Vaughan Williams's Melodic Style

Author(s): William Kimmel

Source: The Musical Quarterly, Vol. 27, No. 4 (Oct., 1941), pp. 491-499
Published by: Oxford University Press
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 VAUGHAN WILLIAMS'S
MELODIC STYLE1
By WILLIAM KIMMEL
AUGHAN WILLIAMS'S MELODIC INVENTION is perhapsthe most
characteristicelement of his musical idiom. An analysisof his
melodic style, therefore, would contribute more than any other
to an understandingof the roots, sources, and basic elements of
his style in general. Such an analysis reveals three primary influ-
encing factors-early church music, folk music, and contemporary
melodic devices.
The influence of Gregorian melodies is comparatively slight
and apparentonly in a few works, viz. the "Five Mystical Songs",
the "Three Choral Hymns", Flos Campi and the "Five Tudor
Portraits".In only the first and last of these are actual plainsong
melodies used, treated as obbligato parts, alternatingwith either
the solo or choral voices, which have original and independent
melodies. Here the plainsong is introduced purely for special
emotional or symbolic effect and has no influence upon the gen-
eral melodic structure of the song. More significantare the plain-
song elements that appearin Vaughan Williams's originalmelodic
style. The second and fourth of the "Five Mystical Songs" show
decided Gregorianinfluence.A comparisonof their floridcadences
1
Excepting four works, Sancta Chitas, Job, Benedicite and the "Mystical Songs",
all references in the following analysis are made to the complete scores. In the above-
mentioned cases the references are to the piano and vocal scores. For convenience, in
the quotations and footnotes, the following abbreviations have been used. Arabic
figures refer to pages and Roman to measures.In the case of the "Journalof the Folk-
Song Society", however, the Roman numeral refers to the volume number and the
Arabic to the page.
Benedic.-Benedicite
Chor. Hymn-Three Choral Hymns
Flos.-Flos Campi
J.F.S.-Journal of the Folk-Song Society
Land.-London Symphony
Mass.-Mass in G minor
Past.-Pastoral Symphony
Sancta.-Sancta Civitas
Shep.-Shepherds of the Delectable Mountains
Wenlock.-On Wenlock Edge
4 Poems.-Four Poems by Fredegond Shove
3 Songs.-Three Songs from Shakespeare
F. Symph.-Symphony in F Minor

491

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492 The Musical Quarterly
with those of typical plainsongmelodies2reveals not only a simi-
larity of melodic contour but the same rhythmic flexibility. The
consistentdiatonicmovement is particularlysuggestivewhen com-
pared with the typically angular character of most of Vaughan
Williams's melodies.8The metrical element in the songs partially
obscuresthe effect. Were all the notes of the fourth song reduced
to a common value, however, the generalcharacterwould be quite
obviously Gregorian.
The modality of these melodies is also significant evidence of
plainsong influence; but since this prominent feature of Vaughan
Williams's style is derived more from folk-song than from plain-
song it will be discussedin that connection. In the "Three Choral
Hymns" and in Flos Campi the Gregorian element is apparentin
the generally diatonic progression of the melodies, in the free
rhythmic flow, sometimes dependent almost entirely upon the
rhythm of the text, in the contrast between duple and triple note
groups,in the characteristicinitialinflectionsof the melodies,often
correspondingto those of the Gregorian psalm-tones,and in the
florid and modal cadences.4Aside from these few examples, in
which an incorporationof the plainsongstyle is quite appropriate
to the spirit of the texts, the Gregorian element is not significant
and can therefore hardly be considered a primary factor condi-
tioning Vaughan Williams'smelodic style.
The influence of I6th-century music is most apparentin the
Mass in G minor and is manifest more in the rhythmic structure
and general contour of the melodies than in their modality or
tonality. The predominanceof smooth diatonic progression,the
great freedom and independence of phrases, the lack of a fixed
metric division, necessitating frequent change of time signature,
the independence of stress with relation to bar-lines,the domina-
tion of musicalrhythm by that of the text-all bear witness to the
composer's complete familiarity with I6th-century contrapuntal
techniques.5Another significant factor is the ease with which the
themes lend themselvesto imitative treatmentand to the develop-
ment of a closely knit polyphonic texture. The appearanceof such
themes as those of the Credo and of the Gratiasagimus,however,
2 Cf. particularly Kyrie Deus sempiterne, Kyrie Alnie Pater, Adoro Te, Ant. Post
triduum.
3 Cf. below.
4 Cf. Chor. Hymn. 26-ii, 3-i, 28-i, 8-iii; Flos 8-iv.
5 Cf. Mass. 4-vii, 33-ii, 43-i.

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 From "Modern British Composers:
Seventeen Portraits" by' Herbert Lambert

61V-ysJ-ws

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Page 2 of the Holograph Score of Vaughan W\7illiams's Benedicite
(By Courtesy of the Oxford Universitv Press)

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 Vaughan Williams's Melodic Style 493
with their strong pentatonicbases,is evidence that this work is not
merely an imitation or rejuvenationof an old style but an amalga-
mation of certainold principleswith other, new concepts.
The i6th-century technique is found also, but to a lesser
degree, in Sancta Civitasand in the "Three ChoralHymns", where
typical melodies possess the characteristic i6th-century contour
and rhythmic freedom, although from the point of view of the
scale lines upon which they are based they are distinctly of the
2oth century.6
For the sake of completeness it is necessary to mention the
I6th-century Tallis melody in the Phrygian mode, which forms
the basis of the "Fantasiafor Double Stringed Orchestra",a work
that reflectsthe 6th century in other respectsalso.
Probably the strongest external factor that has influenced
Vaughan Williams's melodic invention is the English folk-song.7
6 Cf. Sancta. 46-vi, 48-x.
7 The following summary will serve to recall to mind the principal elements of
English folk-song. (For more complete discussion refer to the bibliography at the end
of the footnote.)
i. Modality. This probably provides the most characteristicfeature. Melodies have
been found in the Dorian, Mixolydian, Aeolian, Ionian, Phrygian, and Lydian
modes, although the latter two are rather infrequent. The purely pentatonic
scale is very rarely found in folk melodies. It is generally agreed, however,
among students of pentatonic music that many melodies which seem to use the
seven-tone system are essentially pentatonic, the two additional notes (pien)
appearing only as unessential notes on weak beats, either as changing notes or
as passing notes whose omission would not alter the fundamental form of the
melody.
2. Cadences. The normal progression is a fall to the final, although occasionally
the melody descends to the note below the final and returns. In most instances
this lower note is the flat seventh which is never altered for leading-tone pur-
poses.
3. Characteristicfigures. As a result of the modal and pentatonic basis of folk-
songs and the freedom from harmonic considerations with which they move,
certain characteristicmelodic patterns and figures are found to recur frequently
throughout folk-song literature, particularly at the beginning and end of the
melodies. Some of these figures, whose frequent occurrence in Vaughan Wil-
liams's music accounts in a large measure for its folk quality, are quoted at the
end of this article. They are taken from the "Journalof the Folk-Song Society".
In all of these figures the fundamentalnotes are the first, fourth, and fifth. The
various manners of filling in the intervals between the tones creates the charac-
teristics of each figure. It will be noticed that some of them are characteristic
also of Gregorian melodies.
4. Form. Because the folk influence upon Vaughan Williams's melodies has been
stronger in determining the character of the scale line and the intervals used
than in regulating the formal melodic structure, it is necessary here to mention
only the characteristicsymmetry and balance of phrases,the prevalence of five-
and seven-beat measures and the frequent appearances of three- and five-
measure phrases. [Footnotecontinuedon next page.]

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494 The MusicalQuarterly
The importance of modality in general in Vaughan Williams's
melodies has already been mentioned. It is not difficult to find
melodies, themes, and fragments based upon each of the modes
common to folk-song (and, incidentally, to i6th-century music).
Phrygian and Lydian modes are less frequently represented,while
examplesof the Aeolian, Mixolydian, and Dorian are more abun-
dant. It is rare, however, to find a single mode used consistently
for any length of time. There is frequent modulation from one
mode to another.Even in the shortersongs, such as the first of the
"Three Songs from Shakespeare",the tonality wavers between
the Dorian and Aeolian modes. In the more extended works, the
individual modal melodic fragments are only incidental elements
of a broader tonality in which modality is but a single factor.
Modal, pentatonic, Gregorian, and I6th-century elements are so
thoroughly mixed and combined with other elements, harmonic,
rhythmic, and contrapuntal, that it is difficult to find melodies
purely characteristicof any of those types which have exerted
their influence upon them.8 Of the five possible types of penta-
tonic scale discussedby Helmholtz,9 most of Vaughan Williams's
pentatonic melodies belong to the second and third types (natural
minor scale without second and sixth and naturalminor scale with-
out third and sixth) although examplesconforming to the fourth
type (majorscalewithout fourth and seventh) arenot infrequent."
If the term "pentatonic"is used in a free sense, numerous other
melodiesmay be found that employ five tones but that do not con-
form to the pure pentatonic without half-steps.There are some in
which both the sixth and seventh scale steps are lacking, and others
composed of but four notes; while still other six-tone melodies, in
Grove's Dictionary, article on "English Folk-Song."
"Journalof the Folk-Song Society".
Frederick Keel, "British Folk Song," in Zeitschrift der internationalenMusikgesell-
schaft, XIII (19I I-I2), p. 2i.
Frank Kidson and Mary Neal, "English Folk-Song and Dance", Cambridge, 1915.
Cecil Sharp,"EnglishFolk-song, Some Conclusions",London, I907.
Ralph Vaughan Williams, "English Folk-Song," in Encyclopedia Britannica, i4th
edition; "National Music",London, 1934.
Ernest Walker, "A History of Music in England",Oxford, 1907,chapt. xii.
8 The reader is referred, however, to the following examples of modal melodies:
Past. 58-i, 86-iv, io-ii, 52-i; Mass. 3-iii; 4 Poems, 14; 3 Songs, i.
9 Helmholtz, Hermann L. F.: "On the Sensationsof Tone", edition of 1930, Lon-
don, p. 26off.
l Wenlock 2-ii; Past. 4-iii, Io-ii, I5-ii, 33-ii, 66-ii; Shep. 32-ii; Sancta 5-iii, 34-xviii,
42-Xiii; Benedic. I-xiii, 40-ii.

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 Vaughan Williams's Melodic Style 495
which the sixth degree is subsidiary,suggest both pentatonic and
modal backgrounds.1l
As was noted in connection with pentatonic folk melodies in
general (see footnote 7) certain characteristicfigures recur again
and again in Vaughan Williams's melodies. One could fill pages
with melodic quotations in which the typical folk figures quoted
at the end of this article appear as prominent melodic elements.l2
I do not mean to infer that Vaughan Williams consciously inserted
such figuresinto his melodies in order to secure a folk quality, but
I would ratherpoint out those featuresof his melodic style which
give it a definitely pastoral quality. It is hardly necessary to call
attention to the peculiarly blunt, vigorous energy created by a
melodic style so angular and unrefined as one based upon penta-
tonic scales. Much of the recognized austerity and frankness of
Vaughan Williams's music may be attributedto the generaluse of
incomplete scales and pentatonic melodies. It is not only when
seeking rustic atmospherethat he uses such melodies, for the pen-
tatonic element is also present in the Mass and other sacred choral
works, such as Flos Campi, Benedicite, and Sancta Civitas.It is to
be considered a pervasiveelement of his melodic style ratherthan
a specialpictorialor descriptivedevice.
The externalform of the folk tunes is not so much in evidence
in Vaughan Williams's melodies, which are much freer rhyth-
mically and structurally than typical folk-songs. Occasionally
melodies are found which are definite imitationsof folk melodies
with symmetricalphrasesand a strict metricalpattern.l3These are
unquestionably employed to evoke the definite mood associated
with folk-songs. Far more characteristicfrom the formal point of
view, however, are the very free, rhapsodicmelodies which may
be found in nearly all of the larger works-vocal and instru-
mental.14They are frequently marked "senzamisura"and where
possible are written without bar lines. Almost completely devoid
of harmonic background and of rhythmic regularity or metrical
symmetry, they are held together and given coherence by means
of a pedal sustainedbelow or above the melody or through some
11Cf. Mass I7-vi; Past. 35-vii, 86-iv; Shep. Io-x; Sancta 34-1O; Lond. 8o-iii; Bene-
dic. 27-ii, 34-vi.
12Any of the melodies referred to in the last three footnote references to Vaughan
Williams's music will serve as illustrations.
13 Cf. Past.
58-i, 86-iv; 4 Poems 4-ii.
14 Cf. Past. 84-iii, 54-ii; Sbep. i-i; Flos i6-ix.

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496 The Musical Quarterly
recurring note or figure to which the melody frequently returns.
The significanceof this type of melody is emphasizednot only by
the frequency of its use but also by its invariableappearancein
prominent places. "The Shepherdsof the Delectable Mountains"
begins and ends with such a melody; two movements of the
"Pastoral"Symphony begin and three movements end with these
melodies;Flos Campi and "The Lark Ascending" both begin and
end thus; Sancta Civitas,Job, Benedicite, the Mass,the "Fantasia",
the Piano Concerto, "Five Tudor Portraits",the Symphony in F
Minor, in fact, almost all of the larger works, as well as many of
the songs, contain examplesof this free, meanderingmelody.
The length of these melodies varies from very long cadenza-
like ones to short fragments. The longer melodies are generally
given to a solo instrument-viola, violin, trumpet, or, as in the last
movement of the "Pastoral"Symphony, to a solo voice-and are
generally found beginning or ending a movement or forming a
connection between two sections. The shorter fragments are
sometimes found as primary themes,15sometimes as principal ele-
ments of the contrapuntal texture,16 and sometimes as counter-
melodies or as episodic figurationsover more solid harmonicpro-
gressions.17A conspicuous feature is the great frequency of triplet
figures and their alternation with duplets and quadruplets.It is
also characteristicto find repetitionsof the samemelodic fragment
in varying rhythmic patterns.Additional references are unneces-
sary since examplesmay easily be found in all of the works.
The emotional capacitiesof this type of melody.are varied.At
first, and most obviously, it is pastoral,suggesting the somewhat
wandering improvisationsof a shepherdon his pipe, and recalling
the similar treatment of the shepherd's tune in the last act of
Tristan.But the resultof its consistentand generaluse by Vaughan
Williams is more subtle and significant. The extreme structural
looseness with its correspondingrhythmic and harmonicfreedom
tends to destroy the consciousness of logic and form-of the
definite and concrete. The formal boundaries which in music,
even when most strongly felt, are undefinable,are expanded and
obliteratedand an indefinite mood between reverie and reflection
15 Cf. Past. 4-ii, 8-i, x -iv, 54-ii; F. Symph. 3o-x.
16Cf. Past. 9, i4; F. Sympb. second movement.
17 Cf. Past. 56; Shep. 25.

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 Vaughan Williams's Melodic Style 497
results.This is most conducive to a suggestionof the mysticism of
such works as Sancta Civitas and Flos Campi and some of the
poems of Seumas O'Sullivan and Fredegond Shove. It is also an
importantfactor responsiblefor the quality of reflection and con-
templation often noted in Vaughan Williams's works.18It is quite
different from that vague, nostalgic impressionismthe French
achieved through the disrupting of the harmonic system and
through the exploitation of augmented chords and the higher dis-
sonances. It is more austere,more thoughtful-more English. The
fact that this type of melody is found so generally in most of the
major works, regardlessof their individualsubject matter or emo-
tional purport, suggests that it forms one of the essentiallyfunda-
mental qualities of Vaughan Williams's melodic style and is not
merely a device employed for a single descriptiveeffect.
The increasinguse of such a free and flexible melodic style is
paralleledby an increasinguse of atonality, melodically as well as
harmonically, noticeable in the later works. First appearing in
Sancta Civitas and Flos Campi, it is further developed in Job and
reaches its broadestapplicationin the Symphony in F Minor. Ex-
treme chromaticism-the juxtapositionof B-naturaland B-flat, of
F-natural and F-sharp, of C-natural,C-flat, and C-sharp,the fre-
quency of diminishedand augmented fourths, diminishedthirds,
etc.-prevents the feeling of either a modal or a harmonicbasis.In
the earlierworks this melodic atonality grows out of the harmonic
background and is more the result of harmonic writing. In the
highly contrapuntalSymphony in F Minor, however, the atonal-
ity derives rather from the melodic invention itself, harmonic
atonality being a result, not a cause.Even more than the free, rhap-
sodic melodies, mentioned above, do these twelve-tone-scale
melodies depend for their formal coherence upon recurringrhyth-
mic patterns and upon the device of repeating certain melodic
fragmentsin differentrhythms.
Until recently Vaughan Williams has made little use of so-
called exotic scales. The whole-tone scale appearsbut rarely and
then not as a melodic form but as the result of a harmonic pro-
gression through keys a major second apart. A few isolated ex-
amples of melodies based upon synthetic scales may be found in
18 Cf. the author's article, "Vaughan Williams's Choice of Words" in Music &
Letters, XIX (1938), p. I32.

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498 The Musical Quarterly
Sancta Civitasand Flos Campil9but these are generally incidental
color lines rather than definite melodic patterns. Other melodic
fragments which appear to be based upon exotic scale forms are
really the result of unusualharmonicprogressionand are therefore
harmonic and not melodic phenomena. In the Symphony in F
Minor, however, synthetic scales assume a significant role in de-
termining the melodic style. More than six definite, arbitrary
octave divisionsmay be noted, some of them appearingonly inci-
dentally and others forming the principal thematic materialof a
movement. The following six divisions of the octave C-C repre-
sent these synthetic scalesas used by VaughanWilliams.
C C E F Ft A As B C
C D DSE F G A B C
C Cs D$ F$ G Gs Ag B C
C D Dt E Ft GS As C
C D D Fs G A B C
C Ds E F$ G As C

It will be noticed that three of these are eight-note scales, two of

them seven-, and one a six-note scale. When written in terms of
half-stepsthe logic and symmetry of most of them becomes more
apparent.
I I 3 I 3 I I
2 I I 2 I 2 2 1

I 2 2 I I 2 I 2
2 I I 2 2 2 2

2 I 3 I 2 2 I
3 I 2 I 3 2

A summary of the development of Vaughan Williams's me-

lodic style reveals that the extreme modernity of melodic inven-
tion in the F minor Symphony is not at all a new departurefor the
composerto make nor a distinct breakfrom previousstyles but the
logical continuation of a gradualevolution. The whole course of
development seems to have been away from accepted formulas
towards a new and independent melodic style, free, as far as pos-
sible, from all non-melodic influences.The presence of plainsong,
I6th-century polyphony, and folk-song influences in the early
19Cf. Sancta 47-vi; Flos 43-i.

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 Vaughan Williams's Melodic Style 499
works reveals some of the meansby which this melodic liberation
was achieved. The progressionfrom modal to pentatonic and then
to duodecuple scales, and from the free verbal rhythm of plain-
song through i 6th-century styles to his own characteristicallyfree
and rhapsodicinstrumentalmelodic type, marksthe variousstages
of this development.

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