I I HoxF to Obsepve M Avmonlf BY John Curwem SAGE ell UtttotJiSiitg f ME FUND .etkioL SOUGHT WITH THE INCO FROM THE ENDOWMENT THE GIFT OF Slenirg W. Sage 1891 '"'* f 7/7"p 'V 1 Cornell University Library MT 50.C98 1890 How to observe harmony with exercises In 3 1924 021 756 519 Cornell University Library The original of tiiis 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/cu31924021756519 TWELFTH EDITION. How TO Observe Harmony. ■' BY JOHN CUE WEN. J. CURWEN & SONS, 8 & 9 WAEWICK LANE, E.G. Trice Two Shillings. LONDON J., CtTEWEN & SONS,; MUSIC PBINTEEB, PLAISTOW, E. NOTICE The first edition of " How to observe Harmony " was published in September 1861. It was the result of original investigation in the compositions of Handel, Haydn, and Mendelssohn. Of course it did not show anything new in Harmony, but it showed the necessity of exhibiting the well known habits of good composers under a new light, by means of a new Theory, and with a new nomencla- ture. The educational f acUities which it offered for the studying of Harmony were eagerly seized by our Tonic Sol-fa friends. Within 10 years 800 students had wrought through the exercises, more than half of whom had obtained Honourable Mention in the Reporter, for the accuracy of their work. Even students who had not cared for our instructions in Singing and the use of instruments, were attracted to our method by the Harmony Courses. In one institution alone (the Andersonian University, G-lasgow) about 293 students have, in four years, worked the exercises in both notations. They use both notations because, while the Sol-fa notation shows the nature and relation of the chords better, the staff notation in sbort score, displays more clearly, to those accustomed to it, the distribu- tion and the relative motion of the parts. Thiapraotice of Harmony AnalysiSjledmanypupils (without my intending it) to attempt Elementary Composition. It seemed of no avail to show them the difference between analysing a picture, and painting one, between copying an architectural plan, and designing one. I was obliged to try and guide this new ambition, guarding it from at least gross errors. This led to my publishing the " Construc- tion Exercises " which form part of my " Common- places of Music." Since the early chapters of these were published in a preliminary form (A.D. 1867,) 388 students have entered the course, and 135 of them have obtained Honourable Mention. These studies have again created a demand for a very much improved system of Observation and Analysis. Students feel that if they had observed more fully, and especially if they had observed the chains of progression, and the relations of phrase and cadence, as well as the chords, they would have been saved from many blunders in their early attempts at Elementary Composition. All this knowledge which young composers desire is exactly that which will be of use to the intelligent singer. It will enable him to sing more correctly, more confidently, and with a, mudi greater fulness of enjoyment. These incidents and reflections have led me to the present work, in which I have been very greatly assisted by those friends who are constantly enga- ged in correcting exercises. Our experience has suggested the importance of dividing the Analysis Course into two parts. It is easy to see in the case of many students, before they are half through the exercises, that they will get confusion of thought, instead of knowledge, by going on to the end. It is better that they should go back again, and culti- vate accuracy of observation and attention by means of new exercises on those first principles which they have failed to apprehend. The first eight steps, including the main princi- ples of Harmony, form the "Pass stage." The remaining steps are called the " Honourable Men- tion stage." In our CoUege Courses, every student who reaches the end of the " Pass Staie," without showing proofs of sufficient care and correctness, is required to go through the wholeor anappointedpart of the " Pass Stage " again, with a different set of exercises. "When he can do this satisfactorily, he is allowed to " pass " to the next stage. Honour- able Mention is given in the Tonic Sol-fa Seporter, at the end of the course, to those who have obtained a certain proportion of the highest possible number of marks. These Courses are carried on through the post. The dates at which exercises should be sent to the Secretary are given in the Calendar of the College, and fuller particulars appear from time to time in the Tonic Sol-fa Reporter. Teachers who have themselves obtained Honourable Mention can send up certain testing exercises of their pupils at the close,fortheHonourableMentionexamination. The Secretary of the Tonic Sol-fa College, 27, Finsbury Square, E.C., is always ready to give information. My thanks are due to B. St. J. B. Joule, Esq., to Edwin Monk, Esq., and to Messrs. NoveUo, Ewer, & Co., for permission to use their chants and tunes. I trust that this new work will help yet furthei to popularise the delightful study of Harmony. November, 1872. . JOHN CUEWEN. PREFACE TO THE SIXTH EDITION. Mr. Guswen had for some time meditated an improved edition of "How to Observe Harmony," but illness and death prevented the aooomplishment of his wish. The revision has, therefore, fallen upon myself, with the able assistance of Mr. Geo. Oakey, Mus.Bac. Valuable hints have also been received from Mr. Eobert Griffiths, based on his experience of the use of the book in the examinations of the Tonic Sol-fa College ; and from Mr. W. Litster, of Aberdeen. In several respects the revised edition is made more handy and clear. An alphabetical index has been added, as well as a page giving "Leading Definitions" and " Eules for Writing Analysis," aU of which will save the time of the student, and help him to be accurate. An Appendix of difficult cases of analysis from leading composers has been added. The of ^each quotation is given and discussed. These examples will anticipate many of the difficulties to be met with in the analysis of modem music. Two slight alterations in the method of analysis have been made. First, part-pulse iorestrokes are now to be numbered as well as fuU-pulse. Second, fuU-pulse afterstrokes are no longer to be numbered. Small letters are used instead of capitals for the signs of all the incidentals. The text has been revised throughout, and sentences which caused confusion have been made more clear. The distinction between 2nds and 9ths has been more accurately drawn. The course of exercises has also been to some extent shortened and sim- plified. April, 1881. J. S. C. INDEX. PARAORAFH. FADE 100 Accent of dissonanes 91 118 Accompaniment, Analysis of 120 86 Af terstroles — Anticipation tones 68 Guiding tones 69 Hanging tones 69 Passing tones . ., 67 Waving tones 68 14 Ambiguity of key 7 119 Analyses, Dificult 121-131 118 Analysis of accompaniment 120 99 of modulation 89 111 , Eules of , 110 81 of sectional relation 63 89 table 73 ■ 72 ;■ of transition 57 86 Anticipation tones 68 45 Anti-melodio intervals 37 116 Augmented siztbs 117-119 8 Bonding of chords 4 119 Broken pedal 121 46 Bye-tones 39 28 Cadence, Imperfect D 16 30 , Imperfect S 18 16 .Natureof 7 21 — TV- of suspense 11 16 r, Open tonic 8 16, 27 , Perfect and semi-perfect 8, 15 29 , Plagal 17 64 relation (simple ancf complex) .... 45 43 , Surprise 34 32 , The F 20 16 ,ThefuU 7 28 , The grand double 17 37 ,TheE 27 21 ,TheS 11 63 — ^ — transition 51 ^\q^\ , Weak-pulse 14, 19, 25 21,, 23 Cadential approaches 11, 12, 14 86 Chord, Exceptional secondary 69 28 , Inverted 17 43 ^L, The 32-36 44 M, The 37 40 modulator. First 30 90 modulator, Second i 76 102 , Overflowing 98 Sow to Ob FARAGRAfU. PAGB 5,90 Chord relation 3,7* 34 E,The 23 100 relation of dissonance 92 41,45 ^T, The 30,37 5 , The pre-obcupying 3 56 , Transmutation 48 8 Chords, Bonding of 4 4, 51 , Constitution of 2, 43 53 .-, Crowning of 45 2, 8 , D, S, and F 2, 4 3 , Distribution of 2 17,52 , Positionof 8,44 48 , Secondary ; 40 49 , Substitutional 43 2, 8 , Three principal 2, 4 113 Chromatic discords, with transitional) , , „ , , „ models in 1st sharp key J ' 114 Chromatic discords, with transitional) , , . , , , models in Ist flat key jii4,no 115 Chromatic discords, with transitional),,^ ,,. models in 3rd flat key Jiit),iu 73 Chromatic fe 58 74 Chromatics, Nature of 69 117 , Ornamental 119 116 , Unrelated 117 101 Classiflcation of discords 94 25 Consecutives by contrary motion 15 22, 33 Consecutive fifths and octaves 13,21 2 Consonant chord, Normal major 1 47 passing-tones 40 4, 51 Constitution of chords 2, 43 88 Continuous passing tones 72 19, 21 Contrary motion 9, 12 ^^^Q^^^^jCoupled dissonances 28, 97, 101, 105 53 Crowning of chords 45 8,28,32 Dc 8,17,21 16 D cadence. The 7 ^^^1^ I Dc, Habits of 8,17,21 10, 100 Degrees of dissonance 5, 90 37 Delayed resolution 27, 29 57 Departing and returning transition 48 79 Development of feeling 62 92 Differences of major and minor 79 119 Difficult analyses 121-131 VI PAKAQRAPH. PAOE 113-115 Discords, Chromatic 112-117 101 , Classification of 94 102 resolving on the tonic 95-99 103 resolving on the dominant .... 100-103 104 resolving on the subdominant 103-106 13, 18 Discord of 'S and its progression 6, 7 28 of 'S in its c position 17 37 of 'E 27 37 of *S 28 42 of 'T 32 10, 100 Dissonance, Nature and eflect of 5, 90 11, 100 , Preparation of 5, 6, 91 11, 100 , Eesolution of 5, 6, 92 10, 100 , Degrees of 5, 90 100 , Percussion of 90 100 , Accent of 91 100 , Chord relation of 92 100 , Its relation to root 92 100 , Object of 93 ^'iQ^^^^lDissonances, Coupled 28, 97, 101, 105 100 , Pull-pulse 90 10 Dissonating tone 5 3 Distribution of chords 2 119 Double pedal 121 ^g' gg I Exceptionalprogressionof S&'S 15,17,35,43 86 secondary chord 69 Exercises — , . . 10,11,15,22,29,36,46,60,73,89,90,111,124 63 Extended transition 51 32 F cadence. The 20 73 Fe, Chromatic 58 22-23 Fifths and octaves. Consecutive 13,21 33 and octaves ill-approached 21,22 33 , Unequal 21 40 First chord modulator 30 94 flat minor 82 65-64 sharp key 47-52 94 — 7- sharp minor 83 34 Fixed progressions 23 66 Flat key 54 97 , Second 87 87 Forestrokes — Horizontal 69 -^— Oblique 70 Under oblique 70 Waving ^ 71 : .Unprepared 71 33 Fourths, Ill-approached 22 116 French sixth. The 118 16 Full cadence, The 7 100 Full pulse dissonances 90 How to Ob. PAHAOHAPU. PAG» 116 German sixth. The 118 28 Grand double cadence 17 86 Guiding tones 68 ^^'32 I Habits of Dc 8,17,21 86 Hanging tones 68 1 Harmony and melody ,,,,.,., ^ 1 83 Harmony, Three -part 64 84 , Two-part 66 87 Horizontal forestroke 69 33 Ill-approached fifths and octaves .... 21,22 33 fourths. 22 78 Imitation, Rhythmic 62 68 , Transitional 55 28 Imperfect D cadences 16 30 S cadence 18 108 Incidentals, Ornamental 109 86 , Part-pulse. 67 88 , Bare 72 110 Interrupted resolution 110 45 Intervals, Anti-melodic 117-119 28 Inverted chord 17 107 r pedal 108 116 Italian sixth. The.... 117,118 14 Key, Ambiguity of 7 55-64 , First sharp 47-52 66 ,Flat 54 97 , Seoondflat 87 97 , Second sharp 86 90 Lai mode 75 92 Major and Minor, DifEerences of 79 1 Melody and harmony 1 6,7 Mental effects of D, S, and P 3 49 — — of E, L, T, and M 43 92 Minor and major. Differences of 79 94 , First flat 82 94 , First sharp 83 96 transition 85 91 Modem minor 76 90 Modes, The 75 93 Modulation 81 99 , Analysis of 87 94 , Transitional 94 40 Modulator, First chord 30 90 , Second chord 76 114,116 Neapolitan sixths 114,117 62 New commencement 50 2 Normal major consonant chord 1 71 Notation of transition 56 100 Object of dissonance 93 87 Oblique forestroke 70 22 23 Octaves and fifths. Consecutive 13,2J Vll PASAOBAPH. PAGE 33 Octaves, Ill-approaohed 21,22 109 One as two, and two as one 109 95 Oscillation, Sequential 84 16 Open tonic cadence .i 8 117 Ornamental okromatics 119 108 incidentals 109 67 Oscillation 54 102 Overflowing chord 98 85 Part-pulse incidentals 67 21 Parts, Relative motion ot 13 86 Passing-tones 67 47 Consonant 40 88 Continuous 72 65 Passing transition 52 107 Pedal 108 119 , Broken 121 119 ,Double 121 107 , Inverted 108 1 00 Percussion of dissonance 90 16,27 Perfect and semi-perfect cadence ....8,15 21 Periods, sections, phrases 13 106 Persisting tones 107 21 Phrases, periods, sections 13 29 Plagal cadence 17 80 Point of excitement 62 17,52 Positions of chords 8,44 5 Pre-occupying chord. The 3 11,100 Preparation of dissonance , 5,6,91 2,8 Principal chords. The three 2,4 9 Progression of S 4 15 of 'S 7 35 E to D 24 34 Progressions, Fixed 23 88 Bare incidentals 72 37 E cadence, The 27 90 Bay mode. The 75 93 Relatives, major and minor 81 21 Relative motion of parts 13 97 Removes, Two 86 10 .Resisting tone 6 37 Resolution, Delayed 27.29 110 , Interrupted 110 11,100 of dissonance 5,6,92 24 , Transferred 14 57 Returning transition 48 78 Rhythmic imitation 62 100 Boot, Relation of dissonance to 92 85 R to D, Progression of 24 111 Rules of analysis 110 21 S cadence. The 11 9 S, Progression of 4 15 ''8, Progression of , 7 How to Ob. PARAGRAPH. PAGE 4350 1^ and 'S, Exceptional progression of IH'^J^ 48 Secondary chords , 40 86 chord, Exceptional 69 90 Second chord modulator 76 97 flat key 87 97 sharp key 86 75 Sectional relation 61 81 , Analysis of 63 21 Sections, phrases, periods 13 45 Sequence 37 69 , Transitional 84 95 Sequential oscillation 55 97 Sharp key. Second 86 89 Signs and symbols, Tahle of 74 21 Similar motion 12 1 1 ,1 1 1 fit^izth, Italian, French, German, andJll4,117> U4,llbJ Neapolitan | 118 49 Substitutional chords 43 64 Sudden transition 51 43 Surprise cadence 34 89 Table of signs and symbols 74 83 Three-part harmony 64 98 Three removes . . " 88 98 Tonic major 88 98 minor 88 24 Transferred resolution 14 68 Transitional imitation ; . . . 55 94 modulation 82 69 sequence .- 55 72 Transition, Analysis of 57 63 , Cadence 51 57 , Departing and returning 48 63 , Extended 51 55 , Factors of 47 96 , Minor 85 71 , Notation of 56 65 , Passing 52 64 , Sudden 51 56 Transmutation chord 48 109 Two as one, and one as two 109 84 Two-part harmony 66 97 Two removes , 86 87 Under oblique forestroke 70 33 Unequal fifths 21 87 Unprepared forestroke 71 116 Unrelated chromatics 117 87 Waving forestroke 71 86 Waving tones 68 ^^'^36 1 ^eak-pulse cadences 14,19,25 LEADING DEFINITIONS. 1, Consonant chords.—A root with its third and fifth iP- 2). 2. Major and Minor cJiords.— Those in which the thiid nearest the root is respectively major and minor (pp. 2 and 23). S. Bonding of chords,— The uniting of adjacent chorda ty a tone common to both (p. 4). 4. Dissonance. — Two tones next each other in the scale Bounding- together. 5. Discord.—A. chord with one or more fore^^ notes added to it becoming an inte^al part of the combination. 6. Oadence. — ^The two closmg <£ords of a musical division or section (p. 8 and 13). 7. Constituents of chords,— The root, third, and flfth of a consonant chord; and in addition the 7th, 9th, &c., of a discord. 8. J)iat7ibution of chorda. — ^The arrangement of the con- stituents as to distance &om each other. 9. Position of chord.— A. statement as to which constituent is in the bass (p. 8). 10. Similar Tiiotion, — ^Two or more parts moving paxaXLel to each other. 11. Contrary^ motion. — Two or more parts moving in opposite direction. 12. Oblique motion. — ^A part repeating a note, while another part or parte move from or towards it. 13. Weak-pulee cadence.^The final bass note beii^ on a strong pulse, while one or more upper parts are not com- pleted imtil the weaker part of the measure. 14. Sequence. — ^A repetition at a different part of the scale of a passage of melody or harmony. 15. Bye Tone.— A new note or notes of a chord restmck on the after part of a pulse while the remaining notes of the chord remain undivided (p. 39.} 16. Ornamental tones. — Bye-tones (p. 39) and consonant passing-tones (p. 40). 17. InddentaU. — Tones foreign to a chord, wh@ther struck on the first ov second part of a pulse,'or on a strong or a weak pulse. 18. Forest^oke.-A dissonant or foreign tone struck on a strong pulse, or on the first part of a pulse. 19. Afteratrohe. — A dissonant or foreign tone struck on a weak pulse, or the second part of a pulse. 20. Constitution of chord. — A statement as to which con- stituents are doubled or omitted (p. 43). 21. Crowning of chord. — A statement as to which con- stituent is in the highest part (p. 46). 22. TraTisiiion.— Passing to a new key. 23. Modulation. — ^Passing to a new mode — ^major to minor, or vice versa. 24. Transitional Modulation, — ^Passing at once to a new key and a new mode. 25. Caden^ Transition (with or without modulation). — Change in approaching a cadence, not extending backwards beyond the fourth-last chord, 26. JExtended ^i-ansiOon.—ijhasige of key eztending'back- wards beyond tiie fourth-last chord of a cadence, or for- wards into another section, or including a whole section, or more than four chords in any part of a section. 27. Passing 2Va7i«(ton.— Short change of key in the beginning or middle of a section. 28. Seconds and iVtniAs, — ^In the primary form (p. 5} discords of this dass are called Seconds; in the secon- dary and tertiary forms they are called xTinths. whether resolved upwai-d or downward. See pp. 101 and 102. RULES FOR WRITING ANALYSIS. fFor additional rules see p. llO.y 1. The letters which represent chords to be In capitals— D, S, &c. 2. Positions of chords to be marked by a small letter, as D&, Sc, &c. The a position is taken for granted unless any other position is marked. 3. The forms of printed characters to be used in writing, rather than current nand. 4. The duration of each chord to be expressed by the ordinary Tonic Sol-fa time marks. 6. When a chord is struck several times in a measure it need not be renamed so long as the baas remains unaltered. The chord should, however, be renamed on the first pulse of each measure, unless the bass is a continued note, 6. All discords (see definition 5), to have the root-dis- tance number of the dissonance placed at tiie upper left hand comer of the chord name. Vor example : 7S, 7B., ^B. 7. Incidentals, such as bye-tones, passing-tones, &c., to be marked in small letters undemealh the chord name. For example : D 8. 2 bye p 8. Two or more incidentals occurring in the D same pulse in different parts, to be placed one o under the other. For example : p 9. Two or more incidentals following one another in the same part to be marked Hide by side, with the sign '* &" between. For example : D o al attendants. Other chords may be used, but these are chiefly employed, and others are admitted by virtue of relationship to them. The principal chord is called the Tonic, the chord on its over-fifth the Dominant and that on its under-fifth its Sub- dominant. These chords, in the Major Mode, are respectively D, S, and F. Of the Mmor Mode, we speak later on. This system of chord-relation is the foundation of modem harmony. Composers and students, after trying many plans of harmo- nizing have gradually developed this, — which they feel to be -best adapted to satisfy the human mind and ear. It makes both keys and cadences more definite than they used to be in ancient music. 6. Effects of D and S. — We have in this illus- tration only two chords D and S, and so common are these chords that on many a page of good music scarcely any other chords are to be found. listen to il. 7, and name the chorda as you hear, f * Now that you have all named the chords correctly, listen again, and say what is the difference in their "menta;l effect." * If you take D to be the firm chord — the great chord of rest, what wUl you call S P Does it suggest rest ? " No, let us call it the chord of motion." Yes, for the t cannot rest. These mental effects of chords, Uke those of tones, St. Co., pj). 4, 15, &o., are not physical but mental and relational. 7. Effect of F.— Listen to il. 8, as far as the end of the fifth measure, and name the chords as you hear them. • II. 8. KEY G. a.O. n s :r n :- s n :d d :t| d - S| ti:t, d :- d d :si li :si S| - d r :s s :- n s :n f :r n - d si :si d :- d d :d fi :si d - Listen to the whole of U. 8, and notice the first chord of the sixth measure, so as to describe its mental effect. * Listen again. * I think you will agree in calling it the Serious chord. Listen to the whole t>f il. 8 and name chords, as note par. 6, a. Summary. — Each of the chords partakes of the character which belongs to its root when that tone is employed in the melodic scale. This character f This naming ma^ be by each pupil wn'ftn^ the name of the chord, or Bhewlpg the manual. ^^. If the pupils "call out " the name, tiiere is a danE^er Qi&i the exercise may be left to only.a few. Of .course it will be better if the chord can be named by ear without looking at the notes, but this is not required at first. See "i^ar exercises at the end of ea£h " stage." A good preparation for the coming Ear exercises, will be to allow the pupils first to name each II, while looking, afterwards with closedbook. Bow to Observe Marmony, 8, 9, 10. SECOND STEP. 11. THE THKEB PRINCIPAL CHOEDS OF A MAJOR KEY. S' s' f m' d' — d' is greatly enhanced when the root is in the lotrest port and vhen it is doubled. D is the chord of rest, S of motion, and F of seriousness. These chords are closely related physically by their fifths, and also by virtue of our mental associations. 8. The Bonding of Chords. — As the percep- tions of harmony and melody — the stroke of the chords, and the flow of the parts — ^are blend- ed together in the mind, it is necessary to observe how the chords flow into one another, or overlap. A succession of chords has been compared to a brick wall, in which the bricks can neither be placed in horizontal layers without regard to their bearing on the bricks beneath, nor in perpendicular piles with- out any bond-io the bricks on either side. Observe U. 7. At the change of chord in the second mea- sure the tone s overlaps, and may be said to form a Bond. The same tone overlaps in the change of chord between the se- cond and third measures. What is the Bond in the other changes of chord in this il. F * In il. 8, is there any Bond at the first change of chord.'' " No, not of the same kind." And yet the s is again repeated though not in the same part. m d d S, SI F D a. Direct, Indirect, and Impliei, — When a tone com- mon to the two chords is repeated in the same part we will call it a Direct Bond ; when it is repeated but not in the same part, an Indirect Bond. What kind of Bond occurs in the change of chord be- tween the second and third measures of il. 8 F • Again, what kind of Bond is there in the change of chord between the fifth and sixth measures of this il., and what is the tone which forms the Bond p * Is there any Bond between the two chords in the sixth measure ? " No there is no Bond of any kind." Yes, but these two chords are both very strongly bonded to the Tonic. One (S) takes its root from the fifth of the Tonic, the other (F) taked its fifth from the root of the Tonic. We may with Prof. Helmholtz regard this as an Implied Bond be- tween S and F. Another form of Implied Bond is seen between the chords S and D when the fifth is omitted (though implied) in the latter chord. b. Summary. — Adjacent chords are commonly bonded together, by having one tone which is common to both. When this tone occurs in the same "part" in both chords the Bond is Direct; when in different " parts " it is Indirect. S and F have no Direct or Indirect Bond. But the very strong relations which both have to D form an Im- plied Bond between them. 9. Progression of S. — Apart from the physical Bonds above referred to, the menial effects of par- ticular tones help to estabUsh a strong relationship of chords. Thus, in the chord S, the strong piercing effect of t, as the leading tone to d', confines the onward-movement, or Progression of S to one channel. It is obliged to go to D. Two other chords sometimes receive it, but chiefly this. Observe that this fiowing of one chord into an- other is managed as smoothly as possible. In ils. 7, 8, where S progresses to D, what tones does the tone s go to ? " To d or s." What does t go to ? " To d." What does r go to ? " To m." This is the commonest and smoothest progression of S to D ; it requires the least motion of the parts. •»• For additional illustrations to this Step see " Chord-Namiag Examples," Farts A and B, Exa. 1 to 3, at end of book. THE SECOND STEP. Second. Listen to il. 9, and tell me the effect on mind and ear of the two tones striking together. • II. 9. KEY G. d :- Ir :- Id :-ll d .- d :- d :- 1| 10. Sissananoe. — What intervals have we called the source of sweetness in harmony ? (par. 2 above) « What interval have we called the source of strength ? « Now I wish you to notice another in- terval, — that which is heard when two tones stand next to one another in the scale, it is called a Sow to Observe Sarmony, THE BONDDfO OF OIIORSS. THE PMNOIPLBS OF DISSONANCE. " It is harsh. There is something like a beating." Ses, it is a_ dissonant effect, and the continuity of the tone is interrupted, so as to produce a sense of "heating." Listen again to U. 10, and tell me what is the effect of these two tones striking together. • il^ II. 10. KEY G. * Id It, Yes, the effect is harsher still. It is a remarkahle fact, which we need not test here, that when the distance between two adjacent tones is much lest than a little step. Or much more than a full step, the beating becomes less disagreeable. The singers of these illustrations will observe, that, in both cases, the lower of the two tones is the more difficult to hold, probably because its •» ibrations are less frequent. The tone which stands the lower of the two when they are placed close together (that is as a second, not a ninth or sixteenth, and not a seventh or fourteenth) we call tiie Disspnating tone, and that which stands the higher the Eesisting tone. This beating of two tones close together we call a Primary Dissonance. &.Frimary, Secondary, and Tertiary. — But listen to the same tones when one of them has been moved an octave, and tell mo what is the difference. il. 11. • II. 11. KEY D. i d':- d :- • r':- d :- di :- d :- d :- d':- ti:- • d':- d :- ^-^ :=&= —^ -° Si ■ ^ ■"--SI — ' ^-S ' tS»- — Z3 ^ " The tones are still dissonant but not so strongly so." Yes, we need not enter into the reason why these tones still remain dissonant though so wide npait, but we note the fact and call this kind of dissonance. Secondary dissonance. If one of the tones is moved two octaves we should call the dis- sonance Tertiary, and its effect would be very slight. Another thing which lessens the impres- sion of a dissonance on the ear, is the place it holds in the measure. A dissonance on the strong pulse, or on the stronger part of a pulse, is neces- sarily more strongly felt, thin one on the weak pulse or on the weaker part of a pulse. Sow to Observe Sarmonj/. h.Summart/. — Dissonance arises from the "beats" of two tones close together. The little step forms a harsher dissonance than the greater one. The lower of the two tones thus close together is the more difficult for the singer to hold, and is called the Dissonating tone. The higher one is called the Resisting tone. The dissonance is called Primary when the two tones are close together, Secomlaru when an octave is added to one of them, and 'Ter- tiary when two octaves are added. The greater the distance thus created the less effective is the dissonance. Dissonances are also rendered more effective by acceni;. 11. Preparation and Besolution of Dissonance. — ^A Dissonance may be so smoothly introduced and carried forward that the ear may even enjoj its piquancy, just as the eye enjoys the shadow of a passing cloud on a beautiful landscape. Listen ta il. 12. sung slowly, observing the dissonances, which have a star placed over them, and tell me how they differ in their effect. * II. 12. KEY Q. \n -.n r :r Id :si Id :si In :ii r ;r Id :d Id .-ti " The second is smoother, pleasanter. "We like it." It is so, yet the dissonances themselves are precisely the same in both cases. Listen, now, to il. 13, noticing the dissonances and teUingme their effect. • II. 13. KEY C. "The second dissonanoeis quite pleasant but the first is harsh." Yes, but the dissonances were again the same in themselves. What makes the differ- ence f " The way in which it comes in ahd goes out." Yes, that is the secret ; let me explain more fuUy. a. Dissonances are introduced into music either for tiieir piquancy of effect, or for the sake of securing 6 12, 13. SECOITD STEP. 14, IS, 16. a smooth flow of the parts. Sometimes the two ohjeots are comhined. But all harshness in music must ueoeasarily have an apology for its admission, and the greater the harshness the stronger must be the apology. According to the saying of Mr. G«orge Hogarth, "the ear rememhers and expects" — ^remembers whence the tone came, and expects, whither it is going. On this melodic habit of mind and ear is founded the apologies for dissonances. h, Sesolution. — The strongest apology is that the dissonating tone is going downwards to a consonance on the tone below, and this is called its Eesoltition. Listen again to the second parts of ils. 12 and 13 and notice the effect of Eesolution.* The cases are very rare in which even a Tertiary dissonance is unresolved, and nearly all the resolutions are down- ward. When the dissonance is introduced for the sake of its own effect it is still obliged to.make this apology for itself. c- Preparation. — The next apology is, that the dis>- Bonating tone is simply the repetition or overlapping of one which has just been heard as a consonance in the previous chord. This is called a Preparation. Another apology is that the dissonance is moving stepwise -fTom the tone above it in the scale to that which is below it. This we csHlOHigue preparation, as distinguished from the preparation just named,, which may be called Sorizontai. Listen again to tte second parts of ils. 12 and 13, and say which of the preparations was Horizontal, and which Oblique. • d. Summary. — The resolution of a dissonating tone, is its descending to the tone below, and so satis- fying the ear that it was only forcing its way into consonance. The preparation of a dissonating tone is its coming smoothly out of the previous diord, either horiiontally as a continuance of the last tone or obliquely from the tone next above it. 12. f against s.— The commonest of all disson- ances is that of f against 8. Its frequent occurrence may be ascribed to the fact that these two tones stand at the " dividing place of the scale," just where it has a tendency to fly off into the first. sharp key, — the s becoming d of th« new key, and the f gives place to fe or t of the new key. This being the case the strong assertion of f in spite of dis- sonance, becomes an assertion of the key, a thing always desired in modem music. a,. Secondary. — This dissonance is most frequently a secondary one, and it commonly occurs on the Bow to Observe Harmonv. weak pulse. Its resolution, by a descending little step is very smooth and pleasant. It generally hap an oblique preparation. Listen to il. 14. • II. 14. KEY Bb. G.O. 5s:fn:dr:fn:-|n:s|f:n|f:r|n. c |si:si|d:d{ti:si|d :-{di:nil si:-d| S|:si{d{:-| Listen again and tell me the degree of dissonance, (Primary, Secondary, or Tertiary) the sort of pulse (strong or weak) the resolution and the preparation, in the first case of this dissonance. * Do the same with the second case— the same with the third — the same with the fourth. * The dissonance is often unprepared, as in the second and fourth cases, especially when it is one of the secondary or tertiary degree. The resolution is commonly interritpted when the same chord is repeated, as in the fourth case. Which is the smoothest of these cases — which the next in smoothness — which the harshest? * b. Primary. — Listen to il. IS, in which all the dis- sonances take the uncommon primary form. » il II. 15. KEY C. • * s :s |d':n'| s :t Id':- s :f n :s f :r n :- G.O. W':l|s :di|t:s|di:- |d :f If :n|r:f n ;- Describe the degree, the sort of pulse, the resolu- tion and the preparation in each of the four eases. • Which of these is the smoothest — which the next in smoothness — which the harsJiest ? * 0. Summary. — Tho commonest dissonance is that of f against s. It has the advantages of decidiiig the key, of striking against a strong resisting tone, and of resolving very smoothly. Its most common use is as a secondary dissonance, on the weak pulse and with oblique preparation. 13. Seven-Soh.— Listen to il. 16, and tell me what is the third chord. • THB OHORD 'S. THB NjfcTUBE OF CADENCE. II. 16. KBY Gr. G.O. /ft PI s :f , n :- s d :n f :r d - S| d :ti d :- d d ;d d :t| d - d n :s s :- n n :s I :,f n - d d:s, d, :- A d, :d,, fl '.Sy di - 'S Yes, it is the Ghord' S with f as a; dissonaJang tone. Notice that a dissonancfi; iff always dearer when, it strikes against the firm rao^ of a-chocd', and espeeially when it strikes' againat one of fhe principal ehords^- Tonic, Dominant or Suh-dominant. Therefore the dissonance t against s is constantly iatroduced into the chord of S. Count on the modulator, and tell me what is the interval between s and the f above it. " A seventh." The chord S with a dissonating f is called seven-soh and written 'S What is the degree of dissonance in the last chord but one, 0. 16 ; primary, secondary or tertiary ? " Secondary. " Wliatiu tiie third chord? " Secondary as to the Tenor, tertiary as to the Bass." On which pulse, strong or weak, does the dissonance occur in this il. ? * What is the preparation in the first case ? « Is there any in the seconid ? " No itisiunjjrepared." In what " part " does iiie dissonance occur in the first oaae — in the second 3 • Listen again to il. 16,. and name f the. chords asi Note, par. 61 • 14. Amhiguity of Key. — In listening to | t| ; and one under : d I f : m | r. Ex. 24. Write the fourth and fifth chords of il. 21, and the seventh and eighth chords of il. 22, so as to make Consecutive Fifths, altering accord- ing to instructions on page 13. Ex. 25. Write the second section of il. 21, and the second section of il. 24, so as to make Consecutive Octaves, according to instructions in par. 22. •,* See " aiora-Naming Examples," A, 8, 9 j B, 7, 8, 9. 16 28. riFTH STEP. 29. THE FIFTH STEP. 28. Imperfect D Cadences. — Hitherto, in all our D cadences the bass has moved from s to d ; this is the proper cadential motion, but let us see whether, for variety's sake, even at the sacrifice of some of the perfect sonorousness of a full close, we cannot obtain other forms of this cadence. If we ' call them Imperfect it is not because they are unsatisfactory, but only somewhat less conclusive than tho Perfect cadences, a. The Bass Cadence | s : f | m. — Listen to il. 27, and notice the last cadence ; how does the bass move? » I n c. 27. r :r d G. r n :f s :f E. n G. d ti:t| d - t, d :d d :t| d - s s :s s - s s :1 s :s s - d si:fi n. - ri d,:f, rii :ri di - ^Hd "Straight downward to d." Yes, the chord Da is entered with a stepwise bass from ''So. "What is the effect when compared with 'Sa | Da? « Listen again, and study the first cadence ; how does the bass move? * "It moves stepwise." Yes, and it gives us two chords in inverted positions, the ^Sd, which is new in these exercises, going to Db. Let us alter the cadence into ''Sa going to Da, by making the bass : Sj | d and the tenor : f | m. Now listen to the cadence both ways ; which makes the fuUer and more decisiy.e close, and whicl^ the softer, and the more suitable for an imperfect cadence with something of expectancy in it ? * Listen to the whole of il. 27, and name the chords. • t b. The same with Tie, — Listen to the first section of il. 28 ; have you heard this cadence before ? * II. 28. KEY E. G.O. s n :s d':- 8 d':s f :s n :- n d .T d :- ti d :n f .T d ;- s s :s s :- f s :di di:ri s :- d s :f n :- r n .'d li :ti ■ d :- r s :t d':- S s :n f :r d - d d :f n :- d r :d ti :t, d - f s :s s :- s s :s s :f n - f n :r d :- n ti:d s, :si d - " Yes, it is like the first in il. 27." It is ; but it is differently approached; how? '• It comes from Dc instead of Sa." Let us alter the second chord of il. 28 into Sa, by changing d in the contralto to t, and m in the air into s ; let us listen to the two approaches ; which sounds better ? * You hear the Dc sounds harder, but it has its apology in a stepwise motion downward, which is aided in this case by contrary motion with the air, and what may be called oblique motion with the tenor. See another case of contrary and oblique motion pro- ducing a fine effect, in the third cadence of this il. 0. The Bass Cadence | 1| : t| |d. — Listen to the second cadence of il. 28 ; » how is it begun ? " By S4 going to D." Yes, this is another form of the imperfect D cadence ; it is here approached by Fi for the sak* Bow to Observe Sarmony. t Note that 'Sii is followed by D5. BASS CADENCES, is :f iPi || 1| :ti |d II n :r |d ||d :r In ||. resoltttion of 'Sc, 17 of a pleasant Bass melody, having contrary motion "with the contralto. It might bo approached by DA In the same place, with a diiFerent air. d. Inverted Chords. — Listen again to the first and second sections of il. 28 ; * how many inverted chords have we here m succession P " Five." If this were not a tune made on purpose for illustration we should not have preferred so many ; they are somewhat rough in their effect on the ear, and the Bass singer feels them to be infirm — difficult to hold. Even the removal of one of them gives a greater sense of security ; alter the fifth measure by mak- ing the Bass | d : d and the Tenor | m : s, and listen to the two sections in both ways. * But the il. as it stands is perfectly right and it yields an example of two ohordal habits, which the Harmony observer should understand. These are : — e. Upward resolution of f in 'Sc. — ^First, the upward resolution of f in 'S, when r is in the Bass; per- haps the explanation of this is that r, being in the Bass, naturally struggles to be the root of the chord, and so far succeeds as to liberate f from the down- ward progression to which its resisting tone s had condemned it, just as the s in Do tries to treat its d as a dissonance in the chord of S. See Par. 18. Another example will be found in the first section of il. 37 ; and— f. The c position. — Secondly, the upward stepwise progression of the Bass in a c position. You will have noticed already that in Dc the continuous pro- gression as in cadences, is the commonest, and that the downward stepwise movement, as in the first section of il. 28, is also acceptable to the ear ; in the chords Sc and 'So the downward stepwise pro- gression is the commmonest and pleasantest as in il. 27, and the third cadence of il. 28. The upward movement, however, in il.28,m. 6 sounds very well; it is aided by the f a third above which waves from s to s as the r does from m to m. If s, or worse, r is put in the place of f, the chord will not sound so well. g. The Bass eadential approach : m | t| : d. — Listen to the last section of il.. 28, and notice its opening ; how does the Bass move ? " : m J t| : d." This is another elegant form of eadential approach, like the : m | r : d of il. 24, the : f j t, : d of il 23, and the : f I !■ : d of il. 26. How to Observe Sarmony. h. The Grand double cadence. — Notice that in this as in many similar cases, we have something like a S cadence forming part of the approach to a I) cadence. Alter the air of the third last chord to r and listen to the section stopping on that chord ; you have immediately the principal cadence of expectancy. Now listen to the whole section as it stemds, and you have the well approached cadence of expectancy submitting itself to the cadence of rest. Now listen once more to the whole of il. 28, and name the chords. « i. The Bass cadence | d : r | m. — Listen to the first section of il. 29, and study yet another Imperfect D cadence, well set off by its contrary motion to the Air and oblique motion to the Tenor. E.G. n n :r d :- S s :f n :r n - d d :t, d :- r n :d d :t| d - s s :s s :- s d :f s :s s - d d :r n :- ti d:l| si :si d - It shews us also So (as il. 28 shewed 'So) with upward stepwise motion of the Baas. Notice also the Bass m ti d which we had in U. 28 ; it is not quite so pleasant here as there because more slowly moving. Listen to the whole of il. 29, and name the chords. « 29. Flagal Cadence. — Listen to the first section of il. 30, and notice the cadence ; what chord have we here going to D P * II. 30. KEl D. E.C df s :1 S - n f :s f :r n : n n :f n - A d :d d :t, d : di di:d' d' - s 1 :di 1 :s s : d d:f| d - d f :n f :s d : 18 30. riFTH STEP. 31. Yes, the subdominant instead of the dominaiit. This is commonly called a Plagal cadence. Does such a cadence in itself decide the key P " No, it is ambiguous." See par. 14. But it is somewhat solemn in its effect, and when the key has been decided, by S or 'S being heard just before it, the effect is not only more satisfactory but more solemn. Let us test this by Hstening first to the Plagal cad- ence alone, and then to the same cadence, in the quick repetition of the chant, while the perfect Tonic cadence, still lingers in the ear. * It is only aiter this mental association of key has been estab- lished that the peculiarly fine and awe inspiring effect of the Plagal cadence is accepted by the mind. In il. 33, last section, we have a Plagal cadence well prepared by S ; listen to its fine effect. * Notice that the Plagal cadence is very commonly used in Psalm tunes when the air has :1 | s. It is (unless you use the exceptional progression 'T I D U. 61) the only way of harmonizing that air, in a D cadence, without changing the key and so make : 1 | s reaUy into : r | d. Listen again to the whole of il. 30 and name the chords. « y, — Imperfect D cadences are those in which the Bass moves stepwise either to Da or to Da ; if to Da making the basses : t| | d or : r Id; if to "Dh making the basses : r | m or : f { m. But in all oases it must be the chords S or 'S which move into the chord of D. A distinct name is given to another D cadence in which the chord of F moves to D ; it is called the Plagal cadence. 30. Imperfect S Cadence.— Perfect cadential motion (that is from Tonic to Dominant or vice versa, in the a position) is not so essential in Dominant cadences as in the more important Tonic cadences. We therefore accept as. perfect, among S cadences, D5 to S, although SS to D is imperfect in D cadences. In both oases the " step-wise bass" distteguishes the imperfect from the perfect. a,. The Bass cadence :d |t|. — Listen to the first section of U. 31, and say whether the S cadence is much weakened in effect. * Sow to Observe Harmony. II. 81. KEY G. R.G. r :d r :- t r :n f ;r d - Si ti:d si :- S| ti:d d :t| d - d r :n r :- n. s :s 1 :f n - d S| :d t,:- d si :d fi:si d - "Not much." Only enough to justify the title imperfect. Listen to the whole of il. 31, and name the chorda. « b. The Bass cadence f | s. — ^Listen to the first sec- tion of il. 32, and notice the cadence. * II. 32. KEY F. R.a. S 1 :f r :- S f :1 n :r d - d d :d ti:- d 1, :d d :ti d - n f :1 s :- s d :d s :f n - d fi:fi si :- n, fi:fi s, :si d - It is a S eadenoe approached stepwise from below. Does the chord of the Tonic move to the Dominant •as before ? " No, it is F to S." Yes, but although- the Tonic is not heard, there is no " ambiguity " of key as in the Plagal cadence, for the tones f and. t when heard close together can indicate only one key. This is a commonly occurring Imperfect S cadence, more common than the last. ' Listen to the whole of U. 32, and name the chords. » O The Bass cadence : 1 | s. — Listen to the third section of il. 83, and name the cadence. * BASS cADENOEs :f| |d || :d It, II .1 Is II :f| |d :d || :f, |si :si|| |si ;d,l| It, ;d || 19 II. 33. KEY Ab- s :s ti:t| r :r S| :f| n :d d :d s :f d :1, s :- d :- s :- n, :- r :n S| :s, r :d t|:d r :d t|:d s :n si :d| d :f f, :li d :d li:fi s :f d :1, d :d ni:f| G.O. f :n li :si d :- d :- I I -^A^.rl ..T.^i'-JJ^. It is an imperfect S cadence, with Fi moving to S. 31. More Weak-pnlse Cadences. — In il. 25 we studied the weak-pulse J)e S cadence, with the | d : tj and | m : r f or upper parts. Other cadences of this kind, which are conducted by means of conson- ant chords, can now be observed. a. The | Fc : D cadence with air | i^ m. — Listen to the second section of U. 33 ; observe the cadence. What aro its chords f * What is its air ? * From what chord is it entered ? " From F." Yes, and thus it becomes a Plagal cadence. See p. 17 and the last cadence of this il. Listen to the whole of U. 33, and name the chords. • Listen to the second section of il. 34, and observe the cadence ; whatare its chords ? • Sow to %serve Sarmtmy. 11. 34. KEY A. From what chord is it entered ? '• 'Si." Yes ; you can now compare it with the different harmony of the same air in il. 83 ; which do you like better? * The Plagal form is the commoner. b- The I Do : S cadence again. — ^We studied this cadence in U. 26, but it was then entered, as a per- fect cadence, by D. Listen to the first cadence of il. 34; what are the chords? * How is the 8am« cadence now entered ? " From F." Yes it is al imperfect | Do : S oadcsnee. C. The I S : D cadence with airs | t| : d and | r ; d. — Listen" to the third and fourth sections of il. 34 ; what are the diords P What the airs ? * These cadences are the same as the ordinary D cadences, only with the last chord on a weak-pulse instead of a strong one ; but in all the cases of the weak-pulse cadence previously studied,- there ia an intervening Be or Fc between the proper first and second chordi 20 JfUflU STEP. of the cadence. These cadential airs | r : d and { tj : d are perhaps more commonly harmonized by means of a dissonance to be afterwards explained. Listen to the whole of il. 34, and name the chords. * d. Summary. — Imperfect S cadences are those in which the Bass moves stepwise to &a or Si ; if to Sa, making the Basses : f | s or : 1 Is; and if to Bb making the Bass : d { t|. The Sass : 1 { t is little used. For the first, second, and last named Basses, Fa or Fi may be used as the first chord of the cadence, instead of D. The weak pulse | Di; : S cadence may be entered, like the strong pulse, by F or F4 as well as D.' The weak pulse | Fc : D cadence may be entered like the D cadence, and a weak pulse | S : D cadence may be made. 32. The F cadence moves from D to F. It is not much used, because it has the same "ambiguity" as the Plagal cadence without the same effect of grand repose. As in the case of the Plagal cadence It is neccessary for S (or 'S) D to be heard just before it, in order to a good efiect. t a. The Bass cadence : d | f|. — listen to the first sec- tion of il. 39 ; study the effect of the cadence, and name it. • 11. 85. KEY G. n s :s f :- r n :d f :n d r :n d :- ti d :d t| :d s s :s 1 :- s s :s s :s d ti:d fi:- S| d :n r :d G.O. r :- r :- s :- ti:- n s :s f :- r PI :f PI :r d _ d r :d d :- S| s,:d d:t, d - s f :n f :- s n :d s :f PI - d t|:d li:- tl d:l, si:si d - b. The Bass cadence : d | 1, Listen to the third section of il. 35 ; study the effect of the cadence, and name it. « Listen to the whole of il. 36, and name the chords. « c. The Bass cadence : m section of il. 36, and study entered by D4. « 1 1. — Listen to the first the effect of a F cadence L n [.. 36. r :d KEY f A. f s :n d :f G.O. r:-|| S| s, :si d - 1| si:si f,:l, S| - d ti:d d - d d :d d :d ti - di fi:n, 1, - fi ni :d| li:fi 8| - + Note that F cadences are not olaasified as perfect and imperfect. How to Observe Sarmony. Notice that the key has already been defined by 'S ; else a F cadence would have been undesirable so early. BASS CADENCES :d |f| H '.A 111 II :ni |1|||. CONSECUTIVES. 21 d. The Sass cadence : 8 | f.— Listen to the third section of il. 36, and study the effect of a F cadence entered from Dc. * S could not have been used in this place, first, because the Tonic is more effective here, and second, because, although Fa goes to S, S does not go to Fa, for S is one of the chords which has a fixed progression, see par. 9. o. Dc on a weak-ptthe. — ^Notice in this case that the He is on a weak pulse, and has the apology not only of a downward stepwise progression for its Bass, hut also of contrary motion between Bass and Air. Compare it with Dc on a strong pulse, in il. 28. Listen to the whole of il. 36, and name thn chords. • 33. Consecutiyes have already been studied pp. 13 and 15, but a brief reference to exceptional cases will help the ear to observe the progression of chords more easily. We have noticed (p. 13) how the fifth gives strength and emphasis to the chord in which it stands, and especially to the two tones by which it is made. The octave gives emphasis in a less degree, and without the sense of hardness. This emphasis is increased when the second of the two chords is on a strong accent. When to these considerations is added the well understood fact that the "principal" chords of the scale are those which will best bear emphasis, and that the " sub- stitutionary " chords are better without it, we have the principles which must guide us in the study of consecutives. As, however, this study is chiefly important to those observers who intend afterwards to bo Composers, — we have not required it in the exercises at the close of this step. a. JTnison Paaaagea. — Composers sometimes inten- tionally make two or more parts run together (in unison or octave) for a whole section, or for nearly a whole piece. This kind of Consecutive octaves is not objected to. b. Octanes hy contrary motion. — Octaveii by con- trary motion were shown at il. 25 ; but they should always occur between Tonic and Dominant or Tonic and Sub-dominant, and this holds good also of the minor mode of which the Tonic ia X, the Dominant '^M, and the Subdominant E. o. Hfthi between Tonic, Dominant, and Subdominant in special cases. — This readiness of the three prin- cipal chords of the key to bear the emphasis which consecutive fifths give (see p. 13), is shown in a few Sow to Observe Harmony, exceptional cases. For example listen to the first section of il. 37, and observe the consecutives fifths, between Tenor and Soprano in the chords Di F. • II. 37. KEY Aj;. G.O. n f :s d :- tl d :s, n :r d :- d ti:d li:- S| si:ni s,:fi n,:- s s :d f :- r d :d d:ti d :- di r, :ni fi:- Sl ni :d| S| :si d, :- d. Unequal Fifths. — Listen to the secohd section of il 37, and notice the consecutive fifths between the Tenor and Contralto of De 'S ; do you observe any peculiarity here ? * " The second fifth is a diminished one." Yes, and the consecutives descend This case of Unequal fifths is common in cadences, and is not objected to by the ear. Listen again to the first section, and observe unequal consecutives between Contralto and Soprano in the chords 'Su D4; is there any difference P« "The diminished fifth comes first, and the consecutives ascend." Yes, this is the sort of unequal consecutive which the ear dislikes. Composers sometimes use them, however, only not between the highest and lowest parts where they are most noticeable. e. Ill-approached Jif the and Octaves. — Most writers would object even to the Approaching of fifths and octaves by similar motion when they are between the highest and lowest parts. TTiey might not allow even the pause between the beginning and ending of sections as an excuse for the ill- approached fifth between the highest and lowest parts in il. 49, and they might object to the way in which the octave is approached at the beginning of the fifth measure of il. 53. But this objection does not apply when there is simply a change of posi- tion in the same chord as in il. 37, fifth measure. f. Approach of Fifths, from Subdominant to Tonic, and from Tonic to Dominant. — There are, however. 82 FIFTH STEP. 34. many examples in which the fiith of the Tonic (D or minor L) is thus approached from the chord of the Sub-dominant (P or minor R) when the upper part moves only one step. See il. 41, end of second section. The same thing is allowed when the Dominant ,(S or minor "'M) is approached from the Tonic. See ils. 46, heginning of first section, and 24, end of first section. B- 'Approach of Octaves, from Dominant to Tonic, and from Tonic to Sub-dominant. — There are also cases m which the octave of the Tonic is approached by similar motion from the Dominant. See il. 46, dose of second section, and il. 64, close of second section. The same thing is allowed when the Sub- dominant is approached from the Tonic. See il. 3Q, beginning of second section. Listen to the whole of U. 37, and name the chords. « Study also a special, and not disagreeable case to be found in vocal music, in the first section of il. 38, where F enters Do. II. 38. KEY Eb. G.O. n f :d s :- f n :s d':t d< - d 1, :d d :t, r d :d n :r d - s f :1 n :r 8 s :s s :f n - d fi:fi si :- t. d :n s :si d - h.. Illropproaehed Fou/rtha. — ^Even a fourth (or a fourth and an octave) gives something of emphasis, and the ear objects to its being approached by similar motion in the two outer parts. Alter in il. 24, the first two notes of the Air in the second section to : d' | s, and listen to the altered il. • You there have an accented fourth approached by similar motion, not pleasant to the ear. In il. 38, on the accented pulse of the sixth measure, you have another case; but as this is merely a change of position in the same chord the ear does not object to it. Listen to the whole of U. 38, and name the chords. • Bx. 26. Analyse ils. 27, 28, 29, 30. Ex. 27. Analyse ils. 31, 32, 33, 34. Ex. 28. Analyse ils. 35, 36, 37, 38. Ex. 29. In ile. 27 to 38 there are five forms of approach to the Imperfect D cadence. Write the chordal plan of the last four chords in each case, showing first those ending : r | d in the Bass, next : t| d, next : f | m, and last : r | m. Ex. 80. Eind all the cases of Plagal cadence in Us. 30 to 38, and describe them as first, second, &c., cadence in such an il. Ex. 31. In ils. 27 to 38 there are five difierent modes of .approach to the Imperfect S cadence. "Write the chordal plan of the last three chords in each case, showing ^rst, those approaches in which the Bass ends with : d | t|, second, those in which it has : 1, ] s,, and third, those in which it has tf, I s,. Ex. 32. Find all the cases of the F cadence, and write the chordal plan of the last three chords in each case. Ex. 83. Name all the oases in ils. 27 to 38, of the upward resolution of f in 'Su, as being in such an il., such a measure, and such a pulse. Ex. 84. Name aU the cases of what we have called the Grand Double Cadence, in ils. 24 to 28. Ex. 85. Name all the cases of s in S going to m in D, in ils. 24 to 38, placing first those which are in the bass, and second, those which are in the upper parts, and in each of these classes first, those in which the s is double, and next, those in which it is single. Ex. 36. Name in ils. 25 to 34 seven cases of the weak pulse cadence, and write down in each case the chordal plan of the last three pulses. Ex. 87. Name all the cases of transferred resolution in ils. 22 to 28, not (occurring between sections. Ex. 38. Name all the cases in ils. 17 to 37 of consecutive unequal fifths, giving the il., measure, and pulses. Sow to Observe Harmony. ' See " Chord-Naming Examples," A and B, 10 to IS. EXERCISES 26 TO 38. THE SEMI-SERIOTJS OjaORD. I'lXED PEOGEESSIOIf 3 . 23 THE SIXTH STEP. 34. The Substitutional Chord B consists of the tongs r f 1. In studying the major chords (par. 2) we could not help noticing that the chords on r, m, 1, and t, were of a different structure from the major chorda. Notice again from the modulator, that R M and L, when put into their normal positions, have their minor thirds helow. They are called minor chords. Properly the tone r should be a komma lower when it tunes with f or 1, than when it tunes with t, therefore the proper name for this chord would be RAH, and all instruments free to give the pitch the mind dictates would sound it so. See St Co', p. 46, " The Grave Ray." Listen to the chord R, take care to hear all its tones and observe its effect. » Now (after a pause) listen to the chord D ; which sounds the sweeter ? * Yes, the major chord is the more " sonorous ; " there is something of roughness to the ear in a minor chord. Its a position is about equal in sonorousness to the b position of a major chord. See the essay on "Musical Statics." But minor chords are very useful in introducing variety to the Harmony. In the major mode they are chiefly employed in places where one of the principal chords S or F (the Dominant or Subdominant) would indeed be fuller and more sonorous, but where one of these is more convenient. We therefore propose to caU them, along with the chord on t, the Substitutional chords of the key, as distin- guished from the three principal chords D, F, S. The minor chords (R, L, and M). are too unsonor- ous to be used in the e position. R is chiefly wanted iu its b position ; L is principally employed in its (J position, and T is found most useful in its b position. The chief points of oonvenieuoe, which caU for the substitution of these chords are first, the securing of a better flow of melody in one of the .upper parts by means of the new tone,— second, the avoidance of " consecutives,"^and third, in the a position, the fuller development of the men- tal effect of the Bass tone, see Summary p. 3. a. The Bass cadejice r s d. — Listen to il. 39, observe the second cadence, and name its third-last chord. » II. 39. KEY C. GO. s f :s 1 :- t di:s 1 :t d' :- n r :d f :- f n :d f :r n :- d' s :d' d' :- s s :d' 1 :s s :- d r :n f :- r d IP- r ;s d :- "It is R." Yes. In par. 16 we noticed how im- portant the chord F is in this third-last place of a D cadence. In U. 18 we noticed its use as a fourth-last chord with Dc intervening, and in par. 8, we noticed that there is no bondj direct or indirect, between the chords F and S. This last was acknowledged as a weak point in the progressioii F, S, but we observed that there is a kind of imi- plied or understood bond between these two chords, in the fact that they are both bonded to the gTcat ruling chord of the key, D. There are therefore three reasons why R is a good substitutional chprd for P in this place. First, because it allows a new tone in the Bass as in U. 39, and in the Air as in il. 40, — secondly, because it supplies, in the tone r, an actual (and not merely an implied) bond with the next chord, and third because the mental effect of r is best brought out in the a position, (see Summary p. 3) and the rousing effect is in this case agree- able. It makes a. beautiful approach t& the D cadence. b. Fixed Progressions. — II will help you in recognis- ing chords, if you at oncq nutice that no other chord than R is commonly used to harmonize the r in this cadence. If So or 'Sc were used here we should have a c position without either con- tinued or stepwise resolution, and it does not sound well for the Bass of a o position to leap. Exceptionally, however, this progression, Sc (or, better because of the supporting f, 'Sc) 'Sa Da may be found; but the tone s must fall into the comparative dimness of the lower octave, so that the r may sound as though its resolution on d were only interrupted. Try the experiment in il. 39, by changing the 1 of the Air of this, R chord into t, and the 1 of the Tenor into s, and changing the r in Alto of the S chord into f, making the Bass s go down. » You have heard enough to prove that in listening for chords, when you hear the Bass r s d, it may almost always be taken for granted that the tone r in that place is harmonized with the chord R. We may call this oue of the " fixed progression^." Listen to the whole of il. 39, and name the chords, « Sow to Observe Sarmony. 24 35. SIXTH STEP. 86. IS. The Sass otulential approaehea : m | r and : t | r. — Listen to il. 40, and name the last f pur chords ; how do they differ from the last four in il. 39 P • II n . 40. d :d KEY A. ti:- l n :d r :t, G.O. d :- S| fi -.li S| :- S| d :1| li :si si ;- d d :f r :- d s :f f :r n :- d li:fi s,:- n. di:fi r, :si di:- "II. 39 hegins with Di, il. 40, with P." Yes, one makes a smooth, and the other an elegant approach of the Bass melody to the D cadence. Notice that the chord R4 might be used in the place of this F, were it not that the ear much prefers, when chang- ing to the strong accent, to have a change of chord. Try the experiment by altering the Treble of this F chord into r, and the r of the following chord into I|. • You notice that not only is F« better in itself than Ri, but it is also important to have a new chord with the new strong accent. Listen to the whole of il. 40, and name the chords. * 38. The Progression E to D.^Iu the second sec- tion of il. 41, alter the Bass of the fourth chord to d, and its Air to ml, and listen to the progression Ka to Dn ; is it a smooth and good one f • • II. 41. KEY C. Eev. W. H. Havekoal. n s :r n :- di t :ri di:l s - d t,:r d :- n r :f s :f n - s s :s s :- s s :1 di:di di - d si :t| d :- d s :r n ;f d - n r :s n :- s 1 :di ri:t d' - d r :t| d :- n f :s f :r n - s s :s s :- di d':di 1 :s s - d ti:s, d :- d f :n r :s d - The awkwardness of this progression is so obvious that Harmonists agree in condemning it. They «ay there is no bond between the two chords, but neither is there any bond — direct or indirect — between F S, and L S, and yet these two progres- sions are approved by the ear, — where is the differ- ence? Helmholtz's theory of bonds enables us to see it. Between F and S we have noticed par. 8) an implied bond of both with the key tone ; a, little thought will shew you that there is the same mutual relation to the key between L and S ; but the " implied " bond between E and D would be S, and that carries the mind awny from the Tonic to its most dangerous rival. The fear of consecutive fi,fth3 is another theory to account for the avoid- ance of this progression. If 1, the fifth of R, moved to s, its nearest tone in D, there would be fifths, and if it moved to the d above there would be what is often felt to be an awkward melody in the upper of the two parts. With this corresponds the fact, that, while the bond must necessarily be the same whether you go from D to R or from R to D yet the progression Da to Ra is much less unfrequent than that of E« to Da. Why P » Because the note s, the fifth of the chord D, can avoid going up to 1 (so making fifths) by moving smoothly down to f. Whatever may be the truth of these theories, they correspond with the practice, among modem musi- cians, of avoiding the progression Ra to Da. But, for some reason not made clear to us, the b position makes this progression less objectionable. Listen to it as it stands, in the second section of il. 41. * Again, changing the Bass r into f so as to get both chords in the b position, listen to an equally allowable movement. • Sut this would How to Observe Sarmony. THE BASSES tPI |r AIO) :f |r. R TO 1). TEE BASSES |f :S |d AND :f |S. 26 spoil the imitation of the previous Air by the Bass. ^ the Tenor 1 were changed into t we should employ the chord T4 fwhich we have not yet studied) and so avoid the R altogether as well as give a " delayed resolution " to the S. For modem ears this would be better — closer to the key.but Mr. Hav- ergal was intentionally writing in the style of the older harmonists, whose " sense of key " was not so critical as ours. We can now understand why Ka, though used in the D cadence, is not used in the corresponding S cadence; because the Bass I r : d I S| would necessitate the " awkward progres- sion " Ea to Da. Listen to the whole of il. 41, and name the chords. • a. Summary. — B is a minor chord, and as such, is used, in the major mode, for variety. It is employed as a Substitute for F, where the tone r is wanted in Air or Bei^s. In the a position its chief use is in approach to the D cadence when the Bass moves I r r s I d. It is not used with the Bass S cadence | r : d { s because the progression E(( to Drt is unpleasant. 36. The Substitutional Chord Bi. — The prin- cipal use of B is in its b position, — and that chiefly as a substitute for F in both D and 8 cadences. It is not so sonorous as the ma.jor chord F, but it has the advantage, while leaving the tone f in the powerful position of Bass, of also affording in its tone r a real bond with the coming chord S. Modem composers seem to prefer E* to F in this place. An additional advantage arises when the composer desires the tone r in one of the parts. a. Tlie Bass cadence | f : s { d with W). — listen to il. 42, and notice the last cadence. « Si .. 42. d :1, KEY B. ti:- r n :d r :r G. d 0. Hi S| :f| ri :- S| si:si fi:fi Hi - d d :d si :- S| d :d li:ti d - d, ni:fi si :- t» d| :ni fi:si di - R4 Now alter the Air of its second-last measure to I d : t|, and the Tenor to | 1| : r, and comparn the two progressions F "S D and Ri 'S D. • A similar comparison may be made between F S and RA S, in U. 43 by altering the three last notes of Tenor to | d' : s { s. * In il. 42, EA is substituted for F because the tone r is wanted for the air ; in il- 43, because the tone r is desired for a " bond," and it is quite convenient for the Tenor melody to use it. Indeed if it had used d' there would have been consecutive fifths. Now, listen to the whole of il 42, and name the chords. • b. The Sass cadence : f | s leith E5. — Listen to the first cadence of il. 43, and notice its second-last chord. • II. 43. KEY C. G.O. 8 d':ri t :- d' s :d> 1 :t d' - n s :f r :- s f :n f :r n - di d':! s :- s t :di r':ri di - d n :f s :- n r :d f :s d - What chord have you hitherto found in this entry to the imperfect S cadence. " Fa." Yes, and it still sounds the more sonorous and firm, as you may hear by altering the Air to d' and comparing the two. • It is evident that EA was substituted, in this place, only because the tone r was wanted in the air. When : 1 | a is in the Bass of a S cadence or in the approach to a D cadence, the 1 would not be harmonized with Ec because of the unsonorous c position. Listen to the whole of U. 43, and name the chords. • c. The weak-pulse S cadence and the Bass cadence I 8 : 8 J d with EA. — Listen toil. 44, and notice the first cadence ; what kind of cadence is it p • Sow to Oiserve Harmony, 26 37. SIXtH STEP. 1l. 44. KEY F. Sixth Tone Eoyal. / n s :f n :r r n :f n :r d - 1 d d :r d :t| ti d :r d :t| d - i s s :1 s :- s s :1 s :f n - ( d Hi :fi si :- S| d :f, s, :s, d - W^ studied it tefore, il. 34, but then it was approached from F, what is here used instead? " E6." Yes, it enables the Contralto to move in similar motion, in thirds, with, the Air. Listen to the second cadence of il. 44, and notice Hi again substituted for Fa, just before Dc in approaching a D cadence, one of the favourite places of Fo. See par. 34. * The reason of the substitution is not very obvious, for the tone r is not wanted for the Air, and it cannot, in this case, form a bond ; its only excuse is its making similar motion in thirds with the Air. The want of bond between E and D is unmistakably felt in both these cases. This chord of E4 going to T)c strikes the ear with a cer- tain roughness, which was not unwelcome in the old ecclesiastical style of harmony ; but compare with F going to Du (by altering the tone r to d) and the ear will not doubt which of the two makes firm well-bonded harmony. Listen to the whole of il. 44, and name the chords. * '&■ Summary. — EJ is substituted for F in the cadences, { f : b | d |{ : f { s : s | d || : f | s and : f I s : s. Its substitution is very agreeable when the tone r can be used as a bond between chords, or when it is wanted for greater melodic smoothness In any of the parts. , 37. d against r. — At par. 11, and U. 12, we studied incidently the dissonance d against r. It is, next to that of f against s, by far the commonest dissonance in music. Its habits, however, are in contrast with those of f against s in three respects. First, it is nearly always horizontally prepared, while f against s is nearly always obliquely pre- pared or unprepared. Second, it is quite commonly a " primary " dissonance, whereas f against s is Eou) to Observe Harmony, seldom more than secondary or tertiary. Third, it occurs almost exclusively on the strong pulse, while f against s is chiefly heard on the weak pulse, d against r being more dissonant in degree, and ocouring on the strong pulse needs the better pre- paration. a. The chord 'EJ. — ^As f against s was most com- monly found in the chord 'S, so d against r chiefly occurs in the chord E, in which the dissonating d forms a seventh. By far the commonest use of 'E is in the b position, and in the approach to D or S cadences. In fact E5, substitutional for Fa in cadences, more frequently appears vnth the disson- ance than without it. Listen to il. 45, and notice the third-last chord ; what is it f * II. 45. KEY F. J. D. Mann. d :n r :- 1 n :s r :r d :- d d :d t, :- d d :d d :t| d :- s s :s s :- 1 s :s 1 :s n :- d n :d si :- fi d :ni fi:si d :- 'Ei Compare it with Ei in the same place, by altering the d' to r or 1|. * Which is better ? " Tlie disson- ant chord sounds better than the other?" Yes, its d supplies a horizontal bond between the chords D and E, and so makes the progression acceptable to the ear. Listen to the whole of il. 45, and name the chords. If the manual signs are used, the thumb laid in the palm of the hand, whiln the signal for E is giv^n, can be used as a sign of 'E. « glisten to il. 46, and notice 'Ei on a weak pulse where in il. 44 we observed. EJ. * II n .. 46. r :r KEY n G. n d :r Sixth n :r Tom d E. d ti:t| d - d d :d d :t| d s s :s s - s f :1 s :f n - d Si :si d - d li:f| S| :s, di " THE BASS :f Is :S I|. THE OHOKD 'E. BASS CADENCES :n |r OE. id |r. -n It is not common to have any dissonance on a weak pulse '• korizontally " prepared, for the hori- zontal preparation and downward resolution, form so smooth a melody and so satisfactory an apology for dissonance, that the ear prefers to have such 'a dissonance brought out into notice by strong accent. Therefore TW is raiely used in this place. "b. Belaj/ed resolution of ''S. — Notice that in U. 46 the resolution of the dissonant d in 'E is delayed, while it traverses another chord as a con- sonance. Alter the Air of the third - last chord to r, and the Contralto to t|, and then compart the effects of delayed resolution, and immediate resolu- tion. Compare il. 57. o. The ehord 'Ba. — We remember (par. 34) the "fixed progression" | Ko : Sa | D. In il. 39, this Ra was preceded by D4 without a bond, and in il. 40, by Fa with two bonds. Listen to both and say from which chord K« is the more pleasantly entered. » "From F." Yes, but cannot a bond be obtained even with DJ ? listen to U. 47. « II. 47. KEY B[7. d ti :d f S| S| :S| f, n r :d d d, S| :ni li " The seventh makes the bond." If you substitute the tone I| for the Tenor d, and f| for the Confe'alto 1| in this 'R, you can compare the bonded with the unbonded progression. * The K^ sounds clear and sonorous, but unooimected with what Moto to Observe Barmony, the 'E« (though somewhat hard) is heard to come out of the DA, and compels you to regard three chords as one homogeneous mass. Listen to the whole of il. 47, and name the chords. * Listen to il. 48, and notice 'Ea in the same position as 'R6 in U. 46, with the same bond and the same " delayed resolution." » ' II. 48.' KEY C. G.O. s 1 :t d';- d' d' :di di:t d' - n f :f n :- f f :f n :r n - d' d<:s s :- d' 1 :1 s :s s - d f :r d :- 1 f :r s :si d - Listen to the whole of U. 48, and name the chords. d. The K cadence is very rarely employed, because it bears no good relation to the key. Sometimes when r isin the Air, and the composer, wishes to bring out its mental effect very strongly, as in some chants, he harmonises it with the ohoi:d K instead ■ of S. Listen to the first section of il. 49, and notice a R cadence, which seems to have been sub- stituted for a F cadence in order to obtain contrary motion between Air and Baas « II. 49. KEY E, n r :n |f :- r Rev. C. J. Smyth. :f n :r d listen to the wliole of il. 49, and name the chords. Very rarely even 'R is used in a cadence. 28 38. 39, SIXTH STEP. e. The chord *S. — The dissonance d against r is also found in the chord S ; what number from the root » would the dissonance d be in this chord ? * We will call the chord *S. If the " Manual Signs " are used, *S can be signalled by dropping the fourth finger while holding the sign for S. The disso- nance is not so firm in this chord as in the chord of K, for its resisting tone is the fifth, not the root. Since 'R has come into use, *S has been less employed in cadences. Listen to lis. 50 and 51, naming the chord ^S in each. » II. 50. KEY Ab. W. TUOKEK. d f :n f :- d r :d d :t| d - S| fi :si li:- li si :si si :si S| - n d :d d :- f f :n r :r n - d l,:d fi:- fi t^idi si :si di - *s II. 52. KEY S. Parisian Tone, 3rd ending. II. 51. KKY D|j. J. D. Mann. d' s :1 s :- s d':n r :s n - n n :f r :- r d :d d :t| d - s d':di t :- t s :s s :s s - d d :f s :- f n :d Si :si d - In which il. is the dissonance primary, in which secondary ? * Which part has the resisting tone, and which the dissonance in il. 60 ? * Ditto, in il. 51 f « Listen to the whole of ils. 50 and 51, and name the chords. * Listen to the second section of il. 62. * Sow to Observe Sarmony. s 1 :s f :n s f :n r :r d - d d :d r :d d d :d d :t, d - n f :s s :- s 1 :s s :f PI - d f :pi ti:d n f :d s :si d - What chord resolves *S in the last cadence? • " 'S." What chord resolved it in ils. 60 and 61 ? • f. Summary. — The chord E, with a, dissonating seventh, is used both in its a and b positions, just where Ea and Ei would be used, except on weak pulses, where a horizontal dissonance is not pro- f etrred. In coming from D, especially in its a posi- tion, ^E is much to be preferred to E because of the bonding d. The E cadence has so small a power of indicating the key that it is generally avoided. The chord *S resolves its dissonance into the chord S or 'S. 38. The weak pulse D cadence with ^S. — ^In ils. 33, and 34 we had a weak pulse B cadence ; what waS the air, and what was the strong pulse chord ? « In il. 62 we have a weak pulse D cadence with the same air, what is the strong pulse chord P " "SA." Now in second and third me.asures, alter the Alto to : t| |d :-, the Tenor to |d : s |1 : s, and the Baas to I f|> : S| I d : - ; you will then have the Fc form of this cadence. Listen to the two forms, and describe their different efiects. * Listen to the whole of il. 52, and name the chords. * 39. The Coupled Dissonance *'•&. — Listen toil. 53, and observe the third-last chord. * II. 53. KEY Eb- ^- St- J- ^' Joule. s PI :s 1 :- 1 s :d f :f n - d d :d d :- li t, :d d :t| d -; PI s :n f :- f f :pi r :s s -" d d :d li:- r si :si 8| :si d ~ *S. THE 'S D OADENOE. OOUELED DISSOKANOES. BXEECISES 39 TO 49. 29 Here we have the two commonest dissonances united in one chord, f against s as a tertiary, and d against r as a secondary. The f is unprepared, is continued in 'S of the next chord,aud then resolved. The d is horizontally prepared as usual, and resolved in the same chord on which it strikes. A moment's study of the modulator will show that it is a necessity of all dissonant sevenths, that they should resolve on » different chord from that on which they strike, and of all dissonant /owriAs, that they should resolve on the third of the same chord on which they strike, — ^that third never being heard with the dissonance, except at a tertiary distance. The De in this cadence is worth notice ; it resolves 'Sa and is continued into it, so that the Bass holds on. Listen to the whole of il. 53, and name the chords. * a. Delayed resolution of 'S. — Listen to il. 64 ; what is the second chord of the second section ? * II. 54. keyD. G.O. n f :f s :- i s :s s :t di - d d :d d :- f r :n f :f n - s f :1 s :- d' d':di t :ri d' - d li:f n :- f s :s s :si d - " *S." How is its dissonance, d, resolved ? " Tt is carried on through the next chord, and then resolved." Yes, it becomes a consonance in Do — it traverses Dc — and is then resolved in 'S. This is a case of delayed resolution, ijtudy also the ils. 46 and 48. Listen to the whole of il. 54, and name the chords. * "b. Summary. — The weak pulse D cadence has some- times Si or '\ib D as well as Fc D. Dissonances consonant with each other intrude together into a chord. In this case each dissonance follows its own law of resolution, the sevenths being resolved on another chord, and the fourths on the same. Ex. 39. Analyse ils. 89, 40, 41. Ex. 40. Analyse ils. 42, 43, 44, 45. Ex. 41. Analyse ils. 46, 47, 48, 49, 50. Ex. 42. Analyse ils. 51, 52, 53, 54. Ex. 43. Write the chordal plans which in ils. 39 to 54 are found under 1 t d<, r t; d (or r' t d'), r r d, or f r d, in the Soprano. Ex. 44. "Write down one of each of the different chordal plans to be found in any of the preceding illustrations of the present step having the Bass l8:s I d; Ditto, |f :3 | d; Ditto, :f | s:s | d. Ditto, I r : s | d. Ex. 45. There are in ils. 39 to 54 two, forms of the imperfect S cadence. Write down their chordal plans. Ex. 46. There are in ils. 36 to 53 five forms of the perfect and imperfect F cadence; write their chordal plans. Ex. 47. In the ils. thus far we have had five cases of the weak pulse S cadence, and five cases of the weak pulse D cadence. Write the chordal plans of the last three chords, and over them the airs in each case, placing the D cadences first. Ex. 48. Name all the cases of 'Sc in ils. 20 to 37, placing first those in which the Bass moves m r d, next, those in which the Bass has t r d, next, those with d r m, and last, those with m r m in the B^ss. Name all the cases of So. Name also three different oases of Do, with their apologies. , Ex. 49. In ils. 39 to 54 there are fourteen cases in which some two or more parts move in similar motion, in thirds or sixths, for more than two pulses; name them all. It will be sufficient to indicate the first of the three or more pulses. The parts between which this relation is established should be shown by the letters S for Soprano, C for Contralto, &c.,— thus, il. 44, m. 2, p. 2, S.C- There ate also five cases of contrary motion, in two or more parts in thirds and sixths for more than two pulses, name them all in the same manner. %• See " Chord-Naming Examples," A, 14 1» 17 ; B, U to 18. How to Observe Harmony. , 80 40, 41. SEVENTH STEP. THE SEVENTH STEP. THE FIEST CHORD MODULATOR. m I 1 r id) d I 1 d 1 d 1 d 1 F s [d) t S (/) t t t t M 40. The Chord Modulator. — The three principal chords of a major key have already been shown in the diagram, page i. These are all maior chords. But in par. 34 it was shown that the minor chords R, L, M, and the diminished chord T, even in the major mode, are with great advantage substituted for P or S when a different note is wanted in the Mow to Observe Barmony, Bass, or in an upper part, or where a better bond is sought for. Excepting the chord L in "surprise cadences" and M in some rare cases, nothing can ever be substituted for the Tonic, D. In the (3iord Modulator at the side, the substitutional chords are printed in smaller letters than the principal ohorrls, instead of which they are ocea-sionally employed. And the dissonant tones most commonly introduced are printed in italics with brackets. 41. The Substitutional Chord T.— The chord T is different in structure from the other chords we have studied. In its normal positioji it presents two minor thirds, one over the other. The tone lying between the two thirds has an uncertain effect, the f above requiring it to be a komma lower, rah, and the t below expecting it to keep its place. See par. 34. And the root with the dim- inished fifth forms what is called a " partial disson- anoCj'Vthat is to say, although the tones themselves do not dissonate their early partials, or harmonics, dissonate strongly. Both the uncertainty and the dissonance are less felt in the b position. Hence although Tffl is sometimes used, especially in three part harmony, for the Basses t| d B^, or Sj t| d, or ti Sj d, and in " Sequences " as at next Step, the prin- cipal form of the chord is Ti. Tc is but little used except as a substitute for ^Si? in three part harmony. a. Ti with the Basses m r d — f r d — d r m. — Ti is used as a substitute for Be or 'Sc, wherever the smoothness of the parts requires it. Listen to il. 65, and observe TA with the Bass m r d ; compare Sc and 7Si: iu lis. 24, 25, &c. * R.G. II. 55. KEY G. d d :r :n r :- - :s i -.n :r S| d :t, :d t, :- - :d li :s, :fi n s :f :n s :- - :s d :d :t| d n :r Ti :d si : - :ni fi :si :si THE CHOBD MODUIATOR. THE WEAK MOVING OHOBD T. 31 b. The difference between 'SJ ij J Listen again, and name the chords. » Listen to il. 66, and notice L with the Bass |1 :f |a :aj {d. • II. 66. KEY D. s 1 :1 s n f :f n d' d' :di di d ■f :f d FiriH Tone. n :f d :r d':! i :f, n :r d :t| s :f 34 SBVEKTH STEF. Listen again, and name the chords. • Listen to il. 67, and notine L with the Bass | 1 : f { s. • II. 67. KEY G. Joule. PI d :r t,:- d li:r d :ti d :- S| 1,:1, S| :- S| full SI :si si :- d n :r r :- d d :f n :r n :- d li:fi si:- irn fi :ri S| :si di:- Listen again, and name the chords. * b. The entry and exit of L. — L has two houds with D. It easily comes out of that chord ; it can also go into it. Its root is also bonded to F and R. In these progressions, there is no difSoulty, but why should L so often come out of and sometimes go into S and 'S, with which chords it has no bond ? First, let it be remembered that the chords S and 'S move into L almost as smoothly as into D. The tones d and m are entered and left as in the chord D, the tone 1 easily moves to or from s, and the binding mental effect which key relationship throws around the tone t (see par. 9) is easily felt. , Second, it is easy to see why the chord L is allowed to come from 'S or S. The ear is so much accustomed to hear D after S, 'S, or T, that an effect of sweet surprise is felt when the soft 1 enters in the Bass instead of d. This feeling of surprise when not too often awakened is very agreeable. Third, let it also be remembered that there is a strong implied bond, between the chords L and S, a bond to the Tonic itself. And last, let it be noticed that just as (par. 35) D R makes a smoother progression ivithaut nomemtities, — ^than E D, so does S L, than L S. In S L the r can easily go down to d without making fifths, but in L S the m cannot move smoothly to r, but must skip to either s or t| . The bonds of L with S are much better than tiose of R with D, but the ascending progression is in both cases the more used. Study the entry and exit of L coming from P, in lis. 63, 65, 66, 67. * Listen to L coming from Sand's, in ils. 62,64. * In the old fashioned har- mony of U. 62, the natural progression of t ia Hov) to Oiserve Sarmony. The want of unity between the chords is somewhat excused by the similar motion in thirds between the two upper parts, and the contrary motion of the Bass. In the case of 'S, as at il. 64, this cannot be done, unless the t were raised above the f. If t as it stands were to go down to 1 there would be consecutive fifths. o. The Surprise Cadence with the Sasa : s 1 1. — Listen to il. 68, and notice the first cadence. * II. 68. KEY Bb. R. B. Ross. S| n :r d,:- r n :d f :n r nil si:f| n,:- ■ S| s, :si S| :si S| n d :t| d :- ti d :d t| :d ti d d :s, li:- S| di :ni r, :d| S| t n :r s :- tl d :f n :r d S| s, :si si :- fl S| :f| s, :f| n. ti d :t| d :- r d :d d :t| d S| si:fi ni:- ri n, :1| si :si di The ear has been so much accustomed to S,- 'S, or Td moving into D, that its resolution into L pro- duces a pleasant feeling of surprise and expectancy, and yet this progression is very smooth. In the present case t r and f follow their commonest reso- lution. This is called the surprise cadence. Observe in the third section how Dc is entered and left. Listen to the whole of il. 68, and name the chords. « Listen to il. 69, and study the surprise cadence entered by S instead of 'S. • FKooBEssioK 01' L. sTTKFBisE cASEifCBs is |l||:t |l||:r |1||. BASS [1 :s |d || |l|:t||d I. 35 II. 69. KEY A. Dr. Turton. (altered.) n r :t, d :- i, t|:d r :r d - Si li :si Hi :- fi S| :si li:f, n. - d f :r d :- d f :n r :t| d - d fllSi li:- fi r, :d| fi:si d| - Listen again, and name the clxords. * d. The Bass cadence |d : t| |1|. — Listen to il. 70, and study the surprise cadence entered from Si. * II [,. 70. s :s KEY d D. d 1 :s Batti f :f SHII n L. n n :r d - d d :d d :t| d - s s :s n - s f :s 1 :s s - d d :t, li - n f :n r :si d - Listen again, and name the chords. * e. The Bass cadence 1 1 : s | d.—Listen to the first section of il. 71, and study L in one of the hahits of Fi. • II. 71. KEY A}q. a.o. n :f n :- d till. S| :n r :- d :s, S| :- fii si:fi si :si S| :- d :t| d :- d r :d r :d t,:- li :si d,:- li Si :li ti:d S| :- l^:t, d :- d :f n :r d :- fi:fi m :- fi ni :1| s, :f, ni :- d :r d :- r d :d d :t| d :- f,:r, li:- S| l,:f, si :si d,:- ri^TrTTT Listen also to the last section, and notice L in another of the habits of Pi, entered with surprise from 'S. * f. Eicceptional Progressions S to Fi. — Listen to the second section of il. 71, and notice this undesirable progression, havingf, however, the strong apology of contrary motion between Air and Bass. « g. The Bass cadence | f : r 1 1. — Listen to the third sec- tion of il. 71, and notice a new form of the surprise cadence. « It is not entered from S or 'S but from the substitutional Ti. In the c position of 'S, it would not have sounded well for the Bass r to leap to I, but here we have a i position, therefore r is somewhat more at liberty. A peculiarity of a case of this kind is that you wiU always find 1 t d' in one of the upper parts. h. New Douhle cadence. — Listen to the last section of U. 71, and notice the surprise cadence, flowing into the principal cadence, just as the S cadence did Iq il. 28. « Listen to the whole of U. 71, and name the chords. * i. The Bass cadence 1 1| : t| | d. — Listen to the first section of il. 72, and notice what chord you hays in the place of Fi when the tone m is wanted in the air. « II. 72. n :s li :si d :r li:ti KEY G'. d :- si :- n :- d :- G.O. d d n d Mote to Observe Marmony. 36 SEVENTH STEP. 44. 45. j. Exceptional Progression again. — In il. 71 we had S moving to unaooented Fi. Listen to the second section of il. 72, and notice S going to accented F4. » As S goea more smoothly into L, that chord ■would have heen better than Fi in il. 71, but in U. 72 L could not be used with f in the air. Listen to the whole of il. 72, and name the chorda. * k. The L cadence. — Listen to the first section of il. 73, and notice a substitute for the Fi cadence, D moving to L. « II. 7S. key El;. E. E. Eoss. d':- n f :1 s :f s -IS f :n s :s t| :d s :s t| :d f :s r :n I ^ d :d f :f li:fi di:f d :d s :1 n :f t|:r r :s si :t|' n :r d :t, s :f s :si n :- d s d ^ Thj^-^ ^,_ rtS -'H-H— 1 r^ = i--^ — __i — 1 — ' r'n It is not a smprise cadence, because not entered from S or 'S. It is not much used, for fear of con- fusion with the Tonic cadence of the minor mode, but in this case the key has teen so perfectly estab- lished by 'S going to D> that thpre is no danger of this kind, and the mental effect of the tone I comes out strongly against the t just heard. 1. Summary. — The chord L is used as a substitute for Fi in all its habits, even in the FS cadenoqp ; and it is used as a substitute for D in the surprise cadence. Even in non-cadential passages it is fre- quently employed, and in these passages it often comes out of chord S and 'S (with the f eeUng of a pleased surprise) but it seldom goes into them. Its best bonds are to F E and D. Ex. 50. Analyse ils. 55, 56, 57, 58, 59. Ex. 51. Analyse ils. 60, 61, 62, 63, 64. Ex. 52. Analyse ils. 65, 66, 67, 68, 69. Ex. 53. Analyse ils. 70, 71, 72, 73. Ex. 54. Name all the cases of Tb in ils. 55 to 69, placing first those in which the Baps moves I m : r ; d, second, those which have the Baas : m |r ; d, third, those which have |d :r |m, foutth, I f : r I d, fifth, f | r : d, and sixth those in which f is resolved upward. Ex. 55. Write three notes of the Air and Bass where 'T occurs, (ils. 60 and 61,) including the note before and the note after 'T, placing first 'Ta on a strongpulse,next 'Ta on a weak pulse, and next 'Ti. Ex. 56. Name all the cases of Lo in ils. 62 to 73, placing first those in which L enters D, next D4, next S, next 'S, next Si, next F, next E, next E4, next 'Ei. Ex. 57. Write the chordal plans of the last three chords of all the forms of surprise ca- dence given in ils. 68, 69, 70, 71. Ex. 58. Write the last three chords of the L cadence, il. 73. And write the Air and Bass of the section containing the surprise cadence entering the D cadence in il. 71. Write the Air and Bass of the exceptional resolutions of S into F3. Ex. 59. Name all the cases in ils. 62 to 73 in which the melody t 1 occurs in any of the parts, and the ohordj with which they are harmonized. How to Observe Harmony. ',• See " Chord-Naming Examples," A, 18 to 24 ; B, 19 to 2*. S TO rj. L CADENCE. EXERCISES 50 TO 59. SEUUENCE. M ASD T IN DITTO. 37 THE EIGHTH STEP. 44. The Substitutional Chord M.— The chord M is quite as good, in itself, as any other minor chord — as RAH, for instance, or L. It is physically the same. Why then is it almost excluded from mod- em music, and why do some of the instructors say "There is no chord on the third of the major scale ? " • The fact of the steady disuse of this chord is undouhted. There are only three reasons which I can see. First, though not more unsonorous than any other minor chord, it carries you more, than they do, out of the scale ; the third partial of its. fifth contradicting the scale, which is not the case with RAH, or L. Second, the mental effects of 'ts root and fifth are more contradictory, than those of any other chord except T. which has a dimin- ished fifth and a strong ".partial dissonance." See par. 41. Third, because it is very little wanted. The hotter chords, D or S. are preferred. The dtiord T, which is less sonorous than M, is more nsfcd because it is more wanted. Let us notice a few cases in which these chords are specially required. But first we must understand the na- ture and effect of a sequence. 45. Sequence. — Listen to the bass of il. 74. What do you notice in its form of movement ? • II. 74. KEY G. G.O. :n r :s d:d r ;r n :n r:r n :n f :r d :si si:si ni:l| f,:t, Slid li:r ti:n d:t| d :d t|:d n:f f :s ,s:l f :f s :s l:f' n :d, Si:n, li:f, ti:s, d:l, r:t, n :d fi:si d Yes, it goes up and down on a plan. Beginning ^Tith 8, it goes ' down a third and up a fourth ' five timei, and, except for the f taking the lower octave would have done so six times. Listen to the con- tralto of il. 74. What form of movement do you notice ; beginning with the third S| ? " The same as in the bass," Yes, but with a contrary accent. Ifow to Observe Harmon]/ These repeated forms or wavings of melody are called melodic sequences. When several "parts" are heard together, each with its own melodic sequence, the passage is called aHarmonic sequence. In this il. the harmonic sequence is imperfect, for, in the Soprano and Tenor there are only fractional sequences, a few ' repeated tones rising a second.' Nevertheless, any thing in the form of sequence is gratifying to the ear. a. Anti-melodic internals. — The interval f to t ascending, and that of r to se are said ,to be anti-melodic. Certainly they are not agreeable to the ear. Listen again to the Contralto and Bass of il. 74, and observe how this interval is excused to the ear by the previous establishment of a sequence. • Notice that if you begin Avith this interval, or sing it before the ear has acknowledged the sequence, its harshness is stUl felt. • b. M aud T in sequences. — Listen again to il. 74, and name the chord on the strong pulse of its seventh measure. " Mb." Why was not DA used in that place ? * Yes, because the composer wanted to get t in the Contralto for the sake of the sequence in that part, and the feeling for sequence is a sufficient apology for an unsonorous chord. Listen again and name the chord which occurs on the strong pulse of the fourth measure, and the weak pulse of the sixth. " Ta." Why was not 'S used in these places ? » Yes, because its own S was not wanted to complete the sequence in any of the parts, and to force it in would have spoiled the sequence. Again our natural love of sequence excuses the unsonorous chord To. An- additional reason why s should not be in the Bass in these cases, is that it would make consecutive fifths. Now, alter the air of the opening phrase in il. 74 into d | t| : t| the Contralto into m| | r^•.s^, and the Tenor into d | r : m listen to the first section in each of the parts separ- ately, and say whether the sequence is not improved, that is to say brought further back ? * Now listen to this first section with all the parts, and with these alterations ; what chord have we on the third pulse? "Mo." "What had we before? "DA." Does the Mo form of this section sound as well as the DA form ? Listen to it in both ways. * Cer- tainly, Mo does not sound well in this place, although it allows us to have a more perfect sequence. It sounded well in the seventh measure, because tho feeling of sequence was very strongly established, but here you feel that it is better to sacrifice the 88 EIGHTH STEP 46. perfection ot the sequence than to use this unsonorous chord at the beginning of one. The same objection applies to the introduction of Ta before the Bequence has made itself felt. Listen to the whole of il. 7i, and name the chords. * Listen to il. 75, name the first chord of the second section. II. 75. KEY B\>. Dr. Ai.cock. d li:r ti:- n d :r d :t| d n. d|:f, ri :- S| ni ;fi n, :ri "1 Si li:li tr:- ti d :1, s, :si S| d< fi:ri S| :- n. l,:fi si :si d, "Ma." "What is its apology? * Ah, you did not see that it wan in a sequence, although the flow of the movement is delayed by the necessities of the cadence and the reciting tone. Notice that the motion of the Air is down a third and up a fourth as far as the tone d, what is the motion of the Bass ? « What of the Contralto P * "What of the Tenor ? * Listen to the whole of il. 76, and name the chords. « 0. Mffl withdouble contrart/ motion. — We have already loamt that a very strong apology is necessary for Ma. Such an apology is found, from the pleasure the mind has from double contrary motion. Listen to il. 76, and notice why M« is substituted for Db in the fifth measure. ♦ II. 76. KEY A\). G.O. n n :s d :- s f :n r :r d - S| li ;si si :- n. fi:si li:f| Pii - d d :r n :- d d :t| li:t| d - d li:t, d :- di r, :ni. fi :8| d, - Listen to the whole of il, 76, and name the chords. • d. Mi passing, with contrary or similar motion, — Listen to il. 77, and notice the second chord of the fifth measure ; what is it ? * II. 77. KEY A. G.O. l ynllAl-llAAl. " MJ." Why was not S used here ? * Plainly, because the composer wished m in the Air, in order to make double similar motion with the Bass and contrary motion with the Tenor. Notice that the Bass of this unsonorous chord is used in smoothly' passing from 1 to f. Study also the chord Ma in this il. and its apology. » Describe the sequence in each part. » Listen to the whole of ili 77, and name the chords. « e. The Chord of S teith m. — Listen to il. 78, and name the second-last chord. * II. 78. KEY Bb. G.O. t| :d 1| :- d t| :d r :n d c(6g." Yps, notwithstanding that to the eye it is Mi, we call it ^S because in this place the ear expects the dominant chord. In this case the m is a consonant intruder. Change the note m' into r Soto to Observe THE UN-MEANING CHORD M. BYE-TONES 39 and compare the two effects. „ The m seems to anticipate, or strike beforehand, the m of the next chord. The effect is that of a composer's freak, and could not often he repeated. The ear feels from habit that the chord is still S. Notice that f of the preceding chord is interrupted" in its resolution in order that the Tenor may move in pleasing sixths with the Air. Probably this motion in sixths for four pulses, suggested and excused the use of m in the Air as well as of s in the Tenor. Listen to the whole of U. 78, and name the chords.* Listen to il. 79, and name the third-last chord.* II. 79. keyG. G.O. ^^ chord. For the same reason he would use, when necessary, the chord Ta as well as the interval f t in sequences. M4 is occasionally employed as a sub- stitute for S, when the bass tone s is passing, and there is the apology of similar or contrary motion^ An apparent M4 is called "S when used in the place of S or 'S in D cadences with a peculiar effect. 46. — A Bye-tone is a tone occurring oh the weak part of a pulse, which is different front that just struck in ike same "part," but belongs to the same chord. Listen to the first section of U. 80, andt name its third chord. « /^ n id n\ II. 80. ■Kr.Y F. fiO. S| t| :- r s :f n :r d :- . Gr.O. 1^ 8l B, Si d :- r s :d.r t, !t, d : — S| HI, s. 1, :- t, d :1, 3, :s,.f, iiii :— m d r m :— a s :f r :r d : — d d t, 1, :- s, f| m, :f i.r, S'S t, :t, 1, — 1, 9| :d 1, :S| S| — d r ;r d — f t :ni f •.m.r n — d s, -.s, 1, — rd t, :d f, :S| d — In the second half of the pulse the root of S is not re-stnick, at all, and the tlurd is not in the Bass, but the progression Da S D is so common in perfect D cadences, that the ear cannot fail to recognise S in that place. We are obliged therefore to name a secondary chord here. Notice the consonant pass- ing tone in the Bass of the first chord in the second section of il. 87. If it had been the root or the third of the chord F the ear would have acknow- ledged it, as making a secondary chord, but it is only the fifth, and besides it would give a c position. Listen to the whole of il. 87, and name the chords. * Listen to the second section of il. 88, and notice 'S established as a secondary chord (as in il. 86) by force of oadential habit. * II. 88. KEY A. ao. d t, ;d.r m ;— f m ;s f :n.r d s, s, :s, s, ;— t. d :d r :d.t, d — m f :i>i.r d :- r d :s 1 :s.f HI — d, r, :d,.t2 X> Si d, :- s, 1, :in, f, :s, d, Dc'S — Listen to the first section of il. 88, .and notice the second puke of the second measure. * Here a secondary chord Si is established by the third being newly struck in the Bass, and this chord was really needed to give any feeling of cadence. Listen to the whole of il. 88, and name the chords. * e. Bxceptiona. — Listen to il. 89, and notice the second pulse of the third measure. • II. 89. KEY D. d' :t 1 :d' d' :t .d HI :r d .r ;ni.f HI ;r .d s :f HI .f :b.1 S ;f .n d :b, 1, ^:B,.f, I. ». :b. G.O. Sow to Observe Harmony. SECONDARY CHORDS. EXCBPTIONAl PROaBESSlONS. CONSTITUTION OF CHOKDS. 43 5^ I For tlie same reasons that in ils. 87 and 88 the cadential habits of the ear compelled us to accept secondary chords, they here compel us to reject them. Although the root and third of a new chord are struck, the ear regards them as parts of the next chord struck before their time. The pro- gression 'S Dc D« in a full cadence -would be con- trary to our habits: we know besides that the composer did not mean us to feel Dc in that place, we therefore ignore it. Listen again to il. 89, and notice its third pulse. * There although the root and third of the chord E are struck, yet it would be in the c position, and we know that the composer did not mean us to feel the e position of a minor chord in the major mode. "We therefore analyse r and f as consonant passing-tones ; for the object of analysis is to find out the mind of the composer. Listen to the whole of il. 89, and name the chords. » It should also be mentioned that we shall after- wards shew certain tones on the weak part of a pulse which might otherwise be called consonant passing or waving tones, but which form the distin- guishing tones of a new key or mode. These we shall reckon sufficiently important to create a secondary chord. See p. 69. f. Summary. — Bye-tones, oi tones of the same chord newly struck and not mere repetitions of tbe tone last struck in the same part, are used for ornament and for the prevention of consecutives. A bye- tone in the Bass requires the chord to be re-named. Consonant passing-tones, being in the middle of any three tones in a stepwise melody, are used,, especially in two cases, for the binding of chords, and for ornament. The ear does not wUUngly acknowledge a new chord on the weak part of a pulse ; but when the root or the third of such a chord is in the Bass, or when the root and third together are struck in the upper parts, there is gener- ally the sense of a new chord-shock. But there are exceptions both ways. The importance of f in 'S makes itseU felt even when f alone is newly struck in the Bass, or in any "part" at the second-last chord of a full cadence. The unsonorousness of the Sow to Observe Sarmony. c position in the three minor chords, makes tlie ear as unwilling to recognise it, as the composer wotild be to make it felt. The : S (or 'S) |D form of cadence is so fixed in the ear that we are glad to recognise it even by the help of a secondar j chord, as in Hs. 87, and 88. Por the same reason we refuse to have it interfered with as in U. 89. We try to make our analysis correspond both with what the composer means, and what our own ear feels. 49, Mental effects of Substitutional chords, — It may assist the memory in recalling these chords — ^if we give them names corresponding to their mental efiect. As F was called (p, 3) the Serious chord, E, its substitutional, may be called the Semi- serious chord, and L, its occasional substitutional, the Sorrowful chord. As S was called the moving chord, T, its substitutional, may be called the "Weak Moving chord, and M, its occasional substitutional, the Unmeaning chord. 50, Exceptional progressions of S and 'S. — At pp. 4, 7, and 16 the common, and some of the uncommon, progressions of these chords have been shown. It should also be noted that r in 'S(i some- times goes to s, that in Bach's slow moving Chorales, and in some other old music t sometimes goes down to s when the Bass rises so as to make contrary motion. Even in modem music the t, in S (not 'S) may go upward to any note (ml f I, &o.), provided it is not approaching a full close. 61, Constitution of chords, — By the constitution of a chord we mean the manner in which its con- etituent parts (the Eoot, Third, and Fifth) are doubled or omitted. a. Complete chords. — In about two thirds of all four part music there is no omission of any constituent, but the Eoot is constantly doubled. It is evident that all major chords give out their proper mental effect the better for this doubling of the Eoot. Let us call this complete chord, with or without the doubling of the Eoot, constitution 1. Out of 10 chords in il. 27, how manr have constitution 1 F " All, of which six double the root." Listen to il. 27. « b. Trebling of ^ the Soot. — The Eoot having the prin- cipal effect in a chord (being in fact its essence) is often even trebled, when the Fifth cannot be conveni- ently introduced. Let us say that a chord with the Eoot trebled has constitution 2. Listen to the last section of il. 28, and observe that in the cadence, t cannot go down to s, except in very slow music, atid that the constitution 2 sounds very well. * 44 52. EIQHrH STEP. 53. 54. 0. Doubling and Omission of the Fifth. — The Fifth, being the source of brightness or sharpness in a chord, is not so important to its existence as the Third — the source of its sweetness, or the Root — the source of its being. It is therefore very freely doubled or omitted as the flow of the "parts" may require, without making a very noticeable difference. Let us regard a chord with its Fifth omMei as con- stitution 5, and with its Fifth doubled as constitution 6. In il. 28, listen to oases of D 6, Do 6, D« 6, and D 5 and 2. » In il. 29, listen to Sc 6, and Do 6. * In il. 31, listen to S 6, SA 6, and D 5 and 2. • In analysing insert the 1 thus, D 1, 6, &o. d. Doubling and Omission of the Third. — But the doubling or omission of the Third is a more serious matter, because it is not desirable to have an over- balance of sweetness in a chord, and it is worse still to have none. Except for some inten- tionally bold and hard effect a chord is never left with " a bare Fifth." In 'S we find the Third from the Hoot (t) omitted, but there is always a Third from the Seventh (r).left sounding in the chord. The omission of the Third in *S is easily understood, for that chord is confessedly dissonant, and its Fourth is only a temporary substitute for the coming Third. Listen to il. 50. » The free doubling of the Third in the chords L, R, M, and T, may be abundantly seen in such ils. as 64, 66, and 66. The doubling of tho Third (t) in the chord S with its strong melodic tendency to d of the next chord, would cause consecutive octaves. Its doub- ling in the b position of D and F, in which it occurs already in the loud sonorous Bass, decidedly requires the now familiar apologj' of contrary mo- tion. Even in the a and c positions of these chords the sweetness is generally felt to be too strong, unless the attention of the mind is drawn away from it by similar or contrary motion of the parts. In Da and Fa, however, the third is sometimes doubled for special enriching effect, but seldom where the ear is most critical, that is on the last chord of a cadence. The doubling of the third in the minor chords E, M, L, and in the diminished chord T is, however, a different thing: for these chords are in themselves semi- dissonant, and can bear a little additional sweetness. Let us speak of a chord having its Third omitted, as having constitu- tion 3, and of one with its Third doubled, as having constitution 4. In il. 57, second chord the X)a i is excused by contrary motion of the Air with Con- tralto and Bass. In il. 60, the Da 4 is almost obligatory because of the resolution of 'T with its Sow to Observe Harmony. dissonance in the Air, but constitution 4 is not objectionable in Da. In il. 68, the Da 4 at the beginning sounds rich and good. In il. 59, the DA 4 is well excused by the contrary motion of the Contralto against the Soprano and Bass. In il. 65, the D4 4 is excused by contrary motion between Soprano and Bass. In il. 61, ('T going to D) we have first the kind of doubled Third shewn in il. 60, avoided, as it i& often done, at the expense of a somewhat awkward melody in the Contralto. We have on the second pulse of the second section, a D 4 even in the b position (DA 4). It has the apology of contrary motion between Air and Bass. This is quite satisfactory. If the Air in the third chord in this section had been 1 and the Tenor f, there would have been no apology for this doubled third in the A position of a major chord. But it would have been difficult to avoid. If the composer had put : s I d in the Bass he would ha.ve made a perfect close at the very beginning of a section. If : tj | d ha'd been in the Bass there would have been octaves with the Contralto, and if that were altered there would still remain unequal fifths in the outer parts between the close of one-section and the beginning of the next. In tho close of the third section there might easily have been Da 4 on the very accent oj t/ie cadence. But this was avoided by letting the i in TA go up to a. Many composers are indifferent about the introduction of a little too much sweet- ness into a chord, if it gives them the least conveni- ence in the conduct of their " parts." e. Omitted Boot. — By the word Hoot in this book we do not mean the theoretical origin of a chord, but its principal tone actually heard, or very obviously implied', so that we do not acknowledge omitted Boots except in ceises where the mind is necessarily conscious of them. This is the case with Do and sometimes DA, in three part harmony (see tenth step) and occasionally in four-part harmony where the hahits of the ear point to D rather than the "unmeaning" and commonly avoided chord M. There are also cases in instrumental accompaniment in which the root having been struck at the com- mencement of a measure, .the ear Jeels it through the rest of the measure. Even in vocal music there are cases in which what appears as the chord T is really heard as 'S. Omitted root is marked om. 52. Position of chords. — When the Bass moves stepwise, tho a position of chords is avoided for fear of oonsecutives, unless one of the upper parts moves in contrary motion with DOUBLING AND OMISSION. POSITION AND OKOVNIN'G Oi" OHOHDS. CADENCE KELATION. 45 the Bass. The ear naturally dislikes many inverted positions, or many minor cliord a positions, consecutively. But a succession of l> positions is acceptable to the ear when they make a stepwise Bass, see U. 77. Even two successive c positions may he rarely excused hy this stepwise motion of the Bass, thus by altering the first section of il. 28, making the Air : r { s || and the Tenor | dl : t | d' ||, its chordal progression might be made : Da|D(; : Te I DA. Listen to it in both ways. * By altering the second cadence of il. 34, making the Tenor : s | d| and the Bass :r |d ||,the chordS plan might be |S4 :'.S\ of D' with D', of b" with D', of hb^ with D', of L' with D=, of L^ with D>, of i? with D'. Ex. 84. Write the cadence analysis of ils 41 59, 61, 71, 73. „ . „, „ *.* See " Caiora-Naming Examples," A and B, 25 to 38. Jiow to Observe Harmony. EXS. 60 TO 84. THE PACTOBS OF laANSlIION. 47 THE NINTH STEP. MODULATOR. r' s d' fi t ni 1 ri s d' f t n 1 r> s di t f n 1 r s DOH' f TE n 1 r s d f te le ti n LAH r s d f 1» se ti n li r SOH d f ba fe ti n li r S| d FAH ti ME 1, r Sl d f, ™ re ti n. li RAY ra de S| d fi ni li ri Sl DOH f, ti r\\ 1, ri S| d, f. t. n. li V\ S| di fi t. r\, 1. ri Sl f. 1. ri Sj Suppose we tran- slate this section as though it wore in the first sharp key. Turn tp the modulator .and tell me what would the first chord be ? Name each of its tones from the Bass upward and then name the chord. " F, Dc, S, and 'S, D." This is the same cadence to which we were first introduced at il. 17. In this case there is yet another element in the music sug- gesting transition ; it is in the melody itself. It has often been noticed that t 1 s (t and s being accented) naturally suggest to the mind the exceedingly familiar m r d of the lower part of the scale. But toshow that the harmony is the chief cause of the changed effect, let us alter it so as to omit the fe and the peculiar form of the Bass without altering the Air, make the Contralto : m I r ; d | r, the Tenor : s | s : m | r, and the Bass : d I S| : 1| 1 1| and listen to the effect. » You now feel that instead of the new Tonic you have the old Dominant. Try again the original form of the cadence and say what is the difference between the two effects and which is the better in this place. You cannot do this by listening to that section alone ; you must listen to the whole piece and com- pare its cadences. * You feel that what we may call the ^P cadence is both brighter and firmer than the S cadence, and as it introduces more variety into the tune it is the better in this case." What- ever mitlces us fed a change of key — whether a new tone distinguishing the new key or the customary progression of chords to a Tonic or any thing else which has that power over pur minds — we call a Factor of Transition. See further, par. 62, 68. 56. — The Transmutation Chord. — For the pur- poses of analysis it is important that we should know, as definitely as possible, on which chord the change of key takes place. In the third section of il. 90, we know that the three last pulses carry the chords S, and '8,1); they cannot be anything else. But the fourth-last chord might be translated in two ways, and the fifth-last is still less decidedly connected with the new key. On which chord as a matter of fact does the ear feel itself making the change ? * Although there is no new distinguish- ing tone till we come to the fe, yet no one whose ears have been accustomed tp the well known place of Dc in Tonic cadences could help feeling that the change had come on the first chord of the second- last measure. Another reason for this feeling is Sow to Observe Sarmony. that the ear has been aocustemed te have the Bass. of Dc continued in the next chord, as in this case, while it has also been accustomed to hear the Bus." of Sc (r) ascending to m or descending to d, but not continued to E. "We therefore think that a prac- tised ear would feel itself entering ii new key as soon as its cadential Dc were struck. It would be quite allowable to take the change on the cherd before that, because it might be said that the com- ppser evidently thought of that whele secticn as in the new key, but on the second chord of the section we must change. "We shall call the presumed chord of change the Transmutation Chord. Those who weuld learn to translate music from the Staff Nota- tion into the Tonic Sol-fa Notation (nsing for extended transitipn the better method pf npting, that is by bridge-notes) should exercise a careful judgment in choosing the most natural transmuta- tion chord. With the view of developing such a ppwer ef judgment we shall study the place pf transmutation in each of the following examples. In analysis we name the chords according to the true key, even where, as in Cadence or Passing Transition, the Tonic Sol-fa Notation uses the imperfect method of writing. In such cases, how- ever, we distinguish the chorda of the new kpy by placing them within parentheses. See il. 92, p. 49. For Extended Transition (p. 51) we use bridge chords without parentheses, thus, "S or ^D &e. 57. Departing, and Betuming Transition, — After Transitipn intp a new key, the return to the old key may alsp be called Transition. We name it Returning Transition. The first f after a fe is the distinguishing tone of a return from the first sharp key. Departing Transition or that which departs from the original key of the piece, is com- monly made more effective and important than Returning Transition. But sometimes a striking effect is obtained by the Return as well as by the Departure. Listen again to il. 90, and notice the Eetuming Transition in the last section. * "Which is the distinguishing tone of Return to the old key ? " The f in the Air." Yes, for the original key is practically the first flat key to its own first sharp key. 58. Bass Cadence |m:r [d. — Listen to il. 91. Let it be sung twice thrpugh in order that the key may be well established, and then notice the first section ; what Transition does it take '< * THE TBANSMTTTATIOJf CHORD. DBPARTINa AITD REXURNING TRANSITION. 49 It. 91. KEY C. s :d' r :r s :fe ti:li B. St. J. B. JoDLB. t :- d' 1 :s f :f n r :- d d :d d :t| d s :- s f :s 1 :s s si :- n f :n r :si d T r r * r r rf " It goes into tho first sharp key.'" Yes, but it has 11 different Bass from that which we last studied. This Bass is the same as that Soprano. It is found convenient in the Sol-fa notation not to write mere Cadence or Passing Transition on what is called the better method, that is, with bridge-tones ; but it would be a useful exercise for the pupil to do so. Look at the modulator and tell me what are the true notes for the Bass? "|m:r |d." For the Tenor? "|d :t| |d." For the Contralto ? "|b, :g, |s,." For the Soprano? "|d :f |m." Of course nothing can establish a new key so perfectly as the setting up of a new 'S moving into its D, and any familiar cadential motion of the Bass will greatly euhance the effect. Which do you feel to fcp the Transmutation Chord ? " TTie chord before fe." Yes, it is S4 of the old key transmuted into DA of the new key. What is the ne.^t chord? "iSe." The next? "D." 59. Basa Cadence {r :t {d. — ^Listen to il. 92, and observe the second section. » II. 93. KBY a. T ll :li Sl S| f, :f| ri n d :r ti d f. :fi S| E /ft s . Qdwakds n :r r ti si :si d :r d :t| d fe, d 1, t, :- d l, ll S| si :- S| fi fi ri r :- n d r ti si :- d, fi fi S| ('E T4 D) s n r d tl d - S| S| ll S| S| 8| - r d f PI r n - ti d fi S| S| d, - You notice the dissonance at the beginning of the second-last measure. You have been accustomed to a dissonance in that place. What- is it ? " 'E." Yes, we studied it in ils. 45 and 47 — the Bass in this case flowing rather differently. This dissonance of 'R being common on the second-last accent of a cadence and the dissonance 'L being altogether uncommon how would this second-last chord be interpreted by the ear ? " 'L Transmuted iuto'E." What is the next chord ? "Tb." TTie next? "D." Notice that if L of the original key is on this second-last accent, it generally foretokens Transition. Listen ta the whole il. and observe the contrasted effect of the second cadence with the last. 60. Bass Cadence m ba se 1. Again m fe s fe m re m becomes quite simple when it is written with its proper men- tal effects thus, 1, t, d t| 1| se| 1,, — and d d ma r d loses all its mystic look when it is written l^ 1| d t| 1|. 72. Analysis of Transition. — The following analysis of some of the Transitions in the Additional Exercises, part I, of "Standard Course," will be of service to the student. See " Seven points," par. 70. Add. Ex., page 12, so. 2, m. 1. 1st, First sharp. 2nd, customary Approach to Cadence | d : f : s 1 1 : dl in the Bass : and distinguishing tone. 3rd, ^D. 4th, Extended. 5th, Departing from the Pri- oipalkey. 6th, Gradual. 7th, Bright Effect. The returning Transition is 1st, First flat. 2nd, distin- guishing tone. 3rd. None, but the cadence chord of the last key. 4th, Extended. Sth, Returning from Subordinate. 6th, Sudden. 7th, Effect of f. S^w to Observe Harmony. Add. Ex., p. 12, so. 4, m. 4, 1st, First sharp. 2nd, fe. 3rd, 'i-Ei. 4th, Cadential. Sth, Departing from Principal. 6th, Q-radual. 7th, Tender effect. The return is 1st, First flat. 2nd, Sense of new commencement. 3rd, "S. 4th, Extended. 5th, Returning from Subordinate. 6th, Gradual. 7th, Convenience. Add. Ex., p. 14, 4, 3. 1st, First sharp. 2nd, fe The sense of new commencement may well be pleaded for making the transition begin with the section, and for writing it in the better notes, but the rapid movemont allows it little more than a cadential effect. 3rd, ^Hb, or ^D. 4th, Cadential or Extended. 5th, Departing from Principal. 6th, Q-radual. 7th, Tender effect, preparing for the Transitional Imitation which follows. The return is 1st, First flat. 2nd, f. 3rd, ^S. 4th, Extended. Sth, Returaing from Subordinate. 6th, Gradual. 7th, Effect of f in Bass and Soprano. Add. Ex., p. 32, 4, 2. 1st, First flat. 2nd, ta. 3rd, None. 4th, Passing. Sth, Departing from Principal. 6th, Sudden. 7th, Effect of ta. The return is 1st, First sharp. 2nd, t. 3rd', '■R. 4th, Extended. 5th, Returning from Subordinate. 6th, Gradual. 7th, Effect of t. Add. Ex., p. 22, 3, 1. 1st, First sharp. 2nd, fe (in Tc). 3rd, None. 4th, Passing, but would have been Cadential if it had not been followed by so com- plete a Cadence in the old key. Sth, Departing. 6th, Sudden. 7th, Effect of fe. The return i.s 1st, First flat. 2nd, An end-of-thc-liue cadence. 3rd, "S*. 4tb^ Extended. Sth, Returning. 6th, Gradual. 7th, Convenience. Add. Ex., p. 21. 1. 4. 1st, First sharp. 2nd, Approach to Cadence, and fe. 3rd, ^D. 4th, Extended, that is going beyond a Cadence. Sth, Departing. 6th, Gradual. 7th, Bright effect. The return is 1st, First flat. . 2nd, ta (in Rl. 3rd, none. 4th, Extended. Sth, Returning. 6th, Sud- den. 7th, to prepare a contrast between s 1 ta, in one key, and s 1 1 in another. Add. Ex., p. 20, 1, 3. 1st, First sharp. 2nd, Sense of new commencement and fe. 3rd, "^Fi. 4th, Extended. Sth, Departing. 6th, Gradual. 7th, Tender effect of new t, and brightening effect of the Cadence. The return is 1st, First flat. 2ud, Sense of new commencement and ta in Bass. 3rd, "Si. 4th, Extended. Sth, Returning. 6th, Grad- ual. 7th, Convenience. 58 73. NINTH STEP. Add. Ex., p. 24, 2, I. 1st, First sharp. 2iid, Form of melody in the Air :t.s |m would have been very unwonted. The Transition might be taken a measure later. 3rd, ^D. 4th, Extended. 5th, Departing. 6th, Gradual. 7th, Tender and brightening effect. The first return, D.C. is, Ist, First flat. 2nd, Sense of new commencement, and ta in Bass. 3rd, "S. 4th, Extended. 5th, Returning. 6th, Gradual. 7th, Convenience. The second return, p. 25, 1, 3, is 1st, First flat. 2ud, Sense of new commencement. 3rd, I'S. 4th, Extended. 5th, Keturning. 6th, Grradual. 7th, Convenience. Add. Ex., p. 19, 3, 1. 1st, First flat. 2nd, ta in Bass. 3rd, ^D4. 4th, Extended. Sth, Departing. 6th, Gradual. 7th, Subduing Effect of new f. The return is, 1st, First sharp. 2nd, the new t in 'Tc. 3rd, ^F. 4th, Extended. 5th, Keturning. 6th, Gradual. 7th Brightening effect of a confident close, prepared by the contrasted effect of previous key. 73. Chromatic fe. — When we studied U. 90, we observed that the chord following the one in which fe stood became, in mental effect, the Tonic of a new key. Listen to it again, noticing the effect « Now, listen to the second section of il. 101, and notice whether fe there helps to create a new key in your mind. « " No, certainly not a new key, but it produces a peculiar effect." Well, then, let us enquire wht/ it does not lead, as before, to a new key, and let us analyse that peculiar effect which it does produce. Into what chord has the fe of tran- sition always moved hitherto ? Look at ils. 90 to 93, and then answer. " Always into the chord S, which is only the D of its own key disguised by the improper form of denoting transition." Yes, fe was always the t in the chords S, 'S, Ti, or 'T, going to the new D. Is that the case in the second section of U. 101 ? How does the fe move ? " In- to Dc of the old key." Yes, and in the old oadential place of Dc. That cannot be mistaken ; it has the Dominant tone of the old key at the bottom of the chord and the Tonic above it ; and besides, if Dc were translated by the ear into Fe of the new key, it would mean nothing — ^would be out of place for no Habit suggests it. Listen to the effect of this new progression of fe ; peculiar as it is, does it make you in the least doubtful of the key? • "No, it even seems to make the key stronger." yes, it disturbs,! for a moment, your sense of the old key, by threatening to leate it, ooly to embrace it Mow to Obserie Si rmmy. I again with the tighter grasp. This peculiar effect, whether produced by fe or any other tone, we call I Chromatic. It is well adapted for excited passion- I ate expression. If the chord in this case were transitional what would you call it? "('S4.)" Yes, but as it is Chromatic we will call it '""'Rb. We put in the fe to distinguish it from 'E». Before we leave il. ]01, notice the transition at the begiimiug of the fourth measure. It is like that in the third section of U. 100. They are both Sudden, but that is a sudden transition from the original key, this from the transition key — making the Return very marked. a. Listen to il. 102, and notice the two fe's in the second section. • What chord does the second fe enter ? " Do of the old key, in its old oadential place, fe cannot disturb the key there ; it is chromatic." Yes, the case is like that of il. 101, except that fe stands in a different chord. If this chord were producing a transitional effect what would you call it? "(T4.)" Yes, but being chromatic we call it FEi. Now, tell me what chord the first fe enters ? " 'S." Can that-be translated into the D of a new key ? " No, it is the Unquestionable Dominant Seventh (p. 7) of the old key ; it cannot be mis- taken." Then, here again we have a ohromatio fe which instead of changing the key only declares more loudly its loyalty to the old. Before we leave il. 102, let us compare this first fe with the case of Sudden Transition in il. 101. That might have been written :'fe | f, like this instead of ;t | 'if^ and then we should have taken it, at first sight for a chromatic. But the t is not like a new fe threaten- ing transition without accomplishing it ; it is simply the t of the then- existing key. It is the ta which is new ; and that does not merely threaten a Sudden Transition, but accomplishes it. Neverthe- less, the felt fact that this t does not belong to the original key gives it in some small degree the effect of a new Chromatic fe. Listen again to the whole of ils. 101 and 102, and notice the effects. « b. listen to il. 103, noticing the effect of fe in the second section; does it change the key or is it Chromatic ? * II. 103. KBT A. Dr. Crotch. d d :t( d :- li s, :d d :t| d - S| S| :si si :- fi n, :.fei si :si S| - n n :r n :- d d :d r :r n - d d :si d :- fi d :1, si :si d, - STIMMAEY OF 0HK0MATIC8. 59 " Chromatic." What makes you feel that the music has not left the original key ? " The chord which carries fe has not moved into Do or into 'S as before; it has actually moved into the chord S which in il. 90 we felt to he only a disguised D ! " No, it is not S but *S ; it is *S on the seoond-last- acoent of the cadence, its habitual place when help- ing to decide the key. If we were to try and make it transitional Tb moving to *D — a chord which has itself to be resolved, — it would make a quite unre- cognizable "Dominant to Tonic." Notice that this chromatic fe occurs most frequently just before the second-last accent of the cadence, in the habitual place of E4 as in U. 101, or of Fi as in ils. 102 and 103. "We can try the effect of substituting f for fe in each of these cases. * Listen again to U. 103, and name the chords. * 74. Snmmaryof Chromatics, — ^Achromatiochord ia (in nearly aU cases) a chord which is capable of moving into the next chord so as to create a tran- sition, but which, instead of that, actually resolves into some very characteristic chord of the old key. It is a transition nipped in the bud. There are only two or three chromatic chords, rarely occur- ring, which could not be resolved transitionally; See "Common Places of Music." fe is the only chromatic tone we have studied ; we have found it in the chords '^^Ei and FB4. It also occurs in *Il and 'FB. We luive found it resolving into De, 'S and *S. D4 is also accepted as an effective chro- matic assertion of the old key. See p. 112, II. 104. KEY E. di n s d Soa to Oiierve Sarmony. PI :f s di d.si:l|.t, d n.f s .n :d .r d d' d :fi .r, n. li a.o. t :di f ^ s .r :n .d f ( r' :s .PI 1 ( s, :d fi ) s ,r t f s :1 n.s :r .fe d'.s :fe.l PI :r t dl 1 t d^ s f .PI r.l f .r PI s d' ri s s s 1 f s d =I«=J: ^^^^m « g^ S^ife: ^^ ^^. - s d'.r' PI s d' d'.t d n .s II. 105. KEY C. :d' :s :di IT s d' dl :n 1 !t .d' f .1 :s.fe ri :ri.di G.O. r' :- s.l s : — ni d'.t s s d' di.r' d' PI .8 :r 1 1 ./. Notice how these Incidentals promote imitation. Listen to the Air of the third section imitating that of the first sec- tion a third higher. Notice also the Tenor of the fourth section imitating the Air of the third. Observe that the " run " in the first section is made by the help of Fore-strokes, and the corresponding one in the third section, by the help of After-strokes. It is plain that the liarmoniser con in such cases, treat either the first or the second tone of the pulse as the intruder. If he chooses the first, he produces bright Fore-strokes, if the second, smooth After- strokes. e. Unprepared Forestrokes. — Listen to il. 123, and notice the third chord of the last section. * II. 123. KEY G. ^ ■ • d :- Spoffobth. :t, :b, :B.f :r fd r t,l, t, Id s, ;s, r :a s, :d r :d s, :fe, r :r t, :1, Kl f.n:r.d t, :- r r :f n :r d :- f d :t, d :- r m :s.f n :r.. a :- s, 1, :1, a, :- S| 1, :1, s, :-.f, n, :- I s,l, 8, :s,.f, n, :- s, 8, :1, s,.d:t, a :- d d :f.n r :- a f.Ki:r.d d :t, d :- j d d :r rn :- t, d :d d :B.f m :- d f, :f, 8, :- n, f, :f, S, -.8, d, :- { m,f, n, :r, d, :- s, '%. s, :g,_ d, :- 72 88. TESTS STEP. I ' ' ' I Is it horizontally or Obliquely prepared ? " Ko, it is unprepared." But it is briglit and pleasant if not too much used. "We call it an Unprepared Fore- stroke and mark it «. Some would regard the occurence of the same tone in the previous chord, though in another part as a sort of indirect preparation. 88. Less common Incidentals.— Listen to il. 124, and notice the second pulse. * G.O. II. 124. KEY Eb. d'.t :1 .B |f :n r :1 IS s :iii |r :d r :ra ir m.f :s .1 |t :a' d' :d' It d :d |r •D .D o p :m f :fe |8 m.f :s .1 |t ;d' r' :r' Id d :iii |r :s f :f jKI d'.t :1 .s |f :s 1 :s IS 1 :d |r ■ »L».LS ua p :ni f :s Id r raJJi -i-I J i r I What is the chord ? "D." "What is 1 in the Air f " Oblique Fore-stroke." Notice what prepares it. "A dissonant Passing-tone." Yes, it is the not uncommon case of a dissonant Fore-stroke prepared by a dissonant After-stroke. What is the 1. of the Tenor ? " An upward Passing-tone." Yea, it dissonates strongly with the s above it, which is an Sou to Observe Sarmony. essential of the chord. Notice how the Tenor of tho third measure imitates the air of the first and how the air of the third measure imitates the Tenor of the first by the help of these incidentals. Observe also, how in both cases the contrary motion between Air and Tenor makes the Incidentals especially beautiful. Compare the second chord of the first measure with the second chord of the third measure. The tones employed are exactly the same. They can be inter- preted either as D with two Incidental I's, or as L4 with two Incidental s's. Which is the true inter- pretation P In the first measure, the Tonic chord has already filled the ear, and it is more natural to suppose the next chord the same, than anything different. In the third measure, the Sub-mediant (L) has filled the ear, and it is more natural to feel the next chord as the same in its b position than as any other. Besides that the chord progression L D would be unusual. Note. — When two or more incidentals of different kinds occur in the same pulse we place them in the analysis one under the other. When one part-pulse dissonance follows another in the same part we write the analyses on the same line, not one under the other. See Eules 8 and 9. a. ContinnousPaaaing-Tonea. Listen to il. 125, and notice the first pulse. * It.. 125. ketE. a.O. :d' .t,l s :f n :r s :n :s :d cn.p, :n :d :d' :1, .f,s .r,iii :d .t, :1 .s :t •.r :b .1 :s, .f. :r .d :fe :t :r :s :s, w.a. .ni,f =#¥»= -^ ^ F#= 1 -1 — 1- 1 — /mVt 9 " J 1 1 I* 1 J gJJY*" ^ T- -t^ ^ =N hH= INOIDENTAIS HT CONTRAKY MOTION. CONTINTJOTIS PASSINa-TONES. Ex. 101 TO 116. 73 J J J :r JF^-f^^ ■1 g « ■ -^— : b* — i*j/' r r^ ' — ^T " /a J J J . '^^"T If 'Ij-'r M^^- What is the chord ? " D." How do you aoooimt fort If "They are Passing -tones of two steps instead of one." Yes, we call them Continuous Passing-tones, and mark them cn.p. They are not much usod, hut are agreeahle to any extent when connected with contrary motion. In the second pulse of the fourth measure, there are two sets of cn.p. running in company ; one of the tones (m) is really an essential of the chord itself, hut heing a companion of the intruder (s) it is itself treated as such. In the last chord but one there is a curious case of what we call "Waving Anticipation-tone. The Anticipation tone makes a momentary ware before it reaches its object. Its sign is w.a. 89. Analysis Table. — ^The table on the next page will show the signs and symbols which we use in Analysis. The symbok have been invented for the use of those who do not employ the English lan- guage, and to whom p does not represent the idea of passing, nor h that of horizontal. They have the advantage over the other signs of shoT^ng the upward (k downward movement of the Incidentals, but are liable to be incorrectly written. The signs for the FuU-pulse Dissonances, formerly written in capitals, are now written in small letters, like the part-pulse dissonances. Ex. 101. Show the cadence relations of (pp. 46, 46,) Ils. 23, 28, 32, 33, 34, 35, 36, 64, using Eoman figures for the periods (see p. 13) and letters for the sections in each as pp. 62, 63. Place a comma after the symbols for a section, and a semicolon and stroke after those for a period : thus, I« 'S4', K P 1 D' ;— Ha Dc S», IK ^D' ;— III« F», inj D'. Ex. 103. Show ditto, Ils. 44, 49, 60, 66, 67, 63, 65, 79. Ex. 103. Show the cadence relations as above, and then describe the melodic relations as pars. 76, 77, in the Ils. 18, 19, 26, 29, 62, 78. Ex. 104. Show, Ist, the cadence (as Ex. 101), 2nd, the melodic (as Ex. 103), and 3rd, the Bow to Oimrvt Earmmy. emotional (pp. 62, 63) relations of Ils. 73, 93, 95, 99, and 104. Ex. 105. Show Ist, the cadence (as Ex. 101), 2nd, the melodic (as Ex. 103), 3rd, the rhythmic (par. 78, p. 62), and 4th, the emotional (pp. 62, 63 relations of Ils. 105, 106, 113, U8, 122. Ex. 106. Analyse for Chord, Position, and Con- stitution, Ils. 107, 108, 109, 110. Ex. 107- Name the chords (supposing them filled up) of Ils. Ill and 112, placing an asterisk over those chords in which these Ils. difFer from II. 38. Ex. 108. Analyse for Chord, Position, and Incidentals, Ils. 113 to 117. See "Rules" at the beginning of this work. Ex. 109. Analyse for Chord, Position, and Incidentals, Ils. 118 to 121. Ex. 110. Analyse for Chord, Position, and Incidentals, Ils. 122 to 125. Ex. 111. Analyse for Chord, Position, and Incidentals, " Going home," Add. Ex. p. 2, " Spring life," p. 3, omitting the two-part phrases. Ex. 113. Analyse for Chord, Position, and Incidentals, fir.st verse of " May time," Add. Ex. p. 6, and " The Waits," p. ?. Ex. 113. Analyse for Chord, Position, and ' Incidentals, " Cuckoo," p. 9, and the first verse of "Bon Accord," p. 11. Ex. 114. Analyse for Chord, Position, and Incidentals, "Hope wiU," Add. Ex. p. 12, " Coma Freedom's," p. 13. Ex. 115. Analyse for Chord. Position, and Incidentals, " Time for joy," Add. Ex. p. 15, " How beautiful," p. 12. Ex. 116. Analyse for Chord,. Position, and Incidentals, " My lady " (first verse only), Add. Ex. p. 21, "We fly by night," p. 20. Ex. 117. Show, as in Ex. 104, of " Waits," Add. Ex. p. 8. Ex. 118. Show as in Ex. 106, « Come Free- dom's," p. 13, and "Night," p. 22. 74 TKNTH STEP. 90 SIGNS & SYMBOLS OF DISSONANCES. — !■' NAME or DISSONANCE. STHBOL. TTbED thus. AbBBBTIATION. UslED THUS. Horizontal Forestroke — DAD 4— A Oblique „ — F o *P w I 4— W 1 Upward oblique „ -■ D m *D § 1 2-- «o "1 [- ^ J Unprepared „ < ^ -q f 7V V 9A ( M "P u f-- D Passing Tone < ^ ^ D j ou . Guiding Tone ^ . Tt ( a W I ( A ) « D a "Waving Tone < ^^ jj Anticipation Tone < -rv t ^ . m V ' } ia D Hanging Tone < D ( *y Bye-tone (consonant part- .J Dj h/f D pulse Incidental) | > **" Sow to Observe Sarmony. THB ASaiBXtT MOESS. 75 THE ELEVENTH STEP. 90. The Modes.— In St. Co., p. 83, it is shown how in the old times, when Melody alone was culti- vated, the Scale was used in various "Modes." The composer gave a character to his tune, by- making some one tone of the Scale the most pro- minent and effective. In one tune one tone, in another tune another was thus honoured, and some- times the tune "Modulated," or changed the tone ■which it brought into prominence. Thus the old melodists had what we may call the Dos mode, the Eay mode, &o. They gave effect to a tone by placing it under an accent, or in a dose, and by eitiiei falling upon it from the fifth tone above, or leaving it for that over -fifth. The power of the over-fifth to give emphasis, is not fully explained ; but we know that the fifth is the first sound which appears after the octave in the series of Harmonics, whether we refer to the artijicial Harmonics pro- duced by blowing into a tube with more and more ' force, or to the natural Harmonies (or more properly Partials) which go to make the pecuHar quality of a tone in reed or stringed instruments. At p. 3, of the present work, it is shown that as soon as a cer- tain chord is chosen for the Tonic the principles of modern Harmony require it to have two attendants, — one buHt on the over-fifth, the Dominaat, and another on its uuder-fifth, the Sub-dominant. These are the Principal chords of a key ; other chords, as those of the Super-Tonic,. the Sub-mediant, and the Leading tone are Subordinate and Substitutional. See the first chord Modulator, p. 30. This "modal usage " we called Chord Eelation, and in the Illus- trations as far as the Eighth Step we have been studying those habits of the ear — iiiose established and accepted "Chord Relations" — which have gradually grown up during the last 200 years in con- nection with what we may now call the Doh Mode. The early harmonists tried to apply this same prin- ciple of Chord Relation to the other Melodic Modes. Let us take U. 22 with its Tonic and Dominant cadences, and try the effect of changing its mode. a. Chord Eelation. — ^It will now be convenient to have distinct names for that system of Chord Relation which modem Harmony has established. The first or principal tone of a Mode is called its Tonic, the second its Super- Tonic,, the third its Mediant, the fourth its Sub-dominant, the fifth its Dominant, the sixth its Sub-mediant, the seventh its Leading tone. How to Observe Harmonf/, b. The Ray^ Mode. — If we suppose ray to be the Tonic of il. 22, the effect will be the same as though we had made two flat removes on the Modu- lator, or as though all the music had moved one step up without altering the former place of the little steps. If r is the Tonic of the Ray Mode, what is the Dominant? "1." What is the Sub-dominant ? " s." Listen to the Air of il. 126 (it can be played from the Staff Notation of U. 22, if the player simply supposes the signature to be that of three flats), and notice how truly the mental effect of r is brought out in the last cadence. « II. 126. KEY EIj. StsF. (nay mode of il. 11.) i s :f n :- 1 f :r n :d r :- ii li:r d :- n r :r d :1, li:- r n :1 1 :- 1 1 :s n :n f :- r d .T li:- d r :t, 1,:1, r :- Listen to the Bass and notice how the movement to or from its over-fifth (though in a lower octave) heightens the effect. * Now listen to the new Tonic, Dominant, and Sub-dominant moving in the same Chord Relation as before ; what is the effect of the Cadences? "They are too heavy and harsh." Yes, the ear is not content with two Minor chords in a close. See what is said on. Minor chords, p. 23. To remedy this the old har- monists changed the d (in a cadence) into de. Listen to this change ; I think you will find the Sarmony more agreeable. It gives a Leading tone to the r, but gives the Tonic a weak and poor effect by leaving it Minor, while both its Dominant, and Sub-dominant are Major. • The oldest writers tried to mend this by introducing fe in the chord R and so making the Tonic also Major This gave them a Major cadence exactly like that, of the Doh Mode (two sharp removes off) and so deprived the Ray Mode of all its characteristics.. Listen also to this effect. • The more changes we introduce into a mode the more we lose, its characteristic effect. Handel has in "Egypt was glad," and other choruses, several cadences intro- ducing both fe and de, like Ray Mode cadences, but later musicians have abandoned the attempt to use this mode with Harmony. 0. The Lah Mode. — ^In " Construction Exercises," p. 90, the reasons why tunes in the Sob Mode, tha 76 91. ELETENTH STEP. Me Mode, the Fah mode, and the Te Mode, of the Ancients could not well he harmonized on modem piihciples are fully given. Let us now study the Lah Mode. If lis the Tonic what is the Dominant? "m." Suh-dominant? "r." II. 127 is the same chant written in the Lah Mode (it can he played from the Staff Notation of il. 22, if the player wiU only imagine the signature to be that of four flats). Listen to its cadences. • II. 127. KEV Ab. ZiaF. (Lah mode of il. 22.J r :d t,:- n" d :1, ti :si 1| - Ml rii :li s,:- t, l,:li S| :ni n. - 1| t| ;n n :- n n :r ti:t| d - 1| si :1| n, :- S| li:fi ni :ni li - "They have three heavy Minor chords together." Yes, hut make the Dominant Major hy altering all the s's into ae's ; I think you ■mil find the effect smoother, with enough of brightness to show the Minor cadence without overbalancing it. Listen to this. » Certainly this is the only one of the old Minor Modes which has held its own, with this alteration, side by side with the Modem principles of Chord Eelation to a Tonic. d. Efect of Leading tone. — Listen to the Air of il. 126, first with and then without the de ; in which way does the bright hopeful, prayerful effect of r best come out? « "It is much better with d." Listen to the Air of il. 127, first with and then without the se. * In which way is the sad and sorrowful effect 6f 1 best developed ? ""With the B." Yes, for melody, the old unaltered modes are the most effective, even when for Harmony they are awkward. Thus we have lost something by Modem Harmony. But we have gained cadences with all their varieties, introducing the Section, the Period, and all the other developments of Musical Form ; and we have gained that definite- ness of key which gives us Transition and Modula- tion, with all their manifold powers of musical expression. Those, however, who have once heard the manly Minor, the Eay Mode, among the moun- tains of Scotland and Wales, will wish it to be retained for unison singing even without Harmony. 91. The Modern Minor, see St. Co., p. 86, some- times sharpens the sixth of its scale (changing f into ba) as well as the seventh, but chiefly lor melodic purposes. Nearly all the habits of chords How to Observe Sarmony. hitherto studied in the Doh Mode may be simply transferred to the Lah Mode, but there are soma differences which we shall presently study. THE SECOND CHORD MODULATOR. ^ (/) 1 I se se se / f f „ (/) n n n r r W r d id) ti d * t t se se s« f t i (/) PI n n r r W r * t t 1 I r B se se n "J/" SB '"J) Listen to il. 123, and 24 (it may be sung or played from the staff notation of il. 24, a little step higher in pitch, by the player supposing; that he has the signature of one sharp, and using a sharp for every D,) and notice the chord.'? as Tonic, Dominant, &c. * THE MODERN MINOS. THB MINOR CHORD MODTTLATOR. 77 li,. 138. KEY G. L is E. Compare il. 24. d n :1, ti :- li ti :d r :t| li:- li li:li sei:- 1, sei:li t| :sei li:- n d :pi n :- n n :n n :r d :- 1, L l,:d n :- d t|:l| li:- What are the first three chords ? " Tonic in the a and h positions." What is the fourth chord? "Dominant." Fifth? "Tonic J." Sixth? "Dominant c" Seventh? "Tonic." Eighth and Ninth ? " Dominant Seventh." Last ? "Tonic." Yes, they may be thus named in hoth modes, but we must have a way of distinguishing the Major from the Minor mode in our analysis. What would you call the first chord in il. 128 ? " Call it L." Yes, but again we must distinguish the much used L, with all the chorda! Kelatious of the Minor Mode, from the L which is comparatively seldom used in the Major Mode. Let us therefore call this Minor Lah, print it in italic capitals, and write it with a line underneath. In analysing this 19 done with all chords in the minor mode. What shall we call the fourth chord ? It is M, but as the third is sharpened to se we call it SE-ME, and write it ™Jf. What would you call the third-last chord? Although the third, se, is omitted (just as the third is sometimes omitted in 'S) it is evidently implied. " Then we must call it 7«jlf." Listen to the whole of il. 128, and name the chords. * , ., ... ., „„ ,., Listen to il. 129, and compare it with n. 30 (il. 129 can be played from the Staff Notation of il. 30, by supposing tile signature to be one flat and using a sharp for C). * II. 129. KEY P". L is D. Compare il. 30. 1 n :f n :- d r :n r :t, d d d :r d :- li li:li li :sei li 1 1 :1 1 :- n f :1 f :n PI 1, li:r, li:- 1. r :d r :n 1. E What is the " Chord Eolation " of the third chord P " It-is the Sub-dominant." Yes, we will call it Minor R. Minor R corresponds with Major P, as Minor L corresponds with M^jor D. Notice that the Plagal cadence, going from Sub-dominant to Tonic, is not Sow to Observe Sannony. nearly so much used in the Minor as in the Major, probably because of its bringing two Minor chords together iu a cadence. Listen to the whole of il. 129., and name the chords. * Listen to il. 130, and compare it with il. 34, while you study the effect of the weak-pulse cadence in the Minor Mode (il. 130 may be played from the Staff Notation of il. 34, by supposing the open signature of key C and using ajharp for G.) » Ii,. 130. KEY C. i is A. Compare il. 34. s? 1 :1 1 :se 1 t :di ni:ri r':di n n :f n :- n se:l n :n f :n 1 1 :ri di:t d' n'rdi t :t 1 :- li d :r n :- 1 n :1 se:se 1 :- d' 1 :1 se:l t n' :n' ri:di t :1 n n :f n :- se 1 :1 f :n PI :- 1 1 :ri t :di t 1 :di ri:l t :d' 1| d :r n :1| n d :1, 1 :1 se:l Listen to the whole of il. 130, and name the chords. • Listen to il. 131, and compare it with il. 44, (il. 131 may be played from the Staff Notation of il. 44, by supposing the signature of four fiats and using a natural for E.) « II. 131. K PI :r EY Ab. ^ d :t| j is J tT F. Com d :r pare il. d :t| 44. li 11 1, :ti li :sei sei li:ti li:sei li n PI :f PI :- PI PI :f PI :r d li di :ri pi,:- 111 l,:r,' Hi :pii 1. Ti What is the Chord Relation of the third chord ? " Super-Tonic." Yes, we will call it Minor Ti. Minor T corresponds with Major E. Listen to the whole of il. 131, and name the chords. * Listen to il. 132. and compare it with il. 47, (il. 132 may be played from the Staff Notation of iU 47, by supposing the signature to be that of two sharps and using a sharp for A.) « 78 ELEVENTH STEP. 92. II. 133. KEY D. L is B. Compare il. 47. 1 se:l r':- se t :d' r':t 1 - n n :n r :- n n :n f :r d - d' t :1 1 :- t se:l 1 :se 1 - li n :d f :- n r :d t| :n li - How would you describe the first cadence P " It i» a cadence on Minor Rb." Yes, it goes from Tonic to Sub-dominant. It is like the Major F cadence. There lies the same objection against it which we felt, against the Minor Flagal cadence in U. 129. How would you describe the third last chord ? " It is Minor T with 1 dissonating. The 1 is prepared and resolved." Yes, we will call it Mmor 'T. It corresponds with Major 'E. Listen to the whole of il. 132, and name the chords. * Listen to il. 133, and compare it with il. 61 (il. 133 may be played from the Staff Notation of U. 51, by supposing the signature to be one flat and using a sharp for 0.) « II. 133. KEY F. i is D. Compare il. 51. .1 n :f n :- n 1 :d t| in d - d d :r t, :- ti 1, :1, li :sei li - n 1 :1 se:- se n :n n :n n 7 li li:r n :- r d :1, Hi :ni li - Observe the primary dissonance of 1 against t which wo had as a secondary, and in a different chord, in U. 132. Here it makes *Jf, the corres- ponding dissonance with *S in the Major. Listen to the whole and name the chords. » Listen to il. 134, and compare it with U. 55 (il. 134 may be played from the Staff Notation of U. 55, ' by supposing the signature to be that of two flats, and using a sharp for P.) * II. 134. KEY Bb. LiaQ. Compare il. 55. :li 1, :t| :d ti :- :n r :d :t| 1, :ni li :sei:l| sei:- :li fi :ni :ri di id n :r :d n '.- :n li :1| :sei li :li d :t, :1, pii :- :di T\ :pii :n| 1, SEb How to Observe Sarmony. What is the Chord Relation, of the third chord? " It is the chord on the Minor SE in its b position, like Major Ti." Yes, it is the chord on the Lead- ing tone. Listen to tho whole of il. 134, and name the chords. » Listen to il. 135, and compare it with il. 60 (il. 135 may be played from the Staff Notation of U. 60, by supposing the signature to be the open signature of and using a sliarp for G). « II. 135. KEY 0. L is A. Compare H. CO. 1 se:n' r':- d' fi :n' r'lri di;- n n :n f :- 1 t :d' t :se 1 :- d' t :1 1 :- 1 r' :di f 1 ml n':- li ti:d r :- li sei:l, r :n 1, :- What is the Chord Relation of the second chord of the second section ? " It is a chord on se Uke that on t in the Major with a seventh." Yes, but the remarkable thing is that this seventh (f ) does not dissonate against the root SE as that on the Lead- ing tone of the Major did. The Chord consists of three Minor thirds. You will find it beautiful but not strong. Although there is no dissonance we will call it ''SB to show its correspondence with ' T. Listen to the whole of il. 135, and name tha chords. • Listen to il. 136, and compare it with il. 68 (il. 136 may be played from the Staff Notation of U. 68, by supposing the signature to be two sharps, using a sharp for A^) * II. 136. KEY D. 'L is B. Compare il. 68. n d'lt 1 - t. di:l ri:di t :- d n :r d - n n :n n :n n :- di 1 :se 1 - se 1 :1 se:l se:- 1 1 :n f - n li:d ti:l! n :- d'.-t n :n 1 :se n :r di:t n :r 1 :se SIMILAIUTIE3 AITD BIFFSBMSaES OF MAJOR AJSTD MINOR. 79 What is the Chord Relation of the third chord ? "Dominant Seventh." What does that chord generally resolve into ? " Tonic." Does it do so here ? " No, hut into the chord which corresponds with Major L." Yes, it is the Dominant Seventh moving to the Suh-mediant. It is the Miaor " Sur- prise cadence." Its last chord we wiU call Miaor F. The Edternative Suh-mediant in the Minor ba is not used in this case. Listen to the whole of il. 136, and name the chords. • 93. Differences of Major and Minor. — Some of the chordal hahits to which we have heen accus- tomed in the Major Mode cannot be carried out in the Minor Mode, on account of its peculiar structure and its alternative tones. Let us study these cases. listen to il. 137, and compare it section by section with il. 35. » II. 137. KEY Bb- i is G. Compare il. 35. G-.O. n :n t, :d r :d sei:l| d :1, n :n 1, :d r :d sei:l| n :n d n :n r :- ti d :r d :t| li - li sei:l| li:- se. li:li 1, :sei 1| - n r :n f :- n n :r n :r d - li t| :d r :- n l,:fi n, :ni li - We have here the undesirable Minor S cadence with its two Minor chords. How do the two ila. differ in the second chord ? " In il. 137 the seventh is introduced into the Dominant." Yes, this is far more generally the oaso in the Minor than in the Major. Without the dissonance the Dominant sounds too bright by the side of its unsonorous Tonic ; the resolution of the dissonance also gives to the Tonic its due importance. What do you notice in the third section ? " The Bass is quite different." What would have been the corres- ponding Bass ? " : 1, I se, : 1, 111." What tone would have followed? " sej." That would have given us the " unmelodic interval " of the modem Minor f to se. But the harmonizer had yet another reason for the change; if the Minor It cadence is undesirable, much more is that on Minor Sb. The E cadence is still preserved with a variation in i1;s approach. What is the fourth last chord? "The Sub-dominant, Minor Sb." Notice that the alternative ba, is of no use in this case.* Listen to the whole of U. 137 and name the chords. * Listen to U. 138, and compare it with il. 40. * II. 138. KBT 0. i is ^. Compare il. 40. di 1 :1 se:- f d':l 1 :se 1 What difference do yoji notice ? " The Air ia altered at the end." Yes, if the Air had been, in imitation of the Major, il |t :se |1 we should have had the chord of ;Minor T in the a position. We have had Minor Tb, il. 131, but Ta brings into greater prominence its unsonorous diminished fifth, and on this account it is not used without a dissonant seventh. The dissonance distracts atteu- tion from the unsonorousness of the chord, anc binds it to the chord which follows. On this account it was necessary to alter the Air here. Listen to the whole of U. 1 38, and name the.chords. • • A Major Sub-dominant chord (feiij in the Minor mode, is occasionally to be met with in old music. Sow to Observe Sarmony. 80 ELEVENTH STEP. 93. Listen to il. 139, and comparo it \rith il. 65. II. 139. KEY 0. L is A. Compare il. 65. n :1 1 :n' d :1| t :- se:- n :- r' d'.-l t :se 1 se 1 :f f :n n ri n'ldi ri,:ri di t| d :f r :p) 1 What difference do you notice ? " The Basa is altered at the end." Yes, if the Bass had been ; f 1 1| : m I Ij, as in the last il., and as in our corres- 5X)nuiug Major, we should have had the rejected cliord Minor Ta, and should have been tempted to alter the Air in order to introduce the seventh. But the writer thought it better not to spoil the iUr especially as he found he could improve the Bass. Listen to the whole of il. 139, and name the chords. Listen to il. 140, and compare it with il. 78. • Tl. 140. KEY F. L is D. Compare il. 70. d :t| li :si fi f :n r :n r -.d r :r li :sei f :n t| :ni li :- What difference do you notice? "The Baas of the first section does not sing :1| |1| :se||ba| as might have been expected in a close imitation of the Major." Exactly, but the alternative. Sub-medi- ant, ba, is not used in such a cadence, and it is much more smooth and melodic in going down to f, to Hiw to Oiservt Marmony. use s instead of se. We thus have with a stepwise Baas Mb instead of ''Mb. Listen to tho whole of il. 140, and name the chords. • Listen to il. 141, and compare it with il. 82. • II. 141. KEY B|7. L is G. Compare il. 82. What do you notice in the first section ? " Ba is used." Yes, for melodic elegance, giving us a corresponding Consonant Passing-tone to that with which we have grown familiar in the Major, and making the chord ^T. Listen to the whole of il. 141, and name the chords. • Listen to il. 142, and compare it with il. 85. • KEY P. L is D. Compare il. 85. What difference do you notice in the first section ? " The Bass does not correspond." No, if the Baas had been made |fi :se| |1| we should have had the same bad melodic progression which we found avoided in U. 137, and the alternative chord BA ia not Uked in such a place. If the Bass had been If, :s, 1 1|, using the stepwise ifi instead of "Mb as in il. 140, it would have sounded too like a Major JtOTtULAJSOV. 81 cadence. The Bass might hare been made |d : t, |1| . From this we leam that the pro- gression I L : Si I D in the Major cannot he imitated in the Minor, and that although in the Minor the use of S8 instead of s ia the rule, the use of ba instead of f is the exception. "What differ- ence do you notice in the second section P " The Air ia altered ; it should be:f.t." Yes, but the tritone f to t is very unmelodic, and ba so is smoother. The ba is harmonically treated as an upward Oblique Forestrobe, in the chord of ' '"Md. Thus far we have seen ba to be more desirable in melody than in harmony. Listen to il. 143, and compare it with il. 53. • 11. 143. KBY G. Z is K n' d :m f :— f m il, r :r d : — '-^rn'-'r-r- Notice on the third- last pulse the coupled dissonance ♦ ' M, corresponding in the Minor with' *'S. Notice that Minor S is used in the a position in the first cadence instead of the 4 position, which is suggested by the corresponding Major, for the reasons given, p. 79, il. X37. Notice also that the b position of Minor T ia used instead of the a position suggeated by the Major, firat, because the a position is not uaed without a 7th, aud next, beoau.se the change enables ua to avoid in the Contralto the unmelodic j^Togression f| to seg. 93. Modulation means, properly, change of Mode. This may or may not be associated with diange of Key. TAat is Transition. Let us first study Simple Modulation. — lo Relative Minor. — Listen to il. 144. • II. 144. KET D. ra :injn 3 :3 m :- n :1.1 1 :se 1 d :d.d t, -.t, d :- d :ni.in n :r d 3 .-s.l r :s 3 :- 3 :a'.d' d' :t 1 i :d.l a, :3, d :- d :l,.d n :n 1 n :n.iii n :iii s :b n :- in :n.r a :r m :- d :d.d d :d t. :t, a :- d :d.t, 1, :t, d :- 8 :3.S 1 :1 r :3 3 :- 8 :s.s m :s 3 :- d :d.d 1, :1, 3. :s, d :- d :d.s, 1, '.S, d :- I I I I ■ ■ i* What is the effect of the second section ? " Pain- ful excitement." Yes, and if the Phrase had fallen to , the lower octave there would have been a subdued and sad effect. How ia this effect produced ? " By the Minor." Yes, by treating 1 as a Tonic from the second pulse to the end of this section. Thia ia called Moduljition from the Major to the Relative Minor. — to Relative Major. — Listen to il. 145, aud notice the second section. « 11. 145. KEY Gr. 1, m, d d : 1, : m : 1. : t, se, HI m, |1, Id ll. :1 :d :d.f 3 :f im 3, :M,|d Ki :f |8 n, :r, |d, 8| m d 8 s, r t, :d.r :1, :ni |m :r d : — 1— -.ra 3 \\ |t :m |5, :s, m, :— 1— :s, t, :r ir :d Id :t, d :— 1- :d r :fe | 3 :s im, '•^\ d, :— 1- :d t, :l, 1 3| ;d r :d 3 :r n :1, Id :t, 1, : — 1- s. :d t, :t, d :1, |1| :se, 1, :— 1- r t, :ri :1, 3 0, :3 :b, 3 d, ;d.r |P 1 :n 1, :in, d I. • 1- 1- How to Observe Sarmony. 82 94. ELEVIUITU STEP. j^jT-rr^T f r rr ^ What is its effect? "It brightens the music." How is this done ? " By going into the Major.'' Yes, in the course of a Minor tune d is treated as a Tonic; indeed the first cadence is in the Major. This Modulation from the Minor to the Eelative Major causes the same kind of hrightening effect in Minor tunes, which is produced in Major tunes by- transition to the first sharp key. 94. Transitional Modulation is Transition to the Relative Maj or or Eelative Minor of another key. — to First Jiat Minor. — Listen to il. 146, and notice the second section. • II. 146. KEY F. (i^om " Congregational CJhuroh Music." By permisaion.) " :f ' d :-.r s, :— m :-.f 3 d d s d f r s t, m :d :s :d r t, s S| - r :-.in 1, f r :-.s d :— s :f n :r de — m :-.f .s d ".m :d 1 f :s d :— 1 :1 1 — s :— s :3 r :iii de :r 1, — d :-,r n :d t, :d f 1, :r 1 a r :r f -.m r :d f :sj.> r :m.fl r t, — s -.f d f d m d :r :t, d d ~^ r — t — s — s f.l s :s.f n — IS — t, — d l,.f, s, :s, d — What is its effect ? " It has a subduins;, softening, eflect." Yes, it is made by a Transitional Modu- lation to the Eelative Minor of the first flat key.- Do you notice the relation between the second, and first sections ? " They form a sequence." (see pp. 37, 55). Yes, this is a favourite mode of producing sequence one step higher, when it is desired to avoid the exciting effect of "two sharp, removes without modulation." — to Subordinate First flat Minor. — At p. 56 " reference is made to the distinction between Prinoi- 1 pal and Subordinate Transition. The same dia- 1 tinctiou may be made among Transitional ' Modulations. Listen to il. 147 and study the third section, « II. 147. KEY D. (From " Anglican Hymn Book." M= ■ - ■ - |4 in Id :-.m :-.d :1 :in |s :n r |d :d t, |d' !S s in :d s It |r If im |r -.d A.t. :— |sd:-.t, :— |>-s,:-.s, ;_ |S|J j_.r |t,n,:-.f, B. G. Monk. By permisaion.) Id' - - - ■ :— |t d :ni |r -.de Sl :n, |1, -.1, d :d ir -m m, :a, If, -.S| It, |'|3, l|r IS, :s, :t, :f, :i>i :s, :d :d, Id js. Id irn, :t, 'd r 1, r f, f.D. I '1 |t«,f I 'd' )ta,f :f :f :t :r :f :f, :r :r, How £0 Observe Sarmony. :1 in :f Id :d' |d' :f U TRANSITIONAL MODULATION. :-.f :-.d !-.d s r d' - 1- - It — m d d' d — 1 t, :t, 1, :8e, f.Eb d :da n, :',d 1, :',a s.f:f d :d 1 :f * f d s :n :d :s r :r .n d :t, s :s s - js r, :mi h i'an, f, :1, d :iii s :s, 88 f :r 1, :f, Witii what key does it conmieiiceP "With the first sharp key." What key does it go into ? "TheEelative Minor of the original key." Yes, but it is also the first flat Minor of the key from which it departs. That key being a Subordinate Mid not a Principal one, we call this a Subordinate First flat Minor Modulation. It makoa a sequence of the same kind as that last named. — to First Sharp Minor. — listen to il. 148, and notice the second section. • II. 148. KEY Eb- G. A. Macfakken. By permission.) Bb.t. [Prom "Anglican Hymn Book." :dT |:d I :n.f :d *For the present read 'this Fah aa Me] -k this Soh as Fah ; t and this Say as DoA. Mow to Obatrvt Sarmony. What is its efi'ect ? "Wild and sad." Yes, it is made by Transitional Modulation to the Relative Minor of the first sharp key. This change is not very frequently used, because its weird effect is somewhat strange to the human mind, — to First Sharp Maior. — Listen to il. 149 and study the third section. • II. 149. KEY Eb- E. G. Monk. (Prom "Anglican Hymn Book." By permissiot.) m :f H :d r ;r m :-l, t|.d ;r \ /:ni 3 :1 |s :r f ;f jPi ;s d :d d :d d :t, d :',d, n, :f, / l|:d d :d |d :t, d :3,|d:r 3 :1 3 :n 3 :s 3 :nl, se, :1, \ i:3 m :f |r :s f :r |s :s d :f, m, :1, ^1 :3, d :*f, "i -tr, ) ':d d :f, IS, :s, 1, :t, |d :t, 1 !d' |1 :fe n :d n :r PI :n ii :1 d :1, Id :r - 1- See ils. 162, 165, and 193. 84 95. ZLKVKNTU STEP. ae. jit \m 'seil :iii r :fei3 :iii 8 :f.m|r :r 1:t t, :n \n\ :d l,:r ir :d d :d |d :t, j:l se:t |1 -1 fe:l |8 :s s :1 |r :f (:r m :r jd :1, r :d |t, :d n, :f, |d :d If, :f. d :t, |I, :i,n 1, :se, |1, :n,t, m :pi |d -.^s PI :pi |1| :i,n d :-.d |t, :n 1, :-.l, |3, :t, r :-.r |r :in fe, :-.fe,|s, :sei f.C. m :t, U, :-.so,|l, ta, s d •.n |f :f ',ta,|l, :d .3 |f :1 .d |f :f ira la fe d 1 r t-.ta,! :-.S| :-.d :r :-.t/ :f :r :-.foV :-.d :-.l :-.r With what key does it begin ? " 0, the principal^ key of the piece." Yes, but relatively to the SEQITENTIAIi OSCHXATIOIT. MINOR TKANSITION. 85 Subordinate key G, then existing, it passes to the first flat key. Let us study this on the Modulator, To what does it move ? " To D, the first sharp key of G." Is there between the keys and D any Transmutation chord ? " No, it is a sudden Tran- sition." It is sudden as regards the two Oscillating keys, but the intervening chord is the Subdominant of the previous key and the Tonic of the original key of the piece. Note that in il. 100 p. 54, both Tonic and Dominant of the original key intervene between the two Oscillating keys. To what key does the Oscillation return ? "To the previous key, G, but in the Minor Mode." Now listen to th^ il. again and study the fifth section. • 'With what key does it begin ? " It goes suddenly from key 6 Lah Mode to key I\" Yes, it does ; but the ear is always ready to imagine the original key. If we do this, and if we suppose the first chord to ibe in the original key, then this fifth section con- tains the same Oscillation from and to the original key, which the third section shewed us from and to the key of its Dominant, G. This in fact seems to be the effect on the mind in listening to the tuno ; the second Period is felt to begin with an Oscillation in the Dominant, and the third period to reply to it with a corresponding Oscillation in the Tonic. Shew me the Sequence in. each Oscillation. • Show me all the points in which one Oscillation imitates the other. * The manner in which the Bass of one Oscillation is lifted up into the Soprano of another cannot fail to strike you. Now, notice the change of key between the end of the fourth section and the beginning of the fifth. "We have said that it may be understood in two ways, with or without an intervening chord in key C. If that chord is not supposed then the Transition is one of two removes from G, Minor Mode, to F ; in fact it may be regarded as an OscUlation through the key of C ; but note that it changes Mode and therefore could not create a Sequence, even if wanted here, 96, minor Transition.— Simple change of key, without change of Mode, occurs in the Minor just asin the Major. — to Mrst sharp key. — Listen to il. 151 and study the fourth section, * II. 151. KEY D. G. A. Macfabren. (From " Anglican Symn Book." By permission.) ■''"""■ ■ f tn ■ r :d l^:d' r :iri m :f 1 :se r :t d' :1 s :1 d :d r :t, m :r d :n m :n d' :1 t :i>i Kl :Be 1 :d' d' :1 1 :f r :n d :t, 1, :1, d :d / r :r m ;— n ■i 1 se 1 :t J d :t, d :- t, :r Kl r d :m i 1 :s s : — se M 1 t d' .se f :s A.t. 4'f :ni d :— r :d ii i ) ■'I, :se, 1, :I, 1, se, 1, :- ' >r :t, ',r, :n., f :n f,.s,:l, f r, pi.r raT d 1, "r- t d' :1 d' :lt r' :d' t :1 1 :3e p) :d set:l r se :i7, —to First flat foj^.— Listen to il. 152, and study the second and third sections. * II. 152. KBT Or. Lady Thompson. (From "Anglican Hymn Book," by permission). 3 .m .Kl .ri ;r .n ;r :t, :t| :t, :t, d .d :f .,f l,.l, :t, .1, m .m :r .d l,.l,:r, .r, f.C. t !d'..d i,ni m :m.f i,n r' ;d'.l ile.sei se,:l,.f d.f.C. d'r'.r ;d'.t naf.f ■.m .r • 1.1 -.se.se ar.t :is.d':t ,r' rn r 'd.n:r .i s s 'em .3 ;3 .t d s, 1,3,.S,;3,.S| t :1 d'.d' :f' .n' r :d m m :1 .s se ;1 d'.t :d'.d' 1,« ill 1 .3 If .d . G.t. r's »d ' r.m "■s, What is the key of the second section ? " G, Lah Mode." To what does it change ? " To the first flat key of G, that is Lah Mode." Yes, it is a Subordinate Transition from Minor to " the Minor of the first flat keyl" Listen again to 11. 152 and study its Transitions period by period. In the first period the music moves? "From Major to Relative Minor." In the second? "It Oscillates (without sequence) from the first flat Minor to the first sharp Major." In the third? "It begins again with the first fiat Minor and modulates to the first flat Major." Yes, but this return to is very sudden. Inthefourth? " It returns to the original key, first making a Minor Mode cadence and thena Major one." 97. Two Bemoves, in which Subordinate keys seem to oscillate through some prevailing key hayo been studied in 11. 150. Two removes (Erect from the Principal key are also used for the purposes of sequence. A Transition of two sharp removes changes r into d; one of two flat removes changes ta into d. In the Minor Mode the sharp removes change t into 1, the flat removes s Into 1. Our Illustrations wlU be in the Major. —to Second sharp key. — Listen to il. 153, and notice the beginning of the second period. • Bow to Observe Harmony. • For the present make this 3te. See p IL. 153 . KEY F. Geo. Oaeey. s :in f :1 s :f in :d f :r |rn :s d :d d :d d :t, |4 :s, t, :r |d :d Kl :s f :f s :s |s :iii s :s |s :b d :d 1, :f, n, :s, Id :d r :t, Id :in, G.t.m. f :in r :- s !f in :d >B:f in :d d :d t, :- s, :s, |3, :s, »,s,;3, IS :3, 1 :1 r :- r :r |3 :pi "r :r |s :m f, :fe, s, :- t, :t, Id :d 4et,:t, |d -.d f.C. f.F. fd':l t :r' d' :r' n' :— "d':s in :8 4 b -.1 f :r n :f s :— fd:m |d :r 'd':d' s :s d' :t d' :— d's:s |3 :s >,n:f s :f n :r d ! — 'n :d Id :t, 1 :f n :r s :d r :f rn :r Id :- d :r d :t, d :d t, :d d :t, Id :- m :f S !S s :iii 3 :1 s :f |n :- 1, :r, 8, :f, n, :1, S| :f. s, :s, Id :- TEANBinONB OF TWO KEMOVEB. 87 ^^ ^=^=JMJj iiJj^^^ mmh^ I I I I Ml f n I I iJjj JJJj Ji-JJ AA iiii.jJiiijJ-^iJ What do you otserve ? "A Sequence." Yea, a Sequence rising direct from the prevailing key, hy means of a sudden Transition of two sharp removes. What is its effect on the mind ? " It, is exciting. It seems to repeat the idea with a stronger emphasis." Yes, but if the composer does not wish to produce the effect of two flat removes in returning, how is he to ^et hack to the original key ? " Here he does it gradually ; he first takes one flat remove, and then another." Yes, and in both cases, especially the second, he introduces his distinguishing tones without any marked promin- — to Second fill Tcey. — Listen to il. 164, and study the beginning of th6 second period. [Note that each of these periods has three sections]. * II. 154 . KEY D. Gbo. Oakbt ':s m r |d :ni s :f im :d f ;s |1 \:m d t, Id :d r :t, Id :d r :iii |f j:d' s i im :1 8 :s |3 :a t :d' |d (:d d s, |1, :1, t, :r Id :ii| r :d |f d' n f.D. ■M! :dg :i:f |B d.f.C. it ad' : f s : f s : 'n :d' ;m :d' ;d Id 1||3, |m im, Id' Id |1 If n :t, :f, ;r J,:s, G. :' r t-if, :t :f :s :3 t, :d s, tm, r :d s, :I, d' ! — 1- 1- 8 d : — 1- 1- What do you observe ? " Another Sequence, but it goes down." Yes, it is a Sequence taken from the original key of the piece, moving down one step, by means of a sudden IVansition of two flat removes. What is the effect on the mind ? " It is Sow to Observe Marmony, 88 98. ELEVENTH STEP. 99. not exciting." No, it expresses subsiding lather than rising emotion. If the composer after this wished to give the exciting effect of two sharp removes he could have done so in his return ; hut how does he return ? " Gradually, and without appearing to seek Transitional effect." Yes, but you must remember that sometimes the composer seeks his effect in the return to the old key, rather than in the departure from it. 98. Throe Bemovjs, — Transitions of three re- moves are commonly associated with ModulatiOli. The excitement of three new sharps is heightened when a Modulation to Major is added ; and the de- pression produced by three new flats is deepened by a Modulation from Major to Minor. If you ex- amido the Modulator you will see that the three sharp removes change 1 into d, and three flat removes change d into 1. The fact that the artificial domi- nant ^"M of the third remove corresponds (except- ing kommatio difference) with the Major dominant of the other key— favours the use of this remove. — to Tonic Minor. — Listen to il. loo, and study the first section of the second Period. » II. 155. m :r |d d :t, KEY £. t f i :d' |3 :ni |r :s |s 1 ti [in It, :d :s :d :d :1, \|se, :1, |r :- It, :- |s •- |B, :- x:.t.m.i :1 :r :f :t, r :d {t a.d.f.G. Z is K ""d :t| |1| 4 1, :se, 'n :n M,:t, Geo. Oaket :ri s :d |r :m :d d :d It, :d :s 3 -.1 If :s :d n :f ir :d ll, \n Id .1 se : d r : :ra r : :1, t, : dep, n 3 ',d IS in in Id :f :d -.1 ■i. :r :t, :f Id Id |n Id i^^^i^^pipi I I I What do you observe ? " It is liJce the beginning of the tune only in the Minor mode." Yes, it is the Minor mode taken at the same pitch as the previous Major ; in this it differs from the Eelative Minor. You notice its effect of wild rather than natural sorrow. How is the return made ? " Suddenly." Yes, the composer needed a bright effect to conclude with. — to Tonic Major. — Listen to U. 156. « II. 156. KEY Or. " E. G. Monk. (From "Anglican Hymn Book." By permission.) |1, |1, :- i|l, :- |1, :- |r |1, l|r If, ir lis, lit, B, d d n :r |d :f :I, |1, :1, :1, Id :r :f, jra, rr, :- Id :- se, :- |1, :- PI :- |n :- n, :- |1, :- n :d |d :1, s, :s, |1, :1, d :d jd :r d, :n, |f, :f. n :- I se,:- I n :- I n, :- I :f |n :b :d |d :t :1 |s :3 :f, |d :t, d' :fe |s :n d :d |r :d fe :1 jB :s 1, :1, It, :a Id :- 1, :- |1, :- n :- |f :- d, :- |f, :- f :n jl :s d :ta, |1, :1, f :s |r :de 1, :s, |f, :n, £.t.m.l - |- : "s - : t,r - : n g - :",t, f :- |r :- d :- |t,:- 1 :- |sjf f, :- |s, :- t, :a I, :I, f :n r, ;n, t 1, r r. m :1 |3 d :d |d s :f \m d :d [d d d n d :t,/ :s I :s,/ |^'','i,'i^-'i'i|',"lf'i'r''v' j ^,J J Scu) to Oiserve Sarfnony, TRA-VSITIOMS 01'' TUREK REMOVES. AJTALTSIS. EXS. 119 TO 132. 89 -1 — n—\ — III ' ' I- r Supposing this tune to be divisible into three periods, notice the beginning of the third. What is the Transition ? " It is three sharp removes, and it is a Modulation to the Major." Yes, you notice also a melodic Sequence, and the bright and confident hopefulness of the effect. Observe in the closing part of the tune yet another sharp remove, probably intended to prepare for the solemn return to the last key in the final close. Notice also that this tune begins in one Mode and closes in another, having the same tone as Tonic, — as is not unfre- quently the case in more extended compositions. It begins in G, L is H, and ends in E. For the study of more distant removes see ".Stafl' Notation," p. 28 to 33, and " Construction Exercises," p. 154. 99. Analysis of - Uodulation. — It vvill easily be seen that Modulation may be analysed under the same seven points as those which are used/ in analysing Transitions p. 56. We ask ourselves, l8t,What is the JRemove of this Modulation f Is it to the Major or to the Minor ? — to the Relative or to the first flat or first sharp key ? — to the second flat or sharp key ? — ^to the Tonic Major or Tonic Minor f — and so on. 2nd, What is the Faelor of Modulation, what makes the new mode present to the ear P — some distinguishing tone of the Minor ? some habitual progression of chords characteristic of the Minor .' — some Imitation, or a new comr menoement ? 3rd, What is the Modulation chord ? — on which chord does the ear naturally begin to feel a change of mode ? 4th, What is the Extent ? is it a Cadence Modulation, a Passing Modulation, or an Extended Modulation? 6th, What is its Selation i Is it Departing or Returning, Princi- pal or Subordinate Modulation ? 6th, AVhat is its Manner of Entry F — is it Gradual or Sudden Modu- Mow to Observe Sarmony. lationP 7th, "What is its Object?— is it Modula- tion for Effect or for Convenience or for Prepara- tion of Effect ? The following are examples, il. 14S second measure. 1st, To Relative Major. 2nd, s in first chord of the third measure. 3rd, The fourth in the second measure, P. 4th, Extended 5th, Departing. 6th, Gradual. 7th. Effect. II 146, measure 8. 1st, First fiat minor. 2ud, Tran- sitional Sequence. 3rd, ^L. 4th, Extended. 6th, Departing. 6th, Gradual. 7th, Imitation. II. 146, measure 9. 1st, First sharp major. 2nd, D in measure 9. 3rd, D. 4th, Extended. 5th, Returning. 6th, Sudden. 7th, Convenience and Effect. Ex. 119. Analyse for chord and position ils. 126 to 131. Ex. 120. Ditto, ils. 132 to 137. Ex. 121. Ditto, ils. 138 to 142. Ex. 122. Translate the following ils. into the modem Minor (altering the key so as to place 1 or 1, on the old pitch of d) and write the names of the chords underneath 7, 8, 16, Ex. 123. Ditto, ils. 21, 22, 25. Ex. 124. Ditto, ils. 27, 29. 31. Ex. 125. Ditto, ils. 37, 46, 50. Ex. 126. Analyse, as in pars. 99 and 70, the Modulations and Transitions and Transitional-Mod- ulations and their returns, in il. 144, second section, and il. 147, dose of third section, and, 148, second section. Ex. 127. Ditto, U. 149, beginning of third sec- tion, and il. 150 fourth and fifth sections, and il. 151, fourth section. Ex. 128. Ditto, il. 152, seventh measure, and the same ninth measure, and il. 153, sixth measure, andil. 154, eighth measure, and il. 155, fifth measure. Ex. 129. Ditto, " Lord, in," Add. Ex., p. 33, sc. \, m. 3 ; and " Rise, my," p. 33, m. 3 ; and " Father," p. 34, sc. 2, m. 5. , Ex. 130. Ditto, "Harvest," Add. Ex. p. 40, so. 4, m. 2; and " Away," p. 43, sc. 3, m. 2 ; and "If I," p. 46, sc. 1, m. 2. Ex. 131. Ditto, "How lovely," Add. Ex. p. 59, so. 1, m. 3 ; and " Ye spotted," p. 83, sc. 4, m. 1 ; and p. 84, sc. 1^ m. 1. Ex. 132. Ditto, " The stout limbed," p. 79, so. 1, m. 1 ; and'" The shepherd's," p. 90, sc. 1, m. 2, and p. 90, sc. 2, m. 2. 90 100. TWELFTH STEP. Ex. 133. A nalj-ee for chord, position, and in- oidentalEf, ila. 143 to 146. Ex. 134. Ditto, ils. 147 to ISO. Ex. 135. Ditto, ils. 151 to 164. Ex. 136. Ditto, "Lord," Add. Ex. p. 33; " Rise my," p. 33. Ex. 137. Ditto, " The stout limbed." Add. Ex. '^' ' •,• See " Chord-Naming Examples," A and B, 43 to THE TWELFTH STEP. Ex. 138. Show the cadence rektions (as Ex. 101) of ils. 145, 147, 149. Ex. 139. Ditto, ils. 163 to 166. Ex. 140. Analyse as Ex. 106 " Bon Accord/' Add Ex., p. 11; and "Hope," p. 12; and "My lady," p. 21. Ex.141. Ditto, "Nearer," Add. Ex. p. 34; and " Hear me," p. 17 as far as p. 18, so. 1, m. At this stage of the pupil's progress it is not necessary for me to continue the conversational and experimental style hitherto adopted ; neither is there room for it. Besides, the subject to be next treated has recently been so illuminated by the discoveries of science, that an entire re-arrangement of its Theory is necessary, — and even a dogmatic exposition of this takes aU the room I can give to it. 100. Full Pulse Dissonance. — Professor Helm- holtz has shown that dissonance in music arises from the beating together of two adjacent tones or their partials. What is called " heating " is really a series of cessations of sound, the vibrations of one tone " interfering " with the vibrations of another, and preventing them from being heard. The elementary principles of this subject have been treated, with some care, above at pp. 4, 5, 6, and should now be studied and tested again by the ear. My tract on " Musical Statics " explains the matter more fuUy. There are eight points which should be observed in every dissonance when the student wishes to master its nature and effect. 1st, its Percussion. 2nd, its Degree. 3rd, its Accent. 4th, its Preparation. 5th, its Resolution. 6th, its (Jhord Relation. 7th, its Interval from the Root. 8th, its Object. 1st. Fercussion of Dissonances. — The important musical points to notice about the stroke of the intruding tone, are first, into what chord it intrudes, second, against what constituent of that chord it beats, and third, what tone, if any, of that chord it displaces. Thus we may describe a dissonance as having its percussion " against the fifth of S, dis- . placing the third." The strongest resisting tones are the roots of chords : the next are the fifths. The dissonances which can be most freely used are those which strike against the roots of chords, akd dis- Sew to Observe Harmony. place nothing. But besides these physical points there is a point which stands in relation to taste and feeling. In the act of percussion the proper mental effects of both the dissonating and the resisting tone are strongly asserted. These mental effects are greatly modified in the Minor Mode by the new chord relationship, and the new cadential habits thrown around them, but they are not oblit- erated. The pupU will be reminded of all these circumstances when he answers the question, — what is the tone of the scale which dissonates, and against what tone of the scale does it strike P 2nd. Degrees of Dissonance, — ^A "partial," or natural harmonic, is not a separate and independent tone, but a small part of some ordinary complex tone, — some tone, for example, of a reed or stringed instrument, or of the human voice. It goes to make up the quaJity, the colouring or Mang-tint of a tone. These partials are found in various pro- portions in the tones of most instruments. The 1st psurtial is the principal sound itself, the 2nd (which in the violin is about one tenth as loud) the octave of that sound, the 3rd (one tenth as loud as the last) the octave fifth, the 4th (one tenth as loud as the last) the double octave, the 6th the double- octave-third, the 6th the double-octave-fifth, the 7th a little flatter than the double-ootave-flat- seventh, the 8th the treble octave, and so on, always decreasing in loudness. If two principal tones, standing at the distance of a second (great or small) beat against one another, that beating we call primary dissonance. Thus, — KXS. 133 TO 141. PERCUSSION, DEGREES, ACCENT, AND PREPARATION OF DISSONANCE. 91 If two principal tonea stand at the distance of a aeventii or a ninth, they do not beat against one another, because they are too far apart for beats to be heard. Thus, for example, if the two tones wore delivered by large closed organ pipes, which have no partials, no beating whatever would be heard. But on most instruments and with the human voice one of the principal tones will beat against the second "partial" of the other, and that beating is called sesondary dissonance. Thus, — II. 158. KEY D. (r') ( :d' Id' :t i r r T If two tonea stand at an interval of a fourteenth or sixteenth they do not beat against one another, but one of them beats againsth the fourth partial of the other (which is the double octave) this we call tertiary dissonance. Thus, — IL. 159 (3) KET E. 8 f :- m m s -.d' (f) ni2 S3:- d, Sj iaimj If two tones stand at an interval of a twenty-first, or a twenty-third they do not beat against each other, but one of them beats against the eighth partial of the other. The eighth partial has in most instruments so very small a quantity of sound, that this can scarcely be called dissonance at all, but we may denominate it qttaternary dissonance, or dissonance of the fourth degree. Thus, — II. 160. KEY C. (f) ( :1' s' :ta II. 161. KEY F, (r') :b d' :r' n' iPljS Thus far we have concerned ourselves only with seconds, and octaves added to seconds. These are the most important because octaves strengthen one another, even among partials. See " Musical Statics." But there are other sorts of dissonances. If two principal tones, which are not next to one another in the scale, nevertheless have early, and therefore strong partials heating together they are said to be partial dissonances. This is the case between t| and f, where the second partial of i which is fl beats against the third partial of t| which is fel. If the f is below, thus, . then we have the partials d' and t' beating together. The case of the interval se to r, in the minor, is the same. This doctrine of Partials and Principal tones also accounts for the manner in which the octave-fourth (eleventh) and octave-sixth (thir- teenth) are treated as dissonances (even though not intruders into the chord, see p. 9) — because both these tones would dissonate against the strong third partial, or octave-fifth, of the Bass tone. We have thus five Degrees of dissonance, the Primary, Secondary, Tertiary, Quaternary and Partial. The Partial dissonance beats more strongly than the Quaternary, and in its close position is as strong as the Tertiary. It should also be mentioned that the most effective (strongly beating) dissonances are in the middle range of absolute pitch; for when seconds are high in absolute pitch, the beats are so frequent as to be less noticed, and when they are low in pitch they are so seldom as to he less impressive. 3rd. Accent of Dissonances. — It is quite obvious that dissonance, like everything else in music, is made more prominent by being placed on a strong accent. Dissonances on the strong pulse (as well aa on the strong part of a pulse, p. 69) are called Forestrokes, and dissonances on the weak pulse (as well as on the weak part of a pulse, p. 67) are called Afterstrokes. The question whether a dis- sonance is a forestroke or an Af terstroke influences the land of preparation required and the effect produced. 4th. Preparation of Dissonances. — At the beginning of p. 6 it is explained that to find which of any two beating tones is to be called the Dissonating tone, and which the Hesieting tone, we must place the two together in their closest position, and regard the lower one as the Disson- Sow to Ohaervi Sarmony. 92 TWELFTH STEP. ating tone, because it is really weaker, and more difficult to hold. There are, however, some rare cases, as in ils. 164, 173, 179, in which the intruder does not come in, as usual, with a new chord hut where it enters a chord already struck, so that there is no donbt that the lower of the beating tones is the chord tone, and the upper is the Dissonance, — cases which are peculiarly treated. In continuation at pp. 5, 6, the nature of preparation is shown as one of the apologies for the Disaonating tone, and the effect of Horizontal and Oblique preparation is fully exhib- ited in connection with part pulse Dissonances, pp. 69, 70, 71. But it should be understood that the fact of a Dissonating tone having been heard as a Consonance in a previous chord is not only an apology to the ear, but a help to the voice in singing, giving it firmness and confidence. This is especially the case with Horizontal preparation. Primary and secondary Forestrokes, that is Dissonances having a strong Degree and a strong Accent, nearly always require this strong preparation. Afterstrokes, even though they be Primary, are commonly satisfied with Oblique Preparation. Unprepared Forestrokes especially in the Primary Degree are scarcely used, but even Frimary Unprepared After- strokes are sometimes employed. In the case of Forestrokes, besides observing whettier the prepar- ation is Horizontal, Oblique, Upward ObHque, Waving, or whether the Dissonance is Unprepared, the analyser should note the name of the prepar- ation chord, and the part of that chord to which the preparation tone belongs. Thus, " A as Hoot of D," or " as fifth of D." In the case of After- strokes it is not necessary thus to name the preparation chord. For a table of the signs and symbols both of Forostrokos and Afterstrokes see p. 74. 6th. Sesoluiion of Dissonances. — The Resolution is the aesthetic end and aim of the Dissonance. Tho ear is only disturbed for a moment in order that it may the better appreciate the rest which follows. The Eesolutions most satisfactory to the ear are those which fallen the sweet Third of a chord, and especially those which are received into the most important chords of the key, the Tonic, Dominant, or Sub-dominant. After tho 3rd of a chord, the Hoot is preferred for resolution, and after that the Fifth. Thus in describing Resolution we may say " on third of D," or " on third of its own chord S." It should be noticed that some Disson- Mow to Observe Sarmony. ances are resolved in the chord which they strike, and others into some other chord. In the one case we call them Self Resolved and in the other case we say that they have outside Resolution. Those uncommon dissonances, named above, which enter a chord (waving or unprepared) after it has been struck, are resolved upward; other Dissonances naturally go downward. By this kind of analysis we shall distinctly bring before our minds the three successive chords with which every prepared Disson- ance is connected, — the chord of Preparation, — ^the chord of Percussion, — and the chord of Resolution. 6th. Chord Selation of Dissonances. — As the Resolution is the most important efiect of aDisson- anco.andas its value is in proportion to theimportanco of its Chord Relation, — it is well to describe the place of a dissonance in those general terms of Chord Relation which are equally applicable to the Major and Minor modos. See p. 75. Thus we shall not only speak of a Dissonance as moving from the chord of R to that of S but as moving " from Supertonic to Dominant," which latter phrase would remind us of the corresponding Minor Dissonance moving from Minor T to "'M. 7th. Interval from the Soot. — The relation of a Dissonance to the Root of the chord into which it intrudes is very important. Many peculiarities of Preparation, Percussion, and Resolution arise from this fact. It is obvious that the only possible intruders into a Consonant chord must be 7ths, 2nds, 4ths, 6ths, and their octaves. Thus in the chord of D the only intruders except chromatic tones would be the 7th, t, 2nd, r, 4th, f, and 6th, 1 ; and in the chord S the only intruders would be the 7th, f, 2nd, 1, 4th, d, and the 6th, m. The effect of these intruders is mainly influenced by the consideration of what chord it is into which they in- trude, but it wUl be useful to study first the neccessary conditions in which each one of them is placed, apart from that consideration. This can be done by keeping before our minds the diagram at the side, which represents in Roman figures the constituents of a chord, and in Arabic figures the dis- sonances which stand ready to intrude into it. [In speaking of the Root of a chord we always mean the apparent and obvious Root. See pp. 2, 44. The Partials or natural harmonics (parts of a tone) vanish so 6th : 4th : 2nd; 7th : lard 1st Yth >- lUri 1st EESOLUTIOX, CHORD EELATION, EOOT, INTBEVAL, AND OBJECT. aa fast in degrees of loudness, that they cannot be regarded as models of a chord for co-ordinate principal tones. They form nature's colourings of a single tone but it is certainly unphilosophical to call them nature's chord, unless you use the word chord in a different sense from the common one.] The 7ths are most ussd beoaueo they have the best Percussion, that is against the Soot of the chord, and the best Resolution, that is on the Third of another chord, that other chord having its Root a 4th above the last. They cannot be self-resolved (except in two cases to be afterwards named) because the 7th going downward would only fall npon the 6th which is itself a Dissonance. 'These 7ths are so acceptable that even when Primary and on a strong accent, they seldom need Horizontal Preparation. Even a close Sequence of 7ths fol- lowing each other pulse after pulse becomes accept- able to the ear when Horizontal Preparation is employed. Seeil. 196. The 7ths have commonly the Oblique preparation, but they are very frequently, whether as Forestrokes or Afterstrokes, quite unpre- pared. It may be noticed that the 7ths introduce a new Third (new sweetness) into the chord ; they make a Third with the Fifth. This allows the Third of the chord to be sometimes omitted. Our pupils have been already rendered familiar with the prin- cipal 7thsin use, that is, 'S, 'K, 'T, and ''^^M, TT, tSE. The 2nd3 (that is second tones in a chord, with Primary degree of Dissonance) are so undesirable that, with certain exceptions to be afterwards named, they are scarcely ever used except as Passing Afterstrokes. As they cannot displace the Eoot, they displace th« Third and are self-resolved up- wards. Their chief employment is in the Secondary or Tertiary Degree, when they are called 9ths (not 2nda) even the 16ths being called 9ths. The 9th s have in addition to the Percussion against the 3rd a Secondary or Tertiary Percussion against the Eoot. They displace the octave of the Hoot but not the Eoot itself. They may be self-resolved upon the octave of the ■ Eoot, or they may have outside Eesolution on the 5th of a chord whoso Eoot is a fourth above the last. These 9ths are frequently " coupled " with 7ths in the same chord, in which ease they must always have outside Eeso- lution, because the 7th can have no other, except where upward Eesolution may be employed. In these cases, as yet another 3rd (source of sweetness) is added to the chord, the original 8rd (even at the How to Observe Sarmony. risk of ambiguity) is sometimes omitted. When the 9ths are strengthened by the company of the 7ths they can be used either as Forestrokes or Afterstrokes with various Preparation, but when they are solitary Dissonances they have to be placed in the secure, though prominent position of Horizontal Forestrokes. The 4ths have a good Percussion against the fifth of a chord, which as a Resisting tone, stands next in value to the Eoot. They have the best Eesolu- tion, that is on the third of their own chord. But , on the other hand they displace the third, except in rare cases when the third stands at a Tertiary distance. For a double full pulse Dissonance in the Primary Degree would be unendurable. Not only so, but they leave the chord at the point of Per- cussion without any sweetjiess in it, for unlike the 7ths they introduce no new third into the chord. The Percussion is therefore peculiarly harsh, and needs the strong Horizontal Preparation. But having this, the 4th8 are freely used as Forestrokes. As Aiterstrdkes they commonly have the Oblique Preparation. Our pupils have already been ren- dered familiar with the principal 4ths in use *S and *Jf. They have also studied the coupled Dissonance *'S, see p. 28. The 6ths are peculiarly placed because they have no Eesisting tone of the chord above them, against which they may strike and then fall humbly dovna to their Eesolution. In fact the 6th disputes the office of Eoot, .and is itself an inverted under- third to the existing Eoot. In speaking of Preparation and Eesolution we have shown that theifcjyer of the two tones is properly the Dissonance. If however, this 6th is to be treated like a dissonance (and not as the Eoot of a chord, the old Sth being regarded as its 7th) it must resolve upward. But there is a curious case to be named afterwards, in which the dissonant 7th is to be regarded as the' dissonant tone agaiast which the 6th strikes and then resolves downward on the displaced Sth. These abstract considerations of what must occur to a Dissonance, when stand- ing at any given interval from the Eoot will pre- pare the student to study the new conditions Which key relatioiiship throws aroimd it. Sth. The Object of Dissonances. — The student will soon notice that dissonances are made either for convenience or for effect. If /of convenience, it is to secure a stepwise flow of parts, or to bind together chords which would not otherwise be well 94 101. TWrELFTH STEP. 102, bonded (see pp. 4, 27) or to make unsonoroua chords, Hke T«, see il. 60, p. 32, and il. 138, p. 79, endurable for the sake of the Dissonance, or purposely to dim the sonorousness of a chord, see il. 137, p. 79, or to call special attention to one of the principal chords of the key, the Tonic, Domin- ant, or Subdominant. It is plain that a Dissonance by its clearly marked melodic path does necessarily call attention to the chord on which it resolves, just as the harshly uttered "hark" calls attention to some quiet sound which follows, or a comet directs the eye to the part of the heavens in which it disappears. In modern harmony everything tends to establish these principal " chord-relations " (see p. 3) in the ear. This is notably the case with those Dissonances which are so very common and which we have already studied, 'S and '^'^ calling attention to the Tonic, while *S, *M, 'R, and minor T call attention to the Dominant. If the Dissonance is for effect, it is to develop the natural and proper mental effect of the dissonating tone, by the very circumstances of resistance and pressure which surround it. The Dissonances of effect aro commonly placed on a strong pulse, as Forestrokes. The Dissonances of convenience are -commonly found on the weak pulse, as Af terstrokes. The smoothest, however, of the Horizontal Fore- strokes, when in the Tertiary Degree can scarcely be said to be introduced for any Dissonant effect. The observer of Dissonances should carefully note the object of the composer in introducing them. 101. Classification of Discords. — The object of a classification is two-fold. First to help the clear comprehension of the subject, and secondly to help the memory of the learner. Both are assisted if we can seize upon some groat ruling principle which governs the habits and practices we have to study. It is pleasant to find that the great "enlightening fact" of key relationship, aa. which our Tonic Sol-fa method is built asserts itself here as well as in all the other departments of musical study. The two sets of facts hitherto relied on for the classification of Dissonances have been the various kinds of "preparation" and the various " intervals from the Root," referred to above. But if we use the first we are immediately puzzled by finding the same dissonances (the same as to degree, percussion, resolution, interval from the Root and even accent) prepared in different ways ; so that this is a classification of preparations only and not of discords. And if we use the Houi to Observe Barmony. second, we are met by another sort of difficulty. The classification is misleading a,nd insufiicient. It is "misleading" because it suggests to the student that a 7th on ono chord of the key is as much used and as valuable as a 7th on another, and leaves him to imagine that 4ths on the Submediaut or Leading- tone would be quite as allowable as a 4th on the Dominant, which is not only not the truth but very far from the truth. It is " insufficient," because it does not give a clear comprehension of the chord relationsmp of Dissonances, — andwehaverepeatedly se'en that this aesthetic principle overrules in music, aU other principles. It is only when we have the apology of Sequence that certain Dissonances may be taken on any chord of the mode or key. We have noticed that a Dissonance calls attention, by the direction of its path, to the chord on which it resolves, and it would be contrary to the modem principles of chord relation, thus markedly to draw attention to any but the great characteristic chords of the mode. We find then that the dissonances most used and most acceptable to the ear are first those which resolve on the Tonic (Major or Minor) second those which resolve on the Dominant, and third those which resolve on the Subdominant ; and that if Dissonances are sometimes found resolving on the chords of the Supertonio, the Mediant, the Submediant, or the Leading tone, it is when these chords can be regarded as substitutionary for the greater ones. To illustrate this doctrine, let us take the Dissonance of the 7th. The student mil soon be able to verify the fact that the use or disuse of this discord on particular chords of the scale is tobe accounted for entirely by their chord relation. Thus, there is except in sequence, almost no 7th on the Mediant, because it might suggest the relative Minor and would be unmeaning ; there is seldom a 7th on the Tonic or the Submediant because it would only find the inferior resolution of the Subdominant, and more seldom one on the Subdominant because it would commonly resolve on the Supertonio; there is often a 7th on the Supertonio because it resolves easily on the Dominant ; and the com- monest 7ths of all are those on the Dominant and Leading tone because they resolve on the Tonic. Under each of these headings (Tonic, Dominant, and Subdominant Resolution) those Dissonances are of most importance which resolve first, on the . 3rd, second, on the Sth, and third, on the Root, and under each of these Resolutions those Dissonances are preferred which make their Percussion first as 7ths, second, as 4th8, third, as Qths, or 2ndB, and CLASSIFICATIQlf. TONIO KESOLTTTION. 95 fourth, as 6tlis. A fall amdj as far as the " Text Book " aud " Historical Specimens " are conoerued, an. exhaustive analysis of these Discords is given in "Construction Exercises." "We have only room here to study them in the commonest forms and appearances. 102. Tonic Besolution. — The overwhelming majority of all Dissonances resolve on the Tonic. . Not only are the Dissonances resolving on the Tonic more than twice as numerous as those resol- ving on the Dominant, hut some of them are twice aa largely used as the most used of those which resolve on the Dominant. It may also he noticed that the numhor of those which resolve on the Suhdomiuant or its substitute the Supertonic, is quite insignificant compared with those which find tiieir rest in the greater chords of the key. — on the Third. — The principal of these are 'S resolving on the third of D and ''^M resolving on the third of Minor-Ti, (for which see p. 6, 7, 17, 31, 43, 76, 77, &c.) hut the 4th8 on D and on JOnor-^ have not yet been studied. Listen to il. 162, and observe the fourth chord. « li. 162. KEY D. Db. W. Hatbs. d' 3 :-.f f m 1 t ;d' r' td'.t d' :- m r :t, d - d r :in f :n.r m :- s a :s B - 1 f :s 1 :s s :- d t, :s, d ID n f r :d t :s d :- First, what is its Percussion f " Against the 5th of D, displacing the 3rd. f against the octave partial of B." Second, what is the Degree of the Disson- ance ? " Secondary." Third, what is its Accent ? "A full pulse Forestroke." Fourth, what is its Preparation ? " Horizontal, as 7th of S." Kfth,, what is the Resolution ? " Self resolved on 3rd of D." Sixth, what is its chord Relation ? " Within the Tonic." Seventh, what is its interval from the jtfoii to Observe Harmony. Root p " A 4th." Eighth, what is its object f The efiect of f." [See Con. Ex., p. 137.] Listen to il. 163, observe the" fourth pulse, and answer the questions as above. * II. 163. KEY Eb. Rev. B. G-. Beokwith. mf m :-,r r d T l.s:f 3 :-,f 1*1 _ s, t, :se, 1, - I, 1, :1, s, :t, d - m n :i>i m - f m :f r :3 s - d se,:ii|| .h r de :r t, :b, d - d' d' :d' d' :- t d' :t.l s :-.f m dr n.f :3 f :- r B :f m :r d - 3 d' :d' d' :- r' d' :d' d' :t d' - nf s,l:ta 1 :- gf ni :f 3 :g, d - ^# ¥^^# f^ ¥?^ First, "Against the 6th of Z, displacing the Srd." Second, "Secondary." Third, "A Forestroke." Fourth, " Horizontal as 7th of «if." FUth, " Self- resolved on third of J." Sixth, " Within the Tonic. It is the same thing as *D only in the Minor mode." Seventh, "A 4th." Eighth, "The effect of r." [See Con. Ex., p. 137.] Listen to il. 184. » II. 164. KEY A. G.O. a 1, :t, d :- n r :s d :r m :- n, f, :s, B, :- S| f, :s, 1, :li S| :- .d d :r d :- d t, :d d :d d :- d, f, :f, m, :- a, r, :ni, f, -=t. a, :- 96 TWELFTH STEP. We have ia the second-last chord a very unoommoa Dissonance (r against d, moving upward) but as it resolves on 3rd of. the Tonic, it is named here. See what is said on sixths above, p. 93. Its complete analysis is as follows : — First, '_' Against the 5th of F, r against the octave partial of d." Second, "Secondary." Third, " Afterstroke." Fourth, " Passing." Fifth, " Upward ' on 3rd of D." Sixth, " Subdominant to Tonic." We could have the corresponding chord *JJ, but as plagal cadences are not common in the Minor, (see p. 77, il. 129) it is scarcely used. Seventh, " A 6th." Eighth, "To introduce the effect of a rousing dissonance struggUngagainstthegloomof the Plagal cadence." [See Con. Ex., p. 146.] For the sake of comparison it may be useful to place under the new light we have obtained on the subject of Disson- ances, the familiar 'S and ''^M. Listen toil. 16,andnotice 'Sinthethirdpulse. * It is first, "Against the Eoot of S." Second, "Tertiary." Third, "Afterstroke." Fourth, " Passing from 5th of D." Fifth, " On tho 3rd of D." Sixth, "Dominant to Tonic." Seventh, "A 7th." Eighth, " To establish the key." Listen to the same il., and notice the second-last chord. * It is first "Against the Eoot." Second, "Secon- dary." Third, "An Afterstroke." Fourth, "Guiding preceded by the chord of F." Fifth, " On the 3rd of D." Sixth, " Dominant to Tonic." Seventh, " A 7th." Eighth, " For effect of f and establishment of key." Listen to il. 28, and notice the third chord where the Dissonance is primary but well prepared. Listen to il. 25, second-last chord, v/here there is a double Secondary Disson- ance, well prepared. Listen to il. 26, second-last chord, where the Dissonance is secondary against the Bass, and primary as against the Contralto. As it is unprepared the Dissonating effect is very marked. See a strong case of this Dissonance pri- mary and Unprepared ia il. 49. See it in il. 70, as an Horizontal Afterstroke. See it as an Hori- zontal Forestroke of the primary degree in il. 95. Listen to il. 128, and notice '"JK" in the How to Observe Harmonji. second-last chord. It is first, " Against tho Eoot." Second, " Secondary." Third, " An Afterstroke." Fourth, "Passing, as Eoot of M." Fifth, "On Srdofi." Sixth, "Dominant to Tonic." Seventh, "A 7th." Eighth, "To establish the key." Listen to il. 130, second cadence, where this Dissonance has Delayed Eesolution. See il. 138, second-ldst chord where the Dissonance is primary but Hori- zontally prepared. See also ils. 139, and 141. — on the Fifth. — The pupil has already been rendered familiar with' the principal chords which resolve on the 5th of the Tonic. They are 'T and ■iSJS. See p. 32, il. 60, and p. 78, il. ,135. These chords sometimes resolve on ihe Dominant. [See Con. Ex., p. 138.] — on the Moot. — The Dissonances resolving on the Eoot are 'D, and its corresponding Minor 'Z. Lis- ten to il. 165, and study the second chord of the second section. * II. 165. d :t, KEY 1, Bb. r r :d t, :t, G.O. d :- S| 3, :se, 1, - s, ri, :s, f, ••fi m, :- m d '.r d -. r B, :d r :b, s, :- d m,- :in, f, - ta d, :n, 8. :s, d, :- 9D h, It is first, " Against the Secondary 3rd and Tertiary Eoot of D, I against the octave Partial of m, and the double octave Partial of d." This double Dissonance would be too harsh if it were in the Primary degree, but it might be Primary as to the 3rd and Secondary as to the Eoot. Thus r might be in the Tenor and S| in the Soprano. This Dis- sonance docs not occur either with the Eoot as Primary or with the Eoot displaced. Second, " Secondary and Tertiary.' ' Third, "A Forestroke." Fourth, " Horizontal as 6th of S." Fifth, " Self- resolved on Eoot of D." Sixth, "Within the Tonic." Seventh, " A 9th." We call it a 9th not a 2nd because it never occurs as a 2nd when Hori- zontally prepared. Eighth, "The effect of r." DISSONAMOES RESOLVED ON THE TONIC. 97 [See Con. Ex., p. 139.] Listen to the correspond- ing Minor in U. 166, and notice the second chord of the second section. * II. 166. KBT D. Z is £. 1 n d' G.O. 1 :t d' :~ t t :1 se :ae 1 d :t m :- rn m :i>i PI :r d 1 :se 1 :- t d' ;d' t :t 1 d ■t. 1, :- se. 1, ■.d m :i !d.t, d :- III f :f s :- m r m f :m.r m :- n, f, :f, s, :- s, s, S| S| :s, d, :- DISSONANCES RESOLVED OW THE SUBDOMINANT. lOS Notice, however, that its introduction is aided by its waving in thirds with the consonant incidental 1 ; in fact it seems a case of two part harmony between Contralto and Tenor accompanied by a continuous Dominant. See pedal tones p. 108. Study the seventh and fourth in il. 181. listen to the third last chord. * II. 181. KEY B. BaTTISHILIi. r :d d' _ r r :n s f PI _ d t, :d d - d t, :a d t, d - s s.fin.r d - f s :s 1 s s - d s, :1, im, - f, t :pi 7 r s, d - There in '*R you have the 7th as h and the 4th as u both properly resolved. Note that this is essen- tially a resolution on the Dominant 7th. [See Con. Ex., p. 146.] In il. 182 we haye a threefold discord. • II. 182. KEY E|7. d' d' :t 1 m f :f m 3 1 ;s i} d s, :s, 1, :r :t; :s :1 :d :fe :1, G.O. s :- r ' ;- s :- t, :- 974S r 1 :se 1 :- /Is. t d' :1 t t d' - a' r :r d :- f m •.f r r n - m f :in 1 :- s d' :f s s s - 1, m, :n, f, :- s, 1, :r s, S| d - Mow to Observe Sarmony. Ill The 4th is prepared and self -resolved ; the 9th coupled with it but unprepared ; the 7th is contin- ued and resolved in another chord. This is illus- trated both in the Major '"S and in the Minor "^Jf. These being all properly resolved and one of them horizontally prepared we naturally regard them as the Dissonances rather than the Dominant in the Bass. [See Con. Ex., pi 141.] 104. Subdominant BeBolntion,-r-There are but few Dissonances which resolve on the Subdominant because it is a less important chord of the mode ; a few resolve upon its substitutional chord the Supertonic. — on the Third. — Listen to the 7ths in Us, 183 and 184. • II. d 183. KEY d :t, 1, &. i? f :r H. t, AVELING, s m :- I) B, B, :s, f, - f, 1, :1, S| B| s, - m d :d d - d r :r r r d - d n, :mi DJ f, - f, r, :f, B| t, d - 104 TTTELETH STEP. II. 184. KEY C. X is ^ G.O. m 1 :se 1 :t 1 :s f :ni d':t d':r' d':t 1 n d:d PI :ri d :d r :t, d :in in:f n :r d a> 1 :1 d':t d' ;1 1 :Be 1 :m 1:1 1 :ge 1 I, d im 1 :se 1 :1 r :ni l,:se, l,:r n :n 1, Xc chr.w. L I T I In il. 183 we have the seventh on D as an After- stroke, passing. It may also occur as a Forestroke ■with similar preparation. When it is an h, the t has to he prepared in the chord of S, and never finds its proper consonant Resolution ; ^therefore it is seldom used in this form. In il. 184 on the second-last chord of the first section we have the corresponding seventh on Minor L as an After- stroke, passing. This may also he an ohlique Forestroke. But in the Minor it cannot he Hori- zontally prepared hecause we have no proper Minor mode chord that would prepare it ; the s is only used in this place (instead of se) to avoid the awkward melodic progression se to f. If the melodic phrase were not going stepwise downward, the tone se would he used. Of this we have an example in the third chord, where se occurs as a waving Afterstroke. Note that the "leaping" c position of the Tonic here is excused hecause it is within its own chord, the Bass striking the fifth as it moves from the third to the first. [See Con. Ex., p. 145.] Listen to the fourths in ils. 185 and 186. « II. 185. KEY A. Isaac Fkino. m :r.d t, :1, 1, f :iii.r d :t, d _ rn, s, :s, f. :- d, 1, :s,.f, HI, :r, Kl, - d d :t,.d d :- 1, 1,:1, s, :s, s, - d d, :r,.n, fi :- f, r, :iii|.f| a, :s, d, - *F F Hou to Oiierve Sarmony. II. 186. KEY P. L is B. Dr. Gr. J. Elvet. i; d rn f :- f" m :m 1 :1 1 :8e n, 1, :1, 1, :- 1, 1, :lf d :d d :t, d n :d r :- r n :i>i n :n n :- 1, 1, :1. r, :- r d :-.t, .l,.t,:d.r n :- 1 Kl 1 f f m :f.r d :t, 1, - d 1, d - 1, 1, :li 1, :se, 1, - m 1 1 - r 1 :f m :-.r d - 1, d 1, 'jU ~M r d :r n :i>i, 1, - In il. 185 at the fourth pulse we have *F as an Oblique Forestroke. The t could not he Horizon- tally prepared for the same reason as in 'D il. IgS, ,, and also because it would require to he prepared iia ' the chord S and so cannot fiiid its proper' • resolution in Fa. In il. 186, at the end of tho third section, we have the corresponding Minor *R a is used instead of se for the same re.ason as in the fourth measure of il. 184, and it is Obliquely pre- ' pared because there is no proper Minor chord to f f prepare it Horizontally, and even if the unaltered M could have been' employed we should have the SUBDOMIKANT AND SUPERTONIO RESOLTTTION. 105 progression not generally preferred; M R cor- leaponding to S F in the major. [See p. 21.] — on the Fifth. — There are no Dissonances resol- ving on the 6f th of the Suhdominant, hecause it is the same tone as the Boot of the Tonic, and com- posers always prefer to use the Tonic. — on the Soot. — ^The ninth on the Suhdominant Bdf -resolved may he studied in il. 187. * 1l. 187. Dr. G. J. Elvet. dr m :s s f i>i 1 :s t, :d r Si s, :3| d - d d :d f, :s,.l, t, . m Kl :r d - s d :d f :n r : d d :t, 1, - s, f, :m, r, :d, s, : cm h Irn f :f f n I s :f.m r :r d _ t, d :r d - d t, :d d :t, d - s f :r 8 - f r :d 1 :s m - ' S| 1, :t, d - f, s. :li f, :S| d, - - ^^^^g^ The corresponding Minor 'JJ might he used. We do not call this the 7th on the suhmediant ('L or ' F) hecause it is ohvious that the suhmediant chord would not hear to he completed hy the addi- tion of its dth. It is evident that the ear regards it as 'FA om., or in Minor "JJA am. The same Dis- sonance may occur in the a position of the Suh- dominant. But in the following case of outside vfieeolution the oth of the suhmediant chord is inserted, and we therefore regard the Dissonance Sow to Observe Sarmony. as a 7th. See it in Minor, il. 188 second chord of second section. • II. 188. KEY Bb. L is G. G.O. The corresponding Major 'Ty could be used in the same way. [See Con. Ex., p. 146.] — with coupled Dissonances. — "D and Minor ^'X are used as Full Passing-tones on the weak pulse. — Substitutional. — The following Dissonances are occasionally found, resolving not on tho, Suhdom- inant, hut on its suhstitutional, R or Minor T. Study the 9th on the Suhdominant in ils. 189 and 190. • II. s 189 d K EY ] r F. s 1, :r Bellamy. a :t, d :- 11 S| s, d t, - a 1, :1, s, -.s, s, - m s s s - 3 s :f n :r m - d m i B, - m. f, :r, 9p s, :8, d - II. 190. KEY Bb L is G. G.O. 1, d :t, 1, :- m 1, :1, 1, :se, 1, _ 1 1, 1, :se, 1, :- 1, f, :f, in, :r, d, - d n :r d :- m m :r d ;t, 1, - 1, 1, :i>i, f, :- d, r, :r, m, :m,- 1. - 106 TWELFTH STEP. 105, 106. In il. 189, second chord of second section, we have 'F witli outside resolution. Compare il. 187. [n il. 190 we have the corresponding Minor '.K. In il. 191 we have 'E in the Major mode, self-resolved. * II. 191. KEY G. G.O. m f 1 s :- m f 1 r :f m :- s, d d t, :- m m r.d t, :t, d ;- d d f r :- d I f.i>i r :r d :- d 1, f, s, :- 1, r, f, S| :s, d, :- ,9R ^^ (g*"™- ?^?^ I In il, 192 we have the same thing in the i position, 'EA. Compare for om. il. 187. * II. 192. KEY E. d r :m # n r 1 s :d r :ni s, s, ;ta, 1, - d d :d d :t, ni f :s 1 - r n :i"T, &o. 26. — The Dissonances in Discords (see def . 5), such as those referred to iu the foregoing rule, are to he numbered in accordance with rule 6, whether occur- ring on the weak pulse or on the weak part of a pulse. 27. — ^Where a Pedal tone (either Bass or inverted or both) is used, the chords, whether Dissonant or Consonant are to be analysed independently of it. 28. — The distinction between lie bracket, p. 108, par. 107, and the parenthesis, p. 48, par. 56, should be carefully noted. 29. — In analysing persisting tones (par. 106) it is not necessary to number in the chord the Dissonance which persists. It will be enough to write pers. d, pers. s. &c. 30. — When a chord is repeated or continued in the same position for several pulses, it should be named only at the first pulse of each measure, and its dura- tion shown by continuation marks. If part-pulse or weak-pulse Incidentals occur their apologies can be placed under the continuation mark of the proper pulse ; but if a fuU-pulse or strong pulse Dissonance intrudes, the chord must be distinctly named and numbered, and it must be named again when it returns to its consonant form. Thus — INTERRUPTED RESOLUTION. RULES OF OONVTSNIENOE. EXS. 142 TO 180. Ill IS :_:_|D:-:_ 2mi . S :-.d' m :-.s i' :-.in' d' :-.dl T> -.Di |D :— :— |"D :D 2o 31. — Such a passage as this — may "he analysed as under instead of thus — ID : — II so as to show the rhythm. S tga 32. — Two-part harmony is not analysed. Ex. 142. Describe as in par. 100, 102, the eight points of the following discords; — *D, il. 173; ^L, il. 174; ^S, il. 176. Ex. 143. Ditto, 9»«if, il. 177 ; '^"M, il. 178 ; "S, il. 179 ; "ilf, il, 179. Ex. 144. Ditto, *>»M:, il. 180 ; "E, il. 181 ; "^M, il. 182. Ex. 145. Ditto, *F, il. 185 ; *S, il. 186. Ex. 146. Ditto, ■'F, U. 188 ; 'F, U. 189 ; »i8, a. 190 ; 9E, fl. 191. Ex. 147. Ditto, 9ES, om., il. 192 ; *R, il. 193 ; «»Ei, il. 194 ; "Ti, il. 195. Ex. 148. Analyse for Chord, Position, and Incidentals, ils. 162 to 168. Ex. 149. Ditto, ils. 169 to 174. Ex. 150. Ditto, ils. 17S to 180. Ex. 151. Ditto, ik. 181 to 187. Ex. 153. Ditto, ils. 188 to 193. Ex. 153. Ditto, ils. 194 to 198. Ex. 154. Ditto, Us. 199 and 200. Ex. 155. Ditto, "God speed,"' Add. Ex., p. 1 ; " Jackson," p. 2 ; " Fortune Hunter," p. 4. Ex. 156. Ditto, "Thou shalt," p. 7; "Quail Call," p. 14; "Hear me," p. 17. Ex. 157. Ditto, " Come let," p. 24 ; " HaUelu- jah," p. 26. Ex. 158. Ditto, " Nearer, " p. 34 ; " The Gipsy's," Choruses only, pp. 36, 37, 38. Ex. 159. Ditto, " Harvest home," p. 39 ; " The Spring," p. SO. Ex. 160 Ditto, "Awake," p. 62. Ex. 161. Ditto, "Theme," p. 66. Ex. 162. Ditto, "The woods," v. 1, p. 71; "Ye spotted," p. 81. Ex. 163. In "Jaokaons," Add. Ex., p. 2; " Hear me," p. 17 ; " HaJlehijah," p. 26 ; " Theme," 68 ; " How lovely," only p. 61 ; « God Ex. 165. Ex. 166. Ex. 167. Ex. 168. Ex. 169. Ex. 170. Ex. 171. Belation, p. only p. , .... speed," p. 1 ; " Gipsy's," p. 35 ; " Ye spotted," p. *.* See " Ohord-Naming Examples," A, 63 to 69 ; B, 63 to Sou) to Observe Harmony. 81 ; "The Spring," only p. 62 ; "Harvest," p. 39; ' name all the different kinds of 7tha, except 'S and part-i)ulse 7ths, 'D, 'J, &c., giving the score, mea- sure, and pulse in which they occur. Ex. 164. Ditto, the different kinds of 9ths. Ditto, ditto, 2nds. Ditto, ditto, 4ths. Ditto, ditto, 6ths. Ditto, ditto, coupled dissonances. Ditto, ditto, overflowing Dominant. Ditto, ditto. Holding tone and Pedals After studying over again Cadence 45, 46, 64, analyse the cadences (as Ex. 101) 'of the following pieces :— Ils. 92, 97, 137, 144, 145, 146, 169. A cadence in the Tonic of the Eelativo Minor of the first flat key is marked thus, Ki. Ex. 172. After studying over again Sectional Eelation, pp. 61 to 64, analyse (as Ex. 105) the relations of ils. 147 and 148. Ex. 173. Ditto, ils. 150 and 151. Ex. 174. Ditto, Add. Ex., "The Quail," p. 14; " Time for joy," p. 16 ; " Lord," p. 33 ; " Else," p. 33. Ex. 175. Ditto, Add. Ex., "Father," p. 34; "0 the joy," p. 67; "Where the," p. 65; "Morning," p. 79. Ex. 176. After re-studying the analysis of Transition and Modulation, pp. 66, 57, 89, analyse the Transitions, Modulations, and Transitional Mod- ulations, never omitting the returns, — in ils. 163, 172. Ex. 177. Ditto, Add. Ex , " Nearer," p. 35, sc. 1, m. 1 ; ditto, p. 35, sc. 1, m. 3 ; ditto, p. 35, sc. 2, m. 1 ; ditto, p. 35, sc. 2, m. 3. Ex. 178. Ditto, Add. Ex., "Away," p. 42, so. 3, m. 1 ; p. 42, sc. 3, m. 6 ; " The Spring," p. 52, sc. 3, m. 1. Ex. 179. Ditto, Add. Ex., "The Spring," p. 61, sc. 6, m. 1.; "Theme," p. 68, sc. 5, m. 2 ; " O Saviour," p. 86, sc. 1, m. 2. Ex. 180. Ditto, Add. Ex., « The stout limbed," p. 78, sc. 6, m. 3; "Saviour breathe," p. 92, so. 1, m. 4 ; " The Spring," p. 52, sc. 1, m. 3. 112 113, 113. THIKTEENTH STEP. THIRTEENTH STEP. 112. Chromatic Besolutlon. — A development of the sub) not of Chromatics will he found on pp. 58, 69, and these paragraphs should he thoroughly mastered hefore proceeding to the studies of this step. On the theory that chromatics may, with few exceptions (to he presently noted), be regarded as Transitions nipped in the bud, — we shall seek in each case for the Transitional Model ; that is we shall find out what the threatened Transition is, for it is the resolution which makes the Chromatic effect. It is worth noticing that the chords which are most used as the distinguishing, chords of Transition, are also the chords most used with Chromatic Resolution, — first, those from the first sharp key shewing fe and re, next, those from the first flat key, shewing de and ta, and next, those from the third flat key, shewing la and ma. After these we have chords showing ra with la, whose nearest models are in the fourth fiat key. Then chords with re and f in opposition and la and fe in opposition, which, it is evident, cannot have relation to any one key. 113. Chromatic re and fe. — ^Tho tones fe and re remind us naturally of the first sharp remove. They occur together in the chords, f^'-'T, '"«^T, ''^^JRE, and as incidentals within the chord D. The most natural interpretation of these chords would he to suppose them the ^M, '"'M, or '5jB, of the first sharp key (see the Modulator), and we should expect them to he followed by X of that key, which would he called Sf (not "M) in the original key. Thus would be made a Transition (and if the original key were Major, a Transitional Modulation) into the first sharp key. But when instead of tha,t the chord moves to some characteristic chord, like s^M, 'sejif; xc, or Zb, of the original key we feel that the Transition was only threatened and that the ear has faster hold of the original key than hefore. Listen to il. 205, and notice the second chord f"er. • II. 205. KEY H ZiaS. G.O. re :r d - 1 :t d' :t 1 _ d t, :t, 1, - d r :t, n :r a - 1 fe :m n - 1 f :fe 1 :se 1 - 1, t, :iie, 1, - 1 r :re n :in 1, - text J* Sow to Observe Sarmony. Its Transitional model is "^W of the first sharp key, hut if it were Transitional it would resolve into M which would be the same thing as L in the new key. It, however, asserts its Chromatic effect by resolving into the Dominant 7th of the original key. Listen again to the fourth-last chord where we have the same '-""T, resolving chromatically into the third position of the Tonic of the original key.* Compare the second part of il. 102, where we have analagous Resolutions of Chro- matic fe (without re) in the Major mode. The pupil may try to find other Chromatic Resolutions, that is other Resolutions strongly asserting the old key, for this chord, and he will find that the tone t prevents its moving to the Major chord "Do. In the Minor t is not the leading tone, and may be doubled (as it must be in this chord unless we were to com- mit the harshness of doubling one of the Chro- matic tones). But in the Major mode t is the leading tone and cannot be doubled without con- secutive octaves, see p. 44. Listen to il. 206, second chord, and fourth-last chord, where you have the same chord with the 7th upon it, resolving Chromatically in a similar manner. * II. 206. KEY A Z is ^l G.O. 1, 1, :se, 1, _ r d :t, d :t, 1. - m, fe, ;m,, m. - 1, 1, :1, 1, :se, 1, - m re :r d - r m :fe n :r d - d t, ;m| 1, - i, m, :re, m. :n, 1, - 7 fe rey CHllOMATIC RES0LUTI0I7, INSTBAD OF FIRST SHABP TBANSITION. 113 Note that the Dissonanoo in the second case has delayefd Resolution. Compare with the Chromatic Discord on the Major Siiportonic in the . close of il. 101. Although the resolution is only delayed in these cases the dissonance might have been simply continued without any downward resolution, like d in 'R il. 258. This we call Horizontal resolu- tion. Listen to il. 207, and observe the first- chord of the last section. * It. 807. keyO. iis.,:^. Br. Clarke Whitfeld. 1 1 :1 1 :se 1 1 :1 1 :se 1 i- K) m :f m :- m f :ni f :ni n :- d' I :l.t d' :t d' d' :d' t :t d' :- 1 a :r m :- la f :d r :ni li :- 1 1 :1 1 :- 1 se :1 1 :3e 1 - f •f :8 f :- fe m :in m :in m - d' d' :de' r' :- d' t :d' t :t d' - f f :n r ;- re m :1, in :in 1. - ''^RE -^,J .0,-^J.,-^ i^,J_i I i^^^g^^ r^ I I If it moved to M instead of to "M, we should nSturally regard it as ''SE going to L in the first sharp key, but as it moves to the Dominant of the original key, we analyse it as '""IRE. As in ''SE, p. 78, there is no real dissonance, no apology is needed for the seventh. Listen to il. 203, first chord of second section, where the same chord resolves chromatically on tie Major chord Dc* „ ^, _ "Note that the tenor Sow to Observe Marmony, II. 208. KEY E. '^ . .... '^ Jqule. m s d' d' t 1 s :s.f n :r d :- d d Kl r - re m :iii.r d :t, d :- 3 s s s - d', d' :f 3 :-.f n ;- d m d s - fe 5 m»FE :1 S :g, d :- As the .chant is in the Major, this chord threatened Modulation as weU, as Transition, and its Chromatic ofifeot is all the stronger as it implied a clinging to the old mode as well as the old key. The doctrine and practice of Chromatic chords was never very carefully explained till Mr. Macfarren wrote. Hence it is that musicians write some chromatics — ^this par- ticularly — either with a sharp or with the flat of the tone above, so that the chords 7'"EE and """FE are interchangeable. We prefer the second interpreta- tion because, as we have seen, re properly belongs to the Minor mode. Listen . to il. 209, second chord. * II. 209. KEY Or. C. J. Whittingto:!. n re :ri f :in r d :iii r :d ti - d d ;d. d ;- t, d •.a 1, :1, s, - 9 fe :s 1 :8 sf m :s r :r r - d d :d d :- s, 1, :m, f, :fe, S| - fere J) 2w/ f m :s s f ^7\ r n d d :t, d - m. s, :ta. ta, 1. ti d li s, :8, S| , d d :d d - 8 s f m :r n d d :nii f, - Si d f, s, :Si d, - fah is below the bass lah. 114 114. THIRTEENTH STEP. THa chord maybe analysed eitlier as '""D, with two "Waving Forestrokes within the chord of D (see il. 226), or as """FEo, the d in hoth parts being continued instead of resolved in the ordinary way. We prefer the first interpretation and would regard it as a model of ornamental Chromatic tones, run- ning in couples. In either case the chord is Chro- matic not Transitional, for it moves to the Tonic of the original key. See two parts moving while the other two parts stand, above in il. 203. Notice in passing that the cadence of the third section is a case of overflowing Dissonances, which reminds u.s of ils. 169 and 170. It is not Chromatic like FE4 il. 103, pp. 53 and 59, hut a clear case of fiat key cadence (p. 54). If il. 103 had its last measure cut offi we should regard the cadence left as transi- tional (^D), not Chromatic. If the a in the third cadence of il/ 209, had outside resolution (on E. or Hi) we should call it Chromatic. Compare Add. 'Ex.., p. 59, sc. 5, m. 1. 114. Chromatic de and ta. — These tones natu- rally remind us of ^^ first flat remove. Listen to il. 210, the second chord of the last section. • li. 210. KEY Et). Lh&G Sir J. Goss, f^ rs from BEETHOVEif. m m :ii d' :- m';- 1 :ta 1 :se 1 - m :- r :d r :r d :- 1 :- 1 :f m ;r d - d':- t ;1 ta;se 1 :- 1 :- d':r' d':t 1 - 1 :- n :f r :ri TAb 1,:- d:- f :r m :in TAb 1, - p=^-- B m =i III . ' . . r I --mzfin =ni|=t ^ =1= i I r J J J. J J p^^^ip Here we have the chord TA with two Chromatic Kesolutions. Its model is P of the first flat key. It is the commonest form of what is called the Neapolitan Sixth, having a " minor sixth on the second of the scale." Listen to il. 212, and notice the third chord of the second section, and second chord third section where you have the same '^'Z as in il. 210 with a. 7th resolving Chromatically' on the Dominant. • CHHOMATIC EESOIirriOir INSrSAB CJ KHST FtAT TEAJJSIUOJJ. 115 II. 21i3. KBY C. G.O. n in :f s :- s 1 m 01 :1 se d ta, :t, d :- d d de r :d t, 9 3 :a B :- m 1 s se :1 m a d :r n :- ||d h. 1, t, :d.r m taD /^ cAr Hex, 1 1 :t 1 :- a d' :d' d' :t d' - d de :r d :- m 3 :r m :f n - 1 a ;se 1 :- d' ta :1 3 :3 a - H. f :- d :m :fe 3 :3, d - J J _ I , J j , J J , I Idsten again to il. 212, aecond chords of first and fourth sections and notice the corresponding Chro- matic DLscord on the Tonic of the Major mode, resolved chromatically . on 'S and on onoiAe)- Chro- matic chord "'^R. Notice that this other Chromatic chord immediately resolves on Dc. Listen to U. 213, and notice tiie third-last chord of the third section. * II. 213. KEY D. GO. i-' nt :fe s ;- s 3 a a :s f - d d :d r :- r d ra r :d- d - n s :1 t :- t d' ta t :d' d' - d d :1, 3, :- 3 Kl rat HI f :n 1 - J J,JL ..■ ^i BiW_i ^^^^^n^s^ T Here we have both de and ta in the same chord, and if we examine the Modulator we shall find that its Transitional model la ''SB oi the first fiat key, hut instead of going to the chord S (which would he L in the first flat) it goes to the Domin- ant 7th of the original key and so makes a Chro- matic Kesolutiou. Listen again to il. 213, third chord of second section. » Here we have what is often regarded as a different chord (■'"'"M whflaa Trauaitional model would neceaaarily be ''SMfowr flat removes away) but what we prefer to regard aa the same chord differently written, and introduced ■ in the Majbr mode, just as we found '"^RE differ- ently treated in ils. 207- and 208. We prefer this interpretation because of the nearer Transitional model. But writers in the staff-notation have fallen into the habit of writing it with a sharp (making d de r) when it occurs in the Minor and with a flat (making d ra r) when it occurs in the Major mode. Here it resolves Chromatically on the Dominant 7th in both modes, but, of course, the Chromatic effect is stronger in the Major becawse the chord then threatens change of mode as weU as change of key. The correlative of the chord in the Minor ia '•'^•Z, and in the Major, '»t»D. Listen to il. 214, and notice the 6th chord. * II. 214. KEY D i is .B. G.O. l» 3 :3e I t- r d' :d' d' :t d' :- / rn n :ki m:l 3 :ser l;t ta:l se;l a':t I d de :r n :- r m :d r :f m ;- ):d de;r d:d de:r dim It :re r :d m ;r d 1 n :in 1 :- se 1 :d' 1 :3 3 :- i:l ta:t 1 :1 t :t l:3e s :fe f.niHi.l 1 :ae 1 ^ ta, :t, ^BEd d :- t, li ;n f :3 d :- (:1 3 ;se l:f n :ra ■•DEb l,:in.r de:d t, :1, ncm 1. Mow to Oiierve Barmony. 116 115 THIRTEENTH STEP. 116. ^■. =f=$-r m J^ j^,.j . J ,J IT ^^ Here is a chord resembling tlie last witK the excep- tion that the 7th is sharp and not flat. This sharp 7th is not to ho found in the TraD^itional model, but being a note of the original key it is easily introduced. This chord does not suggest change of key, but it suggests lineertainty of key, which its Resolution instantly removes. It resolves on the Minor Dominant. 115. Chromatic la and ma. — These tones natu- rally suggest Transitional models in the third flat remove. Listen to il. 215, and notice the first chord of the last section. * II. ID 215. J r :s PI Eb. Bb t. .d :-.r R. E n :r . Eo d ss. d d :t, d - df, s, :1. B, :-.f, m, 3 fe :s s - ir d :d d :t, d - d 1, :s, d - ',r, m. :f, s, :s, d, - f.Eb. :ta :a :s :n la r t f »T II- I I It has no Transitional model. Its fe suggests the first sharp key, and its la the third flat key, but the dispute is immediately ended by the Resolution either into the Dominant or into the c position of the Tonic of the original key. Listen to iL 222, fourth last chord. * II. /ft m 322. K f :3 BY Ab. n :- Dr. nt Staine r :d a,, from f :r 3pohr. t, :- s, la, :s, s, :- 1, t, :1, 1, :1, a, :- i m r :r d :- d n ;pi r :r r :- d d :t, d :- 1, se, :1, r, '.t, B, '.- T 1, :r d :t, m f :fe s- :a d - a, 1, :1, Bj :-. a, d :d d :t, d - d d :f m :r d d :i>ia m :f m - n, . f,, :ri a, :- dta, 1, -.la, female Si L :a, d ~ ^S^ ^ ^ AJ^^A ^^ ^ Hau! to Observe Surmony, Here is another chord having an augmented 6th (be- tween la; and fe) above its Bass, and also a 5th, ma, which is sometimes written re. This chord is called the German 6th. Listen to il. 223, fourth last chord, and study another Chromatic chord without Transi- tional model, containing another augmented 6th from the Bass (la) to fe) but having r instead of ma. Ii/. 823. key F. E. Baenby. m f :fe d 1, :r a 1 :1 d d :d m f :r HI :r d ;- d d :d d :t, d :- a f ife a :f n :- ta, 1, :1a, **»LA a, :3, d, :- i^i^ife -J-BW- a=i!. ■p—fS- ^■=f=^ ;3EgES3 I I i -■L, m r^- m 1A-.A -r-^f- ■1 — r- -i- ^ Listen to il. 224, and notice the corresponding chord of the Minor mode. The chord in thia form (whether in Major or Minoi: mode) ia called the French 6th.* In all these cases the augmented 6th to the Basa (re in the Minor above f, or fe in the Major above la), may be reckoned a constituent of the chord, and as its progression is uniform it need not, although a dissonance, be apologized for in the analysis. The 4th to the Bass in the form of the chord seen in ils. 223 and 224 having also a comparatively free pro- gression needs no further notice in analysis than the number of the dissonance in the chord name. The same rule applies to the augmented sixths in il. 225. II. 224. KEY Ab -C is Ji". Compare previous II. i r ;re m ;- , de r :t, d :t, 1, - 1 1, r :t, t, :- 1, 1, :1, 1, :se, 1, - n f :fe m :- n r :re in :r d - 1.. 1, :li ae, :- a, f, :f, irejf in, :n, lo - rHKELATED AND OBNAMBNTAL CHK0MAT1C8. 119 *AA^J-*J^J^Jj. Here more strongly than in il. 220, f with t asserts the original key, and re the first sharp key, hut the third position of the original Tonio immediately asserts itself. Listen to il. 223, and in all the chords which are there aaialysed except the last, study other but far less common forms of the aug: mented 6th. * n d s d d' m d' d (It \|t, Jim l|se, 335. KEY F r :s |s ;d r ;f \m C.t. :=d t ;t a.o It ir' t, :t, Id :d t, :t, |d :'s la :1a {s :f s :f \n -.a f :f |s :»d' r' :f' If :t I :ra |d tin 64 EA f.F. :- 1- -M r :t,m |re r :r ■.m a|r A se :s, 1 ;- 1- : »r r :de |d :d r r :— |— -.^^'se se :5 |fe ;m.,l f f :- 1- : " t, ta, :ta, -|1, :1, ta, 1, 7sej3 |a |r It |s, I- ii i^^iJ- r I 'I I I ,1 I I I I I Hotice that in all the cases of augmented 6th which we have given, the eths do not bear in- version into 3rds, but any other note of the chord may be placed in the Bass. Listen again to il. 225, and study the fifth -last chord ''"D. It i» quite as often used without the 7th. It is the Mediant of the Minor, mode. The se being a dissonance to the Bass needs preparation, but to save the awkward progression se f it is resolved upwards. 117. Ornamental Chromatics. — As we noticed in par. 108, il. 203, p. 109, that Incidentals are more easily introduced when placed within a chord so is it with Chromatics, especially when they are taken wming like under or over leading tones, or sliding from one scale-tone to the next. Thus we explain the uncommon Dissonances and Resolution, in il. 226, — the fe and re, in m. 1 ; the le and de, in )». 2 ; the ta in m. S,p. 2 ; the ma in m. 3, p. 4 ; the de, in »j. 4 ; the la, in m. 5, p. 2 ; the fe, in m. 6, p. 4; and the de (substituted for r), in m. 7. • When these Chromatics occur as aiter- strokes they are to be marked under the chord-name as ehr. p., ehr. w., &o. When they are " con- stituents " they must, under Eule 23, form part of the name of the chord. II. 336. KEY D. r' ;de' |r' it f :- I- t :le It d' m' |re' :m' m :s |fe :s 3 :- 1- :- d :- b- :- 2l»/ 2 ehr. w. ma. G. d' :- I- ma : s j f d' ;- I- la,;tai jla, ;b, / n>»LA'»I)(^'"F4™'Il!c I- de' |r' f, :- I- p _ ep clir, p. u B :1a |s :fe r :f |m :r t :_!-:_ s, :- H :- S 'S 6S S cAr. w, o ehr. p. |re :m jfe :s I- ":s, mapEJ f r 1 f, lib— - \T :- de |r :t, - If :- d :- I- d :- I- n :— I- d :- l-r cAr. tif. Soto to Observe Sarmony, X20 118. XHIRTEEirrH STEP. 119. 8i :n :r d ;— :— .t,:t,.t,: .t, .8|:s,.s,: ,s, .f,:f,.f,: .f, d s, m, • ^~ ■ "^ 8,. : :8, . a, ;— :— 118, AnalysU of Accompaniment. — ^In instru- mental accompaniments chords are often broken and distributed over a ivliole measure, or half a measure, instead of being struck fully at once on the first pulse of the measure. Thus in il. 227, m. 1 to 10, the Baas notes which fill but one pulse are to be regarded as occupying the whole measure, and the other notes are to be looked on as commencing at the beginning of the measure. * II. 227. KEY F. G.O. n :-.r :d 8| :d :ni f :m :r :d :d :s, :s, :d :s, :d :b, :t, :s, :t, :s, a, : : m, ; • B, : : d :— :a :-.t:l :s :d :r it, :s, :m :d. :8 :d :s, :pi :d ;ni ;ra :d :d :3, :s, :r :t, :s, :r :d ife, I :- .T :d ,s,:d ,pi :d .s, ;— :s© f.,l,:d,f :r.f, Sow to Observe SarmoHjf. :d :ii| .8|:d ,iii;d .8, d, : : 1 :-.s:f .t:t.ts .11 .d:d.d: .t, .l,:l,.l,: .8,1 t,. : :s, , ^^^^m. ^^^^^ ^. ^ But it will be seen that there are certain passing notes in the melody which must also be recognised in the analysis thus | D : - : - | Di: - : - | 'S : - : - || p and {Dc : - :'S), &o. It is as though all the notei. (not including the pass.) were pushed back to the beginning of the measure ; written thus, the con- secutive unisons in m, 10 would disappear. The ANALYSIS OF AC0OMPAlriMB:^T. 121 Rhythmio-chorclal aceompaniments in m. 1 to 8, as well as the Arpeggio accompaniments, m. 9 and 10 are felt by the ear aa only broken forma of sustained chorda. JIf. 11 would be thus analysed | F : — : ''Sd. p The Mi. 13 to 15 are in the same style as m. 1 to 8, only with greater rhythmical variety, and they should be analysed in the same way. 119. Examples of Analyses. — ^Afew examples of rare or difficult analyses are here added, with remarks on each case. H. 228 is a case of Double (Tonic and Dominant) Fedal, with pure two-part harmony above it. As we do not analyse two-part harmony, the analyser has only to place empty square brackets beneath the II. 228. kbtO. Giro Pinsdti's "A Spring Song.' ;r .m |r :n .f :f, .s, |f, :s, .1, :3 |3 :3 :d id :d :8, I '° :3 t n r Id s, t, im, s 3 |3 d d la. ] #^"^-7^ =#^=IP II. 229 is a case of IBrolcen Pedal. The Tonic Pedal is heard on every accent, although the chord is " broken" aa in Rhythmic chordal or Arpeggio accompaniment. Sen il. 227. In instrumental music the Pedal is sometimes much more broken than rhere. In this case, besides the Pedal, only two-part harmony is left, So that we mark the passage like that in il. 228. II. 329. KEY Ab. W. Macparren's " Cradle Song." :i>i.f B :1 |3 :in.d f :n.d|nt :d .r m :d.r m :f im :d.d 1, :b,.iii,|3; :ni,.f, S| :s d :s |d :s d :s |d :3 d :S| d :s, |d :s, d :s, |d :s, fd now to Observe Harmony. In il. 230, second chord, we have a peculiar case of Interrupted Besolution (see p. 110), in which r resolves on the d of the next pulse but one, but with an interruption. The Sj interrupts as a con- sonance, and then joins itself to the resolution by quick stepwise dissonances ; — so that both the dissonance r and the interruption, 3, 1, t| direct the ear to the resolution d. When one part-pulse dissonance follows another in the same " part," we write the analysis on the same line, not one under the other, and place the sign " & " between., II. 230. f f KEY Ab. Henry Leslie's f.Db. — |rn :rd' 'The Pilgrims.' t :- .1 Is d .r r S, l,.t, Id :ds s -.f |r s S r im :ds d' - .d' |r' l,.t, d S4£) 24 lint.ra - Id — D 9 UO dip :',ni f - .i It, m^^'-^-i-^^^ \y i-J r r r 1 i i c rIF ^l'^ U -I 1 \ 1«— ■41' Inil. 231, we have the dissonant fourth (d)repeated in another pulse, though in the same chord, befor* its resolution. It may be called a Continued Wooing tone. The second w is marked by a continuation line. The 1 in the Air of the second pulse we treat as a guiding tone resolving like the second in il. 179, and the sixth in il. 173. Its resolution is interrupted not by a consonant tone (ils. 204, 230), but by the repetition of a dissonance (d), already sounding in the chord. 122 THIRTEENTH STEP. Il 231. KET E. Calkin's "The chivalry of labour." In il. 232, wo have a sequence of sevenths (see il. 196), the dissonances being first in the Bass, next m the Contralto, and next in the Tenor. The m in the first case and the d in the second are Out dissonance^ the progress of the dissonanoo itself being cut by a silence, while the resolutions are regular. It has no interrupted resolution. The 1 in the third case is a dissonance with delayed reso- lution, that is, passing as a consonance through another chord. Notice that, in analysis, we do not repeat the h, in such cases, but simply use the continuation mark. Notice a case of Omitted Root. See p. 44. The chord 'S is struck on the medium pulse of the third last measure, and on the strong pulse of the second last ; and as all the parts except the Tenor are simple continuations we think that the ear will regard ' S as the prevailing chord to the end, and the tones in the Tenor as only ornamental incidentals within the chord. II. 232. KEY r. Macfarkbn's "Orpheus, with his lute." ;t,.t, :s.s ;n.ni f.,s:f d :d 1 -.1 nt :n ■'Frf — f.,Si d : 1 I :f .f :d.d :1,1 ;m.m w — h :f.f .:d.a :1.1 :r.r f ,,s:f t, ;t, 1 :1 :r 'E 'TA — A del.ree. If :f r' -^ 1 — — — — 1— — — \i :d f — I — — — — | — — — |1 :1 1 - |3 fe s r in f fo Id Fo ;a t, h — 'S4 — 'Si om. chr. to. - 6'S4''SA 9Wi, orti. OTft. lis p om l^s^^^y^i^^^ Tn il. 233, the third pulse illustrates Omitted Boot. See close of par. on p. 44. The chord 'S is in the ear from the beginning of the measure, the third pulse being the same as the firsl) with the substi- tution of the ornamental chromatic fe for the root s : and the music still moves on in the chord 'S. Notice that in the second measure D is the prevail- ing chord as S is in the first. Therefore we do not regard the second last chord as ""FE, but as ""D (il. 217), with waving fe. Il 333. KSY C. Sullivan's " Joy Victors." to the s :1 .Si |fe :s s ;1 .3 |fe ;s .se 1 f :f.f|f :f m :m .m |ma ;pia.ma r t :t.t |t :t- . d' :d'.d'|d' cd' .d' d' r :s,.s,ir :s fcrgc am. wf d :s,.s,|d :s, .s wf ckr.p fe J :^J.jy Jr^^ n_^_. How to Observe Sarmony. EAIIE OR DrETICUIiT ANAITSES. 123 In the Bass of il. 234 we have three cases of Double Waving tones, that is, first a wave upwards and then a wave downwards from the chord- tone in the same part and in one pulse. In the third meusure we have a case of " overflowing chord " something like those in ils. 169 to 171, but with the chord struck first in its b position (displacing for a time the root), an d moving to its a position at the same time that the dissonances move to their resolutions. II. 234. KEY D. Haydn's "Summer." t r' 1- :d' .t f — |n :b s s |s :d' Sl ia,r.d,t,:d .m '|r' :- .t If :f r' :- .r' |t„d.t„l,:t, .r »D h dbU.\ s f t n om. h :1 :f :r' :r :s :in :d' :d |d' :- .1 I— :n I :n,' |l„t,.l„se,:l, .d In il. 235, as the music moves quicldy, and as the (ihord 'S is struck on the three successive accents, we think the ear would regard the le m and de of Mote to Observe Mdrnumy, the weak pulses as ornamental coupled wavings within the chord 'S. See il. 226. But if the music were slower ^we should suppose that the composer had written le with a sharp instead of ta with a flat for supposed convenience of the singer. Compare U. 213. II. 23S. KE1 Gr. Barkbi's "A wife's song." r :de |r :de r — |m s, :b, |s, :s, Bi — |ta f :in |f :m f — IS t, :le, It, 'SS — 'SA lishr. w. Iw. :le, 2cAr. w. Iw. t, jde At tihe opening of il. 236 we have a case of sudden transition. See p. 51. The t and se of m. 2, p. 1, are distinguishing tones of the first sharp key, while the f in the previous pulse equally dis- tinguishes the original key, so that there is no true transmutation chord, and thf transition is sudden. The second part of the fourth pulse. cannot truly be regarded as a secondary chord (p. 40), because it is not consonant, nor is it 'S (p. 41), and the Soprano and Contralto tones are obviously mere passing tones. The printer, in order to avoid the wide bridge-tone '^se, which on our plan of "equal pulses for each line" would have "spread" the niusic too much, made the bridge-tones on the weak part of the previous pulse, — but the analyser is not obliged to do so, he gives the true sudden transition. The analyser is independent of " printer's conven- ience." Notice, that in the first, second, and third pulses of the second measure a secondary chord is really struck (p. 40), but as the chords ^'Jf and '''"M really fiU and dominate the whole measure the ear does not give this recurring Lc the importance of a secondary chord but feels its new tones as only waving within ^M or '"'M. In the same way, at the third and fourth pulses, the se, which is stiU sounding in the ear, is " supposec^ " to remain in the chord, although apparently absent. The analyser should always study the obvious meaning of the composer and the witness of his own ear. 124 THIRTEENTH STEP. II. 236. KEY F. From Maofabhen's " Tho C.t. Three Fishers." f .3 :f .8 |1 .3 :l.»d' t A' :t .d' |r' .d' :r' .t r .m :r .n \t .m :f ."1 se.l :se.l |t .1 :t .s( r :r |1, :-.>,r m :— |m :m .m r :r |1, :-.>,i:|m :— |pi E R F« F4 '^■■eT.Gjf _ Tsejif iw ip 2k> 2p iw iop 2!» :m .m Zhye d'.t :d'.t id'.t :d' .t f.F. d'3.fe:s .fe|s .1 ;3 .f I .se:l .se|I .se:l .se 'm.re'.m .re|n .f :n .r 1 :1 |3 ;s fd :— |t. 1 :1 |3 :3 '& :— |t, X — tu — ^ — iSJ w w *> — w ehr.w chr.w w. w. Schr.io' 2ehruj, no. ekr.w eir.a :t, .t, :t, .t, Ex. 181. Name all the Chromatic Concords fi.e. Chromatic Chords without dis-sonanoe) in ils. 205 to 218. Ex. 182. Name all the Chromatic Discords (as ""»r, "»JJ-B, &o.) in ils._ 205 to 218, placing first those which have the dissonating tone resolved regularly, %.e., by downward step, and second those which have it resolved in any other way, i.e., up- wards or horizontally. Ex. 183. Name all the unrelated Chromatic Chords (see par. 112), in ils. 219 to 225, placing first those which are consonant, and second those which are dissonant, or in other words have tones which when placed in their nearest position are less than a Minor third apart. Ex. 184. Name the tmcommon Chromatic discords in II. 226, giving the measure and pulse in which they occur. Ex.185. Eestudying the rules,"p. 110, analyse for chord, position, and incidentals, ils. 205 to 218. Ex. 186. Ditto, Add. Ex., "Away," p. 42; "Sunshine," p. 44; "If I had," Ist and 3rd verses, p. 45 ; " the joy," p. 67 . Ex. 187. Ditto, ditto, "At first the mountain riU" (first verse only), p. 53 ; " How lovely," p. 58; " Where the," p. 65 ; " Morning," p. 79. Ex. 188. Ditto, ditto, "0 Saviour" p. 83; " The shepherd's," p. 88. Ex. 189. Ditto, ditto, " Saviour," p. 91 ; "Loud the," p. 93. Ex. 190. Restudying pars. 108, 109, p. 109, analyse for chord, position, and incidentals, ils. 226, 227. Add. Ex., "Gipsy's," p. 35; "Night around," p. 22. Ex. 191. Ditto, Add. Ex. "Angel," p. 48 " Home," p. 74. Ex. 192. After re-studying the analysis ol Transition and Modulation, pp. 56, 57, 89, analyse the Transitions, Modulations, and Transitional Modulations in Add. Ex. "At first," p. 64, so. 3, m. 1 ; " Where the," p. 65, so. 3, m. 5 ; " The woods," p. 72, sc. 2, m. 1 ; "0 Saviour," p. 86, sc. 2, m. 1. Ex. 193. Ditto, " O Saviour," p. 87, so. 4, m. 1 ; " Saviour," p, 92, so. 3, m. 2 ; " Loud the," p. 94, sc. 1, m. 2 ; and sc. 5, m. 1. ' , , Ex. 194 Analj-se the relati»JIf4'»"«ife™Jlf g mf p v)/ vif a This illustration shows the method of marking part-pulse forestrokes iu the bass. See pulses 5, 6, 7, 9, 10, 11, 13, 14, 15. The chord is named in its dissonant position, and renamed in its consonant position. The sequence, though not perfect in all the parts, decides us to analyse the second phrase as in the sharp key. IL. d 247. KEY B. J. Barney. :- .d ;r,de.r,in|d :— "PhCEbuS." = - 1 Sl - -Si :fe, .f, m, — — n d .d :d .t, d — — d • t, d .ta, :1, .8, '•DalW'Ee'S chr.w. Tig a d, ' " . The second haU of the seoond.pulse is treated as a secondary chord, though dissonaint, and the cadential motion compels us to treat the second half of the third pulse as a new' chord. When the music moves much in half -pulses, secondary chords, whether dis- sonant or consonant, must be expected. To these secondary chords we may have fore- or after-strokes; as in fuU pulse chords. In the third pulse we have a chromatic waving tone to the one chord, and a hanging anticipation tone to the other. II. 248. KEY F. Spohb. "Praise His awful name" (Z(Mii/«<^»»e»«). de 1 f, om h .,f •.r .,1 .,f, BA ,r f — t| d f — .— 1, — Here we regard the chord EA as reigning throughout the whole of the second pulse. The note de 13= therefore a chromatic forestroke, and is included in the name. The chord is renamed in its consonant form when the dissonance is resolved. 128 APPENDIX. II. 245 J. s :s ). KEY Barjjby s .s :s E. . "Let s : — Thy merciful kindness." f :f f :f |m :- 1 d :r m.n :r d : — 1, :r r — r :d m :s d'.di:t 1 :— 1 :1 1 s s :s A ;d D — p d.d:d D — 2p d :d 'Li — h r :d , E — p '^4 mn h - d :- II 'Si 9D D * In measm-e 3 we have a dubious chord, which we name Li, because a horizontally prepared discord, if it is not self-resolved, will usually be resolved on a chord whose root is a fourth above the root of the first chord. In measure 5 the chord is named Si, not 'T, because it is not immediately resolved upon D. The dissonance is first resolved^ and the root then appears. II. 250. KEY C. A. S. Sullivan. " hush thee, my b'abie." G.t. s PI I d A hor, f d 1 :"1, :ir Jif, :1, :n, :d Be p :t, •i, :r :s, :r :t, :f Sj 'Si •Si Si iS S s«s _ _ 6S — 'S cp 3 w/ o ' In pulse i the chord is similar in appearance to that in pulse 6 of the previous exb,mple. But the s has no resolution, hence we regard it and m as constituent notesj and the 1 as intruding. The passage breaks ordinary i-ules. In measures 3 — 6 the passage may be regarded either as a dominant pedal, or the dissonances may be accounted for as in the above analysis. II. 251. KEY D. G.A.Macfaiuien. ""We give Thee thanks, Lord." :f |s :1 ;r |r :r :1 |1 -.1 ;r im ;f 2 uo 1- - I- :b |1 :r' :r in :1 :t |d' :r' :f Ei Id' s :- I n' :- I m :- I 8Di Wow to Observe Sarmony. om h int. res. In pulse 10 we have again the combination of pulse 8 of the previous example, but we read it differently. Here the s in bass, 'by its preparation and resolution,; becomes the dissonance, and the chord is therefore 'L. In the last measure, looking forward, we see the D chord established, and treat the r as a 9th with int. res. 'M would naturally go to L, and would contain the 5th of the chord. II. 1 ; f : t : 2ft 252. KEY Djj. G. A. Macpabbbu. -.s 1 3 : s - If :f - |d':r' - II :t "'S«'Si 2 no - |-:i>i - |-:d -.ri|d':ta -.t jl : CSfi " Blessed are the poor." ■ r im " -Id s :- |1 :t d:-.f|f :f m '.n' |iii':r' s,:- iSjis 9"S ft In the 3rd pulse we read the S chord, according to the golden rule of harmony analysis — " consider a passage in its surroundings." The 1 and d' are in- tiiiders, and not consonant notes. In pulses 8—10 transition is clearly made out, and the new tonic chord reigns through pulses 9 and 10. We therefore treat the r in soprano as a guiding note, because ''Li is unnatural. II. 253. KEY B. Sib J. Benedict. L =!l ^k '± "Hunting Song.' :r |m :f, In, - :r - :»i - ;n t, :ta,' 'S del.ree. 2w No doubt the composer's analysis of the above passage would be, pulses 1 — 9 dominant 7th, pulse 10 tonic. But there are several irregularities which render a more minute analysis advisable. "We read pulses 4 to 6 as Fi, and the notes in pulse 6 must therefore be reckoned as incidentals in Fi, not as 'S. The music is too rapid to establish a new chord. II. 254. KEY A. J. Babnby. " Thy mercy,- Lord." d d n d, f m I a — d d :-.f :n.r r, B| »i Sl d t, 1, :- :t,.t, t, — — d — s s :f :— 'S c 1 p Sd m — p t, F A :r, :s, 'E «'S 'S ind.res.o PART-PTjliSt! INOIDBNTALS. 129 In pulse 2 the context leads us to regard 'S as still continuing, and we do not acknoTfledge Mb. In pulse 8 &e d in soprano leaps to another note of the chord, while the alto gives its resolution. "We account for the irregularity hy the term "indirect resolution." II. 255. KEY Ot. J. Babnby. f - im — t, - Id — r - in - S| - Is, sn :- It, vp.rea. tt A Wife's Song." :d d — 1 — — :d s, - 1— — :f PI — 1— — :s, a. — I— — In pulses 8 and 9 the d in alto leaps to s„ instead of standing. This irregularity we describe as a "hanging-anticipation" tone. The more familiar case of m in 5'S leaping to d, and of d in ^"M leaping to I (II. 172) we now call also hff a. 256. G. A. Maopabben. "Sigh no more, ladies." KEY F. Lah is D. :1 .,ni m :r :d d :t, 1 1 :— :ki, f, :- : »'42b»2fc om 2A r d :r t, d :t. 1 .— .1 i'Tc :t :t, :1 :i 4Jf . 'M m t, se m, "M chr. w. We read the chord in pulse 2 as T because that chord is immediately estabUshed, and receives ultimately (pulse 7) a horizontal resolution. 257. G. A. Macfareen. "Gather ye Rosebuds." KEY G. D.t. .m I f .s :n :-.d .t,'d.r:iii :-.S| .8 . 8 :-.l:s.8 l,.ti:d :-.n Si.S,, A,.!', M4 9"SeSi Sua l.,r:B :-,ni t,.,t,:d :~.d •.-.n:s.'s f .,f :iii !-.d "1 :s ;s ,f if :f :ri .r 'H :t :t .t i.r :r :s,.s, f :m r :d t Id' "Srf W'^w^c'Sos's^'s'ssiiL A. int. res. om o 8 ft Sow to Observe Barmony In pulse 8 we read the chord as 'S not 'T because, as in il. 249, it is not immediately resolved on D, but is followed by 'S. The combination in pulse 2 is the same in half -pulses as that in pulses 3 and 4 of il. 262. 258. G. A. MAorARKEN. " mistress mine." KEY Ejj. :d Im :- ■ :f 8 ;-- - |1 :s :f d' : - :s :d Id :- - :d d :- - |d :d :d d : - :d :m {g :- - :8 s :- - |3 :a :s 8 :- - :ni •■'^■■. - :r m :- - |f :m :r F D4 'E m :- - :d 2 p pers, 8. Ttor. res pers. s. Here we have, in pulses 4 and 10, the same combina- tion of notes. In pulse 4 the t and r move stepwise, and are therefore described as passing notes. In pulse 10, however, the f leaps, and we therefore regard it as a chord note, with a persisting. 259. KEY Or. -.8|1 t, f Henry Smart. " Autumn Song." - |ti - If id d :- I- :- d '.m jKia :r It :3 Ife :f ta, iL :1a, "Se 'SeD t^Bd'^FMn-^iii d m 8, Be. pers, doh. We describe measure 2 as persisting Doh. The Doh in soprano, measure 3, being a constituent of each chord, is hot called a persisting tone. II. 260. keyAIj. F. 0.t.ay. "The Rose.' t, t, f s t, f 1, 1, f f :— - :1, — :f m :iiia :r s, ;d :t, s, :— :8, a :fe :f d d Kl r — r d - :d t, :1, :t, d s, :t4 'Sc s, F« - :s, s, :— :8| «SJm»FESiS] d| D h pers.soh. This ia a pedal passage, and it is best to mark the pedal from the first, as is done above. In measure 3 the upper octia,ve of the pedal sotmds in the second alto. This is noticed in the analvsis. 130 AfPBNSnC. III. 261. W. Maofaskbn. EET D. ID' :-lri :-|f [B d' :t |ri f :- IS r' ;— in' -;- I" " Praise ye the Lord." t :1 |di n :— |f d' :- ir' EJ D* 9T* T4 'Di Db &o. om - ;— IB :s |t ;— In ;- Id' !— |8 om A S d 1 t |1 - |r - It - |s n : I d : I d' : 1 d !t, |1, 3 Another case of pedal, with a seq^uenoe in the upper parts. The first and third pulses of each measure have foreatrokes; the chord is defined on the second and fourth. IL. 262. I :ni n : !t, d . :— ffl : i'£i, 'A •• < h Id' \t I- - I- TbSEijSJEe' m n Xi fe - ire - |1 - It, h This passage, read as a whole, clearly progresses to a cadence in the lelatiye minor of the first sharp key. The chord at pulse 7 is therefore not read as Dc. Nor is it F« of tiie new key, for the 8th pulse proves it to be lii. The f, pulse 9, is a chromatic in the new key. It. 367. KBY F. C. FiNSUTi. "In this hour of softened splendour." 8 :f. :t„l s ■ d' :di. :t.,l 8.d d :d . :re.,ro m B :f. ima ra.n ta :1. :di.,di d' ta :1 . :d' d>.s f- :f . :fe.,fe s f :fi. !fe, 8,. 8 imapipjinafE These two quotations show how the same chord (■""FE) may be written in two ways by the same composer in the same piece of music' We prefer ma to re in this chord. II. 268. KEY C. 1 :t Id' ;r' f :s |1 :t t :1 |s :f s :f |m :r If :- |r M :- \T< -.i' :d'|t :1 G. A. n' :- I- :d' d':- |-:s m ;- |- :s d :- I- :m Macfabken. 1 :- I - I- I- [Thirds in contrary motion.] Here we find the two upper and two lower parts coupled in thirds, moving in contrary motion ; this we call double contrary motion. Pulses 5 to 7 cannot be analysed by the rules of ordinary discords, and we therefore, mark the whole passage as above. Bote tt Obterve ttarihmfy. CHORD-NAMING EXAMPLES-PART A. Arranged progressively according to Mr. Curven's " Musical Theory," Book V, and "How to Observe Harmony." Ex. 1. KE1 n :d A. r :- s :d n .T G.O. d:-l Ex. /:8 S| s,:d ti:- d Si :si S| :t| d - |:si n s :n r :- d n :n d :r n - j:n d d :d S| :- d d :d d :si d - (:d Ex. 3. r S| ti Ex.5, n :d S| :si d :d d| :ni Ex. 7. KET B|j. n If :n si Hi :S| d Id :d di If. :d| KEY G. |r :n Is :s Is, :d KEY P. r :s si :si t| :t| S| :e| f :r In d :t| Id 1 :s In , Id, f,:s, ».o. s :t. Id s, :f| In, d :r Id n, :s, |d, T. L. Hately. Ex. 9. s :s d :d n :s d :n key Ii|7. n :r :d d :t, :d s :s :s d :r :n Ex. 2. KEY G. n :d |t| :d s, :si Is, :s, d :n |r :n d :d Is, :d G.O. r :t. Id :s, t, :r |d t| :si Is, :si S| :ti |d r :r In :n r :r |n 8| :s. Id :d ;s, :si |d n :d G.O. 1, :t. Id Ex. n 4. KEY r f :r n r n :n f :r GO. d :- 1 S| :n. f, :ri In, d d :t| d - t, d :d d :t| d - d :d d :si |si s 1 :s s s s :s 1 :f n - d,:d. f, :s, Id, d fi:s. d - s. d :d fi :si d - / n s :n r :- n f :1 s :r n :- r.a 1 d d :d ti:- d d :d d :t, d :- :si j s s :s s :- s f :f n :s s :- i:n ( d n :d Si :- d 1, :fi si:si d :- (:d Ex. 6. KEY a. n s :n |d :r d d :d |s, :s, s :s Id :t, n, :d| In, :S| Ex. 8. KEY G. n :d |r :n d :d |s, :si s :s Is :d d :n |t|:d n :r |s s, :t. Id d :r Id d :s. In, r :s |f ti:d Id r :d If s, :ni 11, :f :d :1 :f, :1 :d :f :f. G.O. n :r |d d :t, Id s :f In S| :si Id, G.O. s :f In d :t, Id n :r |d s, :s. Id 1 :s :f n G 0. , Ex. S 10. K s :f BY ] n s. r d :1 E s :f n SI. d :n :r d - - \ d t, :si d - ti d :d n :r d - d' :di :t d> - - 1 n f :r s - s s :1 di:t d' - f :s :s. d - - \ d r :t. d - f n :f s :si d - TiONDON : J. CuRWBN & SoNs, 8 & 9, Wautsick Lane, E.C Price Id. CHORD-NAMING EXAMPLES. PART A. Ex. n 11. KI f :s Y C n - d 11 :s RD.M. f :f n :- , A d :r d - d d:d t,:r d - 1 s f :r s s f :s s :s s - j d let, d n f :n r :t| d - ( Ex. 12. KEY JF. &.O. Ex. 13. KEY E". d:f |n:d fi:si|d:d d :r In :f t|:r is :f si:t||d:t| s :s Is :s PI :s |n :d d :g||si:d s :r In :s |-:r |-:t, |-:s d :s :f d :d !d n :s :1 d :ni :f| d l|:t||d :1| S|:f In :r d:t||d:ni Si:-|-:f| ni:l||S|;d l|:S||f|:f n:f|s:si d:-| s :d |f :n d:d|ti:d s :f Is :s f :n :s d :- :d 1 :s :n d :- :d f ;s II :t d :n |f :r f :di|di:s 1 :s :s s :- - d :d ;r d':- - f :n :r n :- - d :d :t, d :- - d':d In :r d:d|d:t| s:l |s:f G.O. Ex. 14. Kl ti:d 3Y Bb. r :- n li:r Anoni d :t| tMOl d rs. , Ex. S 15. KEY C. n :s 1 :- {|s di:n' r. L. Hately. ri :t di :- |i S| S| :si si :- S| f,:l, S| ;si S| - \ n d :n f r s :s f :r n - d f :n r :- d d :f n :r n - 1 d' s :di di - t di :di 1 :s s - n. r, :d| t,:- di fi:ri S| :si di - \ d d :d f 8 n :d f :s d - Ex. 16. KEY G. R.D.M. Ex. 17. KEY A. E.D.M. / a d :t| d :- r n :f r :r d - / d r :r n :- i s :d d :t, d - \ d li:si S| :- S| d :d a :t, d - \ S| li :si S| :- h d :1, si :s, S| - i n f :f n :- s s :f 1 :f n - i n f :r d :- r s :f r :r n - \ d r :r n :- t. d :1| fi:s, d - ( d d :t. d :- fi n, :f| S| :si d - Ex. n 18. K] s :s 3Y C f h n r :d R.D.] r ;r in VL. 1 Ex. n 19. K n :n BY '. r f: n 1 .-s Anon f :f YHO n OS. d r :r d - d ti:d d :t, {d - d d :d ti - d d :d d :t| d - s s :r f - s f :s 1 :s s - s s :s s - s f :s 1 :f s - d d :t| li - d, r, :ni fi :si d, - ( d d :d S| - d f :n r :r d - Ex. 20. KEY F. d r :f n :- 1" S| si :t| d :- r n r :s s :- f d t| :si d :- ti R.D.M. Ex. 21. KEY B. R.D.M. :f |r :r d - ( d t,:li S| :- n r :d d :t, d - :d d It, d - ] S| fi:f, n,:- S| fi:fi "1 :ri n. - :f 1 :f n - } n r :t| d :- d 1,:1, S| :si S| - ;li fi :si d - ( d, ri:r, n, :- d, fi:fi S| :si d| - CHOBS-NAMINa KXAllPLBS.— f AKl A. Ex. di 22. KEY C. n :f s :- : r Dr. E. G-. Monk. t :di d'lt Id':- Ex. 23. KEY n :r d Bl,. ir S. Elvby, Mu8. Doo. t| :d A :t| |d :- || n d :d d :- f f :n r :r n - ( n. si:si n. - fl fi :ni r, :ri n. - d> d>:d' di;- di r':d' 1 :s s - j d d :t| d - d r :si S| :si S| - d 1 :1 pi :- f r :1 f :s d - I d d :s, li - fl r, :d| S| :si d, - Ex. n 24. K s :s by ] 1 P. f s :s W. H. Monk. f :f n :- Ex. n 25. key a. r :n d :- r Dr. E. G. t| :d d :t, Monk. d :- II d r :d d - d t| :d li:t| d - d r :t, d - li s, :si s, :si S| - s s :n n - f r :n f :s s - s s :s n - f r :d r :r n - d t|:d h - f, S| :d r :si d - d t| :si li - f| S| :ni S| :si d, - Ex. 26. KBT D. s di:l|s:f n :r |s :n d:nll:s t:dilri:t n s :f |n:d n:l||d:d d :d |r :n f :n |s :s d< di:di|di:di t :1 Is :s l:s|l:di s:diit:ri d n:f |s:l s:f |n:d li:d|f :n r :d isi:s di:s|l:t n :n jd :r di:t II :f l:n|f :r R.D.M. d'lr'lt :s s:f|r :n s:l|s :W n:f Is :d l:l|s:d' d':t|di f :f |pi:f s:f In ri:ri|Pii:di ri:ri|di d:t||d:l, si:s,|d Ex. 27. KEY G. II.D.M. Ex 28. KEY F. KD.M. / r s :n f - r s.d:r.f n :r d - / s d.n:r.t| d - r n :1 s .n:f .r n - Sl S| :si fi - li d :l|.r d :t| d - 1 d d :t|.S| d - ti d :r.f n .d:r.t| d - n r :d d - f s :f.l s :f n - 1 n s :s n - s s :I d'.s:s s - d ti:d li - fl ni:f, S| :si d - d n.d;si h - S| d :f,.r, S| :si d - Ex. 29. K di:s BY ] 1 D. /ft s f :n E r.n:f .D.] n H. Ex. n 30. K ti :d BY G. s :- r G.A f :n L. Maopj r :t, LRRI d iN. n f.n:r n - d i,.t,:d t. :t| d - \ S| si :n, S| :- S| i,.t,:d li :si S| - s 1 :ri d' - di f :s s :s s - j n r :d d :- t, r :d r :r n - d d :t| 1, - n r :d si :si d - ( d S| :1| n, :- Sr r, :1, f,:s, d, - Ex. /T\ S 31. Kl 1 :t 3Y C. t d':ni E r':ri .D.1! d' H. Ex. /r> S| 32. K li :s.| EY d Bb- r Gr.A n :d u. Macpj d :t, LBBI d .N. \ n d :f n :- s s :n s :f n - \ n. fi :si , n, - S| S| :in,.f, Sl :si S| - 1 di 1 :r' s :- ri s :s.l t :t i< -, i d d :d d - ti t, :d r :r n - \ d f.n:r d :- f n :d s :s d " \ d, fi :.ni li - S| n,:l, Sl :si d, ~ CHOBD-NAUINe EXAMPLES. PAST A. Et. 33. KEY C. R.D.M. Ex. 34. KEY F. R.D.M. /7\ s di.t:l s :- s l.t:d' ri .-d'.t di :- ( 8.n:d.r) r :- n 8 :d.r n :r d :- d :- n s .-f r :- s f :s 1 :s.f n :- ) d d :d ti:- d d.ti:l, d :t| di s :1 t :- d' fi :ni r' m'.r' d':- ) s n.s:s s :- 8 » :f s :f n :- d n :f s :- n r :n f :s d :- ( d d :n.d S| :- d h :fj: 8 :8| d :- Ex. n 35. K n.r:n EY G. r :- n 8.f:n R.D.M. r :r d :- | 1 Ex. 36. KEY G. pi.d:f.r d :ti s- ad:s,f E.D.M. n :r d :- | d 8, :d t,:- d r.t|:d d :t| d r- S| d, :1, 8| :- S| 1, :d d :t|, d :- 8 s :8 8 :- s 8 :8 1 :s.f n :- n s,n:l.f n :r n n :s.l 8 :f n :- d d.t|:d S| :- d t,.s,:d fi :si d :- d d :r 8| :- d d.l,:n,.f, si :si d :- Ex. 8 37. Ki f :n !Y G 1 s pi.d:r.n f n r :- n r :d f :- r 8.f:n.r R.D.M. d :t, d :-|t d li.ti:d d - d S| :S| t, d t,:- d ti:si d :- r r :d.l| si :8|.f| Hi :- n f :s f 8 d.n:s 8 8 s :- 8 8.f:n f :- f r an.f n :r d :- d, r, :ni fi - n. d :t,.d r d 8| :- d r :n li :- t, t, :d.f| Si :8| d :-■ Ex. 3 3. KEY 0. di :di |r' :s di t .1 Is :di l.t d' Ir' •.a 8 :s Is :s s •f In :s f s If :ni n' :n' It rdi.ri ni f Id' :ri' rl di 11 :d n :d Is .f :n.r d r In :d f n If :s ni.ri:di Iri :s di.t 1 Is :n.f 8 di.ri Irf :n 8 :8 |t .8 :s 8 f |r :d d f 'Is :d< di.ri:ni Is.t :ri 8 di It :di di 1 |di :d d.tiid Is :f n f Is rl n f .r is di di : s.l s : di n' : n.f 8 : s.f t 8 E.D.M. - It - jr" - I- Ex. 39. KEY A. Dr. W. Hayes. Ex. 40. KEY C. John Davy. n s :d t,:- r f :n r :r d - / di :1 t :- d':! 8 :f n _ S| 8| :fei 8| :- S| 8i :8| si :-.fi n. - n s :fe s :- s s :f n :r d - d d :d r :- t. r :d d :t, d - d' n' :ri r':- fi rf:i> di:t di - d n,:l, 8| :- S| t| ;d S| :si d, - d l,:r si :- t, d :f s :s, d - OHOKB-NAMING EXAMPLES. PART A. Ex. 41. KEY G. Henry Pcrcell. n r d r : — d n :r.d ti ti d — S| S| 1. t, :- li S| :li S| fi n. — d r n.fe s :— n d :f r r d — d ti 1| s, :— li pii :fi S| S| di — Ex. 42. KEY A. Thomas Attwood. ^ ti:d r :- n f :f s :f n :- n s :fe s :- % s, :d f :r n - S| s, :si li.- ta, 1,:1, S| :si S| :- S| S| :d t, :- ri n, :si S| :si S| - n f :n r :- d d :d r :r d :- d r :r r :- ti d :d d :t| d - d, r, :n, fi :- S| li:l. ti :t, d :- d ti :1, si :- fi n, :ni r, :si d. - Ex. 43. KEY EIj. 1^ . . «N Thomas Hetwood. Ex. 44. KEY B|7, John Tkavbes. n 1 :t se:- se t :1 1 :se 1 - 1 h Icr t, :- sei li:d d :t| li:- A d :r n :- t, r :d t, :t, d - \ n. r,:f, n,:- n. pii :ni ni :ni n, :- 1 1 :1 t :- n n :n n :n n - j d li:li sei:- ti li:li li :sei li:- li fi:f n :- n 8e,:l, n, :ni li - \ li f,:r, n, :- n. d,:U pii :ni U:- Ex. 45. K t,:l, EYBb. sei:- d :1, d :r n :- n r :n d :- ^ Edward J. Hopkins. t| :1| 1| :sei|l| :- || n. ni :ni ni, :- n, Hi :ni 1,:1, sci:- li li :sei li :- fi Hi :ni ni :ni n. - d r :d t, :- ti li:d d :1, ti :- n f :n n :- r r :d ti :t, d - 1. se,:!. Hi :- sei li:li fi:fi n, :- d t| ;ni 1, :- rr ni :ni Hi :ni|, L - Ex. n 46. K r :t, EY ] d Bb. T r :n UEIOB G r :r REE d N. j Ex. d 47. K ti:l, BY F. t, :- R n ev. W. t|:d E. Hat] d :t| 3RQ> d L. S| fi:n, ni - fi fi :ni S| :-.f| n. - Si S| :n, sci:- ti t, :1, li :si S| - d li :sei li - ii t, :d d :t| d - ■ n r :d pi :- se n :n r :r n - d, ri :ni 1. - fi ri :d| si :8i di - d si :li n, :- n. sei:l| fi:s, d, - Ex. 48. KEY B|7. KooBB EowsoN Ross. s^ d :t| d :- /7\ S| li:t, d :r n :- n r :d r :- d :r n :r d - S| S| :si s,:- S| f,:f, rii :li sei:- S| s, :fe, S| :- S| si :li s, :-.f n. - n d :r n :- d d :r d :1, ti :- d r :ad ti :- r d ;d d :t| d - di ni:si d,:- n, f,:r, 1, :fi Hi :- d t, :1, Si :- fi n, :f, S| Si d, - OHORD-NAMINQ EXAMPLES. PART A. Ex s 49. KEY C. 1 :1 t :- t d' di .a. 3!eathcote. n n' :- li n f :fe s : — se 1 S 1 s s — 1 di di '.ri ri :_ ni n' d' di t d' — d f :r s :— n 1 n f s d — Ex 50. K EY Bt). sei:- n f :f n :r n :- n r :d t, :- f ti :li Anonymo li :sei 1| as. Hi f.:r, n, :- n. r,:f, S| :si S| :- li sei:l| sei:- n. fi :fi pii :ni rii - d d :1, ti :- li li:r d :t| d :- n n :n n :- 1, r :r ti :t| d - li fi:fi n, :- dei r, :ri S| :si d,:- d t, :1, n, :- d, r, :ri Hi :ni U - Ex 51. KEY G. Rev. Dr H. At,t>b,ich. Ex. 52. KEY C. Dr. Ayl-waed. n f :s.l r - n f :s.l n :r d "! / ^ t :1, s :- s l.t:di di:t d' - S| i,.t,:d ti - S| ],.ti:d S| :-.f| n. _ n r.n:f d :- d d :f.n n :r n - d d :d s - n d :d d :t, d - s s :l.t d':- s f :di s :s s - d li :mrf| S| - d li -.nii.f, S| :si d, - d s :f n :- n f :1 s :s d - Ex. d-^ 53. Ki d :f Y F. n :- A s . Benne d :r.d TT, MuS t|.li:t| . Dc d c. Ex n 54. E s :di .EY E. t :- dCi s :l.f E.D.M. n :r d :- | d.,t| 1, :d d :- tl li :1| si :si S| - I d d.r:n.d r :- n d :d d :t| d - n.,s f :1 s :- f n :f.n r.d:r n - i s s :s s :- s s.di:f.l s :f n - d d :d d :- S| li:fi S| :si d - I d n.r:d.n s :- d ni:f, S| :si d - Ex. 55. KEY E. Dr. W. Hayeb. Ex. 56. KEY F. R. Langdon, Mub. Doc. s 1 :s.f n :- s r :n.f r :r d - / n n :fe s :- 1 8 :-.f n :r d - n f :r d :- d t| :d d :t| d - \ d d :r t,:- d d :r d :t| d - di di :t di :- s s :s s :-,f n - 1 s 1 :1 s :- d s :1 s :-.f n - d f :s 1 :- n s :d S| :si d - \ d l.:r S| :- fi ni:fi S| :si d - Ex. 57. KEY D. From Thomas Attwood. Ex. 58. KEY I>. Dr. Chotoh. dl r' :ni s :- s" s :di n :r d - / s f :n r :- s l.t:di di:t d' - d f :n r :- f f.n:r.d d :t| d - \ n r :d t,:- d f :n r :n.f n - s s :s s :- r' s :f s :-.f n - 1 d< l.t:di s :- s f :s s :s 8 - n r :d t,:- t. d :1, S| :s, d - \ d r :n.f s :- n r :d 8 :8, d, - CHORD-NAMING EXAMPLES. PART A. Ex. t 59. keyE. FromT.WANLEas.Mua. d'.tl.s d':- ||f|s :f.n|r :d.t||d Bao Ex. 60. KEY Bt). Lah d :d n :- ||r isG. d :n R.D.M. li :d.t, 1| :- II r r :r d :- d r.d li:s; S| - n. li:li sei:- li li :sei li :sei li - s s :s s :- f r :s f :f n - d d :1| t,:- r n :t| n :n.r d - s f :f n :- f t| :d fi:s, d - li fi:fi n, :- fi n, :ri d| :ni li - Ex s 61. KEY I 1 :s.f:n.r S' -.r:n.f s.n:l.s: f.n PI :r :s di :t.l:s •f n :-.f:s.l f.res.f: n.r n r :si :d.t| li -.t,:d.r n :r :-.d d :t| :d n :f :n,r d :-.d:d d :d :-.t. s f :nif:s 1 - :s s :s :8 s :- :s s :f :di.l s :-.f:n f :d-.r:n.f d t| :d.r:n f - :n.r d :t| :d si :- :."! d :r :n.f s.n ;d.l,:s. 1, :n,.f,:a,.s, Ex. 62. Ki Is :n.f 3T V. a :d |r :n.f n In :r .n f :s |1 :s.l r Id :d r :s I. lilt, :t| d — Id :d d.t,:d.r |d -.d t. |n.l:s s .f :n |r :r d — |l.s:f .n r :d |d.t,:d s Id :d t| :d |S| :si li — 11, :1, r, :n, |f, :n,.f| s, In f .s 1 :r |1 :t,.di t — Id' :s.f n : f .n |r :- ,n d Id d.ti li :1 1 |r.n:f.n r — |d .r :n .r d : d Id :t. d Is d.n f .s:l If :-.s s — In ;- .s s : -.s |s.l:s.f n Id. ti 1,.S| fi :f 1 If. n :r .d S| — 11, .t,:d.r n ; r.d Is :s, 1 d G.O. d d n d G.O. Ex. 63. KEY E|j E.D.M:. Ex. 64. KEY C. G.O. pi d :f f :n di I :s.f n :r d - / pi n IS s f d' t :1 s :f f n d d :r r :d s. t, :d ti :t, d - i d d :r d - d d :d.r n .r d - n s :s s :- s f :n f :f n - 1 S s :s d' - -s f :1 d'tt d' - d d :t| d :- n,.f. S| :s, S| :s, d - ( d d :t| 1, - p) f :f s :s d - Ex. a 65. K n :f eyD. s :- t 1 .1 r, -ri a. 6} 0. , Ex. 66. K t :1 BY D. s :- s f ;n H r :r OOP] d JR. n d :r r :d r n :f.s fe:f n - 1 n r :t. d :- d d ;d d .-t. d - di d':! s :- s dirri 1 :t d' - 1 s f :f s :- s 1 :1 r :f n - d s :f n :- s s :f.n r :s. d - ( d r :r n :- n. fi:fi s, :s. d - CHORD-NAMING EXAUPT.ES. PART A. Ex s 67. n n :r d E. f r :n Dr. Oakelby. s :-.f n :- | Ex d 68. KET 1,:1, 1, Bb Da. RlMBAULT. d :d r :r |d :- || d t,:t, d - S| i,.t,:d d :t| d - ) n. fi:s, f, - fi Hi :ni li:s,.i:, n :- n s :-.f n - n r :s 1 :s s - / d d :de r - r d :t| li:ti d :- d S| :si li - n. fi :n, ri :si d - ^ d, 'fi :ii| ri - S| li:s, fits, d,:- Ex. 69. KEY : ft. W. Martin. Ex. 70. KEY G. n r :1 s :- 1 f :f n :r d - f n d d :t| d :- de r ;r d :t| d - \ d s f :f n :- 1 1 :1 s :-.f n - 1 s d d :d d :- li r :f s :si d - { d n :r ;re li :- :d 1 :f :fe f, :- :li n :r :d d.t|:l| :tai s :r :s S| :f| :ni G.O. d :- :t| d :- li :si :f| Hi :- r.n:f :r d :- fei:si :- d,:- Ex. 71. KEY C. 1 :ta :t n :n :ri d' :de' :ri 1 :s :se di :dei:r' n :s :se d' :n' :ni 1 :1, :t, G.O. Ex. ni:r' :re' ni;- - ( "S 1 :1 :1 se:- - ] :n n':! :1 t :- - ) '^ d :f :f n :- - (:d Ex. 72. KEY p. la:8 :fe r :si :d f :n :re t|:d :1a, s :n :r d :d :d n :n :fe s, :1, :1a n :n :f d :ra:r s.d':ta:t s, :s, :s. G.O. n d di d Ex. 73. KEY C. n' re':r' :d' n fe :n :n di t :t :1 1 1 :se:l G.O. di :d' :ta fe :n.l :f 1 :1 :ta re :n :r Ex, 75. KEY E| s d 1 f, f d la fi fe d s s. t :1 :se n :n :r se:l :t r :d :n r :r |d d :t, Id la :s .f \n f, .-s, II, Ex. 74. KEY G. 1 - ( d d - d 1 - n 1, - d :de :ta, :s :n n :f :s d :d :d 1 :f :n 1, :lai:S| r t, se f 1 :r :s d :t, :d r :s :s fe:f :f d :t, :t| 1 :s :f ,:f, :n, re,:r, :rai d.n If d |r 1 II n jr G.O. n d s d, :fe n : :d t, : :1 se : :re n : GO. — I- :n n : :d d : :1 f : :d r : :fe f : :d r : :1 t : :na r : n |1 :fe n In :r di |di :d> d.till, :1a. la Is :r' f If :f di Id' :t f, |S| :s. - I- - I- - I- CHORD-NAMING EXAMPLES.-PART B. Arranged progressively, according to Ur. Cnrwen's "Musical Theory," Book V, and " How to Observe Harmony." Ex. 1. SET D. G.O. s :d> t :- ^ ri :di di:t di - s n PI :n r :- n s :n n :r n - d s s :s s :- s t :di s :s s - n d d :d S| :- d s :d d :si d - d Ex 3. "KEY A|j. G.O. Ex. 5. KEY Bj^. n :d :1| S| rsi :f| d :d :d d :ni :f| ao. Ex. 2. KEY G. d :t| Id S| :si |si n :r |n d :s, Id d r :t, d :- d r :n f :r n -' / s S| t| :si S| :- S| S| :si li :S| S| - n n r :r n :- n ti:d d :t| d - d' d S| :s, d :- d, S| :d| fi :S| di - d Ex. 4. KEY C. s :s II n :n |d di:di II d :d If Ex. 6. KEY A. s :r t| :t| r :s S{ :si t :ri r :s s :t s :s in Id IS Id |ni Is Id' Id G.O. r :t, Id t, ;si |8| s :r |n S| :si |d| G.O. d' di :t |di n f :f In s 1 :s |s d f :s Id G.O. S| :d :n f :1, :t, d - - 1 d t| :d li:- d 1, :d d :t| d - ri :si :si fi :f, :f, n. - - 1 Si si :si f,:- S| f, :f, n, :ri ni - t| :d :d d :d :si S| - - 1 n r :d d :- d d :d d :r d - S| :ni :d li:fi :s, d, - - ^ d S| :ni f,:- n. f,:l, s, :si d - Ex. 7. KEY r. G.O. Ex. 8. KEY Bb W. Jackson. n r '.n s :- s n :d d :t| d - d r :n f - r n :f n :r d - d r :d ti:- r d :d S| :si S| - 1 S| si :si li - S| s,:l, s, :fi Hi - s s :s s :- r n :f n :r n - 'i n r :d d - t, d :d d :t| d - d t| :d si :- ti d :1, si :si d - ( d t| :d fi - S| d, :f, si :si d, - Ex.9. KEY D. :n s :s |s :d r :d |t| :s t :di Is :d S| ;n |r t :s Ini :ri G.O. di :t Id' , Ex. S 10. K s :d BY ] r P. /7\ 8 f :n r :r D.l d I. - r :r |s :s s :s is \ S| ti:d ti - d t|:d S| :t| d - s :s |s :t d' :ri |ni ) n f :s S - s 8 :8 f :f n - S| :t| Id :r n :r |d [ d r :n f - n r :d tilSi d - London : J. Cukwen & Sons, 8 & 9, Wabttick Lane, E.G. Price Id. CHOEB-NAMING EXAMPLES. PART B. Ex. 11. KEY D. K.D.M. B n .-f s :- t di:s 1 :t di - / n n d :d r :- r d :d f :r n - \ d s s :di t :- s s :di di:s s - i s d d :1, S| :- f n :n f :s d - ( d Ex. 13. s s |1 :s n:d|d :d s :s |f :s d :n If :n KEY G-. s:f In - r:r|d - s :s Is - t,:t||d - f :s|l:d d:d|d:d f :n|f :s li:si|f|:ni f :n |r t|:d|t| s :s js ri:d||si Ex. 12. KEY G. f :n If :1 d :d Id :d 1 :s If :f d :d |1, :f| s :s |s :t| d :t||d :S| n :f |s :s d:r In :f d :r In Si:t||d s :s Is n :r |d 1 :s 1 d :- I f :n I d :d, I - :d t| :d r :s ri:ni f :s d:d l:s fi:nil ao. d :t| Id li :s, |S| f :r In fi :s, Id, l:d R.D.M. n:r|d:-| d:d f :f d:t||d s:f In — fi:l, si:si|d - Ex. 14. KEY F. RlCHAItD BeIiLAMY. Ex. 15. KEY F. Lowell Mason. s d :n r :- s 1, :r d :t, d - / n f :n r :- /7\ n 3 :f n :r n - [ S| s,:d t,:- S| li :li S| :si S| - i d t, :d t, :- d d ;r d :t| d - n s :s s :- d d :f n :r n - } s s :s s :- s n :1 s :s s - d n rd S| :- n. f, :ri S| :si d - I d r :d S| :- d d fi S| :si d - Ex. n 16. K f :r BY E. n :- t r :n B r :r .D.I d u:. Ex. s 17. KJ 1 :s BY C. di;- 1? ri di E.D.M. di :t d' :- || d d :t| d :- S| t| :d d :t| d - I s f :s s :- s s n s :s s - d' 1 :s s :- s s :s 1 :f n - j ni rijri di :- d< t d' r':ri ni - d r :s d :- n r :d fi :8i d - ( d d :t| n :- d s 1 s :b d - Ex. 18. KEY A. R.D.M. Ex. 19. KEY G. Jonathan Battishill. s :r f :- T, d :d d :t, d :- / r t| :d f :- n 1 :s f :f n - d r :si d :- S| f.:!, S| :si S| :- I Si fi :si S| :- S| d :d d :t| d - s s :s f :- r d :f r :r n :- j n f :n r :- S f :s 1 :s 8 - d d :t, li:- S) l,:f, S| :si d :- ( n r :d t,:- d fi :ni r, :si di - Ex. s so. K 1 :s byF. f :n Pa /TV S risian T f ;n one, 3rc r :r ending d :- , Ex. 8 SI. K 1 :t EY D. d':-. 1 s :1 E n :r D.l d a:. n r :n t| :d r d :d l.:t, d :- \ n f :f n :- f n :r d :t| d - s f :n r :d 8 d :s 1 :f n :- I di d' :ri s :- t di :1 8 :f n - d t, :d S| :d t, li :si fi:s, d :- ( d f :r d :- r n :f s :si d - ClIORfc-NAMING EXAMPLES. PART B. Ex. /TV n 22. KEY A|7. f :1, r :- | n Dr t|:d . E. G. Monk. r :r d :- Ex. 8 23. KEY G. f :n r :d 1 iT S| :si W. H. Mo.n-k. li:t| d :- II d li:l, S| - S| S| :ni li:8, ni - i d d :d t, :d f, S| :ni f,:si S| - s f :n r - d r :d d :t, d - 1 n 1 :s f :n f d :d d :f n - d r :d ti - d S| .-l, fi:s, di - \ d l,:d S| :1| fi n, :d| fi .-r, df - Et, /r\ S 24. K di:n EY ] 1 Eb- 1 Dr s :d E. G. Monk. f :r n :- , Ex. s 25. KEY G. f :r n :- 1 d^ t| :d E.D.M. r :n d :- || I d d :d d - t| d :d d :t| d - \ d d :si d :- S| si :si ti:t| d - 1 n n :n f - f a :1 1 :s s - n f :s s :- s f :n s :s n - \ d l.:l. f. - r n :f r :si d - d 1, :t, d :- n r :d S| :si d - Ex.26. 1 :s|f :s r :n |r :r f :n|l :s ti:d|d:t| KEY G. n :r |d d:t||d s :f In d:s,|l| f :r|in :1 s:-l- d t|:si|d :r t,:-|- S| f :s|s :f r:-|- n r:t,|d :f, si:-|- d n :r |f in d:l||r :t| n:f If :s li:r It, :n s :d ir :n d:d|s, :si n:f Ir :d d:li|t, :d t,:d|l, :r d G.O. I - i- Si:si|ri :f| Hi -1- r :d|d :t| d -1- S|:pi||f| :si d -1- E2 Si .27. K] S|.d;n.d BY Bb. r :d t f.li:s|.d I n :r I.D. d M. , Ex 28. K r :n.d BY f G. /TS n s :f R.D.M. n :r d :- | n. S| :si t, :1| li li.fi:si Si :fi n. - i S| S| :d d - d r .ti:d d :t| d - d d :d.n s :n f f :d d :t| d - i n s :s.n f - s s.r:f.l s :f n - d, Hi :d| S| :1, fi ri :ni s, :s, d, - I d ti :d 1, - d t!.si:l|.f| S| :si d - Ex /r. n 29. E f :s.l EY t E. di f :n 11 r.d:t| .D.I d n. , Ex. 30. I d :r CEY G. r T d .-li H0MA8 ( d :r 3bli d E. d d :d r - d li.t,:d li :si S| - 1 li 1, :t, d - t,.,l, s,:f, ni:fi n - s f :n s - n f :s f :r n - j n n :s s - f n :d d :t| d - d 1, :d S| - li r -d f. :s, d - ( li li :si d, - ri n, :f, g| :si d, - Ex. d 81. KB d :r.d YBb. t,:- S| li.ti:d E r :t, d d. E s. a S| 2. KB l.:si vBb- s, :- Ee-5 d . Sir P. A r :d . G. Ousi d :t, 8LEY. d:- S| d :1, S| :- ri r, :si 1, :8, S| - \ ni f,:r, s,:- n. fi :si.li r|.ni:f, pi,:- n n :f r i- t. r :d f :r n - j d d :t| d :- d l,.t,:d Si :si s,:- d, li.si:f, S| :- B| ff vn, r, :s, di ' \ di fi:fi ni:- li r, :n|.f, s, :s, d,:- CHOED-NAMIKG EXAHPLXB. — VAwf B. Ex. n 33. KET G. f :s s :- n 1 :r.n R.D.M. f :n.r n :- Ex 34. KET A. n.r:d s :- | f n.r :d .r R.D.M. d :ti d :- II d d :d r :- d 1, :si d :d.t, d - 1 S| d.ti:l| S) :- d S| :s|.l| si :f| Pii - s f :n s :- s n :s f :s s - 1 n s :n r :- f 8.f:n.f n ;r d - d l,:d t, :- d d :t| li:s! d - d S| :1| t,:- li d.ti:d .f 1 si :si d - Ex. 35. KEY C. E.D.M. Ex. 36. KET G. JR.D.M. af s :1 s :- pi r .n:f.s 1 :t d' - I n d.n:s .f n :r s f.l :s.d n ;f.r d - n s :f r :- d r.d:d f ;r n - A d :d.l, d :t| d r.l|:d d :t| d - s di :di t :- di s :l.di di:s s - s n.s:d .d s :- s l.f:s s :r.f n - d n :f s ;- d t|.d:f.n f :s d - A d :pi|.f| si :- pii ri :ni si :si d - Ex. 37. KEY D. S G.O. n :-.s:l.f d :n :d s :d< :1 d :- :f d d' 1 1 f :-.f :n.f n r.n f :t|.r :d.t| d 1 1 :s :s s f.n r :-.t, :d.r d n.r di:t.l:8.f n -.f:s.l PI :f :n.r d - :- s :f :dM s.di - :di d :r :n.f s 1 :pi;f s.di:di :t d':- - PI :r :-.f pi :- - d' :ri :s s :- - s :si :- d :- - Ex. 38. KEY 0. t :di :d :s :n :d! :s :s :n Is Id In Id Is in id' Id.s f.n d d' 1. f.n d .n -.t l.s r .n :f \n r .8|:t|.r |d s :-.t |di t| :si Hi f .s:l.t |di r .d :f .r |n l.s:f Is f .n :r |d G.O. :s :d :s :n :ri :s :r' l.t d' |r' f n |r f s Is r d It, n' ri.dMt n f Ir di 1 Is. li f Is :n' :s :-.di :d :d'.ri :n.f !:di.t :si Ex. «\ n 39. K n :fe BY D. s :- ^ Thc 1 :s )MA8 Kb f :f LWA n Y. , Ex. /^ n 40. K d :d BYBb. t,:- r B. S Si:d b. J. B. J d :t| roDi d E. d d :d t,:- A d :d d :t, d - \ S| S| :fei si :- S| si :ni.f 1 S| :si S| - s 1 :1 s :- s f :s 1 :s s - ' ] d n :r r :- t, d:d r :r n - d li:r si :- n f :n r :si d - [ d li:r, si :- f. n,:!. Si :si d, - J OHOKD-NAMING KXAMPLES. — PAKT B. Ex. 41. KEY G. Thouas Fdboell. PI r d ti :- s d r d t, d — s, S| n|.fei S| :— ti d li S| S| S| — n s d r :— r d f n r n — d tl 1. s, :— S| li fi S| S| d — . E s X. 42. s :di KEY 1 Eb. r t :d' t 1 s :- /0> S s :ta 1 :- S Rev. B. Gregory n :f n :r |d \ d d :d d - r r :n r -.d ti:-- r n :n f :- r d :d d :t| d - 1 n s :n f - 1 s :s s fe s :- t di :di d':- s s :1 s :-.f n - \ d n :d f - fe s :d r r Si :- s n :d f :- t, d :f, S| :si d - Ex. d 43. EE d :n 1, ,. L ah is r" a. Sir I r :d "•.AG.C ti :t| lUBE 1| LET / Ex. At 44. KEY D. Lah is B. Thomas S. Dupuis. 1 :t se:- ||f |t :ri|di:t |1 :- || Hi n, -.n, d, - ri pii :r\\ Hi :-.ri di - ) n d :f n :- n f :r n :n.r d - 1, li:t| d - li se,:!. li:sei li - 1 1 1 :ri t :- di t :1 1 :se 1 - li li :si fi - fi nr.U niirii li - li f :r n :- d r :f n :n 1. - Ex. 45. KEY G-. Lsih is E. John Pratt. n.,r d •.n 1.:- t, d :n r :d ti :- n 1 :se 1 :- f n :1, d :t| 1, - li li :sei li:- sei 1, :li ti:l, se,:- sei li:t| li:- li ii :li 1, :8e, li - d.,r n :-.r d :- n n :n f :n n :- n n :n d :- r n :1 n :-j: d - li li :ni fi:- n. 1, :d r :1, Hi :- n.,r d :n li:- r d :f n :p1| 1. - Ex. 46. KEY G. William Hine. Ex. 47. KEY BIj. J. HlNDLE. n r :d t| :- r r :n r :r d - n r :t, d :- /TV se, li:r d :t| d - d ti:li sei:- h ti:d d :t| d - Sl si :fi n, :- n. d,:f, nr:r, n. - s s :n n :- n s :s s :-.f n - d t,:r d :- t, li:l. si:si S| - d si :1| n, :- h s,:d S| :si d - ( d, si :s] li:- n. fi:r, S| :s, d, - E X. 48. li :ti KEY d G. La n hisE. r :t| d :1| se,:- ll d :r n :- 1 Si S r Henry se :1 B. BiBi d :t| lOP. ll _ ll li :sei 1, - ll li :sei li :n,.fi n, :- n. li:t| d :- d t| :li li :sei ll - d n :r n - n f :n n :d.r tl :- d n :f n :- d r :dr PI :-.r d - 1, d :t, 1, - d t, :n ll :li.r, n, :- ll l.:s, d :- ni fi :fi nil :n, li - 11 CHORD-IfAlIINa EXAMPLES. PART B. Ex. 49 KEY A. Dr. E. F. Eimbault. d n d li :- i; f r d ti d — Hi S| S| fi :- S| f, li fi fi Pii — d d d d :- de r r r r d — d, d, n. f. ■■- n. ri fi S| S| d, — E n X. 50. s :n KEY d F. r n 1 1 :se 1 :- n 1 :s f :- Db. 'WiiLiAM Crotch r 8 :f |n :r |d _ d d :t| li - ti d d ti :t| d :- de r :de r :- t. d :d d :t| d - s s :s n - s s 1 t :n n :- 1 1 :n f :- s s :1 s :f n - d n, :si 1 - S| d li n. :nii li:- l.,s f :n r :- s.,f n :f s :si d - Ex, S n s d 51. K s :n BY 1 Eb. T t :di Dr. r n :r VPTJ d IS. , Ex d' 52. KEY C. ri :-.di t :- t Thomas Tallib. d'lt.l 1 :se|l :- || r :d d - r r :n.r d :t| d - \ n f -.f r :- r n:f n :n n - s :s f - f s :s s :-.f fi - 1 1 :1 t :- s s :ri.di t :t di - t| :d fi - f f :n.f s :si d - 1 r ;r s :- s d:r n :n 1, - Ex S| 53. n :r KEY B\) d :1, S| Rev. F. d :r.n A. J. Hi r :r RYE d Y. Ex n .54. d :r KEY At si :- /TV n.,ti d:l, S| :r GO. d:-|| P1| Hi :i1| Hi :f| n. Hi :f| si :s|.f 1 n. - \ S| li :si S| :- li si :f i.ri n, :f| n, - d S| :sei l,:d n.,r d :d d :t| d - j d d :f n :- d d :d d :-.t| d - d, di :ni li:f, d.,t, li:r, si:si d< - \ d li:t, d :- li n,:f, si :si d - ( Ex. n 55. K f :n.r EY 1 d 3r. T,Hh isE. t| :d.r Dr. I ti :t| Uyi SB. ( Ex. d 56. K ti:li BY ] sei Jb- Lah n isG. li:t, T. Pu li :sei KCEI 1| L. _ ] d r :t, li - li sei:l| li :sei li - n. n, :-.ri Hi - sei 1, :fi ri| ;ni Pl| - I 1 1 :se 1 - n n :n n :-.r d - d n :1| ti - n d :r d :t| 1, - ( li r :n- f - d n :1| ni :ni li - 1: si:fi "1 - n. fi:r, ni :ni 1| - Ex. /TV s 57. K se:l BY C. ] se:- jahi t sA. r' :di.t H. Ptj di:t aoEi 1 J,. , Ex n 58. K f :s.l EY S &. /rs S f :n Ad n :r aptcd. d :- n n :n n :- n r :f PI :-.r d - \ d d :d d - d d :d d :t| d :- d> r' :di t :- se 1 :1 1 :se 1 - j s f :f n - s 1 :s s :f n :- d ti:l, n :- n f :r n :n 1, - \ d l,:f, d - Hi l,.t,:d n,.f|:si di :- 1 OHOED-NAMnfO EXAMPIBS. PART B. n .59. keyF. Lahis f .'s-f n :- II se D. From "W. H 1 :d.t, t| :t| . Smyth 1,:- / Ex /TV n 60. s :f KEY n r. r n :s.f n :r Kent. d :- d r :r d - t, 1,:1, li :sei li - i d d :t| d - ti d :d d :t| d :- 1 1 :1 1 - n n :n n :r d - i s s :s s - s s :1 s :s.f n :- li r :r li - r d :1, n :ni li - ( d n :r d - S| d :f, si :si d :- Ex. 61. KB f.r Y F. d :t, d^ r.t|:d.n s.f:f.n n :r S l.Sll.t di:s n s.f:n.d R.D.M. r :t| d :- || d d fi si :- S| si :si S| :d d :ti d n :r d :d d d :d 1, :s, S| - n d d n :r n f :n.s r :f s :- s s :s s :n 8 1 :1 f.n;r.f n - d li li S| :- d t|.r:d t, :1| si:f n.,r d :f n :d d fi :li ri :si d - Ex. 62. se n.ba n d> 1 d' n d' d KEY C. Lali is A. :n.f If :s :n |d :r :t |di :t :se jl :s t.l:t.dMri :se f :f |r :n d' :ri |se :t f :r it, :n :n .r :d :di :1 in It, |se In l.t:di.t II n :se |1 1 :n' jdi d :n 111 di.,t d 1 1 t n n' sei r" :d' s :s t :di s .f :n l-.t :di.ri If :n |ri :s |r :d pi'.f: d : f : li : E.D.M. ri Id' s \n s Is ti Id d' :se 11 :ni.ri di :t 11 l.f:n In :1 1 :se U ni :ni.ri Id'.t :1 d' :ri Id' 1, :t| Id :f n :n Hi Ex 63. I n :r CEY A. r :d /7\ r n :f r :n E.D. d M. Ex v8 64. s :f KEY F. n :r n 1 :s RDM. f :f PI :- II S| li:ti t| :d t, t,:l, S| .-ti d - \ d d :d d :t| d ti:d d :t, d - n f :f f :n s s :f f :f n - j n 1 :d> s :- s f :n r IS s - d fi:s, d :- S| d:f, si :s, d - d fi:li si :- d s,:d si :si d - Ex. 65 KEY S. E.D.M. Ex. 66. KEY Eh. Edward J. Hopkinr. s 1 :1 s :- t t :1 s :f PI - / PI 8 :8 di :- d r :ri s :-.f PI - r n :f d :- n f :f r :r d - d n :r d :- d d :d d :t| d - t d' :r' 8 :- s di:di t :t d' - 8 8 :f PI :- 8 1 :s 1 :s s - 8 8 :f n :- s f :f 8 :s d - d d :S| li:- n f :n r :si d - 0B0RB.N4MING EXAMPLES. PAKT B. Ex. 67. KEY D. C. S. Jbkyll. d^ t .-n 1 :- rs S n :d r :n d :- / 1 n n :t| d :r n d :S| li:t, d :- jn s s :s 1 :t di n :n f :f n :- ) ^' d d :d d :- n l,:s, f,:s, d :- ' 1, Ex. 68. KEY D. fe:n :n' re;n :n t :se :1 t| :t| :d B.D.M. re' :r' :di fe :n :f 1 :se :1 d :t, :li ta:t :t t :1 f :n ;r r :d ta:se :se se:l r :n :n li:- Ex. 69. KEY D. Kev. E. "W. Btjllingek. Ex. 70. KEY E. E. C. Ckow, Mus. Bao. n re:n f :- f n :f r :r d - , n s :s f :- n 1 :r s :-.f PI - d d :d d :- ti d :d d :t| d - I d r :ra d :- d d :t| d :t| d - s fe:s 1 :- s s :1 s :f n - i s s :n f :- s r :s s :s s - d d :d f,:- S| d :f, S| :si d - \ d t| :tai li:- S| fe,:f, l-li.f^Si d - Ex. 71. KEY Bb. H. J. Erost. Ex. 72. KEY F. LahisD. E.D.M. , S| :si d :- 1 n :d li:ti d - / r r :re n :- /ft PI s :se 1 :t 1 _ \ n. r, :ni fi:- fi S| :si fi:f, n. - i ii li:l, t,:- d de:r n :r d - 1 d r :d d :- d d :n r :r d - ) n f :1 se: - 1 PI :n PI :se 1 - ( d t, :tai 1.:- la, Si :si S| :si d, - \ li f,:f. n, :- 1, li:t, d :pi li - Ex. 73. KEY G. R.D.M. Ex. 74. KEY D. E.D.M. PI d :r PI r li f :fe s :r n - / s PI :n f :n s di:di di :t d' - d d :d d ti d d :d d :t, d - i PI d :ra r :d n f :fe s :s s - s f :fe s - s f :na PI :s s - 1 s s :s s :- d' di:pia' p|i:ri p|i - d 1, :1a, S| - d li :1a. s, :si d - \ d d :ta. t,:d d 1, :1a, 8, :s. d - Ex. 75. KEY G. :pi re :d d : :s fe : :d d : If Id I la |fi f :pi .d |ra d :d |ta, la :s .PI |s fi :si In, E.D.M. re re In r d :de ir d li It, ti d :tai |1> 1 1 |se se 1 :pi If fe, f, In, PI, li :s, If, s fe If PI f :fe Is d d It, d d :d Id s 1 Is s d :pia In n. re. Ir, d. li :1a. Is, :r n :li t, : :1 se : :f, PI, : :t. d :s. S| : f n : •s. d : f f f p