CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE JNCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 189I BY HENRY WILLIAMS SAGE MUSIC 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/cu31924022354421 W. F. BRADSHAW, =. d. Gasfas Becersa s 6 J. BRAHMS. A Song of Destiny i o CHARLES BRAUN. SlQURD S O Daniel ... RUDEL ... J. C. BRIDGE. 3 6 4 J. F. BRIDGE. ROCKOPAGES(LATlNANDBlIGLISH)(Sol/-PA,4d.) Z Mount Moriah 3 o BOADICEA 2 6 , Callirhoe (Sol-fa, is, 6d,) 2 6 KiNEVEH 2 6 The Ihchcafe Rock i o The Lord's Prayer (Sol-fa, 6d.) i o DUDLEY BUCK. The Light of Asia 3 o EDWARD BUNNETT. Out of the Deep (Psalm 130) x W. BiYRD. Mass FOR Four Voices (in F minor) 2 6 CARISSIMI. Jbfhthah I F. D. CARNELL. Supplication 5 o GEORGE CARTER. SiNFOHiA Cantata (Psalm 116) 2 WILLIAM CARTER. Flacida ... , 2 o CHERUBINI. fEQUiEM Mass, C minor (Latin and English) i o ECOND Mass in D minor 2 ^HiRD Mass (Coronation) i Fourth Mass in C i c E. T. CHIPP. 4 o 2 FREDERICK COROER. The Bridal of Triermain (Sol-fa, is.) ... 2 6 SIR MICHAEL COSTA. The Dream i o H. COWARD. The Story of Bethany (Sol-fa, is. Gd.) •.. 2 6 F. H. COWEN. Ltl&i John's Eve (Sol-fa, IS. ed.) 2 6 !IA SonqofThanksqivinq i 6 n^LEBPINQ BeADTY (SoL-FA, IS. 6d.) 2 6 .{Ruth (Sol-pa, is. 6d.) 4 o ISUMMER ON the RIVER (FeMALE VoICES) , (Sol-pa, gi.) .' 2 o The Water Lily ... « 2 6 Village Scenes (Female Voices) i 6 J. MAUDE CRAMENT. I WILL MAGNIFY TBEE, O QoD (PsALM I45) ... 2 6 W. CRESER. EuDORA (A Dramatic Idyl) 2 6 W. CROTCH. Palestine 3 o "^ use RUl IS. CUMMINGS. W. The Fairy Ring W. G. CUSINS. Tb Deum Gideon FELICIEN DAVID. The Desert (Male Voices) Bethany Lazarus P. H. DIEMER. M. E. DOORLY. I 6 F. G. DOSSERT. Mass in E minor F. DUNKLEY. The Wreck of the Hesperus ANTONfN DVORAK. St. Ludmila : Ditto (Gerhah and Bohemian Words) The Spectre's Bride Ditto (German and Bohemian Words) Stabat Mater Patriotic Hymn Ditto (German and Bohemian Words) Requiem Mass Mass in D A. E. DYER. Salvator Mundi Electra of Sophocles H. J. EDWARDS. The Ascension The Epiphany Praise to the Holiest EDWARD ELGAR. The Black Knight ROSALIND F. ELLICOTT. Elysium The Birxp op Song Q. ERNEST. All the year round (Female Voices) (Sol-fa, gd.) EATON FANING. Buttercups and Daisies (Female Voices) (Sol-pa, is.) < HENRY FARMER. Mass in B flat (Latin and English) (Sol-fa, is,) MYLES B. FOSTER. The Lady op the Isles The Angels of the Bells (Female Voices) Ditto ditto (Sol-fa) The Bonnie Fishwives (Female Voices) ... Ditto ditto (Sol-pa) Snow Fairies (Female Voices) ROBERT FRANZ. Praise ye the Lord (Psalm 117) NIELS W. GADE. Psyche (Sol-fa, is. 6d.) Spring's Message (Sol-pa, 3d.) Erl-Kihg's Daughter (Sol-fa, gd.) ZiOH The Crusaders (Sol-pa, IS.) CoMALA Christmas Eve (Sol-pa, 4d.) 5 o 2 6 ORATORIOS, Sec— Continued, HENRY GADSBY. Lord op the Isles ( Sol-fa, is. 6d.) Alcestis (Male Voices) Columbus (DrtTo) G. GARRETT. Harvest Cantata (Sol-fa, 6d.) The Shunammite ' The Two Advents R. MACHILL GARTH. EZEKIEL The Wild Huntsman A. R. GAUL. A Song of Life (Ode to Music) (Sol-fa, 6d.) Joan of Arc (Sol-fa, is.) Passion Service Roth (Sol-fa, gd.) The Holy City (Sol-fa, is.) ... ' Ten Virgins (Sol-fa, is.) ' Israel in the Wilderness (Sol-fa, is.) Una (Sol-pa, is.) FR. GERNSHEIM. A Triumph Song (Male Voices) F. E. GLADSTONE. GLUCK. s. d. 2 6 2 6 I 6 Salamis. Philippi Orpheus I 6 z 6 3 6 I o 1 o J 6 6 2 O. 2 6 5 2 O 8 4 HERMANN GOETZ. By the Waters of Babylon (Psalm 137) NCENIA The Water-Lily (Male Voices) CH. GOUNOD. Mors ET Vita (Latin or English) Ditto, - Sol-fa (Latin and English) Requiem Mass (from "Mors et Vita") The Redemption (English Words) Ditto, Sol-fa Ditto (French Words) Ditto (German Words) Messe Solennelle (St. Cecilia) 1 o Out of Darkness i o Communion Service (Messe Solennelle)... i 6 TroisiI:me Messe Solennelle z 6 De Profundis (Psalm 130) (Latin Words)... i Ditto (Out of Darkness) i The Seven Words of Our Saviour i o Daughters of Jerusalem ..; i Gallia (Sol-fa, 4d.) ... i A. M. GOODHART. Earl Haldan's Daughter i o Arethusa 2 o C. H. GRAUN. The Passion of Our Lord (Der Tod Jesu) 2 o Te Deiim 2 ALAN GRAY. Arethusa i 6 The Legend of the Rock-Buoy Bell ... i o The -Widow OF Zarephath 2 q J. O. GRIMM. The Soul's Aspiration i o G. HALFORD. The Paraclete 2 E. V. HALL. Is it nothing to you o 8 HANDEL. Alexander's Feast 2 Acis AND Galatea i Ditto, New Edition, edited by J. Barnby i o Ditto, ditto, Sol-fa i Alceste 2 o Semele 3 o The Passion 3 The Triumph of Time and Thuth ... 3 HANDEL — continued, s. d. Alexander Balus 3 o Hercules 3 o Athaliah ., 3 o Esther 3 o Susanna 3 Theodora 3 o EeLSHA2ZAR ... , ,.. 3 The Messiah, edited by V. Novello (Sol-fa, is.) 2 The Messiah, DITTO. Pocket Edition ... i The Messiah, edited by W. T. Best ... 2 Israel in Egypt, edited by Mendelssohn 2 o Israel in Egypt, edited by V. Novello. Pocket Edition i o Judas MACCABiEus (Sol-fa, is.) 2 Judas MaccabjEUs. Pocket Edition ... i o Samson (Sol-fa, is.) 2 o Solomon 20 Tephtha 2 o Joshua 2 o Deborah 2 o Saul ... 2 o Chandos Te Deum ^ ... i o Dettingen Te Deum ... ' i o Utrecht Jubilate i o O come let us sing unto the Lord (Fifth Chandos Anthem) i O PRAISE THE Lord with one consent (Sixth Chandos Anthem) i Coronation and Funeral Anthems. Cloth 5 Or, singly : The King shall rejoice 8 Zadok the Priest 3 My heart is inditing o 8 Let thy hand be strengthened ... o 6 The ways of Zion i Ode on. St. Cecilia's Day i o L'Allegro 20 HAYDN. The Creation (Sol-fa, is.) 2 The Creation. Pocket Edition i o The Seasons 3 o Each Season, singly (Spring, Sol-fa, 6d.) i First Mass in B plat (Latin) 1 Ditto (Latin and English) 1 o Second Mass in C (Latin) i o Third Mass (Imperial) (Latin and English) i o Ditto (Latin) ... i o Sixteenth Mass (Latin) i 6 The Passion; or. Seven Last Words ... 2 Te Deum (English and Latin) i o iNSANiE ET VANiE CURiE (DiTTO) 4 BATTISON HAYNES. The Fairies' Isle (Female Voices) ... A Sea Dream (Female Voices) H. HEALE. Jubilee Ode C. SW^INNERTON HEAP. Fair Rosamond (Sol-fa, 2s.) EDWARD HECHT. Eric the Dane O MAY I join the Choir Invisible GEORGE HENSCHEL. Out of Darkness (Psalm 130) HENRY HILES. Fayre Pastorel The Crusaders FERDINAND HILLER. Nala and Damayanti A Song of Victory (Sol-fa, gd.) HEINRICH HOFMANN. Fair Melusina 2 Cinderella 4 Song OF THE NoRNs (Female Voices) ... i 2 6 2 6 I 6 3 6 3 o I 6 2 6 6 6 2 6 4 I ONE HUNDRED AND TWENTY -FIFTH THOUSAND. NOVELLO, EWER AND CO.'S MUSIC PRIMERS. Edited by Sir JOHN STAINER. HARMONY APPENDIX CONTAINING ONE HUNDRED GRADUATED EXERCISES JOHN STAINER. PRICE TWO SHILLINGS. In P»per Boards, Two Shillings and Sixpence LONDON &- NEW YORK NOVELLO, EWER AND CO. PREFACE. In order that this little work may be of general utility, the author has carefully endeavoured to collect and explain clearly those facts universally accepted as the ground-work of Harmony, rather th^n bring forward any special opinions he himself may have formed. He therefore hopes that it will be found suitable as a preparatory textbook to any standard work on the same subject of a more advanced type. The system of naming Inter- vals hitherto used in this Primer not having proved generally acceptable, in this and all future issues the nomenclature will be that commonly used in English Institutions and Examinations. As the art of Harmony cannot be learnt without a master, the author trusts he may be allowed to suggest that teachers will lessen their own labour and advance their pupils' progress by dividing each lesson into three portions ; in the first, the master should read a chapter or part of a chapter with his pupil, explaining away difficulties and enlarging on those subjects which have been necessarily only treated consisely; in the second, the pupil should be assisted in preparing an exercise ; in the third, he should be catechised in the manner shown at the close of every chapter. INDEX. Added sixth, chord of Added ninths Analysis of chords Attendant keys . . Augmented triad . . Augmented sixth, choid of Authentic cadences Auxiliary notes . . Cadences . . Cadential six-four Chords, classification of . . Chords, construction of . . Chromatic scale . . Chromatic passing-notes Close harmony Common chord ... Compass of voices Concord Consecutives Cycle of keys Diatonic modulation Diatonic passing-notes . . Diatonic scale Diminished intervals Diminished seventh, chord of Diminished sevenths, table of Diminished triad . . Discord , , . . . . Dominant eleventh, chord of Dominant ninth, chord of Dominant seventh, chord of Double suspension . . Enharmonic change of chord diminished seventh . . Enharmonic change of key Enharmonic scale. . Extended harmony Extraneous modulation . . False relation . . '.. Figuring . . Four to three suspension . , French sixth Fundamental bass Fundamental ninths German sixth ' . . Ground-note . . . . of FAOB 89 71 47 94 88 90 93 93 93 35 I I 3 93 23 17 32 SI 19 8 94 92 3 II 83 12 88 Sa 76 71 84 94 3 23 94 56 18 76 go 47 71 90 47 PAOK Half-close.. .. .. ••94 Harmony, study of . . . . i Hidden fifths 67 Hidden octaves . . . . . . 67 Imperfect cadence . , • • 94 Imperfect triad . , . . . . 88 Intervals 10 Intervals, diagram of . . . . 14 Intervals, simple and compound 13 Inversion of common chord . . 28 Inversion of intervals . . . . 15 Italian sixth . . . . . . go Keys, diagram of . . . . face 8 Lines under bass . . . . . . 56 Minor ninth, chord of . . . . 83 Minor seventh .. .. ..50 Minor scale, forms of . . . . 5 Modes, major and minor. . ,. 4 Modulation, kinds of . . • . 94 Motion, similar, contrary, oblique 41 Natural modulation , , . • 94 Neapolitan sixth .. .. ,, 91 Ninth, chord of 71 Ninth, suspension of . . . . 65 Octave . . . . . . , , 3 Passing-notes . . . . . . 92 Passing six-four . . . . • • 34 Percussion of discord . . • • 54 Perfect cadences . . . . . • 93 Plagal cadences . . . . . . 93 Preparation . . . . • . 54 Relative keys . . . . • • 94 Relative minor . . . , , . 6 Resolution . . . . . . • • 53 Retardation .. .. •• 77 Root 17 Scale, formation of . . . , 3 Scale, names of degrees . . . . 2 Scales, diagram of . . . . 7 Sequence of sixths .. .. 31 Suspension . . . . . . . . 65 Tierce de Picardie . . . . 90 Tonic minor . . . . . , 6 Transition . . . . . . • • 94 Triads 88 Triple suspension 82 HARMONY. CHAPTER I. 1. The study of Harmony, in its common acceptation, includes the following subjects : — a. The method on which chords are constructed and classified. b. The relation of successive chords to each other ; called also, harmonic progression. c. The art of writing progressions grammatically. 2. The first two of the above may be called the analytical study of harmony ; the last, the practical. Many people can analyse music who are unable to compose it. 3. But when we come to consider the nature of the construc- tion of a chord we find that one fact is common to all, namely, they are made up of scale-sounds. It is self-evident that this must be the case, because the scale is, as it were, the material of which chords are, and can only be made. 4. Hence it becomes necessary to consider the form of tht SCALE before studying the construction of chords. 5. But if we again think over the nature of a Cuord we shall find that the notes forming it not only have certain relation to a scale, taken all together, but that they have a relation of distance from each other. For example, the notes of the chord i have, as a whole, a close relation to the scale of C ; but they due between themselves related thus : C to E a major third, E to G a minor third, and so on. HARMONY. Hence it is necessary to study the nature of, and also to classify Intervals before considering chords. 6. In order to allow reference to be made to the different degrees of scales without reference to their key, the following names are in use : — Tonic ... Super-tonic Mediant Sub-dominant. Dominant Super-dominant (sub Leading-note (sub-tonic) mediant) 1st degree. 2nd degree. 3rd degree. 4th degree. 5th degree. 6th degree. 7th degree. MASTER AND PUPIL. Q. What subjects have to be understood before learning chords ? A . The nature of scales and intervals. Q. What have scales to do with chords ? A . Chords are made up of notes of a scale, and belong to a key. Q. What have intervals to do with chords ? A. The notes which form a chord have certain intervals between them. Q. What is the mediant of A ? A. CS. Q. What is the sub-dominant of Bj? .' A. &. Q. What is the dominant of B ? A. F#. [The pupil should be made perfectly familiar with these terms.] CHAPTER 11. 7. A Scale is a succession of sounds proceeding by single degrees or steps. 8. The size of these degrees or steps has varied considerably at different periods of history, and among different nations. 9. One interval, however, in the scale has never varied and will never do so, namely, the Octave. 10. Hence all discussions on the construction of the scale, whether scientific or historical, turn upon the question : into how many portions the interval of an octave ought to be divided. Theoretically any number of different sounds can exist between a note and its octave, but practically only a few of these are available for use. 11. The system of dividing the octave most commonly known and used in Europe is that of Semitones. Twelve of these form an octave. A semitone is half a Tone. 12. A scale, all the steps of which are semitones, is called Chromatic. 13. When a scale is formed by a succession of tones and semi- tones, arranged according to definite rules, the scale is called Diatonic 14. When a scale contains intervals smaller than a semitone it is called Enharmonic. Enharmonic scales are actually now in use amongst some Asiatic nations and elsewhere. Many enharmonic instruments are now made in this country. An explanation of the reasons which prompt mechanists to construct them will be found in Novello's Music Primer, " The Scientific Basis of Music." 15. A chromatic scale can be formed by using sharps or flats. Sharps are most commonly used in ascending, flats in descend- ing, thus : — Ex. I. *J i m - ^ ^ r. ^r. ^ ^^ ,, ^ ^^ = HARMONY. The most probable reason for this is that by this means a smaller number of accidentals is required than would be the case if we were to ascend by flats and descend by sharps, thus : — Ex. 2. i> ^,^ ]^^\>^ tl^ ,, .^ ^^ ^^MK>-1 'T^ i " "" "- l|- :^ ^^ I I . . i r O^t^lj^^ In Ex. I only ten accidentals are used, but in Ex. 2 twenty. 16. For a similar reason (the avoidance of accidentals) it is a law that a note influenced by the signature should not be dis- turbed in a chromatic passage. For example, the chromatic scale of Eb would be thus written : — Ex.3. i ^-L- ..... ^ ^ ■ > IK^ ° il^ ^^ -Tzr ^f a > \a rj ' ^ P\> - - ^° -^ iv^ ^ Ip. ^.. ^ ^^ •HVrJ^ When the student has proceeded further he will, however, find that in the descending portion of Ex. 3 the O) is often made Bh and the G[7 into Fjf, because Bl^ is a characteristic note of the key of C minor, and also F# of G minor ; and the keys of C minor and G minor are both closely related to the key of Eb. The same slight deviation from th2 rule given in Sect. 15 will be traced in all the descending chromatic scales of flat keys. 17. The diatonic scale is of two kinds. Major and Minor. These are called sometimes the major and minor Modes. i8. The form of the major diatonic scale has remained fixed for about two centuries. The scale of C is called the normal diatonic scale, because no sharps or flats are required in its formation, e.g. — Ex.4. i m CJ c '" ' ^ - '^ ° n :^2i ig. The minor scale has undergone various changes. It ex- isted long before the major scale in the following Torm : — HARMONY. Ex. 5. in gg '' ' ' rs g? o " G . This was derived from one of the ancient Greek systems, and was afterwards incorporated into the old Church song. 20. The peculiarity of this ancient scale, to our ears, is that it possesses no leading-note or semitone below the tonic {subsemifonium modi). This leading or characteristic note (nota characteristica) is an essential feature of the modern form of the scale. 21. It was found that, if a Gtt were inserted in the scale given in Ex. 5, the interval from Fl] to G# would be larger than a whole tone ; in fact, it would be an augmented tone, and this interval being at that time considered inadmissible, the F was raised to F# ; so the next form of the minor scale stood thus : — Ex.6. i ^^ ft^tt^ Z3I -T^ IZ2I •y^J" -/•^ tJ 22. This form (Ex. 6) sounded very pleasant when ascending, but in descending it so strongly suggested the major scale that it was altered to this : — i Ex.7. (Called the Melodic Minor Scale.) IZZ ^^4^ ^^^ -rry- ZZI t7 It was argued that a leading-note or note leading up to the tonic could not possibly be wanted when coming down (Ex. 7), so GJ might well be made Gt|, and the next note by being made Ft) would restore the sense of being in the minor mode. This form of the minbr scale is still in common use, but owing to the gradual introduction by composers of the beautiful melodic progression — ^ _ Ie Ex. 8. ^ 3^ 1221 the mind began to associate Fl] and Gj as essential parts of the scale of A minor, and although the following — Ex. g. i -*2- 6 HARMONY. was not so commonly found in melodies as that given in Ex. 8, it was impossible to object to its admission as a portion of the mere succession of scale notes. 23. The most modern form of the scale is therefore the fol- lowing : — Ex 10 (Called the Harmonic Minor Scale.) i ^^ ° r j - ~r3- I22C yy 24. The above scale (Ex. 10) has, out of its seven notes, six which also belong to the key of C. Hence it is called the Relative Minor of the key of C. The same may of course be said of the form given in Ex. 7. 25. The same scale (Ex. 10) has five notes found also in the major scale beginning on the same tonic or key-note. Hence it is closely allied to it, and is called the Tonic Minor of the key of A major. 26. Viewing the relation of these keys from another point, it may of course be said that C major is the relative major of A minor, and A major is the tonic major of A minor. 27. We thus get a set of related scales of much importance, e.g.— I. i -i n ^ CJ c? ^ ^ g> g- ''-' "^ , I '^ '=^ rj o C major; Tonic major of C minor; Relative major of A minor. <=> a C MitjoR: Tonic minor of C major ; Relative minor of Ej? major. „ III. " O ^ i A MINOR : Relative minor of C major ; Tonic minor of A major. So many laws of progression and modulation depend upon the fact that all key-notes and scales are in their order of succession at the interval of a perfect fifth from each other, that it will be found of great advantage to the young pupil if he is taught to consider the key C as a central key, and all the sharp keys as proceeding from it on the right-hand side, and all flat keys as proceeding from it on the left-hand side. HARMONY. o a -«- < X z lis.! t-§:!'^ > e a is »j — .9 ■« > 4* S ? B g S< - g i 3 .3 B R n !> •J < a c s — O spo- rt -So X "° o| o u •s-a Bo a g'^'S ♦J -a BO Si.S U g OQ o •s=a ■? "-a ■S"3 S S 3 .2,1 a ¥ -=a Z°2 -m- s .i t> J=_-"T3 A 9 "S it p c ■"■S o .S M o 2 g « ""oo a a o.S. g u c gio S B "^ -a fc .1 d B.S Sal . 8a- m u CO 00 00 U >W M « 0173 « > E * Si's ^^ ro 5 D Z :o <: u 73 z o 55 7) a < , o c !: T) !!? u u e flt P M S -O g "„- £§-«.o8g g B C n u 8 HARMONY. A merely casual glance at the diagram opposite might lead the pupil to suppose that, having got into the key at Gf (to the right hand), he could get no further, and also that a similar fate would await him if he unfortunately got into the key of Cl? (on the left hand). It is quite clear that no new keys can be formed on the right hand or left hand of the series, but, if he will examine it piore closely, he will find that the third key from the left (D|7) is practically the same as C| (seven sharps), and also that the third key from the right-hand side (B) is practically Cb (seven flats) ; hence it happens that, by merely altering the names of the notes, the key of seven sharps can be reached through the flat Jceys on the left of C, and similarly the key of seven flats can be reached through the sharp keys on the right of C. Whether he should proceed to the left by fifths downwards, or to the right by fifths upwards, the key from which he has started, C, will be again reached. DIAGRAM SHOWING CYCLE OF KEYS. To face page 8. FLAT KEYS. Seven Six Flats. Flats. Five Flats. Db Four tFlats. Three Flats. Al? Eb Two Flats- ]3b One Flat. NORMAL SCALE OF — C — SHARP KEYS. One Sharp. Two Sharps. D Three Sharps. Four Sharps. E Five Sharps. B Six Sharps. Seven Sharps. £ (lea4ilng-note of F ■ ' i F» Cif i Leading- note B. B (leading-note of C) made flat. / ) m^de flat m A (leading-note of B^) made flat. Sharp keys /' proceed from C by fifths on the right-hand side until all the notes (seven) have been made sharp. Further progress to the right is impossible. Flat keys proceed from C by fifths on the left hand until all the notes (seven) have b^en flattened. Further progress to the left is impbssible. G (leading-note of AJ?) made fiat. ^ te C (leading-note of D|?) made flat. Sharp keys are formed by adding the leading-note to each successive! signature. Thus, to make the scale of C into the scale of G, add jP#, its leading- note ; to make the scale of G into scale of D, add Ctt, its leading-note; and so on. Flat keys are formed by destroying the leading-note of the key immediately preceding it. Thus, to make the scale of C into the scale of F, destroy the leading-note of the scale of C by making it into Bt' ; to make the scale of F into the F (leading- note of Gb) made flat, scale of Bl?, destroy the leading-note of F by making it E^ ; and so on. The order of Sharps, F, C, G, D, A, E, B, is therefore the order of leading- notes successively created. The order of Flats, B, E, A, D, G, C, F, is therefore the order of leading-notes succes- sively destroyed. DIAGRAM SHOWING FORMATION OF KEYS. STARTING FROM C. HARMONY. MASTER AND PUPIL. Q. What is a scale ? A . A succession of sounds proceeding by single degrees. Q. How is a scale made ? A . By subdividing the interval of an octave into parts. Q. Into how many parts ? A. In the ordinary (though not most perfect scale) into twelve parts called semitones, Q. What is a chromatic scale ? A, A succession of semitones. Q. What is a diatonic scale ? A. A succession of tones and semitones arranged in a definite order. Q. What is an enharmonic scale ? A . A scale containing some degrees smaller than a semitone. Q. How is the diatonic scale divided ? A. Into two kinds or modes, major and minor. Q. How many forms of the minor mode exist ? A. Four. Q. Write them out on D as a tonic. I. i fc -j'^ -f^ -frs- II. 'i'^r- "CT" i ^^ 'SJ— -i&jteT ^ IZZ g g? ^ III. (Melodic.) i tji-a bg > &= 4^ '■=' o c? t^' I^ 3Z (Harmonic.) =fl23 -S> O- «2= •T^r- iTJ Q =2=^ Q. What is the relative minor of a key ? .^. The minor scale commencing on the third below it, con- structed like Nos. 3 or 4. Q. What is the tonic minor of a key ? A. The minor scale commencing on the same key-note. Q. How many notes are common to any major scale and that of Its relative minor ? A. Six; the first six notes. Q. How many are common to any major key and its tonic minor ? A. Five; the first, second, fourth, fifth, and seventh notes. CHAPTER III. 28. Intervals, or the distances between sounds, are reckoned — I. Upwards. a. Inclusively. 3. By the number of names of notes lliey contain. Intervals are reckoned upwards, because in the study of harmony the lowest note, or bass, is of the greatest importance, and calculations are therefore made from it, and not from the highest part, or treble. By "inclusively" is meant "counting in both limits;" thus, C to E is a third, because C and E are both counted in the interval. It is- necessary sometimes to count the number of names of notes in an interval, as it assists the pupil to find out their nature. For example, C to F| and C to Gb appear to be the same an a pianoforte ; but C to Fj is a fourth, because it contains four names, C, D, E, F ; and C to G\f is a fifth, because it contains five names, C, D, E, F, G. 29. If we take any key-note, and reckon the intervals contained within an octave from that key-note, by returning to it each time, the Fourth, Fifth, and Octave, are called Perfect, all the others Major, e.g., C to D is a major second. C to E is a major third. ^ C to F is a perfect fourth. ' C to G is a perfect fifth. C to A is a major sixth. C to B is a major seventh.^ C to C is a perfect octave. 30. This rule of course applies to intervals in all keys : if the upper note is in the major scale of the lower note, the interval is perfect or major. Thus Eb to G is a major third, because G is the third degree of the major scale of E\f ; similarly, B to C| is a major second, because C| is the second degree of the major scale of B ; and also, E to C| is a major sixth, because Cf is the sixth degree of the scale of E. [The young pupil should be very careful to remember that a letter without an accidental attached means the natural note; thus, B means Bb (not B^), and BO on.] HARMONY. 1 1 31. Major Intervals made one semitone less are called Minor; Perfect Intervals made one semitone less are called Diminished, C to Dl? is a minor second. C to E!? is a minor third. C to FtJ is a diminished fourth. C to G!? is a diminished fifth. C to Ab is a minor sixth, C to Bi> is a minor seventh. C to Cb is a diminished octave. 32. The rule of course applies to intervals in all keys. Thus, E to G is a minor third, because the major third of E is G](, not G ; the interval is therefore a semitone less than major, and therefore is minor. Similarly, A to F is a minor sixth, because the major sixth from A is Fj ; and, also, B to F will be a diminished fifth, because the perfect fifth from B is FJf. 33. Intervals made one semitone more than major, -or perfect, are called Augmented, e.g. — C to DjI is an augmented second. C to E5 is an augmented third. C to Ff is an augmented fourth. C to G# is an augmented fifth. C to AJ is an augmented sixth. C to BJ is an augmented seventh. C to CJ is an augmented octave. 34. The rule applies of course to intervals in all keys ; thus, F to GJ is an augmented second, because the major second from F is G ; similarly, F to B is an augmented fourth, because the perfect fourth from F is Bb ; and E to B| is an augmented fifth, because the perfect fifth from E is B. Unisons when normal or altered are named as if they were octaves. 35. Sevenths made one semitone less than minor are called Diminished, They are formed by the leading note and minor sixth (above) of a minor scale, e.g. — i gF^= ZZI ^. a ''-' ^ As the pupil will be wise to familiarise himself with .^hese intervals, a complete list is subjoined 12 HARMONY. TABLE OF FIFTEEN DIMlNrSHED SEVENTHS. [The young pupil need not commit this to memory; he may reserve it for reference.] Key. Notes forming the Interval, In In In In A m In E mi In B m In F# m: In C^ m: fGfl lAb |D#mi lEt> m fAtfm m m In F m In C m In G m In D m: nor the diminished seventh is from G| to F (i) nor the diminished seventh is from DJf to C (2) nor the diminished seventh is from AJf to G (3) nor the diminished seventh is from Eft to D (4) nor the diminished seventh is from Bff to A (5) nor the diminished seventh, is from F x to E m) nor the diminished seventh is from Gt] to Ft* (7) nor the diminished seventh is from C X to B (8) nor the diminished seventh is from Di| tO' C7 (9) inor the diminished: seventh is from GjX, to FJf (10;) inor the diminished seventh is from A1| to Gt> {11) nor the diminished seventh is from Etl to D|? (12) nor the diminished seventh is from Bq to Al? (13) nor the diminished seventh is from Fj( to Eb (14) nor the diminished seventh is from Cf to BP (15) 36. Any interval which is made a chromatic semitone less than perfect, or minor, is called diminished, e.g. — D# to F is a diminished third ; D to Ab is a diminished fifth* 37. The following will show why the intervals in the above table ought to be called diminished (compare them one by one with the table above) : — G to F is a minor seventh, therefore G# to F is a diminished seventh. See No. i in table. D to C is a minor seventh, therefore Djj; to C is a diminished seventh. See No. 2 in table; A to G is a minor seventh, therefore- A# to G is a diminished seventh. See No, 3 in table. E to D is; a minor seventh, therefore E$ to D is a diminished seventh. See No. 4. in table. B to A is a minor seventh,, therefore B# to A. is a diminished seventh. See No. 5 in table. Fjt to E is a minor seventh, therefore F X to E is a diminished seventh'. See No. 5 in table. C# to B is a minor seventh, therefore C x to B is a diminished seventh. See No. 8 in table. GJ to Fftis a minor seventh, therefore G X to F# ia a diminished seventh. See Ncn. 10 in table. 38. Again (compare them one by one with the table above), — G to F is a minor seventh, therefore G^ to F|?is a diminished seventh. See No. 7 in table. HARMONY. 13 D to C is a minor seventh, therefore D to CI? is a diminished seventh. See No. 9 in table. A to G is a minor seventh, therefore A to Gl? is a diminished seventh. See No, 1 1 in table. £ to D is a minor seventh,, therefore £ to Dl> is a diminished seventh. See No. 12 in table. B to A is a minor seventh, therefore B to Ab is a diminished seventh. See No. 13 in table. F# to £ is a minor seventh, therefore Ff to £l> is a diminished seventh. See No. 14 in table. C# to B is a minor seventh, therefore C# to Bl? is a diminished seventh., See No. 15 in table, G# to F# is a minor seventh, therefore G# to F is a diminished seventh. See No. i in table. 39. By comparing the two foregoing sections (37 and 38) we can at a glance see the truth of what was stated in Sect. 36 (read it), for the minor seventh G to F can be made a diminished seventh by raising G to GJt or by flattening F to Fl7, thus : — Minor sevenths. Diminished sevenths. GtoF GlttoF; G to Fl7 D to C DJtoC;DtoC!7 AtoG .... AJtoG; A to GP and so on, 40. The same law (see Sect, 36) applies to all other intervals, e.g. C to Eb is a minor third, therefore Cj to W), and C to £>!?, are diminished thirds. 41. Intervals not exceeding the compass of an octave are termed Simple. Intervals which exceed the compass of an octave are called Compound. 42. The rule for reducing a compound interval to a simple interval is easy enough, namely, " deduct seven," e.g. — A ninth is a compound second. A tenth is a compound third. An eleventh is a compound fourth. A twelfth is a compound fifth. A thirteenth is a compound sixth. A fourteenth is a compound seventh. A fifteenth is a compound octave. [The young pupil should be asked to state these intervals from different notes, thus : State the thirteenth of D, eleventh of G, ninth of B|>.] HARMONY. HARMONY. 15 43. Compound intervals undergo the same expansion and con- traction as their simples, thus, — i is an augmented eleventh. $ -ter $ ¥^ is a minor ninth. is a major tenth. 44. Intervals exceeding two octaves are rarely mentioned numerically, but the pupil should go on deducting seven until the number is eight or less than eight. For example, a nineteenth is practically a fifth in the second octave above, because 5 + 7 + 7 = 19- 45. It is quite unnecessary to commit to memory the number of semitones contained in all the intervals enumerated in this chapter ; much valuable time is often wasted, and patience worn out, by undertaking this useless labour. 46. Intervals are said to be inverted when the relative position of the component notes is changed. Perfect intervals remain perfect when inverted ; but major become minor, augmented become diminished, and vice versd in all cases. Thus C to G (a perfect fifth) becomes G to C (a perfect fourth) : C to A (a major sixth) becomes A to C (a minor third) : C to F| (an augmented fourth) becomes F| to C (a diminished fifth). [Notice that the numerical name of an interval together with its inversion always makes 9.] MASTER AND PUPIL. Q. What is meant by saying that intervals are reckoned " inclusively " ? A. That the outside notes, or both limits, are counted. For instance, C to E is a third because C and E are both counted in. Q. Why is it necessary to call attention to the number of names in an interval ? l6 HARMONY. A. Because one cannot always tell the nature of an interval by its sound. For instance, if I were to hold down C and Eb on-a harmonium you would call it a " minor third ; " but if I said that I meant it to be C and Djt, you would then call it an " augmented second," although my fingers would be all the time holding down the same keys. Q. What is a simple interval ? A . An interval not exceeding the compass of an octave. Q, What is a compound interval ? A. An interval greater than an octave. Q. When asked to give the name of an interval, how do you set about it ? A . I ask myself whether the top note is part of the major scale of the bottom note; if it is I call it "major," or "perfect." Thus, D to B is a major sixth, because B is in the major scale of D and is its sixth note. If the interval is made a semitone smaller than major I call it minor ; thus, D to Bt> is a minor sixth. If the interval is made a semitone larger than major, I call it augmented ; thus, D to B|; is an augmented sixth. Q. What is a " diminished " interval ? A . A perfect interval, or a minor interval, when .made less by one semitone. Q. What is the most important diminished interval ? A. The diminished seventh. Q. Where is it found ? A. Between the leading-note and minor sixth of a minor scale. For instance, Gj to Fin the -key of A minon Q. What is an eleventh ? A. A fourth. Q. What is a thirteenth;? A. A sixth. Q. What is the interval F to B ? A. An augmented fourth. Q. AtoES? A. An augmented fifth. Q. a to Bl? ? A. A diminished seventh. Q. E to C ? A . A minor sixth. [The pupil should be made quite familiar with the names of intervals.] I? CHAPTER IV. 47. Starting from the note $ the first attempt to make a chord would naturally lead to the addition of £, thus : — $ But, although this sounds very well, it is not considered a full chord, because its key is to a certain extent doubtful. It might be one of two things, the two lowest notes of i or the two highest notes of $ or, in other words, it cannot be deiinitely determined whether $ belongs to the key of C major or A minor. Therefore the combination of a note and its third is not used as a basis for chord-making, but the combination of a note, its third, and fifth is found to form a chord of definite key, and is the basis of all harmony. The note on which a chord is built is called its ground-note or root, see § 58 and § 77. [When thirds and fifths (and any other intervals) are spoken of without any term affixed, it is always understood that they are major or perfect.] i8 HARMONY. 48. We Start therefore with this chord : — "• is Ex. II u This is generally known as the Common Chord of C. It is also called the Key Chord of C. because it fully represents the key tonality of C It is also called the Tonic Common Chord in the key of C, because it is built on the first note or tonic of the scale of C. It is also called a chord of I on C, because, reckoning from C, the £ is a 3 and going again to C, we find the G is a 5. Placing the highest number uppermost this makes |. If this chord had a minor third instead of major third, thus, — i it would become the common chord of C minor, and with its proper signature would be written — i ^ m EXERCISE. Write down as simply as possible (like Ex. 11) the common chords of A, F, D minor, G, Bt>, E, using the proper signatures in each case. 49. With one exception only, compound intervals, for purposes of figuring, are considered simple. Repeated notes are not mentioned in the figuring. Ex. 12. ~^?' §E f-> rj -j'^r- ^ 5 5 S 6 6 5 5 6 S 3 3 8 3 3 3 3 All of the above chords are figured |, because each contains a third and fifth of C. Thus it will be seen that the particular octave containing E and G is not specified in the figuring, nor is their repetition regarded. HARMONY. 19 50. It is evident that we can build up a common chord on every degree of a scale but the leading-note. Ex. 13. I J S [The chord i C. D tnin. E min. F. G. A min. is incomplete and unsatiEfactory, for reasons which will be hereafter given.] 51. When a bass note has no figures it is known that | is implied. 52. If the pupil will play all the chords of Ex. 13 in succession, he will find they produce a very bad effect. This is on account of the CONSECUTIVE FIFTHS they contain. Nor will he find any less unsatisfactory result if consecutive OCTAVES be added, thus : — B...,. j-jJTJ-^^^ Therefore, consecutive fifths and consecutive octaves are forbidden between any parts ; for example, — JUJ K - J ^J I ^-^v^J Ex. 16. v~rr^^^ Bad. Bad. Bad. But octaves are not considered to be consecutive unless they occur between the same parts. There is no fault in the following (Ex. 17), although two F's are followed by two G's, because the bass takes the F and the tenor the G : — 20 HARMONY. Ex. 17. , I^B 2^ i Good. The next example (Ex. 18) shows consecutive fifths : — Ex. 18. i J=i ^ f r I Hy I If Bad. Bad. Bad. But fifths are not considered to ~be consecutive unless they occur between the same parts, e.g. — Ex. ig. ^ A \ "isr 32: 321 Good. There is no fault in Ex. 19, although p is followed by q, because the C is taken by the tenor and the D by the alto. 53. The pupil, hearing im mind thai consecutive fifths and eighths are to be avoided, may now tegin writing easy exercises in three parts, consisting entirely of common chords.] If the following exercise were given, — ! Add an Alto part to, 'Ex. ao. ^ ^ Tsr 321 HARMONY. 21 it should be filled up thu^,- £x. 21. ^m p^ ^ T^ U2I ^ lS>- IhB alto part bemg added .to the -treble stave. If necessary, the fifth of a common chord may T>e omitted ; the third cannot be spared. See the fifth chord of Ex. 21. EXERCISES ON COMMON CHORDS. AN ALTO PART TO BE ADDED. [Turn the tails of the alto notes down ; those of the treble up. The alto must not go higher than the treble.] rf^ 1 J J 1 J J -p4- -shh -^r-H ^^ fJ rJ <=^ ■ ^^ cy rJ rJ p — r^ r p c- ---' r:" P* P - — s^ H ^^ H I'^a r-* — ^_l — ^-=-«-p- =^ ^-f— 1 ^. -^^H AN ALTO PART TO BE ADDED. ^4jj^ijijj-^Jrtrt P o rJ - g? ^ zS: 32: rf'i i riT' ifTrl l fT .m. AN ALTO PART TO BE ADDED. -gy" ~^':r- |i i^ ^ rfv^'rrf^ ^^^ 22 HARMONY. A TENOR PART TO BE ADDED. THERE IS TO BE NO ALTO. [The tenor part to be written on the bass stave, with the tails turned up. The tenor is not to go below the bass.] IV. ^ ^ n^^a g i ^ (9)'. I b 4 r^r P zz: r> r-> -JSC ^^»^ =F r i ' 'r^r I V. A TENOR PART TO BE ADDED. NO ALTO. i l^^ i=i i^l ^J gj ^zz: 2Z ^S ^3-|S> ^ ^^ rr' rir :^2i ZZSl r A TENOR PART TO BE ADDED. NO ALTO. VI ^ 1^ zz zz -cr- G^i'i^r^' »^y- -)P rr'ri rrlr F T" 54. It has been seen that only three notes are required to form a common chord. In writing in four parts, therefore, one note has to be doubled. It is better to double the root than the fifth, and better to double the fifth than the tliird, e.g. — Ex. 32. -' 1 J rj / rj r ^ v^ ^ -^ /■_^. rj r^ <^J g^ % -52- ^> ^"^ Very good Not so good, Should be but not bad. avoided. HARMONY. 23 BXERCISE. Taking this as your model, write out similarly the common chords of F, A, Bt>, D, G, E minor, A minor, El^, B minor, using the proper signature in each case. The pupil will now be asked to add two parts, an alto and tenor, to the treble and bass given. He must remember that the treble and alto should be written on the upper stave, the tails of the treble notes being always turned up, and the tails of the alto notes down ; similarly, that the tenor and bass are to be written on the lower stave, the tails of the tenor notes being always turned up, and the tails of the bass notes down. When two piirts have but one note, write two tails, one up, one down. As a specimen, say, — Ex. 23. yap r r f =^ .1 'J J ,1 I .) J ~g7~ ZZ3Z ^ -gy good .... 55. The notes forming the chords should be kept as nearly as possible equidistant, as in the above (Ex. 23), not in this way: — Ex. 24. IE2Z S P^ not so goQd .... Ex. 23 is said to be in extended harmony ; Ex. 24, in close harmony. 24 HARMONY, 56. It is not good to have a great gap between the alto and tenor (see Ex. 25). Ex. 25. iJ/i'i'i'i; 1 IZ2I m ^ J-O- j- , ^ J ^^^ bad 57. The parts should not move by unnecessarily large skips, e.g.— Ex. 26. JJi'm'i,V -j'^ , J. I f^ ^ I ^ very bad [After having had the faults of Ex. 24, 25, and 26 pointed out to him, the pupil should play over Ex. 23, once more.] MASTER AND PUPIL. Q. What forms a common chord ? A. A note, its third, and fifth. Q. What sort of third ? ^. A major third in a major common chord ; a minor third in a minor common chord. Q. Does the fifth in a common chord ever vary ? A . No, it is always a perfect fifth, Q. What is the common chord of C major F A. C, E, G. Q. What is the common chord of C minor ? A. C, Eb, andG. HARMONY. 25 Q. What is meant by the term " key-chord " ? A . The commdn chord of the tonic of any scal& Q. What is the key chord of A ? A. A, CJt, E. Q. What is the key chord of G minor ? A. G, B>, D. Q. How is a common chord figured ? A. 3 Q. Why? A. Because it contains a third of the bass note, and also a fifth of the bass note. Q. If the bass note were very low, and the two upper notes very high, would it still be figured % ? A. Yes, because compound intervals are considered simple when figuring. Q, Is it necessary to " figure " all common chords ? A . No. When a bass note has no figures under it, it is under- stood that it is to be harmonised with its third and fifth, that is, its common chord. Q. What consecutive intervals are forbidden ? A . Consecutive octaves and consecutive fifths. Q, What other names have they ? A . Parallel octaves ; parallel fifths. Q. When you speak of consecutive fifths, what kind of fifth« do you mean ? A. Consecutive perfect fifths. Q. Is it necessary always to have the third and fifth in a common chord ? A. The fifth may be omitted when necessary, the third should rarely be omitted. Q. What note of the common chord is the best to double, in four-part writing ? A. The bass note. Q. What is the best position of a four-part chord ? A, When the notes forming it are nearly equidistant. Q. What do you mean ? A. I mean that.it is bad to have two or three out of the four parts, very high- up, or very low down, leaving a larg& interval in the middle. 26 HARMONY. EXERCISES IN FOUR PARTS ON COMMON CHORDS. AN ALTO AND A TENOR PART TO BE ADDED. I. /^.n J I ^ ^ J J — (^) a ? '-^ ■? 1 ^-J ^ 1 J fJ J 4 (<»):itA '-^ f^ ■ 7^ — 1^ "' r 1 1 f r r ll i'=M i ^ ^ :^ ^ ^ -^' ^ ^ -r:r i-J - e ^ ^ II. fe ^ ■d I CJ ^ c>' c^ ^^ ^ ^ ^ ?^ ^ r- ^J rJ \ ^ 3 ^ d ^ izz: s ^ ^^ III. hMtl A J 1 J III III 1 J f ^ ^ y — ^ — *^ — £j — J — J — _ — s_. rc^:tt,, n ^ ^ - — * — 5 P ^4 ^ P— ^ ^ ^ ^- i J I .) J I J J ^ -gj" gs ?^ ^£ i^ •?'— r HARMONY. 27 IV. [ f'tv l -J^'^JMJ i -eajcL g? g? c** s ^^ f^ 1 J -iS- ■^ -^ -&- -^ -^ -&; r:i II pj. -^j r-J ni rj 1 |_ 6 3 6 3 5 3 6 3 6 3 6 4 6 4 6 4 29 Ex. 29. ^g. Common chords in any keys will of course be similarly figured, it being understood that the intervals are in accordance •with the signature, unless an accidental is attached to the figures. 60. As a matter of convenience, common chords in their original position are not figured at all. Also, instead of always writing % under the first inversion, the figure 6 is used by itself, it being understood that the 6 includes as- The numbers %, the figuring of the second inversion of the common chord, are not abbreviated. 61. An accidental is placed on the left-hand side of a figure when it is required to alter it, e.g. t|5. But an accidental without a figure always refers to the third of a chord, or, in other words, a %, I?, or tl by itself, indicates that the third of the chord is to be sharp, flat, or natural respectively, e.g. — Ex. 30. i m ^ p ' r Vf" -f ^ •^ d , ^ ^j , J J , J A s {' r i ^r f^ ' r T ^ ^ n Observe that a common chord is figured when another chord occurs on the same bass note, e.g. % % I Ex. 31. IE m J J I J :^=tp: $ -J. ^ J: A ^ 8 3ZI 3° HARMONY. 62. The inversions of a common chord can be shown in three parts, thus : — i ^ s But, as before stated, in four-part writing one of these three notes must of course be doubled. The following rules should be committed to memory : — " In the first inversion of the common chord, double either the third or sixth, whichever is most convenient, but do not double the bass note if it can be avoided ; " e.g. — Ex. 32. i Good. -ez- rj rj -r:r- rs fr3 221 •^- -g- ^ -g- -^ -r:!- Z2= -irr 6 6 6 6 6 6 Ex. 33. i Bad. ^ -rrr- ~e7~ ^ g ^^ ^ ■^ ^ r, -^ f-t f-> '^rr £2- "HT -rs- 6 6 6 6 " In the second inversion the \ is very frequently followed by % ; when this is the case, make the 6 go down to the 5, the 4 down to the 3, and double the bass note ; " e.g, — px. 34. J J I J Good. c=J P^ -g- J. -4^ A -^ ~m- HARMONV 3» Ex 35. i ^^ Not so good. -r±- Tt~^'^^ ^ ^ A. 63. One great advantage to be obtained from the two forms cl the first inversion of the common chord (with the doubled third, or doubled sixth) is the power of avoiding consecutive fifths or octaves, e.g. — ^^ Ex. 36. ^^ 6 Bad. ^ In the above (Ex. 36) there are consecutive octaves between the tenor and treble, and consecutive fifths between the tenor and alto. But, by rhaking the tenor part alternately double the third and sixth, such a passage becomes both correct and pleasing, e.g. — Ex. 37. i ?f j i -j .) r=^ ^. JU'i ^ ,,Tv , it , i4 J. A ^ s 6 6 ^^ 64. The tendency of the leading-note to ascend to the tonic i implied by its name. Sometimes, however, it cannot be tak up without the loss of the fifth in the chord which follows, e.g. — Ex. 38. g t^ I22I l=J--s=- m ^ -irr- No fifth. 32 HARMONY. 65. In order to obtain a full chord at the close of such passages many writers take the leading-note dowwards, thus : — Ex. 39. rsz: zzs:. izsr The beginner should, however, as a rule, make leading-notes ascend. 66. In order to write in a smooth style, the pupil should at first write his exercises as if they were to be sung by four voices. For this purpose he should consider the following to be the average compass of the parts. -^ Tenor. — Bass. ^ Treble. Alto. 67. When preparing the exercises which follow, the pupil will of course bear in mind that what is already filled up need not be repeated, although it is in the figures. 221 Ex. 40. < ^ -r:!- Z2I In the above (Ex. 40), where the figures | \ occur, a 4 followed by a 3 is already given in the treble part. It will therefore only be necessary to add a 6 going to a 5, and double the bass note, thus : — Ex. 41, % E ^ J J I J- -Tzr -7S-. ZZ3Z HARMONY. 33 68. Occasionally, in the exercises which follow, a bass note struck twice or held down will have under it 5, 6. This signifies that 5 goes to 6, while i and 3 remain stationary, e.g. — Ex. 142. '. W ^^ w J I g — = rz3i ^ ^'" . It is not unusual in such cases to keep all the other parts stationary, notwithstanding that by this the bass note of a first inversion is doubled, e.g. — Ex.43. m T ^ ^ ~7rr iS: J- e ^ IZ2I 6 6 69. In harmonising such a progression as the following (Ex. 44), the pupil must be careful not to make consecutive fifths or octaves, or both. Ex. 44. < ^ -Tzr Ex. 45. Sfl B ?3I -Tzr -r:r ^ 32: Very bad. The following (Ex. 46) is the commonest way of harmonising this correctly: — Ex 46. 34 HARMONY. 70. When one part has held the third of a chord, but has moved away, the third should be taken up by another part, e.g. — Ex.47. i ^ Ex. 48.< m 32Z i ^ ^ ^ 221 ~ar~ IZ2I izz: Bad. Ex. 49.' ^ m ^ -d "y^ ^ ^ Good. 71. It will be observed that when J is followed by g, the | generally falls on the accented portion of the bar, either on the primary or secondary accent (that is, either on the first or third beat when there are four in a bar), e.g. — Ex.50. Ex.51. But the I is occasionally used on a non-accented portion of a dar, in which case it is called a passing |, e.g. — m ri Ex.53. T='T=^ Ex.53. HARMONY. 35 It will be seen in the above (Ex. 52 and 53) that the passing | is not always followed by a g. In Ex. 52, it is followed by a 6; In Ex. 53, by another |. The | on the accent is sometimes distinguished from the passing % by being called a cadential J, that is, a | which often occurs in cadences, or the close of musical sentences. 72. Augmented intervals should be generally avoided, e.g. — -W-^1 ^ ( J) i ^J. "TJ" ?^3 -yCTT Ex. 54. ^rJ- Ex.55. ^ Not very good Very good. MASTER AND PUPIL. Q. What is meant by the " original position " of a common chord ? A . When it is so arranged that the root is in the bass ; for example, F, A, C is the original position of the common chord of F. Q. Would any change of the two upper notes affect it ? A . No ; as long as the root is in the bass the chord is said to be in its original position, whatever be the arrangement of the two upper notes. Q. When is a common chord said to be inverted ? A . When the ground-note or root is not in the bass. Q. How many inversions has a common chord ? A. Two. Q. What are they figured ? A. The first inversion is figured |, or more often 6 only ; the second inversion is figured |. O. What sort of a sixth or fourth do these figures imply ? A . Whatever is in accordance with the signature. For example, in the key of BU a 6 under G will imply an Ef and Bl', of course ; and a | under F (in Bl?) would imply D and B\>. 36 HARMONY. Q. But what is done, if a chord is wanted, the notes of which are chromatically altered ? A . Accidentals are placed on the left-hand side of the figures, Q. What is meant by an accidental placed below a note without any figure ? A. It indicates that the third of the chord is to be altered in accordance with the accidental. For example, a sharp under D would signify that the chord should be D, F|, and A, Q, If a common chord of D major occurred in a piece in the key of El? how would it be figured ? A. 135, with a sharp standing under, thus, "j* Q. What is the best note to double in the first inversion of a common chord ? A . Either the third or the sixth. It is not good to double the bass note. Q. What is the commonest progression of a | ? A. It is frequently followed by I on the same bass note. Q. How do the parts generally move ? A, The sixth descends to the fifth, the fourth to the third, and the bass note is doubled. Q. In a succession of sixths, how are consecutive fifths and octaves avoided ? A . Place the sixth in the treble, and the third in the alto part ; then make the tenor alternately double the third and the sixth, Q. How is the leading-note treated ? A . It generally ascends to the tonic* Q. What is the meaning of a 5 followed by a 6 ? A . It indicates that i and 3 remain stationary, while 5 moves to 6. Q. What is the usual position of | followed by § ? A , On the accented portion of a bar. Q. What is J called when on a non-accented portion of the bar? A. A passing |. Q. What is it sometimes called when on the accented portion ? A. A cadeniial J. Q. Why? A. Because it so often occurs in cadences. Q. What is a cadence ? A . The last progression in a sentence of music. HARMONY. 37 EXERCISES ON COMMON CHORDS AND THEIR INVERSIONS. I. ALTO AND TENOR TO BE ADDED i ^J J j | j j^ 32 ^ rT-nr^vK' ^ 6 6 5 4 3 6 6 6 6 ' iJ-'j|Jjj|__ J|J^JhJ|J-^J W ^^ &rz2r223ij22: f*^ r^ crr i nrr 6 S 4 9 i ■^ . r) J.I 6 S 6 t 4 8 J J i J ^Jl ^E ^ 3^ P ^ r> 6 6 6 6 6 6 II. 7^4 r |J J J| — #1 — J- — s* — ' cj =P 1 ^ m p 1^-^: =i=N=J ^ =f±J ^ =f^ -P- 1 6 6 6 6 S h ^ 11 J j J|J II J "^1 -' ^^ f ^"^=1 f' f 1 r^ * r- 1 p p 1 r TM r r ? PLk^_J 1 !— ^= f- : 1 1 1 6 6 6 6 S 4 I 38 HARMONY. ^ ^^^^ s zsx S-'T-T z r m ^r r\(' r r ' ^ r i- 6 6 S 4 3 6 6 III. m ^ ^^^-^-^ ^ — & ^■' • T^ W 6 s 6 s est 4 t 4 « | t-» .J .J I ; J J I J J J | J J ^ i t(* r ^ I |g n- ' r r r r 6 9 6 4 I 6 6 6 IV. ^^J^ I JjJJ.jJ^ I J'Jj ^^=^ :y);,_i74^P g ^ =F=P 6 6 S 4 8 6 1 6 6 5 HARMONY. 39 ^^-JJUJ ^ :z3z w "TTT- t>j.^ r p i k r; ' 1^ r: r r ^-J iTJ 6 6 I) t f 5 6 #? ^■^ J ^.— t- F=H r^ ^jjJijjj ji =-w- - r-^ P ^ — «=" cJ -f^ c^ -=^-fS' r^-^ — tip --J - ^^ 1 r f f^ ±= — F ^^-^- 666 66llS66 4 « 6 S 6 { 4 3 ,^>"JJ-)J | JJ-J^ ^ s* -?r:r ^ (S — (S>- m ^ ^ 6 6 dM iJ 'J i lJjii^ ^ i ^^: ar=ac r rrf" rrr i r ^ 6 6 6 6 6 S 4 t i J •' J i J J J J i J J J J|J JJ m lit 6 6 6 6 5 4 t t 6 4 I =F 40 HARMONY. lP ffti J 1 J 1 J 1 i 1 [J JIJ ^ ^^ ^^, f i rJ ' 1 1 * , P — r ■^ " r r ^^r r=T^ r r 1 1 r 1 \ l> ^ ^ ^ij I J J 6 S 4 3 6 5 4 3 I ^ ^ s 1»-^ s ^ 6 6 6 4 S 6 6 6 6 VI. ^ e^Es^ p^fe s e atrfr ^s ?^^ 6 6 6 6 6 5 4 3 6 6 lis 4 "j [ /,b't;T^Jp | ^J J^H ^^ fJAff r^ ffit f rr ci^ grr 6 6 6 6 6 4 6 S 4 8 * Whenever the major common chord of the dominant of a minor key is preceded or followed by the common chord on the sixth degree of the Scale, the octave of the sixth degree must be left out, and the third of its bass doubled. 41 CHAPTER VI. 73. It is now time that the bass only should be given to the pupil, and that he should be required to add the treble, alto, and tenor parts to it. There are three kinds of motion between any two parts: SIMILAR, when two or more parts proceed in the same direction ; CONTRARY, when they move in opposite directions ; oblique, when one part is stationary and another moves, e.g. — Ex. 56. P ^-F~ 65 41 65 43 •T^r- HARMONY. 45 II. hy.Hfx p n =^ — —^ 1 — \ ^ a 1 p p— 1 — cJ-^ — ^ — J J ='■. - 1 i (Witt '^ p r — r r r — - — 1 '■^- 5W£ \ 1 1 1 ^ ^^ 2 1 6 f 6 6 6 ^ P--^ p =^ = =- \^ 1 1 1 rJ Q g" : 1 1 : 1 1 — ^ — ! u III. m J J r f f—M ^ Sb 6 5 4 8 6 6 6 6 1; 4 ML. J, « _ -_■ 1 s> ^\> ' J--d-M-^ J * 1 — J--M—d 6 6 4 8 6 « 6 6 6 4 3 IV. —f^ 'TT^ ?=: r=^ ^ A A-^ AA T i ^ "?j- p r G D Now this would give the fundamental basses, but not a full account of the chords formed on those basses. The pupil would therefore analyse it thus (as if reading the writing below the music) : — Ex. 68. A — \- I ■I J . 1 --^ H im I ^ ^^fM t [' V ' r- r 1° f- V p 22: A J. ^ A A ^ AA ^ ^m =J=i: S 23: P T -j'^ E Q o -S. c« o-t: O o ji U i o u o o E o O O J3 B o U o O i o O o o a <: o o o g o J5^ J3 u o o 0*0 O O i e o o O O J3 o o J3 o d o 48 UAKMUNY. 78. If nothing is said to the contrary, a common chord is always supposed to be major. Thus the common chord of F means F, A, C ; the common chord of D, — D, F|, A, and so on. When it is desired to name a minor common chord, the word minor should be added. Thus the common chord of G minor would of course be understood as G, Bt>, D ; of B minor, as B, D, F|, and so on. w 79. If, however, a common chord has been made major by an accidental, it is usual to say major after naming the_ funda- mental bass, so as to prevent mistakes. If the reader will refer to Ex. 68 he will find that the sixth chord from the beginning is called the common chord of A major (not simply of A) ; this is ddne because it contains an accidental (C|). Following the method shown in Ex. 68, the pupil should analyse the tunes now given ; when completed, the list of chords must be read over to his master. 1. EXERCISES. THE CHORDS TO BE ANALYSED. German Choral. Harmonised in a simple form by j S. i •i-i|j^j J i i J jj a^ ^ ¥ ^3 ? ? T — t- T i ^- ^F^ S ^ ; J I ■■ I I J J T~f~r j-j ^ :^=^ m. PTr ^ 1 ^^^^ ^ ^^ r r JJ^JUJ f f f r r^f 1^ f r nc 'ri r f m it=i II. HARMONY. 49 Old Tune. Harmonised by J. S. $ ^';^iJ j'^' Ji^i-J^iiJi^ p^? ^^ ^ * it2: J rM°' J i J JJ ii ji J'^ a i m rr (' f ^ ^ ^rv^r \ m^'\^ i M"^ ^A^.d '.\ I I [ S ^ r"i Tf-f 1 — p— r III. German Choral. Harmonised by J. S. rJ r^ o I Q g. '^ I I r I (■:; r? ^, !r F r V r^' f" ^"r ' r r p ^ I f ' I r I f-^ II ' r r I p S r 1 ^ jS P P ^ P F I I A ^ -^L^ ^^ ^ T=^ $ 5° HARMONY. IV. :4^ German Choral. Harmonised by J. S. n j^}^^^. ^ ^ wrTf Grf' ■— QB - to ^^^ i ji^ - i inj fT^Trr ^ ^ ^^ ^ ^-"^Hpp ' r'H ^ i M ^ ^ A_A_A^^^^^ zazgi ^ =F ^ i -s^ ^ :=3 — ^rf_ ^^ y r^f ^ =F ~cz: -C7" r-r m ^ T^ 80. The pupil, being now familiar with the nature of common chords and their inversions, may study the treatment of the Chord of the Minor Seventh, or, as it is more often called, the chord of the Dominant Seventh. But he should be told that, there is no special reason why this chord should be the next learnt. In fact, in no classification of chords, based on true principles, does this minor seventh follow immediately after the common chord. But as it is probably well known to the ear of the pupil, and is moreover very easy of treatment, he will do well to master it now. The interval of a minor seventh is dissonant (this will be seen by referring to the table of intervals given on p. 14); therefore the chord of the minor seventh is a Discord. A discord is a chord not complete in itself ; it requires to be followed by another chord. A discord should not be looked upon as something unpleasant — quite the reverse ; it only differs from a concord by its lack of finality. A long series of common chords, though sometimes sublime in its simplicity, becomes in time exceedingly tedious and uninteresting. No descriptive or dramatic music could exist without discords ; in fact, without them, smrid-piciures would be impossiblfi. HARMONY. 5' 8i. It has been stated already that the only real concords are the common chord and its inversions, whether complete or incomplete. It will be understood, therefore, that a Concord is a chord not containing a dissonant interval. Young pupils should observe the spelling of these words. The h is dropped in concord and discord, although retained in chord. We never speak of musical chords as cords, nor do we tie up a parcel with a chord, although, strictly speaking, " chord " and " cord " are the same word, and signify a string. 82. It matters not whether we speak of the " minor seventh of the dominant," or the "dominant seventh," because, -in every scale, the seventh from the dominant is necessarily minor, e.g. G to F (key C), Bl? to Al? (key E>), A to G (;key D). When, therefore, we speak of the " chord of the dominant seventh," it will be known that it can only be a chord containing a minor seventh. 83. The following examples show the original position and the inversions of the chord of the dominant seventh: — Ex. 69. fei ' a 5=3: 32= rzai -T^ Orig. pos. of Domt. seventh. Ex. 70. ( r' i i— :- — 1 1 g? II \ l?v~ — ^; -— - ■ ] m ^ 1 /Vl' f e^j ^^ f Ex. 71. ist Inv. of Domt. seventh. 2nd Inv. of Domt. seventh. Ex. 72. p A \\) f rt«V -5 ■--, 1 t-* 1 ^^ 1 ^rd Inv. of Domt. seventh. 52 HARMONY. 84. It is of the utmost importance that the pupil should distin- guish between the dominant in C, and the dominant seventh on C. Because, by the former is meant i s that is, a chord of the seventh built on the dominant of the key C ; but by the latter is meant i ^ ti that is, a chord of the dominant seventh built upon the note C. In the following exercise, when we say, " Write the chord of the minor seventh on A," we mean not M ^ ^ EXERCISE. Write out the chord of the minor seventh and its" inversions on A (key D), Bb (key Eb), E (key A), F (key Bb), B (key E), D (key G), using the proper signatures in each case. 85. By examining Ex. 69 to 72, it will be found that the original position of the chord of the dominant seventh would be figured s^ the first inversion e the second inversion * the third inversion * 3' 3' a" But these figures are shortened into 7, |, f , f respectively, e.g. — Ex. 73. ; P =B= °?^3~ ~izr- T 86. One important feature in the chord of the dominant seventh is that it is identical in both the major and tonic minor keys, e.g.~ Ex. 74. ~Cr- -TTS- Ex.75, 22= b =22= -73- HARMONY. 53 This chord forms, therefore, a link between any key and its tonic minor, and is used frequently in this relation by modern writers. 87. The figuring of the chord of the dominant seventh of a minor key will only differ from that of its tonic major by the indication of the leading-note formed by an accidental, e.g. — Ex. 76. Ex. 77. 88. In former days a stroke through any figure showed that it was to be raised one semitone. The stroke through the 6 (») is still in common use, and represents both |l6 and ^6. A natural must be used to raise a note already flat, and a sharp to raise a note which is natural. Ex. 78. ik^i s m 221 s 4 3 Ex. 79. m ZZZl e 4 3 89. It has been already said that a discord has to be followed by a concord. This corfcbrd is called its Chord of Resolution ; and the note on te which the dissonant interval moves is called its Note of Resolution. go. But it is commonly found that a composer makes a discord resolve, not on to a concord, but on to another discord, thus forming, as it were, a chain of chords and postponing the feeling of resolution or rest as long as he chooses. 54 HARMONY. 91. It was formerly considered necessary not only that a discord should be resolved, but also that the ear should be pre- pared for it. By Preparation is meant the hearing of the disso- nant note as a consonant note, before it is heard in the discord. The note of preparation is generally heard in the same part as the dissonant note. The striking of a discord is called its percussion, e.g. — Ex. 80. i ^ m ^ "Ty ^ "y^ 92. The necessity for preparing a discord depends entirely on the character of the discord itself. Dominant discords have long ceased to be considered among those requiring preparation. The pupil need not therefore bind himself to prepare his dominant sevenths ; but the resolution of discords can never be dispensed with. They may indeed be sometimes resolved irregularly, but the feeling oi rest in a concord must follow a discord sooner or later. The minor seventh should not be doubled, e.g. — Ex. 81. $ ^ Bad. 93. The chord of the dominant seventh, and many other discords, can be resolved in two ways, diatonically or chromatic- ally. The principal diatonic resolutions of the dominant seventh in the major and minor modes are the following : — Ex. 8a. Ex. 83. Ex. 84. w zz: 321 =221 ^=^ m -t:!- I ^^ fej ^< ^. ^ w r^ ' tJ Ex.8 J ^ S m m izr HARMONY. ■JZZL s=^ isai Ex. %t.< (1^' ' ' tl^ w i2z: m i>5 221 B=^ The following chromatic resolutions are of frequent occui rence : — Ex. 87. m :fe# y=P=r H w ~r^ | = ± ^^ =P=^ r The minor seventh sometimes ascends chromatically, e.g. — Ex. 89. 94. It will be seen that in Ex, 82 the resolution is on to the chord of the tonic ; in Ex. 83 on to the chord of the relative minor ; in Ex. 84 on to the dominant of the relative minor ; in Ex. 85 on to the chord of the tonic ; in Ex. 86 on to the chord o'i the super-dominant of the minor scale. EXERCISE. Write out the resolutions shown in Ex. 82 to 89 in several different keys. 56 HARMONY. 95. When 8 is followed by 7, there being no other figures, the I generally remain stationary. It will be remembered that when 5 goes to 5, or 6 to 5, the f generally remain stationary, e.g. — Ex. go.. ^^ T m ^ ^ S 6 6 S 8 7 ^ 96. Lines placed under notes, in the place where figures usually stand, imply that the sounds of the previous chord are to be retained, e.g. — Ex. gi.. ^^^ A A J. J. ^ Z2I 97. A False Relation is the separation of two chromatic notes, by giving one of them to one part and the other to another part, e.g. — Ex. g2.« /f 1 J llb-J J II- J ^ II v^ p 1 L^ =^ 2] If the chromatic notes both occur in the same part, the bad effect is avoided, e.g. — Ex. gs. ^^ ^^ 3zzz:2z ^^ J p ^f - > I ^ T m^ -rzr HARMONY. 57 98. The bad eifect of a false relation may be heard even when a chord intervenes between the chromatic notes. J=^ Ex. 94- r=r* ^^ 32= 99. There are many cases in which a progression which appears to be a false relation to the eye is not at all offensive to the ear. Experience will show the pupil when he may safely neglect the ordinary rule against them. MASTER AND PUPIL Q. What is meant by a fundamental bass ? A . The note on which a chord is built. Q. Give me an example. A. In the chord C, E, G the note C is called the fundamental bass, in whatever position the notes are found, C, E, G; E, G, C; or G, C, E. Q. Then the inversion of a chord does not alter the funda- mental bass ? A. Certainly not. Q. What other names are given to the fundamental bass ? A. Root, ground-note, or generator. Q. In analysing chords how is it best to state their nature ? A . First, say the number of the inversion ; next, the name of the chord ; lastly, the note on which it is built. For instance, " The second inversion of the common chord of F." Q. What is the chord of the dominant seventh ? A. It consists of the dominant of any key, with its third, fifth, and seventh; for example, G, B, D, F, in the key of C ; or, again. E, GJt, B, D, on E. Q. Why do you say " on" E? A. Because that is the note (.n which it is built. It is built on E, but is in the key of A. Q. Can you state this fact in general terms ? A .' Yes ; all dominant chords are built on the dominant, but are in the key of the tonic. Q. What do you mean by a discord ? A . A chord containing a dissonant interval, or a discordant note. 58 HARMONY. Q. How many sounds can be brought together without dis- turbing the idea of concord ? A , Only three ; a note, with its third and fifth, as in the major and minor common chords. Q. What is a concord ? A . A chord containing nothing but consonant intervals. Q. What is a discord ? A . A chord containing one or more dissonant intervals. Q. How many inversions has the chord of the dominant seventh ? A. Three. Q. How are they figured ? A. First inversion, § ; second, | ; third, J. Q. Are these the full forms of the figures ? A. No, I implies a 3 ; | implies a 6 ; | implies a 6. Q. What is the figuring of the original position ? A. A J, implying a g also. Q. How is it that this chord forms so important a link between a major key and its tonic minor; and, again, between a minor key and its tonic m^or ? A . Because the chord is the same in both cases ; for example, A, Cj(, E, and G is the chord of the dominant seventh in the keys of D major (two sharps) and D minor (one fiat) ; and it vfill lead into one key as well as into the other. Q, What is the preparation of a discord ? A. Making the dissonant note appear as a consonant note in the previous chord. Q. What is the percussion of a discord ? A . The chord in which the dissonant note is struck. Q. What is the resolution of a discord ? A . The taking Of a dissonant note to a consonant note in the chord following. Q. Do dominant discords require preparation ? A. No, they are particularly free from harshness. Q. Into what classes are resolutions of the chord of the dominant seventh divided? A . Into two classes, diatonic resolutions and chromatic resolutions. Q. What is the meaning of lines under notes in the place of figures ? A . They direct that the sounds of the previous chord are to be retained. Q. What is a false relation ? A . The separation of two notes of the chromatic scale, caused by not giving both to the same part. Q. How can it be avoided .-' A . By giving both the notes to the same part. HARMONY. 59 EXERCISES ON THE CHORD OF THE DOMINANT SEVENTH. ALTO AND TENOR PARTS TO BE ADDED. -X±L rJ rJ d d :tM K Tg" p ( TS-^ ■&- ^ f^ r^ ^ ^ 6 4 I T 6 6 5 S 4 S *:^ ^ p gp ' T-s—r^ (=2— i g ^ ^ **: r 6 6 4 6 3 4 6 6 5 2 4 3 11. rf^^iJJ -l JLJ J l --' ^1^ J J^ ^ ^ ^ E ?^ 4 3 6 7 4 3 ,^^bj^ViiJH- i .i j | j JH ^|j s ^ ^ iS" — *- ' ^ * ! r'r r'r-'r^ r 6 6 S 4 % »l « I I * When the bass of I rises, the third of the baf-i:^4^i^ 6 6 7 6 S 6 6 t4 6 6 4 2 ^^ J I J ^ J|^ ^ (g^ .^ P I'K- 11^ zz: P =1^ set as 6 6 6 4 4 2 ItI^ =M=;i — =f rn h ^j:> ra c^ -r?- rjt^ -c? • — y^¥- -==^=— =N I'J =fJ 1 o- II 6 6 7 « S 6 6 7 1)7 .u ri'iJiJ^^^i^^Jjyj^^T^ ^ ^g fe^ rirri r i rrr 6 7 4 6 8 6 6 7 % 1 S 62 HARMONY. ibJji'>\^^^nilMJJ \ J. J ^!;ryr^\r^rr\^rrr\rrr m 4 6 6 4 6 6 5 5 2 t g e 4 3 ^^ 'i^ ^ ' ^ J J J ' J J s =Fq^ ^ r=f= 6 7 6 8lf7 sees VI. Ayg^-^J^^J]^ Jl J]j. i ;J^ -^ ff rrnrfr ff^ s ^^ ^s 46 64 6566 7 464 3 3434 «t33 3 $ J/jJ^iJ^J^i^-^^ij j-j^iTj ?^.Vip r fy^^ ?»=s ^ ^i ^g f^ 6 6 4 6 4 a 2 b tt 86 666 t)7 565 4 4 4 4 4 34 3 HARMONY. 63 EXERCISES ON THE CHORD OF THE DOMINANT SEVENTH. I. TREBLE, ALTO, AND TENOR TO BE ADDED. ^ gi S ^ P 6 7 6 6 $18 5 2 ^ f r r ^\r ^f=^ zz: 4 6 4 4 6 4 2 3 2 3 »):i,n p f>. ,— - J I ,— - r^ f=^ ^ r 1 J v.^4^ p ^ rJ J ,-; ^ J ■]:; — p_(Z._^^.^^. t 114 e 4 3 6 6 4 3 6 7 II. ^ F=?= i p h ^ E 4 6 4 3 3 6 6 l»6 H m& 1 ?2= ?=j #tefy^ ^i s 22 6 4 6 4 2 3 ;? f 6 7 4 3 III. • :ii..L4. I* I * I i» H^iJ J 1 ^a :;it:^ 46665 ^7 - 6 6 6 5 4 3 ^^=i:^»_t_t|«--T-^-.-i — --p-jyH ±T^ &6fittS==d= \- *-^J 7 "^ J ^ ^ 1 6 4 6 6 t4 6 l|7 8 2 « I I 64 HARMONY. IV. ^9. .. '-> r P ^-f' J r.-i \ \ 4—4--- 6 t «4 6 ewe m r"-) r-J- ^ ^ ^ rJ rJ Ue m ^ W-^ Y I ^ : ^ :J^ ^ *=<]: 6 - e 4 3 6 7 M « 2 ^ ■^-7-L m. ^^ d g<^ i 4M 'SSt^ 32 ^^ ' ! 3 j2i 6 t4 e f S 4 -^^TiTzr zz: ^ '^-j- I'--' Z ? 6 6 e 6 T t 4 4 tt 3 » VI. i m r r ¥^i H^V ±- 114 6 S «4 e « «4 6 S 2 4 2 2 4 3 3 M ^ I* 1 1« r *^ — a e t4 6 6 6 < >4 e 65 CHAPTER -VIII. 100, When a consonant note is sustained through the chord which follows, and forms a discord, it is called a discord of sus- pension, or simply a Suspension. Ex. 95. i w j-pj-j_ m ^ ZZ2Z ~g?~ 9 8 The above (Ex. 95) shows the suspension 9 to 8. loi. It will be seen that the percussion of the discord occurs on the accented portion of the bar, and also that the note of preparation is hound to the dissonant note so as to prevent its repetition. This example also shows that a 9 implies a 5 and 3 of the bass note, 102. It frequently happens that the ground-note of chords of the ninth is omitted in the inversions. The first and second inversions of the suspension of Ex. 95 will therefore be — Ex. 96. i - J^^^l Ex. 97. i ^ =r ^-^ 9 ^ ~fn- I « But in the last inversion, where the ninth itself is in the bass, the ground-note is often admitted, e.g. — <.q) a° -73- Ex. 98. r^rv 8 66 HARMONY. 103. If the pupil will examine the figuring of Ex. 96 and 97, he will see that the former is figured I to |, and the latter f to |. This plainly shows that figuring is merely a system of measuie- ment from the lowest note, and has nothing whatever to do with the derivation or nature of a chord. The percussion of the discords in Ex. g6 and 97 is described, in the former by J, and in the latter by |, and yet both are inversions of a ninth. 104. Unless the pupil fully appreciates this fact, any great progress in harmony will be impossible ; it cannot therefore be said too often that " the figures under a chord are only intended to describe the intervals it contains, not to show its derivation." EXERCISE. Write out Ex. 95 to 98 in several keys. 105. The suspension 9 to 8 occurs on all the degrees of the scale, except the leading-note. It is, however, rarely used on the mediant. 106. The ninth is usually not less than nine notes distant from its tonic ; that is, it rarely occurs as a 2 to i. 107. In Ex. 96, attention should be called to the fact that the J does not include a 5 ; the reason is, the fifth of the bass note would here be the seventh of the ground note, and so form an additional discord. For the same reason the | in Ex. 97 does not include a 3. 108. The ninth should not be prepared by an eighth, e.g. — Ex. 99.' Bad. Bad. log. Another form of stating the same rule is, " A progression which is bad without a suspension is not made good by the introduction of a suspension." If the suspensions were taken away from the progressions in Ex. 99, consecutive octaves would be found ; therefore the progressions are bad, although the suspensions a/>/>«ar to have removed the consecutives. no. Such progressions as the above (Ex. gg) should be avoided, not only between the extreme parts, but between any parts. J/ JiJ Jn 1-^ 1 .. II ^>-p — ^ ' r ' ° — " H-f — ^ ^r ' r [' " HARMONY. 67 The following are also objectionable between any two parts : — Ex. 100. ^^^ A=A J nJ J W m ^ ^ ^ ^ Bad. Such progressions have so much the effect of consecutive octaves that they are called Hidden Octaves. They can be discovered by filling in the intermediate notes in the part which moves by a skip. III. For analogous reasons, such progressions as the following are called Hidden Fifths. Ex. loi. These, too, can be discovered by filling in the intermediate notes in the part which moves by a skip. Hidden fifths are not disallowed unless they occur in the extreme parts. Hidden fifths even in the extreme parts may sometimes be used with good effect. 1^ J J II 1 J n 1 J II e^^^ — s — = — s — cj. (^. • r^-^ — ==- ^-^K— f^-f— f—- ^ MASTER AND PUPIL. Q. What is a suspension ? A. The sustaining of a consonant note into the next chord so as to form a discord. Q. What is the suspension 9 to 8 ? A. it is the discord of the ninth resolving on to the eighth, the ninth being prepared in the previous chord. Q. How is the ninth accompanied ? ^. Byai. Q. Has it any inversions .' A. Yes ; the 3rd, or 5th, or gth may be in the bass, but in the inversions the ground-note is generally omitted. Q. How would the fiist inversion be figured ? A. 7 or l- 68 HARMONY. Q. Would it then be right to call it a chord of the seventh ? A . Certainly not ; figures only show the intervals which a chord contains, they do not explain its derivation. Q. Does the suspension 9 to 8 occur on other notes besides the tonic ? A. Yes, but it is rarely heard on the mediant, and never on the leading-note. Q. Is there any rule relating to the preparation of the ninth ? A , Yes, the 9 should not be prepared by an 8. Q. Does any general rule enforce this ? . A. Yes. " A progression which is wrong when the suspension is omitted, is wrong when it is introduced. Bad without the suspension, bad with it." Q. What are hidden octaves and fifths ? A. Motion between two parts which suggests consecutive octaves and fifths although they do not actually occur. Q. How can they be discovered ? A. By filling up in one or both parts the intermediate notes diatonically, when octaves or fifths will appear. Q. Are they always forbidden ? A . No, they are sometimes used with good effect. EXERCISES ON THE SUSPENSION NINE TO EIGHT, AND ITS INVERSIONS. I. (Filled up for an example to the pupil.) m rP^f^h^ .a:^ A ^ rrT-r -y:!- -J. -r:^ m rzzi f-a- -r:!- ^ 8 7 6 9 8 8 - 9 8 6 6 9 8 ^ 3z: m ■331 -ifr'-^rfr f" r'f ~4a .£2r -A J. .J.A - •?^ m ^ "yrr- -rj- 9 8989898 6 6-87 S 4 [Notice that the fifth of the tonic is doubled in the inversions.] HARMONY. ALTO AND TENOR PARTS TO BE ADDED. 69 II. i Jl \ , ^ & S ) a gi ^ Z21 ^ zz: f' | ° n^' f p zz: r =r 98 6 98 6 98 98 6 98 91 m F^=F^F^ g )- c^ Qi ''< i .^ ' ^ gj =;^ (no 5th) (no 3rd) (no 3rd) ^E 3z: ^ ^ 7 A fi 6 - & 6 t 98 6 6- 5 » - 5 4 4 64 8 3 III. [ ,J4J JJ i l ,l J^IJ.I,JI,).^ »Jh=ir-T» ^: ^ ^ 4 6 § 98 6 6 98 i ^ J J J I J J JTJ ^ :fc ^ ^ (no 5th) — (S (no 5th) (no 3rd) ^ rr ' f^ f^ ^ "ST- ?« 6 98 6 6 7 6 6 6 §-87 8 — 8 4 70 HARMONY. TREBLE, ALTO, AND TENOR TO BE ADDED.* IV. m^ i c? r^ \ ^ n a ::i::tL 2s: 32: 6 9 8 6 9 8 4 9. S 9 8 % m m zzsz ^ 9 8 S 6 6 95 9 8 4 7 6 8 3- ^ t7Jt± C? '' - ' zzz: lO rs ^ riz ^ 4 3 5 9 8 76 4 8- 3 5^ :^=z: 321 7 6 3- 98 76 9 8 VL ifi):t:}t\ r -^—f--^—^ — P— - — ^^—M ^- fc^aug-j — \ -J — ^ p__(:l_^_^_i — 85 4 3 9 8 9 8 6 6- 5 4 9 8 6 76698 16 zi; 76 6 3- 5 9 8 7 6 3- 5 6 3 4 *The pupil must be careful to remember that there is nog in \, and no 3 in I when they represent respectively the first and second inversion of the sus- pension 9 to 8. In all other cases J includes 5 ; \ includes 3. 71 CHAPTER IX 112. It has been already stated that the 9 to 8 is used on various degrees of the scale, and in the exercises just given it will occasionally be found on the Dominant. But it is so fre- quently used without preparation on the dominant that it cannot be called a suspension ; some authors call it the chord of the Added Ninth ; others, the Fundamental Ninth. The chord of the Dominant Ninth is, however, the best name for it. In its full form it is not so often met with as in its inversions. It is rarely used without the seventh ; and is often found on the unaccented portion of a bar. Like the suspension 9 to 8, the dominant ninth loses its ground-note in its inversions. In its resolution the ninth descends, the seventh (being minor) descends, the third (being the leading-note) ascends. Ex. 102. Ex. 103. Ex. 104. i ^ 6 6 6 Ex. 105. IE rT ^a -^=^ ^^ ( Ex. 106. TT ^ i^ r^ ^j i 1 ' or better *■ " ■ ^? — ^ iTJ ft 72 HARMONY. 113. The fifth of this chord, when below the ninth, must always ascend a note or fall a fifth. Consecutive fifths would be made if the fifth should descend one degree, e.g. — Ex. 108. Bad. i ^ f^ r^ " V f A A. r f' l i.r f Good EXERCISE. Write out Ex. 102 to 106 in several keys. 114. It should also be noticed that in the chord of resolution the third of the tonic is doubled, even if the chord of resolution is the first inversion of the key-chord (see Ex. 104 and 105) ; also that % implies a 6, and | also implies a 6. 115. The ninth may in every case resolve before the minor seventh. This could be done by making the note A (in Ex. 102 to 106) into A, G, crotchets. MASTER Ai^D PUPIL. Q. Is the Dominant ninth called a suspension ? A . No ; because it is so frequently used without preparation. Q. What then is it called ? A . Some call it the chord of the Added ninth ; others, the Fundamental ninth. Q. What notes does it consist of? A. The Dominant, with its third, fifth, seventh, and ninth Q. How is it resolved ? A. The ninth proceeds down, the seventh down, but leading- note (the third of the chord) always goes up to tonic. Q. What becomes of the fifth of the chord ? A. If it is below the ninth it cannot go to the next degree below, because by so doing it would make consecutive fifths ; it therefore either moves one degree up or goes down a fifth. Q. Does the whole chord resolve at once ? A . It may either do so, or, the ninth may resolve before the seventh. the the HARMONY. 73 Q. What is the first inversion of the dominant ninth on the ground -note B\>. A. D, F, A[>, C. C goes to Bb, A\> to G, F to G, D to El?. Q, Why have you not included Bl? ? A. Because the ground-note is generally omitted in the inversions. Q. What is the third inversion of the dominant ninth on the ground-note D ? A. C, Ff, A, E. E goes to D, A to B, F$ to G, C to B. EXERCISES ON THE CHORD OF THE DOMINANT NINTH. 1. i ^ ^^ w w=^ f^ r i r^ m (^ ■ f^ r? r> Mr (' fy\T ^ 4 6 4 3 2 7^ :^^^ ^^=^^ — 1 — H ^-> ^-^ fj '^ £? r;^- f^ -s^ ^=11 '^ "i^ ft i ^ -|S-=^ ^ r^ rj IMl 6 6 S 4 6 7 6 6 6 6 S S 4 3 II. l^K'iM- -Jl-JJJ I JJJU Jl-^ ^ O g. i ^ Z2: yn*^ rrv 4 6 3 6 - 6 5 4 6 3 8 8 4 3 9 8 7 - 74 TTJ =1= HARMONY. J^J^JJJ_^_,^ ^>^ — g p^iH? ' sL — ?-3-: — 1 ^ — &-: 1 r^ f=> H 1 H (no 3rd) III. ■1 6 1 m 6 ^ 8 - C 6 J ^J__U ?4-' •^J J J J 1 (^) '' 4 ^ • —m — -m-g=- J ^ * •! ' _ \^ ^/ J J -1— 1 -^ 1 h-H -4 — ^ — ^--^ 6 4 ' 2 7 6 6 6 8-5 Jjl J 11 r — • ^ ,* f J c-L!_. IV. r7^~ — =^— - 6 8 7 - -t— - ' 1 r " 7 1 — 1^ f' \ 6 - 6 - ? p 1 t ' 1^ — - - 4 3 1 — 1 =r-f-3 1 6 6 4 4 2 — r ^ f P 1 — ' 1 ; - 4— 6 t4^ V rJ 6 6 -r}-s HARMONY. 75 V. 7 4 6 ^ S=«: 6 b 6 5 4 6 7 4 43 3 5 8 7 5 g ^^ \,'['f \ rJJ\^^ \f S 6 6 6 6 7 6 6 e 8 7 6 7 VI. ^s ^fe 1^ 7 - 7 6 5- 6S 4tl ^^ ^ lift ^ ^ji'^iiT r ^ ^ 4 6 6 6 6 6 6 5 66 4 ? 76 CHAPTER X. ii6. The suspension 4 to 3 is found on the tonic and all degrees of the scale. It is, howevei;, rarely ;used on the fourth degree (sub-dominant), because the 4 from the sub-dominant is an augmented fourth. It is also rarely found on the leading-note. Ex. log. y F r^rr ^ '?j' 7 6 4 - In Ex. 109 is the original position of the suspension 4 to 3. In Ex. 1 10 the fifth of the ground-note is in the bass. In Ex. Ill the suspension 4 to 3 is in the bass. 117. It will be noticed that the 4 to 3 is only accompanied by?. 118. In this chord the third of the ground-note should not be heard at the same time as the fourth. It is a general rule that " a discord should not be heard with the note on to which it is resolved," but exceptions will be seen in Ex. 116 to 119; and the original position of the suspended ninth is an exception (see Ex. 95). EXERCISE. Write out Ex, 109 to 1 1 1 in several keys. 119. The 4 to 3 on the dominant is not called a suspension; it is called the chord ofthe Dominant Eleventh. It is, like all dominant discords, used frequently without preparation ; but of course it may be prepared. HARMONY. 77 It is most commonly combined with the seventh. Ex. 1.12. Ex. 113 ji:r"i'ii"Li i i jS. ^ ?2: "fry- ^ r 1 4 3 7 - 4 3 p •y^j" zi: 8 - ^ Ex. 114. I Ex. 115. In Ex. 112 is the dominant eleventh in its original position. In Ex. 113 the fifth of the ground-note is in the bass. In Ex. 114 the seventh is in the, bass. In Ex. 115 the dominant eleventh is in the bass. All of these may be used without a chord of preparation. EXERCISE. Write out Ex. 112 to 115 in several keys. 120. The leading-note is sometimes suspended. It of course must resolve upwards to the tonic ; hence some authors like to call it a Retardation instead of a suspension. Ex. 116. ^^ Ex. 117. 1 8 6 - 5 6 S 78 Ex. II 8. HARMONY. In Ex. ii6 is the original position of the suspended leading- note. In Ex. 117 the third of the ground-note is in the bass. In Ex. 118 the fifth is in the bass. In Ex. iig the suspended leading-note is in the bass. 121. The leading-note and ground-note should of course be kept at a distance of not less than a seventh. EXERCISE. Write out Ex. 116 to 119 in several keys. MASTER AND PUPIL. Q. What is the suspension 4 to 3 ? A. It is the fourth of the ground-note going to the third, Ei-companied only by i and 5. Q. Why is there no third in it? A. Because the 4 resolves on to 3. Q. Does t-his come under any general rule ? A . Yes ; a discord should not be heard with the note on to which it is to resolve. Q. Are there no exceptions to this rule? A. Yes, many; but chiefly the original position of the sus- pended ninth, and also the chord of the suspended leading-note and its inversions. Q. Is 4 to 3 on the Dominant a suspension ? A. No; it is frequently used without preparation, and is generally called the chord of the dominant eleventh. Q. What note is often used with the dominant eleventh ? A. The minor seventh ; it adds greatly to its beauty. Q. What is the suspended leading-note you just referred to ? A. It is the leading-note sustained into the tonic chord and then resolved upwards. Q. Is it right to call it a suspension if it resolves upward ? A. Many authors call it a retardation. HARMONY. 79 EXERCISES ON THE CHORDS OF THE SUSPENDED FOURTH, DOMINANT ELEVENTH, AND SUS- PENDED LEADING-NOTE. l^i^i ^ ^ ALTO AND TENOR TO BE ADDED ni J: -frr- zsz jEZ J m r-j I -^ • 4 p r? '=' m 6 4 3 e 6-48 6 7 6 7-4 8 4 - 4t i . ) j^j ■ 1 1 J ^ IE :zzi -j'^r- ^ -i'^^ R 6 76 4 3 7^6 s 7 48 fi 4 4- 4- 3 2 8- 3- II. JMjl ' ^ 5 ^ 11=^ 6 - 43 6 - 41 76 8- 1^^ 2^ r^ -i^-a- J * - 1 — ^^^^ — ^ 1 ^ J 1 m J\ 1 ^ !e^ 1 1 ^~r V-r M 4 3 6 76 7 4 - J 4 764 786 6 a 5 6 3 S 4 So HARMON y. III. ^ J J.J JrJ-^.i| fe ^ m 6- S6 ^ 6643 S-43 6i;5t78 -J^J J I J -1^^ Jf^ ^ i ^ ^^ ^ ^ p IV. 76 67446 76 6-7- 4-45 2 3- 645- 3 43 TREBLE, ALTO, AND TENOR TO BE ADDED. ^^ izz: ' r r^-r r- 43 43 43 ^ ^' — <^ — (S^ 4 S 2 2 - '^ o •?;j~ ^ ^ 43 «4 6-6 66 76 2 Jt5 6 3 - 4- 6 6 6 6678 43 m •1 1 ? ?j g '~~ 7? ^ 331 fT? rj r~7y 6 5- 3 4 - 2 - 7 6 6 4 — 9 8 6 4 3 6 m .!?■ <= » bg; -^ 221 ffi ^ 43 6 76 6 4- 6 98 6 9 8 6 6- 7 64 VI. (S2i% ' b r t:S^ 3- 6 7 6 4- 98 ^ ^ » ^ 6 4 6 76 4 2 8- 4 6 2 2 64 6-6 5 3 2 66 4 3 8i CHAPTER XL 122. When two notes are suspended the chord is termed a Double Suspension. When three notes are suspended the chord is called a Triple Suspension. Double and triple suspensions are formed by the combination of those already learnt by the pupil, namely, 9 to 8, 4 to 3, and 7 to 8. i Ex. 120. s m i 9 8 Ex. 121. -s- w -r^ Ex. 122. ^ ^ w By combining 9 to 8, and 4 to 3, we obtain — £». 123. ' m A -rrs- -yrr 9 8' 4 3 By combining 4 to 3, and 7 to 8, we obtain — Ex. 124. 82 HARMONY. By combining 9 to 8, and 7 to 8, we obtain- Ex. 125. i ^ J:a-J- gj>^ r I "^ 9 8 7 8 These three (Ex. 123 to 125) are the most important double suspensions in use. They may be remembered by their figuring: 9 8. 78' 98 4 3 > 4 3 > 7 8' 123. By combining the three suspensions in Ex. 120 to 122, we obtain — Ex. 126. , ^^ m ^=A 321 3z: This triple suspension may be remembered by its figuring: 78^ 124. We have already stated that the dominant eleventh is heard, not only by itself, but also with the seventh. Ex. 127. m ^ "ZP- -rr- ^ 4 -T^ 3 i ^ =^ 32= -gr ZZ3Z 7 - 4 3 If we add the dominant ninth to Ex. 128, we shall obtain — Ex. 129. f=g^ -j'^r- -f^ -TTJ- 4 3 This is the triple discord on the dominant corresponding to the triple suspension on the tonic shown in Ex. 126. HARMONY. 83 125. The pupil should now turn back to Ex. 95 to 98, 102 to 106, 109 to iig, and notice that all the chords can be used in the minor key. He will have of course to place three flats in the signature and mark the B's with a natural. EXERCISE. Write out Ex. 95 to 98, 102 to 106, log to iig, in the key of C minor ; afterwards in several minor keys. 126. When Ex. 103 to 106 have been converted into the key of C minor the pupil will discover that he has found one of the most beautiful and useful chords in music : — Ex. 130. Ex. 13a. j^ m. ^^ Ex. 133. (i m ^. & Z2I 6 - The above (Ex. 130 to 132) show the chord of the Diminished Seventh and its inversions. It is so called because it contains the interval of the diminished seventh (Bt| and At' in the above examples). 127. But inasmuch as this chord is derived from the full chord of the Minor Ninth, e.g. — Ex. man)' writers call Ex. 130 the first inversion of the chord of the minor ninth, Ex. 131 the second inversion of the same, Ex. 132 the third inversion, and Ex. 133 the fourth inversion. 84 HARMONY. This chord is capable of Enharmonic Change, that isj a change of notation without alteration of sound, e.g. — Itp;^ Ex. 135. "C? fa^ fe^- ds M "l??rr- c s o 1 W c ^ 1 ^ s H S s fi a u -^-^'} : k -TTS- ^P -JTD- 6 B7 7, 98 679 „ 98 H 3 ' '^ 3 6 7 9 8 4 3 7 3 4 86 HARMONY. II . »':l '^ KJ J izi 'U-i i .ij J ici ^ '=^ r^ ^ rj g? .-^ ■--, ■ r> P " ^ f-^ /--, r^ Pttr? "P "i=^-4 sLci:^p::pL_4-_pL^rl.^p._ .^^, «78 4 t fee 5 S 6 6 t l|7 6 5 88 CHAPTER XII. 129. Some musicians speak of Triads. A triad is a chord which consists, when taken in its original position and closest form, of three sounds not more than a third from each other. Ex. 136. Ex. 137. Ex. 138. Ex. 139. Major Triad, i i Minor Triad. Imperfect Triad. IE Augmented Triad. In Ex. 136 and 137 the reader will see his old friends the major and minor common chords.* 130. The Imperfect Triad, or, as it is also called, the Diminished Tjriad., will be at once recognised as a fragment of the chord of the minor seventh, namely, ithe three upper notes of G, B, D, F. The imperfect triad is not pretty. It can be tolerated in a sequence or uniform succession of harmonic pro- gressions. Ex. 140. i D P r f B^ &c. The most icommon position of the imperfect triad is its first inversion, e.gr. — r ^ In this form it is called the chord | on the Supertonic. The seventh of the ground-note is doubled (see the two F's) ; one goes down, the other up; generally the higher of the two sevenths descends, the lower ascends (as in Ex. 141). * Of course Triads may be found in those keys whose scales contain their constituent notes, e.g. : — Ex. 136. — May be in the keys of C, G, and F major, and F and E minor. Ex. 137. — In Bp, Ap, E7 major, and C and G minor. Ex. 138. — In C major, and C and A minor. Ex. 139. — In the key of E minor. HARMONY. 89 The remaining form of the imperfect triad, namely, | on the sub-dominant, e.g. — Ex. 142. should be carefully avoided. 131. The augmented triad is generally found on the dominant, e.g — Ex. 143. I * F=^ izz: zBz ZSSZ 132. The minor seventh can be used with the augmented triad, and adds much to the beauty of the chord, e.g. — Ex. 144. w -gLgJ- =Ez: -rr m zSz ZZ31 133. A very beautiful chord is found on the sub-dominant :— Ex. 145. ^ 3z: ■^ A. A. -^ g'^^ i rr ^ It has the appearance of being a common chord of the sub- dominant (F, A, C), vv^ith Df the sixth of the sub-dominant, added ; hence it is generally called the Chord of the Added Sixth. It is also called the chord of % on the sub-dominant. 90 HARMONY. 134. When the last chord of a movement in the minor mode consists of a major common chord, as in old Church music, this major chord is called the Tierce de Picardie. 135. A very beautiful chord is found on the super-dominant of the minor key, called the Chord of the Augmented Sixth. It exists in three forms : — i fllgi . .'^ ^- '^^- \ ^ AAA -Z2: J_A-e: ^^»i-\ AAA :^ a \ - 4 3 Ex. 148. i-L^ =^ ^ po m 33S: s r rir ^ r r isa: 141. It will be seen by the above (Ex. 156) that passing-notes generally occur on M«-accented portions of the bar (see bars I, 2, 4, and 5), but sometimes on the subordinate accent (see bar 3) ; they are also used in two or more parts (see bar 6) ; and are sometimes approached by a skip (see bar 7). These remarks apply equally to .chromatic passing-notes. HARMONY. 93 Ex. 157. i CHROMATIC PASSING-NOTES. X. X. J JiiJ J ~r:r- F=^ *=:«i^ ^ ^ ■ "■' IS2I TJ" ~?-^ ^^ 321 Ea •T^J" -''^ ^ ^ TT" r 142. When chromatic unessential notes occur on accented portions of the bar they are sometimes called Auxiliary Notes. J l J^^J J -fzr 122= Ex. 158. ■ 1221 -r:r ¥s^ r 143. A Cadence is the close of a musical sentence.* There are three kinds of cadences, Perfect, Imperfect, Interrupted. 144. Perfect cadences are of two kinds, authentic and plagal. An Authentic Cadence is formed by a progression from the dominant to the tonic ; a Plagal Cadence is formed by a progression from the sub-dominant to the tonic, e.g. — Ex. 159. i PERFECT CADENCES. Authentic. Plagal. IC2Z 23= =22= =22= Ex. 160. =^B= =ez= -r^ -rr =23= • The pupil must be careful to remember that a cadence and a cadenza are two very different things. The former is the last harmonic progression in a musical sentence ; the latter a long florid passage introduced into an instru- mental 01 vocal solo. 94 HARMONY. 145. The imperfect cadence is also called the Half-Close ; it is just the reverse of the authentic cadence, for it is a progression from tonic to dominant, and seems almost to ask a question, e.o-.-- IMPERFECT CADENCE. Ex. 161. i ^ ~e3~ izr -Jrr- 146. The interrupted cadence consists of a temporary delay of the perfect cadence, e.g. — Ex. 162. ^:!i-'Jul^ '^ r^^ ' r ^^ S: -^ ^ m ^ ^ rrs r^ h^q: 3S5: 147. Every key has certain closely allied keys called Attendant Keys or Relative Keys. They are — 1. The relative minor. 2. The key of the dominant. 3. The relative minor of the dominant key. 4. The key of the sub-dominant. 5. The relative minor of the sub-dominant key. The attendant keys of C are therefore A minor, G major, E minor, F major, D minor. 148. To give a full account of modulation would require greater space than we can afford. The pupil must study it in other works and be content at present with a bare definition. Modulation is the moving from one key into another. When modulation is made by passing through attendant keys it is called Natural or Diatonic ; when it is made by a more sudden change it is called Extraneous or Chromatic ; when it is made by changing the notation of the connecting chords it is called Enharmonic. 149. When a change of notation but not a change of pitch is made (as, for example, key Cf to key Db) it is called an Enhar- monic Change. 150. A transition is the rapid passing through any key, without remaining sufficiently long in it to establish a modulation. HARMONV. MASTER AND PUPIL. 95 Q. How many triads are in ordinary use ? A. Four; the major, minor, imperfect, augmented. Q. What is the most common position of the imperfect triad ? A. As a I on the super-tonic with the third doubled ; the uppei third descending, the lower ascending. Q. What is the most common position of the augmented triad . A . On the dominant. A minor seventh is often used with it. Q. What is the chord of the added sixth ? A . A chord of | on the sub-dominant. Q. What suspensions besides the 9, the 7, and the 4, are occasionally found ? A. The 6 to 5, and J to g on the tonic. Q. What name is given to the corresponding dominant chords ? A . The chord of the dominant thirteenth. The minor seventh is often used with it. Q. What is the chord of the Neapolitan sixth? A. A minor third and minor sixth on the sub-dominant, used in both the major and minor modes. Q, What are passing-notes ? A. Scale-sounds not essential to the harmony. Q. How many sorts of passing-notes are there ? A . Two, diatonic and chromatic ; diatonic when they are portions of a diatonic scale; chromatic when they are portions of a chromatic scale. Q, In what part of a bar do they generally occur ? A . On the unaccented' portion. Q. What are they called if they occur on the accented part of the bar ? A . Auxiliary notes. Q. What is a cadence ? A . The last progression in a musical sentence. Q. What are the principal divisions of cadences ? A. Into perfect, imperfect, interrupted. Q. How many perfect cadences are there ? A . Two ; the authentic and plagal. Q. Describe them. A. The authentic is a progression from the dominant to the tonic ; the plagal from the sub-dominant to the tonic. Q. What is the imperfect cadence ? A. It is a progression from tonic to dominant ; it is an authentic cadence reversed. It is also called the half-close. Q. What is an interrupted cadence ? A. It is a sudden breaking off of an expected close. Q. What are attendant or relative keys ? A. The relative minor and the keys of the dominant and sub- dominant, with their relative minors. 96 HARMONY. Q. What are the attendant keys of E ? A. C| minor, B major, G| minor, A major, F| mmor Q. What is modulation ? A . A moving from one key into another. Q. Into how many kintis is it divided ? A. Three; diatonic, chromatic, enharmonic. Q. Explain them. A. Diatonic modulation is the passing from one key to anothei by attendant keys ; chromatic modulation is passing from one key to another by using chromatic progressions ; enharmonic modu- lation is passing from one key to another by using a change of notation. Q. What is the chord of the augmented sixth ? A. A chord containing a sharpened sixth on the minor sixth of the scale ; the interval between these two notes, being an augmented sixth, gives the chord its name. Q. Does it occur in more than one form ? A . Yes, in three, known as the Italian, French, and German. EXERCISES. ^±j^ rJ rJ rJ ■^t%jr. -(•y IZ2I IZ3I P=F= 87 87 98 6698 66 6 4 3 5 4 3 4 7 - 6 «5 » — ^^^ w ^ ^rirrrr, Wi ^ -^rr- .<1?6 7-S27 6J4 6 -6 7-98 6- 642 - 6578 43 J - 434.3 HARMONY. 07 U. ^ i\ J ^| J J I fJ J J-Ty j ^ ^OE Z2=rZ2==fe ^2 I [ ^ ^-> ^ f-* I ^ 1^ PP 6 6 6 4 6 6 7 6 7 4 - I 4 6 ^8 g^^F=^f^ J^'r ^ JJ ^ :Z2=jJ2i ^ Strfe PbfO ^ - (n fn t=^ ^\" f-irrrirrrtfrr ■4 5 l;6 - ^ 6 6 6 f6 4 i da^ ^S 5 e? • ^ 7 6 6 ^6 6 S III. (^ J jJ | J»rjJ|^^ J JlJJJ i Bgj r f [T [{' 46 6S&fr84666 66 2 6 4 3 3 4 < 98 HARMONY. VJ^ JJ|JJJJ|JjJ;r.Dj:j4| ^ * * r?T T p f> ^^ T" 6 9 8 6 S 4 3 4 7 6 6-7- 3 - 6 4 6- 4 3 IV. jLr) J I J J I ;: ^=^ ^ ?^^^^ ^^S ?FF?? 7 -9 6 4 I3 98b4 IS 4 3 J l J 1 1 I jM J ^\'> ^ m w===^ ^ ^^ r r rTTT 6 e 4 B 5 - «5 4 4 3- 7 - 5 4 3 'i, ^ J l .l JlJ ^ ^ * ' gl E& ^ S 9 8.6 - 98 04 6S b5 — 2 8 4 S BARMOVY. 99 ^ ^^ =P2: 6 7-7- 4 8 6 S 6 6 5 5 4 3 ^ m rj ^ tja: .7 9 8 « 4 IS t 9 8 4 6 4 S 2 5 6 6 5 4 3 VI. ^nT\ fn m JhJ I J- liL^ [ §r J i ^ i ^ ^^ ^^^g^ zz -j"^ e b 7 6 6 b6 7 - 66 "e ? 4 ' J 4E e> 'S 4 ^ =^ 321 s i ^=22 3=3Z 1 e el e 7 9 8 be ^6 be 5 4 ti £-' 3 8 • Position of upper part to Bb in tenor, Etl in alto, Ab in treble. +'A double sharp will be required in order to raise the sixth APPENDIX. ONE HUNDRED EXERCISES ARRANGED AND GRADUATED SO AS TO FOLLOW THOSE GIVEN IN THE PRIMER J. STAINER. HARMONY. II EXERCISES ON COMMON CHORDS IN THREE PARTS. AN ALTO PART TO BE ADDED. 1. [To follow those on p. zi.] -1 i ^ w i^ ^ ^^ ,rJ Q 22 •^ .^ ''■^ i r> „ c> ffe^ ^ ^^<^ ^=P ^ P ^^ ^^ g? ^-^ gy s m ^ ^ 8. i ^ ^ I ^ rJ '-) rJ » j:g,JU o Z2I »a^ p P r' f^iri' f= 4. i%^ S 'SHr:;^ C - f -=P=P- 10. i S ' m ^ft=^ g a=f:^-^ 11. I T ^ fr' r ^ irz: ^ J :z± cj d M 12. rJ\ rJ fzlr C? f O ■ iC? ' -&--^- 1=21 -rzr ^^ ^ s^ ?2: g) cJ rJ g : ?2= J'Jj^ l jJ n _. P P HARMONY. 103 EXERCISES ON COMMON CHORDS IN FOUR PARTS. AN ALTO AND A TENOR PART TO BE ADDED. 10 [To follow those on p. 27.] i ± jjj | jjjj.y ^ f-J rJ i^3 5 m I »-4 =p^=^ V 9. ' I ^ ^ ^ -j"^ ^^E fn ^ TT-^ EP 1— - p P P -I— f L,4jJJJj | jJ,,J ^ ^e-' ' I'l' I'rf f=F 16. %^4JJJJ J l J ^^^=^ J ^- ■j:±. ^^- ^=s 22: B i^ tT- r ^ ^ ^ ^ ?z: =P2= P i — I- 17, a HT^jjiJ''jj.)H'J'^) i ^ I l£ ^. t- tr r^ ^rr =' py-a s P 18. , | ^riiW^^,]J | J±j: f J Q g? fe);gA4r^ ^t^tp,! 1^ r^ Tg=^ rV^rf-fp^ "es: I04 19. HARMONY. EXERCISES ON THE CHORD SIX-FOUR. AN ALTO AND TENOR PART TO BE ADDED. [To precede the Exercises commencing on p. 37.] #^ ^ F^ =^ 1 — 1 — r =^ — p-j =^ ^>-2 C3 rJ ~7rs cJ -gj pz -sL Fl-=- -rV -^ -r r- f^ ^-> -1— 1 rj 20. 6 6 5 6 6 15 4 3 4 t 6 S 6 5 4 3 4 3 ^ i=:=:S= ^ 1^^ ^^ ^ J -J- 6 4 ..J_, 5 =sb jpl =t: 6 4 5 3 1 :^ — f-n -*- — •— ** — J — -^ M^ 1 r 1 1 =^ =^ 21. 6 5 6 4 3 6 6 6 6 5 4 3 i ^ j i j i^£ ^ ^ Z2I :C4 r E ?^ ^ 6 6 4 6 6 4 6 5 4 3 W ^J -'|JJ J>'^^ ^ S ; ^- r Tr-r-f ^ ^^ 6 6 6 6 6 6 6 6 1} 4 4 4 3 HARMONY. 105 EXERCISES ON COMMON CHORDS AND THEIR INVERSIONS. 22. AN ALTO AND A TENOR PART TO BE ADDED. [To follow those ending on p. 40.] i ^ -r±- JlJ JlJ ^ £^ ^ ^ ^ ^ ^iE Q • 6 6 6 S 6 6 4 S ^ S ^£ 6 5 4 « 23. ''gr f' r ^ ''-^ l^-l ~^^ ^ r ' r f^ 6 5 4 3 6 5 4 S 24. ^ ^ 2z: ? 2:^ 6 5 4 3 6 6 5 4 tl io6 HARMONY ll'^nJ ^ J J | I J J J | J J lU^ -J- m- ^ =«=:re s ^ 6 6 6 6 J l JQj l JjJJ l J ^^ E i^^ r r f f r II r ^ .T 4 3 6 6 6 26. 6 5 4 1 Va^J iH-JlJ J l J J l J'Jl- J_ ^^=^ ^ - ^ •• 9, S ^ i&- #= =^ ^ ^ ^=f== 6 6 27. t7 S=2Z 6 S 4 It fl iN^ — -k -i r- fe)^^4 •! *- rJ ^ -^— i-- I ^bW L^_::i_? ^_. 6 6 6 i j J J I J ^ I J J I J- ^ &fe4 & ^ 6 9 HARMONY. 107 28. nXERCISES ON COMMON CHORDS AND THEIR INVERSIONS. TREBLE, ALTO, AND TENOR PARTS TO BE ADDED. [To follow those ending on p. 46.] F^=^ -<&- p 6 65 43 m — &- 6 6 6 4 3 isz: 6 65 29. '' 6 66 43 /«> +1 1 • &M- — ^-\ — — J-- *^ -4- — 4— td &J J l j i 30. 6 6 66 43 6 6 6 6 ^^ S^ ;K=::3t \>i \ r ^ 6 6 65 43 6 6 T m ^ 31. 6S 43 65 43 6 6 1 6 ^ 4 S ms ^ tf4 J j^ J d m m^^ 6 S 66 4t 6 6 32 6 65 43 ^^ ^=U^ J J ^SL. zz: i^fzzi 6 6 65 43 6 K W\'^fo — ' ^ ■■ . 1 1 \~\ 1 _^^ r gj^*^ =^ c4- =: — - ^ — +- S — A— — — P- ^^ ^ 9, — ^ r=i- — t s ' !.\8J* ft — 1 W. »_* 1 CJ . . 65 4{ 6 6 io8 34. HARMONY. 5t -sMf=^ ^ r r^ r ^ 6 6 6 6 S ^ -Si- 6S 43 6 6 6S 43 35. I^S V-^ 6 6 5 4 3 39. jt, lu I p r^ ^ ^ ra ^ ^ 6 65 41 t 6 HARMONY. log EXERCISES ON THE CHORD OF THE DOMINANT SEVENTH AND ITS INVERSIONS. 40 AN ALTO AND A TENOR TO BE ADDED. [To follow those ending on p. 62. ] U^^^ ^r^hJ- ^ -iTJ- ^ ^: f - ^- ^^ e y V9. I p I I o l^H ^ ^. [-" H^ '« 'H ^^ s -T^r- ^ 41. ^ fe ~ nJL_^ ^ < : J cJ I ^ i R < -^^ 8 7 t - ^^ 1) 14 6 I 2 i l' >r3 ^ ^ -T^ ^ "77" ' ==' I i ^ ' If gi -<&^ 'T'^ it° r" P 45. ^I|4^JJJ | J ^S ^ <^ lazzsi CJ CJ ^ il ^^ 7 6 1)4 6 6 e 7 I 4 a 4 3 t HARMONY. Ill EXERCISES ON THE CHORD OF THE DOMINANT SEVENTH AND ITS INVERSIONS. TREBLE, ALTO, AND TENOR TO BE ADDED. [To follow those ending on p. 64.] 46. 1 /.y r> 1 „ ^ (n „ IPJ. ri 1 ! (-^ /-■J /TJ *t> V) /-J n •^ G r:. 1 4 6 6 6 4 6 4 2 ^ ^ IZ22 47. I , ^^ $4 2 6 S 4 « 48. (y):fla|« -^ X -p — f — f ^ \l^ 4 1 m. * p p 1 2 m. ai ^ ^ J ^ 49. ^ gj |. p tj fT l A Z g ^ IZZ 4 66 6664 67 2 5 4 2 t ^ 60. ^ r r r r 7 — 6 S 6 t «4 6 4 3 51. S PP 6 6 5 6 6 5 4 t '^-^ r J b7 6 5 -73- 112 52. HARMONY. imr^ p tfr-^ ■ g * fj 321 6 5 4 t «4 6 ? ^ t /aVti tt 1 -] pj. »,f* -7 ■ ■ ^> It — «=' itJ cj ^ iT. <^ &»• 53 6 6 ^^ a3b 4 3 «! ^ 5t ^ <^ r-* ^=J- 6 e 4 4 6 4 2 3 54. epJ^fl;i r^ r ^ ¥ ^ >j:ttii% p — r-r--^^-- 1--4.J i-^=st-F 6 1(7 66. S 4 3 ^^ ^ iS-z: i 4 6 4 2 3 ^ ^ ^ 32 7 '6 be 5 66. 4 6 7 6 2 11 ^4 ^S ?==«? lS — Xr^ «p: ^ 6 f 6 6 ^ P^ 57. is — f^ 4 6 6 2 4 ej^^jMixifi zz: ^ S ^?F - ^ -^ ^ / ■ J g' 6 6 5 4 6 6 6 6 5 4 4 3 HARMONY. 113 EXERCISES ON THE CHORD OF THE SUSPENDED NINTH AND ITS INVERSIONS. 5S. [To follow those on p. 69.] m J J j i j J ^pt: m m 3=^ =^ ^ 698 6 698 6 698 6 7 5 i ^ 5^ * r^ s (no 5th) ^ =S=3i ^ f=? 3Z 7 6 6 69. ^ ~ ^ 6 9 8 5 9 8 7 9 8 i ^ -T-^ :st ^ S ^^ I m^ -'TT ^ •^"^ ^ IZ3I i 9 8 7 9 8 9 8 7 ^ 3i: 5 (no 5th) (no 5th) (no 3rd) ^ 321 ^ ^ 60. 3^ i « 6 6 i 5¥ ^ 6 6 4 -W J-"J J'"l •77- ^—rzr 221 (no 5th) -^2 &■ -yn- / ' ^ o m -7T^ 9 8 tP^~^^ - 6985676 67 9 8 3 - 4 ft ^ 3:i: c? g. 32 iwt ^ (no 5th) ^ -r^ ['X fV 7 6 6 3 8 6 7 6 8 - - 7 4 6 7 twr 114 61. HARMONY. '^ J J U=i i KJ ffi ^ g g I P "4 r a K. 9 8 6 98 4 6 2 ^J J 4 3 1 V *ii \ • • • — 1 /I 1 < t(\\ 1 * * - ^ rJ IJ-U (-J ^ (no 5th) (no 5 th)' « -- w -5 " IPJ. B,. ,• _ » 1 C-/ tt- • • 1 ~ F* L41_U 62. 7 6 3 - 7 6 7 3 - m ^ ^ ^ ?; ?^ 98 98 38 i ^^-^s^=^ J J J I J 3t=^ ^ ^ ^^^ ^^ 9 8 98 63. r ^y.'^ J I J ^E3 6 9 4 « ^a (no 5th I J t 4 ^ ^ E 6 6 98 6 ~ 5 5 98 i Air ^ ^ (no 3rd) r I r rlr r r 6 98 4 4 a 2 6 6-5 S 4 3 HARMONY. 115 EXERCISES ON THE SUSPENDED NINTH AND ITS INVERSION. TREBLE, ALTO, AND TENOR TO BE ADDED oA [To follow those on p. 70.] S ^ ^ =1^ :^ "tr 98 gs 6 98 65. 6 98 5 7SV 1 — ^^ m i/fj' rJ rj 11 Ji* zz: 98 6 98 6 98 7 5 ^ 321 98 -IP >^J ^^ ^ ^ 6 98 6 98 98 66. i •fr-^r— » g-^T" ^: ^ ^ fr^^l 98 — r 1 [^ • 6 98 5 6 6 5 r J|j Ji — «-^- ■ 6 98 98 67. 6 6 4 =P2= =P2= ^^ 98 98 ^^ -j'^ ^ 98 6 98 6 98 6 68. ft): 1 \> 4 1 7n — -^-~"^ P — TJ — p-^5 1 — >~^\> ^ i3 (^ "■ "" ^ — ^~* " 76 R 4 6- 4 4 6 4 3- 4 3 2 5 4 2 2 3 ^^=^ sarnpz 69. i'^ #=- 6 6 987 5 98 ^ I izi ''.-' ..-j .^.J f-^ 98 65 114 76 6 98 4 t 2 3- 6 5 4 I Il6 HARMONY. EXERCISES' ON THE CHORD OF THE DOMINANT NINTH. ALTO AND TENOR PARTS TO BE ADDED. 70. [To follow Exercise III. on p. 74.] i m -& TT. ^ ^ ^ 5^ p^ -^ — ^ "TTJ- •t::?" "i'^r- ^^ 7 e 71. ^ ''-' d Tt?~ eg f^ '?::?': !?>4 J bJ -'^ . 6 6 3 6 S 4 3 \i. 76 ^2 3- iS ±^ J J I ^ J J J I J J ^^ J * J tJ i!c ^& ^5fc^ ^ 6 4 7 6 6 6 7 2 8-5 6 72. 6 7 ^ ^S g Z3I ^ ■t^ Tt te 9 8 ■ u a ^? -rsr- HARMONY. 117 EXERCISES ON THE CHORD OF THE DOMINANT NINTH. TREBLE, ALTO, AND TENOR PARTS TO BE ADDED. 73. [To follow those on p. 75.] ^m -77- ~r^ 32: ^E ^ ^ w -TTJ- 1 T 4 3 •^^ 6 '6 6 6 S 6 4 6 6 3 ^¥^ ^ f^ F^ '6 7 6 5 3 5 4 3 C p j: , l > tt * ^ ^ 75. rj ^1) '' 'i rJ I ^± =^ ^ m^^] r I -^ =f ^ 3 «4 3 5 - e 4 i M- "^ \ v ) ii JrJ j^ a 221 221 S ICZJ 4 3 -7^ 6 7 - 67 4 3 'e^ 7 6 6 7 8 4 4 (I '« 4-3 Ii8 77. HARMONY. P.t\ JTJ \\J'T\\J ^^ m 2= ■(►JfdT-^ ~r^ * \°^ r ry -- It^: -!'^ 7 8 7 l;7 I) 6 6 - '6 5 4 2 I i ^ :ci)"p ^ ^ ^^^ tS — (^ "g7~ ^ 32 1; 6 4 3 6 43 6 7 4 78 i i^ J i ^ J J ^ ^ fe ) •• P. g' ^ gj.=g/ 4 r- p? I g? i »2Z 2ZZ22: =2==;?= F=P 6 - 2 - S - 2 - i tiA-jJ^J J i j^ Z2I1ZZ2 Tg" 5 S "i'^ -TTJ- ^ rn^rfi^ 78 43 6 76 43 4 - HARMON'Y. 1 I g EXERCISES ON THE SUSPENSION FOUR TO THREE, SUSPENDED LEADING NOTE, AND THE CHORD OF THE DOMINANT ELEVENTH. TREBLE, ALTO AND TENOR PARTS TO BE ADDED. 79. [To follow those on p. 80.] ^ ^ 6 - 7- 6 6 4 - 4 3 4 2 - 3 ^)i—^ j \ 5I j^ ft. f^ SLti ^ J_ cJ ? f 1 cJ 43 43 78 80. E ~gy f^ -r^r ^ -r ?- ^ "T?" ^ 43 6 e irr 8 67 43 4 43 3 81. ^ ^=F^ ^ ^ •T^ 43 98 6 7- 4 3 m r-^—^ ^ 7 6 87 48 4- _£2 82. pj. B t i ^ ^J Sh.^ ri -^ ^^ ^. 78 1178 i ^ 98 6 43 4 66 4 6- 2 4 2 3- 6 6 6-6 5 4 S 83. o \ r ^ l yj \>f ^ ^ ^ 6 4 2- 98 76 4- 3^^=^ 7 4 3 b4 2 84. 6 4 2 S 6- 6 6 'i 6 4 f r ^ ^ J14 2 4 « 6 43 6 78 I20 HARMONY. EXERCISES UN DOUBLE AND TRIPLE SUSPENSIONS AND ON THE CHORD OF THE MINOR NINTH, S-c. AN ALTO AND TENOR PART TO BE ADDED. gg_ [To follow those on p. 86.] ^ ^ ^ 1^ 22 s i.i<.ip r ^- ^ -r:!- ^ izr =^ T 7 8 4 3 9 8 4 3 86. ^ 5 IJEZ ^^ —a 9 8 7 3 4 ^ 1^3 ^-^^^ ^ i ^ ^"ur 4 7 5 6 ^ i T ^ ^ ^ w:a„ r '^ ^ ^ !|7 9 8 6 4 3 p ^6 n Its 4 87. 9 8 7 3 4 ^ :^ ~;':::^ 22 m^^ -^ b f\ ( ■■ > I r - ' ^p ^^ P , c? E ^ ^ff 6 6 4 5 2 4«676 666 S 4 t4 5 S — 3 ^rj J S ^ =«£: ^ &^=^ ^ 22= ^ 9 8 7 4 3 !l a 6 9 8 9 8 117 3 4 HARMONY. 121 EXERCISES ON DOUBLE AND TRIPLE SUSPENSIONS AND ON THE CHORD OF THE MINOR NINTH, S-c. TREBLE, ALTO, AND TENOR PARTS TO BE ADDED, gc, [To follow those on p. 87.] 1- ^^ ^ S 1= i at* n:i: t6 6 7S6b7 98 6 S98 «4 4 - 4 S 87 3 3 8 - 4 89. 1^=^ ^ r - * ^ ^E^ =^ ' ^1 .! C^ ^ ikJ lM=te t]o bd = «i -'TT 4 S t 90. m :g , tf2 p ii e stt=a -JTU" 9 8 4 S t|7 9 8 4 3 ^ 3:i: izz —23 — $7 8 4 3 EXERCISES ON THE CHORDS OF THE A UGMENTED TRIAD, ADDED SIXTH, AUGMENTED SIXTH, DOMINANT THIRTEENTH, S-c. [To follow those on p. 98.] 91 m 'I J . 1 .iTi J -4 r^ rJ W^ ° B »=^ izz; -rzr ^ -r:!- 5X5 »5 5 85 8 7 S S — t>7 9 8 1 n 122 92. HARMONY. i J J J ^ i^ • ^ ^ g ^ ^ f ' .! t^" ^ J ^^+^— ^ i ^ ^ 6 6 S 4 93. r''i^ i ^jjji.i E^ -rz) — y if ):ijJU ^ :1?e: II 4 1 I r r r ^^ 6 6 7 7 6 5 4 3 i ** ^t^jjij J ) } ^ J ^ ^ ^ j t r-* P ^ ^ =f^ 6-986 5-434 4 3 3 7 - 6 6 94. l l^';.g:J-'^^^ l '^.,l l ^^H^-¥ 331 izz: -1^- zz: ^H>l>-f^ 5 6 &4 6 e 4 b h 6 6 >>6 6 S 6 4 ^8 4 ^ ^ b4 4 S 8 ^3 HARMONY. GENERAL EXERCISES. TREBLE, ALTO, AND TENOR PARTS TO BE ADDED. 95, [To follow those on p. loo.] 123 ^^ ^ ^ =ffi«= 7 - 6 5 « - ^7 9 8 96. 6 S 4 S ^¥z t^rMf^^F¥ =?=: =?2: ^ 98 e 6 66665 6 4 » - W&T^ =tJ?= 4 6 2 * 7 6 6 6 97. 9 8 7 - 7 6 6 S 4 3 ^ 5£2= =^ ^ 7 6 5 - g^ ^ 22: izz: 6 6 4 S 9 8 98. 6 - SIM 8 — 4 « 7 ^ ZZ izz: 1^ 5 - 4 3 6 - 8 - 4 S l>7 IZ2Z ^ 7 6 4 - 7 - 6 6 8 - ^M4-M 1 , 1 =± 1 (^ ^ 1 C^ ^ 1 1 — L 7 6 ,4- 9 8 ¥ W=r^ ^ 6 S 4 9 ^ :?2= H Us 100. 5i^^ I * ( * ^ S3 iStat 67 4 3 6 7fr7 -. S 8 S 3 4 3 6 e S4 3 124 HARMONY. CONCLUSION. If the contents of this Primer have been funy mastered by the pupil, he will probably be quite capable of understanding some more comprehensive book on Harmony selected for him by his master. It will be evident to him that he must now learn to arrange and classify all the most commonly used chords, on some regular system, so as to be able to trace their key-relationship in progressions. He may very soon discover that new names have been given to many chords with which he has become familiar, but he will not find this confusing if the work he has already done has been well done. Analysis of works of great masters, made in the presence and with the assistance of his teacher, will greatly assist him in this branch of his study. Above all things he should make himself familiar with the best musical literature, by losing no opportunity of listening to fine music or of attempting to unravel its beauty in his moments of private leisure. ORATORIOS, Sec— Continued. HUMMEL. First Mass in B flat Communion Service, ditto Second Mass in E flat Communion Service, ditto Third Mass IN D Communion Service, ditto Alma Virgo (Latin and English) Quod in Orbe (ditto) W. H. HUNT. Stabat Mater H. H. HUSS. Ave Maria (Female Voices) F. ILIFFE. Sweet Echo JOHN WILLIAM JACKSON. I cried unto God W. JACKSON. The Year D. JENKINS. David and Saul (Sol-fa, 2s.) A. JENSEN. The Feast of Adonis W. JOHNSON. EccE Homo .., C. WARWICK JORDAN. Blow vn the trumpet in Zion N. KILBURN. .The Silver Star (Female Voices) The Lord is my Shepherd (Psalm as) ALFRED KING. The Epiphany OLIVER KING. By the waters op Babylon (Psalm 137) The Naiads (Female Voices) J. KINROSS. Songs in a Vineyard (Female Voices) Ditto, Sol-fa H. LAHEE. The Sleeping Beauty (Female Voices) Ditto, Sol-fa LEONARDO LEO. Dixit Dominus ... H. LESLIE. The First Christmas Morn F. LISZT. The Legend of St. Elizabeth Thirteenth Psalm C. H. LLOYD. Alcestis Andromeda Hero and Leandbr The Song op Balder The Longbeards' Saga (Male Voices) The Gleaners' Harvest (Female Voices) ., A Song of Judgment W. H. LONGHURST. The Village Fair HAMISH MACCUNN. Lay of the Last Minstrel (Sol-fa, is.6d.)-. Lord Ullin's Daughter (Sol-fa, 8d.) .. 3 I 6 I 6 I 6 z I 6 a 6 2 6 6 2 6 o 6 1 2 6 3 o 2 O 3 3 o I 6 I 1 e 2 6 2 6 2 6 I o G. A. MACFARREN. s. d. Songs in a Cornfield (Female Voices) ... a 6 May Day (Sol-fa, 6d.) 1 o The Soldier's Legacy (Operetta) 6 o Outward Bound i A. C. MACKENZIE. The Dream of Jubal 2 6 The Story of Sayid 3 o Jason 2 6 The Bride (Sol-fa, 8d,) .. i a The Rose op Sharon ( Sol-fa, 2s.) 5 o Jubilee Ode 26 The Cotter's Saturday Night (Sol-fa, is.) 2 o The New Covenant i 6 Veni, Creator Spiritus 2 o J. B. McEWEN. The Vision of Jacob a F. W. MARKULL. Roland's Horn (Male Voices) 2 6 F. E. MARSHALL. Prince Sprite (Female Voices) 2 6 J. H. MEE. Horatius (Male Voices) i o Delphi, a Legend of Hellas (Male Voices) i MENDELSSOHN. Elijah (Soi^fa, is.) a o Elijah (Pocket Edition) i o As the Hart pants (Psalm 4a) i o Comb, let us sinq (Psalm 95) ... .;. ,., i When Israel out OF Egypt CAME (Sol- pa, gd.) i o Not unto us, O Lord (Psalm 115) ..; ... i o St. Paul (Sol-fa, is.) 2 o St.Paul (Pocket Edition) i o Hymn of Praise (LoBGESANO) (Sol-pa, IB.) ... i Lord, how long wile Thou forget me Ditto, Sol-fa Hear my prayer (s. solo and chorus) Ditto ditto o 4 Ditto, Sol-fa o 3 Lauda Sign (Praise Jehovah) (Sol-fa, gd.) ... 2 o The First WXlpurgis Night (Sol-fa, is.) ... i o Midsummer Night's Dream (Female Voices) 1 o Athalie (Sol-pa, is.) 2 o AHTiaoNE(MALB Voices) (Sol-fa, is.) ... 4 Man is Mortal (Eight Voices) i o Fbstgesang (Hymns op Praise) i o Ditto (Male Voices) < o Christus (Sol-fa, 6i.\ i o Three Motets for Female Voices i o Son and Stranger (Operetta) 4 o Loreley (Sol-fa, fid.) i o CEdipus at Colonos (Male Voices) 3 o To the Sons of Art (Ditto) i o Ditto, Sol-fa o 3 Judge me, O God (Psalm 43) (Sol-fa, i^d.) 4 Why rage fiercely the Heathen o 6 My God, why, O why hast Thou forsaken me (Psalm 22) o 6 Sing to the Lord (Psalm 98) o 8 Six Anthems for the Cathedral at Berlin. For 8 voices, arranged in 4 farts ... o 8 Ave Maria (Saviour of Sinners). 8 voices i o MEYERBEER. Ninety-first Psalm (Latin) 1 Ditto (English) i o A. MOFFAT. A Christmas Dream (Cantata for Children) i C o 4 B. MOLIQUE. 3 o ORATORIOS, &c.— Continued. MOZART. a. d. King Thamos i' o First Mass (Latin and English) i o Seventh Mass in B plat i o CoMUUHioH Service in B flat, Ditto ... i 6 TwEiFTH Mass (Latin) i o Ditto (Latin and English) (Sol-fa, gd.) i o Requiem Mass x o Ditto (Latin and English) i o Ditto Ditto, Sol-fa ... i o Litania db Veherabili Altaris (in E flat) i 6 LiTANiA db Vbnerabili Sacramento (in B flat) z 6 Splendente te, Deus. First Motet ... o 3 O God, when Thou appearest. Ditto ... o 3 Have mercv, O Lqrd. Second Motet ... o 3 Glory, Honour, Praise, Third Motet ,„ 3 E. MUNDELLA. Victory of Song (Female Voices) i o DR. JOHN NAYLOR. Jeremiah ... 3 o J. NESVERA. De Profundis 2 6 E. A. NUNN. Mass in C 2 REV. SIR FREDK. OUSELEY. The Martyrdom of St. Polycarp 2 6 R. P. PAINE. The Lord Reigneth (Psalm 93) z PALESTRINA. Missa Assumpta est Maria ... -... ... 2 6 MissA Pap£ Marcelli e o Missa Breves ... 2 6 Missa "O Aduirabile Commerciuh" ... 2 6 H. W. PARKER. Thb Kobolds I o HORA NoVISSIMA 3 6 C. H. H. PARRY. De Profundis (Psalm 130) 2 Ode on St Cecilia's Day (Sol-fa, is,) ... 2 o Blest Pair of Sirens (Sol-fa, 8d.) i o The Glories of our Blood and State ,„ i o Prometheus Unbound 3 o Judith '5 o L' Allegro (Sol-fa, is. 6d.) ... , 2 6 Eton 2 o The Lotus-Eatbrs (The Clioric Song) ... 2 Job 2 6 DR. JOSEPH PARRY. Nebuchadnezzar (Sol-fa, IS. 6d.) 3 o B. PARSONS. The Crusader 3 6 T. M. PATTISON. May Day (Sol-fa, ed.) i 6 The Miracles of Christ (Sol-fa, gd.) ... 2 o The Ancient Mariner 2 6 The Lay op the Last Minstrel 2 6 A. L. PEACE. St. John THE Baptist 2 6 PERGOLESI. Stabat Mater (Female Voices) (Sol-fa, 6d.) i o GIRO PINSUTI. Phantoms— Fantasmi nell' ombra i A. H. D. PRENDERGAST. The Second Advent i 6 E. PROUT. Damon and Phintias (Male Voices) 2 6 The Red Cross Knight (Sol-fa, 2s.) ... 4 o The Hundredth Psalm 1 Freedom i o Hereward 4 o Queen AimiSe (Female Voices) 2 6 PURCELL. Dido and ^neas Te Deum and Jubilate in D J. F. H. READ. Harold Bartimbus Caractacus The Consecration of the Banner In the Forest (Male Voices) Psyche The Death op Young Romilly (Male Voices) J. V. ROBERTS. Jonah W. S. ROCKSTRO. The Good Shepherd J. L. ROECKEL. The Silver Penny (Sol-fa, gd EDMUND ROGERS. The Forest Flower (Female Voices) ROLAND ROGERS. Prayer and Praise Florabel (Female Voices) ROMBERG. The Lay of the Bell (New Edition, trans- lated by the Rev. J. Troutbeck, D.D.) Ditto, Sol-fa The Transient ahd the Eternal (Sol-fa, 4d.) ROSSINI. Stabat Mater (Sol-fa, is.) MoSBS IN Egypt CHARLES B. RUTENBER. Divine Love ED. SACHS. Water Lilies C. SAINTON-DOLEY. Florimel (Female Voices) ... CAMILLE SAINT-SAfiNS. The Heavens declare — C. ,,, Franklin Tayi or. Math:s L'i..: y. Florence Maj.|| J. F. Bridge. ' H. Brett. Dr. Ritter. Dr. Ritter. James Hiogs. A. C. White. A. C. White. F. J. Sawyer. H. A. Harding. A. W. Marchant. T. Ridley Prentice. Analysis of Form [Price 2S.) 500 Fugue Subjects and Answers (Priests.) Hand Gymnastics (Price is. 6d.) Musical Ornamentation, Part i (Price 5s.; Paper boards, 6s.) Ed. Dannreuthi r. Transposition (Price zs.) J. Warriner The Art of Training Choir Boys (Price 3s.) ... G. C. Martin. Do. (Exercises only) (Price is.) ... G. C. Martin. Biographical Dictic;!ary of Musicians (Price 2s.) W. H. Cummings. Examples in Strict Counterpoint (Price 3s.) Gordon Saunders. Summary op Musical History (Price 2s.) ... C. H. H. Parrv, (to be CC'TINUED.) Any of the above may be had strngly bound in boards, price 6d. each extra. e8/9/93. LONDON & NEW YORK: NOVELLO, EWER AND CO.