CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 Gift Of 
 E. J. Bailey 
 
 MUSIC 
 
MT SO.ElriMo"""'*' '■"•™'* 
 
 Ejenjents of harmony. 
 
 3 1924 022 371 029 
 
B Cornell University 
 @ Library 
 
 The original of tliis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924022371029 
 
PART SONGS 
 
 FOUR FEMALE VOICES; 
 
 Bird's Message Q.F. Such. . 30( 
 
 In Autumn, . . . . , E. Ohne. . . 15 
 
 In Maytime, Hitter. ... 3D 
 
 Jehovah's Power and Majesty. (Trio.) . . Marcello. . . 30 
 
 Song of the Triton, Mollo,y., . . 30 
 
 Sparrow's Twitter, Otto. ... 30 
 
 Thou art so like a flower, Peuret. ... 15 
 
 Wedding March, Sodermann. . 30 
 
 fereeting, G. PUlipp. . 20 
 
 Sunshine follows rain, ......'.. J. TadeU. . . 30 
 
 Little blue-eyed flower, G. Pliilipp. . 20 
 
 My Polly Wog. (Trio.) Hiller. ... 30 
 
 Ballade of the Weaver Hatton. . . 30 
 
 The lark now leaves J. H. Howe. . 20 
 
 Evening in the vale Hiller. ... 15 
 
 The Nightingale Hoffmann, . 15 
 
 Cradle Song Hiller. ... 20 
 
 Morning Song Hiller. ... 30 
 
 Daybreak Peuret. . . 30 
 
 Winter Song 0. B. Brown. 15 
 
 Lord be merciful. (Motet.) O.B.Brown. 15 
 
 The night has a thousand eyes S. A. Bmery. IS 
 
 ARTHUR P. SCHMIDT. 
 
LITOLFF EDITION. 
 
 THE BEST AND CHEAPEST EDITION 
 
 Classic and Modern Music. 
 
 3* «D IN THE CONSERVATORIES OF ALL COUNTRIESl 
 
 UnrivaM for Correctness, Beauty and ikapness. 
 
 ifewly Revised and Fingered by the most prominent Teachers in Germaaf 
 
 ARTHUR P. SCHMIDT & CO. 
 
 No. 13 & IB West Street, - - Boston, Mass 
 
 Sole Agent for the Catalognei of Heniy Lj'alff tsd Xthdowi ft tint' 
 
 t. ■ — Ccapleto Cataltfu Mat f no oa ■ifliMttoa. 
 
ELEMENTS 
 
 Of 
 
 H AEM ONT 
 
 By 
 STEPHEN A. EMERY. 
 
 BOSTON : 
 PUBLISHED BY AETHUR P. SCHMIDT & CO. 
 
 JTOS. 13 AND 15 WEST STREET. 
 
 Sop^Hghted, 1879, by Arthur P. Scliniidl 
 
SUPPLEMENTARY EXERCISES, 
 
 Chants and Chorals, 
 
 Elements of Harmony 
 
 ^^. STEPHEN A. EMERY. 
 
 This work continues the number of exercises for Mr. Emery's wel) 
 known text-book on Harmony, the whole closing with fifty standaH 
 Chorals from German sources. Price, 50 cents. 
 
 get, for young pupils, 
 
 Foundation Studies in! 
 Pianoforte Playing. 
 
 Simple, melodious, progressive. Price, $1.50. 
 
 PERFECT EXECUTION 
 
 acquired by the use of 
 
 Head and Hands. 
 
 System of Fundamental Technique. Price, $1.60. 
 BOSTON : 
 
 ARTHUR P. SCHMIDT & Co. 
 
 13 & 15 WEST STREET. 
 
PREFACE TO THE FOURTH EDITION. 
 
 Although this little work was originally written with some hesitancy, 
 because of the number of really good Harmony manuals already before 
 the public, I trust that my first aim, to simplify, has been to 
 a good degree successful. It is hoped that the correction of typo- 
 graphical errors in the first edition and a few changes of phraseology - 
 for the sake of clearness will greatly enhance the usefulness of these 
 elementary lessons. 
 
 As remarked in the first edition, this book is not an experiment. 
 Its rules, substantially as here printed, have been successfully used for 
 years by those studying with me. Explanations and other remarks 
 that might at first appear superfluous, had their origin in the repeated 
 corrections of pupils' exercises ; yet every conscientious teacher will 
 find it necessary to supplement them with assistance adapted to the 
 wants of each pupil. 
 
 In view of an unexpectedly early demand for a fourth edition, I 
 desira to extend my sincere thanks to those who, by using this book, 
 have so materially contributed to its success. 
 
 STEPHEN A. EMERY, 
 Boston, December, 1880 
 
TO TEACHERS AND PUPILS. 
 
 Your cooperation is earnestly requested in the following particn* 
 
 iiars: 
 
 1. Students, whether reciting singly or in cJasses, are to repeat ac- 
 curately from memory, either in substance or literally, every rule, and 
 be able to write an illustration of each. 
 
 2. Koman numerals, with their proper distinctions in size and 
 (dgns, must invariably be written under the chords, unless otherwise 
 directed in the book. • 
 
 3. The lessons must riot on any account be changed by the student 
 after the teacher's corrections — the marks of errors will be found- the 
 most useful part of the lesson for future reference. 
 
 4. Students must be able to state at each lesson that they have 
 carefully played over the previous lesson, at least three times, as cor- 
 rected by the teacher. 
 
 5. Students must have as regular an hour at which to begin their 
 daily study of Harmony as they have for vocal or instrumental 
 music. The too common habit of placing Harmony last, as though 
 it were a study to be attended to only when body and brain are 
 already weary with other work, is a plain and sufficient reason why 
 some find it dry and difficult. Let the fact be understood that every 
 hour devoted to the intelligent study of Harmony is itself an indis- 
 pensable part of one's study in every other department of music, 
 enabling one 'to sing or play recognizably better than could otherwise 
 be possible. 
 
 6. One should trace the application of each rule and principle that 
 may occur in other musical studies, special attention being given to 
 naming difficult chords and analyzing intricate modulations — in 
 short, making the whole study of Harmony practical to the last degree. 
 
 Open harmony, requiring more skill in its management, is delayed 
 tUl elementarv principles shall have become familiar. 88 long as a 
 figured Bas#4^used, Nearness of notation sugg^ts that the Tenor be 
 written on the upper staff". Where the exercises under each rule are 
 insufficient to make it plain through frequency of application, the in- 
 structor should add others. The somewhat unmusical character of 
 some eiercises is necessitited by their being limited to the illustra' ', 
 tion of the principle under which they appear. 
 
ELEMENTS OF HARMONY. 
 
 -^ o^i LESSOK 1. 
 
 INTERVALS. 
 
 . 'Degrees refer to lines and spaces — visible distances. 
 • Steps and half steps refer to tones and semi- tones — audible dih 
 tances. 
 
 ' An interval, in harmony, is the difference in pitch between two 
 notes, or tones.* 
 
 An interval takes its general name (prime, second, third, &c.) from 
 thfc number or degrees it occupies ; and its specific name (perfect, im- 
 perfect, major, &c.) from the number of steps it cor tains. 
 
 Two notes standing on the same degree, whether sounding {like or 
 not, are called aprifne. 
 
 Two notes standing on contiguous degrees are called a second. 
 
 Two notes occupying three degrees (counting the intervening 
 degree) are called a third. 
 
 Intervals are reckoned in this way to ninths, inclusive ; but those 
 still larger are named as though their notes were distant from each 
 other less than one octave, as : a tenth is called a third ; an eleventh, 
 a fourth ; &c. 
 
 An enharmonic interval is different notations of the same pitch (on 
 a keyed instrument) as : Cjf to D[>, etc. 
 
 The following should be committed to memory : 
 I A perfect prime occupies 1 degree and contains no step — unison 
 \ An augmented prime occupies 1 degree and contains J step. 
 
 !A major 2nd occupies 2 degrees and contains 1 step. 
 A minor 2nd occupies 2 degrees and contains J step. 
 An augmented 2nd occupies 2 degrees and contains Insteps. 
 
 * By common'oonsent, of two notes mentioned but not written, th* first named 
 b nsmally understood to be the lower, as : C to G means up to G : G to C, G ur 
 toO. 
 
6 ELEMENTS OF HAEMONT. 
 
 f A major 3rd- occupies 3 degrees and contains 2 steps. 
 ■< A minor 3rd occupies 3 Jegrees and contains l^J- steps. 
 ( A diminished 3rd occupies 3 degrees and contains 1 step. 
 f A perfect 4th occupies 4 degrees and contains 2^ steps. 
 ■< A diminished or imperfect 4th occupies 4 deg. and contains 2 steps. 
 ( Au augmented 4th occupies 4 degrees and contains 3 steps.' 
 f A perfect 5 th occupies 5 degrees and contains 3 J steps. 
 -< A diminished or imperfect 5th occupies 5 deg. and contains 3 ateps. 
 ( An augmented 5th occupies 5 degrees and contains 4 steps. 
 ■ A major 6th occupies 6 degrees and contains 4J steps. 
 
 A minor 6th occupies 6 degrees and contains 4 steps. 
 
 An augmented 6th occupies 6 degrees and contains o steps. 
 
 A major 7th occupies 7 degrees and contains 5J steps. 
 
 A minor 7th occupies 7 degrees and contains 5 steps. 
 
 A diminished 7th occupies 7 degrees and contains 4J steps. 
 
 A perfect 8th occupies 8 degrees and contains 6 steps. 
 
 A diminished or imperfect 8th occupies 8 deg. and contains 5 J steps. 
 
 An fiugmented 8th occupies 8 degrees and contains 6^ steps. 
 r A major 9th occupies 9 degrees and contains 7 steps. 
 < A minor 9th occupies, 9 degrees and contains 6J steps. . 
 ( An augmented 9th, as an harmonic interval,\xas no existence. 
 
 The above table shows that intervals may contain the same nuni' 
 Der of steps (not degrees) and yet bear different names, as : an aug. 
 prime and a min. 2nd, each, contains J step. Neither can be properly 
 substituted for the other ; and in writing intervals the student must 
 preserve the same number both of degrees and steps as shown in the 
 table. One should now write each of the foregoing intervals from 
 each note of the scale of C (C, D, E, F, G, A, B) and likewise froin 
 each of these notes when sharped or flatted, though never in such a 
 way as to require the'use of three sharps or flats before the second 
 note, which should here be higher than the first. 
 
 A chromatic semi-tone has both its notes written on the same de- 
 gree (an augmented prime — f to f jj) : a diatonic semi-tone occupies 
 contiguous degrees (a minor second^ — fto g?). 
 
 The intervals are otherwise divided into consonances and disso- . 
 
 nances and the former are also subdivided as follows : 
 
 /Terfect Primes. ("Major Thirds. /.„ ... 
 
 Perfect J " Fourths. Imperfect J " Sixths. Disso- J ■'"' ". ^™ 
 
 Consonances.) " Fifths. Consonances. ) Minor Thirds, nances. 1 F"™""?'* 
 
 I " Oetaven. (. " Sixths. (. ""tervals. 
 
■ELEMENTS OF HARMONT. 7 
 
 The student should have constant practice in raming particularly 
 any intervals in published music, reckoning as well from any note to 
 a succeeding lower note as to one higher, and exercising the ear alone, 
 as well as the eye in recognizing them. 
 
 An interval is inverted when by transposing its upper note an 
 octave lower, or its lower an octave higher, they exchange their rela 
 tive positions, the upper note becoming the lower and vice versa. 
 
 The interval resulting from inversion is readily found by subtracting 
 the original interval from nine, as: a third inverted becomes 
 (9—3 = 6) a sixth, &c. 
 
 Inverted primes become octaves. 
 
 Inverted octaves become primes. 
 
 Inverted seconds become sevenths. 
 
 Inverted sevenths become seconds. 
 
 Inverted thirds become sixths. 
 
 Inverted sixths become thirds. 
 
 Inverted fourth^ become fifths. 
 
 Inverted fifths become fourths. 
 
 Major intervals inverted become minor. 
 
 Minor intervals inverted become major. 
 
 Diminished (or imperfect) intervals inverted become augmented 
 
 Augmented intervals inverted become diminished (or imperfect). 
 
 Perfect intervals inverted remain perfect. 
 
 NAMES OF THE OCTAVES. 
 
 For convenience in speaking or writing, each octave has its dis- 
 tinguishing name beginning on each C. The lowest C in music (a 32 
 foot tone of 16J vibrations a second) is called Silb-octave C, or Sub-C, 
 and each letter above has the same prefix until the next C is reached 
 which is called Contra C, and this octave, Contra octave. Beginning 
 on each C the octaves succeed each other upward as follows : 
 
 Tbree-llned. Four-lined. 
 This note and S"".,^^.,^^ • 
 
 aU below it are _ _ .. . -^- -Tg-f 
 
 said to be in the Contra Two-lined. 
 
 Bub-Octave. Octave. Great. Small. One-lined. 
 
 I 
 
 -OL. 
 
 BBB CC 
 
 ^ "* " " ori^^° 5 c fi i i 
 -3?- BB J o» b>e' b" o^ b» c* b< 
 
ELEMENTS OF HA.RMONT. 
 
 The use of the letters alone indicates quite as plainlj as the notei 
 which octave is intended. Frequent exercises on blackboard or papei 
 should render these octaves familiar. 
 
 LESSOR 2. 
 
 SCALES. 
 The Greek tetrachord was a diatonic passage of four notes com- 
 prising, from the lowest to the highest, a fourth ; and the Lydian 
 tetrachord presented an upward succession of two whole steps and one 
 half step. The modern diatonic major scale consists of two Lydian 
 tetrachords combined. 
 
 i 
 
 i 
 
 1 " 1 ' J 1 1 i 
 
 As the two halves of our major scale have quite the same intervals, 
 the second half of one scale could readily -be used as the first half of 
 another, or the reverse, which suggests the most natural order of scale 
 transposition. , By writing the second half of each scale as the first 
 half of a new one, we find ourselves beginning each new scale on the 
 fiflh degree of the preceding and obliged each time to introduce one 
 □ew sharp to preserve the same succession of intervals. Read fro.m 
 
 left to right. ^_^^^^_^ 
 
 1 G2 ' "l A2, ~~ 
 
 i 
 
 ¥ 
 
 4^h^ 
 
 &c. 
 
 -4^ 
 
 is; 
 
 ■&-a\ 
 
 •as-^- 
 
 gi-g' 
 
 ^ 
 
 ^tf^i^ 
 
 C2 
 
 srfi'i 
 
 D2 
 
 E2 
 
 This may properly go on till we cease to get an audibly new scale, 
 when, although the notation may be new, no real variety of effect 
 will be obtained. Likewise in using the first half of one scale as the 
 second half of another (beginning at the right hand of the following 
 example) we shall necessarily begin each new scale on the note which 
 was the fourth of the former and be obliged to introduce one new 
 flat with each new scale. Read from right to left. 
 
 i 
 
 E!>2 
 
 =5fe 
 
 F2 
 
 ~Sk 
 
 ■ gi-g^ 
 
 ^^ 
 
 ;Z2; 
 
 ?s^ 
 
 ;5^^ 
 
 ^^^^1^ Tl»2 
 
 I 
 
 ^i 
 
 ■ysVi^: 
 
 BF2~ 
 
 ■ j^ ' G' 
 
 ca 
 
 These two forms will be found, on their twelfth transposition, to 
 give the audible effect of C major, thus returning to their original 
 
ELEMENTS OF HAEMONY. 
 
 •tarting point. In addition to this, each series will be found to dupli- 
 cate the other — six sharps producing an audible equivalent for six 
 flats; three flats, for nine sharps, &c. For the sake of simplicity, 
 therefore, keys having a smaller number of flats are usually substi- 
 tuted for those having many sharps and vice versa. The two systems 
 of transposing by fifths and by fourths appear below, the last' circle 
 giving the result of simplifying and uniting both. 
 
 c c 
 
 12 12 
 
 Fl -DW WAW EjfU Bfl IG 
 
 B>2 
 
 E>3 
 
 aH 
 
 By 4ths, 
 using flats. 
 
 10E» AjflO 
 
 9B,V]^ r)#9 
 
 8F> G|8 
 
 2D 
 
 By 5ths, 
 using sharps. 
 
 3A 
 
 4E 
 
 T>V5 
 
 7C> 
 
 CS7 
 
 5B 
 
 6>6 
 
 Fl 
 
 Bi'2 
 
 E[>3 
 At?4 
 
 C*f7 
 
 D{>5 
 
 |Gt76 
 
 
 Fje 
 
 IG 
 
 2D 
 
 5B 
 
 m^\ 
 
 3A 
 4£ 
 
 J 
 
 7C> 
 
 From the foregoing we deduce the statement that the major scale 
 consists of intervals of major and minor seconds, the latter coming 
 only between the 3rd and 4th, and the 7th and 8th degrees of th« 
 scale, as shown below. 
 
 A — denotes a major 2nd ; a ^„ a minor 2nd ; and a +, an aug- 
 mented 2nd. 
 
 Major Scale of C. 
 
 3 
 
 6 
 
 i 
 
10 ELEMENTS OF HAEMOITI. 
 
 Model for all major scales : 
 
 1234567 8. 
 
 Following the model of C major, the student should now write g 
 major scale from each of the following notes, in this order : C, G, D, 
 A, E, B, F|f, G\>, D>, AK EP, BK F, C§ and Cb. The signatures aw 
 not yet to be written, but a sharp or flat should stand before each note 
 requiring it. 
 
 Commit to memory the number of sharps or flats in each key and 
 Uie particular notes that they affect, in their proper order. 
 
 The names of the degrees of any major or minor scale are, in an 
 ascending order: 1, Tonic; 2, Super-tonic; 3, Mediant; 4, Sub- 
 dominant ; 5, Dominant ; 6; Sub-mediant ; 7, Leading-tone ; 8, Tonic. 
 These should be applied in every key. 
 
 MINOR SCALES. 
 
 Keys are said to be related when they contain many notes alike. 
 Every major key has a " relative (or related) minor," founded a 
 minor third below the major (on the third note of the descending 
 major scale) and ^/oth keys have the same signature. The rela-' 
 tive minor of each major key and the relative major of each minor 
 should now be perfectly learned. 
 
 The Harmonic Minor. Scale has the signature of its relative major 
 and its 7th degree is chromatically raised * (with some few exceptions) 
 in both ascending and descending. 
 
 Harmonic Minor Scale of a. 
 
 X 2 34 5 678 
 
 ■ N^ 4 N_^ 
 
 Model for all harmonic minor scales : 
 
 1234567 8. 
 
 Following this model, the harmonic minor scale should be written 
 beginning on the relative minor of each major scale and in the same 
 order in which those were written, using now the signatures of the 
 major. 
 
 » 'While the distinct individuality of the two notes of a chromatic Betni-tone 
 (0 and CirforT>\} and D, &c.) is everywhere recognized, this phrase, " chromatieallj^ 
 raised " seems necessary if one wiJl avoid the greater length of any other eqiiivalcnl] 
 expi'<^ssion of what is intended. | 
 
ELEMENTS OP UABMOiCS. H 
 
 Copy the following letters on a staff and just before each, write the 
 signature of the key it represents — capitals denoting major keys and 
 Bmall letters, minor: A, a, aj|, B^ b>, B, b, C>, C, c, Ctt, cti, D> 
 D, d, d| E>, ei*, E, e, F, f, r#, fjf, G>, G, g, gf, A^ aK 
 
 Write now the signatures of one sharp, one flat, two sharps, two 
 flats, three sharps, three flats, &o., to seven sharps and flats, inclusive, 
 sharps and flats alternating, and just afier each signature write a 
 capital showing its major key and a small letter showing its minor. 
 From this it will be evident that a key can be recognized only by 
 observing what sharps or flats actually occur in the signature and 
 musio. See Lesson 21. 
 
 Though not employed in elementary studies in harmony, the student 
 should write, in every minor key, the Melodic Minor Scale, which has 
 its 6th and 7th degrees chromatically raised in ascending and restored 
 to what the signature indicates, in descending.*" 
 
 Melodic Minor Scale of a. , 
 
 1 2. v3 4 5 ejr 8 7 6 54321 
 
 m 
 
 Z3Z1 
 
 Model for all melodic minor scales : 
 
 12345678765432 1. 
 
 The signatures may be written ; and to restore any note to a single 
 sharp, after the use of a double sharp, ij jf before the second note is 
 most accurate. 
 
 The Chromatic Scale, though progressing by half steps (semi-tone«f 
 and therefore always giving the same audible efiect, is variouslj 
 written according to the key in which it occurs. 
 
 LESSOK 3. 
 
 TRIADS. 
 
 A triad contains a root and two intervals, each reckoned from this 
 root upward, a 3rd and a 5th. In four voiced harmony (or still fuller) j 
 
 • The "mixed minor scale" hat the form of the melodic in aacending andol 
 the harmonic in descending. 
 
12 
 
 ELEMENTS OF llARMONl. 
 
 any interval of a triaJ may be double! ; the root most trequently and 
 tbe 3H most seldom. The fifth is often omitted— the root, or 3rd, never. I 
 The simplest way of forming a triad, irrespective of its character, 
 is to write out the musical letters, thus : 
 
 ABCDEFGABCDEFG, 
 
 and then, taking any letter as 1, by numbering toward the right Land, 
 those coming as 1, 3 aud 5 will form a triad — ^the 8 being the octave 
 of 1, the root. Afterward, triads thus formed may easily be written 
 in notes on a staff. 
 
 In four voiced harmony the triad is in the first position with some 
 octave of its root in the Soprano ; in the 2nd position with its 3rd in 
 the Soprano ; and ia the 3rd position with its 5th in the Soprano. 
 The position of a chord therefore refers to the interval that is in the 
 liighest voice. 
 
 Analysis of Triads. 
 
 1. A minor 3rd and imperfect (or diminished) 5th form a diminished 
 triad. * 
 
 2. A minor 3rd and perfect 5th form a minor triad. 
 
 3. A major 3d and perfect 5th form a major triad. 
 
 4. A major 3rd and augmented 5th form an augmented triad. 
 Roman numerals beneath chords show upon which degrees of the 
 
 scale tbe triads are founded. Large numerals denote major triads ; 
 small numerals, minor. This sign ° at the right of a small numeral 
 denotes a diminished triad ; and this + at the right of a large numeral, 
 an augmented triad. 
 
 The following shows the four voiced triads in the key of C major, 
 the first bar giving the three positions. This form should be copied, 
 and the 2nd and 3rd positions of the other triads filled out by the stu- 
 dent, within the limits shown on page 13. Each chord represents 
 the usual quartette, Bass (Baritone), Tenor, Alto and Soprano. 
 
 C I I I ra 
 
 nr 
 
 -9- -^ — 1 
 
 1 — "^ 1 
 
 r-» 
 
 ^-G- 
 
 
 
 
 
 
 
 
 
 
 
 
 tt)-- s-^-«- 
 
 
 ^ 
 
 
 
 
 
 & 
 
 
 
 
 
 &J ■ 
 
 J '^ -%- 
 
 
 
 
 -g- 
 
 -3- 
 
 s* - 
 
 .A- 
 
 
 
 
 
 
 
 
 •• 
 
 
 ^-^ 
 
 
 
 
 
 
 J a rj /"^ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 rv 
 
 VI 
 
 vn° 
 
ELEMENTS OP HAEMO^TT. 
 
 15 
 
 The same form should be written in the keys of G and F major, or 
 in all major keys, but without the sigoature, placing the proper sharps 
 or flats where they are needed. The following, though less than the 
 compass of solo voices, may be safely adopted as that to which the 
 exercises in this book should be limited. 
 
 Low Voices. High Voices. 
 
 liDz 
 
 -^(^-)~n. 
 
 .(«) 
 
 .(«) 
 
 m 
 
 Bantoue. Alto. 
 
 Tenor. 
 
 Soprano. 
 
 The triads in three posiions on each degree of the minor scale with 
 their appropriate Roman numerals should now be written in the keys 
 of a, e and d minor, or in all minor keys, using their signatures. 
 
 zsz 
 
 1 
 
 3^ 
 
 =^ 
 
 |i 
 
 
 ~lSr&-'6>- 
 
 Efc 
 
 Ffl 
 
 III 11° 
 
 VII ° 
 
 III+ IV V VI 
 
 From the foregoing may be deduced this summary : 
 The Triads of any Major Key. 
 
 Tonic, snb-dominant and dominant, major ; marked I IV V. 
 Super-tonic, mediant and sub-mediant, minor ; marked ii in VI- 
 Leadiug-tone, diminished ; marked vn^. 
 
 The Triads of any Minor Key. 
 
 Tonic and sub-dominant, minor ; marked i iv. 
 
 Super- tonic and leading- tone, diminished; marked ii= Vii». 
 
 Mediant, augmented ; marked III+ 
 
 Dominant and sub-mediant, major ; marked V VI. 
 
 Tbe following, copied many times, each time with a different clef, 
 or signatire (or both), may be used for the application of Roman 
 numerals and also in naming the key and the degrees of the scale — 
 tonic, dominant, &c. in connection with the roots of these chords. 
 
14 
 
 f 
 
 ELEMtiTTS OF HAKMONY. 
 
 I VI IV iivn°V m&c. 
 The same with a different clef. 
 
 JBJZ.^ 
 
 & 
 
 w^mm^^^^m 
 
 in I VI IV &c. 
 
 £C. 
 
 The same with a new signature. 
 
 -V 
 
 Bl? 
 
 
 -(S>- -,»- -iS- 
 
 II vu° V m I &C. 
 
 LESSOH 4. 
 
 Parallel motion arises between any two voices moving simultane- 
 ously upward or downward, whether the same or a different number 
 of degrees. 
 
 Contrary motion is produced by any two voices moving in opposite 
 directions, either receding or approaching. 
 
 Oblique motion results if, of two voices, one remains on the sam« 
 degree, while the other ascends or descends. 
 
 Open, or dispersed harmony requires the voices to be so separated 
 that by transposing the Soprano one octave lower it would come be- 
 tween the Alto and Tenor ; and also by transposing the Tenor one 
 octave higher it would come between the Alto and Soprano, as at a. 
 If only one of such transpositions is possible, the harmony is partially 
 open, as at h. If neither is possible, or in other words, if the upper 
 three voices are as near each other as can be under a certain . 
 Soprano, the harmony is close, as at c. Any two voices lying next 
 each other may often sing the same note ; bat, in elementary har- 
 mony, a lower voice should not sing above a, higher, or the reverse. 
 
 I 
 
 isz 
 
 
 or 
 
 -o- 
 
 1 
 
 The first two chords at c are identically the same, save in notation • 
 fic of the last two. 
 
 Because of greater facility in its treatment, close harmony is toba 
 employed in these lessons unt'l otherwise indicated, with the Tenor 
 
ELEMENTS OP HAEMO'.rr. 
 
 Id 
 
 on the upper staflF to leave room for ;he Arabic numerals hereafter 
 introduced. 
 
 Rules for Connecting Chords. 
 
 1. When an 8, or no numeral, stands over the first liass note of 
 Bn exercise, the chord over that note must have the octave of its root 
 in the Soprano. A 3 over t\iia first note requires its 3rd to be in the 
 Soprano ; and a 5, its 5th. ' This rule applies to the first chord only, 
 in each exercise. 
 
 2. If consecutive chords contain any notes alike, these notes must 
 
 be kept in the same voices in both chords and tied. 
 
 Note. The tying of notes reminds the student which are the connecting notes ; 
 but these should be struck again when the corrected exercises are afterward played 
 on a pianoforte. 
 
 3. If there be no notes alike in consecutive chords, and the chords 
 have their roots in the Bass, the upper three voices must move in 
 contrary direction to the Bass, to the nearest position of the chord to 
 which they go. 
 
 4. Avoid consecutive fifths, octaves, or unisons between the same 
 voices, in either parallel or contrary motion ; but the same fifth, or 
 octave, may properly be repeated. 
 
 Note. The progression of two voices from a unison to an octave, or the reverse, 
 is a violation of Rule 4, save as explained in the lesson on Chants. For a strong, 
 closing cadence, consecutive octaves in caniirary motion are sometimes admissible ; 
 but not consecutive fifths. 
 
 5. Let no voice progress any augmented interval, except an aug- 
 mented prime. 
 
 ^" Whenever rules conflict, follow the one last given. The nu- 
 merals over the illustrations refer to the corresponding rule. 
 1. 2; a Bad. 
 
16 
 
 ELEMENTS OF HAKMONT. 
 
 4. Consecutive Sths and Sths- 
 
 -all bad. 
 h 
 
 ^fe^^l^^^igEl^gg 
 
 ^B^gg^jp 
 
 iSTB!S= 
 
 =^^ 
 
 IV 
 
 IV 
 
 IV 
 
 IV 
 
 '^-S- 
 
 
 Bad. 
 
 Bad. 
 
 Alio 
 k 
 
 wable. 
 
 Good. 
 
 ya ■ 
 
 
 4^ 
 
 hg^ 
 
 -en- 
 f 
 
 
 
 f 
 
 Bule 5 illustrated in Lesson 5. 
 
 G V 
 
 CI 
 
 At a, the G having come first in the Alto should not have gone 
 into the Tenor, but should have been kept in the same voice that first 
 gave it, as at h. At c, the chords, having no notes to tie should have 
 moved downward in contrary motion to the Bass, as at e. At d they 
 move in contrary motion, but too far. At / the Bass and Soprano 
 are an octave apart, twice in succession ; so of the Bass and Alto at 
 g ; and of the Bass and Tenor at h. At /the Bass and Alto present 
 consecutive fifths, as do the Bass and Tenor at g, the Bass and So- 
 prano at h, and the Tenor and Soprano at h. Aij, the consecutive 
 octaves .between Bass and Alto, as well as consecutive fifths between 
 Bass and Tenor, are wrong, although coming in contrary motion. ( A 
 similar case of consecutive octaves in contrary motion, at k, is allow- 
 able only as a closing forinj At I the repeated octave between Baas 
 and Sopruno and the repeated fifth between Bass and Alto are cor- 
 rect. ■ 
 
 The student should now copy the subjoined Basses, over which are 
 to be written the proper triads in accordance with the foregoing rules.. 
 A capital or small letter, showing respectively the major or minor 
 key of each exercise, must stand at its beginni;»g ; and a Boman 
 numeral beneath each chord. 
 
XLEMKI7TS OF HAKMOMT. 
 
 a. 
 
 17 
 
 ^ 
 
 ite 
 
 •tS»- 
 
 ISI 
 
 -«- 
 
 122: 
 
 i 
 
 -gr 
 
 ;s: 
 
 3.5 
 
 4. 3 
 
 §35=; 
 
 I 
 
 :a= 
 
 iz 
 
 Z2s: 
 
 s. 
 
 ^s 
 
 e. 
 
 3z: 
 
 P 
 
 v-«- 
 
 -fi'- 
 
 The foregoing present only major triads. The ear experiences a 
 relief from monotony by the introduction of minor triads, though all 
 in the major key. 
 
 •y. 
 
 S. 5 
 
 ^^ 
 
 t=^ 
 
 a ("g" 
 
 e^;$ 
 
 -«=- 
 
 i 
 
 t: 
 
 Q. 
 
 ^teSi 
 
 (S- 
 
 lO. 5 
 
 tefei 
 
 ^ 
 
 ■1=^ 
 
 It is recommended that the first ten exercises be corrected before 
 the following are written. 
 
 11. _ IS. 3 
 
 13. 
 
 14. 3 
 
 ate^^j^^feiiisp5^j^^g^ 
 
 IS. 3 
 
 le. 
 
 mw¥^^ 
 
 -^■. 
 
 i^SisSei 
 
 t^ 
 
 vr. 
 
 Ste 
 
 IS. 
 
 ite 
 
 |— < g I I a.'- 
 
 S^] 
 
 LESSON 5. 
 
 A }f, [> or t!, when standing, with no numeral ly its side, over a Basa 
 note, shows that the same sign should be written before the 3rd above 
 the Bass, as at a. "With any numeral hy its side, the interval corro- 
 spending to that numeral, when reckoned from the Bass note, should 
 
18 
 
 ELEMENTS OV HARMONT. 
 
 be similarly affected, is at b; and an oblique line through any butoe- 
 ral requires the indicated interval to be chromatically raised, as at c. . 
 
 ^fei 
 
 ■fc 
 
 ^ 
 
 ^M 
 
 -te 
 
 6# 
 
 ■Si- 
 5# 
 
 7b 
 
 iS- 
 
 ^ 
 
 =az 
 
 Illastrations of Rule 6 in Lesson 4. 
 
 Bad. Corroction. Bad. 
 
 + 2nd + 2nd 
 
 Correction. 
 
 3 
 
 ii 
 
 -1-- 
 
 i^ 
 
 -<S1- 
 
 ::li 
 
 1^^ 
 
 t_ 
 
 9f 
 
 ^ 
 
 ig: 
 
 -fS^ 
 
 :t 
 
 o. no 
 
 VI 
 
 VI 
 
 In the first bar we oblige the Alto to progress an augmented 2nd 
 from F to Gj^, which must be avoided, even though, as in the next bar, 
 the B is not kept in the same voice.* 
 
 In the 3rd bar, the same fault occurring, we let the Alto go up to 
 A, in the 4th bar, thus as an exception doubling the 3rd of the last 
 chord. Observe that in minor keys, the succession V VI or VI V 
 obliges us to double the 3rd in VI. Harmonize the following accord 
 iug to the five rules and the remark that follows them. 
 
 *i. 
 
 m 
 
 S: 
 
 §f^ 
 
 :^=): 
 
 ■^S: 
 
 tw 
 
 £ 
 
 a-i# # 
 
 i^ 
 
 # 
 
 g 
 
 i=fct 
 
 M 
 
 3 # 
 
 -©I- 
 
 ?E 
 
 ^d 
 
 ^ 
 
 :^i2d 
 
 • Although these forbidden augmented intervals occur in the vocal works of the 
 best writers, they are somewhat unmelodio, though not unmusical, and are conse- 
 quently to be avoided until familiarity with the rules of composition will enabll 
 one tD euploy them with good effect. 
 
ELEMENTS OF HAEMONT 
 
 19 
 
 m^ 
 
 _g. a 5#.# 
 
 ^ 
 
 ■sH»- 
 
 -&— 
 
 s 
 
 TS. 
 
 :&:|=t 
 
 :t=2^ 
 
 US 
 
 7. ^ » 
 
 $—r^% 
 
 •m 
 
 ^-F 
 
 i 
 
 ^i 
 
 3 « 
 
 3 
 
 #. 
 
 lO. 
 
 Si 
 
 19— 1- 
 
 i) 
 
 -=»■ 
 
 -^: 
 
 HIDDEN OCTAVES, FIFTHS AND UNISONS, 
 
 When any two voices, either more or less than an octave apart, 
 move in parallel motion to an octave, they pass over notes which, if 
 written out, woald leave consecutive octaves. Such a progression 
 forms hidden (covered, or concealed) octaves. The same principle 
 applies in the explanation of hidden fifths and hidden unisons. 
 
 Consecutive Octaves. Consecutive Octaves. Hidden Octaves. 
 
 .«S£2r 
 
 i^ 
 
 -e>- 
 
 -is-r- 
 
 T=f=r^ 
 
 tTT 
 
 Consecutive Fifths, 
 
 -1^ !- 
 
 -9- 
 
 Consecutive Fifths. 
 
 Hidden Fifths. Consecutive Unisons. 
 
 Hid. Unisons. 
 
 i 
 
 ^ 
 
 Ee 
 
 -9- 
 
 =t 
 
 -»-f- 
 
 Of the four voices, the Bass and Soprano, from their relative posi- 
 tions,, are termed the outer voices ; and the Tenor and Alto, the inner 
 or middle voices. Hidden 8th3 or 5ths are more noticeable and 
 therefore generally worse, when occurring in the outer voices. It is 
 however almost impossible to give directions for their avoidance 
 more definite than the following 
 
 Bule. Avoid hidden 8ths or oths, especially in two outer voices, 
 unless by so doing an angular or otherwise unnatural movement oi 
 some voice is produced ; in which case they are to be allowed. 
 
 Hidden unisons are almost never proper except occasionally between 
 Bass and Tenor. |a11 three of these progressions are worse if both 
 
20 
 
 ELEMENTS OP HARMONT. 
 
 the voices skip between which they ocourjjbut hidden Sths and hidiiek 
 Sths resulting from only changing the position of the same cliord, even 
 by skips, are faultless. See also Lesson 17. 
 
 The student should not be too anxious over hidden Sths, &c., as a 
 general observance of the previous rules will in most cases insure a 
 correct writing of simple exercises. Care should be taken niit to con- 
 found hidden with consecutive Sths and 5ths — the latter nevr being 
 allowable in elementary exercises. 
 
 IxESSOK 6. 
 
 INVERSION OF TRIADS. 
 Any chord may be represented either by notes or by a single Baas 
 njte with certain numerals over it, corresponding to the intervals 
 formed above it by each note of the chord. "When a chord is rep- 
 resented in this latter way the Arabic numerals are obtained by 
 counting from the Bass note; upward to each note of the chord. A 
 triad is denoted by either § | S, 5, or 3. See a. It is customary 
 to place the largest numerals the highest whether the intervals come 
 in this, or a different order, as shown at &. 
 
 6 
 
 CI IIIII I I I I 
 
 A chord is inverted when any note not its root is in the Bass. , 
 When the 3rd of a triad is in the Bass the chord is called the first 
 inversion or al chord of the sixth-^ see c ; and the fifth of a tria4 
 being in the Bass, it is called the second inversion or aichord of the 
 sixth and fourthnmore commonly termed a six-four chord) — see d. 
 Roman numerals show the roots of triads, whatever interval may be 
 in the Bass. ' 
 
 c d 
 
ELEMENTS Oi! HARMONY. 
 
 21 
 
 These numerals, like those above, are found by counting from Iho 
 Bass note up to each note of the chord over it. 
 
 6 shows the Bass to be the 3rd of a triad — the first inversion. 
 
 2 shows the Bass to be the 5th of a triad — the second inversion. 
 
 The octave of a Bass note under 6 somewhat rarely appears in the 
 chord above. 
 
 The octave of a Bass note under 2 usually appears in the chord 
 above. 
 
 Nine correct ways of writing the first inversion of a triad without 
 doubling its 8rd. 
 
 Ifote. By doubling a Srd is meant also the writing of any octave of the 3rd in 
 the same chord with itself, the two coming m any two voices. 
 
 m 
 
 zsz 
 
 rzaoz 
 
 ^^ 
 
 9i= 
 
 CII II II II I 
 
 The Srd is not to be doubled in the two following exercisw. Each 
 chord is to be regarded as though standing alone and consequently 
 has no connection with any other. Chords of the 6th may be written, 
 in either of the above nine ways. A Roman numeral must stand 
 ttnder each chord with every proper variety in the position of the 
 various chords. 
 
 ar 
 
 £jr&J g " 
 -n-^-^-fS- 
 
 i 6 I 
 
 .a. 
 
 -s- 
 
 =E 
 
 S. 
 
 g^ 
 
 
 '.^SC 
 
 -» 
 
 C I I I II II n in&c. " 
 
 At the fourth bar above, the Bass is lower for convenience in 
 writing. 
 
 C I vi IV II vii° &c. . , , , . J. 
 
 Frequent exercises in playing and naming such chords we maiffpw 
 
 Mble to practical resolta. 
 
n 
 
 ELEMENTS OF HARMONT. 
 
 TRANSPOSITION. 
 
 As already shown in the lessons on scales and triads, any exercim 
 is transposed when all its notes are written a certain distance higher 
 or lower than at first. If any be higher, all must be higher : if lower, 
 all must be lower — not some higher and others lower. To illustrate 
 this and to review the former lessons,the student should now transpose 
 the Basses of Lesson 4, some one degree higher and others one decree 
 lower, using the proper signatures, and harmonize them without com 
 paring them with the corrected lesson. 
 
 LESSOH 7. 
 
 A strict following of the previous ^rules will sometimes produce a 
 dose like either of the following examples. 
 
 i 
 
 =1= 
 
 g 
 
 ^ 
 
 i 
 
 4: 
 
 -f 
 
 C IV V 
 
 The Soprano efiding' on the tonic leaves the final impression of 1 
 satisfactory close: ending on the dominant, as at a, the efiTect iseome- 
 what expectant or unfinished i ending on the mediant, as at b, the 
 effect is rath er plaintive . While neither is invariably to be sought, 
 the close on the tonic will usually be the best ; and to obtain this the 
 student may employ the following 
 
 Con-ect. 
 
 Forms of Ending. 
 Stronger. 
 
 Good. 
 
 m 
 
 ZSSL 
 
 :g= 
 
 ""=T' 
 
 C I 
 
 I V 
 
 I V 
 
ELEMENTS OF HARMONT. 
 
 Correct. 
 
 Stronger. 
 
 I V I I ~ V I 
 
 The last previous example illastrates the 
 
 Sule. If any one voice be tied the other three may sometimes skip' 
 either |to_ another position of the same chord or to another chord.! 
 
 Many theorists apply the rule of never doubling the 3rd in a major 
 triad while sometimes allowing it in a minor ; and it cannot be denied 
 that any chord taken alone affords good reason for this. But in chord 
 progressions two things are to be sought : to produce good chords and 
 to make each voice melodious, or at least to cause it to move nat- 
 urally. The rules of this system of instruction aim at this twofold 
 result. "Were we never to double a 3rd it would be impossible to 
 preserve four parts either melodious or even free from unnatural 
 progressions. To aid us therefore we adopt the following 
 Rules for Chords of the Sixth. 
 
 1. The 3rd is not to be doubled except to make the voices move 
 more melodiously. 
 
 2. The leading-tone is rarely to be doubled except in sequences or 
 modulations. See Sequences in Lesson 9. 
 
 3. Contrary motion is usually better than parallel, where either 
 could easily be written. 
 
 4. Avoid unisons twice in succession between either the same or 
 different voices. 
 
 5. In consecutive chords of the 6th, when the Bass moves diaton* 
 ically, if the upper voices move in contrary direction to the Bass the 
 3rd may well be doubled in every chord. 
 
 6. In such cases as in Rule 5, if the upper voices (or most of them) move 
 parallel with the Bass the 3rd must be doubled in alternate chords. 
 
 7. In the midst of an exercise the position of a chord is not in- 
 dicated by either 8, 5 or 3 ; these numerals showing only that the 
 Bass is the root of a triad, 
 
 8. f s over the same Bass note shows it to be first the 5th of one 
 triad and afterward the root of another. A # in place of the 3 has 
 the same meaning as the 3 and also requires the 3rd above the BaH 
 to be sharped. 
 
24 
 
 ELEMENTS OB HARMONY. 
 
 9. An oblique line through a 6 (jb") does not chatge its formei 
 meaning. It still shows that the Bass is the 3rd of a triad and that 
 the 6th above the Bass is to be chromatically raised. 
 
 Note. It sometimes happens that one may write either the unison on one note 
 or the octave of another in a chord of the 6th. The latter is fuller ; but the leading 
 of single voices or some other consideration often renders the unison preferablo. 
 Experience alone will guide one in such cases. 
 
 A Roman numeral must show the root of each chord. 
 
 Illustrations of Rules. 
 1. Poor. Better.2.Bad. Better. Good.* S.Poor. Good. 4. Bad. 
 
 Bad. 
 
 iss^ss^f^ig 
 
 t»& 
 
 8 G 
 
 y 
 
 ^ 
 
 -ig~: 
 
 C I 
 
 El 
 
 t: 
 
 vii° vn» rn9 I IV 1 IV I it I II 
 
 6. Good. 6. Good. Good. 7 <& 8. 
 
 8. 
 
 ^^^^®|g®^l 
 
 6 fi 6 6 i 3 
 
 s ^ s 
 
 13 4 9 
 
 ■ts- 
 
 fS 
 
 I n 
 
 n 
 
 IV IV IVaiVovn" 
 
 After copying the following exercises, the student should -verify hit 
 accuracy by comparing his copy with the originals, before attempting 
 to harmonize them. 
 
 1. 
 
 ^^ 
 
 ^^i 
 
 -^ 
 
 S 
 
 «.5 
 
 ^ 
 
 6 
 13 
 
 ^m 
 
 3 6 
 
 ^ 
 
 6 
 6 13 
 
 ^ 
 
 22-^ 
 
 a: 
 
 gi '■<g-' 
 
 • Observe that the trwd of the leading-tone appears most frequently with its 3rd 
 in the Bass and with its 3rd doubled. 
 
ELEMENTS OF HARMONY. 
 
 25 
 
 4. 5 
 
 » 
 
 6 
 1 1 
 
 4 i 
 
 ^ a I < ^ 
 
 ^— ■— f=^-^ 
 
 M^ 
 
 S.3 6 
 
 m^ 
 
 E£ 
 
 E^ 
 
 e. 3 
 
 6 
 6 t 
 
 ^i§i 
 
 H=- 
 
 T-. 5 
 
 e 6 e 4 
 
 ite 
 
 ^ 
 
 1S> 1=^ 
 
 i 
 
 eSeS 
 
 S. 5 6 
 
 SSi 
 
 Ie 
 
 21 
 
 ■Fpg 
 
 -(=e s;- 
 
 ^ 
 
 »• 3 
 
 iftiSs 
 
 4 3 S 4 3 lO- 3^ 6 4:||: 6 4 j^ 
 
 l^g^ 
 
 ?: 
 
 11. jir 
 
 4 « 
 
 Tg - fg 
 
 ^i^ 
 
 3 
 
 ^ 
 
 IS. 3 
 
 ^te^^ 
 
 J, i#. 
 
 * 6. 
 
 U 
 
 ^=^ 
 
 & ; J g 
 
 LESSOH 8. 
 
 CHORDS OF THE SEVENTH. 
 
 A full chord of the 7th contains a root, 3rd, 5th and 7th. See a. 
 As the 7th is a dissonant interval it must be followed by a consouauce, 
 called its resolution ; and this requires a regular progression of all 
 the accompanying voices, called the resolution of the chcrd of tb« 
 ftb 
 
86 
 
 jSLEMENTS of HAKM03J1. 
 
 Rules for the Secular * Besoluticn of Chords of the Seventh. 
 
 1. When the root is in the Bass, it ascends a 4th or descends a 5th ; 
 when in anj other voice, it is held over iiito the following, chord. 
 
 2. "When the 3rd is in an outer voice, it must ascend one degree : 
 when in a middle voice, it may either ascend one degree, or if the 
 Bass does not descend to the root of the resolution, the 3rd may 
 uscend one degree or descend two degrees. If the Bass descends to the 
 root the 3rd must ascend one, to avoid bad hidden fifths, shown at b. 
 
 8. The fifth usually descends one dagree but sometimeB ascenda 
 one, to form a smoother progression of some voice. 
 
 4. The 7th always descends oue degree. 
 
 Note. For an exceptional progression of a 7th chord on the leading-tone see 
 Lesson 11 
 
 The 7 over the Bass produces the chord of the 7th : the 7 under the Bass merely 
 denotes, with the Boman numeral, that the 7th is added to the triad. ..^ 
 
 a. Figuring. b. 
 
 i 
 
 '•nmS^ 
 
 :|p|^^| 
 
 -^S.^or? or' 
 
 I 
 
 — 1 •■ — B(»t-*e i' — 
 
 • V7 
 
 V7 
 
 -9 — «> — ,©- 
 
 V? V? V7V7 V7 
 
 Chords of the 7th in their various positions, with the resolutions of 
 each, should now be written on each degree of the scale, first with the 
 root of each 7th chord ascending a 4th, then with the root descending 
 a 5th (to apply both conditions of Rule 2) in forms similar to the 
 following. A major 7th may be marked beneath the chord, with an 
 oblique line through the numeral, thus : ^ — a minor 7th, by the 
 Xkumeral only — and a diminished 7th thus: 7°, the triads being 
 marked by Koman numerals as before. 
 
 Boot ascending a 4tb. 
 Either. Either. 
 
 r"P ll~i 
 
 
 r^ — \r-^ 
 
 I 
 
 
 ,.^.., 
 
 
 p &c. on 
 
 /. ■ A ■ 
 
 !n *" 
 
 g >y*** 
 
 1 
 
 /4I 
 
 % 
 
 
 
 tff\ i\ 
 
 
 
 1 ^ 
 
 
 
 Bf 
 
 
 \>\r a J'^ 
 
 
 !» '2 - 
 
 L <?, 
 
 
 
 SJ 
 
 
 7 7 7 7 7 
 
 7 
 
 7 
 
 the scale. 
 
 
 
 
 
 
 
 
 ' !• 
 
 
 
 
 
 /5 
 
 
 
 
 
 
 
 
 
 
 
 
 &> 
 
 <y 
 
 
 
 CV7 I I 
 
 
 V17 II 
 
 
 
 rnofin 
 
 
 
 
 
 * Irreaivlai resolutions are siven in Lesson 17. 
 
ELEMENTS OP HARMONY. 
 Soot descending a 6th. 
 
 27 
 
 28: 
 
 -fry 
 
 % 
 
 ■f= 
 
 -i--^ 
 
 *c 
 
 -Tsr 
 r 
 
 ■JSL 
 
 ZSIL 
 
 C V; I 
 
 vi7 n 
 
 vn°- ni 
 
 The Basses of Lesson 5 should now be transposed and re-written. 
 
 LESSON 9. 
 
 If the student will henceforth invariably speak of the seventh of 
 the scale as the leading-tone and reserve the term seventh exclusively 
 for the seventh of a chord, much needless confusion will be avoided. 
 Rules for Chords of the Seventh. 
 
 i'. In chords of the 7th, the 5th is often omitted and the root 
 doubled. 
 
 2. Consecutive 5th3 are allowable when an imperfect (diminished) 
 5th follows a perfect, hut not the reverse (see Lesson 10 at c) ; and 
 consecutive imperfect 5ths are correct. 
 
 3. A voice should never skip downward to the 7th of a chord : it 
 may move one degree downward and it may sometimes skip upward 
 to the dominant 7th. 
 
 4. Parallel motion to the root and 7th of a chord is seldom good. 
 
 5. A voice should rarely sing consecutively (in this order) the 
 dominant, leading-tone and dominant, especially when the leading- 
 tone comes on the unaccented part of the bar. 
 
 Note. The leading-tone usually ascends when approached from below, especially 
 in the Soprano ; and the »ub-dominii.it usually descends when approached from 
 above. 
 
 6. A jf, > or 13 beneath a 7 should affect only the 8rd above the 
 
 1. 
 
 Illustrations of Rules, 
 Either. 
 
 2. Good. 
 
 Bad. 
 
 -e> — ^- 
 
 Bad. 
 
 -6> ai 
 
 Good. 
 
 
 ^ 
 
 Perf. Imp. Imp. Perf . Imp. Perf. Imp. Imp. 
 
 CVt 
 
 Vz 
 
28 
 3. Ba(f. 
 
 ELEMENTS OP HARMOKY 
 
 Bad. 
 
 Good. i. Bad. 
 
 Good. Good A1V!> (Table 
 
 5thS. Skip down 
 toUierth. 
 7 7 
 
 6 
 
 4 7 
 
 «*^^ 
 
 ^ 
 
 ^=?== 
 
 ^IS^SSl 
 
 C IV Yj fv"V7 IV V? I V7 I ^7 G V V7 G I V? 
 6. Poor. Allowable. Better. Best. 6. 
 
 i 
 
 i 
 
 ^^l^i^g^i^g 
 
 ^ 
 
 4 7 
 
 4 7 
 
 -^-^- 
 
 * 
 
 22: 
 
 is: 
 
 rffl 
 
 GIV7I IV?! IV7 IIV7laV 
 
 The chord of the dominant 7th, the only one used till Lesson 11, 
 consists of the 5th, 7th, 2nd and 4th degrees of any major or minor 
 key. 
 
 i 
 
 Forms of Ending. 
 Good. Good. 
 
 Allowable. 
 
 
 stronger. 
 
 3t 
 
 ^ 
 
 :^ 
 
 ^^^T~r 
 
 i 
 
 tr-«^ 
 
 1^ 
 
 -z?- 
 
 C I V7 
 
 Good. 
 
 — I© 
 I V7 
 
 ^ 
 
 I 
 
 Never. 
 
 V7 
 
 rS^- 
 
 I I V7 I 
 
 Correct. 
 
 -?»- 
 
 g«: 
 
 3: 
 
 -iS 
 
 I 
 
 ^ 
 
 ^^ 
 
 m 
 
 I V7 
 
 Correct. 
 
 i 
 
 I I 
 
 Correct. 
 
 V7 I 
 
 Stronger. 
 
 V7 I 
 
 Never. 7th up. 
 
 a 
 
 1 
 
 !i 
 
 
 ^^^^^^i^F^i^^ 
 
 St- 
 
 ^/^•^^ 
 
 1 
 
 Vz 
 
 I Vi 
 
 V7 
 
 Vt 
 
ELEMENTS OP HAEMONT. 
 
 29 
 
 The above rules, Trith all previous ones, should uow be applie-1 in 
 harmonizing, the following exercises. Continue to use the Roman 
 numerals throughout the hook. 
 
 -O-V^SL 
 
 ^m 
 
 ^ 
 
 i 
 
 ^ 
 
 zsz 
 
 &. S 
 
 Se 
 
 E 
 
 3^ 
 
 « 
 
 4 7 
 
 1 
 
 :sr 
 
 a^ 
 
 m 
 
 6 
 4 7 
 
 m 
 
 sJ <^ 
 
 -z^ 
 
 4. s 
 
 3 
 
 S 
 
 ^ 
 
 : iSi g - 
 
 ig fg 
 
 «--^ 
 
 i 
 
 ^ 
 
 s 
 
 « 4 
 
 ^ 
 
 ^ 
 
 
 »^Et; 
 
 6 4 7 
 
 6 
 
 4 7 
 
 ^ 
 
 8. 6 6 4 , « * 6. 
 
 ^ 
 
 ^ 
 
 ^ 
 
 t 7 
 
 ^ 
 
 SEQUENCES. 
 . A sequence is a regular and continuous transposition of an) recog- | 
 nizable form, melodic or harmonic, consisting of the form itself and j 
 at least two transpositions of the same. A regular transposition 
 
80 
 
 ELEMENTS OP HAEMONT. 
 
 muBt progress nni&terruptedly in the same direction and each tiae 
 the same number of degrees. The differences between major and 
 minor intervals are not to be regarded in this connection. Peifect 
 examples of sequences occur in Lesson 4, exercises 8, 10 and 13, 
 though the sequences extend through but a part of each exercise. In 
 the 5th bar of exercise 9 and in the 2nd of exercise 11, it will 
 be found necessary to double the leading-tone. The regularity of 
 the sequence being more strongly felt than the melodic tendency of 
 any one note, the leading-tone here loses its distinguishing charac- 
 teristic and the effect is not unpleasant. 
 
 &. 
 
 m^ 
 
 3 
 
 lO. 
 
 itt 
 
 i 
 
 IL 
 
 ^ 
 
 -1=- 
 
 :g--jg- 
 
 w 
 
 =t 
 
 3: 
 
 I 
 
 Sometimes in order to preserve a sequence in all the voices, the 
 rule for keeping the same notes in the same voices must be laid aside. 
 At a, applying the usual rules wtJ find the sequence in the Bass over- 
 whelmed by irregular movement in the other parts. But in simple 
 harmony a sequence in one voice seems to require, though not the 
 same movement, yet one equally regular and symmetrical in the other 
 voices. This being written as at b, the sequence is preserved. At c 
 also is shown an exceptional form of writing in order to form a clear 
 sequence, while that at d comes naturally. 
 
 p^^f-i-ff^ 
 
 -gi — 7s)r 
 
 Zt 
 
 zzar 
 
 -s>- -g- s)- 
 
 §aE 
 
 =^=t 
 
 ^- 
 
 - o I fg 
 
ELElIEVrS OF HARMONY. 
 
 31 
 
 i^^ 
 
 W 
 
 ^w=^ 
 
 ^^^^ 
 
 3 6 
 
 ^ ^i^Pifh" 
 
 3 
 
 6 6 6 7 
 
 LlESSOH 10. 
 inversions of chords of the seventh. 
 
 The Arabic numerals are always derived in the same way — by 
 writing the chord as we wish it, then counting from the Bass to each 
 interval above. These numerals are arbitrary signs and show that the 
 corresponding intervals must be written, reckoning from the Eass note, 
 ■whatever interval of the chord that note may be. 
 
 I 
 
 1st Inversion. 
 
 2nd Inversion. 
 
 ^m'S' ■■ 
 
 3rd Inversion. 
 
 fei^J 
 
 1 
 
 w 
 
 
 ^=^^1 
 
 "^ 
 
 lorgor. 
 
 :or % 
 
 orjorg 
 
 1 
 
 CV7 
 
 Vr 
 
 V7 
 
 V7 
 
 I or i or 7 denotes a chord of the 7th with its root in the Bass. 
 fi or I denotes a chord' of the 7th with its 3rd in the Bass. 
 S or f denotes a chord of the 7th with its 5th in the Bass. 
 I or I or 2 denotes a chjrd of the 7th with its 7th in the Bass. 
 The same ijles apply in the use of these chor Is as when they 
 appeared in the fundamental position. 
 
32 
 
 ELEMENTS OF HAEMONT. 
 
 8 7 denotes a triad followed by a chord of the 7th, although fre. 
 quently it is not the 8th that becomes the 7th, as shown below. 
 
 Better notation. 
 
 Good. 
 
 Better notation. 
 
 Good. 
 
 The student should use one form as much as the other. 
 
 It sometimes happens that it is desired to bring the harmony grad- 
 ually lower. This may often be done in a manner similar to that at 
 h, below. Also at c appears a case where both the 7th and its reso- 
 lution coming on the accented part of the bar, a triad on the same 
 root may properly intervene in such a way as to make a perfect 5th 
 follow au imperfect. At d is shown the effect of 3 and 2 over the 
 same note, a triad followed by the 3rd inversion of a chord of the 7th 
 
 a. Correct. 
 
 J. Often better, c. Correct. d. 
 
 Cir thus. 
 
 i 
 
 ^ 
 
 ^3^3 
 
 fe 
 
 3e 
 
 p« 
 
 :^a=it^f= 
 
 :^=z^Am 
 
 -^r 
 
 s- -&--&- 
 
 6 2 
 
 &C. 
 
 &e. 
 
 3 i 
 
 3 2 
 
 p^= 
 
 m 
 
 ^ 
 
 FV Yj 
 
 V V? 
 
 V7 V I . CIV V? IV V7 
 
 In the frequent use of abbreviated figuring one should not forget 
 the full. In harmonizing the following, care must be exercised that 
 the rhythmic value of notes be correct where two or more numerals 
 tccur consecutively over the same Bass note. 
 
 1. 3 
 
 =I=?5: 
 
 2 6 
 
 6 
 
 i 7 
 
 g 
 
 §^ 
 
 ■(=z- 
 
 fg t s > \(^ 
 
 =^ 
 
 ^^^mm 
 
 ^-^ 
 
 4 
 
 5 3 
 
 :^= 
 
 D 
 
 3 
 
 6 87 
 
 :3^=S:t 
 
ELEMENIS OP HAEMONT. 
 
 83 
 
 m 
 
 87 
 
 3 
 
 nnazrxn 
 
 1 
 
 s. 
 
 s^ 
 
 9 3 
 
 ^^^ 
 
 6 
 4 7 
 
 e.s 
 
 3 t 
 
 ^ 
 
 4 2 
 
 ^ 
 
 87 
 
 i!i^ 
 
 i 
 i 
 
 ^ 
 
 ?£: 
 
 « 
 
 f 
 
 ^=!—{—S>—^^ 
 
 87 
 
 tnte 
 
 P^ 
 
 8. 
 
 1^ 
 
 =^ 
 
 87 
 
 :?2:: 
 
 &. 3 
 
 i^b /vf^ : ^ 
 
 =1= 
 
 f 
 
 3 
 
 < 7 
 
 I 
 
 a 
 
 3 
 
 lO. 
 
 ^S^^ 
 
 8 Iq f 
 
 J g_ 
 
 ii^ 
 
 LESSOH 11. 
 
 SECONDARY OR COLLATERAL SEVENTHS. 
 
 In obedience to certain natural laws which cause many spontaneous 
 enbdivisions of a low rate of vibration (clearly explained in " Tyndall 
 on Sound") when a tone is produced low in pitch but powerful in 
 volume it gives out certain overtones or harmonics, producing what is 
 called The Harmonic Chord of Nature. The low note from which it 
 Bpiings is called its prime (root, ground- tone, fundamental, &c.) and 
 the fiiU Harmonic Chord presents the following intervals' 
 
84 
 
 ELEMENTS OP HARMON 7. 
 
 Perfect Sth. 
 A Augmented ith. 
 
 Major 3rd. 
 
 Major 2nd. 
 
 Perfect Sth 
 •Minor 7th. 
 
 Perfect 5th. 
 
 Major 3rd. 
 
 Perfect 8th. 
 
 Perfect 5th. 
 
 Perfect 8th. 
 
 Prime. 
 
 The same 
 founded on G. 
 
 ^^^^^^m 
 
 i^Pl^l 
 
 CV7 
 
 As the upper intervals are rarely audible, we may omit them to 
 ehow, as at * that this chord contains the dominant seventh chord. 
 It is doubtless owing to this that the latter sounds so pleas- 
 antly under all circumstances, if properly resolved. Both because 
 of its prominent importance and because its original root is called a 
 prime, it is known as the primary seventh. All other sevenths are 
 called secondary or collateral sevenths. These, difFering in various 
 ways from the chord of the seventh found in the Harmonic Chord, 
 cannot be used in the same way with that. We therefore ,adopt a 
 Rule for the Introduction of Secondary Sevenths. 
 
 All 7ths, except those founded on either the dominant or the 
 leading-tone, must be prepared, or enter diatonically. 
 
 Note. A note is pre/pared when it has occurred in the same voice in the previous 
 chord. 
 
 a b . c d e 
 
 i 
 
 ^3=^ 
 
 i 
 
 :;i= 
 
 ^ 
 
 i& 
 
 ^ 
 
 ^ 
 
 ^^1 
 
 ciy 
 
 17 IV 
 
 vr 
 
 IV 
 
 vn"7 
 
 At a, the 7th is intolerably harsh. At 6, the same 7th having 
 been prepared by appearing as the consonant 3rd of the preceding 
 chord, is less unpleasantly dissonant, especially when followed by its 
 resolution, as above. At c, the same 7th coming diatonically from 
 above is only pleasant, succeeded as it here is, by its resolution. 
 Compare d and e with the rule. While the Basses of the following 
 . ^ ; 
 
 * The minorTth is a trifle higher and the augmented 4th a little lower than the 
 harmonic»^ctualIy thrown out by the prime ; but oui system of notation admits 
 of oottsins nearer than the intervals showe above 
 
ELEMENTS OP HARMOlTr 
 
 85 
 
 exercises naturally produce these proper results, the student should 
 watch carefully the application of the rule in order hereafter to intro- 
 duce such chords in a musical way in exercises or compositions of his 
 own. 
 
 1. s 
 
 ^i=^ 
 
 f%=t^i=°^ 
 
 m 
 
 ^=- 
 
 s 
 
 ^ 
 
 =^ 
 
 ^ 
 
 3. 8 7 
 
 S 
 
 2 6 
 
 3 
 
 ^^ 
 
 ^ 
 
 -2^- 
 
 ^ 
 
 II 
 
 i 7 
 
 ix 
 
 ^ 
 
 3 
 
 87 
 
 §% 
 
 E£ 
 
 ^ 
 
 e. 
 
 #f 
 
 f 
 
 87 
 
 ^^^ 
 
 ^= 
 
 =^ 
 
 CHORD OF THE SEVENTH ON THE LEADING-TONE. 
 
 This chord, though often following the resolution of other chord* 
 *f the 7th, more frequently moves according to the following 
 Rules for the Leading-tone Seventh. 
 
 1. The root ascends one degree to the tonic. 
 
 2. If the 3rd is below the 7th, the 3rd ascends one degree ; otho^ 
 irise it sometimes descends one. 
 
 S. The 5 th may descend or ascend one degree, usially the former. 
 4. The 7th descends one degree. 
 
36 
 
 ELEMENTS OP HARMONT. 
 
 Tht 2nd rale often doubles the 3rd of the resolution, but for reasons 
 shown at a and b. The chord should be used with great care and 
 not too commonly, especially in the positions given at c and d. 
 
 vn°, I vii", I xu°, I vn°, I 
 
 Observe that though this triad is diminished, the 7th is minor. 
 
 a 
 
 Fifths. 
 
 b Good. 
 
 c 
 
 Good. 
 
 d Good. 
 
 -9- 
 
 
 1 - ' 
 
 la ^ Ti 
 
 >' 
 
 1 
 
 1 
 
 " &- 1 
 
 1 "^ *' _U 
 
 
 L — g ^^ — 
 
 F — g e — ] 
 
 l^ — <s=i 
 
 7 
 
 L-, g ^ i 
 
 7 
 
 7 
 
 7 
 
 r»' 
 
 . 
 
 
 1 
 
 1 Tl 
 
 i- 
 
 1 
 
 
 1 
 
 1 ^"» 
 
 -/ _ /5 1 
 
 ^ ^ 
 
 1 -, ^ 
 
 
 
 
 1 " 
 
 1 '- 1 
 
 T'. 
 
 ^^^, ^ .^_^_^_J _-.a^.;^_: 
 
 ^ tp «= 1 1 1 ^ si — — A—^ ^ : 
 
 1^ 1 — 1 1 — I 1 1 ^ — 1 jj 
 
 8- „ 3 7 87 7 87 
 
 2J!PIL-,^ .^-^^J r — ^-+ — ^ — 
 
 9. 366 7 7 647 
 
 lO. 7 7 2 6 7 87 
 
 -'-"u 1 . — ^ — 1 f- — ^^—^ — ' ^ ^ — J—f ^^. 
 
 Jfote. The chord of the seventh foouded On the tonic of the minor scale is not 
 used, except with the notes of the deaoending melodic scale, or with modulation. 
 See Lesson 211. 
 
 LESSOH 12. 
 
 CONSECUTIVE CHORDS OF THE SEVENTH. 
 
 Heretofore the rules for the regular resolution of all the notes of 
 the chords of the 7th have been sufficient. If now we write two or 
 more consecutive chords of the 7th, both chords having their roots in 
 the Bass, we must omit the 5th in alternate chords. Whether it be 
 omitted in the first of such chords and retained in the second, thu 
 
ELEMENTS OF HARMONY. 
 
 37 
 
 regalarly alternating, or vice versa, depends entirely upon the chord 
 immediately preceding the series of 7th chords. To secure a strict 
 and easy observance of the foregoing principle we adopt two 
 
 Bules for Gomecutive Chords of the Seventh with their Roots 
 in the Bass, 
 
 1. Write each 7th that the figured Bass requires. 
 
 2. Besolve each 7th itself, whatever may be the progressions of 
 the other mtervals. 
 
 C n? V; 
 
 The regular resolution of the chord at a results in that at 6 — but 
 the second chord does not contain the 7th required by the Bass and 
 violates Rule 1, ' Writing the full chord over eajsh Bass note at c and 
 d, we fail to resolve the 7th in the chord aX\c and violate Eule 2. In 
 the next bar we resolve the 7th in the chord at e and yet hold over 
 its 3rd to become the required 7th aty, necessarily omitting the 5th 
 in the second of the tw6 chords. Or, writing the first chord without 
 its 5th, as at g, we resolve its 7th ^and hold over its 3rd which be- 
 comes the 7th at h, which alsq has its own 5th. Another expression 
 for the two rules given above is : 
 
 In consecutive chords of the 7th with their roots in the Bass, the bth 
 is omitted in alternate chords. 
 
 The student should point out sequences wherever they occur. 
 
 i^ 
 
 ■rsn 
 
 =?c 
 
 ^ 
 
 zzzz 
 
 gg^^i^ 
 
 ^ 
 
 ^s 
 
38 
 
 ELEMEJifTS OF HAEMONT. 
 
 3r 
 
 §id$=F=^ 
 
 7 7 
 
 S 
 
 s 
 
 -■g ^s^ 
 
 77 77 7777 7 
 
 6 87 
 
 i 
 
 ^^F=l" 
 
 ite 
 
 :^:=1-j 
 
 ii^a 
 
 ■ r rg'T 
 
 §i^^ 
 
 S. 3 7 7 7 
 
 6 
 6 1 
 
 7 7 7 
 
 3^^. 
 
 ^^&T(^- 
 
 e. 
 
 aigae 
 
 il 
 
 ■I tS> P 
 
 •y. 
 
 7 77 7 77 7»7 
 
 afetesEHi 
 
 6 
 
 6 4 1 
 
 7 
 
 m=^ 
 
 ■e>-'-^^f^^a- 
 
 e 
 
 ^F=5= 
 
 o. 
 
 iite 
 
 7 
 
 ^=1= 
 
 7 
 
 lO. 
 
 f 
 
 6 7 
 
 7 
 
 i^ 
 
 3 
 
 LESSOK 13. ., 
 
 CHORDS OF THE DIMINISHED SEVENTH. 
 
 A triad may be diminished and yet have a minor 7th, as at a ; such 
 must not be confounded with the diminished 7th chords. The chorA 
 of the diminished 7th if originally foundsd on the leading-tone of a 
 minor key* and consists of the 7th, 2nd, 4th and 6th degrees of th« 
 
 • Wien foun 4 in the major key it is formed by chromatic changes explained is 
 Lessen 18 ; and, etrictiy speaking, is transiently in a minor key. 
 
ELEMENTS OF HARMOITr. 
 
 39 
 
 harmonic minor scale. Its most natural progression is to the tonic of 
 the minor.' In free composition this chord really requires neither 
 preparation nor resolution ; its resolution, when used, may be either 
 minor or major as at b and c ; and consecutive chords of the dimin- 
 ished 7th may properly occur, in ascending or descending succes- 
 Bion as at d. As the name denotes,- both the triad and its seventh are 
 diminished. 
 
 I 
 
 s= 
 
 ^j i^&ia^i^ga^i ] 
 
 JN=g=Ttfs 
 
 i 
 
 ^- ^ _§g= 
 
 ^ 
 
 m 
 
 C vn°5 a vn?3 la VU°7o AI 
 
 For its first simple use we adopt the following 
 Sules for the Secular Resolution of the Chord of the Diminished 
 
 Seventh. 
 
 1. Its root ascends one degree. 
 
 2. When its 3rd is below its 7th, the 3rd must ascend one degree ; 
 but when its 3rd is above its 7 th, the 3rd more frequently descends 
 one degree. ' 
 
 3. Its 5th usually descends one degree but sometimes ascends one. 
 
 4. The 7th always descends one degree. 
 
 The following shows all tlie positions and inversions of the diminished 
 7th chord in the key of a minor, together with their resolutions. 
 Either. 
 
 A- 
 
 i 
 
 " y *» 
 
 i 
 
 f 
 
 -& — 0- 
 
 Either. 
 
 IN 
 
 H 
 
 i 
 
 m 
 
 =t^ 
 
 i 
 
 sy 
 
 — ^ 
 
 'M 
 
 «,imr •',■-. 
 
 f 
 
 Either. 
 6 
 i 6 
 
 ^ 
 
 
 vnV I 
 
 vn' 
 
 la 
 
 m 
 
 VII% 1 
 
 i 
 
40 
 
 ELEMENTS OF HAKMONT. 
 
 The alBove form should now be written in every minor key, ta 
 leven sharps and seven flats, inclusive. 
 
 ^^ When one speaks of the diminished 7th chord on any 
 letter, on D, for example, D would be the root of that chord and its 
 regular resolution, according to the progressions shown above, would 
 be to the triad of cb minor. But of a diminished 7th chord in d 
 (that is, in the key of d minor) the root would be C|, the leading-tone 
 in that key, and its regular progression would be to the triad of d 
 minor. Special attention is called to this phraseology that much 
 needless confusion, so often met with, may be avoided. 
 
 Transpose and harmonize the exercises of Lesson 7. 
 
 LESSOK 14. 
 
 Exercises embracing chords of the diminished 7th in connection 
 with others already familiar, here follow. 
 
 Sules. 
 
 1. Parallel motion, even in four voices, to a chord of the dimin- 
 ished 7th, is correct, but only when really necessary. 
 
 2. The root of this chord, being the leading-tone, must not be 
 doubled. 
 
 1 „ 8 7 
 
 ^ 
 
 :t 
 
 =»? 
 
 ^ 
 
 mi 
 
 rst- 
 
 2. 
 
 3 
 
 7 
 
 7 
 
 Si^; 
 
 ^^— -fS*- 
 
 r-i^-f^ 
 
 P: 
 
 i^ztt 
 
 3. B 
 
 s^ 
 
 6 7 
 
 7 
 
 i 
 
 3* 
 
 3s: 
 
 m&^^^ 
 
 7 
 
 1 * 
 
 ^^ 
 
 6 7 
 
 6 4 fl: 
 
 I 
 
 S 
 
 S. jr 6 # 7 
 
 ^m^m 
 
 '/ g fg 
 
 6 7 # 
 
 :^3^^E^^dS=B 
 

 « 7 
 
 m^^a 
 
 ELEMENTS OP HARMOJfT. 
 
 41 
 
 6.4 f 
 
 ^ 
 
 ^F 
 
 7 
 
 ^ 
 
 4=14 
 
 ■g-l-ag^ 
 
 7 
 
 7 *f 
 
 ^--^-^Hr-^ ^^^^^ S 
 
 8 7 
 
 6 # 
 
 s> (^- 
 
 i 
 
 LESSOH 15. 
 
 INVERSIONS OF SECONDARY SEVENTHS. 
 
 The student should be careful not to apply the rules of Lesson 12 
 to all consecutive 7ths, but only to such when in the fundamental 
 position. Inverted 7th chords are not subject to these rules, but 
 require the application of the rules given in former lessons. 
 
 1. 
 
 3 2 
 
 5 87 
 
 3 
 
 ^ 
 
 =p-»- 
 
 ■ o (=■ 
 
 ^ 
 
 S. 5 4 5 
 
 2 e 
 
 3 6 4 3 
 
 5 87 
 
 9^ 
 
 ^^^— (g-i-tf^^ 
 
 3: 
 
 3^ 
 
 i 
 
 ^ 
 
 3. 
 
 2 6 S 
 
 2 6 5 
 
 6 
 
 6 5 
 
 ^w 
 
 -A — fi.. 
 
 6 5 
 
 »E 
 
 e^E^=£ 
 
 -z^- 
 
 4. 3 5 
 
 6 6 6 6 
 
 25 347 2643 5 
 
 S 6 7 
 
 -P-^ 
 
 fe 
 
 22=^ 
 
 -^-?g- 
 
 =^ 
 
 EE 
 
 ^ 
 
 
 g" a J 
 
 3 2 6 
 
 6 8 7 
 
 i 
 
 ^S^^F^^^mm 
 
 3 2 6 6 5 
 
 s 
 
 3 6 43 3 6 3 
 
 4 7 
 
 I^ 
 
 g^l] 
 
<2 
 
 ELEMENTS OF HARMOITY. 
 
 i^ 
 
 
 .6 f 
 
 « IT 
 
 g fg^ 
 
 3 
 
 1 
 
 f^ 
 
 :t=^ 
 
 3 
 
 # 
 
 I r 
 
 t=4: T~1 — := T-tg — ^ 
 
 ^^^ 
 
 i^ 
 
 3t: 
 
 o. 
 
 ^^aa^ 
 
 3 6 6 q 
 
 6 ^ 
 
 6 1 ? 
 
 6 87 
 
 5 El 
 
 a Tig" 
 
 -<» — ?*- 
 
 1^-^=^ 
 
 HIE 
 
 LESSOH 16. 
 
 CADENCES. 
 
 A cadence is a more or less decided close of a harmonic progres- 
 sion. There are six kinds. 
 
 1. The Perfect Authentic Cadence, ofteu called the Full Oadenee, 
 consists of the chord of the dominant, usually with its 7th, followed 
 by the triad of the tonic, each chord having its root in the Bass and 
 with the Soprano (or highest voice, whatever it may be) ending on 
 the tonic. See a, below. 
 
 2. The Imperfect Authentic Cadence presents the same succession 
 of harmonies as the Perfect Authentic, but with either chord inverted 
 or with the Soprano not ending on the tonic. See b. 
 
 3. The Perfect Plagal Cadence consists of the triad of the sub" 
 dominant followed by- that of the tonic, both being in the fundamental 
 position and with the Soprano ending on. the tonic. See c. 
 
 4. The Imperfect Plagal Cadence presents the same progressions 
 of harmonies as the Perfect Plagal, but with either chord inverted 
 or with the Soprano not endii.g on the tonic. See d. 
 
 5. The Half Cadence consists of any chord followed by the triad 
 of the dominant. . See e. 
 
 6. The Deceptive Cadence, sometimes called Interrupted oi 
 Fahe, consists of the chord of the dominant, generally with its 7th, 
 followed by any chord except that of the tonic. See_/. 
 
 Note. Thesi) last irregular progressioos are found also oa any degree of the scalft 
 None of these progressions form true cidences except when 
 
ELEMEIfTS OF HARMONY. 
 
 43 
 
 comiug at the end of a phrase, and usually with the last chord on 
 the accented part of the bar. The form at g should not be regarded 
 as a cadence ; while that at ^ is more satisfactory when forming the 
 close of an entire phrase. 
 
 i 
 
 or 
 
 1 
 
 1 
 
 f 
 
 zs^ 
 
 zsz 
 
 c Vr 
 
 I 
 
 V7 
 d 
 
 V7 
 
 V7 
 / 
 
 1 
 
 ZS- 
 
 sr- 
 Z3SZ 
 
 ■s — " &- 
 
 i 
 
 IV 
 
 IV 
 
 V7 
 
 VI 
 
 -^z 
 
 I 
 
 ^ 
 
 :^: 
 
 ^^^=r 
 
 " — a cz> 
 
 ■^P—^ 
 
 ^S 
 
 ^ 
 
 ^ 
 
 I — Vr 
 
 — V7 
 
 The student should play each of these forms, except that at g, in 
 each major and minor key. 
 
 When the form of the deceptive cadence occurs in the midst of a 
 phrase, it is called a deceptive progression. 
 
 Rule. In the deceptive cadence and deceptive progression, the 3rd 
 often descends one decree. 
 
 m 
 
 =p 
 
 6 5 
 
 6 87 
 2 S 
 
 -Sl— fi^ 
 
 la: 
 
 i 
 
 a. 
 
 ^S 
 
 « 
 
 3 S 
 
 87 
 
 ^ 
 
 -ez- 
 
 -(^—e>- 
 
44 
 
 ELEMENTS OF HAEMONT 
 
 gg 
 
 3 6 7 
 
 -3S1 
 
 6 
 S 4 7 
 
 2 6 3 
 
 6 
 
 5 37 
 
 -^^^ 
 
 -(=- 
 
 £ 
 
 1 
 
 4. 5 7 
 
 S7 
 
 ^ 
 
 * 
 
 ^ 
 
 4 7 
 
 3 
 
 4 
 .3 2 
 
 6 
 
 5 8 7 
 
 e© 
 
 I2i 
 
 ^— g^ 
 
 «>— esr 
 
 Transpose and harmonize Lesson 9. 
 
 LESSOK 17. 
 
 lEREGULAR TREATMENT OF THE SEVENTH. 
 
 Although the downward progression of the 7th thus far invariably 
 followed, is based upon natural harmonic law, many exceptions to this 
 occur. Other chords may intervene between the 7th and its resolution 
 as at 1, below, or prevent the latter altogether, as at 2. The voice , 
 singing the 7th sometimes interchanges intervals with some other voioej 
 as at 3. It likewise happens that the Bass occasionally descends to a 
 lower octave of the resolution when the 7th was in some upper 
 voice, as at 4. Moreover, certain melodic movements of any two 
 voices (frequently the Bass and one other) as at b j, render the v,i^ 
 ward progression of the 7th most natural to both voice and ear, 
 as at h. Again, changes of key often lead the 7th upward, as at 6. 
 To provide for such exceptional cases we adopt the following 
 Bnles for the Irregular Progression of the SeoerUh. 
 
 1. The resolution is delayed if one or two chords intervene be- 
 tween the 7th and its resolution. 
 
 2. The resolution need not occur if a sufficient number. of chords 
 follow the 7th to destroy its effect and the consequent necessity for 
 its resolution. 
 
 3. The 7th may progress freely downward to a different interval of 
 the same chord when some other voice takes the 7th. 
 
 4. The 7th must ascend when another voice descends to its resold 
 tion, or ta some octave of its resolutimi. 
 
ELEMENTS OP HARMONY. 
 
 4S 
 
 5. The 7th may sometimes ascend when its root remains stationary 
 in the next chord, provided the root and its 7th are separated at least 
 a 7th. 
 
 6. The 7th must ascend when certain indicated changes of key are 
 most easily produced in this way. 
 
 illustrations. 
 The chords marked * exemplify the rules. 
 
 i 
 
 H h 
 
 :s?=^ 
 
 =1=^ 
 
 ^ 
 
 -^ — «- 
 
 6 
 * 7 
 
 I 
 
 2. 
 
 ^^S 
 
 -^-^- 
 
 t^m. 
 
 S^^zfr 
 
 ^ 
 
 -s^-t- 
 
 G I n, I y? I 
 
 9 
 
 ^ 
 
 d , 
 
 Vr V I IV IV? 11, IV Vr 
 / » 
 
 W^ 
 
 
 13=^ 
 
 8 7 
 
 ¥- 
 
 8 7 
 
 :g: 
 
 ^s^ 
 
 B 
 
 ^= 
 
 ^ 
 
 i 
 
 G V7 Vr I V7 V7 
 4. 9«Bad. %« Good. 
 
 V? y? I C V7 V7 I 
 5. 3 
 
 DV7 I OV7 
 
16 
 
 ELEMENTS OP HAKMOITT. 
 
 At i g the Bass descending with the 7th forms hidden 8i(is which 
 are so noticeable as to be nearly as bad as consecutive 3ths. Thii 
 causes an additional and very important 
 
 Hule against Hidden Octaves. 
 
 Hidden Sths in which either voice passes over the 7th of a chord 
 (this forming the hidden 8th) are to be avoided as never good. 
 
 Rule 4 above, provides for such progressions ; but unless there be 
 B necessity for any of the above exceptions, chords of the 7th mast 
 be regularly resolved. The Arabic numerals being arbitrary, the 
 student must observe the following 
 
 General Rule. 
 
 Write the chords which are required by the figured Bass, even 
 though this should violate previous rules, taking care to connect the 
 chords as smoothly as possible. 
 
 1 3 
 
 6 
 S 
 
 6 
 
 S 87 
 
 
 3 2 
 
 6 
 « 5 
 
 e 
 
 4 7 
 
 
 R^rt« 
 
 1- 
 
 -,»— H=8- 
 
 
 — s> 
 
 
 i9 '.. 
 
 
 ::;^-tp— J5— 
 
 -5—3^ 
 
 "P — T' 
 
 (S- 
 
 
 __j= C.- 
 
 -| 
 
 —a 
 
 
 
 1 ' 
 
 T- 
 
 
 -4- — U- 
 
 fflf-i 
 
 
 3. 
 
 ^ 
 
 6 
 4 7 
 
 11 
 
 H=2- 
 
 3. 3 
 
 6 4 6 
 4 3 5 
 
 5 87 
 
 4 7 
 
 ^ 
 
 §5^= 
 
 ■S>- 
 
 S^ 
 
 -s>—s) 
 
 z^: 
 
 4. 3 
 
 3 
 
 6 6 
 
 5 7 4 
 
 f 
 
 f 6 
 
 3 4 7 
 
 6 7 
 4 tt 
 
 ^^ 
 
 -2Sl- 
 
 -f=— «- 
 
 i^i 
 
 -Srz^ 
 
 zsn 
 
 S^3^; 
 
 -m 
 
 6 4 3_ 4 ^ 
 
 i^^ii 
 
 6 7 
 
 * iL 
 
 -(=- 
 
 Frequent transpositions of former exercises into other keys shonl* 
 be mode, both by writing and by playing. 
 
BLEMENT8 OP HARMONT. 
 
 47 
 
 IiESSOH 18. 
 
 CHllOMATIC CHANGES OF SINGLE NOTES. 
 
 Although the key of C major contains no sharps or flats, it is 
 obvious that one may properly perform an ascending or descending 
 chromatic scale of moderate rapidity while sustaining the triad of C, 
 without changing the key or introducing "contradictory effects, as hero 
 shown : 
 
 ^^^^l^^^^P 
 
 -(S^ 
 t^. 
 
 s 
 
 ± 
 
 ^E^ 
 
 ? 
 
 c I. 
 
 In the same way any part of these changes may occur with results 
 similar in general effect. Such changes can come in any voice. 
 
 Rule. Any note may be chromatically changed without changing 
 the key, provided such a change be rather melodic than harmonic, 
 affecting more particularly the single voice in which it occurs. 
 
 In the following example the movement of the Alto at a is slightly 
 changed at h from one whole step to two half steps ; but one cannot 
 imagine this a modulation to a minor, although G]t is the distinguish- 
 ing characteristic of the latter key. This Gjj is plainly rather melod- 
 ic than harmonic. Likewise the whole step of the Alto at c becomes 
 two half steps at d. Each of these chromatic changes is introduced 
 merely to soften the progression of the single voice in which it 
 stands and is not of importance sufiScient to entitle it to harmonit 
 consideration. 
 
 B^^^^s^i 
 
 S 5# 
 
 3 sb 
 
 3C 
 
 IV I IV T 
 
 I^ 
 
 1 IV 
 
 IV IV 
 
48 
 
 ELEIdENTS OF HAKMOmf. 
 
 These examples suggest a 
 
 General Rale for Qhromatic Ohanges. 
 
 A note chromatically raised, if preceded by one of fowe?" pitch, most 
 naturally ascends to the next degree : while a note chromatieally low- 
 ered, if preceded by one of higher pitch most naturally descends to the 
 next degree. 
 
 Cases like that at e above, do not present the conditions necessary 
 to the application of this principle. 
 
 The student should remember that the numerals in the npidst of an 
 exercise never denote the position of the chord. 
 
 Sules. 
 
 1. A dash by the side of any numeral continues the note or notes 
 produced by that numeral.* 
 
 2. A dash standing alone over a Bass note continues the next pre- 
 vious chord in the upper three voices, whether the Bass belongs to it 
 or not. 
 
 3. In the midst of an exercise, 5 5 {( denotes that the Sth is Qrst 
 natural and then sharped. 
 
 ^ 
 
 2. a 
 
 ^^=d=i ^ 
 
 ^r 
 
 ■m: 
 
 0- 
 
 g=Jt 
 
 6 - 
 
 :^ 
 
 ^ 
 
 I V 
 
 V? 
 
 * Many casis arise where a dash so placed dae» not amtmue (Ae numeral Uielf. 
 
ELEMENTS OF HARMONY. 
 
 49 
 
 At 1, the 6 produces the triad of C and the dash repeats it ; while 
 the sharp with no numeral by its side raises the- 3rd (G) above the Bass 
 note. The notation at a is improved at 6. The F in the Bass does 
 not produce a new chord but here appears as a passing-note. See 
 Lesson 42. The chromatic changes above being merely melodic and 
 of no harmonic value, do not affect the use of the usual Roman nu- 
 merals, which are the names of chords. Chords such as those at / 
 and g are often found ; but resulting as they do from melodic changes 
 they produce neither changes of key nor a really new chord. The 
 single exception occurs when in the chord of the 7th on the leading- tone 
 iu a major key, by flatting its 7th, a chord of the diminished 7th 
 results. See exercise 2, below, third bar. Yet even this need not be 
 regarded as a change from a major key to a minor, when followed by 
 the same key that preceded it. 
 
 The first two bars of exercise 5, below, fully illustrate the General 
 Rule for Chromatic Changes, given above. 
 
 85# 33J, 6 
 
 i^: 
 
 iafc 
 
 :^323; 
 
 ^ 
 
 ^ 
 
 12. 
 
 65#1- 7 7^ 
 
 77k 
 
 65 S&ff 73|> 67 
 
 m^- 
 
 :^=^ 
 
 _3l3 6^ 
 
 2 
 
 771, 
 
 t I 
 
 87 
 
 2 
 
 6 7, 6 
 
 5 6[> 4 7 
 
 
 ^llt^ 
 
 rS ^ 
 
 
 
 — — — - 
 
 (^ n 
 
 -\—r-^ -H 
 
 ZJ TTl; 
 
 ^^- 
 
 fS 
 
 sLs^. 
 
 
 :=b=&: 
 
 ^=^-=^ 
 
 :-..Tdd 
 
 ^ , 6 6 7. .66b 
 
 4. 8 3b| ^ 2 ik . ° ^ -^ _J_ L. 5 Sj> 4 - 87 
 
 Si 
 
 ig-l g I f^—fS>' 
 
 i 
 
 f— &:=a=:4 
 
 ^ 
 
 ZJ, 6 E# 
 
 -a'. 
 
 e 
 
 6 6 6 
 2 6^ 4 87 
 
 S 
 
 =P=^ 
 
 -jg~ 
 
 i 
 
50 ELEMENTS OF HAKMONT, 
 
 KESSON 19. 
 
 ITALIAN, FKENCH, GERMAN AND NEAPOLITAN 
 
 SIXTHS. 
 
 Among the many chord formatious arising from irregular chro- 
 matic changes, some, like the preceding, have too little harmonic 
 significance to entitle them to separate consideration ; hot there are 
 four chords which, from their great harmonic strength and from their 
 leading so irresistibly in a certain direction, hare acquired an exist- 
 ence among independent chords — or, as chords having in themselves 
 characteristics distinguishing them from all others. Their definition 
 and stricter treatment now follow. 
 
 1. The Augmented Sixth chord, called, from the place of its sup- 
 posed origin, the Italian Sixth, is the first inversion of a triad 
 founded upon the fpurth degree of a minor key (sometimes reckoned 
 as on the second degree of the major) with its root chromatically raised. 
 In four voiced harmony this chord must double its 5th ; and one, or 
 both of these 5ths must be below the root. If both 5ths be above 
 the root, consecutive 5ths result in its next progression. 
 
 2. 7%e Augmented Six-Four- Three chord, called the French Sixth, 
 is the second inversion of a chord of the seventh founded on the 
 second degree of the minor key, with its 3rd chromatically raised. 
 
 3. TTie Augmented Six-Five chord, called the German Sixth, is the 
 first inversion of a chord of the seventh founded on the fonrt/i degree 
 of the minor key, with its root chromatically raised. 
 
 4. TTie Neapolitan Sixth is the first inversion of a triad founded on 
 the second degree of the minor key, with its root chromatically 
 lowered. 
 
 Of these four chords, the first three naturally progress to the dom- 
 inant (of a minor key), the last being followed by the second inver- 
 sion of the tonic of a minor key. The effect of each of these chords 
 is most striking when the note chromatically changed comes in the 
 highest voice, though it often occurs in some other. The augmented 
 six-five chord (German 6th) requires special care. Taken alone, it 
 presents the same audible effect aa that of tl e dominant 7th, for 
 
ELEMENTS OP HARMONY. 
 
 51 
 
 wia.fi]i it can never be properly substituted ; but in its proper con- 
 nection, neither cliord can possibly be mistaken for the other. As the 
 immediate progression of the augmented aiz-five chord to the dominant 
 triad would produce 5th3 some other chord must intervene as shown 
 below— either way being wholly faultless. In each case where the three 
 augmented 6th chorda appear in their original form (see definitions 1, 
 2, 3, above) the 6th above the Bass note is augmented, according to 
 the first lesson on intervals. 
 
 Aug. 6th may be expressed by 6+ ; Aug. | by |+; and Aug. B by g+. 
 
 Neapolitan 6th may be marked N.6. 
 
 Italian Sixth. 
 
 French Sixth. 
 
 ^=1 
 
 ■3PB *h 
 
 -L 
 
 ize: 
 
 ^r ^ 
 
 i 
 
 atez 
 
 
 
 3 
 
 # 
 
 9--f — r 
 
 3i 
 
 Dsr 
 
 a: nr 
 
 e^- 
 
 a: IV7 J+ 
 
 i 
 
 German Sixth. 
 
 Z2^Z 
 
 ^ 
 
 Neapolitan Sixth. 
 
 
 ^ 
 
 ri:rffg ^' -g- 
 
 ? 
 % 3 
 
 % 3 # e]f _£ 
 
 7 
 
 i 
 
 ^ 
 
 a: IV7 
 
 64 
 
 4 
 
 3 
 
 a: I N.6 
 
 -^ 
 
 The §teer treatment of these chords is intentionally left for mora 
 advanced study. The special difficulty to be here encountered is not 
 in the proper writing of the chords, wherever they may occur in the 
 exercises, but in recognizing and naming them. To render them 
 more familiar, therefore, the stuuent should transpose the following 
 forms into every minor key, fifteen in all. While other positions and 
 inversions even, of these chords frequently arise in free composition, 
 it will be best to use, in this lesson, only those here given, both 
 forms being written where two appear. 
 
52 
 
 ELEMENTS OF HAKMOITr. 
 
 m 
 
 se 
 
 m 
 
 ^SlS 
 
 E#i 
 
 -n 
 
 
 
 
 
 # 
 
 3 
 
 9^ 
 
 ^ 
 
 E 
 
 a: 6f 
 
 6+ 
 
 3 
 
 IT 
 
 ^=^- 
 
 :^^:fF' 
 
 Isg; 
 
 d=^it 
 
 i 
 
 ^m 
 
 
 iif 
 
 321 
 
 6 7 
 
 f 
 
 3 
 
 •^i 
 
 # 
 
 6b 
 
 q=3= 
 
 i 
 
 6+ 
 
 6+ 
 
 V 
 
 6+ 
 
 6 
 
 4 
 3 
 
 
 6 
 
 I V a: I N.6 
 Transpose some previous lesson as a review. 
 
 V? 
 
 LESSOH 20. 
 
 In order still further to facilitate the recognition and naming of the 
 chords last explained, the student should observe that 
 
 When in a Sixth, Six-Five, or Six-Four-Three chord the only note 
 chromatically raised is the fourth degree of the minor key, the chord 
 is either the Italian, German, or French Sixth ; and that when in 
 a Sixth chord, the only note chromatically lowered is the secoud 
 degree of the minor key, the chord is the Neapolitan Sixth. 
 
 1. 3 
 
 m^ 
 
 SJB- # 
 
 f 
 
 -^ 
 
 ^ 
 
 f 
 
 -£. 
 
 8 7 
 
 ^- 
 
 -^ 
 
 iS 
 
 jar 6 j8r # 
 
 J8f 6 
 6 < 
 
 f 
 
 «— p: 
 
 ^ 
 
 S 
 
 7 
 
 i 
 
 3. 
 
 5 2 
 
 »: 
 
 I? 
 
 7 
 
 8 7 
 
 II 
 
EIiEMENTS OF HARMONY. 
 
 53 
 
 iSS 
 
 6 # 
 
 iL% 
 
 t=t 
 
 m 
 
 « 6 
 5 4 
 
 6 
 
 S 4 
 
 i 
 
 I 
 
 :5=^ 
 
 «> — (S 
 
 7 6 jr 
 
 ^IP J]^ 
 
 3 6 
 
 JBT 
 
 6 4 87 
 
 « 8 tf 2 6 6 4f 
 
 (©— (S^- 
 
 :l 
 
 £e 
 
 6. 
 
 f 3 q a 
 
 6 7 
 
 J %_ 4 ^ 
 
 -^g- 
 
 I 
 
 m^ 
 
 E 
 
 e 
 
 :t=d^ 
 
 •y. » 
 
 87 
 
 3 8 3 
 
 ^S 
 
 C 7 
 
 4* 
 
 » 
 
 £ 
 
 =2e: 
 
 ::^ 
 
 S 
 
 22 
 
 7 
 
 3 #7 
 
 Ji> 
 
 6 7 
 
 I 
 
 §» 
 
 ^^e 
 
 ifita 
 
 f 
 
 6 3 
 
 f 
 
 3 
 
 ^ 
 
 # 2 6 
 
 f 
 3 
 
 jk 
 
 « 7 
 
 S 
 
 ■^2— <e- 
 
 1 
 
 P 
 
 Chords of the Mnth, Eleventh and Thirteenth. 
 
 While chords of the ninth, eleventh and thirteenth are met with, 
 it is deemed'best to treat of them, if at all, when the student is more 
 advanced. The writings of the most eminent theorists of modern 
 times tend to the conclusion that these are not chords complete in 
 themselves but rather parts, or suspensions, of other chords. Such 
 a view greatly simplifies their e.Tplanation and, what is of still greater 
 importance, renders their correct enaployment almost certain, even at 
 tho hands of inexperienced writers. 
 
S4 ELEMEXTSOF HABMOXT. 
 
 LESSOK 21. 
 
 MODULATION 
 
 Several excellent writers speak of modulat .on as the progressiona 
 of harmony from each chord to the next, similar to any in the previ- 
 ous lessons. A more general as well as a more accurate use of this 
 term suggests the following definition : 
 
 Modulation is a change of key by means of connecting harmonies. 
 
 Tlierefore abrupt changes of key having no connection whatever 
 should not, for £he present at least, be considered modulations. Each 
 key has its own distinguishing notes beside many that are common to 
 several other keys ; and a modulation that does not eventually intro- 
 duce the notes peculiar to the new key is weak and undecided. As 
 already explained, keys are said to be related when they have many 
 notes in common. From this it follows that the nearest related 
 keys to C major are those of its dominant (G maj.), of its sub-dominanii 
 (F maj.), and of its relative minor (a min.). Next to these come 
 the relative minors of its dominant and sub-dominant {e and d minor) 
 and its own minor (c minor), not its relative minor. Each addition 
 of sharps or flats places the new key still further from C. Modula- 
 tions which lead constantly to nearly related keys, only, are neces- 
 sarily more or less gradual : those which lead with but few chorda 
 to remote keys are somewhat abrupt. Modulations which merely 
 pass through keys but do not remain in them are transient : those 
 which firmly establish a new key are decided or permanent. 
 
 Note. Transient modulations are often called fiwrtial ; and decided modulations, 
 entire. 
 
 The surest way of rendering a modulation decided is by means of 
 a perfect authentic cadence in the new key. A triad in the funda- 
 mental position rarely determines the key, its signature and other 
 surroundings being necessary to this. See illustration of Rule 3, 
 following. 
 
 i 
 
 ife^ 
 
 1= 
 
 ^^ 
 
 F I Bl> V i\> Y C IT a VI 
 
 Here the triad of F major is shown to form a part of five keys, 
 recognized only by means of tueir signatures. This gives occasion 
 fi>r Bule 3, below. But the dominant 7th cannot properly be reck> 
 
ELEMENTS OF HARMONY. 
 
 5i> 
 
 oned as ia either of several keys : it is in but one (either major or 
 minor). This 7th chord cannot be in any key with _j?._L-gzrr 
 sharps, as its F is natural ; nor ia any key in which the W ^ — 
 B is not natural. It must therefore be in either C major V7 
 or c minor. In this way its great use in rendering a modulation 
 decided is plainly evident. 
 
 When chromatic changes occur, introducing in a purely harmonic 
 sense the distinguishing characteristics of any new key, a modulation 
 Jo that key is produced. Care must be exercised that merely melo- 
 '3ic changes similar to those in Lesson 18, be not confounded with 
 modulation. Just here the student is reminded that he should be 
 familiar not only with the correct number of sharps or flats in any 
 key, but also with the particular notes thus affected. A key with 
 two sharps is not invariably D major, as shown at a ; nor is one 
 with two flats always Bl' major — see h. 
 
 Key of e minor. 6 Key of c minor. 
 
 I 
 
 -M 
 
 I 
 
 SHiJ-J- ltg^ 
 
 -g<— g f^ - 
 
 z\tsz 
 
 The instructor should write numerous examples similar in principle 
 to these and the following, the pupils naming the keys. 
 
 i 
 
 etc. 
 
 ^-- 
 
 5#s^ 
 
 m 
 
 yk^fe 
 
 32: 
 
 -Sl~^^ 
 
 -e>-^ 
 
 ■gg-g'- 
 
 * 
 
 Attention is directed to the strong harmonic character of the 
 diminished 7th and the three kinds of augmented 6th chords for pur- 
 poses of modulation. The former may be used with enharmonic 
 changes to produce somewhat gradual modulations to even remote 
 keys, as here shown. 
 
 ^^m 
 
 6 vn^fa 
 
 d-wPia /vn'ro ab vifzo 9* tii"?. 
 
36 
 
 ELEMENTS OF IIAKMONT. 
 
 The three chords marked a, I and c, contain togethei all the tones of 
 the chromatic scale : the four chords following each of these three 
 present the same tones but with different notations. The root of each 
 chord being found, the student will remember that this was stated to 
 be the leading-tone of a minor key, showing the key itself to be a 
 diatonic semitone above each root, as marked below the chords. 
 
 When either of the augmented 6th chords is used to modulate 
 from a major to a minor key, the change may properly be marked 
 as below, although the modulation is not fully accomplished till 
 one chord later. 
 
 -4- 
 
 |i=I=# 
 ^::-iii 
 
 zst: 
 
 :te 
 
 ^ 
 
 I 
 
 i 
 
 ^^ 
 
 JB- 
 
 # 
 
 -ci- 
 
 ^ 
 
 :1: 
 
 C I 
 
 V? 
 
 a 6+ 
 
 V7 
 
 The recognition of a key often depends upon what we have every 
 reason to expect mai/ follow it, as at a, below. So, too, a glance at 
 the chord next after another, often changes the key of the earlier 
 chord, as at b. 
 
 Examples likewise occur in which the key of a single chord can be 
 determined only by what it implies as to its unexpressed signature, as 
 at c, where the chord must be in the key of Bl? (either major or 
 minor) as each key having an E 1? has also a B t' in its signature. 
 
 p^ 
 
 ^1 
 
 m 
 
 =a 
 
 5=i^ 
 
 0=f=^ \^m 
 
 m^ 
 
 F I j?V F I G V I Bb V? 
 
 Beside chromatic changes, several chords in an otherwise unusual 
 arrangement and with no chromatic changes often introduce a modu- 
 lation. Of the/ie the most prominent is the second inversion oi triads 
 (six-four chords) founded on any degree of the scale but the tonic or 
 the sub-doroinant. The force of these inversions is expressed in 
 Rule 4 and its illustration below. 
 
ELEMENTS OP HAEMONT 
 
 57 
 
 Occasionally, an exercise beginning in a m^ijor key presents so 
 many minor chords, or those most frequently used in minor keys, 
 that though no change occurs similar to those already mentioned, one 
 feels the key to have become unmistakably minor, as follows : 
 
 I 
 
 ^m 
 
 ia~A" 
 
 l^ 
 
 S?=5t 
 
 :3=3: 
 
 ^ 
 
 r tu}. 
 
 Z2SZ 
 
 ^ 
 
 43=t 
 
 m 
 
 i^ 
 
 Z2^ 
 
 ISt 
 
 CI — V— 7 
 
 VI a li°7 — 
 
 II "7 
 
 The change of key as here marked is based upon the common 
 arrangement and use of certain chords, as suggested in Lesson 43. 
 
 The Boman numerals must be marked, reckoning from each new 
 key wherever a modulation occurs, as in Illustration % below. Ex- 
 ceptions to this may occur very near the close of any exercise, where 
 the original key reappears, whatever may have preceded it, thus : 
 
 ^ 
 
 =i= 
 
 i 
 
 7 
 
 "5" 
 
 Note 
 
 Gvn°7 
 Gm°7 
 
 CI 
 
 IV 
 
 V7 
 
 CVr 
 
 Although some of the following rules may appear unnecessary, 
 experience abundantly proves the . contrary : especially is this true 
 of Rule 1, students showing a constant tendency to mark now iey« 
 where only new chords occur without modulations. 
 
 Elites for Modulation. 
 
 1. Harmonies must not be marked as modulations except where 
 both the eye and the ear plainly recognize them as such. See also 
 Rule 4. 
 
 2. The original signature must be regarded unless plainly cort- 
 tradicted by some chromatic sign, or changed by implication. (See 
 pi evious illustration at d!; also Rule 4.) Chromatic changes whieb 
 
98 
 
 ELEMENTS OF HAKMOHT. 
 
 might properly be additions to the original signature m'lst bo so 
 leckoued. 
 
 3. Wherever the key changes, the new key is generally to be 
 recognized as that nearest related to the one just left, of which the 
 harmony admits, except near the close, when the original key reasserts 
 itself. Elsewhere the new key remains till plainly changed. 
 
 4. When any chord might seem to be the second inversion of a 
 triad (six-four chord) founded upon either the second, third, fifth, or 
 sixth degree of the scale,* especially when on the accented part of 
 the bar (thesis) the root of that chord is usually to be regarded as the 
 tonic of a new key. 
 
 When any one of the chords mentioned in Rule 4 stands on the 
 
 unaccented part of the bar {arsis), if it be preceded by one key and 
 
 followed by another, it often changes the key, as at 4 e ; but if preceded 
 
 and followed by the same key, it does not itself produce a modulation, 
 
 as at 4 f. 
 
 Illustrations. 
 1. Marked incorrectly beneath.- 2 3. 
 
 tfFt 3; 
 
 i^ ^gtei ^j^^ 
 
 -^-+ -g-^«g -t- g — 
 
 
 -(=- 
 
 I^IS 
 
 4S- 
 
 iS=^:fK 
 
 ^ 
 
 te. 
 
 CIFI V17GI7 CI 
 
 GI DV7 
 Not Gii. 
 
 d I viI°jo I 
 
 FI 
 
 CI VI a I PIBl»V7 IFI rfvii°7 F ny n? vi 
 
 117 
 
 * The triad of the leadingtone is not used as a six-four chord, save as a passing. 
 chord. See Lesson 42. 
 
ELEMENTS OF HARiMOinr. 
 
 59 
 
 At 1, every chord belongs unmistakably to the key of C major. 
 At 2.. the C^ is to be added to the signature. At 3, the triad of F, 
 though belonging sometimes to one key, sometimes to another (see 
 first illustration in this Lesson) must here be marked as the touic of 
 F major, that key being the nearest related to the one just left, d 
 minor. At 4, the student should play each example with a slight 
 accent on the first p&rt of each bar ; and if the ear be at all musically 
 cultivated, it will seem almost necessary to terminate each example 
 with a dominant 7th chord and triad of the tonic in the new keys 
 last marked under a, b, c and d. 
 
 UNHAEMONIC CROSS RELATION. 
 
 The principle involved in this term is that one voice or part must 
 not unpleasantly contradict the harmonic import of some other 
 voice, more especially in connection with chromatic changes. There 
 being some variance in the opinions of good writers 'on this subject 
 and so many exceptions to any rule that might properly be given 
 concerning it, only the most palpable violations of the principle above 
 stated need engross the attention of the student at this point in his 
 study. A clearer understanding of this fault and the best method of 
 avoiding it may perhaps be secured by observing the following, 
 Bute against Dhharmonic Cross Relation. 
 
 When any note of one chord is chromatically changed in the next 
 following chord, both of these notes must occur in the same voice 
 except where the second chord assists in producing a modulation : 
 otherwise the unharmonic cross relation ensues. 
 
 At a is the illustration of the unharmonic cross relation. At 6 
 this is avoided by following the rule. At c it is shown to be 
 unnecessary for both notes to occur in every voice that presented the 
 first of the two, provided the voice that gives the second gave also 
 the first. At d the B !> not being preceded by a B |;| in any voice, the 
 principle is not violated. At e, all the voices forming a part of the 
 modulating chord, no contradiction of harmony is involved. 
 
 6 or c d e 
 
 ^HjH ^Mfep 
 
60 
 
 ELEMENTS OP HAKMONT- 
 
 Previous examples show that a single chord is often sufScient to 
 produce a transient modulation. 
 
 Further explanations adapted to the wants of each pupil will be 
 indispensable in connection with the subjoined exercises. 
 
 1^" As additional names of keys must now be written beneath, 
 requiring more space than heretofore, the student should write the 
 chorda well separated; and should remember to designate major 
 keys by capitals and minor keys by small letters (not small capitals). 
 
 Modulations by means of chromatic changes. 
 
 _ 6 6^6 
 
 1. 5 32 69 61265 
 
 3=t 
 
 ^E 
 
 \isP{-f^ 
 
 -^— s<- 
 
 C I IVV7 IGV7I II I V7ICV7 I IV I V7 I 
 
 m 
 
 2. 3 2 
 
 f 
 
 2 6 5 
 
 i=-B<s- 
 
 6 87 
 
 ^ 
 
 -IS- 
 
 Ib 
 
 6 f 
 
 2 6 5 3 
 
 m 
 
 ^m 
 
 m^ 
 
 m 
 
 ■i± 
 
 - 6 8 7 7 6 7 
 4. 35 tt 326 eit 64« 
 
 ^iilU — u-4 — p \ ^ — r ^J 
 
 7b 
 
 f 7 
 
 2 3- t 
 
 6 8 7 
 
 i!^ 
 
 fg o - 
 
 -e>—(=- 
 
 LESSOK 22. 
 
 Introdudirig illustrations of Rule 4. 
 
 ^i^ 
 
 :. SL 
 
 i 
 
 6 7 
 
 * # 
 
 
 ^ 
 
 ^E^-- 
 
ELEMENTS OP HAKMONT 
 
 61 
 
 ». 
 
 T 6 5 
 
 m^ 
 
 i==t 
 
 3 
 
 6 7 
 
 7 6 7 
 
 ^¥- 
 
 :3s:rj. 
 
 I 
 
 3. 
 
 ^^^ 
 
 6 7 
 
 -F-^ 
 
 f 
 3 
 
 2 6 . 
 
 ^i^ 
 
 ^a— si: 
 
 4. 3 
 
 ^ 
 
 3^; 
 
 6 7 
 
 2 S 
 
 5 87 
 
 3^^ 
 
 -«> — 1=^ 
 
 I 
 
 zar 
 
 i: 
 
 The student should add to this lesson any three exercises of Lesson 
 21, transposed into keys one degree higher or lower than first written, 
 taking care to make such changes in chromatic signs as will be 
 adapted to the keys newly selected. 
 
 v^ 
 
 LESSOH 23. 
 
 The first exercise contains a free treatment of the diminished 7th 
 chord. 
 
 1 3 
 
 8 ,.7 
 
 * 
 
 6 S 
 
 i — ^1 , n h- 
 
 6 
 
 2 6^17 
 
 I 
 
 ^ 
 
 Z^ 
 
 € 
 
 i=i 
 
 S. 3 
 
 2 6 16 7 
 
 2 6 S 6 Jgr 
 
 6f 
 4 3 
 
 m^^^^^^m^^^ 
 
 3. 3 I 
 
 .4 3 5 
 
 5 7 4 2 
 
 4 
 6 3 
 
 6, ft 
 
 6 % 
 
 ^g^ 
 
 ^iz fl^-7 ^- 
 
 ^-?-^ 
 
 E£ 
 
 ±±^ 
 
 ■ s>-^- 
 
 ■ts-s^ 
 
 m^ 
 
 ..6 4r6667 
 
 4. 37 6#5 T645r4fl: 
 
 *: 
 
 -5(=- 
 
 -(=■ 
 
 ^ 
 
 :^q=3= 
 
 -S!- 
 
 6 
 5 5 
 
 6 
 
 4 3 
 
 ST:^ 
 
 r— ^r 
 
 3E 
 
 :^ 
 
 # 7 
 
 6 8.7 
 
 « ft: 
 
 3 
 
 3] 
 
62 
 
 ELEMENl^ OF HAKMOUr. 
 
 LESSOK 24. 
 
 Modalations by means of Augmented Sixtha. 
 
 1. 5 5 * 6 ^ 4i= 2 6 5 
 
 ^^ 
 
 5=? - 
 
 s 
 
 6 
 6 5 
 
 i^] 
 
 ■f^S- 
 
 -O— (=- 
 
 :t=t 
 
 S. 3 5 
 
 6 
 4 7 
 
 §5^ 
 
 ^=^1 
 
 f 6 jSr. 
 
 ? 4fl: 5 4 7 4 7 
 
 3 
 
 IS] 
 
 34. 
 
 -g-si H 
 
 -s'-s) -\ 
 
 si-Hg-t-zy 
 
 3. 3 
 
 6 f M 
 
 5 3 # 
 
 3=F;5=?q 
 
 e 6 
 
 6 7B1 7 5 4 
 
 7 4 7 
 
 ^ 
 
 1221 
 
 ■g— gl- 
 
 =^=Fg^3- 
 
 4. 2 
 
 =& 
 
 2 6l>45 47 587 
 
 ^ 
 
 -f=4^ 
 
 :i??2 
 
 3 
 
 -ig si -] 
 
 S. 
 
 3 6 
 
 
 
 4 , 
 2 3^5 
 
 ^^^^^^ 
 
 6 5 
 
 6 
 ? 4 7 
 
 i 
 
 LESSOH 25. 
 
 Some of these modulations present no chromatic change. 
 
 ., 6 6 6 
 
 *■• 36 87 6 6 675 6_587 
 
 ■ ^^irf — ^- — '^- T — " - H [— ^ T'^— * 1 
 
 ■==i-b-^-«— ^ -U — s>- ■ '^ J a, — J — ?- -P— - -;^- 1 
 
 a. s ? 
 
 s'~\\ s>T^ 
 
 6 4 6 6 
 
 5 3 4 7 4 7 
 
 iipe 
 
 i 
 
 i 
 
 ■ ^ i g ^ 
 
 3. 
 
 7 6 5 
 
 ^^ ^ 
 
 -■^ 
 
 ^ 
 
 S 
 
 6 8 7 
 
 J_*_ 
 
 ■ g l g' 
 
 I 
 
KliEMENTS OF HAEMONT. 
 
 m 
 
 4. S 8 7 
 
 TO 
 
 s « 
 
 8 3 
 
 » ! 
 
 B 
 
 < 8 
 
 S 4 7 
 
 ?e: 
 
 1 
 
 S. 
 
 i^ 
 
 3^ 
 
 6 
 6 5 
 
 2 6 
 
 4 7 
 
 Sj^ 
 
 i 
 
 LESSOH 26. 
 
 When two or more compositions are heard consecutively in differ- 
 ent keys, a modulation from the close of one to the beginning of the 
 next avoids abruptness and renders the whole more enjoyable to the 
 auditor. Such transitions are most satisfactory when not shorter 
 than a phrase (four bars). An entire phrase being more complete 
 and for this reason more easily remembered than fewer chords would 
 be,* the following modulations will be given in that form. While 
 countless other forms for each modulation could be shown, these that 
 follow are perhaps quite as simple, as decided and as easily remem- 
 bered as any ; but the student having first become absolutely familiar 
 with these, should then invent other forms of his own for each change of 
 key. The form given shtruld be written out in at least two other keys 
 and afterward played on the pianoforte or organ, without notes, begin- 
 ning each form in every key (major or minor, according to the 
 original model). But in playing these modulations in various keys 
 the student should never rely either wholly or in part, upon the feeling 
 of the hands or fingers as they touch the keys. This unintelligent way 
 should never be allowed ; but one should be able, at any point of the 
 modulation, to name the key, the root of the chord, and the position or 
 inversion of the latter. Anything short of this is a waste of time. It is 
 evident therefore that it is of great importance to commit to memory 
 the formulas expressed by the letters and Roman numerals beneath ■ 
 the chords. Although the modulation below is given in several ways 
 differing according to the, position of the first chord, in order to meet 
 every probable contingency in its practical appliction, it will be best 
 tor the student, in transposing into other keys, to use only one form- 
 perhaps the first — until later. Many different positions are of course 
 
 * Ibu U conitKutly shown to be true in students' practiea. 
 
64 
 
 ELEMENTS OP HARMON i'. 
 
 possible in all other forms hereafter given ; but q, careful btudy of the 
 first and its relative changes should enable the student to write and 
 play these without each being here shown. 
 
 As a modulation to the dominant is among the most natural it is 
 given first. By " a modulation to the dominant " is meant a har- 
 monic progression whereby the dominant of the original key becomes the 
 tonic of the new ; the original tonic becoming the sub-dominant of the 
 new, as : a modulation from C major to its dominant G, renders G the 
 tonic of which C is the sub-dominant. A modulation to the dominant 
 is otherwise expressed by calling it a modulation up a perfect fifth (or 
 its audible equivalent, as from Cjf to Afj instead of to Gj). All 
 these, though written in four part harmony, may be regarded as in- 
 strumental, being sometimes too free for easy vocal performance. 
 
 Each form is here closed with a perfect authentic cadence, that 
 being the strongest. See pages 42 and 54. 
 
 Form for modulating up a perfect fifth, from one major key to 
 another. The dashes occupy places to be afterward supplied with 
 letters according to the desired keys. The vertical lines represent 
 the bars. Signs in parenthesis are sometimes used, sometimes not. 
 
 - I - V7 i I 11(7) I I V, I I 
 
 Writing now any letter in place of the first dash, the letter repre , 
 Ecnting a perfect fifth above the first should stand in place of the 
 second dash and the proper chords be written above them. A mental 
 picture of this form will be of the greatest aid in transposing. The 
 form at a will be perhaps the easiest to memorize. 
 a b 
 
 CI GV7 I 11 I ^ 
 c 
 
 IGV7 I 1I7 I V7 I 
 
 -(-I 
 
 3 
 
 zs|=r^dza=rs 
 
 ■4t5(- 
 
 f 
 
 '■^W 
 
 6 7 
 
 '^^M 
 
 r- 
 
 %zM. 
 
 :iq*J=q=5=: 
 
 M 
 
 iS^ 
 
 ^ 
 
 Jr±j: 
 
 ^:i2z 
 
 ■^Sl- 
 
 ±e 
 
 C I GV, I n I Vt I 
 
 C I GVj I u I Vj 
 
ELEMENTS OF HAEMONT. 
 
 65 
 
 I 
 
 «^ 
 
 •f?-^ 
 
 ^^k 
 
 1^^ 
 
 ^ 
 
 f 
 
 r^ jf T 
 
 ^ 
 
 3? 
 
 f 
 
 5 4 
 
 f 
 
 H^ 
 
 i 
 
 6 6 
 5 4 
 
 ^ ! 
 
 ii^ 
 
 fi> a) 
 
 C IGV; I II7 I V7 I 
 
 C I GV, I n, I 
 
 ^^S 
 
 ^i^ 
 
 ^s 
 
 
 s 
 
 ^ 
 
 5 f 
 
 ^^^ 
 
 6 
 6 4 
 
 ^g^ 
 
 '^m 
 
 7 
 
 3 
 
 iss 
 
 4-cis: 
 
 ^ 
 
 C I GV7 I n 
 
 I V, 
 
 I GVy I iiy 
 
 i 
 
 I 
 
 ^i 
 
 ;^ 
 
 ^»i 
 
 ■^^^ 
 
 rj-^^ 
 
 7 
 
 f 
 
 5 3 
 
 !!^S 
 
 7 
 
 ^^ 
 
 - ^^ 
 
 -?5l-;-<?- 
 
 V, 
 
 CI GV, I 11 IT, 
 
 Still ftirther varieties even on this simple formula are easily made 
 by combining a few bars of one with a few of another. The student 
 should thoroughly know some of these nine forms before attempting to 
 transpose ; and then he may modulate successively through keys in 
 the following order : 
 C, G, D, A, E, B, (or 0?) F§ (orGl'), D> (or q), At', E^ Bt-, F, C. 
 
 The following example shows how the above form, somewhat 
 flaborated, may be employed in a freer style of writing. 
 
66 
 
 ELEMENTS OF HARMONY. 
 
 Allegretto. 
 
 i 
 
 333^ 
 
 gi 
 
 ^^ =^ 
 
 fWW^'^^^^'^fT" 
 
 % 
 
 i 
 
 w 
 
 zt-*- 
 
 =;-: 
 
 I 
 
 C I 
 
 3J— 
 
 V7 
 
 a #— 
 
 i 
 
 g ^j -^-cr cy ^^E' 
 
 &c. 
 
 ^^ 
 
 i: 
 
 ^^ 
 
 ^=^; 
 
 I G V7 I 1I7 V7 I 
 
 It should here be observed that in the midst of a composition the 
 key may properly change without a modulation (according to the 
 foregoing definition) when a passage terminates in one key and is 
 immediately followed by one in another, as would be the case with a 
 melody closing in a major key succeeded at once, with no intervening 
 chords, by one in the relative minor, etc., the change being recognized 
 as taking place at the first chord of the latter passage. 
 
 1. 632 46 2687 
 
 I 
 
 
 =l=t 
 
 6 
 
 5 4 7 
 
 »E 
 
 3 
 
 i 
 
 ^ 
 
 ■a- -25) — &-\—^ — ^ — 1 — -jaA- a) ., ■ 
 
 -JIE ■ *-#-L-si— *|#-i-^«-^J — & 
 
 6 
 f 4 
 
 ^T?^ 
 
 pTf=lf- 
 
 4 
 
 6 3 
 
 m^^ 
 
 ^=2--*='— «^ 
 
 3. 
 
 i|S3 
 
 f 
 
 3 
 
 gq|^^ 
 
 ?^T^ 
 
 f 
 3 
 
 ^ f #^i 
 
 s^^s^^^s 
 
 k 
 
 91 
 
 5 
 
 s^^Si 
 
 fei^^= 
 
 4 
 
 3 2 
 
 f 
 
 i 
 
ELEMENTS OF HAEMOHT. 
 
 67 
 
 IxESSOH 27. 
 
 Accorling to the principles explained in the previous lesson, the 
 following will enable the student to modulate from any key to its 
 Bub-dominant — which can be used as a return modulation coupled 
 with that already given ; as, having modulated up a perfect fifth (or 
 down a perfect fourth), a modulation up a perfect fourth (or down a 
 perfect fifth) restores the original key. In transposing this form, the 
 order of keys as given above should be reversed. Only the easiest 
 forms are given. The letter occupying the place of the second dash 
 should represent a perfect fourth above the first. 
 
 Formula for modulating up a perfect fourth from major to major. 
 
 - I - V, I I iif,, 1 1 V, I I 
 Application : 
 
 ^S 
 
 i^ 
 
 3^^ 
 
 fe2^ 
 
 221 
 
 'Szz^. 
 
 S,Z 
 
 i'l 
 
 i^ 
 
 M 
 
 ■si;. 
 
 sb 
 
 ^. 
 
 7b 
 
 =3=^^^=**- Z^ 
 
 k 
 
 :t=5 
 
 sb e 
 
 6 4 
 
 7b 
 
 gf^ 
 
 1 11 iyI I c 
 
 :^^^1^P: 
 
 3Jt-J^ 
 
 7l 
 
 I 
 
 C I FV, 
 
 C I FY, I II 
 
 The 5th, 6th and 7th bars of No. 2 illustrate forms of modulation 
 to be used only with extreme caution, the mere change of notation, 
 though changing the key, being scarcely sufficient to avoid harshness. 
 
 7b 
 
 ^i^ 
 
 6 3 
 
 ?S= 
 
 ^1 
 
 ^- 
 
 » 
 
 a. 3 7 
 
 6 8 7 
 
 |a ^^ ^§^ 
 
 6 i 
 
 g isaiB S 
 
 ? ,, 6 6 
 
 2f 
 
 T6 
 5 
 
 6 6 
 
 5 4 7 
 
 4: 
 
 i^: 
 
 st 
 
 ^-Z5j- 
 
 -US' — !«>■ 
 
 ^ 
 
68 
 
 ELEMEIfTS OF HARMON T. 
 
 4. 5 
 
 7 7 
 
 §i^ 
 
 lb 
 
 f 63 6 7 
 
 3 *f 5^ * # 
 
 7 4 7 
 
 -^=h 
 
 m 
 
 ;gr^i^j 
 
 p=t: 
 
 3 3 b| 2 6 
 
 6 6 71, 6 q 8 71, 
 
 3feS? 
 
 s 
 
 §i0S 
 
 ^2=^: 
 
 ^ 
 
 a 
 
 IxESSOH 28. 
 
 The student should first play a modulation from every major key 
 to its relative minor : then from every minor to its relative major. Or 
 the two may be played alternately, making a modulation and a 
 return. 
 
 From a major to its relative minor. 
 
 - I -V, I I II=(7) 1 1 V, I I 
 a b 
 
 From a minor to its relative major. 
 — 1-V7 liny I IV, 1 1 or-i-V, \i-YU°j l-rv, |I 
 
 Second form. 
 
 As an additional incentive to the accurate and intelligent memoriz- 
 ing of the foregoing forms and those which a] pear later, it may he 
 remarked that committing, to memory any one musical phrase is ol 
 
ELEMENTS OF HARMONS. 69 
 
 the greatest possible assistance in remerabering others. These exer- 
 cises will bo found the best preparation for learning anj compositiona 
 " by heart " ; such works being easily memorized a phrase at a time, 
 beginning always with extremely simple and very melodious pro- 
 ductions. This exercise may profitably be combined with those on 
 modulation. 
 
 Several of the more difficult exercises in previous lessons may here 
 be reviewed, transposing them one or two degrees higher or lower. 
 
 LESSON 29. 
 
 SUSPENSIONS. 
 
 When any part of a chord is prolonged into the following chord 
 to w,hich it does not otherwise belong, it forms a dissonance requiring 
 a resolution. These prolonged notes necessarily delay a part of the 
 chord in which they appear : if they are higher than the notes which 
 they displace, progressing downward in their resolution, they are 
 called suspensions; if lower, resolving upward, they are called 
 retardations (or " suspensions upward," inverted suspensions). Re- 
 tardation will be explained hereafter. That part of a chord, the 
 entrance of which is delayed by the suspension, is said to be suspended ; 
 thereforewhenany note is suspended <Aai rao?e IS not written until later 
 when the proper signs call for it. A suspension presupposes a dis- 
 sonance in all but a few cases to be hereafter illustrated. Any note 
 of a chord may be suspended if prepared and if it form a dissonance ; 
 and several suspensions may properly occur at the same time. 
 
 At a, in the illustrations below, appears the regular progression . 
 at 6, the Soprano being prolonged, forms a suspension of the root in 
 the next chord, where D is the suspension and C its resolution. (C 
 is suspended or delayed but D is the suspension — the cause of the 
 delay.) When the 5 th of a triad is omitted, the suspension or delay 
 of its 3rd cannot form a dissonance but appears rathfer as another 
 triad without its 3rd, as shown at c, which is of questionable propriety 
 though used by reputedly good writers. Such examples are less 
 musical in long notes or a slow tempo ; while the opposite of these 
 leaves no cause for criticism. For the same reason the delay of the 
 6th in a triad with no other Ruspension really forms another chord, aa 
 
70 
 
 ELEMENTS OP HARMONY. 
 
 at d, and is never a disionant suspension except with the 5tli in the 
 Bugs, as at e, or in the dominant triad of a minor Isey as si f. The 
 example at g is by some regarded as a suspension, by others as two 
 separate triads. 
 
 S^gi 
 
 ^1 
 
 C V, 
 
 ^^m 
 
 rs; 
 
 i 
 
 V7 IVU IV VI I m VI 1 
 
 I 
 
 / 
 
 :=t 
 
 ^ 
 
 m 
 
 TT 
 
 f-f 
 
 IV 
 
 a I 
 
 III V 
 
 The fact that certain chords most frequently appear in certain 
 forms of arrangement (position or inversion) as explained in Lesson 
 43, affords the only ground for regarding such cases as at d and g 
 above, true suspensions ; while treating them (as here marked) as 
 forming separate chords will be found, by most students, much sim- 
 pler at this stage of their progress. 
 
 For convenience of future reference, the most used combinations 
 of figuring for suspensions are here given ; but the stndent should 
 attempt to learn only those that occur in each exercise and not all at 
 once. These numerals should be read horizontally — that at the 
 left denoting the suspension and that at the right, its resolution. 
 
 It will be observed that there is often a great difference in the 
 significance of numerals when standing over but one Bass note and 
 when over two. For example, % standing alone denotes the first 
 inversion of a 7th chord ; but §J standing over the same note would 
 call for a triad having its 5th in the Bass wit'j its root suspended. A 
 suspension and its resolution in the Bass require, of course, two 
 notes in that part. 
 
ELEMENTS OP HARMONY. fl 
 
 Definitions of Figuring in Suspentiont, 
 I s denotes a triad, root in Bass, root snspendedi 
 
 1i 
 
 « 
 
 Sri 
 
 <c 
 
 root 
 
 
 « 
 
 t- 
 
 « 
 
 5th 
 
 « 
 
 root 
 
 
 « 
 
 6- 
 43 
 
 « 
 
 root 
 
 u 
 
 3rd 
 
 
 a 
 
 i! 
 
 » 
 
 3rd 
 
 u 
 
 3rd 
 
 
 u 
 
 76 
 4- 
 
 b 
 
 5th 
 
 <( 
 
 3rd 
 
 
 u 
 
 It 
 
 U 
 
 root 
 
 « 
 
 5th 
 
 
 « 
 
 t- 
 
 it 
 
 8rd 
 
 <( 
 
 5th 
 
 
 <i 
 
 98 
 t- 
 «- 
 
 u 
 
 5th 
 
 « 
 
 5th 
 
 
 « 
 
 98 
 43 
 
 •( 
 
 root 
 
 u 
 
 root and Srd snspendtl> 
 
 n 
 
 « 
 
 3rd 
 
 « 
 
 root 
 
 « 
 
 3rd •' 
 
 76 
 14 
 
 a 
 
 5th 
 
 « 
 
 root 
 
 « 
 
 3rd « 
 
 98 
 68 
 3- 
 
 A 
 
 root 
 
 « 
 
 root 
 
 u 
 
 5th " 
 
 8- 
 76 
 43 
 
 « 
 
 8rd 
 
 « 
 
 root 
 
 u 
 
 5th •• 
 
 98 
 
 « 
 
 5th 
 
 « 
 
 root 
 
 « 
 
 5th *• 
 
 8- 
 65 
 43 
 
 « 
 
 root 
 
 CI 
 
 Srd 
 
 « 
 
 5th « 
 
 98 
 8- 
 43 
 
 « 
 
 3rd 
 
 « 
 
 3rd 
 
 l( 
 
 5th « 
 
 4- 
 
 « 
 
 5th 
 
 « 
 
 Srd 
 
 1( 
 
 5th « 
 
 98 
 6S 
 43 
 
 « 
 
 root 
 
 t( 
 
 root. 
 
 Srd and 5th suspendai 
 
 43 
 
 M 
 
 Srd 
 
 (( 
 
 root, 
 
 Srd and 5th « 
 
 98 
 76 
 S4 
 
 (. 
 
 5th 
 
 « 
 
 root. 
 
 3rd and 5th « 
 
 7 ! denotes Chord of the 
 
 7th; root in Bass, root stupeode^ 
 
 I! 
 
 ( 
 
 i< 
 
 3rd . « 
 
 root " 
 
 h 
 
 i 
 
 tf 
 
 5th * 
 
 1 
 
 root • 
 
7 2 IliLEMRNTS OF HARMOI^^Y. 
 
 3 2 deuotes Chord of the 7th, 7th in Bass, root suspended, 
 4i « 
 
 76 
 
 *- « 
 
 3- 
 
 6 4 ' ■< 
 2- 
 
 36 « 
 
 i: 
 
 43 
 
 76 
 
 4- « 
 
 2- 
 
 98 
 
 7- «« 
 
 43 
 
 76 
 
 6 4 « 
 
 S- 
 
 8- 
 
 64 « 
 
 32 
 
 V- 
 
 43 
 
 V. 
 
 32 
 
 43 
 
 64 " 
 
 2- 
 
 5 4 « 7th « root, 3rd, and 5th " 
 
 32 
 
 When a suspension occurs in the Bass, as in any other voic«. the 
 Buspension is one degree higher than the note that is suspended 
 3 1 denotes a triad -with a suspension of its root in the Bass. 
 
 root 
 
 u 
 
 3rd 
 
 
 u 
 
 
 5th 
 
 u 
 
 3rd 
 
 
 u 
 
 . 
 
 7th 
 
 u 
 
 3rd 
 
 
 a 
 
 
 root 
 
 (( 
 
 5th 
 
 
 a 
 
 
 3rd 
 
 u 
 
 5th 
 
 
 w 
 
 
 7th 
 
 u 
 
 5th 
 
 
 « 
 
 
 root 
 
 » 
 
 root and 3rd 
 
 suspended. 
 
 5th 
 
 u 
 
 root 
 
 u 
 
 3rd 
 
 (( 
 
 7th 
 
 u 
 
 root 
 
 it 
 
 3rd 
 
 « 
 
 3rd 
 
 u 
 
 root 
 
 i> 
 
 5th 
 
 « 
 
 7th 
 
 u 
 
 root 
 
 « 
 
 5th 
 
 « 
 
 root 
 
 u 
 
 3rd 
 
 « 
 
 5th 
 
 a 
 
 7th 
 
 » 
 
 3rd 
 
 a 
 
 filh 
 
 it 
 
 IZ " " 3rd 
 
 denotes a 7th chord with a suspension of its root in the Bass. 
 
 4- « « 3rd « 
 
 2 - 
 
 s" « « 5th " 
 
 2- 
 
 1^ denotes a triad, root in Bass, 3rd suspended and the 7th intro- 
 duced at the same time with the resolution of the 
 suspension. 
 J J " triad, 3rd in Bass, 5th suspended and the 7th intro- 
 
 * * duced with the resolution of the suspension. 
 
ELEMENTS OF HARMONY. 
 
 7i 
 
 A few other combinations of suspensions are po:Jsible in vocal 
 biosiu and still more in free instrumental compositions ; but the list 
 already given embraces, beside those most used, very many that are 
 somewhat rarely met with. Although but a part of these occur in 
 the exercises, the student will meet them, here and there, in miscel- 
 laneous work^. 
 
 As the only higher note that could suspend or delay the 7th would 
 be an octave and therefore ho dissonance, the sense of suspense would 
 Dot result. Consequently the 7th can never be suspended save when 
 the suspensiou itself is a diminished octave, thus : 
 
 ^ 
 
 »ei 7iq 
 
 i 
 
 •Bules for Suspensions. 
 
 1. Suspensions must be prepared and resolved. 
 
 2. Both the suspension and its resolution must occur in the same 
 Toice. 
 
 3. A suspension and its resolution, or any octave of its resolution, 
 must not occur at the same time ; except with a lower octave of its 
 resolution in the Bass and the suspension at least one octave distant.* 
 
 4. Suspensions neither prevent nor correct consecutive fifths or 
 octaves that would occur without the suspension. 
 
 5. The suspension may sometimes be shorter but never longer than 
 its preparation. 
 
 The chords are named as though there were no suspension. 
 
 1 & 2 and lasl part of 3. 3. Bad. 
 
 a b c _ 
 
 5- 
 
 i 
 
 ^ 
 
 ^^ 
 
 i 
 
 zSsz 
 
 7^ 
 
 T^^"--^:^ 
 
 ?s2S: 
 
 6 — 
 4 3 
 
 i 
 
 ::s: 
 
 T 
 
 * The Bass and Tenor are sometimes allowed to disregard the last part of Bnio 3 
 
74 ELEMENTS OF HARMONY. 
 
 4 Fifths. Fifths. 5. Bad. 
 
 i^^ 
 
 i S' -m, 
 
 -~-^ 
 
 szz 
 
 -^ 
 
 9 8 
 
 9 8 
 
 1^ 
 
 IV 
 
 V m. 
 
 IV 
 
 At 1, D is prepared and resolved in the same voice : the same is 
 true of F at b. At c are shown two suspensions at once. Af a 
 and c, the suspension D properly occurs at the same time with a lowei 
 octave of its resolution, C, in the Bass. At 3, the lower octave of 
 the resolution, C, coming in the Tenor at the same time with the 
 suspension D, violates Rule 3. At 4, no further explanation is 
 needed. All the foregoing illustrate the first part of Rule 5. At 5 
 is shown its violation. The first part of Rule 1 is frequently violated 
 by "beginners, somewhat as follows : 
 
 ^ 
 
 sJ o 
 
 i 
 
 -s- 
 
 -&- 
 
 s 
 
 1 3 
 
 ~g' — 
 
 11 
 
 a* 
 
 In the first few exercises, if really easier for the student, the whola 
 notes of each bar may be written as two half notes, and tied ; but this 
 should be given up as soon as possible. 
 
 The second exercise shows the efiect of introducing anspensiong 
 into the first. 
 
 One should not forget to mark the modulations. 
 
 1. , 
 
 gi^ ^3^gizg=t— t^=f ^a^ 
 
 J3. 
 
 6 — 
 1 3 
 
 9 8 
 
 S — 
 4 3 
 
 « — 
 1 3 
 
 6 — 
 i 3 
 
 S ==i "^ I ^: 4^U M " ^ " U H 
 
ELEMEKTS OP HARMONY. 
 
 75 
 
 8 6 
 
 5 4 7 6 
 
 m^ 
 
 98 8 7— 8 T — 6 — 
 
 7[) « 3 a . 6 - 9 8 4 3 9 8 8 T 4 3 4 3 
 
 ^: 
 
 =^- 
 
 n 
 
 Si 
 
 86— 6—8 "4 6—698 8 — 
 
 4. 3 s 438 43 5 983 4fl!:„S43 84—7 
 
 sc 
 
 * 
 
 i 
 
 &3: 
 
 S. 
 
 ^ 
 
 8 7 
 
 9 8 
 4 3 
 
 f 
 3 
 
 7 5- 
 
 6 7 
 4 3 
 
 i 
 
 ^ 
 
 6 — 
 3 6 4 3 
 
 ^^g 
 
 J? 6 J? 6 
 
 4 4 Sq 2 6 6 4 
 
 6 7- 
 4 43 
 
 r g ?^T^ 
 
 I 
 
 rg • •- 
 
 5=fl! 
 
 =^ 
 
 Commit to memory and play the following modulation, beginning 
 in every major key. Learn first the formula below the chords. 
 The student can easily supply the Arabic numerals if he choose. 
 
 Up a half step — major to major. 
 
 S 
 
 E^ 
 
 J^^S^PJEEg 
 
 =^5a^ 
 
 — ^ — TT— 
 
 a 
 
 ^ 
 
 s 
 
 m 
 
 JSl 
 
 CI D>V7 
 
 n(7) 
 
 LESSOH 30. 
 
 Pi# 
 
 7—98 „ 
 
 8 4 3 4 3 6 ^ 
 
 8 - 7 - 
 6 4 4 3 
 
 3fc 
 
 -(S- 19- 
 
 ^ 
 
 S. 7 4 3 J 6 J» 
 
 ^ 
 
 :??=:*: 
 
 ^1=^ 
 
 6 - 7 - 
 
 6 7 6 6 4 4 3 
 
 i^zir^: 
 
 m 
 
 ss 
 
 6 9 8 ^ 
 
 8 5 4 3 3 2 
 
 E^Sl 
 
 jir 
 
 8 
 6 
 
 :ai 
 
 ,g^g^i-^^fr 
 
 6 6 7 
 ^^ 6 4 B[ 
 
 i 
 
76 
 
 ELEMENTS OF HAEMONT. 
 
 4. s 3 13 
 
 « « 9 8 
 
 7 6 4 7 6—7 
 
 9 t 
 
 7 6 8- 
 4-13 
 
 ^m 
 
 3 
 
 m 
 
 12= 
 
 S. 
 
 6 6 6 — 
 6 1 S 1 3 
 
 9 8' 
 
 5 — 4 ,.66 9 8 6— S -. 
 
 32 6 433 #46 43 '^4-743- 
 
 m 
 
 M 
 
 !&^ 
 
 e 
 
 1 
 
 m 
 
 e> c> - 
 
 Play the following, beginning in each major key. 
 Down a half step— major to major. 
 
 eiisi^^^ 
 
 |^=T|^^^W# 
 
 gB^ 
 
 s 
 
 I 
 
 -zji- 
 
 -#s- 
 
 C I c# V, 
 
 BI 
 
 LESSOH 31. 
 
 I 498986— 8 98 76 8- 
 
 1. 3 36 — 6 76 7t>43 2 68 668776 54 43 
 
 Si 
 
 
 :2^05: 
 
 ps 
 
 :&^ 
 
 -,»— si- 
 
 ■g- -p — g 
 
 ». 3 f 
 
 7 6 6 6 
 
 4 - #- 
 
 :^ 
 
 7 6b 61, 4 4 4^ 
 
 ^K 
 
 3 jb 
 
 7 6 
 6 — 
 
 9 8 
 6 5 
 4 3 
 
 m 
 
 »E 
 
 7g~flf5~ 
 
 S^ 
 
 12^- 
 
 P^ 
 
 9 8 
 4 3 
 
 7 - 
 
 6 5 
 
 9 8 
 
 7 6 7 - 
 
 4 — 4 3 
 
 6 - 
 4 S 
 
 i 
 
 =S2= 
 
 S 
 
 5: 
 
 4. 
 
 9 8 
 
 6 6 
 
 7 4 3 
 
 'J^^ 
 
 ?. 8 
 
 1 # - 
 
 6 9 8 6 7 
 
 6 4 3 4:^ 
 
 -e- 
 
 £ 
 
 t 
 
 8 — 
 
 2 — 
 
 ^ 3 I 1" 
 
 698 68 98698 76 
 
 7 6 8 4 3 6 3— 7h 4 3 6 4 3 6— 87 
 
 ^ 
 
ELEMENTS OF HARMONY. 
 
 Transpose this and all forms of modulation hereafter given, begin- 
 ning in each major or minor key, ancordiug to the model. 
 
 Up one step — major to major. 
 
 ^^^^^^^m 
 
 m J J 
 
 CI DV 
 
 m,) 
 
 m 
 
 m 
 
 LESSOH 32. 
 
 9 8 
 
 7 7-. 
 
 f — 
 
 E 4 S 7 
 
 6 2 _ j^ 
 
 7 
 3 5 
 
 7 - 7 - 
 13 13 
 
 ^fep 
 
 is: 
 
 m 
 
 jO- 
 
 ^5 
 
 6S1. 98 76 
 
 543— «7 432 S 
 
 87 
 
 t=^ 
 
 (SZ- 
 
 *1^ *- 
 
 aq 8 7 3 2 6 
 
 6 7 6- 
 4 3 4 3 
 
 I 
 
 s^ 
 
 smzs. 
 
 6 — 
 3. S 4 ¥ 8 7 
 
 ^M 
 
 6 — 
 ^ . ^ . 6 S-6 5- 
 
 2 t SI bj 6 5 9 8 b « 7 4 3 
 
 i 
 
 ■p=#" 
 
 -G>- 
 
 i 
 
 a^jfi:^^ 
 
 ±^ 
 
 3: 
 
 4. 3 
 
 =i^ 
 
 9 8 
 
 4#- 7 - 5 - 
 
 6 2 — 7 6 4 ji; 4 3 
 
 li^li^lJ^^ 
 
 i 
 
 5 — 
 m- 4 — 
 
 5. 3 2 - 
 
 7 - 6 7 
 
 4 3 9 8 :ff- 
 
 7 6 
 
 f 67 6- 
 3 4 3 4 3 
 
 :^^:t 
 
 ISfl 
 
 -i<9- 
 
 ■'s-t o gj Y s- 
 
 «^'-»-J— 
 
 i 
 
 Down one step — major to major. 
 
 :^ 
 
 E3= 
 
 =^; 
 
 '«- 
 
 ^; 
 
 ^ 
 
 z^- 
 
 ■^^az- 
 
 ill 
 
 g!E^ 
 
 :^= 
 
 CI CI 
 
 ^ 
 
 Bb I 
 
 n(,) 
 
 =5^ 
 
 1 
 
78 ELEMENTS OF HARMOITT. 
 
 LESSOM 33. 
 
 Close score (short score, or piano score) is tbe form of notation 
 Litherto employed iu these lessons. Full score presents each voico 
 on a separate staff and is used to avoid confounding the voices with 
 each other in writing or performing. But one arrangement should be 
 employed ; that which places the voices iu their natural order from 
 the Bass upward, with the Soprano the highest. Writing the Soprano 
 immediately above the Bass cannot be too strongly ondemned ; afford- 
 ing as it certainly does, great temptation for a superficial player either 
 to. guess what the other two voices may be, or, still worse, to im- 
 provise them guided only by his ear and a certain feeling of the 
 fingers. In all the previous exercises, the notes would be sung or 
 played exactly as they were written. In full score, when the G 
 (violin) clef is used for the upper three voices, the Tenor, only, is 
 written one octave higher than it is played or sung. • It thus appears 
 to be written higher than the Alto but is really performed below it. 
 It often occurs that this notation produces what look like consecutive 
 6ths between Tenor and Alto or Soprano ; but on re-writing the 
 passage as it sounds (the Tenor one octave lower) it will be found to 
 present only consecutive 4ths and is therefore correct. For a similar 
 reason, what the eye perceives, in this manner of writing, as consecu- 
 tive 4ths between Tenor and some higher voice, produces really con- 
 secutive 5ths on being played or sung, and is therefore inadmissible. 
 
 Two notations of the same chord here follow. 
 
 i — ^— JJ 
 
 w 
 
 g — ^- H 
 
 I 
 
 i ^ fl 
 
 ^ — ll The Tenor here 
 
 sounds one octave 
 lower than it ii 
 written. 
 
 i" I J 
 
 ^ 
 
 i 
 
 The student should now select several of the previous exercises and 
 write them in f il^ score like the second notation above, without com- 
 paring with the corrected lessons. 
 
EIJaiENTS OF HARMONT. 
 Transpose the following form into each major key. 
 Up a minor third — major to major. 
 
 -*> T— l!^^ : 
 
 m 
 
 eJ 
 
 --^- 
 
 ±^ 
 
 79 
 
 J^P 
 
 ^T 
 
 r- r- 
 
 m 
 
 -1?^ 
 
 ^ 
 
 :"5E 
 
 |] 
 
 ia 
 
 C I fYj 
 
 El, I 
 
 LESSOH 34. 
 
 The remaining exercises may be written in either full or close score, 
 according to the apparent wants of the student. 
 
 The questionable effect of t ^ as shown in the 4th bar of No. 1, is 
 ,?o evident as to preclude its frequent use. Attention is likewise called 
 lo the 3rd and 4th bars of No. 2, where the somewhat contradictory 
 character of the harmonies (cross relation) is justified by the sequence- 
 form of the progressions. The augmented six-five chord (German 6th) 
 in the 8th bar of No. 2, is here followed by the tonic of a rmyor key, 
 as is often seen in compositions. 
 
 5 14 — 
 3 — _2 — 
 
 ^m 
 
 M 
 
 6 9 8 
 6 4 3 
 
 * 
 
 II 
 
 is: 
 
 E3 
 
 m^ 
 
 6 5 
 4 3 
 
 6 — 
 6 S 
 4 3 
 
 6 * 
 4 3 
 
 f 
 
 6 
 
 4 "h 
 
 4^ * 
 
 ^ 
 
 fe 
 
 gfg- 
 
 3. 
 
 ^ 
 
 " —L. 
 
 32: 
 
 fe 
 
 I 
 
 5 — 
 4 3 
 
 .?e: 
 
 jar 6 
 ? 4 
 
 i 
 
 2: 
 
 I 
 
 4. sf 
 
 £ - 
 
 4 3 6 jar 
 
 , 6— 5 — 
 6Sb S 4 4 3 2 
 
 gi£^^ 
 
 jar 6 6 - 
 
 — 4 7 4 3 
 
 iS£ 
 
 Sill 
 
80 
 
 ELEMENTS OP HARMONT. 
 
 7 ^ 
 S. 3—6 7[> 9 8 a 6 5 9J 
 
 lb 
 
 P 
 
 6 6 7 
 
 ^f^ 
 
 S 
 
 4 7 
 
 i^a 
 
 §ai 
 
 is; 
 
 |i^ 
 
 =t 
 
 Down a minor third — major to major. 
 
 ^m 
 
 s 
 
 i: 
 
 ^ 
 
 :^= 
 
 ^ 
 
 31 
 
 s»«^ 
 
 -fl3i 
 
 9!e^^e 
 
 ^ 
 
 i^r 
 
 CI AV, 
 
 '7 i "(7) 1 V, 1 
 
 By comparing this form of modulation with that from a major to its 
 ■ relative minor, in Lesson 28, the student will readily see the points of 
 similarity and of difference. 
 
 LESSOK 35. 
 
 The different keys produced by merely the different notations of 
 the diminished 7th chords in the 4th and 6th bars of No. 3 should be 
 observed. 
 
 . 6 9 8 6 9 8 
 
 1-5 6 i 3 # S 436 
 
 1 — 
 
 2 - 
 
 » 
 
 ' ^'^- 
 
 ^Z 
 
 ^ 1 eJ rJ l -asl- 
 
 g? ^ 
 
 6 5 
 
 :^=j: 
 
 f 6 
 
 6#- 
 
 9 8 
 
 6 6-7- 
 
 AJ-z_l#-. 
 
 W^ 
 
 I 
 
 :2t 
 
 ^z 
 
 f±j^ 
 
 ■tr^ 
 
 „ 3- 676;3'6 ,575- 
 3. 3 6,2— #5-54 7 70 4343 
 
 Rvifte— 1 \ — 1 — 1— f- • — Hd- ■~:^— ft^' 7^ u !- -^ 
 
 J-M'^J-l J J _ _fiL: :^5=^ft^ -^-S^: '^S^L. .j2^. :__. . 
 
 4. 
 
 Ete:i=2; 
 
 3 
 
 9 8 
 
 6 5 
 
 7 4 3 
 
 g 
 
 3 
 
 ^ 
 
 T5l- 
 
 9 8 
 4 3 
 
 -?-^- 
 
 eb 5 
 7b < 3 
 
 ^ 
 
 6 jT 6 
 5-4 
 
 5 — - 
 4 3 ■ 
 
 -^b- 
 
ELEMENTS OP HARMONY. 
 
 81 
 
 B. 
 
 3 a 
 
 I? 
 
 3 — 
 
 7b- 
 
 6" 6 
 
 m 
 
 «b 
 
 9 8 3 
 
 . ^b<r^ ^-^ 
 
 -fS2- 
 
 si- 
 
 i - 
 
 4 3 5 
 
 7 — 
 6 S 
 
 9 8 6 
 
 3 
 
 8 7 
 
 i^ 
 
 ^=K 
 
 :t 
 
 ^ 
 
 ^^ 
 
 Up a major third — major to major. 
 
 -«)=- 
 
 1 
 
 ^S 
 
 P 
 
 m 
 
 E^tEp 
 
 ^ 
 
 -(a- 
 
 ^ 
 
 i 
 
 ^^ 
 
 CI A V, 
 
 £1 
 
 V7 
 
 LESSON 36. 
 
 The various augmented 6th chords (aug. sixth, six-five and six-fonr- 
 three chords) are believed to have first acquired their peculiar form 
 and character as inverted chords, whence their names ; and they still 
 bear these names even when they sometimes appear with the root in 
 the Bass, as shown in the 4th bar of No. 1. 
 
 3 6 s 9 
 
 6 5-., 4 6- , 575- 
 
 7 4 43# sq 4q3 7b 4 3 4 3 
 
 ^m 
 
 fe 
 
 ^1 
 
 s: 
 
 -(^—s>- 
 
 «. 
 
 pa 
 
 I 9 8 ea 
 
 7a 6K5 4^ 
 ^4^3 2. 
 
 6 6 6 9 8 
 5 4 5 4 3 3 
 
 ^ 
 
 eij: 7H 5 7 6 - 
 6 534 7 4 3 4 3 
 
 i 
 
 ■'&m 
 
 p^t^E^SSasSjS!^: 
 
 i 
 
 6 
 
 3 2 5 
 
 5 - 7 - 
 
 6, 3. — 5, — 76^5 
 
 8 4 b 3 2b - 4b 3 ^ ^r'^r 
 
 iss^^^^E^m-- 
 
 mm^ 
 
 ZI± 
 
 6b 
 
 4. 6 6 I I 5 4 1 8fc)7b 5 2 5 7 
 
 ^-(M i^-| tn J4-a:4^^=Hr-+^^^ — =— *4-«' — ^j 1 ^-ji 
 
ELEMENTS OP HARMOKT. 
 
 6 — 
 
 _ , s — sla 8 
 
 * 06 
 2 6 6 4 
 
 :^=t 
 
 SS 
 
 9 t 
 
 T 6 E7 
 r 4 - 43 
 
 a^ 
 
 I 
 
 ■«^- 
 
 _;^3ii:^±3|ihi3z 
 
 i 
 
 ES 
 
 Down a major third — major to major. 
 
 eS 
 
 -d$z 
 
 =s 
 
 :^i 
 
 eIj^ 
 
 ¥:^=^^^^: 
 
 ^^E 
 
 >^ 
 
 i 
 
 12^^ 
 
 Z3S^ 
 
 w. 
 
 c I 
 
 /y? 
 
 A> n(y) 
 
 LESSOH 37. 
 
 Thus far, both the suspension and its resolution have stood over 
 one and the same Bass note ; but it ofiten happens that one Bass note 
 stands under the suspension and a different note under the resolution. 
 It is immaterial whether both of these Bass notes belong to the same 
 harmony, as at h, or to different chords, as at c. In either case they 
 must be such that the suspension finds its resolution one degree lower 
 than itself, as before ; the Bass and the Arabic numerals being such as to 
 render this certain. As the right hand numeral indicates the resolu- 
 tion of the suspension, if only the left hand numeral appears, the 
 resolution does not follow over the same note nor until something in 
 or over the Bass expressly calls for it. Hence one may infer that 
 
 9 denotes a triad, root in the Bass, root suspended and not resolved 
 until over the next Bass note. 
 
 I denotes a triad, root in the Bass, 3rd suspended and not resolved 
 until over the next Bass note. 
 
 Statements similar in principle to these may be made of other 
 fignrings in suspension, where only the left hand numerals appear. 
 The subjoined examples at b and c illustrate this. At o is a sus- 
 pension with its usual resolution. As the 8 produces the latter when 
 the Bass remains thfe same under both, if the Bass moves, a different 
 numeral is requisite, as evidently no progression is proper that pre- 
 vents the resolution. At h, the sixth above E, indicated by 6 after 9, 
 is the same as the octave above C, at a, indicated by 8 after 9. D la 
 the s ispeusion ; and C, :ts resolution, is produced by S over C, at a 
 and by 6 c^ er E, at 5. 
 
ELEMENTS OP HABMONT. 
 6 I 
 
 ^i 
 
 -&- 
 
 ^ 
 
 83 
 
 mi 
 
 -gg^- 
 
 -gyg- 
 
 -gg- 
 
 9 8 
 
 ^1 
 
 iH 
 
 c V, 
 
 I — 
 
 Care must be taken not to write the resolution unless it is plainly 
 called for. The Bass will be such that each suspension may be 
 resolved as before, but over the next Bass note, unless the numerals 
 denoting both the suspension and its resolution stand over the same 
 Bass, as in previous exercises. 
 
 S^^S 
 
 % % 
 
 9 8 
 ^ 6 - 5 7 
 6 1 — 4 3 
 
 ^ 
 
 S. 3 6 6^ t T 6 H 6 
 
 2, 6# 6 
 
 a 
 
 4 
 6 3 
 
 m 
 
 4. 6. 7 6 7 - S 
 
 3|q 4i g y 4- 4 3 4 
 
 ^ 
 
 ■^-^F^ 
 
 :2i 
 
 7 6 
 
 4 5, 5 4 6 , 6 
 
 6 3 3|:|4^47|>5 
 
 6- 7- 
 5 4 4 3 
 
 g^^^g^ ^ ^ jj^:^ 
 
 4. 
 
 §i^3 
 
 7ti * 6 9 8^7 
 
 6 7 1 6 SBj 4 3 3 # 
 
 :?Si 
 
 7- 
 
 6 6 5 
 
 7 4 #- 
 
 -^=— ^■ 
 
 1^: 
 
 =t: 
 
 -T^j^^- hg— -g- 
 
 3 6 
 
 iS 
 
 9 8 
 
 76 7- 6 5„ . ^ 
 54 6 5 4 3ff 6 J8f 
 
 :^^^ 
 
 7 6 6 7- 
 
 4—7 4 4 3 
 
84 
 
 ELEMENTS OF HARMONY 
 Up an augmented fourth — major to major. 
 
 E^ 
 
 5 >sj — trrtt^: 
 
 5^^ 
 
 \fa- 
 
 -\ 
 
 ft-lir-^^i 
 
 i^ 
 
 * 
 
 a^ 
 
 g 
 
 =P 
 
 CI rf VII°70 DI fl^VIIOyo F#I 
 
 LESSOH 38. 
 
 1. 
 
 6 98 76 « 
 
 76 5 4387 15 
 
 9 8 
 
 6 5 
 
 6 7 4 3 
 
 ) 8 - 
 
 i 6-7 
 
 4 4 3 - 
 
 '^^-t^-^ 
 
 ~s> — f^ 
 
 .OL 
 
 p^=h 
 
 Y^=Pf=\ 
 
 (=- 
 
 f* — 1*" 
 
 
 — 1 
 
 ±±\^^ 
 
 
 t=:td 
 
 ?5^ 
 
 :N3- 
 
 1-- 
 
 
 « c 
 
 yi 
 
 7 - 
 o 6 5 
 
 f 
 
 3 
 
 • 6 
 
 ^ 
 
 7 
 
 f 
 
 7 6 6 
 6 5—4 
 
 ^ 
 
 f 
 
 6 7- 
 
 -^_ 
 
 3. 
 
 §^te 
 
 2 6 3 
 
 rgTg"^ 
 
 f 
 
 JB- 
 
 :^ 
 
 6-7- 
 6 5 4 4 3 
 
 trt=4: 
 
 6 5 
 
 'b 
 
 I'' 7b 6 
 
 2 5 — 
 
 3 
 
 3=^ 
 
 6—57 
 5—43 
 
 ^i^ 
 
 & «•-:£ 
 
 S. 
 
 ii^^^^ 
 
 9 8 9! 
 
 6 5 6 4 5 
 
 3 7 4 3 6 ff 7 3 4 
 
 li 
 
 ^ 
 
 -2Sl- 
 
 ^= 
 
 f-^ 
 
 ^g-h gi 
 
 The following form, having a diflferent notation, is nevertheless the 
 audible duplicate of that up an augmented fourth. 
 
 Up an imperfect fifth — major to major. 
 
 s 
 
 ^ 
 
 =te=^ 
 
 ^ 
 
 =^5 
 
 1^ 
 
 -«^ 
 
 ^^-^—^' 
 
 ^^ 
 
 H 
 
 mF^^=m 
 
 CI rf vil°^ D I 
 
 • vii°^ G^l 
 
 V, 
 
ELEMENTS OP HAEMONT. 
 
 85 
 
 LESSOH 39. 
 
 As the C clef is constantly met with in both vocal and instnimenta] 
 works, no musician should fail to become familiar wi .h its use. This 
 clef, written in either of the following ways . ^^ , i,^ and some- 
 times still differently, always shows the 11=^ I' I") position of 
 one-lined c. / _fL — v When standing on the first line it is 
 
 called the \ y _ J Soprano clef; when on the third line, the 
 
 Alto clef; and when on the fourth line, the Tenor clef. 
 
 These five notes sound exactly alike — unison. 
 
 Violin. Soprano. 
 
 Alto. 
 
 Tenor. Bass and Baritone. 
 -s- 
 
 fet=g3=[=9i^==^ ] 
 
 4Sh^Z 
 
 m 
 
 The names of these jotes appear below them. 
 
 i 
 
 ^ 
 
 i^t 
 
 n^ 
 
 Two-lined C. One-lined A. One-lined D. Small B. Small E. 
 
 With the C clef, the notes in any voice sound exactly where they 
 are written. The following shows three notations of the same chord, 
 this clef requiring full score. 
 
 I 
 
 I 
 
 ^ 
 
 i 
 
 ZSl 
 
 i 
 
 i 
 
 i 
 
 i 
 
 m 
 
 9i; 
 
 In using these clefs, the student should guard against writing the 
 Alto one octave too low. Before writing the subjoined, several exar- 
 dses from Lessons 4 and £ may be written in this way. 
 
 1 ^ 
 1. 5 4 
 
 f 
 
 5 
 
 ^ 
 
 M. 
 
 • % h- ^1 
 
 t-St 
 
 7l» 
 
 7 6 
 4 — 
 
 57 
 4 3 
 
 i 
 
B6 
 
 ELEMENTS OP HARMOIfT. 
 
 S. 
 
 % 
 
 7 6 
 5 — 
 
 ^ 
 
 9 8 7 6 6 7 
 
 4 3 4- 4ft 
 
 m^ 
 
 • i g 1 ^' 
 
 I 
 
 --P- 
 
 t:±l=t: 
 
 3. 
 
 7b 
 
 iiifei 
 
 
 li|2^ 
 
 ?^ 
 
 f 
 
 
 8l7 
 
 6!a 
 
 I 
 
 §£^ 
 
 EE 
 
 *^ 
 
 :^ 
 
 4. 
 
 3 4 la 
 
 ^g 
 
 7? .6 6^6, 176 67 
 
 2 53 as 426 5P 3947 4 13 
 
 :t±t 
 
 I 
 
 ?e^ 
 
 tt 
 
 ±:i 
 
 2e: 
 
 •lS>— fil 
 
 ^g 
 
 6 ^ 
 4 1 
 
 3_2 3 
 
 \ * 
 
 5 -^ 
 
 4^6 
 
 79 9 6 5 4 
 
 gi^^^^f 
 
 7 - 
 4 3 
 
 6 - 
 4 3 
 
 :si 
 
 The forms of modulation already given should enable one to go 
 from any one major key to any other. To go from major to minor, 
 or from minor to major, requires only chromatic changes in connection 
 with the familiar models as shown below ; the first form, np a perfect 
 fifth, being selected for the illustration. 
 
 Up a perfect fifth. 
 Major to minor. Minor to major. 
 
 ■i^^^ipi^ligip 
 
 is^^ 
 
 i^t 
 
 i^lil^ipll 
 
 Q\g\^ I ii°(7) I V? > 
 
 c I G Vy I mil I v? I 
 
 By beginning the first of these two examples with the triad of e 
 minor, the form minor to minor will readily be seen. All the for©, 
 going models must in turn be used in these three ways. 
 
EUiaiEXTS OF UABMONT. 
 
 8V 
 
 LESSON 40. 
 
 OPEN HARMONY. 
 
 Open or dispersed harmony has been thus long delayed .hat the 
 student might become familiar with fundamental principles before 
 applying them in this way, which many find more difficult. A neces- 
 sary definition will be found in Lesson 4. The terras open harmony 
 and full score must not be confounded, referring as they do to entirely 
 diiferent things. 
 
 An exercise beginning with open harmony will often necessarily 
 end with close ; or, if ending with open, will sometimes present sev- 
 eral chords in close position. Open harmony is rarely found in every 
 chord of a long exercise. The first exercise in Lesson 4, written with 
 open harmony, appears thus : 
 
 I 
 
 3^ 
 
 11 
 
 liE^ 
 
 I IV I V I 
 
 Many of the previous exercises would prove almost unmanageable 
 to 'the unaccustomed student who should attempt to write them with 
 open harmony ; but after writing the following, a judicious selection 
 from previous lessons will serve instead of new exercises. 
 
 Rules for Open Harmony. 
 
 1. The Tenor and Alto should rarely be one octave apart; and the 
 Alto and Soprano rarely over an octave. 
 
 2. Write the Bass and Tenor on the lower staff; the A.lto and 
 Soprano on the upper. 
 
 3. Ad libitum. Write down stems to Bass and Alto and up stems 
 to Tenor and Soprano. 
 
 As the Tenor here often comes where we have used the Arabic 
 iiumcrstls, the latter will now be written below the Bass. The Roman 
 numerals may be omitted in the three following lessons. Open bar- 
 mony must here be employed except at points w here this wi/uld render 
 the connection of chords very imperfect. 
 
88 
 
 ELEMENTS OiT HARMOXY. 
 
 1. 
 
 9i^ 
 
 ?g=tfF 
 
 =^ 
 
 1^ 
 
 :t=^t 
 
 7 — 
 6 5 
 
 3b 4b 5 
 
 67 
 1 
 
 ». 
 
 » 
 
 H=^=»f=- 
 
 _,= S'- ■■ 
 
 i 
 
 i=t= 
 
 56 6 
 
 1 
 
 'B| 
 
 % 
 
 f 
 
 3 
 
 67 
 
 ^ 
 
 ^^ 
 
 -iS- 
 
 B^: 
 
 5- 5 6 
 13 i 
 
 S — 2 
 1 3 
 
 7 9 8 2 7 6 87 
 13 5 — 
 
 4. 
 
 s 
 
 ^ 
 
 ^3= 
 
 -^ 
 
 ^# 
 
 5 — 
 1 3 
 
 5—67 
 1 3 1 S 
 
 6 — 
 1 3 
 
 S. 
 
 §» 
 
 3 
 
 :?:! 
 
 g;ii 
 
 ^_. ._<2- 
 
 •^=tf2 
 
 ^ 
 
 ;^±tr=t 
 
 3 6 16 
 3 1 
 
 6 6 
 
 5 4, 7h 6 jSr 6 
 3b " It) ? 1 
 
 7 4 
 
 ii 
 
 LESSOH 41. 
 
 Use open harmony, as before. 
 
 =^ 
 
 Ils^— <?- 
 
 ^ 
 
 ^#t 
 
 E3 
 
 9 7 6 6 — 
 1 5^ 
 
 6 5 7!9 
 S 1 
 
 5 7 
 
 1 
 
 3. 
 
 g^pfe^ 
 
 t=F: 
 
 :^2=5: 
 
 2^ 
 
 :^ 
 
 ^ 
 
 56765 6 5—4 
 4 5—1 5 13 3 
 
 7 6 jar 6 ^ 6 
 
 1 1l 1 ^ 
 
 7 6 67 6- 
 1-13 4 3 
 
 i=i 
 
 m 
 
 ■ s>—^- 
 
 si-^iiS -'g— zb- 
 
 al 
 
 -3t. 
 
 5 J3r68798 .7 6# 
 4^1 76 HI 2 
 
 2 3 ^ 
 
 :^: 
 
 ■gzrie- 
 
 ■iS- 
 
 =^ 
 
 6 6- 6 76 87 
 5 13 1- 
 
 -(=^ 
 
 t- 
 
 t=4=P 
 
 7 J» S 
 4 - 
 
 87 5—98 7e'6 6 
 
 4» 13 6- S-1 
 » - 
 
 l-^ U 
 
HtEMENTS OF HAEMOIST. 
 
 89 
 
 m(^^-^=U 
 
 ■?c 
 
 i 
 
 B 
 
 i^ 
 
 7 6 
 
 4 — 
 3 — 
 
 5 — 
 4 3 
 
 7- 
 
 6 5 
 
 7- 7- 
 4 3 4 3 
 
 A note sometimes comes between a suspension and its resolution. . 
 This intervening note may belong to the chord of the resolution, as at 
 a and b, or it may be a foreign note, as at c and d. This freer treat- 
 ment of a suspension should be reserved in practice for more advanced 
 study. 
 
 i 
 
 £7yjJ_j_^^J^J_j_^_^.^j__^ 
 
 i^^m 
 
 w 
 
 1 
 
 ^ 
 
 Retardation. 
 
 Retardation (see Lesson 29) requires substantially the same rules 
 and treatment as suspension, except that its resolution is to the next 
 degree above itself instead of below, To be effective it should gener- 
 ally be used in combination with a suspension. As the numerals 
 indicating such progressions would necessarily be so complicated as 
 practically to forbid their- use, no exercises involving them are here 
 given. The subjoined example should be suiBcient, with the definition 
 in Lesson 29, to render the subject plain and to enable the student to 
 recognize retardations wherever they occur in published music. 
 
 a b 
 
 ^^^K 
 
 Si 
 
 ^ 
 
 ^^^^^^^it 
 
 -ts>-\- 
 
 ^^r^r 
 
 ^ 
 
 c v? 
 
 r» 
 
 1221 
 
 V7 
 
 I 
 
90 
 
 E/.EMENTS OF HARMONY. 
 
 -^ 
 
 ^- 
 
 m 
 
 i 
 
 is. 
 
 S'BT 
 
 rsi 
 
 1 
 
 C V 
 
 a y. 
 
 At o, the retardation comes in the Soprano ; at h, in the Alto ; and 
 at c, in the Tenor — each being combined with a suspension and of 
 good effect. At d, occurs a double retardation — in Alto and Soprano— 
 with no suspension and the effect is less agreeable ; while the single 
 retardation at e would easily be mistaken for an error in execution. 
 The example at f, because of its inevitable progression, is unmis- 
 takably a retardation and cannot properly be regarded as a chord of 
 the 7th on the tonic in a minor, though containing identically the 
 same notes. 
 
 LESSOR 42. 
 
 THE APPOGGIATURA, PASSING-NOTE, ETC. 
 
 1. An appoggiatura is a note foreign to the chord in which it 
 occurs, coming with. the chord and, in this sense, on the accented part 
 of the bar. See 1. a. A voice may skip to, but not from it and the 
 appoggiatura must move diatonically to some note belonging to the' 
 chord, this harmonic note not boing allowed in any other voice but the 
 Bass, during the continuance of the appoggiatura. See 1. b. 
 
 When a suspension. is not tied to the note of its preparation, thus 
 making it really a prolonged note, but is taken again — repeated — 
 as at 1 c, it ceases to be technically a suspension and becomes an 
 appoggiatura. This enables one by omitting the tie to make use of 
 the harmonic effect of a suspension in the form of an appoggiatura, 
 when the rhythmic value of the preparation being less than that of 
 the succeeding dissonance, the latter could not appear as a suspension 
 BKcept in violation of Rule 5 under Suspensions. 
 
 2. A passing-note is a note foreign to the harmony with which it 
 18 used, coming after the chord, consequently on an unaccented part 
 of the bar, and moving diatonically from one harmonio note to another. 
 The notes ju:5l befor-j and after the passing-note may properly belong 
 
ELEMENTS OF HARMONY. 
 
 91 
 
 to one a)id the same chord, as at 2 d, or to different chords, as itt «. 
 The passing-note cannot be either taken or left by means of a skip. 
 
 3. A changing-note is quite the same in definition and treatment aa 
 a passing-note, except that it returns to the same note from which it 
 came. See 3. 
 
 4. A ship-note is a variety of passing-note to which, but not from 
 which, a 7oice may skip. It differs from the appoggiatura in coming 
 after the chord, while the appoggiatura comes on the chord. See 4. 
 
 5. Anticipation arises when any voice takes a note of the next 
 following chord before the full chord appears, as at 5, k and /. Double 
 anticipations are found, as at yn,. Triple anticipations, although often 
 presenting the full triad that follows, as at n, do so before the rhythm 
 would naturally suggest it — hence the propriety of the term, antici- 
 Ration, provided at least one other voice retains a note of the previous 
 chord. When all four voices proceed thus early to the following 
 chord, they indeed present a rhythmic but not an harmonic anticipa- 
 tion, and cease to be known under this name. See o, 
 
 X. a * b * c • 2. d » 
 
 ^T.^^ 
 
 
 -isn 
 
 rf 
 
 J-^- 
 
 r I rr 
 
 
 -^ 
 
 1 
 
 I 
 
 £^ 
 
 -22Z 
 
 W=f^W 
 
 3-/ 
 
 4. A * 
 
 J. 
 
 S" : •» — * — sr - , it 
 
 i 
 
 ^-f^^f=-f-^ 
 
 -f=-f 
 
 e 
 
 :& 
 
 
 J-:^ J- 
 
 i 
 
 z^m 
 
 ^±f^--=f 
 
 ^^^^ 
 
 1^ 
 
92 ELEMENTS OP HARMONY. 
 
 The accented appoggiatura at a should be compared with the nn- 
 accented passing-note at rf. Each of the foregoing dissonances can 
 properly come in any voice, though here shown as in the Soprano. 
 
 When any of these dissonant notes are long sustained, coming in a 
 very slow tempo or on a long note, their effect is less agreeable. 
 
 Like suspensions, either passing-notes, changing-notes or skip-notes 
 may properly appear in two, or even three voices at the same time ; 
 or one of one kind and one of another may be combined, as was shown 
 in connection with suspension and retardation. 
 
 When such combinations as the last mentioned appear simultane- 
 ously in several voices in such a way as to form complete chords 
 exclusive of the Bass, tbey are c3iX[eA passing-chords ; the intervening 
 chords including the Bass in the manner employed with the use of 
 single passing-notes. 
 
 As passing-notes often occur in the Bass, passing-chords may some- 
 times include the Bass (consequently all four voices). But there is 
 seldom occasion to regard such as passing-chords, when all the voices 
 beloag to the chord, except when of comparatively short rhythmic 
 value and coming on unaccented parts of the bar, ofteuest between the 
 beats, and in certain inversions rarely found on accented parts. (See 
 suggestions on the usual appearances of chords, in Lesson 43.) 
 
 Organ-point, Pedal-point. 
 When a note is sustained in the Bass during the performance of 
 various harmonies to many of which the Bass does not bfelong. tliis 
 Bass note is called nrgan-point or pedal-point. Owing to the difficulty 
 of literally sustaining one note so very long in vocal or pianoforte 
 music, it Is there uninterruptedly repeated with greater or less fre- 
 quency during the continuance of the organ-point. The choi Is Ihat 
 do not include the Bass may come upon eitiier the accented or the 
 unaccented parts of the bar ; but they must be constantly interspersed 
 with chords containing the Bass. The note selected for the organ- 
 point is usually either the tonic or the dominant, sometimes both 
 together. Although in frSe instrumental writing, other notes are 
 used, this is somewhat exceptional and requires discretion in ita 
 emi'loyment. The Ba"Ss note in organ-point must belong to the first 
 chord in the passage, to the last chord and to more than half of them 
 all ; the first of these chords almost invariably coming on the accented 
 beat. Organ-point is most used at the very beginning and near the 
 close of compos-'tions- When at the beginning, the organ-point con- 
 
ELEMENTS OF HARMOlfT. 
 
 93 
 
 linues during only a few chords : near the close, especially tf great 
 works, it is often maintained throughout a long passage, this being 
 followed by a strong cadence. 
 
 Sustained Notes. 
 
 When a note is prolonged, like organ-point, in any voice other than 
 the Bass, it is called a sustained note. A note may be literally sus- 
 tained or tied and yet not be a "sustained note," this term having a 
 purely technical meaning and applying only to peculiar harmonic 
 combinations as defined above. The chords that do not include the 
 sustained note must be less frequent than with organ-point if purity of 
 effect is to be preserved. As in organ-point, the tonic and dominant 
 are best adapted for sustained notes, though for exceptional purposes 
 other notes are sometimes found in orchestral ijwrks. 
 
 The study of Counterpoint and Composition is indispensable to a 
 complete understanding of principles here involved ; but as the har- 
 monizing of even simple melodies requires some practice in the proper 
 treatment of many of these dissonances, they will be introduced in 
 later lessons. A few examples of passing-notes and changiug-notes in 
 the Bass here follow, such notes having only a dash under them, show- 
 ing that the next previous notes of the upper three voices are to be 
 held over the passing-note. 
 
 These exercises require interchanges of close and open harmony 
 and an occasional passing-note in some upper voice. A retardation 
 occurs in the last bar of the 3rd exercise. 
 1. Open harmony 
 
 S^5 
 
 m 
 
 i 
 
 ■d-»- 
 
 33t^ 
 
 6 — 
 4 3 
 
 — 6 - 9 8'- 
 6 — 13 
 
 — 6 
 
 4 
 
 87 
 
 a 
 
 S. Close harmony 
 
 a 
 
 7T¥ 
 
 gg felJ^J N 
 
 I 
 
 t=p^ 
 
 S3 6 3 7 
 4 4 
 
 3 8- — f 
 
 3. Open, 
 
 — 76 7W- 6— 6 7 
 eb 4 3 
 
 9^i^-h i U^^ =^^ 
 
 ^^1 
 
 3 - 6 — 9 — 
 
 8 7, 
 
 i 
 
 isr 
 
 il 
 
 f 
 
 6 7 
 
 7*6 
 4^8 
 
u 
 
 ELEMEITTS OF HARMOXY 
 
 4. Open, 
 
 ig^^ 
 
 fit?23 
 
 3^ 
 
 ^rq-nn:^. 
 
 ^r^ 
 
 9 
 
 IB 
 
 1*3!: 
 
 s 
 
 6 6 4 
 13 3 
 
 S. Close, 
 
 ■6 — 7 — 6 
 5 6 
 
 g J 5-63 6 
 13 T 4 i 5 
 
 1 
 
 f - 9 8 7fl7h 
 7 6 6^5 
 1—4 3 
 
 ^*| 
 
 ^ 
 
 f-^- 
 
 -I — t-H— ^b 
 
 t~r^ 
 
 7 6 
 
 JS" - 6 - 6 
 
 g^^ 
 
 i 
 
 '¥=r^ 
 
 E£ 
 
 g^=^» 
 
 93 
 13 
 
 7 6 7 jy 6 7H 
 
 1- 5^ Ifl'^ 
 
 — 5 7 
 
 Before proceeding further, it is earnestly recommended that the 
 teacher harmonize a large number of the foregoing exercises through- 
 out the whole book, purposely making errors to be corrected by tlie 
 pupil. In no other way, it is believed, can the whole be so thoroughly 
 reviewed and reduced to practical value. Beside impressing most 
 ineffaceably the principles of Harmony by this means, the pupil, in 
 being obliged to explain errors as though he were the teacher, learns 
 not only the rules but the fundamental laws upon which they are 
 based. Most of the exercises could be correctly written in several 
 ways, though one might be better than any other. 
 
 LESSOH 43. 
 
 HARMONIZING MELODIES. 
 
 tTnless the student shall have played the corrected exercises of the 
 foregoing lessons or in some way become ftimiliar with harmonic pro- 
 gressions, he should at once do so before writing further, as otherwise 
 the following lessons will be almost useless if not wholly impossible to 
 him. In this connection, a glance at the most common progressions 
 suggests some facts which, though having exceptions, are still of very 
 general application.. 
 
 1. The tonic triad is much used in every position and inversion. 
 
 2. The super-tonic triad is of frequent occurrence, but rarely as a 
 six-four chord, save on the unaccented part of the bar and then mostly 
 In diatonic progressions of the Bass. See Lesson 21, Rule 4. 
 
 3. The mediant triad occurs but seldom, comparatively, and then 
 
BliEMENTS OF HARMONS'. 95 
 
 nsaally with its root in .he Bass when coming between the triads of 
 the tonic and sub-dominant (I. ii. IV.) or between those of the sub* 
 mediant and sab-dominant (Ti. in. IV.) ; bat often with its third in 
 the Bass when between the triads of the tonic and dominant (I. III. V.) 
 
 4. The sub-dominant triad is used in any form. 
 
 5. The dominant triad is much used in any form except ns a six 
 lour chord. See Lesson 21, Rule 4. 
 
 6. The sub-mediant triad usually has its root in the Bass excep 
 in introducing a modulation, when it often has its third in the Bass 
 See Lesson 21, Bale 4. 
 
 7. The leading-tone triad seldom occurs except with its third in the 
 Bass and its third doubled, coming thus between two triads of the 
 tonic, either of them being inverted. When used as a passing-chord 
 (see Lesson 42) it occasionally appears in the fundamental position or 
 as a six-four chord. 
 
 Chords of the 7th on the various degrees of the scale, together with 
 their inversions, appear in so many ways and are affected by so many 
 conditions that any statements concerning them similar to the above, 
 would be too extended to be of practical service. The proper use of 
 these and indeed of all chords can be learned only by familiarity with 
 countless examples. 
 
 The ■ Tritone. 
 
 The interval of three whole steps from the fourth degree of the 
 scale upward to the seventh degree, or from the latter downward to 
 the former, is called a tritone. As it is an augmented 4th, it is cus- 
 tomary to avoid this skip (Lesson 4, Rule 5 ) ; yet among modern 
 writers it is not regarded as erroneous although unmelodic. One 
 should not write it in elementary lessons. 
 
 Rules for Harmonizing a Melody. 
 
 1. With a low Soprano use close harmony. 
 
 2. With a high Soprano use open harmony. 
 
 3. With a Soprano neither particularly high nor low, nse which- 
 ever form best connects the voices. 
 
 4. All four voices should rarely skip at the same time, especially 
 from one harmony to another. (See Rule near the top of page 23). 
 
 5. Avoid the impure progressions of consecutive unisons, secondis 
 sevenths and ninths. 
 
 8.^ The Bass should not skip consecutively two 4th8 or two 5th8 in 
 ike tame direction. 
 
96 
 
 ELEMENTS OF HARMONS. 
 
 1. a b t 2. rf Bad. e Good. 3. /'Poor. .v Good. 
 
 r 
 
 r~r 
 
 j--i-^ -^' 
 
 ^ 
 
 ^f=^l==S-]li^=ll :=a=^ l zs4l::^s=-^l::2i^ ^^ f 
 
 A Poor. 
 
 y Good. 
 
 4. fc Poor. 
 
 Good. 
 
 i 
 
 ^ 
 
 I 
 
 
 f^ 
 
 -.^^^ ^: 
 
 ^ 
 
 -(=2- 
 
 1 
 
 ■r^' 1^ . - 
 
 ii 
 
 -ig — g- -g- gi 
 
 -^ 
 
 £ 
 
 e= 
 
 r 
 
 r 
 
 in Questionable, n Good. 
 
 ^ 
 
 p Coi-rect. q Better. 
 
 -fi>- 
 
 1^ 
 
 &0. 
 
 m 
 
 
 :?£: 
 
 ^ 
 
 =f= 
 
 -r 
 
 6. r Impure. s Allowable. 
 
 ^=i 
 
 « Purer. 
 
 ^::^ 
 
 SB 
 
 :3E=rs; 
 
 f=f 
 
 *— g- 
 
 -f^T" 
 
 r^^ig - 
 
 ^1 
 
 ^ 
 
 6. K Poor. • Good. o Poor. 
 
 -g-1 
 
 Ii 
 
 ;t=sc 
 
 Good. TO Poor. Good. 
 
 :t:^ 
 
 I 
 
 -& — i-jy 
 
 I Poor, 
 
 7g 
 
 Good. 
 
 y Good. 6 ^ 
 
 EES 
 
 i 
 
 'm 
 
 r- 
 
 ^ 
 
 _a.lL 
 
 ■«>- 
 
 With the Soprano as low as at a, i and c, the Bass could not afford 
 room for open harmony and still remain within vocal limits. The 
 
ELEMENTS OP HAEMONT. 
 
 example at c is allowable in four voiced harm^ny on only tho first ane 
 of any composition. Atd, the Tenor is too high, which is remedied at 
 e. Aty, the voices are poorly distributed, the correction being shown 
 at g. The lack of connection in all the voices and the poor movement 
 of the Alto at h is avoided at j. The violation of Rule 4 is plainly 
 Boticeable at k, as well as its natural correction at I ; although the 
 simultaneous skip in four voices to another position of the same chord 
 it less objectionable than such a progression to different harmony, as 
 at m. The correction at n is in conformity with the rule near the top 
 of page 23. The example at p scarcely violates Rule 4, as the Bass 
 does not skip to another interval of the chord ; yet the form at q is 
 better. At 5, r, the consecutive intervals between Bass and Alto, in 
 consequence of the suspension, are impure and the suspension is not 
 well chosen in such cases. At s, the Bass is tke best of which this 
 harmony admits, in this key, although it renders more audible the 
 consecutive 7ths between Tenor and Soprano. The change of key 
 at t, admitting of contrary motion, partially renredies this. The con 
 tecutive skips of 4tlis in the same direction at u and x and of 5ths at 
 V and w, find their correction in the examples marked Good. The 
 example at y is correct, owing to the interrrupted progressi' n upward. 
 A different notation at z makes this plainer. 
 
 The student should first harmonize the following exercises away 
 from any instrument, then play them over and endeavor to ascertain 
 why certain chords or progressions sound badly, comparing them wi',h 
 some of the suggestions at the beginning of Lesson 43. As soon as 
 possible, however, the exercises should be written without any refer- 
 ence, mental or visible, to the keyboard. Tenor and Alto may now be 
 supplied to the four following lessons, omitting the Arabic numerals 
 but writing the proper Roman numerals beneath the chords. The 
 Btudent will here find triads and chords of the 7th variously inter- 
 spersed as before, together with inversions of each. 
 
 The first exercise merely shows the necessity for the interchange of 
 close and open harmony. 
 
 m 
 
 ^ 
 
 ~^ 
 
 ^^ 
 
 C I 
 
 ^ 
 
 Bi eJ -- gg— gi- 
 
 ^ 
 
98 
 
 ELEMENTS OF HAKMONY. 
 
 2. 
 
 ■r(B — ^ — 7^ — ^ — /^ — f^ — f^ r 
 
 i 
 
 -(=— f=2- 
 
 4==t 
 
 ^ 
 
 m =J~ f] -f-^. 
 
 e? f 
 
 m 
 
 1 
 
 ^ 
 
 F--firTifTp-^ 
 
 :t=f 
 
 i 
 
 Bas 
 
 fg | g" 
 
 -^g'-g^ 
 
 1=^ 
 
 ?: 
 
 ^^^^^^^ 
 
 g 
 
 : i^ rg 
 
 i^ 
 
 3^ 
 
 g rg 
 
 :^ 
 
 t==t 
 
 1^^ 
 
 tS^ p« — h ^'-^ — <s--^ — f^ 1 
 
 i^E 
 
 (^ a 
 
 
 LESSOH 44. 
 
 IWrr= 
 
 T'T^ 
 
 ~P~f~^~o- 
 
 
 
 ^^- 
 
 ~1 — T" 
 
 
 rn 
 
 
 r^n-jS'- 
 
 
 -f--f- 
 
 
 -^-^- 
 
 |-jS> 1— 
 
 A' 
 
 =fl 
 
 2J!*{ip^ 
 
 ^ — 
 
 ^F=?==^ 
 
 -^^ 
 
 iJ 
 
 
 
 
 ^ 
 
ELEMENTS OF HAEMONT. 
 
 99 
 
 ^m 
 
 3 
 
 iS>--s^ 
 
 A-pi—si- 
 
 A=n 
 
 p^-(g— P- : — g- 
 
 2-^ 
 
 E 
 
 i 
 
 -f=-^- 
 
 -'— 'g aJ1 g - 
 
 I I l| I 
 
 ii3. 
 
 ^^ 
 
 K 
 
 i 
 
 ■ g fg 
 
 t=t 
 
 §!te 
 
 '^ g'l rg 
 
 3 
 
 :^: 
 
 i 
 
 £Eee 
 
 fe 
 
 e > \ ^ o ^ 
 
 i 
 
 -zgi-gs^ 
 
 s^ 
 
 }=±:«=t^ 
 
 S 
 
 3 
 
 s 
 
 I^ 
 
 ;^e 
 
 ^^: 
 
 r^irt 
 
 fTp^^r^^ 
 
 R=^ 
 
 PI 
 
 r=t 
 
 '=^=^ 
 
 f^=^ 
 
 1* /^ 
 
 -I 
 
 ^- 
 
 — i1 
 
 
 
 f=^ 
 
 ^J 
 
 \ \ \ 
 
 -f=S^ 
 
 =b=fc 
 
 
 
 — ^ 
 
 ^^^^s^ 
 
 » ^ 
 
 \-J- 
 
 =;d 
 
 
 4— 
 
 1 ^^j 
 
 -*^ 
 
 
 rsJJ 
 
 
 r g ' a 
 
 i 
 
 Mt^ 
 
 1. 
 
 LESSOH 45. 
 
 ^^=^ 
 
 ^ 
 
 ^ 
 
 3^=2!: 
 
 ^ sj. eJV ^S^^ 
 
 S 
 
 ^ 
 
 
 3^ 
 
 E33= 
 
 I 
 
100 
 
 ELEMENTS OP HARMONT. 
 
 ^^^m^^^^^s^m 
 
 gr=i:^=gg=p^=:gr; =^p=;z^i::^;q:::g=p: 
 
 » 
 
 f« — r 1 — c — =^ — — 5^ 
 
 gSl 
 
 l ^fT ^^P ^ 
 
 -fg^ 
 
 =5=F 
 
 3t8^ 
 
 !S'-tt;^r-iS^ 
 
 ^ 
 
 3 
 
 i 
 
 i^ 
 
 ^F^=^S^H3=^^?^=^ 
 
 ^i^a3 
 
 J— Ui ^ 
 
 i 
 
 ^^ir^=^ 
 
 -JB-lS « iS' *- 
 
 =^ffF: 
 
 ~i9 — 0--&- 
 
 -(=- 
 
 ^ 
 
 B^ 
 
 ::iN: 
 
 i«i-*tsl 5^ 
 
 ^ 
 
 Site 
 
 ■ ifrS-?(5-f ^z 
 
 t^r^d 
 
 33; 
 
 pi 
 
 ^^i3^^3= 
 
 :t:1: 
 
 ^^iJ-s^«*-fi>-i-«i 
 
 ^J^Z^dj^ 
 
 3 
 
 Pi 
 
 ^=s=z^ 
 
 ^s 
 
 ^s 
 
 3t 
 
 i 
 
 - '^ >* 
 
 
 ^^ 
 
 g^-'g-g' - 
 
 ^ 
 
 
 fP f ^f f"Tlf ^^ g^ 
 
 a 
 
 ;3^ 
 
 r22i 
 
ELEMENTS OF HARMONY. 
 
 101 
 
 LESSOH 46. 
 
 The following exercises present unusually angular Sopranos in order 
 to test the student's skUl in making the whole sound tolerably con- 
 nected by means of the other voices, with a judicious interchange of 
 close and open harmony. A Soprano part so disconnected as eithisr 
 of these would be hardly excusable except for this purpose. 
 
 1. 
 
 e^ 
 
 « 
 
 3±; 
 
 ^ 
 
 ' - ^ -&■ 
 
 ^ 
 
 £ 
 
 le 
 
 e 
 
 i(n1-:tt^ty^j f:£i: ^ i-J^i3 
 
 e J a 
 
 tetr.f f l f-fPTT ^ 
 
 ^ 
 
 iEi^S 
 
 ^ 
 
 ■ s>-^ 
 
 3± 
 
 :^=t 
 
 4=3i 
 
 gpr^=4F^^ 
 
 ^ 
 
 
 1= ^ -! fg I r^ 
 
 J — IZ « 1 — 
 
 E3 
 
 -jb- 
 
 m : r± ^^^^^S 
 
 -S - I ■-iS'— (=- 
 
 E^^ 
 
 i 
 
 ^1^^^ 
 
 s^^^ 
 
 i^^S 
 
 
 s 
 
 as 
 
 F22= 
 
 ^I 
 
 S*^--sL- 
 
 ^ls^ 
 
 e 
 
102 
 
 ELEMENTS OP HA.EMONT. 
 
 LESSON 47. 
 
 A simple lesson here follows, to accustom the student to a some- 
 what new use of Roman numerals. The first chord of each exercise 
 must be written in the position denoted by the Arabic numerals. 
 Both open and close harmony may appear in every exercise if desired. 
 
 One may interpret these indicators of harmony, ii^ V^ , in either of 
 two ways as shown by the Arabic numerals over them : 
 
 7 7 6 8 7 
 
 •, or 6 
 Hj V, Hj Yj 
 
 3 
 
 i3 
 
 i^ 
 
 ^3- 
 
 & 
 
 CI IV V, I I V, I vn°I IVdV, I I7CV, V, I 
 ' ' orCii^ ' 
 
 S. 3 
 
 ai;ite=& 
 
 §i$ 
 
 3= 
 
 5 
 
 GI eV, I aV, I t1i° I DV, I GV7 I I n, V, 
 
 3.5 
 
 S^^ 
 
 i 
 
 ^^ 
 
 E 
 
 ■s'—s^ ¥^ ^^-^\-&—\ <^- 
 
 F I V7 I y 6+ V V7 I V; I rf I iVyavii°,oFI V, I 
 3 
 
 4. 8 
 
 :- o (^ I— <g- 
 
 i-^ 
 
 =^ 
 
 =?E 
 
 :t=t 
 
 d I I V, I V, I VI F I V, I V7 I 
 
 ^^^ 
 
 - jg -l- g - 
 
 I a.) 
 
 ff V7 I vn°7o I vn' 
 
 d 11°, I 11° I V, 
 
 S. 
 
 ^m 
 
 ite: 
 
 SS 
 
 m 
 
 -s>- 
 
 ia= 
 
 AH V, I V, VI/V7 I VyVIAJ^V, I I u, V, I 
 
ELEBTENTS OF HAEMONT. 
 
 LESSOH 48. 
 
 103 
 
 The proper Arabic numerals with the chromatic changes carefully 
 indicated may be written over the Bass and the Koman numerals 
 beneath. Should this prove difficult, several vocal Chorals should be 
 Bimilarly treated, affording a study most useful in every respect. 
 
 •^^m^^m^Bmi 
 
 9-ir.J i\J f i f 
 
 ste^ 
 
 l] 
 
 g 
 
 ii3. 
 
 ^ 
 
 :1= 
 
 '^B^ 
 
 t#=^ 
 
 2^ 
 
 -^^*-^-*r J:=f5lp§? _ 
 
 M^ 
 
 (S—fi^ 
 
 m 
 
 ^t=^ 
 
 -(=—«': 
 
 ^^ 
 
 tS— (^ 
 
 =t 
 
 ^3#^ 
 
 -s)—<s>- 
 
 z^. 
 
 ge^^i^^^^ 
 
 m 
 
 't^ ^ 
 
 :^^ 
 
 -:S. 
 
 5^ 
 
 g_ S^ 
 
 1==^: 
 
 -^H — — -fii — 1^- B^~ 
 
 ■^-s*' 
 
 ^gr-g^: 
 
 4=tf 
 
 la 
 
 a 
 
 -<= — ,«'■ 
 
 ^ 
 
 -iffi_4=- 
 
 2 '^ g - 
 
 S 
 
 a33a=3 
 
 t=d: 
 
 se^ 
 
 '-^--si- 
 
 m 
 
 ^M. 
 
 ^^j 
 
 :gzl& 
 
 -z^- 
 
 ff= 
 
 ^^- 
 
 lite 
 
 -p'-^G^t 
 
 SF 
 
 See 
 
 i^ip-iffi-^- 
 
 3zzr 
 
 H 
 
104 
 
 ELEMENTS OF HAEMONT, 
 
 LESSOH 49. 
 
 The Bass with appropriate Arabic numerals should bo supplied to 
 these chords, the Roman numerals being copied below the Bass staff. 
 Consult Rule 4, Page 113. 
 
 i 
 
 ^ 
 
 ^ 
 
 2^ 
 
 :t 
 
 ^m 
 
 
 '2? 
 
 C I 
 
 -s- 
 
 I 
 
 S 
 
 1^ 
 
 =^=^ 
 
 i-i^; 
 
 VI DV, I GV,. 
 
 I o Tll°yo I e Vll°7o C I Vy I 
 
 s. 
 
 ^ 
 
 3 
 
 -d-hj^t^- 
 
 ^ 
 
 1^; 
 
 ^ 
 
 is: 
 
 IV I IV 
 
 G I 
 
 I aV? 
 
 i 
 
 i 
 
 ^ 
 
 f 
 
 :^ 
 
 szlizf : 
 
 =^ 
 
 r- 
 
 -^ 
 
 -:^^^r 
 
 vii° I D Vy I e vnoyo I VI G iiy Vy 
 
 
 Bj,! II V V7 I^V, I cV, I rfvnoyo B|,I Sb 6+ Bl>I V7 I 
 
 a I I V V7 I I V7 V? I I e V7 aV7 I n?^ I V? I 
 
 i 
 
 ^ 
 
 t 
 
 m 
 
 aj53 
 
 ifFS 
 
 #^ 
 
 ^^ 
 
 t:?- -gl;g- 
 
 i7i V, tcVy i/vii°7oB|>VVyviio7(^ cVz t?|t V V7 I 
 
 a 
 
i 
 
 KLEMENTS OP HAEMOXT. 
 
 LlESSOK 50. 
 
 This lesson should be treated like the preceding. 
 1. 
 
 105 
 
 t 
 
 m 
 
 3E 
 
 *- 
 
 ^ 
 
 l7 
 
 C I 
 
 VII" 
 
 ir, Vt V- V, 
 
 ^^ 
 
 
 1 
 
 ::^ 
 
 tSE 
 
 ^^ 
 
 ^^^^ 
 
 •p-^-r-jT- z^ ig: 
 
 IV V, I 
 
 I7 
 
 n I V7 
 
 I 
 
 fr^ t^ jg^' 
 
 t=t 
 
 dU lJ- l^ , 4i i=^-- 
 
 n 
 
 ~ " ~ Vz Vz V? I I I aV; I Q I liy III I 
 
 
 ai I 
 
 3. 
 
 m 
 
 s 
 
 ^g^^ 
 
 =^ 
 
 i 
 
 ^ 
 
 3^ira: 
 
 ^±5=ii 
 
 i3 
 
 ■3> '- S ' g^ ' 'g- 
 
 T»" 
 
 rf I I ii°7 Tii°7o V? Vt I gy? I d 1 1 ii°7 "Vr 
 
 M$^M^&^ ^ 
 
 Y-f-'" -&-, c^ » -fii- -^ -z^ j,=^ ^^g_ 
 
 B|, I I V V V, I IX, J 6+ V VI — Bb T 
 
 3 
 
 s. 
 
 P^^MM 
 
 ^p 
 
 -&- -&- -&• 
 
 ^ 
 
 ■^ 
 
 -s)r -ef-- 
 
 D I I IV I I IV V? IV I I IV IV V V7 I 
 
 LESSOK 51. 
 
 The Bass with Boman numerals should be supplied to these chords, 
 L 
 
106 
 
 ELEMENTS OP HAEMOUT. 
 
 m 
 
 3 
 
 ^P 
 
 ^==t 
 
 3 
 
 -g-T^ 
 
 w 
 
 im 
 
 ^^li^^ei — g igt^gl^g| 
 
 ;JK 
 
 S*- 2S^ 
 
 P^ 
 
 ®-^=^ 
 
 \ * 
 
 98 6 
 
 4 
 
 ( 
 65 
 
 3. 
 
 ^^ 
 
 ^i^i 
 
 Iz^g 
 
 i 
 
 f-A ^ — SI- -&. — si :- -A ^ — »-J-h*— I 1— 
 
 f 
 
 3 
 
 4. 
 
 6— 1 ^lC^l\> 
 4 3 4-5^- 
 4 3 
 
 i^ 
 
 ^ 
 
 ffi 
 
 i^ 
 
 ^ 
 
 ■zji— s>- 
 
 Eg 
 
 sdis- 
 
 -«>— 5- 
 
 :gzzs^ 
 
 <-i-^- 
 
 6 6 7 # 
 
 ?b, 
 
 7 6 7 6 7 
 S 
 
 ig 
 
 3 
 
 ^F^=^ 
 
 I 
 
 -3- ^ -^ ^3-:^3 -si- ^- I 
 
 T^zg: 
 
 6 6 
 
 9 8 4 
 
 4 3 3 
 
 3= 
 
 =^ 
 
 =fii= 
 
 =^?s 
 
 ■^^^x=^ 
 
 9 8 6 
 
 4 3 4 
 
 6 6 6 
 
 S 5 
 
 b 
 
 LESSOM 52. 
 
 The Bass with Koman numerals should be here supplied. 
 L 
 
 fe!': 
 
 =1=^,= 
 
 H^= 
 
 :S^^ 
 
 :^i 
 
 i^ 
 
 Si=ffii 
 
 =t!^ 
 
 ^^g — sL i;^ — 3^ ^- 
 
 5 7 
 
 4 3 
 
 6 
 S 6 
 
 6 
 S 5 
 
 If 
 
 ^ffi: 
 
 3E 
 
 s 
 
 s 
 
 3E 
 
 =^=S 
 
 ^=^^^^^^^^: 
 
 
 
 
ELEMENTS OF HAEMOKT. 
 
 107 
 
 
 
 ^6061 
 i It 
 
 ^ 
 
 i^E"^ 
 
 ^^ 
 
 Ei^^^l^g; 
 
 3= 
 
 6 7 
 
 f 
 3 
 
 i -r- 
 
 8 7 
 
 LESSOH 53. 
 
 To the Soprano one should add Bass, Tenor and Alto, copying the 
 Roman numerals beneath the Bass. 
 
 ^zri-^Hd: 
 
 ^ 
 
 CI IV 
 
 6 2 6 
 
 VI V Vy I I 
 
 IV n 
 
 i 
 
 ^ — <s>- 
 
 m 
 
 zsz 
 
 -s- 
 
 -o — 
 6 - 6 - 
 6 1 13 
 
 I V 
 
 IV V, 
 
 6 87 
 6 
 
 "7 ▼/ 
 
108 
 
 ELEMENTS OP HAHMOITT. 
 
 m 
 
 ^ 
 
 p 
 
 ^3=t 
 
 ^ 
 
 M 
 
 es 
 
 36 65— *6^67 — 
 
 5 4# f S 4 Iff 
 
 ai V71 II I "V idV7lo?+i'V7 1 
 
 6 
 
 3. 
 
 'k 
 
 ^^^^^S 
 
 O S) —iB- 
 
 66 66 i^ 6687 
 
 GI I V V7 I II I V I oV iQh I Vy I 
 
 y. 
 
 ^ V ftrf t r r^ ^ 
 
 1— It I I i I 4 
 
 75— -si a/- 
 
 aJ a^ 
 
 ■gi— »^ 
 
 ^ ^ 
 
 3 2 
 
 S 7 
 
 1 
 
 4 7 
 3q 
 
 7 98 S 7 
 76 4 3 
 4- 
 
 A I II, V7 I I V/ffVIIO;o I DV7 V7 I VI, AI V7 I 
 
 s. 
 
 64j:#6'9 8 ^8 
 
 I 
 
 7 6 7 — 
 4 — 65 
 
 jfiilVVV; I I c'V7 I I ^ I 
 
 LESSOH 54. 
 
 The three lower voices should be supplied, as in the previous lessoa 
 1. 
 
 ^ 
 
 -si-_ 
 
 ^ 
 
 ^ 
 
 F I V 
 
 I IV I IVv.ii°, £rvii<» 
 
 6—6 
 
 434 
 .r di 
 
 ^^ 
 
 131 
 
 Fii, V dV 
 
 e 
 
 9 8 
 
 7 6 
 
 « — 
 
 I 
 
 Vz 
 
ELEMENTS OP HARMOinr. 
 
 109 
 
 ^m 
 
 E 
 
 m 
 
 di 
 
 1 n° 
 
 6 7 5 iT 
 
 1 a viiOjo dV V? 
 
 ir Vz 
 
 i^^^^ 
 
 3 
 
 is: 
 
 in"? 
 
 5 
 
 i 2 
 VV7 
 
 I n?" 
 
 7 - 
 6 5 
 
 %7- 
 
 % 
 
 s 
 
 ^ 
 
 DI rv I I 
 
 S - 6 — 
 
 4 3 4 — 
 
 V 4 3 
 
 8 — 
 
 6 — 
 
 4 3 
 I 
 
 =^: 
 
 E 
 
 6 — 
 
 4 3 
 
 V7 
 
 9 8 
 
 6 — 
 5 4 
 
 2 — 
 
 I IV I 
 
 7 — 
 
 4 3 
 
 V7 
 
 wm 
 
 s 
 
 '^^^ 
 
 ^ 
 
 sir^zzs. 
 
 ^ 
 
 l^t^ 
 
 566 6 6 ^67. 5-6 7 
 
 4f 4f ^434# 
 
 6 I I V V7 I II V7 eV V7 I 6 I V7 1 
 
 s. 
 
 mz±i:±if^ m 
 
 ^ 
 
 91 
 
 V 
 
 f 
 
 I C "V7 
 
 f 
 
 '6+ 
 4 
 3 
 
 B ^ 6 7 
 
 4 T a 
 
 V V7 e V Vt 
 
 fc^ 
 
 ^ 
 
 ^^ 
 
 :fc 
 
 -|2Z- 
 
 fe= 
 
 5 — 
 4 3 
 
 4 
 
 9 I 
 
 B 
 
 I T7 
 
 6b 
 
 I N0 
 
 
no 
 
 ELEMENTS OF HAKMOJST. 
 
 LESSOH 55. 
 
 The Bass with Roman and Arabic numerals may be subjoined to 
 these chords. 
 1. 
 
 ■^ 
 
 J J - 
 
 i=^- 
 
 i 
 
 -sht-'g 
 
 ^- 
 
 -g^ ' ^ -^ 
 
 -*■ — S-'-g 
 
 2. 
 
 ESS 
 
 a 
 
 IS, 
 
 ^m 
 
 ^^ 
 
 ■1-^=^' 
 
 i 
 
 i^ 
 
 ^^ 
 
 a=Sz 
 
 ¥—4 
 
 ■ a I g ) @ ;;!- 
 
 ^r-^ 
 
 ^^m 
 
 3 
 
 I 
 
 3?=^ 
 
 
 r^ 
 
 ^ 
 
 r 
 
 -zs- 
 
 :S= 
 
 S 
 
 g=lz 
 
 :S=^ 
 
 '=^K 
 
 ti 
 
 -=<- -z^- 
 
 -Z5»- *^ -a^ T!*- 
 
 i 
 
 P^^*5f^fe£^ 
 
 -zb-g'- 
 
 ^ T^ r? 
 
 SK- 
 
 -^J- 
 
 ^^ 
 
 ■G T^ 
 
 i 
 
 E^ 
 
 a 
 
 3e 
 
 :^=2zb=2z 
 
 ^®?3F3 
 
 -^-^-■^ ^ Y^^'^ 
 
 IxESSOH 56. 
 
 These exercises are to be completed like the previous 'esson. 
 
 At^=^. 
 
 ^^jj^^^jj^; 
 
 ^^ 
 
 :iai=:^t|| 
 
 a^ -*- 
 
ELEMENTS OF HABMONT. 
 
 Ill 
 
 fe^aa^si^^s 
 
 3 
 
 t^ 
 
 rr^^^^^^^^ 
 
 I 
 
 i^B 
 
 
 •g*— B^ 
 
 
 '§^m^^- 
 
 rT-^- 
 
 I32I 
 
 r^ 
 
 s. 
 
 =^ 
 
 ^^fg^i^a^^l 
 
 nr 
 
 LESSOK 57. 
 
 The following Basses require triads and chords of the 7th in their 
 Y-arious positions and inversions, for which the usual numerals, Roman 
 a ad Arabic, must be written. 
 
 Should this lesson prove too difficult, it may be delayed until after 
 Lesson 75. 
 1. 
 
 ^IS 
 
 B^^ 
 
 (g g? 
 
 fS>--^ 
 
 -|2— ^ 
 
 t=t 
 
 .2. 
 
 SSl*" 
 
 -(=- 
 
 -^ 
 
 -s)~^ 
 
 m 
 
 -(=2 «■ 
 
 i 
 
 ^ '^ I r r 
 
 4. 
 
 JlT^ ^^{^g^S| 
 
 iti^ 
 
 1 
 
 gg^to ^^^^ 
 
 -»- 
 
112 
 
 ELEMElfTS OF HARMOWT. 
 
 IxESSOH 58. 
 
 See directions for writing Lesson 57. 
 1. 
 
 ^i^^^gigiggi^^ 
 
 s. 
 
 ^ 
 
 i^s 
 
 -(=— 1^ 
 
 I 
 
 iS>— (=- 
 
 £ 
 
 S^ 
 
 -f=— iff- 
 
 TS>-f-(=- 
 
 S^ 
 
 jr^ 
 
 ^^; 
 
 £ 
 
 -g — jg- 
 
 3z^:::^ 
 
 1=^- 
 
 §i» 
 
 71/- 
 
 f - T&-a5> c: 
 
 «l-^ 
 
 s: 
 
 LESSOK 59. . 
 
 Lessons 49 to 56, inclusive, contain almost unmistakable signs of 
 what the Bass notes should be. Now, however, the student must 
 decide for himself when the indicated harmonies shall be written in 
 the fundamental position and when as inversions. The suggestions 
 in Lesson 43 will be some guide in choosing the Bass, but familiarily 
 with good harmony is here indispensable. It will have been observed 
 by the thorough student that the Bass skips more than either of the 
 other voices ; next to this the Soprano moves most freely ; the Tenor 
 is rather more quiet; and the Alto skips least of all. Except in 
 organ-point, the Bass rarely remains on the same note for many con< 
 secutive chords. It may skip a third, fourth, fifth, sixth or octave, 
 provided this causes no interference in any other voice or a plain vio- 
 lation of the fundamental principle to keep the voices more or less 
 connected. The skip of a seventh in the Bass is of rarer occuriBnce, 
 the one most used being up to the seventh of the dominant. The skip 
 of a major seventh is seldom proper. Wbileany of the above skipii may 
 
ELEMENTS OP HARMONY 
 
 115 
 
 occar singly, several in succession sometime3 produce bad effects, to b« 
 learned by practice. 
 
 Bules concerning the Bass. 
 
 1. The Bass must not skip consecutively in the same direction, itvo 
 4ths or two 5ths. 
 
 2. The Bass should rarely sMp from a six-four chord to different 
 hannony. 
 
 3. Literal smoothness (diatonic progression) is less to be sought i« 
 the Bass than in any other voice. 
 
 4.- "When the last three harmonies of a phrase' are I V I or I V/ I, 
 the first of these three chords rarely has its root in the Bass, more 
 frequently its 3rd, but in most cases its 5th. 
 
 5. When the same Soprano note occurs twice in succession, it is well 
 
 either to place different harmony under each of these notes, or, if both 
 
 have the same harmony, to introduce a suspension or write the two 
 
 chords with different notes in the Bass. 
 
 Note. Bapid tempo and instrumental compositioua present constant and proper 
 exceptions to Bole 5. 
 
 The illustration of Bule 1 appears as that of the ^th Rule in Lesson 
 43. Bules 2 and 3 require no explanation. Bule 4 is applied below 
 at the close of k, though violated at the same point in the exercise at 
 j. Bule 5 has some exceptions but more illustrations in all the pre- 
 vious exercises in the book, as well as in miscellaneous compositions. 
 
 A movement between Bass and Tenor like that at a is often found : 
 between other voices it is seldom allowable. Likewise the hidden 
 nnisons between Bass and Tenor at J are proper, but rarely between 
 any other voices. 
 
 a be Bad. 
 
 i 
 
 4- 
 
 ^ 
 
 
 -^= 
 
 -J- 
 
 la 
 
 ^ 
 
 £ 
 
 ^^=r 
 
 i 
 
 Good. 
 
 e Bad. 
 
 ^^ 
 
 / Good. 
 
 g Good. 
 
 ^; 
 
 :2sz 
 
 l^ 
 
 -s;*- 
 
 3 
 
 f I 
 
 -&- 
 
 m 
 
 
 ^ 
 
 ^^ 
 
114 
 
 ELEMENTS OF HAEMON?. 
 
 The very faulty progression at o is readily improved by writiDg the 
 Tenor and Alto as sustained notes. See d. The six-four shord oi 
 the dominant at e (see Lesson 21, 4th Rule for modulations) is in- 
 excusable. At / and g are shown proper ways of harmonizing tho 
 same Bass and Soprano. 
 
 In harmonizing a Soprano, the student will need to make perhap? 
 several trials before producing a Bass that admits of really smooth 
 harmony in all the other voices. Should the following be taken as an 
 exercise to be harmonized. 
 
 F I 
 
 3E 
 
 zsL- 
 
 IV 
 
 IV 
 
 v? 
 
 one should' first copy it, writing the Roman numerals beneath the Bass 
 etaflP. The root of each chord may now be placed in the Bass, as at 
 h. Should this prove too angular, as in this case, inversions should 
 be introduced, somewhat as at j. The Tenor and Alto being next 
 written, it will often be necessary to again change the Bass,especially 
 wherever it seriously interferes with the natural and melodious pro- 
 gression of any other voice. 
 
 I 
 
 rf^ ^ ^m 
 
 85 
 
 -^—» 
 
 ?; 
 
 ;l^ 
 
 ^fefe 
 
 ffii 
 
 w 
 
 X 
 
 -s)-^g 
 
 F I IV I IV I V7 
 
 F 
 
 I IV I IV 
 
 I Vz 
 
 The arrangement at j is good except a violation of Rule 4. This 
 being corrected as at-i, below, the whole is further improved by a 
 slight change of harmony iu the fourth chord, introducing a minor 
 triad to vary the former monotony of all major harmony. 
 
 ^ 
 
 ^^. 
 
 f-f^-f- 
 
 z^ 
 
 r=f^ 
 
 ^i^ 
 
 j._^j.^^j 
 
 p=t 
 
 ^53 
 
 Firvi nl V? I 
 
 i 
 
 I V7 
 
 zazz. 
 
 I v? 
 
 32sr 
 
ELEMENTS OF HARMONY. 
 
 115 
 
 The 2nd and 3rd endings show agreeable changes of rhythm ; but 
 the student should at first confine himself to the very simplest manner 
 of writing. Particular reference should here be made to the rules 
 concerning six-four chords in Lesson 21 ; also to the suggestions in 
 the first part of Lesson 43. When the indicated harmony calls for a 
 7th, it will often be necessary to introduce it by 87 (called a passing 
 7th). See remarks on ii^ V in Lesson 47 ; also Eule 3 in Lesson 9. 
 Whenever a modulation is required, a chromatic change peculiar to 
 the new key should somewhere appear. Such harmony as the follow- 
 tog, at I, is unpardonable, while that at m is good. 
 
 =i 
 
 Bad. 
 
 Good. 
 
 ^ 
 
 ^ 
 
 -ist- 
 
 I 
 
 
 r"^"^ 
 
 4=J 
 
 -^- 
 
 -j- 
 
 -d- 
 
 # 
 
 r~riT~r 
 
 -f—r-i-f^ 
 
 CI 
 
 GI f7 
 
 C I 
 
 G I V? 
 
 The following exercises may be written in close w full score, with 
 the harmony open or close, according to the foregoing rules and illus- 
 trations. See also Kules in Lesson 43, the first two of which find 
 application in the fii^t two of these exercises. 
 
 ^E 
 
 G I 
 
 
 zzzn 
 
 rsz 
 
 II 
 
 Et' I 
 
 VI 
 
 3. 
 
 ^ 
 
 CI 
 4. 
 
 V? 
 
 -s 
 
 C I I 
 
 ^ 
 
 ^ 
 
 ^^1^ 
 
 I It IV "V? 1 I Tf VI n? V' 
 
116 
 
 ELEMENTS OP HARMONY. 
 
 S. 
 
 jB 
 
 3= 
 
 ^r=t 
 
 =^ 
 
 I 
 
 ■«>-^- 
 
 F I I Yr I T V7 I y? VI VI VI n, V7 I 
 
 ^s 
 
 3 
 
 I 
 
 t=t 
 
 r- i - i — r 
 
 01 I V T7 I V7 VI V I I V7 I ii°7 V7 
 
 LESSOH 60. 
 
 P 
 
 Sf^^-i 
 
 H=i!- 
 
 3^-^ 
 
 FI I VlV IsrVlCV7lFIVI n I V7 I 
 
 m 
 
 =^ 
 
 3=): 
 
 S 
 
 Sh 
 
 -.«'— ^ 
 
 ■ g a i- 
 
 =t 
 
 jr I V? VI V I B(>y I V7 VI frV7 VI If 1 V7 ,1 
 
 3. 
 
 ^^ 
 
 -^(^f 
 
 ^^-s- 
 
 gj g ^ 
 
 S^ 
 
 D I m IV I e V I DV I y I I IV n I V7 I 
 
 a 
 
 s 
 
 33 
 
 ^^^ 
 
 ^ 
 
 ^ 
 
 iff 
 
 G I V7 VI aV7 I e 6+ V V7 I V? I Gn, I V7 I 
 
 3 
 
 ^^ 
 
 % 
 
 ^1 1 \— 
 
 ^^ 
 
 SI 
 
 ;t:i5t 
 
 t=y=t 
 
 cilVl VV1V71 /V7 I cll°7 I V7 I 
 Exercises similar to these last, substituting Alto or Tenor for 
 Soprano, may be given ad libitum. 
 
 LESSOH 61. 
 
 DOUBLE CHANTS. 
 
 For tlie purpose of showing what are to be some of the practical 
 results of all the previous study, the remaining lessons will be in the 
 more interestms form of Double Ghants and Ghorals. 
 
ELEMENTS OF HAEMONT. 
 
 117 
 
 Becitative, 
 
 Form of the Single Chant. 
 
 -Mediant, ^ Recitative. . —•Cadence.- 
 
 ^ 
 
 
 rr 
 
 -:&±\ 
 
 f-TT— r ^"■ 
 
 .=^— J- 
 
 Z2SZ. 
 
 ^^ 
 
 m 
 
 The different parts of a chant are named as shown above, though 
 some writers give the name Mediation to the first three bars, and 
 Cadence to the last four.* No sign of rhythm (QJ or (V) could properly 
 apply, as the chords marked Recitative have a variable duration wholly 
 dependent upon the accompanying words, of which sometimes but a 
 few, at other times many are sung with these chords. Indeed, the 
 length of the half notes is only that of the syllables with which they 
 come, in singing. The two larger and unequal divisions are often 
 improperly called halves, but the word phrase or line is more accurate. 
 Their termination is marked by a heavier bar, or by a double bar. 
 When the words of a chant are printed without accompanying music, . 
 the vertical lines that intersect them correspond with the bars. 
 
 The above chant presents no modulation ; and as it would be neces- 
 sary to repeat it many times in a long Psalm, a sense of monotony 
 would be felt. But a Single Ghant is to6 short to admit of establishing 
 the original tonic, modulating to a new key and returning to the first. 
 Some composers attempt to remedy this ' by modulating in the second 
 phrase, which then closes in the new key ; the whole, after all the 
 words of the chant have been sung, being followed by Amen and a full 
 cadence to the original key, thus : 
 
 a bed 
 
 But as the repetition of such Chants causes the first chord, a, fr: 
 follow the last chord, 6, consecutive Sths and octaves sometimes result, 
 
 * Other forms of the Chant aia fonnd, adapted to special hymns or senteuoes. 
 
118 
 
 ELEMENTS OF HAEMONT. 
 
 as in this case, the audible effect being shown at c ; nor woald the 
 contrary movement at d correct this. See Lesson 4, Rule 4. 
 
 The Double Chant, which is merely twice the length of a Single 
 Chant, affords abundant space for a strong modulation and a return, 
 within its own form, and is therefore more serviceable for our present 
 purpose. 
 
 Rules for Double Chants, 
 
 1. The extreme high or low notes of any voice should be avoided 
 during the Recitative (the first chord of each phrase). 
 
 2. A six-four chord should never be written as the first or the last 
 in any phrase. 
 
 3. The second phrase should generally close with the root in the 
 Bass ; the fourth phrase, always. 
 
 4. Consecutive octaves or fifths must not occur between the last 
 chord of one phrase and the first of the next. 
 
 5. When the Recitative, or an entire phrase, is unison followed or 
 preceded by full harmony, the consecutive octaves that sometimes 
 result from this are allowable ; but such progressions are incorrect 
 where the unison occurs in but two voices. 
 
 The first four rules require no explanation. At 5 e, one perceives 
 a succession of consecutive octaves between the voices on the lower 
 staff and those on the upper. This is necessitated by the compass of 
 the various voices and is, in effect, a correct unison passage. The 
 same remarks apply to examples k and I. At f, the consecutive 
 octaves between Bass and Soprano and at g, between Tenor and 
 Soprano, as vcell as those at h, between Bass and Tenor are good. 
 The progression at j, from an octave to a unison is bad, no unison 
 effect being intended. 
 
 C Uaigoa 
 
 IV IV V7 
 
 Unison 
 
ELEMENTS OP HAKMONT. 
 k 
 
 119 
 
 i 
 
 -si- 
 
 
 T 
 
 =^ 
 
 OB 
 
 &C. 
 
 ^- 
 
 : ^J f^ f' 
 
 ^^ 
 
 Unison . 
 
 The following Double Chants and Chorals make no special pre 
 tension to originality, but are intentionally kept very simple to mee- 
 the probable wants of the student at this point. Each' double bar oi 
 heavy bar marks the end of a phrase. See Bule 2 ; also Lesson 59, 
 Rule 4. 
 
 r ' a) 
 
 P^d^ 
 
 CI I IV I 
 
 I VI G I V, I 
 
 i 
 
 ^^—ts>- 
 
 s 
 
 i 
 
 s- 
 
 XTnison CI I 
 
 rv 
 
 V, 
 
 I I II, V, 
 
 i 
 
 ^^ 
 
 ip= 
 
 i 
 
 I )- <g pg" 
 
 GI VI V I 
 
 I V VI7 DV; 
 
 i 
 
 i^^ 
 
 i 
 
 i 
 
 S: 
 
 I 
 
 6 1 V7 I V e V 1 G I 1I7 V, 
 
 3. 
 
 :Mz: 
 
 * 
 
 i 
 
 i 
 
 PI I V, VI 
 
 I VI C I V, 
 
 3^S 
 
 a — ^ 
 
 I 
 
 -^ 
 
 I" I ff V Vz I VYj I I k I T7 
 
 is: 
 
120 
 
 ELEMENTS OF HARMONY. 
 
 LESSOH 62. 
 
 Occasionally when a 7tli ohord is to be written on the Recitative, 
 as at * in No. 1, the 7th may either be written as a whole note or it 
 may be introduced as a quarter note after a dotted half (only the last 
 syllable of the Recitative coming on this note) as follows : 
 
 i 
 
 m- 
 
 ^•-j- 
 
 Passing-notes are sometimes used on the Recitative in the same 
 «ray. 
 
 4. 
 
 i 
 
 t 
 
 =itp= 
 
 i 
 
 -i=- 
 
 -zs^- 
 
 G I 117 V, 
 
 V, VI V I DV? 
 
 i 
 
 ^ 
 
 ^ 
 
 I I 
 
 GI 
 
 n 
 
 ^ 
 
 iEi^ 
 
 f^ 
 
 ^- 
 
 eI' Unison. 
 
 V7 I 9^°: 
 
 ■fc 
 
 ^- 
 
 I 
 
 Ek 
 
 IS?I 
 
 ^ 
 
 in 
 
 Unison. . 
 6. 
 
 El^rV I I BbVyEl^V, 
 
 I 
 
 ^1= 
 
 1 
 
 i 
 
 -BS*- 
 
 zi^z 
 
 (g 
 
 /I I V7 
 
 11°, V, 
 
 te& 
 
 3 
 
 S 
 
 -Tg-r- 
 
 2t 
 
 isz 
 
 a!>i V i*^ V / V 
 
 I I no, V, 
 
r. 
 
 ELEMENTS OF HAEMOXY 
 
 LESSOH 63. 
 
 121 
 
 S 
 
 m 
 
 ^^ — g- 
 
 B> I 
 
 isl! 
 
 2fc 
 
 I;r IV I IV 
 
 3^^ 
 
 -^ — g 
 
 i 
 
 321 
 
 i 
 
 Jjl' 1 
 
 8. 
 
 I S V; VI Bl-V, I Fvn°7 Bbl V7 I 
 
 i 
 
 fc 
 
 :t==i 
 
 31 
 
 V v? 
 
 I C V? I y J^ V 
 
 3 
 
 i 
 
 =^ 
 
 =i?^ 
 
 gl 
 
 BM 
 9. 
 
 ^ 
 
 V7 
 
 ▼I 9 1 
 
 V? VI no7 V? 
 
 i 
 
 4 
 
 mi 
 
 Z2^ 
 
 -o — 
 
 D Unison 
 
 IV 
 
 TI7 AV7 
 
 S 
 
 r 
 
 3 
 
 4= 
 
 Unison D I 6 Vr VI D vno, I vi I V? I 
 
 LESSOH 64. 
 
 Theiwnstant introduction of appoggiaturas.passing-not?s, etc-, would 
 . destroy the peculiar beauty of the Chant ; but their occasional orapioy- 
 meiit is quite proper. A reference to the definitions in Lesson 42 
 will enable one to recognize such notes, a few of which occur in tliis 
 lesson. See also the directions at the beginning of Lesson 62. A 
 suspension is sometimes written in the last chord of the second or 
 fourth phrase, but should not, even there, appear too often. A slur 
 over two quarter notes shows that both are to be Bung to the same 
 irllable. 
 
122 
 
 ELEMEKTS OF HABMONT. 
 
 i 
 
 lO. 
 
 m^3i:. 
 
 3 
 
 ■^m 
 
 F I 
 
 rv" dii°j 
 
 $ 
 
 ^ 
 
 i 
 
 ^- 
 
 ^ — -g — -gf 
 
 i 
 
 ff V V7 V I F y I Ti 117 V7 I 
 111 I. 
 
 1^ 
 
 i 
 
 :i- 
 
 T^Z 
 
 e Unison . . 
 
 I GV T I 
 
 ^^^^^^ 
 
 Unison GleV? i i u°j V7 i 
 
 IS. 
 
 tf 
 
 1^ 
 
 3= 
 
 i 
 
 EI I I I IV I 1 TI Bvno, I 
 
 I 
 
 M 
 
 ^ 
 
 ^ za:J:ia =::r^ 
 
 I 
 
 ^ s^ 
 
 ^-H -' g a i 
 
 EV I I IV viio, I T1BV7 EI Vt 1 
 
 i 
 
 13. 
 
 LESSON 65. 
 
 i 
 
 g 
 
 lEE 
 
 -7-»- 
 
 Eb I 
 
 g-T-ggl- 
 
 SZ3 <2. 
 
 I IV I 
 
 I V, I Bbl V, I 
 
 p kJT^-^ ESEg s^^g g 
 
 i 
 
 El? I 
 14 
 
 I7 IV 
 
 ^ 
 
 1 
 
 i 
 
 * 
 
 fc: 
 
 s^ 
 
 32: 
 
 II V 6 I I V, VI no, V 
 
 -zg- — -g'- 
 
 ^ 
 
 :=^r 
 
 g t a J a * 
 
 V I GV I ei IT 1 6V, eV, 
 
ELEMENTS OP HAJtMOXr. 
 
 123 
 
 KESSON 66. 
 
 CHORALS. 
 
 The Choral is perhaps the most sublime form of devotional music 
 It has neither the fire of the Fugue nor the less dignified character of 
 religious compositions in a more florid rhythm. It consists principally 
 of notes of equal rhythmic value, with here and there a passiug-note 
 or appoggiatura. In America, Chorals are generally printed in half 
 notes; but in foreign countries they frequently Appear in quarter 
 notes, though performed there, as here, in a somewhat slow and sus- 
 tained manner. A most interesting article on Chorals may be found 
 in the " Musikalisches Lexicon von Arrey von Dommer." Chorals 
 being written for various hymns, are in corresponding meters. Tho 
 word meter shows not only the number of syllables in each line but 
 quite as much the number and arrangement of the accents. For 
 example : the letters L. M. (denoting Long Meter) refer to a stanza 
 of four lines, eight syllables in each, these syllables being alternately 
 light and accented, usually beginning on the former, thus : 
 
 > > > > 
 
 a a o * 9 » » • 
 Praise God from whom all bless - ings flow, 
 
 8s refers likewise to a stanza of four lines, eight syllables in each, 
 with the accents distributed thus : 
 
 > > > 
 
 000000*0 
 
 I%ou whose com - pas • sion - ate care. 
 
 ev 
 
 t«rely thus : 
 
 
 
 
 
 > 
 
 
 > 
 
 
 > 
 
 
 
 
 
 
 
 
 
 
 
 Blew 
 
 -ed 
 
 &> 
 
 Thy 
 
 name for 
 
124 
 
 ELEMENTS OF nARMONY. 
 
 The- many varieties of meter may be most readily Jearned Ly refer- 
 ence to any collection of hymns. Certain Chorals require a slight 
 paase on the last note of each line, this being indicated by the sigr- 
 "^ directly over the note. At such points one should be careful to 
 observe the 4th Rule under Double Chants. The Rules in Lessons 
 43 and 59 should guide one in harmonizing the following Chorals. 
 
 When the second of three consecutive Bass notes comes on a pause, 
 ^ it is sometimes allowable that these should present successive skips 
 of 4ths or 5ths in the same direction, thus : 
 
 
 m 
 
 z^ 
 
 4tli, 4th, 
 
 &c. 
 
 but this should not occur when it can easily be avoided. 
 
 Should the following lessons prove too short, one may add to each 
 of them a review of the more difficult exercises, written in full score 
 and with the C clef, as previously explained. 
 
 1. L. M. 
 
 fg s 
 
 3 
 
 3t:|i 
 
 ■1 — ^ h- 
 
 :^ 
 
 ■ S/ <g I ' s > — g^ 
 
 F I VI V 
 
 ± 
 
 I V v. 
 
 I V I CV, I 11 I V, I 
 
 ■^=F 
 
 i: 
 
 :t=t 
 
 ^ ism 
 
 -z^si- 
 
 F V IV V, I I II CV, 
 
 IFV, vr V, 
 
 I VI n, Yj I 
 
 The student may write the name of each chord below; also the 
 proper letter showing the key in which it appears. 
 
 3. 4. 5. 6. 
 
 ^^1 
 
 II 
 
 =2?^ 
 
 ws*- 
 
 ^z 
 
 -P 
 
 -per 
 
 :^^ 
 
 LESSON 67. 
 
 a. L. M. 
 
 m^ V 
 
 :t 
 
 - <s> — si- 
 
 is*-^ 
 
 i^::^ 
 
 :^=^ 
 
 CI IzIV IdV I OV I I IT 1 IT IGn,V, I 
 
i 
 
 w 
 
 ■F—fs>- 
 
 ELEMENTS OF HAEMONT 
 
 3 
 
 125 
 
 =s^ 
 
 f ^TTt rp 
 
 m 
 
 C V, I IjT rv rfV, I GV, I a 6+ V V, I dVj I CV7 I 
 
 3 
 
 The names of these keys and chords should be written below them, 
 as before. 
 
 1. 
 
 6. 
 
 ^^^^jg^gB^^^^ 
 
 LESSON 68. 
 
 L. M. 
 
 ^ 
 
 *=t: 
 
 ^ 
 
 ?^=;5 
 
 ^ 
 
 7=^-^^ 
 
 s 
 
 rs 
 
 ■s> — & 
 
 I 
 
 GI I Vr VI I II, y I V r I IV I DiiyVz I 
 
 s 
 
 ^ 
 
 iS — &■ 
 
 7g~ 
 
 £ 
 
 ^ 
 
 ^ 
 
 G T I IV I 0V7 I V I GV ICV7 I GI n/ V? 
 These keys and chords are to be named. 
 
 1. 2. 3. .4 .6. .6. 
 
 
 -M 
 
 1^^ 
 
 :fc. 
 
 i 
 
 ^ 
 
 -Pgr— ^'- ^ "^ ^ 
 
 LESSOK 69. 
 
 4. L. M. 
 
 Ste 
 
 J-|-i=^— g-[-d=^ 
 
 g 
 
 g ,^ I g 
 
 ^ 
 
 EM I I IV I n, V, I V I V B|,V, I V V, I 
 
 ^ag 
 
 I 
 
 a 
 
 ^g— iS<- 
 
 Efrm VI V I I IV/V, I Ei^V, I Ai,V, I viEbl V, I 
 The student may correct the following chords, leaving the Roman 
 numerals as they are. 
 
 1. 2. a 4. „ 6. 6. 
 
 ^^M^P^ 
 
 ^^ 
 
 CVII^jO 
 
 aY, 
 
 - • 
 
 DVz 
 
 Jviioio 
 
126 
 
 ELEMENTS OF HARMON f. 
 
 LESSOH YO. 
 
 The letters C. M. denote Common Meter- The stude^it may here 
 repeat the definition of Long Meter and originate one of Common 
 Meter, derived from inspecting the notes and natural accents of the 
 following Choral, which is also to be harmonized 
 
 S. C. M. 
 
 jj;==rti=±:^tir±=J-q:^==I=i=::l=4: 
 
 i 
 
 est; 
 
 ^ 
 
 m 
 
 -'m-^ 
 
 3t 
 
 k 
 
 gt I V? yi V I I V T 1 di IloyVzDI 
 
 1^ 
 
 ^^ 
 
 -fS— (=- 
 
 ^ — (S^ 
 
 t=i: 
 
 BbVz II YgYi I cVz I ^i ii°7 ii°7 I V7 i 
 
 Corrections in the following names of keys and Soman numerals 
 should be made by the student, leaving the chords as they are. 
 
 1. 2. 3. A. 5. B. 
 
 ^m^^ ^^mm 
 
 zsz 
 
 i 
 
 B1,V7 
 
 O. C. M. 
 
 Q vii" 
 
 FI7 
 
 g TiiOyo D V 
 
 6V7 
 
 LESSON 71. 
 
 ^ 
 
 ^ 
 
 --^ 
 
 ^=^^=^ 
 
 D I I I rv IV I V7 I V I 6V7 I AV7 I 
 
 k=t: 
 
 m 
 
 ^p^^- 
 
 ^m 
 
 X 
 
 -sb- 
 
 ±ji±3± 
 
 D V V7 V7 I I V7 V7 I I IV 11 1^7! Vz I 
 The student may here write a modulation from D to A. 
 
 LESSOH Y2. 
 
 A written definition of Short Meter (denoted by S. M.) should 
 accompany the following ChoraL 
 f. S. M. 
 
 ^^ U^m ^^ r I r J I J . 1 
 
 A I I VI njf^xisi VAVz 1 n E I Vr I 
 
ELEMEKTS^OF HAEMONT. 
 
 127 
 
 ^11= 
 
 g ^ S TTT f^ 
 
 m 
 
 A V7 I I V V7 I Ir IV 6V7 I I A I V? 
 A modalation from A to /minor should now folio ir. 
 
 LESSOK 73. 
 
 A written definition of 7s should be derived from this Choral. 
 8. Is. 
 
 ^m^ 
 
 ^ 
 
 I 
 
 ^fe 
 
 2t 
 
 g-|-g^^ 
 
 / 1 I 1 no I Vz 
 
 I VIA|>I II I V7 I 
 
 fel 
 
 :& 
 
 Si 
 
 ^^b™=F 
 
 a < a) 
 
 ^b^: 
 
 ^ 
 
 I I/vh'^V? I cyn%/i V ii|?V7 i / «+ i V? i 
 A written modalation should now change the key to F major. 
 
 LESSOK .74. 
 
 Although a rhythm similar to the following is greatly inferior to 
 that peculiar to Chorals, the student will need some practice in the 
 proper harmonizing of melodies containing passing-notes and other 
 dissonances. 
 
 In this lesson the letters over the melody are used thus : 
 
 a denotes an appoggiatura and p, a passing-note. 
 
 Such notes should sometimes appear in other voices, also. 
 
 
 g=g - 
 
 a 
 
 -^-o 
 
 S 
 
 ^ttS- 
 
 ?^f' 
 
 /T\ 
 
 iSBi^iS 
 
 F I 
 
 ^^ 
 
 1 1 
 
 a 
 
 r» — ^zp: 
 
 I I II, V7 I V I ICV7 I I II V7 I 
 
 3 
 
 ms 
 
 3^J3t; 
 
 SSI 
 
 ■ >o ^ »- 
 
 FV: I <iV7 I I iBbVr I y V? I i F I I " V7 I 
 
128 ELEMENTS OF» HAKMO.NY. 
 
 One may now modulate from F to e minor. 
 
 LESSOM Y5. 
 
 A written definition of 8s & 7s is here required. 
 lO. 8s & 7s: 
 
 s 
 
 5 
 
 3 
 
 7g-| (s fl 5q=^ 
 
 z6^ 
 
 :t==t 
 
 X 
 
 -^ 
 
 I V7 I I V V? I I G V V? I I 11, V 
 
 ^r^ 
 
 is: 
 
 I 
 
 -(=— SJ- 
 
 ■: :^- 
 
 H=— fi)- 
 
 =^ 
 
 e V? V? I I C V? V7 I I e IV I IV7 6+ i V7 I 
 A written modulation should now lead from c to C major. 
 
 LESSOH 76. 
 
 In supplying original harmony to the following exercises (Soprano) 
 the student is urged not to seek any originality whatever, but to con- 
 fine himself to sim/plicity and accuracy, avoiding extreme modulations 
 and too frequent chromatic changes. 
 
 ^ 
 
 3 
 
 ^=^—0 — (=^ 
 
 i 
 
 5=F?=^ 
 
 t=t 
 
 ^ ^ \ A ^ 
 
 2. 
 
 i 
 
 ^.q — (s-f^ 
 
 ^ 
 
 e^if 
 
 f'^g gh-? ^- -jg 
 
 ^- g gi- 
 
 3. 
 
 ^•^ P #^ M= 1=^=^^^=?# 
 
 4=±t 
 
 4==t 
 
 ^^I 
 
 fr^fe:^ ^^^^ ^ f|f-fid=j 
 
 -^^F^ 
 
ELEMEiriB OF HARMONT. 
 
 129 
 
 LlESSOK yy. 
 
 Full harmunj should be supplied to the following Chants. 
 
 ^p^w ^ jag i^g^-Fi^g^a a 
 
 ^1^ 
 
 T^i- 
 
 a 
 
 |CT: ] ra 
 
 ?2^ 
 
 iHprl^^^^^^ 
 
 LESSON 78. 
 
 Full harmony is required for this Choral. 
 L. M. 
 
 ^S 
 
 ^3^SS 
 
 l=l:=4=t 
 
 ^ 
 
 2^:^ 
 
 -^\-o 
 
 =13^ 
 
 3^ 
 
 3^ 
 
 ^==1: 
 
 :^=?!: 
 
 4=^ 
 
 -gg'-^i^ 
 
 LESSOK 79. 
 
 One may harmonize the following Choral, introducing a few passin j- 
 notes or appoggiaturas. 
 L-M. 
 
 p^ 
 
 =?5=^ 
 
 n^:!: 
 
 Tg-^S) - 
 
 ^S 
 
 ^ 
 
 i 
 
 3 
 
 S3 
 
180 
 
 ELEMENTS OP HAEMONT. 
 
 LESSOH 80. 
 
 After writing the proper sigu of rhythm, the following maj Oe 
 divided into measures and harmonized ; after which the studen''/ will 
 prefix letters denoting the meter, placing a rrs wherever it m required 
 
 i 
 
 ^s 
 
 ~?g~fg" 
 
 :& 
 
 U 
 
 a > (= f" 
 
 :t==t 
 
 i 
 
 m 
 
 m 
 
 9 
 
 iEBEB 
 
 The harmonizing of Chorals may profitably extend through many 
 lessons, and for this purpose one will find the " Vollstandiges Choral- 
 melodienbuch," edited by C. F. Becker, Leipzig, a most serviceabU 
 collection, in which, as indicated by the title, only the Soprano part ia 
 given. 
 
 The student should now be able to harmonize accurately any simple 
 melody and to analyze clearly any combination of sustained harmony. 
 Should one desire to go on still further, three and two part harmony 
 would be taken up at this point, leading directly to the study of 
 Counterpoint. These should be thoroughly mastered, together with 
 the writing of Canons and Fugues, before one attempts the study of 
 Composition. It is suggested as a very useful exercise that the 
 student take parts of simple instrumental works and arrange them in 
 four voiced harmony. The opening theme of Variations; certain 
 Eomances and Songs without Words ; the first part of various slow 
 movements in Sonatas — ^these and similar works may be arranged in 
 this way. An«»*.!ier interesting study is to arrange such pieces for the 
 usual string quartette keepinij the music, for simplicity's sake, within 
 what is known as the " Fii? • . Position " on each instrument, thus : 
 
 Compass of the String Quartette in the First Position. 
 Violoncello. Viola. First and Second Violins. 
 
 ^ 
 
 m 
 
ELEMENTS OP HAEMONT. 131 
 
 Observe that the Tencr part, sustained by the viola, is here written 
 with the Alto clef. 
 
 The writing for male or female quartette, while subject to the same 
 general rules as in writing for mixed quartette, is obviously more 
 difficult in several respects and requires special practice. 
 
 It is found a most useful exercise to mark the modulations in 
 whatever compositions one may be studying: also to write simple 
 accompaniments (for example, a Bass note followed by chords) to 
 many melodies, vocal or instrumental. 
 
 Assuming that, under the guidance of an intelligent instructor, the 
 student has come thus far with a clear understanding of every principle 
 here presented, it is earnestly hoped that these "Elementary Lessons" 
 wUl have awakened an interest in Harmony such as will render it a 
 profound and delightful study to be pursued not for a term, nor for a 
 year only, but for a lifetiiiw. 
 
Iti ELEMENTS OP HARMONY. 
 
 IHDEX. 
 
 BUB7KCT8. PAOrai. 
 
 Analysis of Triads, 12 
 
 Anticipation 91 
 
 Appoggiatura, 90 
 
 Augmented Sixth Chord 50-52,62 
 
 Augmented Six-Five Chord, 50-52, 62 
 
 Augmented Six-Four-Tk.ee Chord, 50-52, 62 
 
 Bass, Eules for the ; , 95, 113 
 
 Bass to be harmonized Ill 
 
 Bass to be supplied 103-111 
 
 Celef, 85 
 
 Cadences, 42, 43 
 
 Changing-notes, , 91, 93, 94 
 
 Chants, 116-123 
 
 Chorals, 123-128 
 
 Chord of Diminished Seventh, 38, 41, 55, 61 
 
 Chord of Dominant Seventh, 28, 55 
 
 Chord of Nature, 33, 34 
 
 Chords of the Ninth, Eleventh and Thirteenth -. 53 
 
 Chords of the Seventh, 25 
 
 Chords of the Sixth and Six-Four, 20-25, 58 
 
 Chromatic Changes, 47 
 
 Chromatic Scale 11, 47 
 
 Chromatic Semi-tone, 6 
 
 Clefs 78,85 
 
 Close Hirmony, ; . 14 
 
 Collateral Sevenths, 33 
 
 Coni.pass of String Quartette, 130 
 
 Compass of Voices, ■ 13 
 
 Concealed Octaves, Fifths and Unisons, 19, 46 
 
 Connecting Chords, Eules for 15 
 
 Consecutive Chords of the Seve:ith, 36 
 
 Consecutive Octaves, Fifths and Unisons, 15, 16, 118 
 
 Consonances, 6 
 
 Contrary Motion, 14, 16 
 
 Covered Octaves, Fifths and Unisons, 19, 46 
 
 Cross Belation, 59 
 
 Deceptive Cadence, 42, 43 
 
 Degrees, 5, 10 
 
 Degrees, Names of the, 10 
 
 Diatonic Semi-tone, , 6 
 
 Diminished Seventh Chord, 38, 40, 55, 61 
 
 Dispersed Harmony 14, 87 
 
 Dissonances 6, 69 
 
 Domin int, 10, 64, 95 
 
 Dominant Seventh Chord 28-33,55 
 
 Double Chants, 116-123 
 
 Enharmonic intervals, 5, 67 
 
 False Cadence 42,43 
 
ELEMEKTS OF HAEMONT. 133 
 
 SDBJKOTS. PAOBS. 
 
 Fifths, 6 
 
 Fifths Consecxitive, 15, 16 
 
 Figuring of Bass notes 15, 17, 21, 23, 26, 27, 31, 32, 48, 71, 78, 82, 93 
 
 Figuring of Inversions 20, 21, 31 
 
 Figuring of Suspensions, 71-73, 82 
 
 Figuring of Triads, 20 
 
 Figuring to be supplied, 103-112 
 
 Forms of Endings 22, 23, 28 
 
 FourthSj ..i..:.. 6 
 
 French Sixth, 50-52, 62 
 
 Kull Cadence, 42, 43, 64 
 
 Full Score, 78, 85 
 
 German Sixth* 50-52, 62 
 
 Greek Tetrachord, 8 
 
 Half Cadence 42, 43 
 
 Harmonic Chord of Nature, 33, 34 
 
 Harmonic Minor Scale, 10 
 
 Harmonizing Melodies, 94, 107-109, 112-116 
 
 Harmonizing Bass and Soprano, 97-101 
 
 Hidden Octaves, Fifths and Unisons, '. '. . 19, 26, 28 
 
 Imperfect Cadence, 42, 43 
 
 Inner Voices, : 19, 46 
 
 Interrupted Cadence, 42, 43 
 
 Intervals 5 
 
 Inversion of Chords of the Seventh, i .... 31, 41 
 
 , Inversion of Intervals, 7 
 
 Inversion of Triads 20 
 
 Irregular Treatment of Seventh, 44 
 
 Italian Sixth 50-52, 62 
 
 Leading-tone 10, 95 
 
 Lydian Tetrachord 8 
 
 Major Scales, 8-10 
 
 Mediant, 10, 94 
 
 Melodic Changes 47-49 
 
 Melodic Minor Scale, 11 
 
 Melody to be harmonized, 94, 107-109, 112-116 
 
 Meter,., 123 
 
 Minor Scales, 10 
 
 Modulation 54, 64 
 
 Names of the Degrees of the Scal«, 10 
 
 N'amesof the Octaves, 7 
 
 Neapolitan Sixth, 50-52 
 
 Ninths 6 
 
 Oblique Motion, 14 
 
 Octaves, 6 
 
 Octaves, Consecutive, 15, 16, 118 
 
 Octaves, Hidden, 18 
 
 Octaves, Names of the, ^7 
 
 Open Harmony 14, 57 
 
 Orsan-point, 02 
 
 Original Harmony to Bass, 111> 112 
 
 Original Harmony to Chant, 120 
 
 Original Harmony to Chorals, 129 
 
 Original Harmony to Soprano 128 
 
 Outer Voices, ^V V ^i? 
 
 Parallel Motion, ^^'^'i^ 
 
 Passing Chords, • m no 
 
 Passing Notes, of 
 
 Pedal-point, '" 
 
134 ELEMENTS OF HARMONT. 
 
 Perfect Cadence, 42, 43, 64 
 
 Plagal Cadeuce, 42, 43 
 
 Positions of Triads 12 
 
 Preparation of Sevenths, 34 
 
 Preparation of Suspensions, 73 
 
 Primes, 5 
 
 Becitative 117 
 
 Belated Keys 10, 64 
 
 Betardation, 89, 93 
 
 Boman Numerals, 12, 13 
 
 Kules Concerning the Bass, 95, 113 
 
 Bules for Harmonizing Melodies, 04, 113; 118 
 
 Scales, 8 
 
 Seconds, 6 
 
 Secondary Sevenths, 33 
 
 Sequences, 29 
 
 Sevenths, 6 
 
 Sevenths, Chords of the, 25 
 
 Signatures of Every Key, 11 
 
 Six-Four Chord 20, 21, 58 
 
 Sixth, Chord of the 20, 21 
 
 Sixths 6 
 
 Skip-notes, 91 
 
 Soprano to be Harmonized, 107-109, 115, 116 
 
 Steps, 5 
 
 Sub-dominant 10, 95 
 
 Sub-mediant, 10, 95 
 
 Suggestions to Teachers, 4 
 
 Super-tonic, 10, 94 
 
 Suspensions, 69 
 
 Suspensions, Rules for 73 
 
 Suspensions, Figuring of, 71-73, 82 
 
 Sustaiued-notes, 93 
 
 Tenths, 6 
 
 Tetracbord 8 
 
 Thirds, 6 
 
 Tonic 10, 94 
 
 Transposition, 22, 63 
 
 Transposition of Scales, 8 
 
 Triads, Formation of 11 
 
 Triads of Major Keys, 12, 13 
 
 Triads of Minor Keys, 13 
 
 Tritone, ; 95 
 
 Unfigured Bass to be Harmonized, Ill, 112 
 
 Unharmonic Cross Belation, 59 
 
 tJnIsons 15,16.23 
 
 Viola, 130 
 
 Violin, 130 
 
 Violoncello 130 
 
 Vocal Compass, 13 
 
 A. a. KisDU k lOH'a kusic irrooaAPHT, 23 iolk naxMX. 
 
Catalogue of New Music 
 
 PUBLISHED BY 
 
 ARTHUR P. SCHMIDT, 
 
 13 & 15 West Street, Boston, Mass. 
 
 SOI0 Ageni or tfvt publicationA of Henry Ziitolff and Ashdown J^ Parry, 
 and the JEdition A.udre, 
 
 VOCAL. 
 
 AGAiy. Companion to the very beautiful "Farewell" by the Bame author. Victor, SS 
 
 w*r HEST i Sung by Miss Adelaide Phillips . . . EenshMvoDana. Each 35 
 
 A-UTUJUy BLOSSOMS. (Naohknospen.) Soprano or Tenor. . Oscar Weil. 30 
 
 A.VM MAJRIA., One if the best compositious of this favorite eompoBer. do. 30 
 
 — — Soprono or Tenor I/enahaw Sana. 60 
 
 ATM TERXTM. Duett, with Latin and English Text. . . . Saint Saena. 15 
 
 BESIDE TBE SVMMEB SEA Senshaw Dana. 40 
 
 BETOirn ALL LIGHTS L. L. Scaije. 30 
 
 BINDIN6 SHEATES. Contralto. , Richard Heard. 3a 
 
 BIRD'S MESSAGE. Part song for 4 female voices. . . . G. F. Suck. 30 
 
 BIRD WAS SINGING CLEAR ONE DAT. (A short encore song.) Dana. 25 
 
 BOAT OF MY LOVER. Contralto. . . . . . G. W. Marston- 30 
 
 CAVALIER'S SONG. Baritone do. SO 
 
 CSRISTMAS CAROL, " Good Tidings." Quartette with Soprano Solo. 
 
 C. R. Ford. 15 
 
 — — " Waken Christian Children." . . A. Ulmann, 10 
 
 — — " Whilst Shepherds Watched Their Flocks." 78. ,5. H'lWis. 10 
 
 — — "A Shout of Mighty Triumph." . . G. F. Oliver. 10 
 CRVHL CUCKOO. Quartette for male voices. Sung by the Arlington CluB. 
 
 Koschat. 15 
 
 HATS ARE LONG. Contralto G. W. Marston. 30 
 
 ^EAR HEART, GOOD NIGHT. Soprano or Tenor. . Herbert Leslie. 35 
 
 HEVa, MISEREATUR. Quartette S. B. Whitney. 60 
 
 DEVOTION, (Die belle Sonne scheint.) Oscar Weil. 30 
 
 DON'T FORGET ME. Mezzo-soprano or Baritone. . . G. W. Marston. 35 
 
 DOUGLAS, MY DOUGLAS. Mezzo-soprano or Contralto. . do. 30 
 
 EX VLTATiION. " Go not happy day." Soprano or Tenor. . , L. L. Scaife. 30 
 
 WAp.EWELL, (Abschied.; English and German Text. . . . Oacur Weil. 30 
 
 FARVWFLL, . . ' Victor. 30 
 
 FLOWERET.- "IlFiore." Vinceneo Vannini. 35 
 
 BERE UNDER THE LINDEN. German and English Text. A. D. Strong. 30 
 
 HOW IT CAME ASOVT. Sung by Mrs. E. Humphrey Allen. J. U. Wilson. CO 
 HYMN MUSIC, A selection of Hymns arranged for Quartette and Chorus Choirs, 
 
 in three books ZA if. DunJiam. EaolH 81 
 
- 2 - 
 
 yrSMS AlfTSHM. " O tell me thou life and delight of my sonl." B. M. ti.nham. St 
 X j4JW SERIS, Easy and pleasing song for Tenor. , . . . . Gibsone, 40 
 XI" TBOV THTT BEABT BMSTOWMST. ^CWA\e,\.iad.emUerz.) J.S.Bach. 35 
 
 XMMAJi'UEIj. Bass Solo and chorus Eugene Thayer. 25 
 
 TN MAXTIME. Part song for 4 female voices O. P. Bitter. 30 
 
 IS OUR BOAT. Barcarolle for Mezzo-soprano Victor. 85 
 
 T THOUOHT TOV LOTEB ME. Mezzo-soprano or Baritone. W. Apmadoc. SC 
 IT WAS ..A KNIOST OF ABAOOIT. Baritone or Bass. Henahaw Dana. 40 
 
 IT WAS WITB nOVBT AJTB TBEMBLINO, . . do. 25 
 
 XAST AJtlEV. Aug. Wmann. 35 
 
 liETT AJjOSE. Contralto or Baritone Herbert Leslie. 30 
 
 LETTEB. " Where is another sweet as my sweet? " . . . F. B. Brackett. 30 
 
 XOSEIjT. 6. W. Marston. 30 
 
 ZTTZZABr. " Sleep, sleep." Sung by Mrs. B. H. Allen. . . J.B.Wilson. 50 
 
 MAXIXCONIA r. Tannini. 40 
 
 MABGABITA. Fart song for 4 male voices. English and German Text. Sung 
 
 hy the Arlington Club O. W. Chadvnck. 25 
 
 MABGEBT. A most charming ballad. F. B. Brackett. 35 
 
 MAY SONG. Highly recommended by all who have used it. . . B.W.B. 50 
 
 MILKMAID'S SONG G. W. Marston. 35 
 
 MOBNING STAB. TeBor or Soprano do. 30 
 
 MY GENTLE MABT. Tenor or Soprano W. B. Fessenden. 35 
 
 MY I^OTE WILL BEIVBN. W. J.S. Leavitt. 35 
 
 MUBMUBING WIND F. CiHllo. 40 
 
 NO LOVE FOB NAUGHT. O.R.ForA. 35 
 
 OF TBEE I FONDLY DBEAM. (T'amo d'amor doleissimo.) Chas. Salaman. 60 
 
 OB, BEABT MY BEABX. Benshaw Dana. 35 
 
 OB, BEABT OF MY BEABT. O. W. Marston. 30 
 
 OB, BEST TBEE MY BABE. Lullaby for Contralto. . Berbert Leslie. 35 
 
 OB TBOU WBO DBY'ST TBE MOUBNEB'S TEABS. Sacred 
 
 song for Soprano V. CiHllo. 40 
 
 O SAXUTABIS BOSTIA. (0 Holy Father.) Quartette. Latin and English 
 
 "Words Cirillo. 60 
 
 O SAIiUTABIS. Latin Words. Contralto Benshaw Dana. 35 
 
 OBt WEBE I BLESSED ABOVE. (S'io fossi un angelo.) V. Vannini. 60 
 
 OVB LOVED ONES FAB AWAY. Song and Chorus. . J. P. Skelley. 30 
 
 OUB OWN. Victor. 35 
 
 fBOMISE. " He gave his promise." G. W. Marston. 25 
 
 BECONCILIATION. Victor. 30 
 
 BEITEBLIED. Part song for 4 male voices. Englls* and German Text. Sung 
 
 by the Arlington Club G. W. ChadwicK. 40 
 
 SAILOB'S BETUBN. Baritone or Contralto B. Scrachauer. 60 
 
 SALVE BEGINA, No. a. Mezzo-soprano. Sung by Miss Ita Welsh. 
 
 Benshaw DanM. 50 
 SONG OF TBE TBITON. MoUoy. Arranged for 4 female voices. C.B.Morse. 30 
 SFABBOWS TWITTEB. Otto. ■ Arranged for.4 female voices. . do. 30 
 
 SPBING SONG. .- . .' . '. . Victor. 30 
 
 SWEET. DAY OF BEST. Tenor solo and chorus. . . ..Eugene Thayer. 20 
 
 TE DEUM Bb. Quartette C.B.Ford. 30 
 
 TBEE WILL I LOVE. ,(Io t'amero.) V. Vannini. 60 
 
 TIT FOB TAT. Tenor C. B. Ford. 35 
 
 TTP TO HEB CBAMBEB WINDOW. Benshaw Dana. 35 
 
 VOCAL STUDIES, (moriino.) Arranged by . . . Chas. R. Hayden. 2.60 
 WAITING BY TBE BED GES. Tenor .... G. W. Marston. 30 
 WEDDING MABCB, (Sodermann's.) Arranged for 4 female voices. C.B.Morse. 30 
 
TTffEJV THE DAY TS DONE. (Atendlied.) .... Oamr Welt. SO 
 
 iyi££:TJSEIt MT MJEART BE GLAD OB XO. . Walter Kenned]/. 36 
 
 MUETUER THE TFORI.D OO VP OB DOWN. . Mens haw Dana. 6C 
 
 TEAM AEXEB XEAB Ernest ZeaUe. 30 
 
 VOCAL STUDIES. 
 
 FBACTICAZ METSOD OF ITAZIAN SINOINO . . . Vacsaj, 50 
 TWENTY EIjEMENIABY TOCATjISES. Ital. and Engl. Text. Marcheai. 60 
 
 •** These favorite vocal studies, used by our best teacbersi are here presented at prices 
 > much helow those of any other edition. 
 
 INSTRUMENTAL. 
 
 JJFTEB VACATION WAZTZ Emeat Lealie. 3t 
 
 ALBXTM EOB CBILDBEN, 12 Easy Pieces for the Yortng. G. W. Mareton. 
 
 1. Seturn of the Regiment, | ,„ 7. What the Negro Minstrel Sang, ) „„ 
 
 2. Serenade to a Doll, ( **" 8. Styrienne, j ^"' 
 
 5. Mazurka, I „„ 9. In the Cliurch, ( 
 
 4. Little Gavotte, j ''" 10. Funeral March of a Canary, j ■"' 
 
 6. Little Waltz, ,„ 11. March of the Twenty Tin Soldiers, ) „n 
 6. After the Ball, ( ■'" 12. Minuet, j 2" 
 
 ANDANTE from BatUate Offertoire, arranged by . . . . . Trekell. 75 
 ANOTBER BAQVETTE. A new composition for this favorite Dance. 
 
 JttliuH E. Mueller. 60 
 
 AJCABESKE Eavina. 20 
 
 ABIEIj song. From the Tempest G. W. Maraton. 60 
 
 ARIINOTON WAZTZES. By the author of " Autograph Waltzes " and 
 
 "Inman Line March." A. E. Warren. 75 
 
 AV BEYOIR MABCB. (Companion to Inman Line March.) . A.E.Warren. 40 
 
 AUSTRIAN SONG J. A. Packer. 60 
 
 AVTTTMN lEAVES. (Morceau brilliant.) . . . . J. D. Manafield. 60 
 EAOATEIjIjE. Played with great success; arranged as String Quartette by the 
 
 Mendelssohn Quintette Club E. Hti'niendahl. 71 
 
 EAT AND BAIIj MA^CH. Very easy Juliua E.'^Mneller. 20 
 
 BISMARCK MARCB. Very showy and brilliant. . . Dr. H. Perabeav,. 60 
 
 BLUE BEIIS OF SCOTLAND WALTZ. Very easy. . O. P. RUter. 2S 
 
 BRIDAT, CBORXTS FROM ZOBENGRIN. .... M. Prior. 60 
 CANZONETTA, Very melodious and efl'ectivo without being difficult. 
 
 E. Heimendahl. 30 
 
 CHANT DV SOVOYARD. A bright and pleasing melody. . Benry Strauss. 80 
 
 CHARMS OF IIFE WALTZ. . . . : . .CM. Ackermann. SB 
 CHILDREN'S PLEASXTBES. A new collection of original compositions for 
 
 yotuig beginners. Very easy, pleasing, yet Instructive. . Juliua E. Muellar. 
 
 First Grade. Each 20 cents. 
 
 1.- DoUy'fl Grand March. 4. Bat aiid Ball March. 
 
 i. Pussy Waltz. 6. Dolly's Cradle Song. 
 
 8. Little Hound Dance. 6. Hoop Mazurka. 
 
 Second Graae. Each 30 cents. 
 7. Echo Gallop. 9- See-Saw Rondino. 
 
 . t. Soldier Boys' March. 10. Coasting Rondino. 
 
CBTLHREN'S CZASSICS. Easy ArrangementB from the works of our great 
 
 masters. 8 vols Each CD 
 
 COMIJf TnjtO' TBM STM TTAZiTZ, Verjfeasy . . . G. P. Bitter. 20 
 
 VAJfCM ON TSJS J. AWN, Wallia. 60 
 
 t>OLX>S CttAHZM SONG, i „ ,. r ,i t, ,t „ „» 
 
 ^CSO GA1.X.0P. \ Both very easy. . . . Jultu, E. Mudkr. 20 
 
 iSTUDM MMLOlitQXTXl, Carefully revised and fingered by John Orth. J. Mailing. 35 
 
 ETE BSiaST WALTZ Ernest Leslie. 30 
 
 FAIINXXZA MARCEL, (Played everywhere.) Stippe. 60 
 
 ii'AVOS.ITE. Pensee Fugitive. ...... 4 ffenry Strauss. 35 
 
 ELEVS, J>E WAT, Mayflower do. 35 
 
 FLOWERS OF TOVTH, A choice collection of melodious pieces, in the first 
 
 and second grade carefully fingered E. J)oremy. Each 20 
 
 1. La Fiorentina. 8. Chimes of ■Westminster. 
 
 2. Mignon Valse. 7. Song of the Watercarrier. 
 
 3. Crown Diamoads. . 8. Czarina Waltz. 
 
 4. Toung.Harvard Walta. 9. Our Girls' Waltz. 
 6. Kivals Polka Mazurka. lO. Our Boys' Waltz. 
 
 GAtiANXE POLKA, Very graceftil C. Jf. Ackermanti. 3fl 
 
 GALOP ; . . . Geo. Philip. 20 
 
 GA VOTTE, In F minor. Brilliant and effective C. L. Capen. 60 
 
 — . In E minor. Arranged by Saint-SaeHs Bach. 35 
 
 — In B minor. G. W. Marston. 30 
 
 GAVOTTE FATORI, //. Strachauer. 30 
 
 GAZELLE, Mazurka Caprice , A. E. Warren. 50 
 
 GZPSEV'S REVEL Kuhe. 60 
 
 GLITTERING DEW, ... Lott. 60 
 
 BAPPX RETURN MAHCS, Strongly marked and good (o march by. 
 
 C. M. Ackennann. 30 
 
 BILL SIDE WALTZ do. 35 
 
 BOOP MAZURKA Julius E. lltieUer. 20 
 
 BUMORESKE Norman. 35* 
 
 IN THE TWILIGBT, Geo. Philip. 60 
 
 LITTLE ROUND DANCE Julius E. Mueller. •>St 
 
 MARCH, (D maj.) O. W. Marston. 30 
 
 MAZURKA. Geo. Philip. 20 
 
 MORCEAU DE RAL Widor. 50 
 
 NOCTURNO. Arranged and fingered by John Orth Nathan. 25 
 
 O PARADISE, BrilliantTranscriptionof this favorite hymn. . Strauss. 60 
 
 PENSEE FUGITIVE, . Adolph Koelling. 60 
 
 PIRATES OF PENZANCE, Potpourri, containing all the best airs of 
 
 Sullivan's new opera. ......... E. Dorgtny. 1.00 
 
 POLKA Geo. Philip. 20 
 
 POLONAISE W.E. I/ascall. 75 
 
 PRATER FROM MOSES Pacher. 40 
 
 PRELUDE, In C minor. Bach. '2h 
 
 PUSSY WALTZ, Very easy Julius E. Mueller. 20 
 
 RETURN BOME MARCB, Stirring and impressive. , . . E. Doremy. 35 
 
 noMANZA G.W. Marston. 20 
 
 — Gto.PhUip. SI 
 
 RONDINO, do. 20 
 
 SALON'KLAENGB. Six easy pieces. 1, Valso ; 2, Polka ; A, Romanza ; 
 
 4, Mazurka; 5, Galop ; 6, Rondino. . do. Bach 20 
 
 SCALES AND CBOttTtS 35 
 
 SCBERZO, From Saiiata, Op. 2, No. 3 Beet/wven. 30 
 
— 5 — 
 
 II tnnnien soyQ , . cf.w. Manion, m 
 
 BUOWFLAKE Geo. Philip. 60 
 
 80LUIMR BOYS' MAXCB. Quite simple Julius B. Mueller, sa 
 
 iONA'ClJXA, In G Beethoven. 20 
 
 — Id C. op. 36, No. 1. . . dementi. 30 
 
 SOUrMtriB I>E BA.ri.JBRE. In three numbers. . . G. W. Mareton. Each 20 
 
 — I>B J. A MAnALMINE S.Smith. 79 
 
 SPXRTt OF TSE HIGHT, Morcettu characteristl^ue; cofflhines instruction 
 
 ■^ -■ -vith amusement Strauss. 50 
 
 ; tPBlKO SX,OSSOMS. A set of popular melodies arranged for first beginners. 
 
 f\ . Each 20 
 
 # 1. Comln' thro' the Eye Waltz. Bitter. 3. Home Swect Home. Hitter. 
 
 1. Blue Bells of Scotland. do. 4. Darling. Little Gavotte, do. 
 
 (To he continllcdO 
 
 VJTDEJt THE jrirrOWS. Waltz Ernest Leslie. 30 
 
 VALSE J . . Geo. Philip. 20 
 
 VICTOBT. March . Watson. 60 
 
 WST' Op. 9,1*0.1 - . . E.S.Perry, 28 
 
 STUDIES. 
 
 PZEBNT. Kasy Octave Studies. Op. 653, . 60 
 
 — 72 easy, progressive Studies. Op. 823. Complete in 2 book*. . £acb 90 
 
 KOESItEB, Jit Melodious Exercises for Beginners. . 7& 
 
 FOUR HANDS. 
 
 CHIZOBSN'S classics. Easy Arrangements from the Works of Mozart 
 
 and Beethoven. 2 vols Each 79 
 
 KOEHLEB. 30 Melodious Exercises On 5 notes SO 
 
 ZOEW, JOS. Teacher and Pupil. Melodies arranged in progressive order. A 
 
 supplement to every piano school. 2 Vols * Each i5 
 
 VAXSE, JOBN K. Spring Symphony op. 34. ....... 6.0J 
 
 ORCAW. 
 
 ASAGIO. From Duo Sonate. Mbrkbl. Arranged hy . . . C. ff. Morse. •!» 
 ANDANTE CANTABILE, From String Quartette, op. 11. Tschaikowsky. 
 
 Arranged by 0. H. Morse. 19 
 
 CANON. Written for H. 0. Bddy's 100th Becital S.B. IVhiiney. V 
 
 - Arranged by S. B. WfilTKBT Mnffert. S? 
 
 W2SST STVDIFS. Book I. CoOUining Chorals, Pastorales, treludes, Stc. 
 
 Geo. E. Whiting. 1.50 
 flBST siVDlES. Book 2. Contalnlflg Chorals, Pastorales, Preludes, Ike. 
 
 Geo. M. WhiUiig l-f5 
 V These two hooks are Written for beginners in Pedal Obligato playing, ar.'? 
 especially intended for Church ilse. 
 ttTMN OF THE NUNS Tf^elj/. 5« 
 
— 6 — 
 
 TSrPMOXTPTU. (Dedicated to Mr. S. B. Whitney.) .... O. R. Ford. 25 
 ZABGHHTTO. From Soliumann'8 Symphony in B flat. AiTanged by (7. //. JIforse. 7i 
 
 PASTOJtAZE. In Q S. S. Whitney. 
 
 PltOCMSSIOJfAZ ORAXD MARCH. do. 9» 
 
 ROMA^ZA from Fantaisie Sonata, op. 5. Arranged by Chas. H. Morse, Mils. Bac. 
 
 Saran. 60 
 SOlfCt WIXBOVT WORDS. Arranged by 8. B. Whitney. . Mendehsohn. bO 
 TWENTT PRBLUDXIS, POSTL,UI>lSS, &c. Book I. Geo. E. V<hmng.1.hii 
 TWO PIECES. No. 1, Minuet and Trio! No. 2, Andante. . Calkins. Each 60 
 VESPER MYMlf. Impromptu. Arranged by . . . . S. B. Whitney. 
 VORSPIEL. Lohengrin. Arranged by do. 
 
 BOOKS. 
 
 DANCE AJjR Uir. 4 books, containing Waltzes, Polkas, Quadrilles, Sec. . Each 50 
 EhEMENTS OF HARMONY. Used in Conservatories throughout the 
 
 Country ' .' Stephen A. Emery .i .25 
 
 HELIjER, STEPH. Op. 80. Leisure Hours (Wanderatunden) 80 
 
 HENKELf H. Album du F.aniBte. Vol.1. [Contents : /S^ieA/, La Joyeusc ; Tburs, 
 Bourree raoderne; Heinecke, Gondoliera; SpindleTi Silver-Spring; Loeachhomt 
 
 Sylphide] 65 
 
 JOXrSSE'S CATECHISM OF MUSIC 25 
 
 KOEHLER'S PRACTICAI METUOD FOR THE PIANO. 10 vols, each 76 
 
 %■* This is one of the most pleasing and instructive methods ever published. 
 Teachers and scholars both like it. 
 
 KRVG, D. Op. 340. The Children's Favorite, popular melodies 65 
 
 ZANGE, OUST. Op. 238. The Ball, six easy dances , . 90 
 
 ZIFE AND WORKS OF STEPHEN HEIIER, Translated from the 
 
 French. Elegantly bound 1.00 
 
 ZOESCHBORN. Op. 106. Musical Pictures 1.00 
 
 OEDIPUS TTRANNUS. For male chorus and orchestra or piano accompaniment, 
 
 as perfoi-med at Harvard College John K. Paine. 
 
 OPERATIC ALBUM. Melodies arranged easy. Vols. I. and II. . . Each 60 
 
 SCHULTZ. Dance Album for Children 50 
 
 SIDNET SMITH'S METHOD FOR THE PIANO. American fingering. 1.25 
 
 *** This method Is also suitable for the Cabinet Organ. 
 
 SPRING SYMPHONY. Orchestral Score. . . . . John K. Paine. 16 M 
 
 VIKING'S I A ST VOYAGE, Male chorus and pianoforte accompaniment. Sung 
 
 by the Apollo Club G. W. Chadwick. 1.2J 
 
 JjITOliFF'S MVSICAZ WORZD. A monthly Magazine of New Compositions 
 for 'ia.e Pianoforte, 25 cents each number. 
 
 Complete Catalogues sent free upon application. 
 
 C. U. HeintzemaQD, Pr., 13 Province St., BoatOQ. 
 
LITOLFF EDITION. 
 
 THK 
 
 BEST AND CHEAPEST EDITION 
 or 
 
 CTLASSIC AHD :M0DERII MUSIG. 
 USED IN THE CONSEBVATOBIES OF ALL COUNTHIES. 
 
 Uniivalled for Correctness, Beauty and Cheapness. 
 
 Newly Revised and Fingered by the most prominent 
 Teachers of Germany. 
 
 BEETHOVEN. Complete Sonatas. 2 vols. - - $3.00 
 
 " " " 1 vol. - - . -2.00 
 
 BERTINI. Studes op. 29 and op. 32. ..... .60 
 
 CRAMER. Celebrated Etudes. 2 books. Each, .... .60 
 
 HANDEL. Complete Works for the Pianoforte. ... 1.60 
 
 HAYDN. 10 celebrated Sonatas. ........60 
 
 KOHLER. Practical School for the Pianoforte.' ... .76 
 
 KUHLAU. Sonatinas. .60 
 
 MOZART. Complete Sonatas. ....... 1.60 
 
 " 7 Concertos. ......... 1.60 
 
 MENDELSSOHN. Songs Without Words. - - - - 1.00 
 
 WEBER. Complete Compositions for the Pianoforte. - - 1.60 
 
 At the same low rates the works of all the prominent Composers. 
 
 Cortiplete Catalogues sent free upon application. 
 Liberal discount made to the trade and profession. 
 
 ARTHUR P. SCHMIDT & CO. 
 13 & 15 West Street. 
 
 BOSTON, MASS. 
 
 Importer and Dealer in Foreign and American Mum 
 
Elements of Harmony, 
 
 By STEPHEN A. EMERY. 
 
 THE SIMPLEST AND MOST PROGRESSIVE. 
 Used in the principal Conservatories and Colleges. 
 
 Price, $1.25. 
 
 Foundation Studies 
 
 ^- IN 
 
 PIANOFORTE PLAYING, 
 
 Composed by 
 STEPHEI^ A.. EMERY. 
 
 The easiest and most compreheitsive Method for Children. 
 
 Price, $1.50. 
 
 '»* Sent postpaid on receipt of the above prices by the ?*blishers, 
 
 ARTHUR P. SCHMIDT & CO., 
 
 13 & 15 West Street} Boston, Mass.