Cornell University Library MT 7.P17 Palmer's theory of muslc:belng a practic ''a*™"' OlT ' 651 997 CORNELL UNIVERSITY LIBRARY MUSIC Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924017651997 PALMER'S THEOIiY OF MUSIC: BEING A PRACTlCiL GUIDE TO THE STUDY OP Thorough- Bass, Harmony, Musical Composition and Form, FOK THOSE WHO WISH I'll ACQUIEB A KXOWLEDfiE tiff THE FUNDAMENTAL PRINCIPLES OF THE SCIENCE. IN A SHORT TIME, EITHER WITH OR WITHOUT THE AID OF A TEACHER: Including 7SO questionii which are illustrated! by S82 examples, selected from the works of the ■ BEST WRITERS ON MUSICAL SCIENCE. H. R. PALMER. PUBLISHED 13Y(1;^\a THE JOHN CHUROH CO., ?](»;!nnati. New York. Chicago. LeipSic. Lonooii: 'Copyright MCMIV., by H. E. Palmeh.) PREFACE. About ten years ago the author published " Elements of Musical composition, '= which was largely made up from the works of Dr. Orotoh, an English musician of the last century, and whil e it contained many good things, there was much in it wUiob die! not comport with our present ideas upon the subjects treated. When the pre- sent book was first projected, it was intended only to revise that work, but, ajjon matuier reflection, it seemed to become necessary to make au entire change, and the following pages are the result. The volume is divided into two Buokii, me hrsi of which is Catechetical, and the second Illustrative. Each of ihese iJoots is further divided into four Parts, Cdmel> Elementary, Thorough Base, harmony and Composition, and Form. In the Ele- mentary part of Book I, wiU be found a concise and logical statement of the prln- ciples of Musical Notation, and the same are illustrated in the corresponding Part of Book II. Part SeconJ of the first Book is devoted to the subject of Thorough Base, and treats of the formation of chords, their relations, inversions, and the figures by which they are expressed. These are also illustrated in the correspond- ing Part of Book 11. Tne third Part of Book I, entitled Harmony and Composition, gives a clear idea of the progression of chords and all the entangling principles which such progression naturally involves. The corresponding Part of Book II, not only illustrates these principles, and continually refers back to them, but con- tains short statements concerning them, which renders this Part of the work a complete manual of Harmony in itself. Part Four of both Books is devoted to the subject of Form, a department of the science of music which is little unilerstood by musicians generally. The Author has endeavored to take the student by easy steps, from the first principles of vocal Forms through the many grades up to the Aighest Forms of instrumentation; and lest vocal students should feel (hat this portion of the work is not for them, we woujd remark that it is only by studying the higher Ait-Forms, that wo obtain a glimpse of the wonderful attainments of Dhe human rainii, from a musiisal stand-point, and that it is only by gainino some knowledge of the best that wejare enabled to form correct opinions. Most people stand at a great distance from such geniuses as Beethoven, Haydn, Mozart. Men- dlessohn, and others who are acknowledged to be the world's great ma-ster- mlnds, and admire them !n a hazy, uninteligent sort of way; while some go Into raptures, and talk learned nonsense about them, thus seeking to hide their igno- rance. It Ig nioposed, Is this department of the work to assist students in PREFACE. 3 forming a more intimate acc^uaintance with some of tlie most sublime writings ol these wonder-worliera, anJ to place In their hands a key with wtiioh they will be enabled to penetrate into the Holy qf Holies, the very inner Sanct/uary ot these High-Priests of Song, these great Tone-magicians. In these days most ot the works of the Masters are arranged for the piano-forte, and, in nearly every town will be found some one who has skill enough to be able, at least, to trace out the Ideas which are here laid down; and we would ad- vise students, after studying this book, if not able to play themselves, to become acquainted with some one who can, and who will be glad to divide with them the benefits which may be derived from half-hours of mutual conversation upon An Forms. The writer would suggest to teachers of the Piano, that the advancement of iheir pupils would be much more satisfactory to them, if each was required to commit to memory a certain number of these questions and answers, and recite ihem at each lesson. The thanks of the Author are due to the friends wlio have so materially lightened 'lis labors by their encouragement and suggestions, and whose letters of commen- dation are printed in connection with this preface. To Mr. W. S. B. Mathews, he Is especially Indebted for valuable suggestions made in regard to the illustrations uf the higher Art-Forms. H. R. Palmek. New York, June 15th, 1876. OPINIONS OF PROMINENT MUSICIANS. Fi-om Mit. W. s5. B. Mathews, Organist at the Centenary M. E. Chm-ch. Prof. Palmeb, Dear Sib:— Allow me to congratulate you on your admirable work on Mu- ncal Theory, which 1 have examined in MSS. I take pleasure in complimentmg you on the industry with which you have collected so great a mass of information, much of which was not easily accessible before, and the gratifying success that has crowned your effort to express it in clear and concise language. It covers a ground previously unoccupied, and does it so well that I am very sure It will re- ceive a warm welcome from the musical public, and do a great deal to Increase musical inteligenoe in this country. Such works laythe foundation for a broader outlook in the after coming genera- tion You and 1 know how gladly we would have devoured such a book twenty /ears ago, and how, like good old Simeon, we came most uncommonly near dying without the sight. lam yours truly, CHICAGO, Feb. 16th, 1876. W. S. B MATHEWS. 4 OPINIOKS OF PROMINENT MUSICIANS. From the Eminent Pianist and Teacher, Mr. William Mason, Doctor ofMiinc. Mb. H. B. Palmer, Dear Sir:— The examination of your book has given me much pleasure, and its simplicity seems to me one of its chief recommendations. It Ls progressive and so clear, concise and logical in its definitions as to be easily and readily nn- derstood, and I shall recommend it to my pupils and others as a book from whicb they can obtain the most useful information concernine the subjects of which it treats, with the least effort and in the easiest way. It appears to me that you have especially succeeded in presenting the matter intelligibly, and have happily avoided the befogged and complicated manner characteristic of most works oa the same subject. Yours, very truly. Orange, N. J ., June 6th, 1878. William Mason. IVom Mr. Dudley Buck, t1i£ renowned Organist and Composer. H. E. Palmer, Dear Sir:— I was very favorably impressed with the design and purpos* of your new book. My examination of the advancp sheets was necessarily super, flcial, owing to the short time afforded me for the purpose. Of tUis, at least, I am certain, that the work will prove of decided value tc a>i w^o mafce use of it. Very truly yours, New York, May 23d, 1876. DitdleV Buck. From Mb- L. O. Emerson, Director and Composer. Friknd Palmer, I have examined your new work on harmony, and must say that I an" e.«- oeedingly well pleased with it. It will meet a want which has never before been met. It must prove an invaluable aid m the study of Harmony and Musical Foim. and should be In the hands of every musical person. I am, yours, truly Boston, Ang. I5tb, 1875. L. O. Emersos. Fi-om Mr. W. Luddkn, Teaelier of Vocal Culture, Author, «fc. Mr. H. R. Palmer, Dear Sir:— I have examined the manuscript copy of your new work en- titled Theory Of Music.'' and must express myself as delighted, both with Its Jeneral structure and with the clear and concise manner in which you have treated the several departments Into which the work is divided. Your description of the Stiai-p Sixth with its classiacatlons, giving the origin and derivation of each, is the most satisfactory treatment that I have seen, and Is calculated to throw light on what has usually been regarded as a somewhat ttbscure point in musical composition: wh''e Part IV develops. In a peculiar'^ happy manner, the subject of Musical Forxi which Is too little known and recog- nized by our American musicians. In my opinion this work will prove an Invaluable aid to both teacher and pupU, Ve^y Vruly youra Savannah, tSi., March 8th, 1876. W. Ludden. OPINIONS OF PROMINENl MUSICIANS. 5 Frma Mr. F. W. Boot, Editor of Song Messi nger, Teacher of Voice Culture, Author, etc. H. R. Palmer, Dbai! Sib:— I tiave taken great pleasure In looking through the MSS. of your new book, glancing at the entire \)lan of the work, au(' examining with some minuteness those portions of it whicli treat oX Harmony and Form. The thousands of students ot musical theory who delve for knowledge, far from the centers of artistic culture, are but poorly provided with means for its acquisition. Our Amer- ican elementary musical text books have been brought to great perfection; but such of the works before the public, as contain anything like a complete theoretical course, seemed to me practicable only in an atmosphere of culture, under the direction ot the best teachers. I believe your book will go far toward supplying the want which exists in this direction:— Its simplicity and clearness are snch'that all can understand it, even those that have not had the advantage of especial culture and flue teaching; its comprehensiveness is great, and in its exposition of the material and Form ot composition It seems to me practicable beyond precedent. I doubt not that this bQol^ will add another to the list of remarkable successes which have crowned »onr career in authorship. Very truly yours, Chicago, Oct. 29th, 1876. Frederick W. Root. From Mk. G. F. Root, Doctor of Music. 1 cheerfully endorse the above, especially whatis said of the chapter on ■' Form." Geo. F. Root. JProm Mr E. h. Whitticmohe, Teacher of Music in the Public Schools of Chicago, Organist &c. PS.OV. Palmer, Dear Sir: — ^When will your new work on Harmony oaA Musical Form\ie ready? I believe it will prove to be a work which every teacher of music in the country will And invaVuahle and tnMspensable. I was more interested in the pages you showed me, than anything of the kind I have ever seen, Yonrs truly, Chicago June 10th, 1S75. E. B. Whittemore. ; From Me. C. A. Havens, Organist at \st Presbyterian Church, Chicago. Mr. H. R. Palmer, Dkar Sib:— After having examined your work on harmony, I am convin- ced that it is just what is needed by the musical public, both professional and amateur. The clear and logical manner in which you treat subjects will do mni; to render harmony better understood by students. This book deserves a wide- spread circulation. Yours truly, Chicago, Sept. 1st, 1875. C. A. Havens. g OPINIONS OF PROMINENT MUSlCjaHS. Fi-om Mr. Atjolph Badmbach, Organist at Gi-ace Episcopal Chnrchi Chicago. H. E.. Palmer, Dear Sik:— 1 have looked over yonr new treatise on the science of Music, and am happy to say, it is the best work of the kind that has ever come nnder my observation. It is the result of preat research and labor, and will be regarded as a welcome guest and guide by all who take an interest in Music as a science. It is a comprehensive and complete work, fl:om the treatment of simple chords up to Counterpoint, and Form. I look forward for its publication impatiently, as I re. gard it a valuable text book for my pupils. I remain, very respectfully yours, ' Chicago, Jan. 6th, 1876. A. Baumbacb. From Mr. I. V. Flagleu, Organist at Plymouth Church, Chicago. Mb. H. K. Palmbb, Dear Sik:— I have examined your new book on Harmony and Form, on6 am glad to say that I consider it an Inyaluablework; one which teachers as wellai amateurs cannot afford to do without. I particularly admire your chapters oi- Mnsical Form; and must say that I have never seen this subject treated with sucli clearness and conciseness. I am sure that the present work will make itself felt in our musical literature — to which ii will certainly form an essential addition. yours, truly, Chicago, HI., Dec. 29th, 1875. I. V. Flagler. From Mb. 0. Blackman, Director of Music at Centeimi-y M. E. Church., ana Teaclier of Music in Chicago Public Schools.' Mb. H. R. Palmee, Deak Sir:— The American Music Teachers will always feel deeply indebtea to you for your new work on Harmony, as it puts everything in such an under- standible shape, and brings together from so many good sources, the matters ol such vital Importance to us all. I think it mast play a very important part in oni American system of education. I am happy in being able to testily in favor of such a good work. Yours, Ac, Chicago, Dec. 29th, 1875. o. Blackmak. From Mr. Wm. I". Shbrwin, Anilior and Director. Mr. H. R. Palmer, My Dear Sib:— I have been so delighted in looking over the proof sheets of yonr forthcoming Theory of Music, that I hasten to thank you for industriously setting yourself to do so much good, for I believe no work has yet appeared which is so admirably adapted to meet the general needs of Ameiican students. You have shown remarkable culinary skill in stripping deflnitiona of useless verbiage and tiresome technicalities, and then ''boiling them down'* until the truth is made clear to any ordinary mind. But t am chiefly interested in the section upon "Form," a subject which has heretofore received comparatively lit- tle attention, imy conscience bearing me wituessl) but which you have so wisely and attractively set forth, that I am sure it will be given its due place hereafter. I moat heartily commend your work to all as a valuable contribution to oar too scantmusical literature, and am Yours very truly. New York, February 18th, 1876. Wa. F. Shekwin.. PART FIRST, ELEMENTAEY. 1. What is feiOUND ? Sound is any thing audible. 2. Wlmtisa'io^^l A tone is a sound in wliicli pitch is perceptible. 3. Wliatisal^x'i A family of tones bearing a certain fixed relation one to another. 4. Sow many tones constitute a key ? Seven.' 5. Wliat is the tonic, or Key-tone? The tone from whicli all other tones are reckoned; the point of repose €. Hov) ars the tones of a key named!' The tonic, or key-tone, is named one (or eight), the next tone above it !S named two, the next three, etc. 7. tr hat syllables are sometimes applied to the tones of a key ? . The syllables Do, R° Mi, Fa, Sol, La, Si. 8. Tlie names of what lette?-" an used as the names of tlie pitches of tones ? The names of the first seven letters of the alphaLwt, A, B, 0, D, E, F, G. 9. W hat constitutes the Diatokic Scale? The tones of a Icey in successive order, from one key-tone, or tonic, to the next, inclusive. 10. 'n hat is the BiATvt The stafl' is a character used to represent the pitches of tones. 11. Of what does it consist ? It consists, mainly, of five parallel lines and the spaces which belong to them: and is frequently enlarp-ed by means of sliort added lines and spaces, above and below. Each line and space is called a decree. 12. How are tones represented as regards length or duration ? By characters called Notes. * It may be well to remark here, that a key really corsietfi of all the tones which the ear can detect, haviufi a certain fixed relation to each other; for example, all tiassible tones whose names are C, D, E, F, ii, A and B, constitute tho kev of 0. g THEORY OF MUSIC. [BookL 13. How many different kinds of notes are there i~. general use, and wJiat are their names ? Six. Tbe whole note, the half note, the quarter note, V.'ie To the notes of the same denomination. 66, How is the whole rest made ? A square blocl; below a line. 57. How is iJie half rest made f A square block above a line. 58. How is the quarter rest made f Like the figure 7 reversed. 59. How is the eig/Uh rest made? Like the figure 7. 60. How is the sixteenth rest made ? Like the figure 7 with two heads. 61. How is the thirty-second rest made ? Like the figure 7 with three heads. 62. Into liow many classes are human voices generally divided, aiui •>hat are they called ? Four. Base, Tenor, Alto, and Soprano. 63. Describe Base singei's ? (Jentlemen who can smg low, and cannot sing high. 64. Describe Tenor singers ? Gentlemen who can sing high, and cannot sing low. 65. Describe Alto singers f Ladies who can sing low, and canuot sing high. 66. Describe Sopra'.tC dingers ? Ladies who can sing high, and cannot sing low. 67. What is meant by Middle C ? The pitch C, which all voices have in common; it nemg in the mlndlo of the great vocal compass, ladies can sing as many tones above it, as gentlemen can sing below it. 68. How is the pitch middle represented ? By the added line above of the base staff, the added hne below of the eoprano staff, and by the third space of the tenor staff. 69. Wliat is a Ghv.Fi 4 character which determines the pitch of tones as represented by thestafE RisxlJ CATECHETICAL. 11 70. HoiB many clefi are there in general use, and what are ffi^ called? Three. The soprano clef, the base clef, and the tenor clef. 71. What does the soprano cUrf indicate ? That the pitches are so arranged as to fix middle C on the added line below. 72. Wliat parts sing from the staff so arranged ? The soprano and alto, and sometimes, (alwaj'S incorrectly,) the tenor. 73. Wliat does the base clef s/iow ? That the pitches are so arranged as to fix middle C on the added line above. 74. What parts sing from the staff so arranged? The base and sometimes the tenor. 75. Wliat does the tenor clef denote ? That the pitches are so arranged as to fix middle C on the third space. 76. Wliat part smgsfrom the staff so arranged i The tenor. 77. Wliat was the former use of the tenor or Cclef? It was sometimes placed on the first line as a soprano clef; on the third line as an alto clef; on the fourth line as a tenor clef; and in ancient music it was sometimes placed on the second line. 78. What is a Brace, and what does it indicate ? The brace is a character used to connect two or more staff's, and aenerally Indicates the nun.oer of parts which are to be performed simultaneously. 79. Staffs, when connected by a brace, are called what ? A Score. ?0. What is the use of a Dot ? It adds one half to the rhythmical value of the note or rest after which it is placed. 81. How is the repeat made, and wliat does it mean f It consists of dots placed in the spaces at the left hand of a bar, and shows that the preceding passage is to be repeated. 82. When only a part of the previous passage is to be repeated, how is it imlicatea ? By dots placed in the spaces at the right hand of a bar, in Thich case dU between tne two sets of dots, is to be repeated. 83. Wliat does Brs imply ? That the nassase so marked is to be performed twice. 84. What does the Hold, or Pause, denote ? That the tone indicated is to be prolonged at the option of the leader. 85. What is o Unison passage? A passage in which two or more parts sing the same tones. 86. What is to be undm'stood by the letters D. G ? The Italian words Da Capo; more frequently the Italian sentence 0^ Capo al Fike. THEOET OP MUSIC. [Boob 1 87. What is the translation of Da Capo al Fine? Da, from the: Capo, commencement; al, to the; Fine, end; sing "from ihe commencement to the end." 88. What is the meaning of I). S f Sal Segno, return to the sign. 89. What are triplets ? Three equal tones performed in the time of one pulse; the tiaie usually i^iven to two tones divided into three equai parts. 90. Row are they represented ? By three notes grouped with a slur or tie, or marked with a figure 3. 91. Wliat is Sykcopation? Commencing a tone on an unaccented pulse of a measure, and con- tinuing it into the following accented pulse, thereby temporarily displacing the usual accent. 92. TF7ia< are Intermediate Tones? Those which occur between the regular tones of a Key. 93. Between what tones of a major Key do we find intermediaiefymes - Between 1 and 2, 2 and 3, 4 and 6, 5 and 6, and 6 and 7. 94. When is a tone said to resolve ? When it is followed by a tc ae to which it naturally tends. 95. Bow are intermediate tones indicated ? By the aid of characters called sharps (#), flats (b), and cancels (l!).*- 96. For what is a sharp (8) used ? To indicate an intermediate tone, the tendency from which is upward. 97. For what is aflat (b) used ? To indicate an intermediate tone, the tendency from which is down ward. 98. For what is a cancel (fl) u^ed ? To cancel the effect of a previous sharp or fiat 99. How many ways are there of representing each intermediate tone, and what are they ? Two: if its tendency is upward, it is represented by the lower of two degrees, and called sharp; if its tendency is downward it is represented by the higher of the two degrees, and called flat.f * The pernicioiis effects of calliiiff this character flj) a "Is atueal" are apparent thronghout the entire con nti7.—notwitL standing tlie fact that, when so employed, its use is pnrrly tfcltmcal. it is very easy to see how readily the idea wonld obtain, in the minds of beginners, that some tones are more, natural than others : and the un- fortunate impression which has become so universal among thote who have little knowledge of the subject, that the key of C is more natural than other keys, and that the real difficulty in learninf? to read mnsic only begins when we introduce other keys, is clearly traceable to the inappropriate name of this character. The character itself is never used except f()r the purpose of canceling the effect of a previous shai'p or flat; hence, no instance can arise in which the word ^^rtaturaV may be used where the word " cancel" would not be more appropriate. For these reasons, the author has decided to adopt the name Caitcki. instead; and would ask all teachers to assist in- the effort to curtail the evil effects of the tei-m natural. — H. E. P., Kew York, April 13, 1876. t There are exceptions to this, as to all general rules. PxBX i • CATEOHETIOAL. 23 100. What is a Chromatic Scale ? A scale iu which all the tuues, intermediate and diatonic, occnr in snc- cessive order. 101. Wfil/ is this scale called chromatic ? From the fact that the intermediate tones were formerly written in colors. 102. W/tai are Accidentals ? Sharps, flats, or cancels used throughout a composition, for the purpose or introducing intermediate tones, or a modulatiou, 103. W7tat is the rule for their continuance ? Accidentals continue their significance throughout the measure in which they occur.* 104. What is 1, or 8, of any key called? The Key-tone, or Tonki. 105. What is the difference between a scale and a key ? A scale impUes a certain order of succession ; while the family of toijes of which it is formed, called the Key, may lie used in any possible order. 106. What other difference is there ? A Scale must have eight tones, while a Key is manifested with seven. 107. Wliat is the order of intervals in the major Key ? Major seconds must occur between 1 and 2, 2 and 3, 4 and 5, 5 and d. and 6 and 7; minor seconds must occur between 3 and 4, and 7 and 8. 108. WJiat is a Signature ' The sharps or flats at the beginning of a composition, which indicate the Key or Scale.f 109. How many major keys are there in general use ' Twelve. 110. What tones form the key of C? C, D, B, F, G, A and B. 111. What is the signature of the key of G? jt^ It has no signature. 112. WJiat tones form the key ofO?_ G, A, B, 0, D, E, and EJ. 113. Wiat is the signature of the key ofOf^ One Sharp. 114. What tones form the key of D ? D, B, n, G, A, B, and C* 115. What is the signature of the key of D ? Two Shiirps. * The aiUUtioual clause of this rule, namely, " and from measure to measure, until canceled by a note intervening upon another degree of the staff,*' is very properly diacoutinued by most of our composers, as it is of no benefit, and causes great confu- sion. In all the author's works whenever an accidental is required in the following u^easure it will be placed ther6. 1 See Webster's Dictionary. 14 THEORY OF H17SI0. tUooff 116. What tones form, the key of A? A, B, at, D, E, Rt, and Gt. 117. What is the signature of the key of A f Three Sharps. 118. Wliat tones form the key of E f B, n, Gt, A, B, CJ, and DJ. 119. Wliat is the signature of the key of ST Fom- Sharps. 120. W7iat tones form the key of B ? B, at, m, i\ n,. G#, and AJ. 121. W7iat is the signature of the key ofB ? Five Sharps. 122. WJiat tones form the key ofl^ ? Fit, GJ, AS, B, Cf, DJ, and Ei. * 123. What is the signature of the key ofI%i 'Six Sharps. 124. What tones form the key ofF? F, G, A, Bfe, C, D, and E. 125. What is the signature of the key ofF? One flat 126. Wliat tones form the key of Bn ? Bb, C, D, Eb, F, G, and A. 12". Wliat is the signature of the key of Bur Two flats. 128. What tones form the key of ih ? Eb, F, G, Ab, Bfe, 0, and D.' 129. What is the signature of the key of Bit? Three flats. 130. What tones form, the key of ASt ? Ab, Bfe, C, Dft, Eb, F, and G. 131. What is the signature of the key of Kaf Four flats. 132. What tones form the key of Db .' Db, Eb, F, Gb, Ab, Bb, and C. * It will be readily seen that although tlie pitch E| is identical with the pitch F, there are two reasons why it cannot be named, or reyreuented, as F. Firstly, the D degree of the staff being used for 6, and the F degree for 7, the E degree would be lett out; thus making the intei'val between 6 and 7 a third of some kind instead of a second; and secondly, the F degree being already used to repre=-nnt 8, cannot be used to represent 7 ; for, although a degree can be made to rep: 3nt two tones, a half step, or even a step apart, it can, in no possible manner, be made to j-epreseut two tones, the interval between which is a major, or even a minor second. It should be remembered, that the word secorul always implies two degrees, while the word step ot half step may or Tnay not imply two degrees. Hence, those writers and teachers ard wrong who adopt the language " from one to two is a step, from three to four is a half-step," &c. For instance, — in the C scale, li'om E to ]S| (same pitch as F) is a half-step, but it is not a minor second. pabt i„ uatechbtioal ia 133. What is the signature of the key of&t? Five flats. 134. W/iai tones foi-m the key of Gir .'' G\t. Ab, Bb, Cb, Db, Eb. and F. li'.o. What is the signature of the key of Gh^ Six flats. * 136. W^fl!< isa Minor ScALK? A scale in whicli tlie intervals from 1 to 3 and from 1 to 6 are minor. 137. What is tlie order of intervals in the minor scale ? Jlajor seconds must occur between 1 and 2, 3 and 4, and 4 and 5; ;nmor seconds must occur between 2 and 3, 5 and 6, and 7 and 8 ; wliile from o to 7 must be an augmented second. 138. Should this order be preserved in descending ? It should. V6'J. How is the harshness of the augmented second between 6 and 7 somelimes temporarily avoided ? By raising the sixth," or, more correctly speaking, by making the Interval from 1 to 6 major instead of minor.* 14). What tones form the key of A minor ?. A, B, C, D, B, F, and Gf. 141. What is the signature of the key of A. minor ? Lilie its relative, C major, it has no signature. 142. Wliat tones form the key of E minor ? B, fir, G, A, B, C, and Dg. 143. What is the signature of the key of B minor ? Like its relative, G major, it has one sharp. 144. What tones form the key of B minor ? B, CJ, D, E, n, G, and AJ. 145. W7iat is the signature of the key of B minor ? Like its relative, D major, it has two sharps. 146. Wliat tones form the key of Fit minor ? Ft, G«, A, B, at, D, and EJ. * This avoidance of the aut^meuted second between 6 and 7, by ''raising P," gave rise to what has been called the "Melodic Minor Scale," which is given hy some writers, and still adhered to by many teachers. Bnt the law whicli provides that all duininant chords shall liave major thirds, atid thus fixes 7 of the minor key a half- step beluw S, is no more binding than the law whicli says that the fiub-dominant chord of a mintn* key shall always have a minor third, and so establishes the interval of ail augmented second from 6 to 7. It is absolutely impossible to harmonize the melodic form in any acceptable manner; and while all the classical composers fre- quently t^ave that form in melodic passages, they invariably wrote the sub-dominant chord with a minor third. Most of the old tlienrists pass over this striking incon- sistency ill sil>-jc?; probably recognizing the fact that any attempt to reconcile such palpable contradictions would be utterly useless. Richter says that " The sixth det^ree of the minor scale (key) is not capabl-e, in a harmonic sense, of any suchchro- matic alteration;" also, that tiie sub-dominant chord with a major thir*^, (in the minor key,) " cannot be conceived of. ' In other words, we have but one minor A:ey, that which has been known as the Harmonic Minor; (the order of intervals of which is given at question 197.) and while we frequently form a scale, called the Melodic Minor Scale, there never was a Melodic Minor Key. Whenever snch paas'»ges occur, they can easily be accounted for as passing tones or appoggiaturaA. See 1 — " "" ■"»"> '» 16 THEORY OF MUSIC. iJluOJi L 147. Wliat is the signature of the key of F8 minor f Like ita relative, A major, it has three sharps. 148. What tones form the key of Ct minor? C«, D#, E, Ett, Glf, A, and B#. 149. What is tlie signature of the key of Ct minor f Like its' relative, £ major, it has four sharps. 150. What tones form the key of GS minor ? Gt, AS, B, CI, D#, E, and F double sharp (X). 151. W7iai is the signature of the key of GS minor? Like its relative, B major, it has five sharps. 152. WJiat tones form, the key of D( minor ? DS, E«, E8, G*, AJ, B, and double sharp. IS."}. What is the signature of the key of DJ minor? Like its relative, FJ majov, it has six sharps. 154. WJiat tones form, the key of D minor ? D, E, F, G, A, Bir, and C#. 155. What is the signature of the key of D minor f Like its relative. F major, it has one flat. 156. What tones form the key of G minor ? G, A, Bb, 0, D, Eb, and Fjf. 157. Wliat is the signature of the key of G minor ? Like its relative, Bfe major, it has two flats. 168. Wliat tones form the key of C minor ? C, D, Eb, F, G, Ab, and B. 159. Wliat is the signature of the Tcey of C minor ? Like its relative, Eb major, it has three flats. 160. Wliat tones form the key of F minor ? F, G, Ab, Bb, C, Db, and E. 161. Wliat is the signature of the key of F minor? Like its relative, Ab major, it has four flats. 162. What tones form the key o/Bb minor ? Bb, C, Db, Eb, F, *Gb, and A. 163. Wliat is the signature of the key of Bb m.inor ? Like its relative, Db major, it has five flats. 164. WItat toi^esfonn the key of Eb minor ? Eb, F, Gb, Ab, Bb, Cb, and D. 165. What is the signature of the key of Eb minor? Like its relative, Gb major, it lias six flats. 166. WJiat are Passing Tones? Tones which are introduced for the purpose of enlivening or embpllish- ing the melody. Imt wliich do not form an essential partof t)ie harmouy. 167. Wliat is an Appoggiatura? A passing tone, which precedes an essential tone or an accented pulse of a measure. i-ABT 1.] OAiECHETICAL. 168. How is it tisually represented? By a smaller note. 169. >F7ja< IS are AcciACCATDRi? A passing tone, a half step above or below the tone to which it is pre- ssed. It is usually written with a dash across its hook; it has no de- termined time-value, and should be closely blended with the following tone. 170. W^aiis CTK Aftek-tone? A passing tone which follows an essential tone, on an unaccented ptdse of a measure. 171. How many degrees of power are there, and wJiat are they caUed ! Five; Pianissimo, Piano, Mezzo, Forte, and Fortissimo. 172. What does Pianissimo mean ? That the tone or passage so marked should be performed with great restmiiit ; the first degree of power. 173. W7i.at does Fiano mean ? That the tone or passage should be performed with restraint; the second degree of power. 174. What does Mezzo mean ? That the tone or passage should be performed with medium power, neitlier restraint, nor with uncommon exertion ; the third or middle degree of power. 175. Wliat does Forte mean ? That the tone or passage should be performed with some exertion; the fourth degree of power. 176. Wliat does Fortissimo m^an ? Tliat the tone or passage should be performed with great exertion, the loudest that can be given consistent with purity; the fifth degree of power.* 177. WJiai does Crescendo mean ? That the tone or passage should be commenced in a low degree of power and increased. * These five degi'ees of power are sufficient for all practical purposes, and if com- posers would grade tbem in this way, performers would soon learn to use them so. That there is an innumerable number of degrees of power between pianissimo and piano must be admitted; otherwise uo such effect as crescendo could be produced, but like the innumerable number of pitches which, all must admit, lie between C and CJ, the human mind cannot classify or analyze them. Alter many years' experienoe in condncti'iiff large hands of performers, both vocal and inwtrumental, the writer is prepared to assei-t. without fear of contradiction, that no perlormer can produce a degree of power between piano and mezzo or between TT^zzo a\ti\ forte, (any more than they can produce a pitch between C and CJ;) hence the tet-ms mezzo-put'nn and mezzo-forte, with their abbreviations m p. and mj'. are nou- bcnpica'. and should be thrown out of our nomenclature We might as well eay mezzo-pianisnmo or -mezzo-fortisxmo. The bad effects which have arisen from a lack of a classiiication of these degrei'S of power is shown by the fact that when our mod- ern cfunposers wish a passafje to be perfot-nied mammdmo, thev mark it witli three or even with four p'«. Now. as pianissimo means tiiat the tone or passage shall be as soft as possible, we cannot make it softer with a dozen p*s ; and if fortissimo ineanE all the power of wli ch the performer is capable, (coQsisteot with ptue tone,) a thous- axidf's would not make it louder. 18 THEORY OF MUSIC. (BOOK I- 178. WJiat does Decrescendo, or Diminuendo mean ? That tlie tone, or passage, should be commenced with a high degree of power, and decreased. 179. What does Swell mean ? A union of crescendo and diminuendo. 180. WTiat does Sforzando mean ? That the tone should be commenced in a high degree oif power, and instantly dimmislied, and held in a lower degree of power 181. Wliat does Legato m/ean ? That the passage should be performed in a smooth and connected man- ner. 182. What does Staccato mean ? That tlie tones should be performed in a short and distinct manner, and should be sustained only one-fourth as long as represented. 183. What does Semi-staccato m,ean ? That the tones should be less short and distinct than staccato, anu should be sustained one half as long as represented. PART SECOND THOROUGH BASE. J84. WJiat ',5 Thorough Base ? "fhorougn Base is that part of the science of music which treats of a combiuatioQ ci woes into chords; giving tlieir names, relations, inver- sions, and the j^jures by which they are expressed. 185. WJta, is an Interval ? An inter-'Q,l is tl:e difference of pitch between two tones, or their effect when poriormed simultaneonslj'. 186. iVJiat is a FRm^t Pri'jie is the' name given to two tones which involve but one degree in representation, as C and C(. -87. What is a Second ? An interval which involves two degrees in representation, as C and D. 188. WJiatisa Third? An interval which involves three degrees, as C and E. 189. WItat is a Fourth ? An interval which involves four degrees, as and P. 190. Wliai is a Fifth ? An interval which involves five degrees, as C and G. 191. Wliat is a Sixth ? An interval which involves six degrees, as C and A. 192. WJiat is a Seventh ? An interval which involves seven degrees, as C and B. 193. What is an Octave ? An interval which involves eight degrees, as C and C above. 194. Wliat is a Ninth ? An interval which involves nine degrees, as C and D, nine degrees ooove. 19.'). Row many kinds of primes are there, and what are they called ? Two: perfect primes, and augmented primes. 196. How many kinds of Seconds are there, and what are they called! Three; major seconds, minor seconds, and augmented seconds. 197. How many kind? of thirds are there, and what are they called Three; major thirds, minor thirds, and diminished thirds. THEOEY OF MUSIC. [Book L 198. Bow Tnany kinds of fourths are there, and what are they called; Three; perfect fourtlis, diminished fourths, aud augnieuted fourths. 199. How many kinds of fifths are there ? Three; perfect fiftlis, dimiuished fifths, and augmented lifths. 200. How many kinds of Stxllis are there ? Three; minor sixths, major sixths, and augmented sixtlis. 201. How many kinds of Seventlis are there ? Three; major sevenths, minor sevenths, and diminished seventlis 202. How many kinds of Octaves are thei-e ? Two; perfect octaves, and diminished octaves. 203. How many kinds of Ninths are there ? Three; minor ninths, major ninths, and augmented nincuB, 204. How aj-e Intervals measured ? By means of steps and lialf-steps. 205. WJiat is a Half-Step ? The smallest interval now in use. 206. Wliat is a Step ? An interval as great as two half-steps. '07. Wliat is a perfect Prime ? Two tones upon the same pitch: a unison. 208. Wliat IS an augmented Prime ? A prime as great as a half-step. 209. W7iat is a minor Second ? A second as small as a half-step. 210. WJiat is a major Second ? A second as great as a st«p. 211. TVhat is an augmented Second ? A second as great as a step-and-a-half. 212. What is a diminisJied Third? A third as small as two half-steps. 213. What is a minor Tliird? A third as great as one step and one half-step. 214. Wliat is a major Tliird ? A third as great as two steps. 215. Wliat is a diminished Fourth ? A fourth as great as one step and two half-step& 216. What is a perfect Fourth ? A fourth as great as two steps and one half step. 217. What is an augmented Fourth ? A fourth as great as three steps. 218. Wliat is a diminished Fifth ? A fifth as great as two steps and two half-steps. 219. What is a jjejfect Fifth ? A fifth as great as three steps and one half-seep. tfiSTlL] CATECHETICAL. 21 220. WJiat is an augmented Fifth ? A flfth as great as four steps. 221. What is a minor Sixth ? A sixth OS great as tbree steps and two half-steps. 222. What is a major SMh ? A sixth as great as four steps and one half-step. 223. W7iat is an augmented Sixth ? A sixth as great as live steps. 224. What is a. diminished Seventh ? A seventh as great as three steps and three half-steps. 225. What is a minor Seventh ? A seventh as great as four steps and two half-steps. 226. What is a major Seventh ? A seventh as great as live steps and one half-step. 227. What is a diminished Octave ? An octave as great as four steps and three half-steps. 228. Wliat is a parfect Octave ? An octave as great as five steps and two half-stepp 229. What is a minor Ninth ? A ninth as great as five steps and three hali^eps. 230. WJmt is a m,ajor Ninth ? A ninth as great as six steps and two half-steps. 231. What is an augmented Ninth ? A ninth as great as five steps, two half-steps, and a step-and-a^half. 232. Wliai is a chromatic Half-step ? A half step, which nivolves but one degree in representation, as C ami CS, A and Ab; an augmented prime. 233. Wliat is a diatonic Half-step ? A half-step, involving two degrees in representation, as C and D|?, D ind Eb; a minor second. 234 When is an Interval said to be inverted ? When its position is so changed that the lower tone becomes the higher. 235. A Prime, when inverted, becomes what ? An octave. 236. A Second, when inverted, becomes wJiat ? A seventh. 237. A TIdrd, when inverted, becomes what ? A sixth. 238. A Fourth, when inverted, becomes what ? A fifth. 239. A Fifth, when inverted, becomes what ? Afonrtb. THEOKY OF MUSIO. (Boot I 240. A Sixth, when inverted, iecomes what ? A third. 241. A Seventh, when inverted, becomes what ? A secouil. 242. An, Octave, when inverted, becomes what? A prime. 243. A Ninth, when inverted, becomes what? A seventb. 244. A diminished Interval, when inverted, becomes whatf It becomes an augmented interval. 245. A minor Interval, wJien inverted, becomes what ? It becomes a major interval. 246. A perfect Interval, when inverted, becomes what '! Unlike other intervals it does not change its character by inversion, biR becomes a perfect interval of another denominatiou. 247. A major Interval, when inverted, beco'ines what ? It becomes a minor interval. 248. An augmented Interval, wlien inverted, becomes what? It becomes a diminished interval. 249. A perfect Prim^e, when inverted, becomes wJiat? A perfect octave. 250. An augmented Prime, when inverted, becomes what ? A diminished octave. 251. A minor Second, whmi inverted, becomes what ? A major seventh. 252. A major second, when inverted, becomes what ? A minor seventh. 253. An augmented second, when inverted, becomes what ? A diminished seventh. 254. A diminished third, when invered, becomes what ? An augmented sixth. 255. A minor third, when inverted, becomes what ? A major sixth. 256. A major third, when inverted, becomes tohat ? A minor sixth. 257. A diminished fourth, when inverted, becon:.es what ? An augmented fifth. 258. A perfect fourth, when inverted, becomes what f A perfect fifth. 259. An augmented fourth, when inverted, becomes who, " A diminished fifth. 260. A diminished fifth, when inverted, becomes what ? An augmented fourth. Put II.1 CATECHETICAL. 23 261. A perfect fifth, when inverted, becomes ichitt ? A periect fourth. 262. An augmented fifth, when inverted, becomes what t "A dinilnishoil fourth. 263. A minor sixth, wlien inverted, becomes what f A major third. '264. A major sixth, when inverted, becomes what ^ A mmor third. 265. An augmented sixth, when inverted, becomes what } A dimiuished third. 266. A diminished seventh, when inverted, becomes what ! An augmented second. ^67. A minor seventh, when inverted, becomes what ! A major second. 268. A major seventh, when inverted, becomes what ? A minor second. 269. A diminished octave, when inverted, becomes what? An augmented prime, 270. A perfect octave, when inverted, becomes what ? A perfect prime. 271. A Tninor ninth, when inverted, becom.es what } A major seventh. 272. A major ninth, when inverted, becomes what'/ A minor seventh. 273. An augmented ninth, when inverted, becomes wliai'' A diminished seventh. 274. Wliat is meant by Tonic? Tlie tone upon which the Icey is founded, the key-tone. 275. W7iat is meant by Supertoxic ? Two of the key, or the tone first above the tonic. 276. Wlmt is meant by Mediant ? Three of the key, or the second tone above the tonic. 277. Wliat is meant by Sub-dominant ? Four of the key, or the third tone above the tonic. 278. What is meant by Dominant? Fivp of the key, or the fourth tone above the tonic. 279. W/iat is meant by SvB-ifEmAyn? Six of the key, or the fifth tone above the tonic. 280. W7iat IS meant by Sub-tonio or Leading-tone ? Seven of the key, or the tone first below the tonic. 281. Wmt is a GnoBB^. A combination of two or mere tones, performed simultaneously, so ar ranged as to produce an agi-eeable efiect. ^i THEORY or MDBIO. iBoOKi, 282. Wfiat is a Tbtas? A chord composed of a fundamental tone, to . DomUmut harmony. 304. Tim c/iord founded upon six of any key is called what ? SuLi-meiUant liaroiouy. 305. The chord foandei upon seven of any key is called what f Sub-tonic harniouy, or harmony of the leading tone. SOB. How many major Triads are tliei'e in a major key ? Tliree; the tnads of I, IV, and V. 307. How many minor Triads are there in a major key .' Three; the triads of ii, iii, and n. 3C8. The Triad of Ya° in the major key is what kind oj a triad ? A diminished triad. 309. Wliat kind of a Triad is that which is founded upon I m a m,inoi tey? A minor triad. 310. WJiat kind of a Triad is that which is founded upon if of a minot key? A diminished triad. 311. What kind of a Triad is thai which is founded upon HI', of B minor km/ ? An augmented triad. 312. Wliat kind of a Triad is that which is founded upon iv o^ a minor key ? A minor triad. 313. Wliat kind of a Triad is that which is founded upon Y of a minor key ? A major triad. 314. What kind of a Triad is that which is founded upon VI of a minor key ? A major triad. 315. Wliat kind of a TMad is that which ts jOunded upon vn" of a minor key ? A dimmished triad. 316. WJiat names are given to the several memiers of a Triad f Fnnclamantal, third, and fifth. 317. When is a chord said to be in its First position f When the fundamental is the highest 318. When is a chord said to be in its Second position ? When the third is the highest. 319. MHien is a chord said to be in its Tliird position ? When the fifth is the highest. 320. How do we obtain Four part harmony wheri there are but (hrae (ones in a chord ? By daplicaeiD£ one of the tones. 26 IHBOSl: Ot lOUSIO. <««». S21. Which of the three is it best to duplicate ? The fundamental. 322. Which next best f The fifth. 323. May we ever duplicate the Third f Only in extreme cases. 324. Wliich member of a Triad should never be omitt^i The third. 325. The lowest part is always what f Base. 326. TJie highest part is always what? Soprano. 327. The part next below the Soprani is what ? Alto. 328. The part between the Alto and the Base is what f Tenor. 329. What figures stand for tlie Triad ? g The flgm-es 5, or any two of these alone; 3 330. Wliat do they indicate ? That the tones which form the third, fifth, and eighth team the Base ap to be written or played. 331. Should these figures always be used? Wot necessarily. 332. When no figures ap2)ear, what chord is to be written or played. The triad of the letter which forms the Base. 333. How is a Unison passage indicated ? By the letters "T. S." or " Tasto Solo," meaning without chords. 334. When a Dash ( — ) follows the figures, what does ii signify ? That the tone indicated by the figure which precedes the dash is to b» repeated. 335. When a Sharp (t). Flat (hj, or Cancel * (9) is placed over j Base note, what does it signify ? That the interval of a third from the Base note is to be sharped, flattec', or restored. 336. Wlien a Sharp, Flat, or Cancel is placed before a figure, what does it denote ? That the interval from the Base, indicated by the figure, is to be sharped, flatted, or restored. 337. Wlien is a Oliord said to be in its direct form ? When the Base takes the fundamental. * On accouEt of the bad effects of calliBg this character ( t] ) a natural, the authot has determined to adopt the more appropriate term " cancel." For more defluitf reasons, see note on page 1 . P»KT-a.l OATEOHETIOAIi. 2? 338. When is a Chord said to be in Us first inverted form ? When the Base takes the third. 339. How is the first inversion figured? It is figured |, or simply e- 340. W7ien is a Cliord said to be in its second inverted form f iWhen the Base talses the fifth. 341 . How is the second inversion, figured ? Q It is figured 6, or simply J. 4 342. In this second inversion of the Triad, which member is it best to Jluplicate ? The fifth; the tone upon which the Base stands. 343. What is a Dissonance ? A chord in which two tones occur in alphabetical order, OC one In Yhich there is an augmented or diminished interval. 344. What is a chord of the Seventh ? A triad, with the interval of a seventh added. 345. Wliat is meant by the Dominant seventh ? A chord of the seventh founded upon the Dominant 346. Of what intervals inust it always consist ? A major third, perfect fifth, and minor seventh. 347. By what figures is it indicated ? 7 By the figures 5, or simply 7. 348. Mow many Inversions are there of the Dom,inara seventh ? Three. 349. W7ien is the Dominant seventh said to be in its first invertedform^ When the Base takes the third. »(S0. Row is the first inversion of the dominant seventh figured? It is figured s, or 5. o 3' S 351. Wlien is it said to be in its second inverted form, f Wlien the Base takes the fifth. 352. How is the second inversion of the seventh figured? rt is figured 4, or 4. 3 ** 353. When it is said to be in its third inverted ftyrm ? When the Base takes the seventh. 354. How is the third inversion of the seventh figursti y it is figured 4. '»" i, or sometimes simply ?.. THBOKT OP MUSIC. tBooKi.. 355. All dominant sevenths, wheffier in major or minor keys, must consist of what intervals ? Major third, perfect fifth, and minor seventh. 356. WJiat other chords of the seventh are there in general use ? A chord of the seventh of ii and vii° in the major key, and a chord of the seventh of ii°, and ot vii° in the minor key. 357. What intervals form the chord of the seventh of n in t/ie maj-jr hey? A minor third, perfect fifth, and minor seventh. 368. How is it m^st frequently employed ? In its first inverted form. 359. WJiat intervals form the chord of the seventh ofYif, in themqytrr key? A minor third, diminished fifth, and minor seventh. 360. Wliat peculiarity has this chord. The seventh must always be in the Soprano. 361. What intervals form the chord of Vie seventh of ii°, in the minor key? A minor third, diminished fifth, and minor seventh. 362. W7tat intervals form, the chord of the seventh ofYif, in the minjrr key? A minor third, diminished fifth, and diminished seventh. 363. Wliat is this cJiord generally called ? The chord of the diminished seventh. 364. What is a chord of the ninth ? A chord of the dominant seventh, to which is added the interval o> a ninth. 365. How is it figured? It is figured |. 366. W7iy should the 7 be used ? To distinguish the chord from ninths, which are sometimes formec ny suspensions. 367. Upon what member of the key is it founded ? Upon the Dominant. 368. Is the chord of the ninth a major chord or a minor chord ? In a major key it is a major chord; In a minor key it is a minor ehori 369. In four part harmony, what tone is most frequently omitted in chords of the ninth ? The fifth. 370. W7iy? Because if the fifth is retained, the chor.' 'ould contain two perfect fifths ii> itself; namely, from fundamental to fifth, and from fifth to ninth, which cannot be avoided by the omission of either the third or the seventh. ifilttll.; liCHETlCAL. 29 371. Horn many inversions has the chord of the ninth ? Three; namely, when the base takes either the third, fifth or seventh. 372. Are chords oj the rdnth ever founded upon otiier tones than the Dominant ? Some theorists recognize and classify chords of the ninth founded upon other tones; but sucli chords are generally treated as suspensions, which renders their explanation vastly less complicated. 373. What are chords of the eleventh, and chords of the thirteenth ? Like chords of the niutli, they are dominant seventh chords, to which iS added the interval of eleventh, or thirteenth. 374. Are tltey generally classed as fundamental harmonies ? By some theorists they are so treated; but, as they alwaj'S have the character of suspansioiis, most writers choose to classity them as such. 375. What is meant by altered chords ? Tne cnromatic alteration of one or more intervals of fundamental har- mouies. 376. Wliat is the effect of such alteration ? It has the two-fold eflijct of producing a modulation, and of giving a new cliord formation. 377. Mow many )ieio chords jnay be so formed? Xheie are only live which may be met with in practice. ST8. Wi'iat IS an, Augmented Triad ? A major triad, with the fifth augmented. 379. W7iere is this cliord found as a fundamental chord without chro matte alteration ? It is a fundamental chord when founded upon the mediant of a minor key. 380. Cpon what tones is it most frequently formed ? Upon th3 Tonic, Sub-dominant, or Dominant of a major key. 381. Sow many Inversions has the augmented triad ? Like the major triad it can be a-sed with good efiect In both inversions. 382. Wliat Sevenths may be employed with the augmented triad ? The major seventh of the Tonic, and the dominant seventh may be udded at pleasure. Also, in rare instances, the major seventh of the sub- dominant may be added. 383. WJien the maior seventh of I or IV is added to the augmented rriad, which member of the following chord must always be doubled? The inird. S,'«4. What is an Augmented Cliord of the Sixth ? A chord, consisting of a major third and augmented sixth. 383. li'rom what is it derived ? From the chord of the seventh of ii°, in the minor key, with the third diered inim minor to maior. and Hie fundamental omitted. 386. Vfliich inversion of this seventh cliord brings the auffmentea •nord of the sixth ? The flr"*" "ivovQmn 30 THEORY OF MUSIC. [BookL 387. In four part luirmony, whichpart of the Augmented Sixth Chord should be doubled ? The third. 338. How is the chord figured ? It is figured 96. 3«9. What name is sometimes given to the augmented sixth chord ? Some theorists call it tue Italian sixth. 390. What is an. Augmented Chord of the Sixth, Fourth, and Tliird ? A chord consisting of a major third, augmented fourth, and augmented sixth. 391. From what it is derived ? From the chord of the seventh of n°, in the miner key, with the third altered from minor to major. 392. WJtich inversion of this seventh chord brings the Augmented Chord of tlie Sixth, Fourth, and Third? The second inversion. 393. Sou) is it figured f It is figured |. 394. Wliat name is sometimes given to the Augmented Chord of tht Sixth, Fourth, and Third ? Some theorists call it the French Sixth. 395. What is an Augmented Cliordofthe Sixth and Fifth ? A chord consisting of a major third, a perfect fifth, and an augmented sixth. 396. Frotn what is it derived ? From the chord of the seventh and ninth of n°, in the minor key, with the third altered from minor to major, and the fundamental omitted. 397. WIdch Inversion of this seventh and ninth chord brings the Aug' mented Cliordofthe Sixth and Fifth ? The first inversion. 398. How is it figured ? It is figured *|. 399. What name is sometimes given to the Augmented Chord of the Sixth and Fifth ? Some theorists call it the German Sixth. 400. WJiat otJier Cliord is found by altering fundamental harmonies ? A very useful chord may be derived from the chord of the seventh and ninth of 11°, of the minor key, by altering the third, fifth, and seventh, making the third major, the fifth perfect, tne seventh dimmished, and omitting the fundamental. 401. Which inversion of this seventh in,d ninth e/iord wiU bring od below, they incline to ine distance of a minor second from the harmonic tone. 419. What are Passing Chokds ? Chord-formations which grow out of a combination of two or more passing tones, the harmonies of which are generally too transient for their construction to be recognized. PART THIRD. HARMONY AND COMPOSITION. 420. fVTien is a part, or chord, said to remain stationary f Wjisn the tone or chord is repeated. 421. When is a chord said to progress ? When some or all of its parts move to other tones, and thus form an- other cliora. 422. W/iat does such progression involve ? Motion. 423. Mow many kinds of Motion are there, and what are they called ? Three: concrary motion, oblique motion, and similar, or parallel motion. 424. When are two parts said to move in contrary motion ? When one ascends, and the other descends. 425. When are two parts said to move in similar, or parallel, motion ? When they ascend or descend together. 426. W/ien are two parts said to move in oblique motion ? When one part ascends or descends, and the other remains stationary. 427. W/iat is the first great Law of Pbogkbssion ? Each part should move to that tone in the next chord which occasions the least motion. 428. What is the second great Law of Peogeession ? If the two chords contain a mutual tone, the part which sings it in the first chord should sing it in the next chord. 429. WJiat is such m,utual tone called ? The bindin;; tone. 430. Row s/ioulil the binding tone be indicated ? By connecting the two notes with a tie. 431. WJtat tone is mutual in the chorals of the Tonic and Super- ionic ? They have no mutual tone. 432. WJiat tones are mutual m the chords of the Tonic and Mediant ? The third and fifth of the Tonic chord are always the fundamental and third of the chord of the Mediant. 34 THEORY OP MUSIC. (Book I. 433. What tone is mutual in the cluyrds of the Tonic and Sub- dominant ? Tlie fundamental of the Tonic chord is always tlio fifth of the Sub- domiiiuut chord. 434. What tone is mutual in the chords oftlie Tonic and Dominant ? The fifth of the Tonic chord is always the tundameutal of the Dominant cliord. 435. What tones are mutual in the chords of the Tonic and Sub- mediant ? The fundamental and third of tlie Tonic chord are alwaj'S third and fifth of the Sub-mediant chord. 436. What tone is mutual in the chords of the Tonic and buo-tunw ? They have no mutual tone.* 437. What is the third great law of progression? Two perfect fifths must not occur consecutively between the same parts. 438. What is the fourth great law &/ progression ? Two perfect octaves must not occur consecutively between the same parts. 439. What is the rule for avoiding consecutive faults ? Make tlie ofiending part move in contrary motion. 440. What is the rule for the jjrogression of tlie leading tone ? (See 280.1 It should ascend a minor second. 441. If the base moves a second or a third, how should the upper three •parts move ? • If they cannot remain stationary, they should move in contrary motion. 442. Between the Soprano and Base what motion is generally prefer- able ? Contrary motion. 443. Wliy does the second inversion of the triad require more careful treatment than the first ? (See questions 337 and 342 inclusive.) Because in the second inversion of the chord, the interval of a perfect fourth takes on the character of a dissonance, which weakens the eUect. 444. Does the interval of a fourth generally bear the cliaract&i- of a dissonancel ' Never, except when it stands over against the base, as in the ^ chord. 445. Z