IN MELODY AND HARMONY FOR CHILDREN, MARY FRANCES FROTH INGH AM AH i an-** THE UNIVERSITY i OF ILLINOIS LIBRARY 781.2 F93d v; ■ r ** ( \ , H Return this book on or before the Latest Date stamped below. Theft, mutilation, and underlining of books ore reasons for disciplinary action and may result in dismissal from the University. University of Illinois Library r OCT 2 2 / f/l rfl V _ . -T?: i T i *Sf ; \ ,itwJ '*** A* ' \,IJy XTi- A v \ .1. ’> v k o/ • «“ - --HT ■ ■ •/ - ■■ lioif ?/ iK U-W'Set f V 7\U X.i Ml m mm iiiilii N v»* £ / - ^ AfV /: ' ! v.. <*•. • v;-; ^ i \ vw :;; ; «r H < 00 . . V ' > ' • I V dictation studies IN MELODY AND HARMONY 3fot Gbilbten. By Mary Frances Frothingham. WITH INTRODUCTION B Y JULIA LOIS CARUTHERS. PRICE, $1.25. CHICAGO : CLAYTON F. SUMMY CO. WEEKES & CO., LONDON. COPYRIGHT, 1903, By Clayton F. Summy Co. f&l. 2- f 3®>dL A I N DEX. (X l Introduction Page Including a classified outline of Melodies for Dictation. Chapter I. Melodies for Dictation Page Chapter II. Scales Page Chapter III. Intervals Page Chapter IV. Triads Page Chapter V. The Chord of the Dominant Seventh Page Chapter VI. Cadences Page Chapter VII. Melody Questions for Original Answers Page Chapter VIII. Substitutional Chords Page Chapter IX. The Chords of the Dominant Ninth, and the Leading-tone Triads and Seventh Chords Page Chapter X. Non-harmonic Melodic Tones Page Chapter XI. Secondary Seventh Chords Page Chapter XII. Chords of Transition, Effecting Temporary Changes of Tonic . . Page j I I / f i - n 3 11 20 22 26 37 42 47 49 55 61 67 73 Digitized by the Internet Archive in 2016 https://archive.org/details/dictationstudiesOOfrot INTRODUCTION. What is it to he musical? head and heart. in a word, to have Music not in the fingers only, but in the Schumann. The melodic phrase being the common innate form of tone thinking, it stands to reason that the student should first gain a concrete knowledge of one voiced melody. his predilection to music having first manifested itself in a love of melody. Julius Klauser. I have urged that all subjects taught in any university shall be begun in an elementary way, with a little child of six years of age. Francis W. Parker. The child’s first spontaneous music expression is in bits of song, and the beginnings of music training should start at this point, bringing the piano or other instrument into relation as a means of expression. In the early work of ear-training, melodies for dictation are more easily comprehended by the child when suitable words accompany the music. The ability to hear, think and write melody and harmony independently of an instrument, is the first preparation for study at the instrument. Dictation of short melodic phrases with words, for the purpose of music thinking away from the piano, is recognized by teachers of young children as a necessary part of their work. This should be accompanied by free melodic dictation without words, leading to the ability to hear two and three voiced melody as harmony. Before such contrapuntal perception is reached, the study of harmony should be begun in a simple form, introducing the child to chords “in the block” as major, minor, dimin- ished, etc., and to the observation of harmonic relations as tonic, sub-dominant, dominant, etc. This study of harmony should be begun after laying a foundation in simple melodic work, preparing the child for a ready appreciation of counterpoint as harmony. For some years the students in my Normal Classes have been required to write a con- siderable number of short melodies with words, illustrating the first purposes of dictation. From this accumulating material I have selected melodies which have proved espe- cially useful in our dictation classes for children, adding melodies from my own note book. They are here classified in accordance with the various phases of primary work. These melodies should be sung, written and played, from hearing only, and when key and measure are clearly realized by the child he is ready for original work. This the teacher may at first secure by giving the child words in simple metrical form, for which he is to provide melodic setting. Later, little original melodies without words will be forthcoming. Children should be encouraged to find on the piano, songs which they may have learned at home or in school and to write these, indicating changes of harmony as they occur. Thus melody becomes language to the child, another speech, inviting him to that vaster study of harmony through which he may understand with deepening love and reverence all that is beautiful in tone. 4 In giving melodies for dictation, the teacher should require logical process in thought and expression; the pupil should First, attentively listen to the melody given : Second, silently and clearly think it: Third, sing, write or play it. In singing the melody, the pupil may give : Melody Names (doh, me, soh, etc.) Pitch Names (f, g, a, etc.) Time Names (traa, taa, etc.) Numeral Names (1, 2, 3, etc.) When the melody for dictation is a little song with words, the words should be sung by the child before requiring the mental analysis involved in singing melody names, pitch names, etc. When the melody for dictation is given without words, it should first be hummed, or sung to some vocal syllable as lah or loo. In singing Melody Names, melodic relation of tones is realized and relative pitch in key expressed. In singing Pitch Names, absolute pitch is expressed. In singing Time Names, rhythmic relations are realized. These Time Names are a part of the Tonic Sol-Fa system. In singing Numeral Names, the child is prepared for transposition, the realization of tonal relations in any key known to him. Progressive study of the keys in both major and minor modes should be constant and melodies for dictation given to the pupil in one key should be freely written and played in other keys. In giving two-voiced melodies for dictation, the two voices may be played together and the pupil may at once write both parts as played. When words accompany two-voiced melodies, the teacher may sing one part and play the other. If this work is done in a class, the two parts may be written on a blackboard by the teacher and read at sight by two children, other members of the class writing the two parts as heard. Melodies for Dictation. Class A. For observation of direction in melodic progression and for observation of re- peated tones. J. L. C. J. L.C. But - ter - cup, come up J. L. C. fif l-2-f -± — 1 Bow your yel - low head J. L. C. t£=t HI zzntz |[ w =±dtm£=±= Love - ly May has come J. L. C. | I J List to the horn Call us each morn Y. G. j] 2=± Pus - sy sings on just one tone. J. L. C. Dol - ly, sleep on. i Spring-time bright is here J. L. C. =t !3-E —- -I ^x =\=p i * - I =£* rl — rf II Down on the wall Ripe ap - pies fall. J. L. C. G. T. -g^- B fgfi =± ^= 1 = ==: =1 i Sleep, lit - tie sis - ter of mine J. L C. Swing-ing so high and so low G. H. i 4 = Bird - ie, find your nest J. L. C. fp pH i =t±: All join hands and cir - cle round. J. L. C. I * 2=4 :d= 4 Here we go, To and fro. ii Ham - mer swing, An - vil ring. Old Song. Z- ff-o — j —i q q — q q i i 1 q 1 “ n F f — s * — m m — si m ! H 7 4 » * t= E— J 1 1— * * ® ii Ba - by bye, Here’s a fly; Let us watch him, You and I. Class B. For observation of measure rhythms. Note: The melodies given in this class illustrate primary measure form only, those forms beginning with a weak beat being given in Class F. Soldiers’ Marching Song. J- L. C. j. L. C. ■- 4 -W- 4 = 1 = st ■m- 9 Left, right, left, right, left. J. L. C. W=&=±. t=: :=j: =1 Daf - fo - dils dance in the breeze... J. L. C. -A—*— v~ 5 " HP 9 We will march straight thro’ the arch. Dance we so gai - ly a - round the green tree. J. L. C. j. l. C. 1 q -q- 4 — — -5 — p — pj— 1 1— ==fh :fij5 4 m --m> * -H— FFG5-4-p # p * — * W -g*. Ii Rock - ing to and fro. Skipping Rope. Tick tock, tick tock, says the clock. M. P. m ii : 3 : 114 Swing, skip, skip, Swing, skip, skip, Skip rope with I '■ * 4 =^-4 me. J. L. C. : 4 ==j: ■g 2 — Watch the waves come roll - ing in: Where have they been? J. L. C. =4 ii t — * O - ver the riv - er to grand - fa - ther’s house, Row, Row, Row ! Class C. For observation of melodies heard in the lower octaves. G. H. J. L. C. m mm em m Gi - ants step with great, great weight. G. H. m Ding, dong, ding, The church bells ring. J. L. C. r-rite— 7" 111 Efe =^=3= =t=t -2^ ill Lis-ten to the deep, deep tones. Class D. For observation of silent rhythm. J. L. C. Frog-gie croaks so sad - ly, What’s the trou-ble, pray? J. L. C. — — 1 1 — — I — ifpP-a =^- 1 h Lb * 9 J " tlO-i j — 9 1 9 — 9 = ,j Hush, hush, Ba - by dear. F. M. U. Rain, rain, urn : =±=*= i 9 9 — Left ! Left ! Left, right, left ! Class E. For observation of pulse rhythms. v% r ~ r ~j j — * Wi J. L. C. m =t= Hark! Hark! Hark! How the dogs do bark! Elliott. =&==±r g= :ii Baa. baa, black sheep, Have you an wool? Elliott. 5=2 =1: =fc =3* I! Dim dong, bell, Pus Elliott. sy’s in the well. Old Song. 'V > — 4 — •> :=: =t= m i £=£ -rj — r II See saw, Mar - jo - ry Daw. Class F. For observation of secondary measure forms. Old Song - 0 - One, two, Buck - le my shoe. M. J. M SEE E©^=^= =f= m E = — J -4= ii To bed, to bed, Says sleep-y head. Oh, bab-bling brook, how cool you look! M. P. Ii =t In dear lit tie house 1 1 9 — we 9 will ii live. M. P. , g = Co, :=t boss CO, boss! the milk i maid calls. Class G. For observation of rhythms involving the pulse and a half tone with its complement- ary half pulse tone ; and for observation of the three-quarter pulse tone with its comple- mentary quarter pulse tone. — i A — i 1 -> i — 1 — j J j ^ \ G. T. fp_2 J=r— if A 1 :S f=l $=4 — * • — * - 9 * 1 * 9 t= F Rock - a - bye, rock - a - bye, ba - by, to sleep. j ■ ^ j— £ q — * J All a - board. C. K. k I 5 4 * _ — * «— Ship a - hoy! Ship a - hoy! Rang out Marching Song. -] f _ A— 1 F — 11 loud and clear. J. L. C. e- # # n 4 ds 1 m 0-Sr F 1 * £ F „ a fcr* # * z:z: » • ' 1 " We’re march - ing thro’ Georg - ia— Hur - rah, lads, hur - rah! Class H. For observation of the minor mode. E. C. Bfe? 2 f j* — « — 1- | -Vi F' = fF u 4 m F £ 1 | The North wind sings a mourn-ful song. F. M. U. 1 — :d=F: • — m iF=t 0 :S Sum-mer fad - ing, win-ter comes J. L. C. — H 1 i S -fri rA d— -j ■ ■ y — m * — V 1 — J * — m — — 3 moist - y day! Shall we ev - er find our way? J. L. C. J- L. C. t-4 ]- = =n IA— tsH 1 £2 ' 1 FF^ — — h — -d qH 1 — 13 8 [EAi-f — •- Dol - ly * *d lost her lit - tie F 1 shoe. EES ■ -► * Soft - ly — J fades the * light of l=d=H day. Class I. For observation of chromatic tones. C. J. P. rH 1 \ 1 i 1 1 . 4- d F _j J : i H EE II 1% 1 1 * * W> 1 1 1 oral l*i % — m Gone is win - ter’s cold and snow, Soon the sum - mer flow’rs will grow. J. L. C. :z z| ^ 1 rr * £ r — ^ a m — i® 0 m m -3— H peij * e t I — 1 mbhb — ! 1 — \ ft |K ^ I* — u F F F =*=\\ So still the dark - ness fall - eth down, Fall - eth down a - bout the town. M. J. M. cd V q d l -4 ' 3 H tA 4 H a — , ^ =\ EE j5A — d J * \ > LA_ J N — ^ 1 1 1 — 9 ® * w> LJ__J .=1 Dol - ly’s torn her lit - tie frock, And I fear she’s lost her sock. J. L. C. Creep mg, mg, creep soft ly go. 8 Class J. For observation of melodic progression in two voices. J . L. C. n f—v — 1 4= n W—Az & — ^ — — ^ — j] Ding, dong, ding j O -II L ^ ; 1 hr “1 i 4 — U P £ d * * — & — — © JJ Eing, sweet bells, ring, E. C. Chirp, chirp, chirp. Sing, bird - ie, sing. Adapted from the German. Cuck oo, cuck oo, calls from the wood. C. J. P. 2- E - 1 -4 1 4 J 4 — ^ q. J * Tra - la - la, 0 K W — Tra - la - la, — i =3 § -o- W 1=1 * -* Tra - la - la - la, Tra - la - la la, * Gai - lj 1 4 w> r we’re 1 — -+ — - -J .-4 — ~-^= danc - ing and i — 1 | i- 4= — 4 n — J * * sing - ing to mm day. 11 rr m 1 1 m — w * — -r ^ d — a Gai - ly we’re danc - ing and sing - ing to - day. Many of the melodies for dictation may afterward be given to the child for harmo- nization. The melody names are those of the Tonic Sol-Fa. These name the tones of the chromatic scale as follows: Ascending, doh, de, ray, re, me, fah, fe, soh, se, lah, le, te, doh. Descending, doh, te, ta, lah, la, soh, sa, fah, me, ma, ray, ra, doh. Names of the chromatic tones ending with e are pronounced with the long e as in me: those ending with a are pronounced with the long a as in ray, with the exception of ra which is pronounced with the broad a as in fah. 9 For the convenience of those unfamiliar with the Tonic Sol-Fa time names, the ap- pended list gives a starting point: Traa, names a one pulse tone occurring on the strong pulse of the measure. Taa, names a one pulse tone occurring on a weak pulse of the measure. Tlaa, names a one pulse tone occurring on a medium (or secondarily accented) pulse of the measure. Tones two or more pulses in duration are named as above, repeating the vowel sound aa for each pulse added to the first. Saa, names one silent pulse : this name should be whispered. For each addi- tional silent pulse, a whispered aa is added to the first syllable. Traa-Tai, names two half pulse tones occurring on the strong pulse. Taa-Tai, names two half pulse tones occurring on a weak pulse. Tlaa-Tai, names two half pulse tones occurring on a medium pulse. Taa-Sai, names a half pulse tone followed by a silent half pulse. Saa-Tai, names a silent half pulse followed by a half pulse tone. For a complete time chart, the student is referred to Tonic Sol-Fa publications. Julia Lois Caruthers. Chicago, November, 1902. 10 In music it is as with chess playing, the Queen, melody, possesses supreme power; but it is the King, harmony, who ultimately decides. Schumann. The purpose of this book is to provide material for the use of teachers in intro* dueing the study of Harmony to children, and to suggest an outline of progressive study. Each subject is discussed from three standpoints:— the Musical, involving correct hearing; the Theoretical, involving knowledge of names and definitions; and the Expressive, involving singing, playing, writing and reciting. Experience in Harmony work with children has proved that none of the require- ments suggested in this plan of study is beyond the capabilities of the average pupil. For many valuable suggestions regarding the materials used, I am indebted to Miss Julia Lois Caruthers and Mr. Adolf Weidig. Mary Frances Frothingham. 11 CHAPTER I. MELODIES FOR DICTATION. The order of these studies for dictation is the same as that given in the Classified Outline in the Introduction. The methods of presenting them to the pupil are there fully explained. Class A. Direction of Melodic Progression. fj W g =T=i ~ 9 >— P -f= =t -± =4r ~1 l“l — ' = 1 — z± ism :±= ' :£ 2 = as A * d= 0- m- t=t= - 0 —m- -£ 2 - =t =4 I -i* — m — J- g— te=i =4 1 - - d m =! •_!— d =1 — G — ^ — 9 -1 - m) tr? - • : F : 1 EZ§flfa=F m — 0- iMJ — l 11 — 0 - A 3 =t 0 —* = =t m Repeated Tones. =fc 4zz0: * — 0 - L=t=: i -0—*— — g — -T -G~ -G- — m — |= r=r= =4 4=- 4 11 F - F— ^ F — 4P — 4P — H — 1 — —g- =F — 1 — -4-P-F— - 0 0 -0- : .- — 1 r "1 - ^ II RZ^ 4 J -- tT A — J— m & i ~9>— -S- 4 -E— C— ^ i^F = E ^ * 0 Z E 11 Aii tt *nn , rrrr r-w +P-a— * J — 1 m 11 |y tt ^ ^ * — -J H m 1 — -m -1 H * -J : ^ 13 Cmg ' O ^ (• ^ * _ - t=- m i* , m i -T+ f* i I t “| ' — zJ 11 P^- tt 1 1 1 L 1 11 ■tt 4 1 m r^- III « j * h !* c= = =H - ^ * __ H 1™*^ - > l m 4 P _ .r n i 1 1 1 r i & i m J 4 11 t T 5 i ^ - -- 16 Class G. For observation of rhythms involving the pulse=and=a=half tone with its complementary half=pulse tone; and for observation of rhythms involving the three=quarter pulse tone with its complementary quarter=pulse tone. Class H. For Observation of the Minor Mode. 18 Class I. For Observation of Chromatic Tones. 2 fe-4 — p — H 1 P5=| « t— r 5 r-i I — ~fr=3=d 1 i 1 J j d — i ? H £2 . _ ee!~* ~ — * ^ 1 1 — IP _j^ i — 4=P * ^ ^ I 1 — - ^ " 1 1 1 1 w^S-i 49 ! — sj m 1 — 'J H 1 -t 2 \=^==d W |] ■^^9 4 1 — 1 _ _ . -1 9 m ^ II TO Mill CE=^=3 =1 5 — 4 * — ^ — 3 * > ? ■«» - _ n c — i — 1 ?t—m— + — t: rT -= - ii •J — i— — t — u k- 1 1 1 — m b j tJ Class J. For Observation of Melodic Piogression in Two Voices. 1 j — | 1 J _3 1 p==j=F U P-4-d=i 2: *1 1 1 "l 1 1=1=1 V 1 P?- - 1 mL E=^d 1 1 EF-3 E§Lfl ! i— m t — £ : i eeUe 2 *> * • m p — ® | 7ST ~j — . r — (• -4b u , Jte - 4 r 19 20 CHAPTER II. SCALES. The scale is the most regular as well as the most pronounced melody, which through usage has become the foundation of all melodic as well as all harmonic progressions. (Adolf Weidig.) Major Scales. (As presented to small children.) The scale melody includes all the members of the Tone family. When we sing or play a scale, it is like calling the roll to see if all of the family are present. There are three ways of calling the roll : 1— Using the Melody names, Doh, ray, me, etc. 2 — Using the Pitch names, D, e, f ft, g, a, b, cfi, d. 3 — Using the Numeral names, 1, 2, 3, 4, 5, 6, 7, 8. As the class calls the roll (singing) one pupil may write the record of attendance on the staff and another may see where each tone is placed on the keyboard (playing the scale from hearing.) Transpose the scale melody to all keys in order, taking seven scales with sharps and seven scales with flats. Progressive Order in Study of Scales. a— Singing. b — Playing from hearing. c Writing from memory. (The scales may be written first without signa- tures, placing the necessary sharps and flats before the notes to which they belong.) d Reciting away from the keyboard or staff — the test of understanding. The Steps of the Scale. The first experiments at the piano in transposing the scale will convince the child of the necessity for a small step between Me and Fah, and Te and Doli u Tetra-chords. Show that there are two distinct parts to the scale — four tones in each, the first part beginning with Doh and ending on Fah: the second, beginning with Soli and ending with Doh. The steps in both parts are similar — two large and one small in each. Also point out that the last part (tetra-chord) in one scale will be the first one in the next in scales with sharps. In scales with flats the first tetra-chord becomes the last in the following scale with an increasing number of flats. Each new scale with sharps begins on Soh of the preceding scale. This will be t le new Doh or key-note. The new sharp is always Te. Fah of the scale with flats becomes Doh of the new scale and the new flat is always Fah. Older pupils may write the circles of the 4th and 5th and may study scales including double sharps and flats. Younger pupils should study only those scales for which there are signatures and need not go far into enharmonic tonality. 21 Minor Scales. The character of the Minor has by this time become familiar to the ear through the dictation studies previously given and through minor compositions which have been studied. Introduce the. Harmonic Minor scale by playing it immediately after the Parallel Major scale. t- . ^ “= (f ^ ©-J£=r — ¥> “= : 4T=^= Zi — — tJ — c — ! - The new scale belongs to the same family or key as the Major though the 3rd and 6th have changed their tones and now sing a small step lower. Their song is so sweet and tender that the whole family feels its influence and seems to have changed its character. It is now said to be in the Minor or poetic mode. The Major key resembles sunshine while the Minor reminds us of twilight or moon- light. The Minor expresses not only mystery, romance, tenderness and all that is poetic or awe-inspiring in nature, but often portrays the fantastic gaiety of elves, gypsies and other wild folk, or the weird wanderings of ghosts. Relative Scales. The question will arise— What signature shall be used for the key of G Minor? There are no special signatures for the Minor, so one belonging to a Major scale must be used. G Major has one sharp but that signature would involve the use of two chromatics. The signature of two flats will be the most convenient. That belongs to the key of B? 5 but BtMs the Relative Major of G Minor so the two scales can easily use the same sign. G is Lah in the scale of B ^ and B ^ is Ma in the scale of G Minor. G Major and G Minor are Parallel scales but Bl? Major and G Minor are Relative scales. Progressive Order in the Study of Minor Scales. a — Compare Parallel scales with reference to their large and small steps, b — Write all minor scales without signatures. c — Write all minor scales using signatures of their Relative Majors, d — Write certain Major scales and their Relative Minors, e— Recite Major and Minor scales, f — Introduce Melodic Minor. 22 CHAPTER III, INTERVALS. 1 4 . Dictation of Intervals between any two tones of the Major scale. 1 — tf 1 , G£^ m 1 ® ® 9 ^ i tT 3rd. 3rd. 5di. O.u. (j,.. 7 th. 8tli. 1 F? § 1 & |E _ a tfc r CJ & eg- 1 - fe — — tf^ 1 L _ J k i u When written the staff degrees should be counted and the Intervals named from the number of degrees between the lowest and highest notes. Definition: An Interval is the distance from one tone to another, measured and named according to the number of tones and degrees of the staff intervening. 2. Discrimination between Consonant and Dissonant Intervals: Consonant Intervals being those whose tones agree in sound, and Dissonant, those whose tones clash and re- quire an answer or resolution. At this point give only the 2nd and 7th as examples of Dissonant Intervals. 3. Study of Enharmonic Intervals. This may be called re-naming the tones of Intervals. r. J- ^^7 rr+t tt? - 1?— A ^ : * » ... : 4. Classification of Intervals as Large and Perfect. Perfect Primes, 4ths, octaves. Large 2nds, 3rds, 6ths and 7ths. etc. 5th s and Illustration of the Prime. , | 1 1 — , -| l7 gf J 1 ^ — ii LV b # e r r m r % & JJ This melody may be sung by two members of the class. Their voices in unison on G r give the Prime. Major Scale Inter= Perfect. n Large. Large. Perfect. l Perfect. 4 Large. J Large. j Perfect. J — V 1 1 “| . 1 vals, from the key= -Jr~ 1 1 tone to each tone in -fv\ ! zb — ^ 1- v^T/ (T3 f rz? (T2 1 i the scale. tr — p A * 1 i | Prime. 2nd. 3rd. 4tli. 5th. 6th. 7th. 8th. Small Intervals. Small Intervals are a small step smaller than Large Intervals. 1. Dictation of Large and Small 2nds, 3rds, 6ths and 7ths. (The Major and Minor Triads may be introduced as illustrating Large and Small 3ds and Perfect 5ths.) Large. Small. Large. Small. Large. Small. | Large. Small. f-JL : 1— 4“ - to si-] Efe— ^ u 1 FA -.g3 1 . 1 i - 1 v — 1 L r U 2nd. — 3rd. 7th. — 6 th. — 23 Large. Small. Large. Perfect. Small. Large. Small. Perfect. -JL — s — — 7^ — — — m — s — & £2 — — L rz? .. Major Triad. 3rd. 3rd. 3rd. 5th. Minor Triad. 3rd. 3rd. 3rd. 5th. 2. Singing Large and Small Intervals without help from the piano. 3. Writing and reciting Large and Small Intervals from all notes. 4. Inversion of Large, Small and Perfect Intervals. In inverting Intervals (changing the relation of the tones so that the lower tone be- comes the higher) it wifi be found that the Large Intervals become Small and the Small become Large, but the Perfect remain Perfect. Augmented Intervals. Augmented 2nds, 6ths and Primes, 4ths and 5ths are a small step larger than the Large 2nd and Gtli and the Perfect Prime, 4th and 5th. The Augmented 3rd and 7th are not used as they would be enharmonic Perfect 4ths and octaves. zn / IT V- ay ay 1 — The Augmented 2nd may be introduced by playing the Harmonic Minor scale and having it written on the blackboard. A Major triad followed by the Augmented triad on the same root will introduce the Augmented 5th. H / 22 \ & / LL \ i s ^ 1 L ^ J i tir hr . vay \ i i \ ^ ^ Augmented 2nd. Augmented triad. Resolution. The Augmented 4th may be heard in the Dominant 7th chord in the following position. ( -1p } 22 V -TTJ- The Augmented 6th chord will give the Augmented 6th and 4th. *2 — Written work: Large, Perfect and Augmented Intervals from given notes. Large. Augmented. Perfect. Augmented. rH ?- i -i _l g^ n [7 tl k az> ' ^ (T5 ^ > Lah 9 9 Te „ Diminished. Ray Chord — Diminished. Ma ,, Augmented. La ,, Major. Te Diminished. Harmony Names. Tones forming the Chord. ( Tonic or key tone chord. Doh, me, soh. Principal Chords. ] Dominant or Ruler of the key. Soh, te, ray. ( Sub- Dominant or Under Dominant, r. Mediant — half way between Tonic Fah, lah, doh. Substitutional Chords. { i and Dominant. Sub- mediant — half way between Me, soh, te. Sub- dominant and Tonic. Lah, doh, me. Super - tonic — above the Tonic. Leading- tone chord — leads to the Ray, fah, lah. Tonic. Te, ray, fah. Hearing Roots of Chords in Progressions. Suggested Process. A. Chord-progressions played by the teacher with strongly accented roots in the bass. a — Pupils listen to the bass, b — Hum the bass. c — Sing the melody names of the roots, d — Name the roots — Tonic, Dominant, etc. B. Triads played without the bass. Pupils hum the roots and sing their melody names and pitch names. The keys chosen should be in range of the pupils’ voices. C. Dictation. Pupils listen to the roots and write them. D. Duet. Use studies “B” and “C.” The teacher plays the given chords and the pupib after humming and naming the given roots, plays them as bass tones. E. Studies for recognizing Tonic, Dominant and Sub -dominant. A. Bass given. Chord Progression for Recognition of Root. 29 80 31 Inversions of Triads. When the tones of a triad are changed about so that the lowest voice sings the 3rd or 5th, and the middle or highest voice sings the root, the triad is said to be inverted. The original position of the triad is called the “A” form. When the 3rd is the lowest tone, we have the “B” form. When the 5th is the lowest tone, we have the “C” form. Close Distribution. Open Distribution. £ — ^ — W 7 L. I 5 ?! Z fcZL L ^- A form. B form. C form. A, B and C forms. Emphasize the idea that one chord only has been sung and written— that Di? is the root each time. Class Exercises. a — Singing of forms — the tones to be sung successively. b— Naming of forms— the tones of the chords played simultaneously. c — Oral recitation of forms — pitch names of required chords being given. Example: the “B” form of the chord of D is F#, A, D, etc. d — Playing of the three forms of required chords, by pupils. e— Give examples of inverted chords in open distribution in three and four voices. The forms may be named. f — Finding inverted chords in simple compositions for the piano. g— Dictation of the three forms in chord progressions, in close and open distribution. Chords to be written at home. 1 — Tonic chord of every major key, in the three forms. 2— Tonic chord of every minor key, in the three forms. 3— Dominant chord of B>, D>, C*, E and F#, in the three forms. 4— Tonic (C form), Dominant (A), Tonic (C), Subdominant (B), Tonic (C) in some given major key. Transpose to all keys. 5 Tonic (A), Sub- dominant (C), Super- tonic (A), Dominant (B), Tonic (A) in some given minor key. Transpose to all keys. b.) Unconnected chords for naming the forms. 32 e.) Chords in open distribution. Three voices. 1 f 2— 1 7— 3=; td i 1 • “ j s ^| 1 1 •Si ^=3 1 I El rv? a )T 4 1 ______ cJ 2 i i r i ° r - 1 n, , J l—i -1 |= — 47 — mi \-J-4 SI ! 1 ■1 -U— — □ u 14- v~l -»d ^ i — — — — m — * — -S • 1 H ^ * f ill ts L/ T~ y 47 f 1 * I r r & i • i 1 — m — a — <0 — 1 i 7^ — ^ r r 1 1 i ^ a Chords in four voices in open distribution. / i-&y i . £t _^_ * f - J i i 7Z> if — 4 r -— i j j ( slA-4 — z? f — * - - r — -r i i & & (T3~ CD P f 1 1 ^ .ig- — ^ r ... CD CD ' ^ 2 ' 4 p K — E E - * From this chord, one tone has been omitted. The children should discover which one is missing, the root, 3rd or 5th. The importance and necessity of the 3rd in the chord may be brought out at this point. 33 g.) For dictation. t & 52 n £ — H g - — 3 — J-H — g=fi r(ny^ L^. g : _ 22 _ ' M ^ J Four voices. * The longer studies may be given out a phrase at a time. 34 Hearing the Highest Voice as Fart of the Harmony. In a melody harmonized with triads, the highest voice may be designated as root, 3rd or 5th of the chord to which it belongs. 3rd. 5th. 3rd. 5 th. I-'-* I There must, of course, be a decided feeling for the root in order to place the highest tone in its right relationship. For certainty in this respect, sing the chord tones down to the tone giving the feeling of greatest repose. This will be the root and by singing up- ward again, the harmonic relation of the highest voice will be clear. Studies for Hearing the Highest Voice in its Chord Relation. Woodbury. 5tli. Haydn. -h — d d d — i -d-. .. -j — * wL S * — — * — m ^ * - 0 m — r r 1 =?= : * ]*— I 1 1 I 1 0 ■ f m 1 > 1 J «(.*-) J- / ZS'-k-jd. — m — — j & £ : - f F? — f F r- — d * — -1 — 1 ' 1 . -J 35 rr > * > > ^ S > ,S : t— ' - K — h^— i* 1 - t*= r ^ tz=£ -g*— =t r __^__^__y ,V y y y y * £ - PLEYEL. f=t= Finding the Harmony for a Given Melody. Every melody has its harmonic basis. A series of tones without this underlying feel, ing of key and harmony could not he considered a melody. Example. E3 r 5 — r n t r tv tt . u, . — , rbrz? . — / G ^ tt A Melody. rH j 0 1 1 1 rri 1 j — 1 r y r_£l :.~1 i 1 _| r\ A A * 3 -- V a m * -J - The melodies given are to be heard in their chord relationship. The melody itself must be grasped in its entirety, if short, or in phrases, if long, for the succession of the chords used will depend on the progression of the melodic tones. Use the plan previously suggested — singing down the chord tones to the point of repose — for determining the position of the melody tone in the harmony. In these studies, however, the pupil must depend on his natural harmonic instinct instead of the actual sound of the chords as played by the teacher on the piano. The position of each melody tone in its chord should be designated as Root, 3rd or 5th and the figures I, IV and V may indicate the harmonic basis. 3rd. 5th. R. 5tli. 3rd. 3rd. 5tli. 3rd. 5th. R. 3rd. 5tli. R. H / ■, A 1 “1 « -| J | 1 1 1 L y? ! w * 4» N* zil 11 r y rv ' 1 » n W 1 , ^ w n n — I ^ 1 1 tv y 9E w 0 H t= : — ^ m — I V I IV I I V I Work to be Done at Home. “S’wanee River” and other well known melodies may be written from memory, and the harmonic position of each melody tone, as well as the particular chords used, indicated as above. Melodies for Harmonizing with Principal Triads. (The harmony is to he indicated — not written.) 36 fj Fd it I' *i d E 1 III j ^ • m — | 1 \ 1 i 1 Efc » j ' * 1 S' ft | ! •1 1 U — ^ ; 49 f]\ 1 ^ — m— 1 — ^ j d « — — 1 * zj Hd l_d_ id 1—3 — R ti f 5— 4-f- =F — | 1 1 f= h — £ 1 1 1 — 1 * i- \vr ft L. 1 1 L_L — 0 r 3- — 1 — m m « 1 -4» 4 1 — 1“ * — E© 4 * * —1 — * — — *— -F 1= E U F — m — — m — — m — t ' Ed , * 1 1 1 m. & * £ — | h^=i t= — m— 1 m — 1 fci m— £5 ti krF — T — 5—^-1 1 f= 1 1 1 — I = = 1 1 1 J — = = * i — 1 — 1 — 1 1 " 1 fj ^-4— * — *~|y zj [~~T l~f -(« 4P- d r j - A ! 3 . 3 i ■ 1— S'-; 37 CHAPTER V. THE CHORD OF THE DOMINANT SEVENTH. a — The piano may introduce this chord without its resolution. Its unfinished, ques- tioning sound will be readily appreciated by the children and they may be invited to sing un answer. As each tone asks for a certain other tone to follow, resolve each part in turn, in the following order : Introduction. Te — Dok Fah — Me. Ray — Doh. R a y _ Me. Ray — Soli. Sob — Soli. Soli — Doll. Te — Sob. b — Establish the key feeling by playing the two chords again and let the class recog- nize the root as that of the dominant chord. Study its intervals — root, large 3rd, perfect 5th and small 7th. c — The class may sing the tones forming the chord (melody names used) and follow each by its answering tone in the tonic chord: Te — Doh; Fah — Me; Ray — Doh, Ray — Me or Ray — Soli; Soh — Doh, or Soh— Soh. Call Te the Up-leader and Fah the Down- leader. d — A composition in which the dominant 7th chord occurs frequently should be played, and every recognized recurrence indicated by the class. e — The dominant 7th chords of all keys, major and minor, should be recited, played and written, with and without resolutions. Show that the dominant 7tli chord is really master of the key, because the Doh chord must come at its call or send a substitute. (Substitutional chords, chapter eight.) Inversions of the Dominant Seventh Chord. Chords with three tones have three forms — tw^o inversions: and chords with four tones have four forms— three inversions. Chords with three tones are triads. Chords with four tones are 7th chords. The four forms of the 7tli chord are called A, B, C and D forms. 38 Class Exercises. a — Recognizing the forms of the dominant 7th chord and of the chord on which it resolves, from hearing. b — Practice in singing successively the tones of the dominant 7th chord in the four forms, with the resolution of each. =1 © r [ 1 — f h-— 1 £? 1- — 2 ^ — & — F~ \- E ^ t L - H -1 n h 2 » & t= * In Minor. -bd 3 # J i 1 ? n — r : Zr & * r c — The class, divided in four parts, may sing the tones of the dominant 7th chord, like a quartet, giving both major and minor resolutions. In Minor. rj- 1 UC2 h 5? -- - = 1 d — Designating the tones of the highest voice as root, 3rd, 5th, or 7th in the chord progressions given, (a) e — Finding the harmony for melodies, using the dominant 7th chord as well as the principal triads. f — Writing chord progressions from dictation. g — Finding dominant 7th chords in compositions studied by the pupils. Written Analysis of Chords. Roman numerals may be used to designate the degree of the scale on which the chord is founded. A large numeral indicates a major chord and a small one is used to describe a minor chord. The form may be named by the letters a, b, c or d at the lower left of the numeral, while R or 1, 3, 5 or 7 will designate the position in the chord of the highest voice. A small 7 at the lower right of the numeral indicates a 7th chord. If the chord is diminished, a small ° will be placed at the upper right of the numeral, and if it is augmented the sign f will be used in the same place. 2 VII 5 describes a diminished 7th chord in the b form with the 7th in the highest voice. IIP describes the augmented triad on the mediant. 39 a.) Studies for recognizing the forms of the Dominant Seventh and Tonic chords from hearing. 40 -ft- -j — . -i 4— A ' f® 1 1 =1 l ) 1 1 / ^ e? * %f- r i i rJ • ll * * r : ^ 1 1* g: * % ’ ^ 1 40 r i J ^ __c^ cJ m r r r u. A J- p m \~2 1 1 1 jzL 9 o • — ^5 «s> r r H 1 - * t P— * r p e.) Melodies. The harmony to be found. 41 J. J. Rousseau. r-f , 1 ^ - m 1 f? — « — («. « J I J 0 0~~\ f' " f * 9 _j_ — F— H — — f=— — l--* — ^ p — F-l-i — i — f — \ c ■| _h ^ □ 1 —I 1 - nj 4 n J □ ij 0P 4* j -2*3- | — H — si H hr? ** 9 1 J 1 1 s! _ .J J ~ m &> S }7 - r ^ ^ — U 1 - m f.) Dictation Studies. /3 l 4ja<^ — — s — g tes> — &g — o — ■ o ■ (* < w% — s— — g? — - ■ o _C^ — s — ? s -s- -s- . : - ^ r « —1 r— 1— i I* — £ J*- - — ^ ■ — =+— s — tt»— — +y— {* \ y | | _l ~r if- d 'S' r ^ i i & «-*■ \ 1 ' J_ 7^- 1 1 g rvtt o 1 \ k._q fS f: — ^-2 05S — 0 CU • yiSjL ^ ^ 4£ — 1 — 1 L «r L— S ja. ,4- L L 1L U H io p t — — 7 4- &— -S* Nettleton. 42 CHAPTER YI. CADENCES. A Cadence is a progression of chords forming a close of any part of a composition. The Authentic Cadence. Introduce by playing For the class : yP--fy4 S: — — & n : : rTV ji — 1- — gs£ ..4 j» 7 ==£-4 1 ^ o a — Sing the roots, b — Name the chords. c — Name the harmonic position of the highest voice, d — Sing each voice alone, and write it, with melody and pitch names. Notice that the same tone, Soh, is found in both chords, making a bond between them, and is sung by the same voice. Observe the direction in which the three other voices of the Dominant chord move. Definition : An Authentic Cadence is a close in which the final Tonic chord is pre- ceded by the Dominant. For the next lesson, the Authentic Cadence may be played and written in some given key, and afterward, in all Major keys. The chords may be played and written in other distributions as well, and later, the inverted forms and the Dominant 7th chord may be introduced. Examples of Authentic Cadences. i A-3 & m~ ■ ^_j£_ z ^ — 4— m — ± r 1 — i i -G- O' • r i -G-> ~sii " i 1 1 - a . J J_ -f~ ■ j. ::2- w * —G—~ -A-4—I *'4 -F jfd — G— -b ±A 1 ■&— -4- : j- -1 — — 7*2- 5-3 4 — 1 — 4 5:3 4 : ; -4 —4 * -G- 1 1 • -G-' I A ?2 -± -G- - 9 - : -G' 1 4 J p=H=-^=F= JL. jO» ,ft <=1 * _ J. — i i W — % I g : : • 1 — bl cV 1 J fet g,_ "p. ■ 5:4 — F V, 1 etc. 43 For the class : a — Observe the character of the chords — whether major or minor, b — Divide the class into four parts and let them sing the four voices, c — Play and write in all minor keys. Plagal Cadence. Schumann. / k 1 1 1 -i^-4 / J ^ - 4* 3 ^ ^ S) ■■ ■ =K= . & 4 « % -g- — — — A WS2T '.£2- 1— 1— - men. ^3 7^ Y* k i 1 [_ (_ & i? 4 h t~ h i- Play the final chords again and follow the outline of steps used in learning the authentic cadence. Definition : A Plagal Cadence is a close in which the final Tonic chord is preceded by the Sub - dominant. It is sometimes called the Amen close. Examples of Plagal Cadences. 4-. v '-4“l -£2- —A-z*. ±Az£z -£ 2 - 5 3 1 Azim -A-~z -9-4 — P In Minor. 4 , 12 A o 1 -1 ' 4 — -rk-te- » g-T ^ t s IS : 9 V 4 s S?— — - 9i * 5 — * - db f t — ^ 1 — (T 2 • r r £2 • r A • u O k _£* « L_ (£ 2 -- Z. 9 k-.H * h |_ K 1 1— r— u. - /I 7 9 4 The Authentic Cadence in Minor. , 4 — Z -4-S — 5s — — 7^ A: A 1 i - ^ ; p*4--i=%- I = § = -9-k-T — e-2 Be? — — ^-A— — -e?- j_z_4_gi ^ — - g - i?s- -> 4 1 r A 2_4_^_4g^- -- k 4 t "^2 g etc. -i s>- L_!? 4 l_ - -A-9-4 1 * ^ J -W-4 4 Minor. Major. Minor. V 7 44 For the class: a— Play plagal cadences in all keys, major and minor, b — Write plagal cadences in all keys, major and minor, c — Distinguish authentic and plagal cadences from hearing, d — Analyze cadences in compositions studied by the pupils. The Half Cadence. A Half Cadence occurs when the phrase closes with the Dominant chord. Example: ;>v-i -*•—4 1 Half Cadence. Authentic. 4- 1 I *L -m =f= • — V The Deceptive or “Surprise” Cadence, (See Substitutional Chords.) v. When the Dominant chord in a cadence is not followed by the Tonic, but by another chord, the progression is called a Deceptive or “Surprise” Cadence. Example : fj fc| 4 - Deceptive. V' VI Authentic. 4: * 1 4 Yt The Complete Cadence. & The complete cadence contains the progression : sub-dominant, dominant, tonic. For the class: a. Name the chords. b. Sing the parts. c. Notice the progression of the bass and upper voices from sub-dominant to domi- nant chords and that they have no bond tone. d. Write from dictation. e. Play in all keys. f. Write in all keys. 45 The Extended Cadence. — sszz -t.2 sz=t q -*=#=*=! - r~ Z ?-4=E=IL --1 t t— i— -g> g rj?^.T»z IV II, The Extended Cadence introduces other chords between the Sub-dominant and Domi- nant. In the usual form of the Extended Cadence the Tonic chord in the “C” form occurs between the Sub-dominant and Dominant. For the class: a. Sing the roots. b. Name the chords and forms. c. Sing the parts. d. Write from dictation. e. Play in all keys. f. Write in all keys. Mendelssohn. Haydn. H iff *_f * w~* f p h jrf- p r P W m m ... - m - * - fr t I— I - r sh l~ h m~ p p , !“ i | h Auth entic. ^ -1 i - - j v| | __ l "" — 1 i r _ ' ^ mf \ ^ ^ ^ J J _J si f f ** Z . _ $ —f *1 J J — — m- : 11 46 The Wild Rider. Schumann. Deceptive Cadence. BACH. * The Bach illustration I have ventured to use, although it introduces melodic tones and harmonies not yet touched upon in this outline, because the deceptive cadence is so strongly marked. 47 CHAPTER VII. MELODY QUESTIONS FOR ORIGINAL ANSWERS. Idea suggested by J. L. C. These melody questions and answers will be recognized by the teacher as the theses and antitheses of musical sentences. Illustration with Words. Question. Answer. — j _ . -j — 1 1 1 -| > — I i ■ n / LF'li-iJ _i I 1 i i If 5 * j4- -J _j J, i □ “i — 1 r m ! J H H*- 11 — rj- — J — ~ W I \ — 1 1 \ C i “Where are you go - ing, my pret-ty maid?”“Go-ing a - milk - ing, sir,” she said. The harmony for these questions and answers may be indicated and the cadences involved named. Question. Possible Answer. :d /. h ii d ^ • 1 ■ — _ A L_ ^ ti L 1 1 ; U K- — 4 [_ | 1 48 49 CHAPTER VIII. SUBSTITUTIONAL CHORDS. Every principal chord has a substitute. This chord often follows its principal like a shadow, but is frequently used in its place. Each substitutional chord has two tones in common with the principal chord. It has the root and 3rd of the latter for its 3rd and 5th tones, and as it usually is found in the B form, it bears a close resemblance to the chord whose place it takes. The Substitute for the Sub- dominant. (The Super- tonic.) Example : Determine the name of each substitutional chord as it is introduced, by singing its root. Note the similarity of the chord to its principal. The Substitute for the Tonic. Example : (The Sub-mediant.) When the dominant asks for .the tonic in a close, but is answered by the substitutional chord, we are surprised and call the cadence the “surprise” or deceptive cadence. The Substitute for the Dominant. Example : (The Mediant.) ,£* a - -4 =1 4 1 -i ^ * . . =2=\ =j :: s w & m i . i 25 m f r ■ p . - r - — \ A A A 4 A i 1 rz tea r & . [ j* — j j*— 1 1 - 1 1 I - - ^ \ t r_t t — « — i* — — « — i 49 " i~ The Sub - mediant. i ^ • ■■■■ — — — J — -1 irl • — — rJ~ 1 - * -1. „ ^ • (fe*= S'- 1 r — h i r r f • 1 1 1 — &- 1 1 I — e^- -- . ' 1 | <* — 0 — j (®Ef= p -&-• ^ ^ J. hr r n p ■■■■■■ i 1 , -r* ' ! -r ! - ^ • — 1 P t=P i ■ VI IP VI IP — ■>. (gifs ^ t; (• / 1 r r ~P — =1= 5^ 0> - | | f 'i i_ jo p 4 ^ * (• 1 1 ' : s r r i, — — .-J- (• * <9 1 1 -*- — 3-4— =1- —9>—w>—3 tr -*- (• (• 1 1 1 1 _^p_ \ / Efe % * -j- 1 1 -pg- s- 4 =^ ri- ii 1 1 j s f 5 p 1 1 1 -i ^ ^ ' J ■ -r— m -t= — i=- p 1 — p ^ <* -=-'4 — 1 II 52 The Mediant Chord. TTfr ==]-: i ^ i* i 1 c 1 1 Ff*T= is 1 J . * * ^ * 1^11 nj)| tjjj ) , J ( i "4 i ^ • l M-;- 1. F* 1 J ' *V s s J- -=J- : - * 1 —m — ~ r-1- =1=3 t= — 1 — p p f* 1* ^ * r r — i — J bill bill (General.) Substitutional Chords. 53 — 1 — 1 =* •3 -± {& : 3 _ &: fet Si* f-r ir—f W — SI- I i- 1=^1 i=fc*= (• I =t =q= ^ ^ I — i^fef=S--s -| — r : ^i — S r Itet^ES r i — i — ±£= % =t= -m—a—m- i i i i i t izb=p=c= i I -»)— s>- -£ 2 _ r- i — i — r i t i— r — r- i i I *> -^- -«- I=£=ee ~ 32 -f-t-: 54 The Super=tonic and Sub=mediant. Illustration of the use of the Sub=mediant Chord in Minor. Fu. Chopin. 55 CHAPTER IX. THE CHORDS OF THE DOMINANT NINTH AND THE LEADING-TONE TRIADS AND SEVENTH CHORDS IN MAJOR AND MLNOR. The Chords of the Dominant Ninth. Example : In Major. In Minor. The intervals of l^he ninth chord may be analyzed from hearing and the resolution of each tone discovered, as suggested in chapter five, the dominant 7th chord. The 3rd and 5th resolve upward, the 9th downward. The 9th, Lah in major — La in minor, resolves downward, on Soh. Analysis of the intervals will show that in both major and minor keys the 3rd is large, the 5th, perfect and the 7th, small. The ninth is large in major keys but small in minor. The dominant character will be easily recognized. The following melodies, giving the resolution of each tone of the dominant ninth chord, may he used as a dictation study. Example : Major. It will be seen that the 5th and 7th of the chord resolve on the same tone. Since four voices only are needed, the 5th may be omitted from the ninth chord. Another melody may illustrate this omission. 56 An example of the resolution of the chord with the minor 9th on the major tonic chord should be given, as well as the melodic leading of the voices through the mediant and dominant 7th chords to the tonic, and through the sub-mediant 7th chord and dominant 7th to the tonic. Example : Minor 9th to Major I. a V 9 bill a V 7 a I a V 9 a VI 7 b V 7 a I S' 3 ^ g?-= .... # -y-a- 1 ^ c* — & c^> • Iffg ^ — g — 1 1 ! * :ter^ d d— \B — ® — H ^ 2 t — P — t •- Inversions of the Dominant Ninth Chord. The Leading Tone Triads and Seventh Chords. Since these chords are found in the chord of the dominant ninth and have the same close relation to the tonic, they may be introduced next in order. V 9 vii, V, vip V, viii,' V, vii° F# — 3 — — s -fl — — : — S c g 2 - p- - — te — - U cs - P - fe P : Leading Tone Triads. Vlio I VII 0 I e 2 4. [ EE ty E 1) |5 w II s©- ft — J The leading tone triad is diminished and has in it the two strong leading tones — Te and Fah; Te leading up to Doh, or, if in an inner voice, down to Soh, and Fall leading down to Me or Ma, but often up to Soh. Note its similarity to the dominant 7th chord. The leading tone 7tli chord contains these two leading tones as well as Lah (or La) which has also a strong tendency downward as noted in the resolution of the dominant 9th chord. In Major. In Minor— the chord of the Diminished Seventh. h £ # EE t ^ tip 1 vii 7 i vii? i Observe the similarity of these two chords and also the difference in their sevenths, one (in the major) being small, while the other (in the minor) is diminished, thus giving the chord its specific name — diminished seventh. 57 Inversions of Leading Tone Seventh Chords. .... -tl ZZJ . . . - ,{(22 \W -«S- -S- w -P 8- \ - ^ 49 * -st**" 'S4=feg-=e- 49 — £2 r_ t= h — 1= -r— ^ Z— f— t— (22 •— 1 — ^ i bVII° bVII 0 I -± T * * trr- :fc 3 mL_S \~ r- ' s — d=i 5 (S— =t==t r r bVII 0 bVII!? aV V, mm / (m.^ 12 5.4- 8 J — id — -* 1 ” ^ — £2 (C • £2 • -i ^ — 9T— - \ — 1 1 ^ * « p r r =P=^j==S==i= 1 * r 1 -P— J— *— -*- P P - ^ ! — : — — ■ 65 - I'*' M= t* - £*p- ^ -g-^- > £f>- t* f ' ' * j* f if HH ^ — ^ ££-4*. > — = ^ q =5 3 - > y— - T 4 t ^ * 1 VI 1 T 1 j«T# l«t — M 7T*i 5: %*- s s — 1 's ' pvi * ' Hm. , V , V £ f — r-p-f — 4 1 r- - ' ■ v- — r _r — p-b — j -=j^-* - — * SP^- r -*£Q~ RJ-! —id** ** r. -Eat *fj^— S2 5 -.1- * J Andcintino. / — #JF= Chopin. An Ap. P ftp* £#?£ H*-—-- « — «- —i — i^i — « — m- — *— *- dolce.-a- gm =S==t=t fc*= i=t= -jrzr =^2=^= gtgEp: arr:» . — pzz :q=F=F- Ap. -m—m- m* t=t= A- -m & -£ 2 - : P— £- =3;-^=1=1= a>- ES: ==:tB=&i: =3===t=F= -rs?- — m m — «- 1# -#- 4® ** £g — F- •*- -(•- -»: « * • =t=J= -ft-lS?’ -s?- p ■ » - ri»- :F= r_ Ap. -«i- 49 — m- ifcH * : :t==t I rv M=t= * ® — (« — — f- ptt ft m m ,* f- :F==t==F=FF -Jm=W * 1* ft? — f~ =fct=5=!= - -,*- e=F= cresc. P m-rn- *-*-*-*- ur^ 1 * ' ^5*^: — — * =t=: Cantab lie. Chopin. l£#=F= >==4 P — **k -ftfc li ^lg=4=i^-~ t=- 1:~ 1=— 1==- g- " s * ;* ?# sr i=fc -fL^-bjl^- =E =j»-TgS:;- ;=^,- c =EEE?i PecZ. * Ped. * Pcd. *• 67 CHAPTER XL SECONDARY SEVENTH CHORDS. The secondary seventh chords may be introduced in order by short progressions involving the use of the chord under consideration. The order given is as follows: super tonic seventh, sub-dominant seventh, tonic seventh, sub-mediant seventh and mediant seventh The first studies under each head may be used as introductory studies In t e additional studies the recurrence of the chord may be marked by clapping the hands or tapping. The supersonic seventh chord. -W iii- =p= -t== cV, •=—£2 :=} =4 ~&r 3 I _g: =3= all- bll 7 cYI all 7 — 68 The sub=dominant seventh chord. ^ 69 ba :=± M. z ^— jiz: al 7 IV U I .: ]| v •} « & • I . I ~z^ ~ -&-=— 4= -(« — * i i M. *- ^ -<** — * — m- ES= i I- & — m -t~ I " — !/• aL II ciL vi ^ri = * r"*» «.. 49 ad — n: ----- §2-4 m S3— : ^ ! ''*"5 « — i “SB . Zj « | :: ■%- > r-V - b# 46 fcg: m ma=&=3=* — ?SH — m-m- I =4 I I J. ^=d: =£2=0- :t==P= — U-+- - -tj«L t= 4-4 ±M- ±=v=t i- =£Z f-r- -t=: 4 = zst -£*- I7 The sub=mediant seventh chord. bl^r C1II7 bL u \ 4 ’ ^T =± •Lz^: f -4 =4 — g»~ <» i e> -*-mt & <*> * i I ' I vi, y, =A -1* m r — r ; : S f VL III 70 p^-Jq -J — 1 — 9>~ r=*-3h — — 9 - 1 - | ■ --I - F^=n — =u-i -i j J =r=^ 1 1 — s i- r J: A F- --F- -r — r— ^ J. m ** m l l ( F; * r 4 ^ 5 i i A' j. -f“ — i — 1 ^ i —J- \e-? 3 4— H dYI r • r 7 V r r r !-r f - 1 aVI 7 _p i h 1 ~^1 --- (d 5^^=S-s! 1 1 1 -g— *- r r =3 :4 - — — * — w>- (• 1 1 — — i= -S- -#- 1 1 If* * Z m ' f - 1 1 1 =?2 « -1 r 3 — =F T=f=-P n : - • J — A J- J J V J i — — \Bra f— —- 1*- — s — m— t=r_ —t— — 4- =^= =t tr -C: -r-...: s — - r M VI 7 II 7 VI 7 n I | -J J-, r-rJ- -4-n 1 — j -J l-n 1 : — i g?#-*— * * — s — — — — 9— SL: * " , j— 4 4- T =1 — ^ 1«— — s — 9— • * *-■ s — zA 9 — , br & I i — i i f * f r <° e -9- ~ s l 1 I 1 1 1 1 i i 1 | -s- i 1 J * A j — ^ — m- A 1 i 1 «V 2 - -J-A-A- J 1 - s p- — s- r f- f 1~ f~ 1 f ' w~ p— II 1 r~ r VT- 1 1 1 r r j " The mediant seventh chord. 71 General Studies for Naming all Harmonies. * * , a J * +— — — « ] .4 r ; *55=1 — ^ — n | /££ S m i ' — \IM — r r L A J J - — -H* 1 — V 4 1 • A — * * — - 9 — h ~at r r *r g - " 0 * - * . — -— “"W .. 1 t ^ " ■■ r dl 7 aVI 7 bV 7 * Tonic chord with lowered 7th and sub-mediant chord on the raised 6th of the scale, (the melodic minor.) 72 * Sub-mediant chord on raised 6th. * * Mediant chord with lowered 5th. 73 CHAPTER XII. CHORDS OF TRANSITION, EFFECTING TEMPORARY CHANGES OF TONIC. A chromatic tone will often change the character of a chord in a progression, making it a dominant or leading tone chord of some other key, whose natural resolution belongs to the original key. If a return is made immediately to the original key, a transition has taken place, the change of tonic being only temporary. . , A modulation occurs when the new key continues at length or is emphasized by any form of complete cadence. Transition to the dominant key. ==}: - 4 - m Keys. F • i m 3: =i=~=± I t= C. -d-i (Analysis.) al bl bll 7 bV, =F 5 = 1 = p. 1 tA. p. 1 1 -- -- 3^ • ^ 3f* • ^ 1 ^ 1 -- -- H « « 3<* • )• cresc. £2 ^ m 3^ • I* 1 £2 / ^r-r: hi L L — 1- 79 i i Marcia Funebre. Beethoven. Maestoso Andante. — f) — W— t — i /— v- — ! — — -t— — Z S'- JJ : #; 5 —5 — S— -*-5— -•-• -