to explain their individual constitution and their rela tionship, but to treat and illustrate 15 each musical form THE THEORY OF MUSIC i6 and 'to show, as simply as we can, what between one form as a whole, constitutes the essential difference and another.

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