Cornell University Ubrary MT 50.D92 and ineladies for studej^^^^^^^^ Novellds Original Octavo Editions of ORATORIOS, CANTATAS, MASSES, ODES, &c. The F Sprin* SUMHI The C The V The V The S MiNST MiSSA Yule * The K Wreci Mass, Hezek St. Jo: St. Bit Young The G_-i__ Emdymion ^ABAT Mater BOUGHT WITH THE INCOME PROM THE SAGE ENPOWMENT FUND THE GIFT OF 1S91 Ajii:^^. MUSIC lqJaIiA s. d. 2 6 3 6 6 6 4 Z 6 I 6 I o 1 o 1 o X o 1 6 2 O 2 6 I O 6 1 4 I o 4 o ASTORGA. • BACH. Mass in B minor 2 "6 MissA Brevis in a J 6 The Passion (S. Matthew) z o Ditto' (Abridged AS USED AT St. Paul's) i 6 The Passion (S. John) 2 GHR^ES,7^M>Afi Oratorio 2 o Magnificat i God goeth up with shouting 1 o God so loved the world 1 o God's time is the best (Sol-fa, 6d.) i o My Smrit-was in heaviness i o light Everlasting i Bide with us i o A Stronghold sure 1 o Be hot afraid (Sol-fa, 4d.) 6 Blessing, Glory, and wisdom 6 1 wrestle and fray (S0L..FA, 2d.) 4 Thou Guide of Israel i o Jesu, Priceless Treasure 1 o WHEN WILL God recall my spirit I o Jesus, how will we praise Thee i J. BARNBY. Rebexah (Sol-fa, gd.) i o 1 HE Lord is King (Psalm 97) i 6 6/2/94- SIR JULIUS BENEDICT. St. Peter The Legend of St. Cecilia (Sol-pa, is. 6d.) Passion Music FROM St.- Peter SIR W. STERNDALE BENNETT. The May Queen (Sol-fa, zb.) 3 The Woman of Samaria (Sol-fa, is.) ... 4 International Exhibition Ode (1862) ... i G. R. BETJEMANN. The Song of the Western Men i 3 2 6 I 6 BEXFIELD. W. R. Israel Restored i. HUGH BLAIR. Harvest-Tide JOSIAH BOOTH. The Day of Rest (Female Voices) (Sol fa, is.) E. M. BOYCE. The Lay of the Brown Rosary Young Lochinvar J. BRADFORD. Harvest Cantata The Song of Jubilee Praise the Lord 2 6 I 6 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022371003 ORATORIOS, &c.— Continued. W. F. BRADSHAW, Caspar Bbcesra J. BRAHMS. A SoHQ OF Destiny SlQDRD Daniel . RUDEX. . CHARLES BRAUN. J. C. BRIDGE. 5 E, T. CHIPP. Job Kaomi FREDERICK CORDER. The Bridal of Trieema'in (Sol-fa, is.) ... SIR MICHAEL COSTA. The Dream ... • H. COWARD. The Story of Bethany (Soi^fa, is. 6d.) ... F. H. COWEN. St. John's Eve (Sol-fa, is. Gd.) A Song of Thanksgiving Sleeping Beauty (Sol-fa, IS. 6d.) Ruth (Sol-fa, is. 6d.) Summer on the Kiver (Female Voices) (Sol-fa, gd.) The Water Lily Village Scenes (Female Voices) J. MAUDE CRAMENT. I WILL MAGNIFY ThEE, O GoD (FSALM I4S) ... W. CRESER. EuDOKA (A Dramatic Idyl) W. CROTCH. Palestine J. F. BRIDGE. Rock of Ages (Latin and English) (Sol-fa, 4d.) i Mount Moriah 3 BoADICEA J.. 2 Callirhoe (Sol-fa, is. 6d.) 2 Nineveh 2 The Ihchcape Rock i The Lord's Prayer (Sol-fa, 6d.) x DUDLEY BUCK. The Light of Asia 3 EDWARD BUNNETT. Out of the Deep (Psalm 130) i W. BYRD. Mass FOR Four Voices (in F minor).... ... 2 6 CARISSIMI. Jbphthah X F. D. CARNELL. Supplication 5 GEORGE CARTER. SiNFONiA Cantata (Psalm 116) 2 WILLIAM CARTER. Placida 2 CHERUBINI.. Requiem Mass, C minok(Latih and English) 1 Second Mass in D minor 2 Third Mass (Coronation) i Fourth Mass in C l 2 6 W. H. CUMMINGS. The Fairy Ring W. G. CUSINS. Te Deum Gideon FELICIEN DAVID. The Desert (Male Voices) Bethany Lazarus P. H. DIEMER. M. E. DOORLY. B. i. 2 6 I 6 2 6 F. G. DOSSERT. Mass in E minor F. DUNKLEY. The Wreck of the Hesperus ANTONIN DVORAK. St. Ludmila Ditto (German 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 Electea of Sophocles H. J. EDWARDS. The Ascension The Epiphany ... Praise to the Holiest EDWARD ELGAR. The Black Knight ROSALIND F. ELLICOTT. Elysium The Birth of Song ...* G. ERNEST. All the year round (Female Voices) (Sol-fa, gd.) EATON FANING. Buttercups and Daisies (Female Voices) (Sol-fa, is.) ... HENRY FARMER. Mass in B flat (Latin and English) (Sol-fa, is.) ... MYLES B. FOSTER. The Lady of the Isles The Angels of the Bells (Female Voices) Ditto ditto (Sol-fa) The Bonnie Fishwives (Female Voices) ... Ditto ditto- (Sol-fa) Show Fairies (Female Voices) ROBERT FRANZ. Praise ye the Lord (Psalm 117) NIELS W. GADE. Psyche (Sol-fa, is. ed.) Spring's Message (Sol-fa, 3d.) ... Erl-King's Daughter (Sol-fa/ gd.) ... 2lON .'. The Crusaders (Sol-fa, IS.) Comala Christmas Eve (Sol-fa, 4d.) 2 6 ORATORIOS, &c.— Continued. HENRY GADSBY. Lord of the Isles (Sol-fa, is. 6d.) Alcestis (Male Voices) Columbus (ditto) 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 Ruth (Sol-fa, gd.) The Holy City (Sol-fa, IS.) Ten Virgins (Sol-fa, ib.) Israel in the Wilderness (Sol-fa, is.) Una (Sol-fa, is.) FR. GERNSHEIM. Salamis. a Triumph Sonq (Male Voices) F. E. GLADSTONE. s. d. 2 6 4 o 2 6 3 o I 6 4 o Philippi Orpheus GLUCK. 1 6 2 6 3 6 HERMANN GOETZ. By the Waters of Babylon (Psalm 137) N<£NIA The Water-Lily (Male Voices) CH. GOUNOD. Mors bt 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) i Messb. Solennelle (St. Cecilia) Out of Darkness Communion Service (Messe Solennelle).., Troisi^me Messe Solennelle De Peofundis (Psalm 130) (Latin Words)... Ditto (Out of Darkness) The Seven Words of Our Saviour Daughters of Jerusalem Gallia (Sol-fa, 4d.) A. M.GOODHART. Earl Haldan's Daughter Arethusa C. H. GRAUN. The Passion of Our Lord (Der Tod Jesu) Te Deum ALAN GRAY. Arethusa The Legend of the Rock-Buoy Bell The Widow of Zarephath J. O. GRIMM. The Soul's Aspiration G. HALFORD. The Paraclete E. V. HALL. Is it nothing to you HANDEL. Alexander's Feast Acis AND Galatea Ditto, New Edition, edited by J. Barney Ditto, ditto, Sol-fa Alceste Semele The Passion The Triumph of Time and'Truth I I o I 6 2 6 5 o 2 8 4 I 6 o 8 HANDEL — continued. s. d. Alexander Balus 3 Hercules 3 ° Athaliah 3 ° Esther 3 ° Susanna 3 ° Theodora 3 p Belshazzar 3 '0 The Messiah, edited by V. Novello (Sol-pa, is.) 2 ° The Messiah, ditto. Pocket Edition ... i o The Messiah, edited by W. T. Best ... 2 Israel in Egypt, edited by Mendelssohn 2 Israel in Egypt, edited by V. Novello. Pocket Edition i ° luDAS Maccabeus (Sol-fa, is.) 2 Judas Maccabeus. Pocket Edition ... i o Samson (Sol-fa, is.) 2 o Solomon 2 o Tephtha 2 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 o Coronation and Funeral Anthems, Cloth 5 o Or, singly : The King shall rejoice ,, o 8 Zadok the Priest o 3 My heart is inditing o 8 Let thy hand be strengthened ,„ 6 The ways of Zioh i o Ode on St. Cecilia's Day 1 o L'Allegro 2 HAYDN. The Creation (Sol-fa, is.) 2 o The Creation. Pocket Edition i o The Seasons 3 Each Season, singly (Spring, Sol-fa, 6d.) i o First Mass IN B FLAT (Latin) i o Ditto (Latin and English) i o Second Mass in C (Latin) x 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 o Te Deum (English and Latin) , i o Insane et Van.£ Cura (Ditto) o 4 BATTISON HAYNES. The Fairies' Isle (Female Voices) 2 6 A Sea Dream (Female Voices) 2 6 H. HEALE. Jubilee Ode i 6 C. SWINNERTON HEAP. Fair Rosamond (Sol-fa, 2s.) 3 6 EDWARD HECHT. Eric the Dane 3 o O MAY I JOIN the CHOIK INVISIBLE I 6 GEORGE HENSCHEL. Out of Darkness (Psalm 130) 2 6 HENRY RILES. Fayre Pastorel 6 6 The Crusaders ... 2 6 FERDINAND HILLER. Nala and Dauayanti 4 o A Song of Victory (Sol-fa, gd.) i o HEINRICH HOFMANN. Fair Melusina 2 o Cinderella 4 Song of the Norns (Female Voices) ... i o NOVELLO, EWER AND CO.'S MUSIC PRIMERS. Edited by Sir JOHN STAINER. BASSES AND MELODIES FOR STUDENTS OF HARMONY SELECTED AND ADAPTED FROM THE WORKS OF THE GREAT COMPOSERS BY RALPH DUNSTAN Mus. Doc, Cantab, PRICE TWO SHILLINGS AND SIXPENCE. In Paper Boards, Three Shillings. LONDON &■ NEW YORK NOVELLO, EWER AND CO. LONDON : NOVELLO, EWER AND CO , PRINTERS. PREFACE. The Exercises in this book have been selected and arranged with a view of providing pupils with a varied and comprehensive course, suitable either for Private Study, for work under a Teacher, or for preparation for University or other Examinations in Harmony and Figured Bass. No particular theory of Harmony has been slavishly followed, but the author has endeavoured to combine the best features of modern systems ; and he believes that the Exercises may be advantageously used with any Standard Text Book. Only such rules, therefore, have been given as are generally accepted, and which the pupil would be extremely unwise to ignore ; and they must, in this work, be regarded rather as hints than as complete statements. The adaptation of Basses from the great composers as Harmony Exercises, is, we beUeve, unique : the student will feel that they are not theoretical puzzles, and he will be stimulated by the thought that he is working upon the foundation upon which the " Masters " have reared some of their most beautiful progressions. A few original Exercises have been added to preserve the continuity of the work ; all of these are, however, based upon passages found in the compositions of eminent theorists or composers. R. D. London, April, 1894. CONTENTS. PART I. HARMONY IN FOUR OR FIVE PARTS.— EASY FIGURED- BASSES FOR SIGHT-PLAYING.— SIMPLE MELODIES TO BE HARMONIZED. Section I.— PAPER WORK. Chap. I. — Triads Chap. II. — Inversions of Triads Chap. III. — Chords of the Seventh ... Chap. IV.— The Suspended Ninth ... Chap. V. — Chords of the Ninth Chap. VI.— The Suspended Fourth ... Chap. VII. — Chords of the Eleventh ... Chap. VIII. — Other Suspensions Chap. IX. — Chords of the Thirteenth Chap. X. — (a) The Augmented Sixth (6) Pedals (c) Enharmonic Modulations (d) Appoggiaturas, &c. ... Pagb I 5 lo 13 2i 27 32 35 40 43 45 46 48 Section II. At the Keyboard 5* Section III.— MELODIES. Chap. I. — Chorals Chap. II. — Free Melodies Chap. III. — Melodies to be continued 6? 70 75 PART II. HARMONY IN SIX, SEVEN, AND EIGHT PARTS.— ADVANCED HARMONY FROM THE CLASSICS.— MORE DIFFICULT FIGURED-BASSES FOR SIGHT.PLAYING.— UNFIGURED AND GROUND BASSES.— MELODIES— APPENDICES. Section I.— PAPER WORK. PA6B Chap. I. — Harmony Exercises in Six, Seven, and Eight Parts 78 Chap. II. — Harmony Exercises from the Classics 87 Section II.— AT THE KEYBOARD. Chap. I. — Figured Basses ... 116 Chap. II. — Unfigured Basses .... 127 Chap. III. — Ground Basses 133 Section III.— MELODIES. (a) Chorals in Six Parts ,137 {b) Chorals in Seven and Eight Parts 138 (c) Free Melodies 141 Section IV. Miscellaneous Exercises 149 APPENDIX I. (fl) Archaic Methods of Figuring 154 (6) Passing Notes in the Bass ,. ... 156 (c) The Rule of the Octave i6a (d) Weber's Harmony Signs 163 APPENDIX II. Hints on Difficult Exercises ... 165 LIST OF COMPOSERS. Abel, Ex. 289. Albrechtsberger, 121, 290, 291, 394, 396. Aldrich, 143. Bach, 40, 63, 81, 225, 230, 392. Barcroft, 132. Batten, 281. Beethoven, 22, 60, 67, no, in, 114, 239, 240, 241, 242. Bennett, 261. Berlioz, 258. Bevin, 126. Blow, 141, 142, 144. Brahms, 263. Breldenstein, 159. Bridge, 270. Byrd, 128. Carissimi, 27, 137. Cherubini, 33. Child, 138, 139. Clark, 285. Clauderus, 347. Contumacci, 292. CoreUi, 25, 36, 45, 47, 52, 61, 286, 287, 288, 391. Cruger, 149, 164, 332. Donizetti, 83. Dowland, 134. Dvorak, 266. Farnaby, 133. Farrant, 125. Gabrielll, 130. Gade, 260. Gibbons, 127. Gluck, 232, 233, 234. Gounod, 21, 264. Handel, 26, 29, 30, 39, 50, 75, 76, 109, 226, 227, 393. Haydn, 37, 48, 228, 229, 231. Hofmann, 265. Humphreys, 284. Keller, 388, 393. Kirby, 135. Kirnberger, 97. Lassus (Lasso), 74, 389. Locke, 136, 283. Macfarren, 267. Mendelssohn, 63, 99, 119, 246, 247, 248, 249, 293. Mercadante, 86. Meyerbeer, 117. Monteverde, 71, Morley, 124. Mozart, 31, 35, 49, 80, 84, gi, 233, 236, 237, 238. Neumart, 166, Nicolai, 148. Palestrina, 122. Porta, F. della, 131. Purcell, 37, 88, 273, 274, 273, 276, 277 278, 279, 390. Rameau, 386, 387. Richter, 161, 162. Rogers, 140. Rohner, 107. Rossini, 237. Schop, 333. Schmidt, 130. Schubert, 233, 234. Schumaim, 43, 103, 250, 251, 252. Shield, 106. Smart, 262. Spohr, 100, 253, 236. Stainer, 268, 269. Stanford, 271. Strattner, 133. Sullivan, 272. Tallis, 120, 123 Teschner, 145. Tye, 280. Verdi, 118. Vittoria, 129. Vogler, 73. Wagner, 259. Weber, C. V., 243, 244, 245. Weber, G., 90. Weldon, 282. Section I.— PAPER WORK. HARMONY EXERCISES FROM FIGURED BASSES. Figured Bass is a kind of musical shorthand for expressing Harmony : it consists of figures and other signs written above or below a Continued or Thorough Bass (Basso Continuo). It appears to have been first employed in Italy by Peri, Cavaliere, Caccini, and others, about the year 1600 a.d. N.B. — The figure always represents the interval above the Bass note : thus 1 implies the unison ; 2, the second ; 3, the third, &c. ; but any note may be one, two, or more octaves higher : thus 3 might represent the 3rd, loth, 17th, &c. CHAPTER I. PRELIMINARY EXERCISES ON TRIADS.* WH£i.\ there is no figure above or below a note, it is under- stood that the triad of such note is to be used ; this triad being major, minor, or diminished'^ according to the key-signature. A 8 _ triad may also be indicated by 5, |, 3, 5, or 8. The student should work the following Exercises in four, and afterwards in five parts, to acquire facility in avoiding consecu- tive fifths and eighths and other forbidden progressions : care being taken to make the highest part as melodious and interesting as possible. Ex. 1 •r:::sn r . J T-\ g, T7~r n 4?^^-^ rc>.. — -TTT ■-«- - — ^ 3-- ^""^^4 r P r: ^ F ^ ^ ; r. f-- i 6. <^^(\\ V p ,- -Q ^=-»-^-:- -^' "H^ f^ o ^■^p — s-i-: 1 — htr:^ tz^ H — ^ — \ t=td -&~ <^#itr-|rL. | J J i f l r- I J JlrplJ. I \ 8. ^ ^ ^ -^5; ^Wg T^ e5»i|t| J f j j ^ ^J-i 8 10. ^s feb^bri 1^1^ PRELIMINARY EXERCISES ON TRIADS. A ||, |, |>, H?, or X, placed over or under a note signifies that the third of such note is to be of the character indicated. 11. ion-/: r f\J 1^ j^r-r\': \ r rir pff=^ t It 12. ^ Jt^-lJ JIf- Jli ^^ f^ -IgZ ^^ 1^ r 13. I ^^=# r J I - g i J I rTgTM «* '-c^ 1 i ^ -<^« -s^ 14. ^ij . [^iHftTfT^^r^f^?t^P ^ r-^ 15. r JM J N ^ ff):.l » 4- r - * ^ ^ 4 ^ ^^ 16. ^ft ^^ ^ ^ m # » t 1 17. ' ^''-^"i.i J J J- f^=F =t=t 4 i| I 4 I; F^P^ *y=F * When a note is repeated (or followed by its octave) the accidental affects the whole bar. GASSES AND MELODIES. 18. ^dte Hzdrg^^^^-rJ i rrrJij ZZJ 19. JJ|J,° | J g^Jlb^" ^^ H n 20. ^^^=s? ?= 2±^^ ^ H 4 II When any note, other than the third, requires alteration, the accidental t< i'l ^> &c., is placed before the figure representing such note. 21. Gounod (i8i8 — 1893). ^ 'Orj I - . 1 ^ S 5 ^ 32: i&2= 22. ^ b bs b bs l> bs bs bs Beethoven (1770 — 1827). IZZ ^^ i?= =t t^ ^ b bs b bs b bs s bs b » 23. ^ * < * bs H ss igei- [ I j I f «s «j I i r CHAPTER II, INVERSIONS OF TRIADS. The first inversion of a triad is indicated by §, or simply e, qualified by accidentals if necessary. N.B. — A line drawn through a figure raises it a semitone, thus : — g'i H H \\ % F ^F r^*i't H 'H ii 6 e 6 e 6 e Any accidental placed beneath a figure always refers to the third from the Bass. EXERCISES IN FOUR (OR FIVE) PARTS. 24. m ^);o »• F' J-i r' f ^ i 6 6 s be ^ g ^ m— 1=^ zsi-z^S: . C3 • S 6 f r f I p ^ ^^pl i=i * « S6 6 ''■ fe* ^j^ fe^tf CORELLI (1653 — 1713). ^ li=£- E^ zi: 6 6 e i 5 6 s p p r f ^ ^ 6 6 ^rr^r i rrfqTrrxrni =*=w= 86 6 6666 6 "^ BASSES AND MELODIES. n a HANDEI Handel (1685 — 1759). 6 I 6 I |;6 6 6 || I e * 1 1 * 'a-y i 'TrfUr frr JiJJJfr j\iJ-^^^-t^ n 6 66|6 6 B|;# 6 8|; 27. _ Carissimi (1582 — 1672). ^ y^rir-f » i»-r- s ^ Ife 6 6 6 8 nils MjLL^^iJ-i^^frfVrr i jJ.^iJJj i i "118 I e t 28. ^li J N ^ r J I J ^ r r tr^ 6 6 8 « ^^ ^ J p J I r r ^^ jH I "^ " ri ^^-^ !?==* 6 16 6 6 6 8 I ^'♦r- JIJ Jp.^^Ep i za: It6 ff 6 6 6 6 Handel. 8 6 6 68 f * Major chords on the sub-dominant ; common in Handel's time. INVERSIONS OF TRIADS. 666606 6 666 The second inversion of a triad is invariably indicated by the figures £^ (with aceitfentals if required)^ The figures | are used to contradict any previous figures on the same Bass note. EXERCISES IN FOUR (OR FIVE) PARTS. N.B. — ^When two or more sets of figures occur under the same note the time-value must be divided between the chords indicated. 30. ^m fefe Hanobu m e a 6 » a 6 6 5 6 6 8 i 3 « 4 S ^ (^i-' r 5=P 6 6 i 6 S * S 31. Mozart (1756 — 1791). M, 4 J J I J I I J J. S ^ ^ 6 S i 3 m r^ g£ r ^ f-> ^^^ ^^ ^ 6 6 S 6 S i 3 BASSES AND MELODIES. 82. S^ 22Z ^ ^ ^^ ^ ^ ^^ t|S 6 4 i 9 ^ m ^ 6 6 6 I 83. mnr^-if-f Cherubini (1760— 1842). f^ l l^f^ ^f' 116 bBbs ^4 4 Se S 33 6 8 4 3 ^ P f - ^ jEz: 32 be 4 ^^ -rr- ^ ^ B a 3 b 6 be 4 4 ^ ^ p be 6 qe be be ^4 4 s n A line drawn under two or more notes signifies that the chord belonging to the first of such notes is to be retained, or repeated, as long as the line continues : and the line drawn from any figure shews that the note or chord indicated by such figure is to be similarly retained, or repeated. 34. 'ffil ° I J J J J ^ ^^ 4*3 WJVERSIONS- OF TRIADS. ^^ 6 S Mr f^-i =1=4= 1^1 mz rj "ZZS. a 6 6 8 * 9 I i S • I 35. Mozart. ^ r ' ir rT- t> 4 ^ S ^ ^ ^ ^ :^ "ErLTTT ^^g ^ 6 6 6 i S 6 3 4 3 ^^ (g^u l > r> =p^ ^ =t= o • 9 6 5 4 3 6 6 S 4 3 N.B. — When the Bass contains passing-notes and arpeggios the upper parts should have sustained notes; and, similarly, when long notes occur in the Bass one or more of the upper parts may have passing-notes, &c. lO CHAPTER IIL CHORDS Of THE SEVENTH. A SEVENTH may be added to any triad ; it is figured 5> 3, or 7. The seventh should be prepared.* N-B. — ^The following do ncft requiue pi»paration ; — (a) Dominant sevenths. (6) Diminished sevenths. (c) Leading sevenths {i.e., sevenths on the leading- note of a major key). (d) All minor sevenths, whose thirds are major. For other exceptions 8ee any standard work on Harmony, 36. CORELLI. ^L'^ J ^]^r~T' r""^ r l-'—r-'- — -r-Vf- '^b4- *• ^* r ' -i -J—-^ 1 P-I-- 7, 7 7 6 7 7 7 T 7 ^ a s 43 37. ^^ B 3 { 3 Haydn (1732 — iSog). l9-= ^ 16 3 B 4 3 1 ^tt I * ^ SB S 3 < 3 6 'B 8 7 i 3 38. ■-* ^lir' CI r l r^ f ^r"g ^ rv^^r-^ 7 7 — 7 7 — 7 7 — 7 7- 'i rr rm lf J^CJ/ ^^tjpT^f-p f I r ' ^^c/ : 7 7 — . 7 7 chords of the seven ith. Inversions of the seventh : — II Pirst inversion : figured « or ^, tTie 5 ieing the discorfl. Second inversion : figured 4 or f , the 3 being the discord. 3 Third inversion-: figured 4 or 3, or 2j the discord hdng 4he 2 Bass-note itself. 39. Handbl. s w^ t ^^ ^ 5—6- ^ rr i r i r 4=2^ < 6 I a 3 ^ -(=2-. :£* ^2- ^ S ^ g ^^ ^« 7 7 6 6' 6. 6 S 40. (Phrygiaji ^ode^ ^ f-fr-|Hj> J. S. Bach i(t68s— i73t^ S 6 #6 6 6 # 117 12 BASSES AND MELODIES. e-Vi>iJ , iJ JiJ-^rir j, i J''g 6 6 6 i i a s 7 s — 6 6 1 i is a ^ ^ fe ^^ ^^ bs 8bT be b' ,6 6 I* Wu^ fr r rN # I * ^ F=r 3 6 6 6 i I a 6 6 6 6 i 2 ^ ^ 6 6 7 I 2 S 7 8 — 42. ^^^7 r f I i" LT Jj l|;.J-f ^ 7 6 6- * it^ 7 |6 6 b7 i bs ^^ S iJ?»=^ ^ J o b b7 I M 6 6 4 bs 2 gV|J J i ] J lnJ J j^s g m 1 1— ,^T Ml i» « » J CHAPTER IV. THE SUSPENDED NINTH. The Suspended Ninth generally resolves while the Bass-note remains, and is figured 9 8, the time being divided between the two notes. Rules: — (i) The eighth must not be sounded with the ninth in any upper part unless specially indicated, thus: %1. (2) The ninth must be prepared. (3) The ninth must not be nearer to the Bass-note than the actual interval indicated : that is, it may be a ninth, sixteenth, twenty-third, &c., but not a second above the Bass. 9 8 N.B. — The whole figuring implied is 5 — ; the fifth may be 3 ~" omitted, but the seventh must never be added unless specially marked. 43. Schumann (1810— 1856). imr^ I fj bl ^ zz: ■■^ p ^ — P \ \> fj TTfy . 6 8 J - «« i I22 — |i 2 "a bs 3 mt ^ ^ ^ ^^ be s bs bs — be 8 i ,i 3 — ba H ^ -rjr- 7 6 5 B i 3 9 8 * See Appendix, p. 165. 14 BASSES AND MELODIES. 44. zz: ^^ ^ . fO ^ 8 9 8 — 8 9 8 a '7 ^H f " ^ r rl f^- r' i f'' -J- i^T^- '^' i j. i I 8 6- 6 98 ^898 9898 989 I- 7' 1*— y a ^•'-Vi. r r I - 15=5= ^ * I o' • o l 45. ^^^^g^P :^ CORELLI. ?2= S ^ S frf m be 6 9 8 9 9 8 a- ba b7 s a 6 9 a i 3 6 6 t b B b ^ frf^ J 32 g ba b7 ?; 8 fi 'fr a b' ;> .frf J I J J l >frf J l J ^ T a; 6. a V^ * b 9 a H - a < b. 46. ^jirT" j jr^^ * » • * |6 r 9 8 9 8 7 — tf - * When two (sets of) figures occur beneath a dotted note, the first usually takes two-thirds of the time. ^ THE SUSPENDED NINTH. y l» f > 15 fF^if ^ ■m^ 8 »- J- B 6^ 9 — a s i^ ^ s ^ I I . 8 — g 9 8 8 I Sometimes, while the ninth resolves, the Bass moves by step or leap to the third of the chord, which latter is then figured 6. 47. (g)=(> J J ^ J I r^ ^ CoREtLI. ^ -6 — 9—6 9 8 1 9 — 8 s ^^LlL i mi/E ■6 6 — 3 9—6 9 — 6 -rr rfrfrnrrrrrr : 9 6 Occasionally the Bass fells a third or rises a sixth, while the ninth resolves. 48, Haydh. i6 BASSES AND MELODIES. Rarely, tfie Bass moves to the fifth of the chord. 49. ^ftf- m^^ !V f^ Based upon a passage in Mozart. ^ ^B S ^ Jcff: ^ g ¥ ^^=^ I a \ 6 I • 6 7 The first inversion of a suspended ninth is figured 7 6, with an implied 3 ; 3 £• N.B. — No 5 must be added unless specially indicated : while a " chord of the seventh," Chap. III., always implies a fifth. 50. ^ ftf- i f-.-^^r Handel, g ^ ^a&Eifx ^ 3L cr 1 ^ >tt 7 6 7 J i 4J i J1 6 6 I 2 ^ ^j 1/j ij^n-F^??^ 51. :c);ff ;.{ r i r^ ^ zz ^3 <^ 766 6 76 76 76 76 767 52. CORELLI. ^ r i J f i r r j ^ 6 767 767 767 — ^^^ f i fr i f frr J N ^ ^ I (g 7 6 6 6 6 a « 8 2 6 6 • G THE SUSPENDED NINTH. 17 6 56 S636 S6 6 6 '^*ir- | -J-J. i J.j. J. J . I J.J. , J 6 3 S 6 6 6 3 3 53. ^te ^ ^ Cpz: 221 6 76 767676 76-76 696 6 7 i 3 ^y^ =?3: r^ cr 321 PJ eJ 767676 76 76 l^ 96 76 7b6t|7 67 3 — ^ I ° r^ I J ^ C):g iL f ° f ^ ^^ 766 76 7 676 1| 6 7 6 .6 7 4 3 54. ^V{>iiir ^ ^^ |i;^4=T 7 9876 697 7 6 b4 1,2 ^ pz: V[>^ J j J ^^ ^ =P:: E^fcfe 9 S 7 6 6 8 6 I 3 S 6 5 — 4 3 — (L %i>> J \\ f> \ r ^r ^ ^ 1 6 6 =^ i8 BASSES AND MELODIES. The second inversion of the suspended ninth, with its resolution on the same Bass.-note,. is indicated | '^• This inversion is rarely found except in quite modern music. N.B. — The figure 5 indicates the discord, which should be properly prepared and resolved. The eighth from the Bass may be doubled, or the sixth when it is not the leading-note. The 5 cannot be doubled, and there are no implied figures. 55. _ __ %N'. J fM^ f^r t^ i " ir fj fi ^ ^ v^-^ rz •\^' o^^ ^zz^z 6 — 9 \ fer 6 6 6 i 6 6 — 5 i ^S ^ 22= 22 22= E^ 6 — "8 4 56, ^m ^ Z3I |0 * Q ^ 8 6 — s ^e 9 8 7 te^r bof^H.^ 5^5 ^ er bs bT 6 7 ft 7 6 6 S 9 8 7 6 6 ^J> f^- P ^ ^ 3Z 9 8 I 6 " 1 ^ ^ ^ 9 8 9 8 6 — 8 7 8' 4 2 — * The expected 4 here becomes 6, as the Bass has changed. f The 7 is a passing note, coming down to the 5 of the nekt chord. THE SUSPENDED NINTH. 1 9 The last inversion of the suspended ninth is figured gZ, the lines shewing that the upper notes remain while the ninth, which is ifi t%e Bassj r-esorvesi Note carefuily- the difference between the use of the figures 9 and 2. The. former implies that the discord is in an upper -part, the latter that it is in the Bass. There, are no implied fiiguies with this last inversion of the ninth ; the 4 may be doubled, or, occasionally the 2, unless it is the leading note. No figuring is more ambiguous than %. When th& Bass descends one iegree and line» are used to retain the upper notes, the last inyersion of the ninth is usually implied, and no 6 must be added'to the %. When, however, the Bass makes any other progression, or is refigured on its descent, the last inver- 6 sion of the seventh is implied, i.e., 4- Thus ^_, no implied sixth ; ^, implied 2 sixth. m. ^ H. PuRCELL (1658' — r6g5). E g ^ rez ^ 6 6 3 6 i 3 6 8 '6—6 4 3 3 4 i — i — 8 '9 8 JIJ Jl-^ 6 8 6 t 3 5 6 3 7 6 6— — 7 a J —3 6- 3 I 58. S ^ f "" Mt i — 9 B 2 — fv''^ ^m m 9 a 6 * — 6 i — 2 — 2 — 4—6 * — 2 — 2 — m ^ ^ 6 6 6 4 — 6 4 4 2—2 * See Appendijr, p. 165. t It is, perha^, wise to avoid implied consecutive fifths in these and similar cases. Many theorists, however, basing their views upon the practice of the great Masters, regard suspensions as obviating the necessity of observing any such rule. 20 BASSES AND MELODIES. 59. ^ ^ ^ P \ P r r ^e^ ^ ^ -^^ r> I fj ^ ?a==?3 :?2; f - f p' -p 6 6 4 ^^ 6 6 „1 i — 6 76 7|6 a — " ^ P zz l» i - 7 6 J 8 f 8 9 8 r- ^ = 60. Beethoven. ^S ^ ^ g ^^m f ' -> I* ot fla ^S f |rj J ^ J-=g=^^ gJ ^ A J ^ J . J ^8 — " a "4 ^1 ^gji^Lg m « TT i ^ ^ ^ ac% r;i # ¥ tl7 '^7 3 '4 I '- 1^1 J- I J- l-J J I J J IZZ I" IF B 3 1* 61. CORELLI. WF^ ^ S ^^ 6 6 4—84 — a — a — 6 4 a J I r r r I r^ Mi:: isi #-=P ^^ fJ » 9 8 7 6 8 4 * See Appendix, p. 165. f signifies Bass only, or Unison, .THE SUSPENDED NINTH. 21 ^^ 6 6 9 8 i 8 Exceptionally the root is taken in one of the upper parts. It should then never be less than an actual ninth from the dissonant note, if below it ; though if may be at the distance of a seventh, if above it. In all cases this inverted root should be approached by " step of second " from below. The figures are : — (i) II £ for root position : implied |. (2) {^ £ for first inversion : implied 3. ifi — 5 4 for second inversion. 7- •62. (4) 4— for third inversion. ^■Hf Tjf ? 7 6 9 8 7 — i — 3 — 7 6 a^ ^ 9 8 7 6 6 — ^^ i — i 2 — a 8 9 6—8 6 SI 3- i — feE ^m 6 6 5 3 ^^ ^ ^ 7 — i — 2 7 8 — 6 ^g ^ ^ %y r^ f * * W^FF 6 — 8 6 8 13 i 8 7 — 6 6 i 6 J — 2 3 2 — ^ 33 ^ 22Z 9 8 9 8 9 8 8 — 8 — 8 — 9 8 8 — 3 5 4 3 22 BASSES AND MELODIES. 63. Bach. ^^ M m -r. m ;i -8 i 6 7 T itB 7 9 B ^B IF F^ fj f^ m I n 7 I 7 |6 wt J f r r I r cj- cn. i tj— ^ '6 5 ^P^ ^ -C? cr 9 8 fi 6 8>* It 1 7 a B '* 'Xhi&Mnpreparei gth n^f j to ] 23 CHAPTER V. CHORDS OF THE NINTH. A Stcspended ninth is really a retarded eighth i but an essential ninth may be added to any triad in the same way as a seventh (Chap. III.). It is usually (but not always) accompanied by the seventh and figured 7, with implied |. Rule : — A diatonic ninth should be prepared and resolved. Exception : — Chords of the seventh which can be taken without preparation, except diminished and leading sevenths,* may also bear a ninth taken without preparation (Chap. III.). N.B. — The seventh must not be used with the ninth unless it is marked in the figuring. For the various resolutions of unprepared gths see any Standard Text Book. 64. ^ 7 6 I Liz -6 e- e § 3 — ^ «*: m "8 2 S 6 7 * ^3 zz: ^S^ 6 * Diminished and leading; sevenths are themselves regarded, by most theorists, as ninths with omitted roots. 24 BASSES AND MELODIES. 65. Mendelssohk. i& ^ ■& &■ r rir clt a b6 5 b9 8 7 ba ,B- bi ^ S^ 9 3 b - b9 8 \ - Wf=S^ j. i J-m; i y bi 9 8 b9 8 b — M — gOr> f ^ 7 6 7 6 7 6 be 6 i 3 7 6 7 6 7 6 b6 6 i 3 ^^ * b/ ^ * * b7 67676, 66 t|6 6 98 9898 3 \i i — 7 — 7 3 > ^2 - 66. l^lT ^ 3Z 9 7 7 .9 ,9 8 b7 b7 — 6 6 bS ^ ^ =t=: ?= ^ •S3 .9 8 117 - ^ ^ Mt: =#ii 9 8 6 ' 7 7—4 5 2 • 7 a rr TTTrT-rrrr l u-i i 7 6 I 3 9 8 7 — * See Appendix, p. 165. f See Appendix, p. 165. CHORDS OF THE NINTH. 25 67. Beethovbn. i2 fi. ^ 2Z ri rJ \ \X ^ bJ J CgiJ^ P' pz: 32 l>3 l>6 br bs bs bs ,6 ba b4 bs b bB- ^ ^ zai r2_ W^ ^^ ^ ^ 8 bs bT bs bf 'r ivi i bj J a bs bs 6 bi bs bs ^ fepz: ^ ^ ^ bs bs \ 1| a b - frp — Hi i ?p 1 :1 zz: =iF^ 1^-=- 5" ba 3 8 be 4 bs 2 3 b7 B 68. ^^ ^^ 6 S i 3 ba 4 b7 - lie ^^ b7 b7 lis 4 ba 4 i?f Mif \r-^ ^ ^5 • if a b7 ba I* ||s S {2 ^3 Ha b7 ba ^ L 4 bs Q 3 ^ ^ 4 a b 8 n 9 — 8 8 3 4 b9 8 7 8 3 * See Appendix, p. i66. 26 BASSES AND MELODIES. 69. ^ftg m :p • F ^S t^^ ^ ^' % ^1 \ I * 1^ r.i [;: r * w ^ ^^y l - ^ ^} 1^^' Sif S «' ?M i! -fe- r-* ' p ~F' ^ * #- i£ i|6 bT bS 1)7 b9 8 ^ i|S ||6 b4 bs t| bs IjT ijB t|7 i t! i; |9 1]* 8 b m^% r trrt- * 117 8 6 — i ^ft m ¥ '■■I • * n 3 = I 6 6 5 i 70. Adapted. f(»): 2 ^ bs 9 8 7 3 r- ■a)-* 9 8 7 9 8 7 |I9 8 J J-^ l ^ b9 8 7 b9 8 7 b9 8 7 1) b b9 8 = I ^^ fe?«= 4 be bJ b5 .6 9 6 b7 '9 8 b9 8 b7 9 8 b2 b b bs b7 bj 3 ba — a 7 s "m. ^ b9 8 7 9 8 |7 8 9 8 7 6 7 4 3 27 CHAPTER VI. THE SUSPENDED FOURTH. The fourth takes the place of the third in a chord : these two notes are therefore rarely sounded together. Ruh : — The fourth should be prepared, and resolved. The normal position is figured | 3, or simply 4 3. 71. MONTEVERDE (1568 — 1643). ^ ^ P^P R%f: f> m r-> f-» I H I « I f *f3 I I » n i it i ^ ^^ 6 6 ^^¥#^= 1 P p© — 1 -P ^- — = m fj =4 -— ' # vr' * Lid — ^ — 1 |_| eU Isj. U *# t t |6 6 g 4 f 72. ^ EC 6 6 8 i 3 7 6 7 6' 13 i3 87 [Avoid consec. 5ths.| Z2I ^m ^ i8«S i3«3 <3ISiSIS 6 13 6 B 8 ^m W^-m^ * I i 3 — 8 6 7 6 8 i 3 28 BASSES AND MELODIES. 78. (Dorian Mode.) Abbe Vogler (1749 — 1814). ¥^ 6 6 I m ^ ¥-r^ i n^ j-j ^ I r J r I ■> it 6 6 7 7 * 3 m ^ rrrr-T^'^ IS 6 «» 116 7 J 74. O. Lassus (1520—1594). ^ g :t 52=1, <» P [ > r-> p 3=« ZTT 6 B i r rr i r m ^ be s — 4 -bs @J=:& ^ ^ ^ ^ 6 5 < 3 6 S I 3 75. Handel. ss y p ^^3 p^ ^ 7 6- 4 3 7 13 4 3 7 be- i^rrrr Vir-c^M ^ ^ 4 3 7 Be - 4846 4 34( as a 6 7 6 — He i^ > rT'W i r r^ 3=F t 7Jt6 8 — — 8 2 — 8 b6 6 8 8 6 4- 3 l| THE SUSPENDED FOURTH. 29 V J J l ^r 'm. Pp U 6 b ,8 t)3 be b6 8 s bs be 8 8 7lI8- i 3 £ ^ 1!S-^ » f ^ ^ "CT 7 8 < 3 6 8 S 8 The figures \ _ denote the last inversion of the suspended fourth and its resolution. Either the 5 or the 2 may be doubled, the discord being in the Bass. N.B. — Distinguish carefully between | ~ and \ ~- 76. Handel. m. ^ J iJ ^^ ^s ^r^r-^ 8 — 2 7 \i 6 - ll ^S fe^ m CL. n 7^ fi m 8 8 4 i 8 2 3 8 8 8 8 Jl J 8 ^ 77. ^ I I * ^5 PB r- -^ V -sg I I I -. B — 8 2 — a 8 — 8 2 — a 8 a — ^g ^^ J l f^- f 8 — 8— 777 — a — a — 4 3 8 8 8 8 3 4 3 ^^ ^ ?^ 1^ B — 8 2—2 B — 8 — SS 7 — 2— 2-2—4 — 2 — m^ I r~ *: I r !* f 8 4—868 ^m ^ 30 BASSES AND MELODIES. The first inversion of the suspended fourth (with the third in the Bass, and the fourth in an upper part) and its resolution are figured I £.. The 6 — distinguishes this chord from a suspended ninth. Rule : — ^The fourth must be at least an actual ninth above the third. 78. ^s fi- :t bfi: ^hh r : 7 6 Mifj^i 8 9 8 9 8 6 — 6 — K «_ 6 S i 3 S — a — 9 8 6 — 9 8 « — m ^ m i 3 The figures ^ ^ denote the less frequent second inversion of the suspended fourth and its resolution. The 7 must be prepared, and either the bass-note or the 4 may be doubled, but preferably the former. 79. ^ ^^TL I ri 7 6 6 — e 6 4 3 8 — S i — 7 « 9 3 i M -73- zz 7 S 6 768— 6B S — I 3 i. i 2 — cw; <> ^ ittS 7 6 '7 6 7 6 6 i — 80. 7 6 7 6 7 J - I ^ I 3 Mozart. ^^ -— zn Z3= 6 S 8 "I * » * The g on the sub-dominant is sometimes called the chord of the " added sixth." CHORDS OF THE ELEVENTH. 33 ^ W^ ^^ =R«e: »-• !=: *} f£>iJ.J- | J.J- l r ^ ^ffi S^^ ± 6 6 bS i|6 7 8 — 6 M J- J. | J_Ui-^ 3^^^^ •(g^-ft «: 6 i 1 a ^ ^^ I 6 8 t 8 6 * 8 18 7 i a 3 6 11 i 9 7 84. t Mozart. rJ . —rt £^ ^ — ba bio —,,9 & 10 — 6 ^6 b — be bio — 9 — B |j "e — „8 b be 5 J Ijoj!- 7 ej|B ^e — m ^m ^ rJ t 22 ^^^ 69 10— 6 6b— 36- ^e - 8 7 6 8 7 be — b7 6 — 7 6 ^^ ^ ^ fe^ m J Mm SSJbS— 98b7 6b7 6 7 ;— 6 3 S il 8 — — h— b8— 3— sibBbsee 8 ^ 7 3 * See Appendix, p. i66. t See Appendix, p. i66. 34 85. BASSES AND MEI.ODIES. Donizetti (1798 — 1848]. =^ h 22= imtr: H^l ^q'^ =^^=» 6 — T J — 5' 3—3 « — 7 4 — a 8—8 8 m >-jji ^ I T g i g r ^ p ^ "I — 3 — ^ F^ o g? I l» 7 6 7 7 9 — - — S 3 — - — 3 m, \ i I ,, I I J j r> I I .. f I I ^tP ,8 7 7 8 b7 7 t|6bs g 8 bs S ^ 3 -" b7 ^ yp;^ 9 8 7 6 T 9 8 B 7 — 86. ^ Mercadante (1797 — 1870), (pn a p" £: bs fet bs W be f I rft^rr W:f=F^ & be bs l^c^" b b bs bs bs b7 be a bs b7 bs , s bs , s bs by bs " 4 bi"* bs bJ bs 4 [| br ^a Sb4 8 a 1 3 a 11^-^ 1 W ,,8,7 8 4 8 b4 b4 8 8 3 a bs m b7 b7 ^ b7 ^ s bs bT ^ :^ 8 — 6 S * See Appendix, p. 166. 35 CHAPTER VIII. SUSPENSIONS CONTINUED. Some theorists include among suspensions the fifths on the Mediant and Leading-note, each rising to the sixth in resolution. Rules : — The fifth should be prepared. The implied third may be doubled. 87. ^S ^ ^ t|6 t|S 6 7 S 6 8 6 t|6 ^9 6 JSaJ? A .J J ^ n \ i{ <} ' ■ ^ S 6|16 ^4 7t{6 l]9 6 || |]9 6 6 ,8 ^1 ^^^ ^ ^ ^ W3L "cr- 1 t|S 6 ||6 6 — 6 .* - tl4 DoDBLE Suspensions are the discords resulting from the combination of suspended ninths, fourths, &c. I. — When the ninth and fourth are suspended together, each note is treated according to its own rules. In the root position, the figures (with resolutions) are | § with an impHed fifth» 88. ^g ^ Henry Purceld. 9 8 i 3 9 8 7 7 6 B 6 3 i ^ 9 8 i S 7 6 3 i i 3 f=^^ 36 BASSES AND MELODIES. 89. ^g ^^ ^^ 9 8 9 8 9 8 6 4 3 4 3 4 3 S 9 f ^ e 8 4 3 9 8 4 3 9 8 6 4 3 6 8 6 q7 4 ^ 3 S te f^ ^ J I J J^ ^9 8 7 9 8 — Il4 3 I 4 3- 5 8 4 — 3 90. ^ m Gottfried Weber (1779 — 1839). ^ S^ 4z 1^'^^ ^' 4 6 3 3 7 5— 6 |6b7 6 43|6S I 11% '1 lll^^"- m j-JiJ JiJ ^ 8 4 3 I 111 m ^ 6 7 - ' « I i? T «9 6 8 — 6 2 — 4 J hJ | JL^ fj . 6 6 i 6 9 #8 4 - 3 8 7 8 — 9 8 7 8 4 3 2 3 SUSPENSIONS CONTINUED. 37 91. . Mozart. '6 .6 \ 7 6 7 6 6 f ft 'a ^ ^ 6 e 6 S — 6 4 S 13 6 6 m S \ \ r • r ^3 S8786 SS7— — ||6S6 6 B 1323 S|4S— — 43i„( 3 7 — »i^|tl jgi^rTi^.-in^p^^-fi^ r g 9 8 6 I 3 7—98 S — 13 6 7 With the fourth in the Bass and the ninth in an upper part the figures are | £. (The 2 must be doubled.) 92. * _ ^ ^ -m- -&- n m 9 8 6 i 3 6 6 6 2 — 4 3 7 6 6 6 6 6 2 — £2- 6 6 ^ ■ n a a a I* »-|t 6 7 t 8 3 1— 7 6 ro^J-ji r^ \ — ^ ^ --^ — \ — '—m-- ■^Vl 1 ; r. sl ,- J J J -*— 1 8 6 9 8 76 6 6—6 6—7 1—4 6 S 65 2 ( 'gl^tl J ^^ 6 8 i i h 6 8 6 The suspension of a cfimplete chord is phewn by a line drawn to the following Bass note. In resolving the suspended chord eacli dissonant note must proceed by step of second, but it is free either to rise or fall to a note of -the following chord. The figures following the lines shew the resolution. 06. r> -cr- ■"C?- SUSPENSIONS CONTINUED. 39 ■ft^- e ^ ^ \ -g— P , -s»^b '^■^ ^ ^■» ! 1 1 P— - fi ft . . - R . n 3 3 3 — ■V"b 1 — 1 s> ^ — — 1 — ^ — T"^ — r^ — . „ g> — ^ 7 6 B 9 8 3 4 3 7 — Analogous to the suspension of complete chords is the retardation of one or more parts while the others move. The following example is given for the sake of completeness. N.B. — ^The oblique Uves denote that the chords indicated by the figures are struck one quaver earlier than written: i.e., where the lines occur. 97. KrRNBERGER (172I— 1783). s m worn a^me B^e 3..S is e 6«>i6 s,«a 6«>6 « a 4 5 1 6 B 3 3 * See Appendix, p. 167. 40 CHAPTER IX. CHORDS OF THE THIRTEENTH. • gj ■■ o r-k. :or Of J ^ The possible combinations of these notes are very numerous. Only a small number are, however, in general use. N.B. — Instead of 13, it is more usual to find 6 or |5 in the figuring. This discord needs no preparation. 98. ^ ^ ^^ lEZ 13 a 7 ^ ^ ^ ^ • ? 5 9 8 6 1 13 ^ m ^^ 6 6 6 7 ts {a 6 ^ei^V^ .J ^M - f^^ si- 9 Js S _ 7 11 When the seventh is used zetfA t^e thirteenth, the latter sounds smoother ft£ov£ the seventh. chords of the thirteenth. 41 Menhelssohn. ^(- J J cJ IJ^ -J U J J I Jl>>^^ ^ bs b fa be 6 5 bs b 3^43 be 6 bT 6 bi 3 * 5 H hi — ^g^Vj. ^f ^ J I J l ^ ^-i i-J 1 rJ rJ -Gt- ,-bJ3bl> bb b b* b7 — «| •7 3 ^ ^^ & 222 18 13 6 7—8 S — i 3 7 — S — 1 3 7 — 9 8 6 5 7 3 7 6 i 3 S 3 3—7—4 100. ^s 1^ Spohr (1784 — 1859). ^^h^^^ W=f^ 9t fl " 1)8 6— IT "4 3 6 — 3 — ^H^g ^ -^-^ |6 Stl7 4 3 3 6 1]7 |6 & 7 6 e 6 7 gSl m ^nJbjI^J jIM ^ 22 H 1^6 tl7 * I- 3 ll ,7 !]S 1)7 WliiJ-L i % ^fe g ^ IjS tl7 lis Hj 4 4 — 4 3 I Ht ^ i^^^ T-p-i- 1 r ifit-.. fif„Jr- t r t I hi hi *^ 6 8 8 3 l AY k fe=^ b6 bs be H I J JlJ JlJ- <•? — gz 42 BASSES AND MELODIES. 101. m S * * 6 5 4 8 S 4 3 ^^ 6 6 |77 be . ^ ij>i f> ^-^r^ ^\t^ p t^ s |2. fl7 9 3 ^^ IJI4 J J ^ 22 i^ ir--Hihti7 ^1 6 7 8 102. ^^ ?2= 7f6 - "3 3 7 6 6 ,,7 6 4 t* - 6 2 — *= ^ i E t * ---1 'i r •il^T'% . ' 1 — * L 1 1— 1 — ,. L-1 , — 1 -P.I * Here the sixth (thirteenth) falls a third (to the Tonic), while the seventh resolves naturally on the third of the following chord. f The unprepared seventh on the sub- dominant m&y be regarded as one of the combinations of the chord of the thirteenth, the supposed root being the dominant. 43 CHAPTER X. THE AUGMENTED SIXTH, &c. Augmented Sixth. Examples of this chord have occurred incidentally in the preceding Exercises : it has three principal forms, viz : — ;! ^ te ^ zz: ^ ?=z= .? Italian sixth. French sixth. German sixth. In its resolution the sixth generally rises a semitone, or falls a chromatic semitone. Modern writers have allowed the Bass note to skip freely, with excellent effect. 103. Schumann. ^S F^r I ^ niU-J ^^CT "3 3 be 6 8 8 ^ t lr> 1° ^ ^P b feSE IZ2I ^- 32 "27 ^? 9 8 4 3 [|7 ^^ Mfc ^ I bo o I . - , b.Q * b, ' 6 bT 6 6 5 — 4 — 2 — 7 7 7 lie He IjB - I be bs bs i b b — ^ ^ =g=^ -Z3 b7 b B -^3- 6 |I6 6 B ^ i 3 g?l (^fe -) I r ^ - 1 ^ n f T I f' J 6 6 7 6 S I i ^|%= 9 8 6 S 6 7 6 i i 7 6 Da ^ 3 il6— 98 6 76S ^ B - 4 it - • - X8 B 106. Adapted from Shield (1748 — 1829). ^Y~^ ^ 3Z S 6 I 1 ttH be 8 S t» 1 ^^ ^ J *J llvJ I ?"' bd ^ 1 6 be B S 6 jte 6 be 8 6 6 s xe „6 fs le b^ 4 3 B 4I bs b4 3 B 4 I | |4 «| |g i 3 * See Appendix, p. 167. THE AUGMENTED SIXTH. 45 ^ ^ m i \ ZXZL ■&■ \ ,. s g bi 3 a 1 U '1 I Pedals. — ^The older theorists admitted only Tonic or Domi- nant (or both). Modern writers occasionally introduce other notes. 107. In 5 parts. Based upon Rohner. ^ as. 9t|8 5 7 3b6 i a ^ 5 be S 4 117 8 ^8 8 — »— 2 — 7 I 8b7 5 i 3 — 2—8 — 6|8 9|;8 7||7 8b7 iSiiji 843 — 3 2 2 2 6Stl7 8 87b9 8 8787 I3|S6 t|iS7e 4-68 2 b2h4 2-32 -\>-^ -^r- 7 6 8 — 4 3 I — b7 6 8 <& 6 ba 6 8 b8 8 1— 4 3 — 4 '3 4343 8 7 4 4 2 2 108. ^ Q • r~-i-r I b9 1)9 il« 7 |7 8 be — 8 §7 — 1)7 6 — " !|6 36 bs HbabS S#4— 3b6 3 J84 8 £4 4P V i I 3*8 9 2 4 *t4 )|l,»i E^^ r' I ^ ^ =^ ^ be 8 — b9 8 b9 8 — 1|9 ^lli 1 = = ill 1 11 §3 ||6 be 8 4 2 ^ ^ 8 — 8 7 — 6 879 8J{7fa7 8i|7b9 8— #7 8 }|I 5_-4 I-- -11 5I- -el 8 46 BASSES AND MELODIES. Enharmonic Modulations. — When the flat (or natural) of one note is treated as the sharp of another, or vice versd, the figuring is often changed without altering the actual sounds. Incidental examples of enharmonic treatment have appeared in the pre- ceding Exercises. We add a few others. 109. Handel. w-^'r' r'?~r ij rr i [^ [ 321 7 6-8 bT 6—9 S 9 — 8 B ^- 3 „7 — 6 3 (^.\> I ^ -^ 9 6-5 ^t 10—9—8 7-l|6 7b3^4 3 ^ '-^ ^ • m ibl iS P- ^ ito. J^E \t 6 10 9 ,7 \ 1 % zzz b6 bl ^l 7 6 B » 3 6 6 bi a a 3 ^ n — fi fi ^^ % I 7-6 8 (g);ub f^ • r H^ i r rbii i ^^ ^ 110. be Beethoven. ^^ i • M J- J. =^ 5 6 6 6 ||6 ^6 7 I bB ' • ^^ ^ fe ^ *1 6 7 i 3 S« 1; THE AUGMENTED SIXTH. 47 ^ \nr ^ s ^ IZZ H'6 l73 - ^^ Wl bJ ' J- J. 111. 7 3 Beethoven. ^m riirnr riHi s ft?^ 6 7 6 » 1|5 b6 7- 4 b3 bi 6- 3 2 3- (c^:j^|^ l y^ \>i ^ ^S ~t"3- ^ ^ cJ • ]} J-V Bfy ]fci «t! -b7 — be h "■^\^ ^ -^ iiJ I JurfrrY^rrnni^^ lj6 -!;b - |6 be T |6 ',1 — s — ba i 8 9 -H - D Ms 6 113 fa E|i - ^6 ii t bs i2 - 1|J i S| ^^ 7 B ^9 |6 3 6 7 {343 112. S I l lv. f> \ \\p Iy ? ^^ ^5=1^ < ^ gj b7 7 6 |6 b7 b3 b6 b7 6 b6 09 — 3 b bJ — b ^3 — b - m^ XX. ■Q — is>-=P— -p: ^ ^ ^ g> O -to- j ri b7 bS 6 b7 {6 7 6 8 7 6 9 b6 b9 ||8 bs ^ bi l|S 4 I i I #3 4 3 bs ^ b ll 2 b (^t^bp l> ^ =^ S2Z b6 b7 bB be Ti7 b9 bs ll 'a fg 48 BASSES AND MELODIES. 113. ^ m g w S i>7 jt< 8 4 is 6 7 1 t % (g^-bp k S S =P2= ^^ ? ^ bS' 6 b7 bi ba bs b7 b7 be bs b7 3 bs ^ 1^ -W rj • b7 b7 B- «« Chordal Combinations formed by Appoggiaturas, &c. — These combinations occupy an important place in modern music. When the foreign notes are above the note upon which they resolve they are generally taken from the prevalent diatonic scale ; when below, they are usually, though not invariably, a semitone only from their note of resolution. "1 1 4.* ^n 5 parts. Based upon a passage in Beethoven. m ^ ^3 ^ 11 B Jt« 11 3 >6 B 4 7 8 B |9 6 3 — ^6 — 6 B 7 I* S 8 7—6 76 la 2 s - W^^lJ-M S |7 8 S 6 3 '- 7 8 |6 |S 6 I i — 1^ t! §7 8 * I 9 8 bs - 2 3 ^ ^ ^ ^ fe b7 6 4 3 a 3 6 S * I b7 6 N.B. — When the dissonant note and its note of resolution are sounded together, the two should be as far apart as possible. * See Appendix, p. 167. THE AUGMENTEE SIXTH. 49 115. Irnor $ parts. Adapted. M^TT B 22= ^ s be 5 bT s 6 bT s b9 — be s D9 — bs a b9 it i 313 3 3 73— 7— iSTSea I t * * 3 ^=fffi 321 1 b9 4 7- 7 6 4 — 7 6 g** 7 6 ^ ^ 9 8 7 — 9 a ^ be? I bo, I' J m^^m Z7: H -| rr7 6 7 — 6 — lS — ^4 3 63-6 a « a 3 *2 1)4 8 — 8 4 8 a 8 8 ,- ,8 bs bs ,4 b4 3 ba J I^J fcjJ I bJ.^J Mj^-^ IJ_ ^ ^ I,/ ' ' i b^ - J 4 7 b8 6 8 5 b7 6 3 t! 4 a u* — 3 — 4 a t« — a 116. In 6 parts. ^ ^^ ^ 122= 4 — 3 — — — 7 - « /» 4 parts. ^ i I til — - Bs - - !* » - Ja 3 - 8 — m ^^^ ? 8 fa 8 6 — b8 — 4 3 8 8-11^4 C3 11— 3 - 8 8 4'a 8 miz "P P ^^ ' ^ 7«a8 4 ■ 3 — 4 8- 8 8 3 — 7 — 13 8 a - 8- 3 — 8llT * See Appendix, p. 167. 5° 117. basses and melodies. Meyerbeer (1791 ? — 1864). ^m ~g?~ ?2Z u ^ ¥^z 7 b7 S6S 13 1 8— 7- 8 — a- ^S Ir f l ie, j— ^ ^© gp? B 117 S l|7 B ^7 8 - 8 — n| ii ti» n* ft - !> - i i « ^^ ^^ ^ j^ ^ ^ 863 13 8 8 — 7 — 3— 3 — Il7 1 ^M 1^ ^^ fcW =:^ i^ ft ftV b7 bbe 8 ■0^-S-, b7 b8 8 ft 8 b7 bbe - ft7 ^ I^ ^- ^ ^ :r^ ' ' ^ b7 bb b7 8 3 118. Verdi (1814— ). m nt p r gi'V g r 1; 7 6 8 7 6 6 5 6 3 8 6 3 7 6 8 7 — 6 w-r-^m ^T ^ ^ ft JL A SB 6 B 768 766 B — 6 — 8 4 3 — S ^=^ =q^= -r-H-^ ^^=q^ 3 . i 3 THE AUGMENTED SIXTH. 51 <^ »/f/f-^f/f| K^f/f /f/f l ^^^-^f - • 'f ^ I ^ 6 7 67 13 Sai- 4 3 13 8 76—- 3 8 i? b7 6 7 6 7 13 S "5 ^S « S 15 8 7 i 3 3 — 2 sW mji^\*m^ ^m 18 6 — B — 7116 6 — b87 „6 — 8 7 7 — 66 — 87 *^ „6 1 — 4 — 3 — 3— S-|4 3 a* 7—6 6 — ta "b V 3 — I -|a » * ' ^ ^ ^ ' ' . ■' '- U" ' ■" ■ U' ^^ 39 8 bg I 1)9 8 SS'i32 68 5—4 3 6 36 3 7 37— 88— —7 8— 8 67 8 i i ^6— S4 10— 6 8 119. Mendelssohn. m^j j-ij- J slj-Jxj- j ;j fe^^ fc 16 W 7 6 8 7 i 3 6 7 6 ill 6 „8 tl7 i |7 "8 fl6 3 4 2 ^t J- .J J-J J^ ^^ 6 S 67 8 11 10 8678 11 10 8 6 i 3 49 6 986486 986 8 2 3 2 ■ — — 3 rr ^r r'.f ^ ^^^^ i J— i^Q-^ 6 7 9 8 7 4 3 7 6 3 3 ■ 3 6 7 8 11 10 8 6,,^ 6 7 4 436 9 8 64|3 4S 2 3 2 " ^# j.Ji^n JV,:_^Lnj]i^J.J 1 J J^'^^ 11 10 8 B 8 9 8 6 ||S 4 5 H' 7 6 7 3 S 8 5 3 3 — 4 2 52 Section II.— AT THE KEYBOARD. In playing from a figured Bass, the student is generally expected to play in four- parts, two with the right hand, and two (including the Bass) with the left. Before proceeding with the following Exercises, Nos, i to 42 of Section I. should be practised at the keyboard, in four parts. N.B. — Every Exercise should be played in as many different ways as possible, especially taking care to make the highest part as melodious as circumstances will permit. 120. Tallis (152Q — 1385). ^m W¥^ fJ • * -rJ— fJ —at ZZ2. ijt: -7^. Y~\ 1 — 1 r- ' c: — ' 1 — & 1 L m^ ^^ f Albrechtsberger (1736 — i8og}. rj l lj/^ r t 122. M ^ — O m o Palestrina (1528 — 1594). ^ ^ ^ Mir *f 9 8 8 8- i 3 T7~ « I 3 — < 6 7 6 iMi 9 « m ##: AT THE KEYBOARD. -^- -^ -^- _ S3 f-j I"-) f*-* I r-> r's" 32 i 3 #*: <2. 22= ^fe^ 1^-?^ ^ !--> rj. -pr~^GL i2_ ^ 22= =£2= ^ 6 6 7 6 123. 6 a s 6 Tallis. ■77:^ — :::;—i I — |Q m — 1 1 „ . r- -> t-i 1 1 t 1 1 1 1 L- ^ A iki ^ I JiJ o I f-- p- '' — rr- i S || 6 69 686 76 $ i 8 4 3 6 6 ^ ^ ^ g 22= J I T B 6 6 «|3 f (fSj 6 8 ^ ^ 54 BASSES AND MELODIES. 125. Farrant (IS30 — 1530). ^ z ?— P 'r- <^ \\^ <^ i^-iMW r> rJ -TTS- 4 lis 1] b ^^ rrp <2- ^ Tpr 6 — 6 ^ :?z; pz= =P=^= ■^- J I o S 6 i 3 ^ ^ ^ i^ i s I ^ 1,8 6B5J » r- 1 ' " "113 3986413 126. 76 — Elwav Bevin (1570 — 1640}, \J^ f 3~ ^ ^ 1 w~^ 8 » — 6 — /^\- rri I — ■ '■ 1 — 1 r- ■* ^^--^ fl n ''-* >-n ■o .rj e 1 — 1 1 1 \— 6 8 68696 i{3 Mi: izz: ZZ2. ^ 33: 2z: 88 6S <3S«|3 tt J 3 9 8 3 " '^ 127. ^ Gibbons (1583 — 1625). COL - ^ ZZ3Z S 8 88 88 88 76 43 t3 iS 6 — 6 — 8— 7 813 — ^ ~f3~ ZZ.'Z ? -fp- ^-6^ 3^^ bS 8 " 7 6 bS 13 ^V J- J J ft iO • - « ^ 3z: ~?7~ 4 3 J 3 7 — b8 6 8 4 S m ^ I J .1 ^ I ^ 6 6 — '6 7 6 3 1 b — 128. AT THE KEYBOARD. 55 BVRD (1538 — 1623). fr> I r r ^ \ ^ mrm jn- f p - m- * * 7 686 766 S r rir r ^ J Mil ~^3~ M ^ r^==;^ 6 6 68 7 5 13 6 '6 7 1 i^ I Z2Z -TTT- •T^T- 4 IjS S 6 S 6 129. ViTTORiA (1580, about). tp\ (^ , < % ■mifi mr^ I?2Z 6 6 S » T 1° f^ i-j v.:>fj 8 7 8 6 S 6 9 (noS) ^^g pz:^ ~cr r~T 8 6 '6 Mr: iz ^ ,>-> o r| 7f6 113 6 9 6 8 4 3 r r r fir r r rtr^ m, n fj, fj> I fj 4 3 8 3 130. SI ^ £2- -O- -Q. Gabrielli (1730 — 1796). ^ f--* ''-> 6 8 6 b6 — 4 3 4 b3 6 (b) 6 8 3 4 ^ ^ ^ T?~ n \ • rr- 4p 48 4p 1^ 6 - 8 - \ 3 4 -f * ^ ''J I »'-» b6 9 4 |3 % 56 131. BASSES AND MELODIES. Francisco della Porta (1590 — 1660). ^^i^ ^ O n m. -rr 7 6 «4 13 m P ^' -f-r> -^- m - 6 g 6 < B 3 Q rJ - (o; <^ zzsz • -Jjp^ 7 6 — i - I ^« # AT THE KEYBOARD. 57 m o I e >: 3z: ^ r-> r^ ST 7 6 6 5 i — 8-2 123= Q O I P P 8 b7 a 7 3 134. J. DOWLAND (1562 — 1626). ip i rnp i i?- Z2ZZC2ZaS=l=!3 f> I r-> ^^fpl ^ ^ Z 6 t > i 9 " " ft»); 1 1 s~ 1^'^' — Q -5-5 — _— M> ° — J-^-J r^^-^ p-p-^-^ — -^- I; ||9 6 6 I 6 i S-6 1] ^ a d "cy * i 6 6 87 8 ITS ^n^■ <'-> ^ 111 r> 11 "^ 1 LS_J — i .l_, \-&Ja 96 8— b7 6S i,% b 8^7 135. G. KlRBY (1565 — 16—). fi \ f^ -ry ^ ^l3E r ?— p^ zzz ^ i 6 H .1?^ 7B 6 — 9 3 1 23= M|= 33= ^ b6 9 7 6 I ||6 9 13—6 — 9 \ % SIS 8 —7 ^ 7 6 — 13 vr-|S>- - P I r . A ^^ s n 7 6 G 6 — i 3 _J^ "P"o _ -e- /TN (w- 1 1 1 v^ 1 1 '^-' 1 1 1 1 8 8 6-68 i 3 8 7 6 7 3 — 6 6 1 3 8 —7 E 58 t36. BASS£S AND. MELODIES. Matthew. Locke. (1628—1677), fO:. tl * -f^ fS) ! i—& f-: T-- ■■^jf;=— _g — J __sj — J \—~d^ — eJ — !— - *r.s. (£.> r f'r '^ii" r r "ri-^^ ^ j 6 6 1 6 6 6 6 < l|3 s^r J r nr r r iir j ^i J TT^ CT 6 8 6 i 3 ^ ^ 6 6 i 6 6 4 8 8 — 7 8 6 B 1 — 8 ^^>rrf-^ri' r ^ i^ « fi 6 I 6 6 6 m /T\ /7\ 3 ^ 33 t2Z zz 6 6 4 2 6 6 4 6 S 4 S 137. GARrssiMi (;i5Sa— iQt!*-^ mfr^ ^ "s r be 8 6 bs -J- .5 ^ "-"til i ^ IE ^ p 8 6 |s 6 6 8 8 6 4 I -7^ m m ^ b8 6 6Q8 be s 4 b 2 H ff 8 * The words Tasto Solo, or Toifo, or their abbreviations T.S, or T., indicate that the Bass only is to be played : figures show when upper parts must be added. AT THE KEYBOARD 188. ^ Child {1606 — 1697). i i » zz: f-i f- a 6- ! « ^ i s^ * s r> 1 — ^ '3 f 'O :c):y p ' ^ ^ ^ fe 6 * S tf 6 5 & I ^==?. ^^ -rr- f^ ri 2 ^ ^ ^Ml^^=f:ti g * " «r B a e J is "^ N.B. — In several cases not marked the perfect fifth must be understood, especially when the third is major. 189. % Child. si 76 7 6 T" ^ 32: I£2I 8 6 3 6 6 3 ■* ^S i 3 6 7 6 ^ S 6 is 3fe i ^^ cJ- * 6 6 i 3 * t^5 often means diminished^th in old scores, i^., t|s in this case, t i = raised fourth. j The dominant seventh followed by an unprepared seventh on the sub- dominant : this progression is often found in Handel and Corelli. 6o BASSES AND MELODIES. 140. Rogers (1614 — i6g8). m^-pvrU ^ a ^ f} ^^y^ I ^S) H 6 13 g*t - r I ' r i ^^lj^l ^ ^^ t 3 ^i_|J_J<^ U JiJ ^i * I'J . -'7T zz Ij 6 6 Ij6t|6 — S ^3 ^ in*' 2 ^ii. r r i> {'\- fM' IS pz==S: 7 6 I 6 6 5 i - 6lj» A-ij tj ^ J i y 4J5F — 6 8 — US — 6 8 7 6 3 i 8 t 3 141. Blow {1648 — 1708). SB 16 ^^^ .. v i > o - r2:=z^=z2Z r.> fj 6 76 « B I J ^[$^^J ^ I -^ f^ f" • J ^ te 122= a |— 6 2*""'J Z 8 - 6 5 I * - *|3 (SI f-i — o- ■ n — fg- ^^ 3 ♦ t»rTfH- ,.g * 6 e f|! * 6 6 6 7 S ^^^^^^^^ 3z: C3 • 7 6,63 68 bs IS \ X e 6 * «3 AT THE KEYBOARD. 61 142. Blow. ^ ^1T^ r [\[^if^r r [^ ' I? r ft (T.S.) 6 S % 6 a I 'H '• #^ tl^ • f Ij^ ' :z2i ^ « ^1 ^S ^^*r-^:rT-"-^ -' ' ^ ^^ ^' 115-6 ll lis f^t| y- r fn^ f> 1 ^ IjS 6 l|6 l| — bi « ^Sii 143. Aldrich (1647 — 1710). -TTS- ^WW ^ 6 « 6 6 S rj fJ ^ :9cJc > ^ 6 S 6 7 6 3 H Si fS ^m rj fj **» 6 8 6 7 ^E ^S J J J j i&z: b6 bs 6 3 b3 « '^J ''J ^ IJ2Z « I 6 6 ^ 6 i 3 62 BASSES AND MELODIES. 144. Blow. s ^d " ■* fi rJ o a « 6 ^m rJ '■» fi — zz EZ i ?z= zz: ^ ^^^^ 4 6 7 6 9 6 2 a T^ -a -IT A D 'B '0 -a -B 7 6 5 S 6 S 6 3 113 i « 3 — -6 7 6 5 -8 -6 — -B -9 3143 4 3 For further practice the student may play any of the Exercises in Section I. (Nos. 43 to 119). 63 Section III.— MELODIES TO BE HARMONIZED. CHAPTER I. CHORALS* ia) Exercises in Three-part Harmony, — Each chord of the following, except the first and last, must be a complete triad, iut not necessarily in its root position. 145. Melchior Teschher (i6i^ V rr i r s ±=± » ^ ' #-r I r r r-^ ' »■ i I J ■ J '■ j.- 146. J JlJ J J J (1738.) r7\ ^ 3 3C=t3 ^J J M ^ ^ n M ^ i -* J J J J n * From the "Lutheran Choral-Book." 64 BASSES AND MKLODIES. 147. (1324-) ^^ J-^-^U f ^-U ^ J f ^^ bi » f $ ^^ 148.- NiCOLAI (1599). i is ^ ^ TTfT ^^ s" a(- i n J J J J N J g zz ^^ *^ — ^ «l — 1^ 149. i JoH. Cruger (1649). s J i j J mJj S ^ ^ iT i rrri^NJ CHORALS. 6S 150. B. Schmidt (1577). ^ J |IJ JJ^ $ ^^^^ pa^¥ i ^^ ^=m ^^ i rr^ ii r i r r r r »~t~ar =F= i " J J J J r r r r H J ^ II 151. 1524. i&± [• # ■ 1 r \ i J J J I ^ 152. (1587.) pf^jJl.l JL+-^- I J r ^frT^^ M ^ 1 ^= N^ dyt ^ ^^ 66 BASSES ANC MEXODIES. 153. Strattner (iSgi). ^m ^ «> — • — I — — *■ i ?2= F=-(& y-^-f-T =^ jipJl J — - 1 f^ -^ — r— 1 — — - 1 hll 5)^P '^^ — J-^J— J^-^— ;--J— ^-sJ— ,-— — 1141 ■.(i6;) JExenrisEs in &itr and five ipaTts:; the iHrmmiiES to be- sdectea at discretion. 154. "ein' feste buhq." {1529.) 1 :e Tfz m m i j-^^-^i^/f-^^-^Fi^ ^^ ^^ ^ 15«. ^ (1603.^ S M m -^ ri \ M i ■ l-f^ J I ^ ^ » — ' ^ T^^ih^ ^ r^ — r^-d -r ir 1 - T "uH g)"T r J J J j_^-- r J .J J ,-;--j-£-sl-.-E^^ ^^ i CHORALS. ^ ^ ^^ 157. f - jMt^ (1643.) rr^^j>hJ J I J J jp § ^ J J i \^ z£z (} r 15a i (1530.) ^^ ^ r i. ) ^T P^ i ^ i =^=Sf^ <*=» 159, Breidenstein (1824). r.pprc/if^iMJrr^Hir^^ lA ^ ^ 68 BASSES AND MELODIES. 160. •^b(^ I'lf f -^f Ip C J Jl'J ^ f J (1525-) /7N O d H I J J ^ J l J J J jN ^ r ^\-^'^^ (^b [> f j* J I J J ii r ^m ^ ^ "^ 'ib>LJ J. J. 1 ^ ^ 161. i *<;. jjj C. F. RiCHiER (1704). ^ 3 zz ^4^^ J i i r i r ■! J " I i ^ ^ r j TJ ^ ^gJHUI r||ji-M_^uJ_^t^ mij r J-jy^^^i J j r ^ I ■' ^ ^ 162. C. F. RiCHTER. | _r r r ^^ i tJ ' ^ \ ^M-^^M ^H*— Jr^^J^ rp[7 l f A \ T T \ P ^ m f m p^^ : f-=^=g CHORALS. 69 163. (1738.) rf.^ij i r-^JjJ i jjjJir-'.ijJ i J^ ^^ ^^ ^ * • i ^ ^ p *< I * ^ d i is jcipr ^ 164. JOH. Cruger (1649). i m ± E • r' : K zz IZZ i ^ fea ^ ^ 165. (»704-) (^^aJif f I-) J i j_j J i Jf f i f piTJ-s pi ^ gs ^^^^ jiJj'i fir'r^rir '^ 122 i ^s =F=F ^ ^ =t=^ ifi^^ 3^E5 S^ 166. Neumart (1657). i i^ ^ ^=^ .^iP-H i ».iiJ ■^I'^j t .ira i lEq^qt^arpE g !&=£: S =I=T=f ^ ^-Jhd--(S- tzt 70 CHAPTER II. FREE MELODIES; CONSTRUCTED UPON RHYTHMS FROM THE GREAT MASTERS. To be harmonized in four or five parts. N.B. — Marks of expression, phuasing, &e. may be added. T67. ^i^ JljJTMf^^ ^ S ^^R ^m O * I J^ -at-*' ji jg J :ff^ff:=f=rS^-rr^-rtj-^ t68. , ^ ^jj^Tpa;^,^,^^;:^^^^ i b. r-ii^ l i" pn=?c rr^^'J^^fTn PI ^ 169. *li fe- ;-ir r r- r>i*^ i M m ^m Jtjtji e= f^tMgil^=fcfe ^^ J ^' i ^7., ^p FREE MELODIES. 71 170. '^^^"■AVislJ^-^M^r^rTT?^"^^ ^ PW J ^'r c ^^ ( j! Afy i '^' J- j J J ;j r. I err ^.--i^ , ^^ ^ ^^ 171. i ^JT^ l J■^J^^ JJ-jltJTJJ'^^JIJjJ^^^^JHt^ JJJ lc ;ri ;iij l "r^ l r-cHf f r- Jr:i^JlJ.J7 ^^ *3^s 172. ^^^ ^^ ^ ^ 72 BASSES AND MELODIES. 173. m ^r^r i J J i J ^ tr ^^ ^ P2= *• J* P^±^ f^^^^^^-Hr^fe ^ ^ i iP i 174. ^ J^ F^ e^^^f^^ ^^ A: if^N. J jy?v^i;^c;jv.fjf..g ^ k"!,!- t/J ^a sau . 1 ^ g i r r ^^^ Tf^^^^ ^ I ^ '^ J ^j-s't^ ^ 175 176. i i s » *' • '* j' i c :;cj 7r^ =»=?: ^ ^m^ ^ FREE MELODIES. 73 jy J- J J i r cj tt ^^asiiiM #I^iig | !^ % | J'J7 | JT3 Q ' | g f .nJ ^ $ K^'.'rC i rrfi flFf l J^JtNfS s P^ r =B; # y-'jjJIr H Q-^-'& - | ^J^J1 J'Ej!i;j ( f^'N^c. rtiaLa-r/ i r- J i iJV crCj i ^ s 178. Q ft.,g ■ , ; ^— _ , 1 r^; r1 1 iVt r r -M=^^=fF^^^^b^^= ^^fr^yrCrirl g*r ^r i^trtT^ 179. 74 BASSES AND MELODIES. 180. ^Al: f rM ^.J l r>r l -' i i^lr¥ #^ ,H f > • « p . r* S ^ ®$ T*— y i i-'IA ff f r^^tW f-^-m-n-s ^^ Trrirfrrrr i ' fHi ^ l»>cjim i L ^g 181. f^^ ^ ^^ 32 *i^ a j^^ s 1 y"^*H-r7 1^ a ^ O J S r^ p 1= M m .O ■ 1- 7 ^^ f^ft^l ^^r^ 182. ^ f' r M I O H- ^ l r> rl'ir ip ^ /T\ pf^ ^m s^s 75 CHAPTER III. Continue each of the following melodies in the same style to about sixteen or twenty bars, adding appropriate harmonies. 183. 2z: Ty i ^ &c ^* o 184. ^ssa ^ n j j i c :&c. 185. ^.*iiJ J Jij.JJrir '^ J '0 &c. 186. ifi^J. r rir ^J J^Ij. j J So. 188. ^m 321 -&C. 76 BASSES AND MELODIES. 189, 190. ^_^_ j' 'i ! J r i | J. J | J-JJ Ju 191. 192. 193. i^'u-Q^^ ^ :&c. 194. ^m ^ ■&c \_fi rJ O I <^ ' 195. i r cjLf i r h- JB s— &C. fl= 196. ^ jLl ii ^J.^^ M ^ d • &c. ^-^ 197. f%nnf c i r- nLrrj l ig3 •&c. 198. ^^^^^^^^ :&c MELODIES. 199. f'l'ljjjlj iui' ^-'J L.I 77 :&c. 200. ^ J J I r^l f r :&c. rJ-\0 201. f" il J-lr-r-|[£ frT:r l ^« ^^' ft J|J g :&c. 202. m m ^^ :&c. ^ 203. ^'i>^ii jJ i f-nrr^r ^ S I £> 32=3= =^2= &C. Ji04, END OF PART 1. 78 PART II. Section I.— PAPER WORK. CHAPTER I. EXERCISES TO BE HARMONIZED IN SIX, SEVEN, AND EIGHT PARTS. N.B. — Before working the following, the student may har- monize Nos. I to 23 (Part I., Chap. I.) in eight parts. 205. ^ lez ^ 206. ^HMf — \ i — r J i J ~ \ \ — \—^ — r- :^^-^=^--^^^^^-z~-=iz^^'i-:^^^-. 6 6 PS^ Zifc rJ J^zzi 207. HARMONY EXERCISES. 79 ■Si,n J p I J ^^ ^¥^^=^ lizz^ 6 6 6 6 6 J , I I J J J A ¥ \J ^^ *T 6 s ^ JrJJ l J -^ ^ ^ 6 6 208. ^ ^ ^ gj ry "C7- 6 6 ^^ ii^^^* r ^ ^ J I ° ' r 1°' I "^ ri* ^fi 6 * 209. ^°^ '™° choirs : to be treated Antiphonally .* C2_, f^=^ ? ^ ^FF ^ ^S :#^ gl~~?? t 6 t i 8 ^ ^ - Q r^ "77 - ^ ^ ^ ^ ^ i 6 6 I 6 6 I s ■fr»^ --, p tr- 1 — ^ 1 p g, o <■-> ■■ =H ^**H ?5 =- ' — TlH T" h=J t=^ 1 U^ 1— — J -W^— ^ ^ J JH J sLj 1— s> -rJ- — \ I 6 J * In these exercises for double choir it will be seen that generally the lowest bass note only of each chord is figured. 8o BASSES AND MELODIES. 210. ^iJ l J^ilrl^^Jl'^II^J l JjlJ-^^^ ^ 6 6 6 6 I 6 I ^1 3 zz zz 22 iri--&- 6 6 6 S 211. syajij j i J I ^^ 6 6 6 i t i« • ^g^b" J--^ rN ^ I J r I = ?.» r-> ^ ^t^ IZS C I .'J ?^ 1^ ^s ^ J r I iMM -- M ^" zz: * ®i=zz ^ 6 6 6 # ^ ?z: ^ fs; rezi 6 6 6 6 i HARMONY EXERCISES. 8l 21 3. For two choirs. ^M I I r r ^^ ^ ^== ^ e%*i J . r • ±r=E: I I ri 6 6 6 6 4 'tm ^ J J J 6 S i 3 ^ r i r r J J ^ 6 6 3 < 3 ^te ^ -ri-^ rJ » 6 6 '6 6 i 8 5 3 214. For two choirs. ^ ^TcTT LlIf ^^ « — i I .pkffl]^iiJ|J ^ 6 6 . m f , 6 6- r- r rr — ^ « — — t ^i>t*' ^^=^ - r ^ ' ^=^ K-^- «'-' t= -4 6 6 82 BASSES AND MELODIES. 215. ^l-^f H ^ p 6—6 :;[ J ^1^ ^ Jl ^ 6 t ^S zz: r*rrr i i rif- m ei ?=F g^ ^ J I < g * g^i J r r I J' * I p l« ^ I ^ m?m jJ f i .j tJ £:^3 — ^7 216. 7 -S^ 6 4 8 3 ^ ^ ^ ¥=^ 6 7 8 7 7 iS •- ^ ^ ^ ' g^ ji^ r t- 7 7 S * 6 '8 6 7 7 ^ Z3I 6 6 6 — i Z M |Q ^ 6 6 6 4 2 7 7 217. 'g^^iiU'ir' r HARMONY EXERCISES. !■-= — P- 83 =t= m. ^ J-J^iJ ;j"i Wdt. fi i|./{ -il r ir J1^ ^ 6 6 e^>|^ C^T^' i m' F | r t; [J. p [l ^^E^ 'gj-^ir- r cir f f • =iF^ # r ^ 6 T 5 'ft*ir j'j jy gfc/ i r r-r ^ If 6 6 6 i 218. ^S ^a ^ za=S -C3 CT 6 he ^6 6 3 ^2 b7 6 S — 8+ BASSES AND MELODIES. 219. 9 8 m ^S ^m 9 B t| 9 8 ^fc J J jl-'l^ 9 8 T 7 — 7 6 220. i^3 =^ S ^^^ -»^-^- 3Z -cs — "-^ " V. 7 4 3 „6 S #4 ^t: * * F 3 2- B be 6 221. ^M J J 2z: ^ i o f ¥ 7 6 II n - 9 8 — 1 6 9 m 1 > p r - > W=^ j:zz ,66 be e764bb4 6 6 4 b4 ^ ^ ^ 3 B B 3 ^3 1* evj.r r^f= i <> m - u_ r - ^ — T^ I - J o I za 6 9 8 7 b B 65— ' 4 a- 8 — b6 2 — 4 l| 4 6 3 S HARMONY EXERCISES. 222. For double choir. 85 ^m i hry^ ^ ^^ ^ 6 6 il ^N s 'samt 1)6 « 6 b? < Ss bi ^s 2 3 & 3 bT l|6 |;7 « 9 3 (g).4rpi^**'rt^ -p- ^ Fi^^ 5 t|T 3 ^ 5');ff ,<- ■ > ^ ^ S 6 3 6 |6 6 bT mf> ' f ^ ^ 22:: ^ 6 6 6 i i 2 P^^f^ - - 1 7J tirt- ^ ^=* Q rJ 223. 6 4 3 6 S ! 3—4 2 6 7 I 3 7 — ^ m=^ SE :?2= ±=t: 9 "8 1! w ^ ^ * fSf-* *i| ^ =fe ^ ^ 31 6 *6 16 6 D5 pk 4(' r 1 ^: ^p i2z: =P2:: ^ 3i ^S 6 9 — * *- 9 8 ZZ2Z i — r - > Q i — m 6 9 izz: 86 BASSES AND MELODIES. 224. ^^ J J I bJ ^ ^ ^ 8 6 — 8 — - hi 9 8 8 8 8 ,« 7 8 8 * |» ^ ^ b7 b b9 8 b7 9 |]9 7 - 7 7 7 13 9 7 3 — — m=F •JTp" jlilJ J e»- » 18 S — b7 - - b7 m bJ I h^ t>f n^ 1 ^ 'b o t] ' 8 — b7 1)6 8 bs 4 t|6 8 b7 6 8 8 bs tl^ bs i 3 Qi 3 ^b h b7 \ m ^ -cr 8 8 8 7 8— b7 bs 4 S 4 4 3 7 — CHAPTER II. EXERCISES IN ADVANCED HARMONY, FROM THE GREAT COMPOSERS. N.B. — Unless otherwise stated the exercises may be worked in four or five parts. 225. In 6 farts, rati] r>f>||Jti^ J | j|Jii. J. S. Bach (1685— 1750). ^ 6 7 S ! .1 i S 6 3 e4^^J J||^.Jn ft < - J rJ '■> f"-* 7 6- 5 ja ■ H S 6 7 t 3 ft 1 » f^ \t^ ^° I jM ^§ r-> rj 6 6 «* 6 117 6 It 6 6 6 ^E ^^ I ^J! 1,7 it 6 6 ^T 6 6 7 6 S ^ 3 rgj |J tjo 1 ^ T7~ -^ S> St 7 .6 6 7 6 Us Ml T i $6 ||6 7 i jsb^ U^Jl 1 ^> ^ ^^^ 6 tS « 6 5 7 3| » S - 6 6 6 — 88 BASSES AND MELODIES. (gjl I ^^ |tJ:^g_[4i4^ ^S ^ ^ i p 8 7 6 3 Ba - S t|4 ^4 3 ^2 2 7 e 8 6 6 7 6 3 i 9 jl3 bS 2 "f!^ p-^ i K 321 ^^ -frj-trr:^ ^ 7 be 6 798 ||9— 8 7 |b ffiS |]3— 6 7 6 H* P H - Hi I zz * |;S 6 6 3 4 3 3 — ^ izz: I^Q I p) ^r> I J j 6 9 4 I! 7 7 6 — 3 p ^11* i ^ ^ rH— ^4^ zzB ^^ ' 8 6 7 3 t| i| b7 B 7 — 4—3 226. Andante larghetto. ^b'i,<'r-(! l j^-^-^J^J4 Handel (1683—1759). 4JiE=?C ■•-?■(& "ti^ 5 6 6 3 4 2 7—6—^6 6 be - 114 4 - 2 3 g;j p r.fjj J ^ ^m kJ I c * ^ ■ ' rb6^6 — ,7 b7 bs -re— I 4b4 — bB 5 ^4 ft — ' ^ lis ^1 5 8 1 7 7 6 8 7 7 43 4 3 227. In 8 ^acfi. Hansel. Mfczzz ^^ ¥ iraL: » > It r-ir- ri^ ii 1 M - I 228. ^ In 5 parts. HARMONY EXERCISES. 89 Ha ydn (1732 — i8og). I j^U V\ , \' rj S 6 3 — 5 -S. 7 — 8 — 3 i ^^ ^ m 3 \ bi "4- b 4 3 7 — 6 3 — b8 s ^f^—^ m^ 9 — 8 4 — 3 7 8 ^ S 6 9- il7 8 2 ^3 b8 8 k^ — 7 — 6 bS — 5 05 8 — _ 3!! ^ gjt — b7 — S — 8 — 1(6 - b8 ||6 4 6 — 6 bS b4 3 5 bS 4 3 4 — 3 — bS b4 b 3 3—3— 3 5 56^6 78 b ^ ^^ Efc t|7 g? bs 8 H6 ^6 7 bbs bs b bs 4 3 b4 s \i 2 3 ¥ 229. Haydn. ^g-Vj.i^f- LJ iiJ l-^l— ^fH' r^ri^^J l^ ^fe 8 7 6 3 8 -be - b — ^ ^^ ip= ^ bs b8 ,6 b bs 8 b7 bs 3 ^F^ ^ S E -&: bs bl bs b - b8 -b7 - I|b6 — 8 - bJ — 3 bs (JO BASSES AND MELODIES. 230. Andante moderate. Bach. 8 7lJ6. a. i: i a «• 4- 8- a 1- ir 8 — 8 — a — \ bibz e. a; b: 71 7- »• a fr 7 7l>e-8-si ^hj e qs J- ^- 3 e- Ite- 8 ^ ^ ^^ tt fr — IJ7- — 71 — tz I 7.1ar- tea; s:, e aa t 3 — tw. 6;a 8ll7- »■ * 3 b» s-b*- 7 fr J- 3 — 4-6 S T S 9 8 8 — J E-fe ^ H=^-=^ to. 8 alJ7- 6- a. b3-— 8 6 b' Kt— t EBT ^*5 9 — te- ^*— a b» ,3( »- bB;8- — 2 8 3 — 4 2-— a ^^ €^^l^ [^ P P 1^ ^ 8 7 6— i— 6.- 3- 8v 4 a a 1 *- ■ E— ff— bl— 2- ■ bB,7 7 6 6bS , abS- a. i- 4-3' b4'^ 9. 6 e— a— * 18.3 3 ^ gJTT^ i ^^^^ i 5^ W^ 7 a b 3- 6. ifl a 7 a 114. a b9 a — I aba a ■ — to— a — B — 5- c E 2 t!6- »- t| >*■ 9 8- fr 7- fl t ^ J J, J I J- t^^ i l7 8 -h7 6b9 §7 — 8 ,6i '4 8 -- 4 6 >-S hS zz [|2 U __ 4 Ii2 ,8 bseae e 7 b7 8 — bs ^3 b 4 6 8 fi 9 8 — ^ B ^ St 231. ^^ 4 I err H^ ^ b 8^43 If 3 ^6- 3 — — 333 3333 HARMONY EXERerSES. g.i MirH^^ ^rrri^^ -p — »-i ^ •^ ^^=- p •-*• M □ Q t r ■^^ rrrrrri 1 -^ MJ 1 ^h ^ — z 3 — 333333 3 » » (Sl-ul ' ..b ' ^1 ^ p^r-gra ^= j»^ 7 6 6 6l>7 5 3 7 be — ^S ^ -H-f- SE 6 l|e- ll7 8 - 1)9 6 7 b - 7 b9 — 8 |17 8 3 38l]J3 il| — 748 b S — 48 - 1| 4 3 232. Gluck (1714 — 1787). ^ ^ «l z f^' 6-|I7t 4 b — ^i!^tii r r iV 1 r r i-r^ i r r i^r i r r fi"^ J=.Ii_i_J_^ J^L_q JL_J _LJ „. 3 by p 1|6 3 2 • »1]7 6 8 4 3 b — iV2 rfe^ 4t|8 4 6 2 1© — m ^ ¥ 3 12 8 ^ b§ |7 1,7. bl ^i.V ir LiH b» *t 92 BASSES AND MELODIES. Gluck. 2S8. Brrr^r ..gfp^ j b6 s 3 m :^ tez:^ ^^ ^ tl ; s b 111 7 i— ^ s ^ s ! I I ^ 111 1 234. ^^ =£* Gluck. MfcrtE H'Jir r rr . I _ 4 — 3 m H - 6 - j - '^^r r J rfr rrr i rr j^rir 6 6.6 ^S i- ,6 — 66 bs — 8 zaz ^ ■ ' -' —ry ■k ■ ■i X V -i \ ^' |11 ^> ||o | t]o l ^ fT^ ^ - J^ t^ L* — I> Ds b< % \ \ 6 ||6 b || ^ •^ .'^" ■t l '^ > l rrt> I'v" 1 ^ 66 „8 6— bee"*" ' \ % >z - ^ * I — 6 6 6 6 „S .6 235. Adagio. HARMONY EXERCISES. 93 Mozart (1736 — 1791). ¥ r I r r p r-!y^' •1791 im=t- W^ ^ ^ b« t 3 ^b^j ^ r r i ^ ir r 'T r I ^ *^ ^ I j*^^ ^ ^ ^^ - -^1 1 \ i| * * e 6 'I F 6 6 3 - b "^ C-r % i r i vr > r ^rM ^ ^ r 1 It 6 3 — 6 " 3 2 — {366 <& T r r r J JIJ r i LIj Ij- I J ^UjI 6 G 5 6 * J' J jJ I J i iJ ^XJJ^ ^l Mt: 236. 6 S 63^ * * 6 7 6 6 „6 i 3 - i is ba Mozart. 6 7 a 4 6 7 'b rr^^v^'^ '^^^^-^ '^^' ^ifa'*^^ ^^ '^^ 6 —7 3 8 b7 b7 i -\ \i Z 3 ; fT^irT-|t'r'f'"^' l ^rT^r-r- R:^ ^ ■is b6 b7 — b7 b6 \... Ji-M L.— ^ '— ik MJc #-=-»■ ^ i)B te iJ7 b3 ' 3 B 'I I «T ^^^^^^ :^t ^^ IPT^ 6 7 5 B 7 h ■e 7 I « 1,3 I ;5 B " 9 3 * * 1 mk J. J. J. j-:lrTT'r -©-^ 3 B '3 I * « s I - - 237. •Mbzaut. ^s ^ J J I r J 1'^ ^ 9— 7*8 7 8 7— 8t|7— 9—8— 9—7 ^-lI^ C. ^I ^ J ^^. I ^^J- ^ ^^ F=-^ ^ ip' 7 i 3 ■t! IT 6 8 -J- - 'f 9 4 I 238. A ndarite. Mozart. HARMONY EXERCISES. 95 ^fe i> j.j'j-; i j.;j.jij.j'jj-ij.ALTr^ b4 239. i a — * 4 Beethoven (1770 — 1827). ^ ^^^ ,* -f f2Z 6 6 7 6 7 6 3 3 " f6 6 7 9 i ^^^^^^ S^ i 1^^ aOP* 1 I i « I I 1 ^' I 96 BASSES AND MELODIES. 240. Adagio. Beethoven. 241 . Assai sostenuto. In $ or 6 parts ^j|( | > J_[ j- J | o I J J I f r^ I J|,, Beethoven. f 8 — S i 3 a 2^3 IT ^ l yJ p) \p r\ r^ ^ zz=: o |? i| f^ 4 b ^3 3 I 3 e b2 — ||3 Q b 4 ^^ IZZ 2az IS2I 7 — l|6 l|7 8 6 7 - 1]6 6—4 6 — 5 — 4 jt 2 8 - 4 # b9 8 6 7 6 7 1 — 4 3 4 3 242. m^4^ HARMONY EXERCISES 97 Beethoven, bo I bo l?f> i tlr - f tez: bs bs be b b be 'I be 4 b2 — bb7 1|3 7 — bbs ts h ■^.uJ I '- 117 - is > lie t 6 & - I] 3 3 I 3 3 Ert n-^- ^IllJ^JjJJ l^^ I i|6 6 e 363 — 7 b9 87 1] bs bi 3 bs s 243. Allegro confuoco Weber (1786— i8i!6). ^Tr»___e be 6 6 8 — — 10 8 e 3 ^4 bs ^ — — 10 8 10 10 10 ^ ^ ^ eS^ j^T^^J J JlJJ g ? '1* 7 6- 7 fle- b 4- 1] ^3- ^43 l| I? i|7 6 3 112 11 ^ tjQ^P tl Q i be bs 112 6 7 6 li b» 1] |7 I; 4 b 4 be 6 ^ 4 4 ^2 244. Weber. ft rj - fj fi 4!2z: bs 3 tK> l¥ 1^° 1^ ^ 3z: JJ- ij.ru s I) Is :^^ 6 H ^b'j. J ^ - ^f ^ T 98 BASS£S AND MELODIES. S r-* • K ^ r - - I e > ^ jCz: •9 7 16 ■a 6 3 ^ 1 ^i ^ ^ Si 7 5' be s 3 117- 6- 4- 2- ^ ^ ^ ^ 8 il -J 1|7 -B -8 -S 8 '3 117 8 |I7 3 3 i 3 { 3 6 3 'S .3 i 3 i 3 8 3 6 3 14 4 4 2 2 2 2 245. Weber. » ^ zz 322= ^^ ?.X^ |f(£rJ.4H4|g^ "C3" ^g . 9 :t|lo .l|« 1)7 9 1)4 3 3 I 3 t^ ijH ^° f" V -5- ^v^'^ ^7 ^^ t? \ w 22 I? I|" ^^ 8 6 1 I V'^^r^ i l fJ ^ ^ m :d d =3Z I ftJ J If J f^ liS l;3 2 Jf2 iS 3 |l = * ^ •fa 3 3 0,4-3. Andante. In $iparts. ^ ^ Mendelssohn (i8og — 1847). ^ ~?3 7 6 HARMONY EXE.RCISES. 99 m ^ =fz: i ^^Ul'^ 3i: •5 — 9-6 S n 'a B tfi .bT '3 4 3 bs 1 3 te J. J'J J - .^ 1^^ ' :' *^ '^ttW 3 7 iB - -5 — ^3 — -3 — m '^ m I 2 « 3 3 ^ ^ IZZ S6 t^ ^gl- J J i ^ P 1 247 . -^iZZegifo maUa. MEHDELSSaHN. ^m ^ ""u J-j:U-J-'J..i-j:u b.7 b6 i ■ ^ ^ c r • .c ^K ^ ^ 6 _ -S^ 4 — be — — 5 ,3 — b3 — 4 — — 3 -1^ tl ^>~p p ^[y ^J-J.j]° b^ ^ 3 b3 b3 bT 8 8 3 b7 , 8 ll l|6 B % i^AbBbS ? d *t* ?l|3 ii 117|7 8|8j9b3 h "8 — 1|7 #=^ ^ «^ 100 BASSES AND MELODIES. 248. Adagio. Mendelssohn. ^\,\\> (', J'l J^l J^l jsl I /^ i'1 /^ jsl 6 7 '^ 6 * 23r 6 7 i 7 3 s \)i be 3 3 } W\> J J '^ ^j iHf^ f' I r ^ m m m S T 6 3 4 4 3 2 b7 6 5 r.s. 8—3 3 — b T.S. b6 ^s i= J * * . * IP 1^^ J l I r/ m W T.S. 6 b 5 be 3 6 3 — — ^^1,^ ^r r r < i bp iJ 'r r r 6 bbT bbe S — bS 8 b7 6 6 6 6,. bs bs bi b4 3 gb 6 bs bi 4 b b4 3 3 8 b7 ^ b2 bf >.b< ^S ^ 9b6 ^4 5 6 t{4 b — bb3 3 — b i;9 6 3 — w^ m ->i-^ -r- 7 — S — 4 3 249. •'^" 5 ^«''''S- Mendelssohn. ^^ ^ IZZ 7 8 4 3 a a 7 4 s 3 ^ ri., M ^. P- 9 8 7 — 4 3 8 J' 3JH- 3 "2- 6 6 ^ 122 6 T 4 3 9 8 7 11 j|3 10 bg 8,4 3 8 ^ h7 - 3 ^8 - 8|4 3 "a r-rrbHi 6 7 8 — 6 7 1 4 3 6 — 4 8 ( 4 4 -- 9 8 7 6 7 6 10 9 HARMONY EXERCISES. 101 250. Alleero. ^ (Schumann (i8io— 1 856J ^^nr-rr-^^U W rft ^ % 7 I I D7 I 6 Ja - fe 6- t J * - 1 1|6 — b7 bs bs —lis b b — ^^ 'r ^LJrr rt I'r ^^^-^^ h ^^ ' ^ b8 [[B b6— b7 b5 — be be— be b7 be b be b — bs b — bj bi — bi be b b || ^2 b b ^^ ^ WF^ ^^l ^ ^ be be b7 — be s - b Ha be b be b7— ll7 8 s— b4 b ^3 — b7 1]8 — be be — be b — hi b4 b 3a rA4^|^'nJ13;lTfg ,0 ftra -Q- ^ 3> HARMONY EXERCISES.. IO3 2-53, Malta lento. ^ Schubekt (1797-1S2S). ^ ^ ■ ' o -o — ist "?:? I s gt be s be s 5 7 3 6 5 i 3 ^S ^ B 7 3 6 S i 3 ^ rJ jj' jt e> Q i 7 bff ll? 7 ff b9 8 7 b * 7 6 h' 3 1 ^ be ^ ^ -e*' 9 s i 3 9 8 » 8 6bS. S 7 6 7 6 I— h l]8 6 lie 6 bi 3 bi 3 S M 5: 2; 3- |z 3- &'6i 5 be 5 254. Andante. Schubert., ^^Vf.^V('' J. J. I J.JUJ.iljIJ.J]^* ^ rgiuH ^J.:,.ij^- ^ . dddd . dm I ^1 - ¥¥■ ¥ ^S 1^ „i ranJ. JJ^H" J. J- J^J^-J-bJ-.g ™vl_T te be- 8- 6 lis- » bio — t|». ij* 1* — ?" 3 — b 1)«. 8 bio — i- 8 3 ^ |.i- J. i. I I: i- i- i- '^l- ^ b fr 7< fr fr9,8- — .-—be" — 8' s— n — 7 I ^?y b" VI T j^i- i j^ 1- j^^-i *' 1 r ' r r r .7- 6 8676 — S 789 8—7 3 104 BASSES AND MELODIES. 255. Allegro vivace. ^ Spohr (1784— 1859). S bP= W^ Sp ) 7 — 6 bs 6 33 6 — \)i 3—3 b6 b bs 6 b2- ^_1? > -p- >- J^ ^ bp -b.-^ ^ f pr r 7 ba — bs b - bs 3 b3 ^» M if- f ^^- _Y-^^ be -fe=i- b6 6 bs b b« b b ^ i?T?~ b7 be bs - fe be b 4= bs be bi b b b bebs 1.1 bi b b b.i b b bbs b f t'rr i rcrfgrr i r ' ^ 3 ;^^ ^ St bs ^7 B 6 b6 be be ,6 b7 — be 8 e be 5 bi b bs bi b bi bs bs — bi 3 4 bi b a b b3 ^ — 2 ||s e bT 1|6 T bs 6 bs e bs — bi b - b • — bs 6 bs b b* b hi '^ ^ bJl'^-^- blir l bJ- 1'^^ ^tl^hl^ ^g be &I "? be- — i3 be bT - h |9 Ii7-li6lis Jt 3 bi— 3 I 3 1$ 5 |;6 |e '^ i , J iiJ ^ WZZMi 32 "C? Jt8b7 bs 6 b7 1 3*1 t|S |2 3 He |{e bs bs b3 3 t{e — 8 e bT — *3 4 —3* s — 4bs 4—3 257. '^\\> Q f^ • 11° Rossini (1792 — 18 i2p ^F=ft ^^^ 8 |7l]T 8|7|l7l|6 be s be bs bs e 7 6 3 — e 3 bs J S US 4 I - t| 3 1^3 Ija b9 I 33 3 io6 BASSES AND MELODIES. ' ^'-^J P*r/ • f-= — f^ ^ 6S — — S3 i 1 10 8 a 3 " I* " ^r" r ' ^ T • Pr • ^r • I i^p • I ''f^ • \ ^^- \''^ P Ub .,7 ba - b7 s gbft 3 — s 2 ^ ^ e ^ ti^ ^ ^L^-^ ^ s — b - ^1 5 6 J l>7 7 |)» ll7 9^7 8 |J9 Ija I |: 6-9 ^ *rT'i 'i f*r"i^ ^ in 8b7 76— S 6 S a — j^7 8 3 6 S3 5 I W J- ^-ibJ- . ^ ^ ^ 1 "f i S 1 116 6 ^^ ?2- ^ S|e 6 6 1)6 bi b t|6 4 6 bi 3 Hi — 8 6 6 7 258. ^«da«ie. Berlioz (1803 — i86g). 221 i ^ ^ ss ^ e 1110—6 8*' 8 7 6 3 3 11 ID — 6 8 7 6 3 6 b6 b ^l I> bJ ^ |J ^ I ^ |J 1?^ * I J 6— 5 6 69Sb6 6 bB — 3 hi , 6 — b bB 3 4 a b3 — 3 — 5 bB 3 ^8 i ^ p^ feet 11 10 — 6 8 7 6 11 10 — 6 8 7 6 8 5 6 8 8 — S - 8- t|4 3 S 6 HARMONY EXERCISES. 107 A A.J:- 6 7 S 3 ^ 259. Allegro. Wagner (18 rj — 1883). ^gi*t*(>, rr ^m ^ ^s ^ 3 ^^ -t^ f6-5 6 |4-5 |l X6 3' |2 3 S7 - - lifi ^S 1S ^ o^ (S> &■ fi —m ^B i» * Adagio -TW *^fe - |T 6 6 7 ^ I Sf t tj i- 2 '^ «R _ B R R ifii te rr s s #n a j a — *a — 6 b h7 — 6 5 6 #8 (5 fr 8 6 fe 3 J 3 — p — 6Bl 3 # 5- t* ^7-8-7 j|9 1—5 i ll^ S^ S >ir - >-i r'llf ir p 8 S 3 117 lj6 6j6-i(6 S 4 3 flips 4 ^3- io8 BASSES AND MELODIES. Allegro. ^te s — 6 7 P 6 6 3 B S — e Tl 3 6 7 6 7 9 8 mp r-i F^^^~w r -ry- ^ JSX22 W^ ^ f I \ I i ^ \ r':\^ ^ D2i t fe" '^; |;t 6 be 'fle 7 113 (^ M ^8 4 I j^%irTr^r l <> ^ U ^^ S_|6_ qe 3 — ^ fe« 260. Allegretto. Gade (1817 — i8g — ). (^y.^1 r-i • p p p p F w 3z "77" 7:3 ■- yj Q • 8 tl9 8 ^ Mi= PE ^ .r.> • ., fj. 9 10 |io 9 343 7 6 4 — 3 — 6 6 4 3 3 ^ 7—8 ,7876 119 J 6 '6 4 4 S 2 ^f l 'l J. J ^m ^ai 6 — II - 8 |t4 117 - - |4 8 8 8 m o • 7 — 5 4 t|S *|i.' = 8- 9—7 8 4 — 3 3 8 |7 117 7— 9 — 6 Ke 8 8— T— ^ HARMONY EXERCISES. I09 261. Allegro spiritoso. Sterndale Bennett (X816-1875). ^^g t <■•-> =£2= ? 33Z ^g 6 6 6 „9 8 it* — ;;— S 3 —7; — I* 3 ^ ^^^^ 8-46- 7 8 5-- 3 _ X3 3 PE ¥ 6 '6 i S 8 9 31 3 ^m I fN^ 7 7—9 8 117 5 IT S-T- ^■ 3- fa = I 7 JhO 9 5 ■ ''8 7 — 3-4 is WW 6 57 '¥ 262. ^ ^8 57 3 — A I'egro. In 5 parts. H k 8 7 S 7 f — Henry Smart (1813 — 1879). zz: ^ » -b^ 8 9 |{ 8 be be 7 1|6 ^2 3 ^ 4 b9 t{s 3 i b l| l|i ft S 4 b8 i|8 b9 tl9 || I up r 7ll6 9t]6 9 * t * ^ 6 b9 4 |19 6 bS S b4 6 QS 9 |14 6 bS 6 hS 6 b9 4 ^3 te 3 4 S — 2 4 '3 - ^2 4 ^3 4 ^3 4 ^3 IT 6— b6— 8- be- 6 b7 — 117 — — bs 54 H* bs 9 1)4 2 no BASSES AND MELODIES. 263. In i or 6 farts. cJ=,54. Brahms (1833—:). e — — B— 9 7 8 87„6— — 9 — ti — — 7« 7 8 3 S— te — — 78 9 J 7 8 B 7 8fl 3#f - 8 3t« ^2 %- n h ^7 \ I 8 3 3* 2 (L-^i| J J J J I J J J J :z[^d=^=j tl7 — 10 9 9 8 8b7 — 8 — 3 «'q7 8 07 8 9 3 07 8 9 ^8 8 6 -117- 6-!- 8- 4 - 4^ *- *^-«r-,.6tl7 J 3 4 _ ^5— 4— 3— 2 — llj7 6 3 6t]7 Bl(7lll0^9 2 4 3 10 9 —8 — |{7 8 9 8 9 8 ||7 ||10 9 8i]7 !^^=J=:^ J J I J J J J-]— 4^ ^ 3|7 8 9 10 — — 11 bsi- ^ — a - 8 3 4 9 11 fl" ,i9 ,8 h7 6 a 8 8 11 9 '^ 8 |7 ^7 ^S 4 3 1 e 3 8 — 8 — 4 264- Adagio. In S or 'e parts. Gounod (1818 — 1893). ^ zssz 32= IS3Z ~?-J~ 33Z 76 — 638 —8 — 6 — 687 — 787 63 — 3 6 —8 — 4 — 468 — 38-8 3 4 — 483 — 234 — 414 2 — 2 3 w TT* — 808 — 8b9 8 — b9bl0b9 — 8 b9 8 — #8 t|9 — be 7 be — bb7b6l)l>7 — b6bb7b8 — b6>7b6 — p7b8b7 — bs 8 bs — bs 4 ts — 4 ba 4 — M q8 b — b7 q7 i)7 — 4 b3 b — b4 fa 4 b ^ * fj 3Z T3t: "TT" — .1|J 8 117 8 7b7 — bs — 8 8 — 4 b 4 6 — 2 2 ^ ^•^-^ J ^J bJ J llj Ht- b6 t|8b7 |;t b9 be 4 8 Tb7 I 8 3 8 be !|8b7' ^7 = ^8 = — 4 =i*^ 6 4 3 ^ ^^ HARMONY EXERCISES, III 265. ■^'t S parts. Adagio maestoso. HOFMANN (1642 — ), ^^ ^JlJ'^'ll / d d - ^^ ^s> — d ' d 3 3 1 1 b l|s ^ — bs 6 v^-^-i-. 13 8 ^P M ^ 12 8 8 — 3 266. Ada^o. DVOBAK (184I — ). '^\y,\'f4 J ^m m \ ^m w- |J7 6 — — 3 -C^ ^ ' 3 3 5 6 Sb{ — 9 79873 4 b3 — — 7 7 6 8 ^^ ^ :2Z ^ 91011 10 7 8 8 8 i b7 5 3 7 — 8 — 3 1 ^m w 22 zz 7 — 8 — b 8 — * — 4 3 8 7—6 b7 13 ^S tK^ I f fe^ ^ l]« S 7 6-llS b 1^ = 112 267. BASSES AND MELODIES. Sir G. A. Macfarrbn (1813 — 1887). ^ m m m m m ml" W ' s 1)8 i 6 - ki ^u^_ r ir fj fj Z2= JT' |4 8 6 13 t|8 bS 8 l| f - 3 — 8 7 86 8 b7 9 9 — 8— 9—7 6 3 bJ 4 8 b7 b7 — b8 J 3 — — P m Z2I ^ bt 3 8 8 6 13 , 8 t|4 3 8 b7 ^8 — 3 — 8 6 6 9 6 b7 — b7 4 4 — 8 — 8 8 S ^-^ ^ s — 6 6 6 7 8 — 4 8 - — 2 b4 3 a b9 8 3 6 6 3 3 4 4 b ^^vi . ^r'^'r r i^r ^ S r-* I* 7 6 — b7 6 — b7 6 b7 6 6 6 bb6 , b7 8 8— — 4 — 34 4 b bb8 ^g-vj. J- n*' i f^ r r 1^^ "^ ^ ^ ^ a s 6 b7 6 b7 6 6 8 4-84 4 bb6 13|lb8 7 bS 11 ^q3 b4 8 b7 a reV;,|J- J 11^ ^ !|6 ll8l|6 1)7 ^ 1 _ ,6 tl8 H |3 ||8 l|8||6 b4 ^ r-* r-* ^-^ Q r . ^ ^ 6 \i \i \ b 6 t|8 6 6 8 6 8 6 3 4 4 3 4 3 \ qa \2. \\ HARMONY EXERCISES. "3 268. Andante. T i l^ ^ F i ^ l Sir J. Stainer (1840— ). ^m i bt|8B56||6 S||S6 7 bT i 1 'ev|,b^-ir[r r r i n* f J ij jirfm r ii ^ - 6,6— 6 8b5 7„ 6 6 9 8 T.S. 3 IjtS S ^S'SJT — l|2 3 n n- (^# A JCT ^ ^ ^ :^ T.S. 8 — 3 — ^a ^9 8 — S t|6 3 ^& J. I J. I J.IJ J ZZ XT l» fss- «» »f8»S P fB X 6 X S'iif "* 3 'i i 3 — ^ 2 269. Adagio. i^\iL^ Sir J. Stainer. .1 o g g^ f2ii: 22 ^ X6 - 5 4 — 3 * 3 8 ..6 6 7 6 6 7 6 i — 3 - 1|3 - 3 ( c^'i.ifii ii r ' t ^ 6 6 6qT- 6 3- X6 — 8 t — 3 i 3 $ u. m m Ql. 6 7 a I 7 6 6 8 — S i I 3 114 270. BASSES AND MELODIIES. Adapted from Dr. J. F. Bridge (1844 — ). (£llh ^ 1 1 I I J l u I >j ^ ^ nJ J I r J_ |; J ^ l l ^f L^ =*^ T.S b7 6 — ^ a!==Z2 J=^ » *^ ^2 8 T.S.. a Si J IbJ /J^J J I J g fi (■■> V\ ) A ^ d ^ \ \\<_> 7 6 — 6 e fg)ii! J J I J J I J- J^J J i ^rr-^^ m 9 t|9 10 flO 11 — 8 6 — b3 [[S 6 b7 6 1;6 7 8 — — i]3 i — I] I r ba I |j 1]5 be - - j I12 t| ^ vi> r ' r r M ^ * • * •0 — 1 1 1 1 9 ||9 10 1)3 « t 8 6 be 8 b9 — 8 S i jfj 3 be || ^ tjj J I jjj^J l^ ^ c; J l ^ 8 - - jf, 8 7 6 t|6 7 be a 3 J t* 8 m l! 3 bs ||s 33 271. Allegro. Adapted from Dr. C. V. Stanford (185a — ). be P*-S l!8^^ b7- " bs 3- ba — ha- ^.3 us— \ HARMONY EXERCISES. 1^5 7 8 1]8 ll7 — ,6 l|7 8 B „7 6 — 6 6 7 | 3 ^3 2 1 S— 8 272. Andante, Adapted from Sir A. Sullivan (1842 — ). \ bm M M m m m \ hMMM mmm ipmmm 1*1*1* 1 ^ \'P>' — p-^ — ^ ^IITZL- UJiiS zinL—- ii6 Section 11.— AT THE KEYBOARD. CHAPTER I. FIGURED BASSES TO BE PLAYED IN FOUR PARTS. 273. PURCELL {1658— 1695). ^ fe mtn-^ 6 4 6 S 6 2 i "n~^ # * m I* 4 6 2 2-nt ^ I* • ^ 6 4 a s 7 6 :^-f-f-^ [68 6 7 6 i S i — 3 — 6 3 3 274. ss ^ PuRCELL, i !r> p I f S 7 6 I 3 4 4 '{ ^gJu H \' k m t i'-j I k 3Z ^ 1) 7I|6 2^2 8 7 t|6 6,S S - ills Sg ^ I ^ 6 ^b7 9 8 ^ I 3 |i « ll« 6 8 FIGURED BASSES. 275. "7 PURCELL. ( glVMI f |t°4° \ i v> \r ^^ Tasto Solo. (2):,t>ic. b^M;^|,.. | ^ J l J ^ '^^ n 6 % 7 6 2 I 6 7 6 3 I? ti^-* l?r 1^ l^['^| t K> ^ :;|^P H^> pp S=-22 ^ 7 6 8 7 » 3 I 6 6 6 a i 6 7 6 7—6 B — S — i 3 i S ^ ^ 1° ^°mr> ^ ^\ 8 6 — 4 — 2 I 6 6 6 6 — i 6 6 786 766 @i Ll> J J , 1 f' l t^ H^ ^ ^ 6 6 5 i 6 — I 3 ^gy _ f^it^^ i K-' lY^i^ Ji^J ^ 1^ ^ 7&b6 766 76 5 — 4 8 — 7 ||6 6 6 6 S — 8 4 276. PUKCELL, ^'mi'- r r-^- ^^ M ^^ 4 3 B3- 9 8 <^'A f ^ I r f r i f 4 bS 6 6 ^84 6 e 6 4 4 (^^, [ r f r \ f r J. J^ \ f r 7 6 4 Ha Ii8 ^ BASSES AND MELODIES. ha 3^ fYf i ^r f^ ^ =F=^ i^ ^ -+- III 3 3 g 7 4 4 b7 4 2 2 ^S i ^ S 8 SB 5 B 6: B ST T 6 B * If 277. PURCELL. ^ zz: ^ 3 ^ S 6 Q i?p I p l^r? "P" r i -r 3 6 6 8 6 6 6 5 68 4 3 333333 4321 r f \ '' rr i r- i I M|= ^ 4 3 6 3 4) 4 18 43 4 4 i 2 6 S 4 3 278. PURCEIL, ^ ^ T.S. 8 7 be , 8 e 6 e be be s 4 lis b 4 > bJ J I I J bi ^ ^ 32Z b7 6 16 8 5 3 4 540 3 Ijs — b be e T 8 7 ba » T 6 8769 76S4 H ii ^^m tT^ b3 b H 6 ^ ^ 6 B 6 8 n b I] 6 8 b ^ s r^ * Several threes in succession, with no other figures, generally indicate that the Bass must be accompanied by thirds only : in the next example will be found moving thirds with a sustained sixth. FIGURED BASSES. 279. simili. 119 PURCELI. ^^^ ^^ ?cp: ^m 6 5 6 6 tl - S I « 'f \« HJ 6 6 4 ri rJ —r. ^ H V\> '^ V ^ ^ — \ 8*3 6 % 7 6 7 be 2 6 3 8 S S Jlp ''J ^J r T 1 1 fci ' ^ b6 '6 6 9— 8b7 b 5G h R R a ho n " 1 A \ V-Ty" '^ ^ * *i*-'^ ' *** ^^ ^ ^ ^^ 2=t: 22= =S 7 W 5 — b 6 s^^^ d ^ 1, 5 I l| a * 11 ■' e b e ^H i ir t ^rM ^J ^ -y^ '^ J leaz bft 1^6 6- ^1 7 6 7 6 'b'i> fcjJ b"! i|J iJ I J J J M jtJ J J J J m^ 3 bia b9 a 7 7 6 6 6 6 — a 7 a ■\ 280. ^ ^ Tye (1508-1570). ^ {( * y.f> m ^tai g i2^ 8 9 6 7 — D6 6 3 6 7 || i ^)Jl I ! '- P ^ S #,A r" r r'^^r w ^ ^ ^ 32= ^ 3 6 7 t] 6 7 be 4 3 ^ a tl^^r-^ ^ "^15— r 2 6 * In some scores the accidental is occasionally placed after the figure. 120 281. ^ BASSES AND MELODIES. Adrian Batten (1585 — 1640). 'b<|- ^i I J J ^ ^ rj • ( — ) 7 6 6 9 S J 3 CTi — ^~ < 3 5 6 — m 1221 TJ- 6 6 8 5 6 - SS3I13 ^^ 113 ^ t|6 ? 8 ll 282. H i H ^=^ • Iftl ^ ^Weldon (1676 — 1736). ^ & Q — P lis ' 'j bT b6 5 iJs Sbil Ft be 5 bs 43 98^ a 43 * 4b3 9 9 bT 9 8bT 7 8 iS- ^^S b6 5 43 b7 b6 s PT b6 s tl s . 4 3 bs 43^ 283. b7 7 Matthew Locke. W^ I f - " d ~CT~ ZZ3Z *6 e ^#3 l|3 |3 8 7 6 B 1,3 #3 1,3 |3 ^m ^^ im=>L ^ * t 6 6 |3 I 6 6-43 4 I 7 is!B I J J. ;-|^ ^m ^^ 6 8 16 7 6 284. • I- « 9 a 7 — Humphreys (1647 — ''674). * This is a remarkable example of the use of the diminished third. 285. FIGURED BASSES. 121 Jeremiah Clark (1668 — 1707). 22Z Z2I ^ cX4a r^ fe zz: T7~ 6 S 6 i 6 6 3 4 m T3~ 7 8 I 6 5 6 6 7 6 Wdt f> P ' ^ l i tf> II J l==^=t|^ 6 G 6 » 6 6 S i * S ^ 5 S 6 286. CORELLI (1653 — 17 13). #rf^=r^ 'f'lr.iJic i.i i 6 2 6 5 6 9 „ 4 4 I 6 5 ■^^ __)CJ_ 1 — & 1 p ■J 'J ■\L1^ • r. -" s 9 8 7 6 6 e 4 8 6 I 3 ^^ ^^^ 4 3 8 e 6 I 6 6 Mi- IT fj rJ I Q f> ^^ 8 6 9 8 8 ire 8 6 4 5 * See note to Ex. 139. 122 287. BASSES AND MELODIES. CORELLI. ^S ¥\v riffir 15 7 6 t « 6 i ^ ^ g ^^ jS r JiJ -^Ir rr ^ 3S^ 6 3 3 a i 6tl7 * 3*11 % 6 iMau^_i ^^ -^1^- IJ J J ^ ^ 6 3 "I 288. CORELLI. ^rf-¥-fT^ 7 7 I 6 7 6 7 8 7 6 J 3 t ^^ ^^^ ff fl 7 6 6 7 3 „ 13 8 i I < 7 6 7 .6 .7 g 4 3 1. Mi r 'r r f^i r*^ ^43765 I ^^S ^ 6 8 JJjjmjJJ^ I r'l 6 — S B 6fi 6-1 4 398 i — 9 —6 4 — y'.*ir J J|J:ir J •G'Ijj J J]-1 1 -^rr 6 8 * 4-1 6 8 * See note to Ex. 339. 289. FIGURED BASSES. I23 C. F. Abel (1725 — J/787). ^rt Ji> JiJ iiJ S * * { 6 « 6 - 3 ■4677 2 ^g • ' "■" r r r r rrrr i i r^ 6 9 4 3 6 S iS 6 6 t 3 ia*i''rrr J i rr j ju j J Ji^r 4 6 7 6 6 6 5 b j..|j jiJ J^ J i r J jj i J J^ J t - 6 1 l! ^^Vf i rfir ri^ Jir I r^r i ^ m ^ ^ 5 3 9 7 7 9 8 9 8 7 7 6 3 ^^ ^ E=^^ S I 6 I 6 3 * 14 6 7 *2 g;*i* f I r J I J J ^m 4 6 7 7 fAt J J ^ (9) 8 7 7 ip 6 Hi (5) 3 7 7 m^ ^ ^ IS2I 6 11 8 4 3 (a) Note the position of the 3. An upper part takes the third while the Bass is silent. 124 290. Andante. 42. ^. BASSES AND MELODIES. AlbrechtsbergeR (1736 — 1809). W^iuV. m I ^ f^-fH^ ife 1^ "i I i S # 6 6 # I I 8 - ^rrr^rT" w ^=^ i S 6 4 3 7 6 7 6 i^i J J rlJ i t rr\'^-U 7 6 7 6 7 ^^^ ^ ^^ 6 — 6—986 — fTTT^^-^ i JH I^ 1^ 8 6 — 5 — 9 8 ^ -^ |i 1) 117 6 - 5 4=3 ir> i 8 10 6 6 4 3 9 10 6 6 — 3 ^ 5^ ^ :fc^ 4 3 ^^ f P i|S 9 117 1 s" irr jr j i rjr ji ^ — 7 — 7 — 9 — 7 — — — 6 - 8 - 2 — 3 — m ^ 6 — — - 8 - B — 4-4 — S- - S*» 291. ^ FIGURED BASSES. Albrechtsberger. -&- b2 ^i m 1 \ ^ ■^sr 6 bs ^ l»7 bi T l©=t^ 4 b3 3 b7 il ^b* b6 b7 3 ^ 6 1t-i 3 S S IZ2I T?~ IE2I 112 1|7 ^^ S| f -t- i^ ^ ^3 ^ ^ b7 b6 4 b7 b7 3 Mi: -rs- i ^. 4 ^4 T m ^j'^X-^^X -g^ l! be b6 2 117 t|6 be 126 292. BASSES AND MELODIES. ^g GoNTUMACci (i8th Century?),. _Q * iL cL M ftfp4 ^ ■ I O ^ * J I f ° H l^ S^ B^ =^ i- 8 a- ^ y^-f e zz C 'T 7J 6 7-7 m^ fe: ^W 1. e 2- ^b*^^^ -^ — i-^ ' ft I "^ d 6 7 7 6 4 6 2 6 7 tl7 ^ T7~ ~t ii 7 jta 2 ^ f Ti» 293. ^H Mendelssohn (i8og — 1847). ^ S| 1| J n 6 6 4 2 ^ ^ ^ ''-» >'-' ^ ^S I fl D ^ S ^ "& 1 6 6 5 6 ,£ 6 bT q 4 3 8 1;$. bs: b7 9 The student who desires further practice, may play from- any of tie Basses in Section. I., CBapt II. (Ex.- 225. to> 272)>. =1= Ih this, and all similar instances, the seventh must rise to a note of the following chord. 127 CHAPTER II. UNFIGURED BASSES. The foUowmg may be either accompanied at the. keyboard or harmonized! on paper,, the- student choosing his own chords. When played, they may be taken slowly or quickly at pleasure. In quick time, there should not, as a rule, be so many chords in a bar aa in slow time,, many of the Bass notes being treated as fassfng: notes. 294. 'g^-lC i - l r J^ lJjrr ^ ^ IZZ m ^ ^ ^^ ^ ^^ ri Jir rrip r ^ m ^ 295. 'm%~r\ ^ ^^ zz > Jjp J[r' r r r/lr ^ ^ m ^^ ^ r r-^ ^i|j J S 296. ^WW ^=Z22=te g 23Z=2a=5 zz: 1?);^ ° r^ fflf^- g=i=P= rTt^ \y I J|J J J I ^ 11 128 297. BASSES AND MELODIES. £L% 4- j i j. j | j.|j | ^'py i r't i r r ^_^ rr J-^^ i r r r-> • p ^ ^ ^^ 298. '-j^r nir Tif^ r+rHrr-f ^j^ r^ J ^ o • r r r 1 1 i r-f^ ^ £& riy Jh^^J^J ^ ^ ij jii^'r i ^ ^ ^^^ 299. m ^-Trr^ ^ ^::^ ^^ ,4 |iuj J jij .jh^^^rtm^ ^^^^ s l?r> ,br ^ UNFIGURED BASSES. 1 29 300. e>^>j^r fH'f ^ 221 a ' ^^ r iLj Jj J ^^ m ^ =t^ ^ / I I I' "^r -sM. ■m> r "r 1 " ^^ <■-» • ~?r: 301. ^g^%Ti{ J J. ilJJ -J ^S 't'i-t||tfj.j.j. | J-j j.^^ ^y^j.j|Jj-J-j. :c)iA* )r> ^ f f--lf - Q • £:a 302. ^>^i.»^ U' r - r ^ ^ O ' 0-- <^ ^s t^ C:^ eai' ?-j i I IT >7b -^- J- o • frr^ « f -•^• l^^lT^fe^^ n^ g''J. 'H ^ ' "" C'cJ ^S sv^- IV J- r n^, u-rrrr'r-if^-V-^^'lrT-^ ^ ^ rrrrJJJ i 'S-^: S 130 303. BASSES AND MELODIES. ^g^^ J l .l J ^ Jpt ^ tJ l|J I J I.J g ^^ J^^ i r J^i I ri-i^ 304. ^^^ f r'fr" ^^ ^^fatz ^iif- r-iXT^-. • ry ■&— — ^ -&^ UNSiaURED BASSES. 131 306. m Mfirr r^^ &j, ^^ ^ r ir-'~'b. r r Tr ^ ^ ^ ^ f ' ^ g? I ^r~-- .c^ p* I Q — ^ ^ f^' r I r t3Efe ^PZ 'f-^-h-^Ff- -f^ =^^=F^ rr^iJ> ^ ao7. -fn. o f- rFfi^^^ I '' ^> ^^M *2=^^p ^^i:^%^ ?2: ::P=^ fj Q ■±z::S: =t ^^•yi #^>'' f : < ■ -> PJ P ^ ;qzzi£2 IZ2I :c): * i * f' 'f\V r V phJ 808. ^A\i^i^Mv ^ -'S~r ^ I* T?~ o I P ^= ^ ^E^ 32iins2z5z2: ^ 33Z P^ ^ w -rr ¥ 132 309. BASSES AND MELODIES. f J I fj m ^£^ zz: l ^j I Q ^g: ^^-^^ S ^ £^ r - * Q p-j fJ Ij ^rj fJ h^ - jCL- ^ ^ \ '> ^ 1 ' r J 310. £^v'iJ-' i r ^r i rrJJ i '' Jj i ?rr r^ !gyu-j^ ymnm- 'g-yi'J ,J-i^^ i r"Jr fN. J 1^ S 133 CHAPTER III. GROUND BASSES. Each of the following " Ground " Basses should be played (or written) at least four times, varying the harmonies at each repetition, and adding a free Coda of about four bars. 311. m ^m p 312. wai'irT i iT ^s i 313. eVtJl; I r -I f r -^ ^ ^ rf ^^ SI 814. e^ ji^^ipr la. J I j'> t w pl^P I f h ts> — -3-=F=tF >'!>"» ^ s r ' i-vi^tri'iM' i rr JJI | -' rc i ri ^ 815. ti-\4.||;tj ^ \^\^' \\f^ t * ^ ^^ TT ^ Ty =zz 134 316. BASSES AND MELODIES. :^ ^ Cc):, 4 '■ 'bi; (°' Q ■ 0t -' UJ J i ll ^ ^§ 817. j^ viiir r ^E^ F^ s BIB. ^^atiau- ^^^tr-4— ^r I [^ [M -' 319. '=^ ^hj- r i^TT- r g;N- ii^-i J- J- If :" 320. (A4r: ^^ T \ r^ I r¥^\f r I rVTI^ 321. ^^ l> f I J b J ^^ ^&: .J tjJb^'LJ tiJ|^ iM=p rgiy [- 'i^-ir' rir fy\r rrr^f- ^^ ^n=^ ^J t >^i I J b=J I J ^" G-ROUND BASSES. 135 322. gju^^in p ( i ^ ^^ ■S=.-r3- ■^l^ij^b J - t|J p|^> - il p | ? p - b f ^ =^ 823. (^Jl'4:: r ]^ fr I r ^ ^ 324. ^ ^K-f i f-rir-^TjiJ ^ rJ - -—r: 325. ^xi'tt: r lfr° 1=IP IIK> P Ml-- IV^ ^ ^ g :!^i 326. ^H is=i -1*-?^ ^bi!> ^- J.lJ^^^rH^ f- • r r r 327. ^ l^H^p-^f- ^M r r ^ jh^^^ s^^ ^^ ^^a ^ 136 328. BASSES AND MELODIES. m\f \ ^ r\r M^ir AJ^ji^^ 329. ^^S tel nimi' nr\ £* 330. fS- ^ n;i: i i :&^ ^ El^ ^^ ^ zz: ra M— , fr> ¥- 331. ^^fi J J ^if> r riJ p jHh EZ " f^ I ^ r"rjj-irfJ JM i tf ry ' 137 Section III. -MELODIES. (a) CHORALS TO BE HARMONIZED IN SIX PARTS. 332. JoH. Cruqer (1656). $ ^ m m EE^ ^ ^ J )[ j tJ ^ I ^ t J ^ M r ^ 333. Mi 1710. # l F*'^l l Jr^ J i J rjiJjjjLi #t?tj|j J JJlJ^^^^JlJ l J ri J J iiJ J I f I- JJTl J J 384. 1667. i^^'i>('fij jJJ i r r r ru ij^-v J.I J j i ^j.^j,^ ^ IZZ 335. m -" J I J J J ■! N t j-LjlM J J jl| J. SCHOP (1641). ^7> ^ ^^^ ^ ^^^ ^-J I J J J l ^- J J J 138 336. BASSES AND MELODIES. i 1641. s jjjrirt^pirfrirtj^-p-^ ^^^^^^r^ ^ y--^-* • ' e j — •■ 4^J-^iiJ~^^^-,._. j Lj ^ ' ey ■ j I d dt: ji ;^! i ^M Mr r l ;^= ^fir ^fi 337. ^^ iggg ^ ^^ ^ i£± fet ^S m v^ ^ i f ^ |4UjJJiJ-^ ;J f-> • ^ ^1 5=F (S) CHOiRAtS TO BE HARMONIZED IN SEVEN AND EIGHT PARTS.. N.Bv— Th© meloiies. may be transposed if necessary, 338. _ 1601. 7f=rn v\ ~1 — 1 — ! r: N m — P a > p-1 =7^^ i^^ H ^-J-iba '-S3 \~ — -# q — b=M=^ -23 . :f^ ^.T. 5JJ ^^^ ^^ MELODIES. 339. life 139 1714. pm ^t=^=t V > r =F *— — » -ii^ - J # « f=* ;j!V rr i -'^^^r^ ±zt=a CJI -& — ■-# J J I p ^"" ! ; r I f f I f f ^-1^p=f+f-H^^^ 840. 1698. ^V i^ \l J^TT^ru-^ J l J ^ i ^ ^^ ^ ^ ? ^ ^^^^^^^:^ 841. 1687. ^^^^^^ ^ £± i fe ^ es ^ ^^ ■p i^f l ^ J J r ^ B ^ 342. 1610. ^H^ i H- it 22: ^ -p— ^ as ^ ^ ^ ^^ ^ i 140 343. BASSES AND MELODIES. 1539- J JlJr Jl J ^ p- — e — w ^ m i^ j-ij-.^ 22 ^ *, I m P i J JiJr , 1 ^ 344. 14 1603. S ^ ^ E *t i ^F-f-H-^^ J M ^ ^ ^ ^ ii^ ^f-f -r^ ^ ^ i I4=F -J— i-^m 345. 1540. tf^i^^Mf -Uj^i-^f^^r I r r r IQ^ tfb" J J I J h II I J [:y.=ftr=F=j=g^^ ^th^^ l J JI.UJ ^^ r-> i« -js^ #^^r^^ m i3-^ MELODIES. 346. if^'i^'JUr rj-Jl.NUU-i^H'^^ 141 1598. p\^ Ji^ J J Jip r p i ^ p r ri^^ fe r r c; ^ I Jr-.-' ^ ^ I ^ g s 347 J. Clauderus (1630). p\l J J-^^g ^ ^ i *l s ^^^ ?3: ^ rrr if r ' r- ^ ' ^ " " 348. 1698. mar r r i ^^^^^ii' ^'^ *Ai ^a^^L^J^^L^-:^^^ Tfftrrr l c fij-iJiJJr i JJr i r p (c) FREE MELODIES: CONSTRUCTED UPON RHYTHMS FROM THE GREAT COMPOSERS. TO BE HARMONIZED IN FIVE (OR MORE) PARTS. Add appropriate marks of expression, phrasing, &c. 349. ^m J . 1 f I J- jj J 5 s ~§^\> f 'wr r I r r-T ^.r r/i»r t r "'■'^ 1 ' ^^^^ 142 350. BASSES AND MELODIES. ' t» J' \ r-fr"=6 ^ ^ ^ =.i^j j y £^ -i./ i ;:^.^"r- te^ i ^ \ ^-Fr rr- 'i-l f - ' 1 ^^^um^^ ^m ie=gz 1 — ^ 351. Hspr^^-h^^^-^^iiig ^^? rail. * i 352. Ill S ^^^^^ ^S i « i* gE ^ ^ MELODIES. 353. H3 ^^'U J rglJ.. ^ ?^ iS r?\r i fi^;-^l^ j ;-j ij *r:r[;^. i fe ^^^^R =^=^=^ ^a=^ S=i-^ iOHI l-T-f??^ jj>ir"r.-b.|bJ,^-^ij J ij: i^ raW. a temfo. ^m =fe ?^F^ i .Un^\}..T"\r ^^•ltl\ffm i^umj* \ rj\[' cj l ^ J^^ 354 M^'ryrs^^^ff^jT^j. ^i U ;p ^l»V ^taJ:^fc^^P¥^ ff^^ 144 355. BASSES AND MELODIES. f^ter^T ^^ ^ate=!t mi j. JfJlirinrTl-M. l^-f^ ^ # Afej^^j^mr T^^3^^^J] y^^rt f^^.^'y i f^i [" ["Mr i" f-"r I rf r ii fW i^ AKK'i jUfJlftj rail. 356. %5^^ m ^ ^ ^Ifp j'J-rJ^ ^-ap^^^^ ^l-r'f" r'iJi^^ ^ MELODIES. H5 357. Lento. ^ >- , -^ i\ ^^'j-pf -Jfr? 3 ^ 3 ^i §i. iJ-j^eflijg , 3 _ ^ 3 :^ ^ M > > W-^ ff l^U4,j^<^^WVcij'CE7^^ j-, r,j JJ3 r ju^^z^^-F^i r - 358. f " :^ ;l q ! U: I r -#^ I f '^^^^ $ ^r^h, . ^^1 1^ r ^ ^i^i^Or^ga s^ ^ ^ ^EE EE^ i^'::iL^j^4^^L r L^^Ai^ 146 859. Slow. BASSES AND MELODIES. #11.1 jij j^j cf i r -a-r^jr ^ ^ ijt ^'^~'> I f^g 1 ^'1 J -J^^J^^ ff?«=?E ^ — ' — ^- ^^-^^^tfl " ^^^ ^? -H-F- PE ^^^^^^m ^ ^g^ H^ ru. jjju-^j^ ^ Harmonize the following for two violins, viola, and violoncello, adding appropriate marks of expression, bowing, and phrasing. 360. i fe^p^t^ m ^ =^ b J • J 1^- I I fi^^ ^ =^ ^ MELODIES. 361. 147 §tVif nr ccrri^ m= W \m-^ h\^\M^-\if'r ^!J &^if \ \\f'k-\^ m \>, ft»- j| yrTfe Vl^ 4j | ii^-Tp-it Ti'^a^ i m \[hr\^ ^T^ p I^L^^Jr^^; ^^^^ ^ F^ ^'U I'r T i^r-M^ ffffT^^^ ^ I ^ ^.rrfir";ir- ■^ 362 ^* ii rj.r^- | .p i.|^j. /:iip-jS:]jr^ t ti'^f f b. i ^j^Tjt r Y M ^ jg^ 148 BASSES AND MELODIES. 363. Quick. i u f > f:^tl^Tt^^^^^ s-3 f ' LJ i *#^ «?=*■ fr i r'^rftgh ^3S m v^-f- fLn"cj'igTr'^MgrMCf'ig' ^ fa0^pTr"Mfci^ ^ The student may also arrange any of Exercises 349 to 359 in six parts for flute, two violins, viola, and two 'celli. 149 Section IV.— MISCELLANEOUS EXERCISE Complete the Harmony of Exercises 154, 155, 156, 157, 338, and 340 in the manner indicated below : — 364. In 4 parts. i W. W r r^ ' r r r D T^nr- i w &c. ^^ ^m s 365. -f" 3 farts. =1 PK J •r\ \ h a fJ rJ'. ^f=f= rT. &c. ^ ^^ r I r r r r 366. Ins parts. |;,A J I j. _j »^ P ^ J. &c. ?S^ ^ 15° BASSES AND MELODIES. 367. In 4. parts. m i M W^ " ] J J- j-i^4^ij I.. I PfF^ ^^ m: r^rrcrr c W^ 368. In i parts. i i 4 J -,4 J 4^^- i &c. ^s ^^ 369. In 4 farts. Ma\J I j- -^ ^ -7-j- ^^^=f=^ ^ &c. N,B. — Any of tftie other Chorals may be treated in similar fashion. Compose a long^ metre hymn-tune in A minor, iTrtrodticing- the following chords : — 370. $ ^^N i =^ 321 ^ 3^ 23= w \>r> TJ~ -g-x- MISCELLANEOUS EXERCISES. 151 Compose another tune in Bl> major, introducing the following: — 371. fc=^ ;fe^ n ^3= .b. ^ ^ ^ '> HS ^ ife. Ii&3= ^e- 372. Write, and harmonize in four parts, a short melody for violin, beginning and ending in G major ; modulating to E minor, C major, E|^ major, and D matjor. 373. Write, and harmonize in four parts, a short melody for violin, beginning and ending in F minor; modulating to A[> major, Bi? minor, Gb major, and C major. 374. Write, and harmonize in four parts, a short melody for violin, beginning and ending in A major ; modulating to E major, C| minor, I> major, and B minor. 375. Write, and harmonize in four parts, a short melody for violin, beginning and ending in Eb major ; modulating to G major, C minor, F majorj and b1? minor. 376. Write, and harmonize in four parts, a short melody for violin, beginning and ending in G minor ; modsulating to G mxyior, Ab^ major^ E raaym, and A minor. 377. Write, and harmonize in four parts, a short melody for violin, beginning and ending in Db major; modulating to Eb minor, Gb major, D major, F major,, and F minox. 378. Write, and harmonize in four parts, a short melody for violin, beginning and ending in C minor ;. modulating to Ab major, Db major, Bb minor, Bb major, and G major. 152 BASSES AND MELODIES. 379. Write, and harmonize in four parts, a short melody for violin, beginning and ending in E major; modulating to B major, B minor, G major, C minor, C major, and F major. 380. Write a short Pianoforte piece in G majorj introducing the following chords : — I h i S w- fe T7~ ^ S ^ ^ 381. Write a. short Pianoforte piece in F minor, introducing the following chords : — ^^ K3Z ^ i bl^g lib'' :^ ^-^- ^S jz^ .^^ ~f7~ 382. Write a short Pianoforte piece in E major, introducing the following chords : — m fc.^*g i i Mi 4 ^i ^ ig:- fc #^ ^^ 383. Write a short Pianoforte piece in G minor, introducing the following chords : Mte= ^^ S s^^ fe ^ S3= ^ 3§ m ^^ T7~ izsr MISCELLANEOUS EXERCISES. 153 384. Write a short Pianoforte piece in A|7 major, introducing the following chords : — ^ l>. \ \\ , H^. f f f^^^tf ^ ^ i ^ ^S >9- m 385. Write a short Pianoforte piece in Cj minor, introducing the following chords :- i tA% ^ ,^ ^ fe r'" iiiPo lli^^-tiife-H I- ■ ||f 3 II iv: ^ ^ 15+ APPENDIX I. ARCHAIC METHODS OF FIGURING. In examining old scores the student will often meet with peculiarities, which, without explanation, are extrernely confusing. I. — As a major key was formerly called a sharp key, and a minor key a flat key, so major intervals were called sharp, and minor intervals _;?a^. Thus a sharp,wsis used in many cases where we should now employ a natural or a double-sharp ; and a flat where we should now employ a natural, &c. II. — A diminished interval (fifth or seventh) was marked ^a^. III. — A major sixth was often marked B, and an augmented fourth, i. IV.-^Sharps and flats were placed either before or after figures at random. V. — Fifths, fourths, and thirds, &.C., were ofteai marked 12, 11, 10, &c. (This is, indeed, frequently the case in later scores.) The following, from Godfrey Keller, shows many of these points at a glance. i ^^ 1 * ^ fcr2 b3 b4 (or!) ^^ ZZI zz: zz: ^^ ^¥^ 1^ . ^ ' b7 (01 7) 1^ b9 b3 f^ p zz: b7 ? ^ Where necessary, we have added the modern figuring, &c., in brackets, either above or below the Bass note. * The clefs are modernised. APPENDIX. 155 386. Rameau (1683 — 1764). 7 7 1 w -rzr * -^ ^ ~?7~ "gy (6) (6) (6) (8) (*> (4) ® (!!) (6) (9) 387. 'f i ^ p i T 8 t 1 8 RAMEAtr.- ,i * b 7 y3~ S ^ 32 (6) (9) (8) (9) 0) 1 _M L I 9^ 9 8 g M r ru J. ^^ -53 — — ey ^ r-> • r r il° g fe ♦ sb or I75 generally implied a chord of 5 ; i.e., a first inversion of a seventh. 3 156 388. BASSES AND MELODIES. 1^ G. Keller (1711 — 1740). a _1 ..6 4 - * mta E .« » ^ 6 i m bs { j 6i>i I s.ba i 3-6 I , bs i; 32Z PASSING NOTES, &o., IN THE BASS. Lines indicating the continuation of a chord are not often found in the older scores. It is, 'therefore, often extremely difficult to determine from the Figured-bass alone whether a note should be treated as a passing-note or as the root of a triad. There is nothing like regularity or system to be discovered by an examination and comparison of scores. Often, indeed, un- necessary figures are inserted, while important figures are omitted ; or, lines are used where the meaning would be quite clear without them, and omitted at the most crucial points. Many Figured-basses are accornpanied by the full vocal score, or, at least, by the chief melody. When this is the case, a glance at the upper parts will generally decide the point at once. When, however, only the Bass is given, the player must be guided by his knowledge of Harmony, and the " habits of chords," and must rely upon his judgment. The following hints may help in most ordinary cases : — (a) The Bass of a slow movement is much more fully figured than that of a quick one. (b) Unaccented notes of small value, approached and quitted by step, without figures, are to be treated as passing notes. N.B. — This applies especially to the second and seventh of the scale. L^ r f r fT ii '^:-' i r.f^r ib 6 4 3 ^* S i~i *~^ * b for I3. APPENDIX. 157 The third crotchet in a bar of common time, and thie first note of each set of three in all the compound times are to be regarded as accented. (c) In slow time the tonic, dominant, and sub -dominant generally bear their respective triads, whether ap- proached and quitted by step or not. Andante, 6 Wi r r r r ^ &c. Largo. Q^r^ i f-i^^ fi^ Here every note (except those figured) bears its own triad. (d) A succession of notes (especially if grouped) obviously ounded on the same chord, requires only the first to be figured : — Mt: i£ .rn J l m Pg ^ Many composers, however, refigure the third of a chord ; m * ^ f ^^ t!^-] J J J r f rrrrr" P? ^ J l fJi^ .i These " groups " sornetimes include " changing " notes ; T3H 158 BASSES AND MELODIES (e) When the Bass note rises or falls a third to a itcte of the same chord, the second note is often iinfigured : — rrrT r. I * Tcz^-r Tb r (/) In sequential progressions, we sometimes find only the first member (or phrase) of the sequence figured ; similar figuring being implied for the succeeding members. 389. Orlando Oi Lasso {1520 — 1594). I rcfra"r ctFct* Q - fJ ^ =P=F 6 S E^ 4«U :£ 76 7 6 'j 6 4 6 ^^-^ 5' i '|'^Hr iif J: 66. fiflj-is— 7- S 4w .#'• ^ w •K 2 — iff' IV n;, p .^E^ &c. 9 8 S - i66 BASSES AND MELODIES. 57. Last line. Beethoven's Harmonies. $ .1? fJ l | ^^^^^^? E^ J. ,U^J.. J- ..J. .t>gL— J- &c. he ■ b7 i bs 3 2 3 3 83. Bii>rs5—7. i r- i-ir- r^'c-^. 84. -Sacs I — 4. Mozart's Harmonies. bft blQ — „a Jfi Id - 1^6 ^- T ft fff 85. s«" i4i 15. r ' F ■ I I i| ^i * Schumann frequently uses a similar progression of sths. f An unusual, but striking, resolution of the 7th. APPENDIX. 92. Bars 1—3. i fc s J ,j.~j-i^^ j ^^-^— Tr \^^ ^-4^-1 A- -m — •- EE^E 167 &c. 93. -Bars 1—3. i idM=^ ^ ^=^- r^ 1 — r J- J J- &c. =Ff r Mr r 4 — 3 3 i — 3 3 97. Bars I, 2. ^ i^ ? l/ 'J M ^ "1 04. Bars 2 — 4. &c. ^^^1 ^,j I ftJ^yl rj J. -i £. m S >« 6 3 ^^ 4U^^ J. &c. 5 he 3 ^ T ZZ2Z 9 8 f 3 "114. Bars 1—3. 115. S'"'^ 22 — 25. ■ . J, J 1^,4 ^Mr \ f /in jMBp 11 3 fe 8 *l| 7 8 S — ^ Is 6 3 - *6 - e^H i ^l l T. l ii o ; zn ^E^ kx o o " a ,3 ft* * There is no false relation here. ORATORIOS, &c.— 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, is.) A. JENSEN. The Feast of Adonis W. JOHNSON. EccE Homo C. WARWICK JORDAN. Blow yb the trumpet in Zion N. KILBURN. The Silver Star (Female Voices) The Lord is my Shepherd (Psalm 23) ALFRED KING. The Epiphany OLIVER KING. By the waters of Babylon (Psalm 137) The Naiads (Female Voices) J. KINROSS. Songs in a Vineyard (Female Voices) Ditto, Soi^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 Leander The Sono of 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.) .. I 6 I o 3 o 1 6 2 6 2 6 o 6 2 6 o 6 3 o 2 6 I o G. A. MACFARREN. s. d. SoNQS IN A Cornfield (Female Voices) ... 2 6 May Day (Sol-fa, fid.) i o The Soldier's Legacy (Operetta) 6 o Outward Bound i o A. C. MACKENZIE. The Dream of Jubal 2 G The Story op Sayid 3 o Jason 2 6 The Bride (Sol-fa, 8d.) 1 o The Rose OF Sharon (Sol-fa, 2s.) 5 o Jubilee Ode ... 2 6 The Cotter's Saturday Night (Sol-fa, is.) 2 The New Covenant i 6 Veni, Creator Spiritus 2 o J. B. McEWEN. The Vision op Jacob 2 o 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 (Sol-fa, is.) 2 o Elijah (Pocket Edition) 1 o As the Hart pants (Psalm 42) x o Come, LET us SING (Psalm 9S) i WhenIsraelout of Egypt cAME(SoL.FA,gd.) i o Not unto us, O Lord (Psalm 115) i o St, Paul (Sol-fa, is.) 2 o St. Paul (Pocket Edition) 1 o Hymn of Praise (Lobgesang) (Sol-fa, is.) ... i o Lord, how long wilt Thou forget me ... i o Ditto, Sol-fa o 4 Hear my prayer (s. solo and chorus) ... 1 o Ditto ditto o 4 Ditto, Sol-fa o 3 Lauda Sign (Praise Jehovah) ( Sol-fa, gd.) ... 20 TheFirst Walpurgis Night (Sol-fa, IS.) ... i o Midsummer Night's Dream (Female Voices) i o Athalie (Sol-fa, is.) 2 o Antigone(Male Voices) (Sol-fa, is.) ... 4 o Man is Mortal (Eight Voices) i o Festgesang (Hymns'of Praise) i o Ditto (Male Voices) i o Christus (Sol-fa, fid.) 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, ijd.) o 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 parts ... 8 Ave Maria (Saviour of Sinners). 8 voices i o MEYERBEER. Ninety-first Psalm (Latin) 1 o Ditto (English) i o A. MOFFAT. A Christmas Dream (Cantata for Children) i 6 Abraham B. MOLIQUE. ORATORIOS, 8lc.— Continued, MOZART. B. d. King Xhamos i o First Mass (Latin and English) i o Seventh Mass in B flat i o Communion Service in B flat, Ditto ... i 6 Twelfth Mass (Latin) i o Ditto (Latin and English) (Sol-fa, gd.) i o Requiem Mass i o Ditto (Latin and English) i o Ditto Ditto, Sol-fa' ... i o LlTANlA DE VENERABILI ALTARIS (IN E FLAT) I 6 LlTAHlA DE VeNERABILI SACRAMENTO (IN 13 FLAT) I 6 Splendente TE, Deus. First Motet ... o 3 O God, when Thou appearest. Ditto ... 3 Have mercy, O Lord. Second Motet ... o 3 Glory, Honour, Praise. Third Motet ..'. o 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 op St. Polycarp « 6 R. P. PAINE. The Lord Reigneth (Psalm 93) i o PALESTRINA. MissA Assumpta est Maria 2 6 MiSSA PAPiE MaRCULLI 2 O MissA Brevis 2 6 MissA *'0 Admirabile Commercium" ... 2 6 H. V^. PARKER. The Kobolds i o HORA NOVISSIMA 3 6 C. H. H. PARRY. De Profundis (Psalm 130) 2 o Ode on St Cecilia's Day (Sol-fa, is.) ... 2 Blest Pair of Sirens (Sol-fa, 8d.) 1 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 The Lotus-Eaters (The Choric Song) ... 2 o 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, 6d.) i 6 The Miracles of Christ (Sol-fa, gd.) ... 2 The Ancient Mariner a 6 The Lay of 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 o 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 i Freedom 10 Herewabd 4 Queen A:MfeE (Female Voices) 2 6 PURCELL. s, d. Dido and ^neas 2 6 Te Deum and Jubilate in D i o J. F. H. READ. Harold .., 4 Bartimeus I 6 Caractacus ... .-.. ... 2 6 The consecration of the Banner i 6 In the_ Fore&t (Male Voices) i o Psyche ... ^ .^ .- ... 5 The Death of Young Romi'lly (Male Voices) i 6 J. V. ROBERTS. Jonah 3 o W. S. ROCKSTRO, The Good Shepherd a 6 J. L. ROECKEL. The Silver Penny (Sol-fa, gd 2 o EDMUND ROGERS. The Forest Flower (Female Voices) ... 2 6 ROLAND ROGERS. Prayer and Praise 4 o Florabel (Female Voices) 2 6 ROMBERG. The Lay of the Bell (New Edition, trans- lated BY THE Rev. J. Troutbeck, D.D.) i o Ditto, Sol-fa o 8 The Transient and THE Eternal (Sol-fa, 4d.) z ROSSINI. Stabat Mater (Sol-fa, is.) i o Moses in Egypt 6 o CHARLES B. RUTENBER. Divine Love a 6 ED. SACHS. Watep Lilies 1 o C. SAINTON-DOLBY. Florimel (Female Voices) 2 6 CAMILLE SAINT-SAENS. The Heavens declare — C