f the music has grown out of the
words as it should, it will follow the development of the poem and give
it additional strength.

By this time one should be in the mood of the song, and he should not
emerge from it until the song is finished. If one is filled with the
spirit of the song, is sincere and earnest, and is filled with a desire
to express what is beautiful and good he will not sing badly even if his
voice be ordinary.

The composer may do much toward creating the mood for both singer and
listener by means of his introduction. The introduction to a song is not
merely to give the singer the pitch. It is for the purpose of creating
the mood. It may be reminiscent of the principal theme of the song, it
may consist of some fragment of the accompaniment, or any other
materials which will tend to create the desired mood.

In the introduction to _Rhein-gold_ where Wagner wishes to portray a
certain elemental condition he uses 136 measures of the chord of E flat
major.

In _Feldeinsamkeit_ (The Quiet of the Fields) where the mood is such as
would come to one lying in the deep grass in the field watching "the
fair white clouds ride slowly overhead," in a state of complete
inaction, Brahms establishes the mood by this treatment of the major
chord.

[Illustration: Figure K]

In _Der Wanderer_ (The Wanderer) Schubert uses this musical figure to
indicate the ceaseless motion of one condemned to endless wandering.

[Illustration: Figure L]

In _The Maid of the Mill_ cycle where the young miller discovers the
brook Schubert uses this figure, which gives a clear picture of a
chattering brooklet. This figure continues throughout the song.

[Illustration: Figure M]

In the song _On the Journey Home_, which describes the feelings of one
who, after a long absence returns to view the "vales and mountains" of
his youth, Grieg, with two measures of introduction grips us with a mood
from which we cannot escape.

[Illustration: Figure N]

But one of the most striking examples of the operation of genius is
Schubert's introduction to _Am Meer_ (By the Sea). Here with two chords
he tells us the story of the lonely seashore, the deserted hut, the
tears, the dull sound of breakers dying on a distant shore, and all
around the unfathomable mystery of the mighty deep.

[Illustration: Figure O]

Classic song literature is full of interesting examples of this kind. If
we learn how to study the works of these great ones of the