MELODIES AND TO HOW THEM HARMONIZE FROM ILLUSTRATIONS WITH ANCIENT AND SOURCES MODERN BY EDMONDSTOUNE DUNCAN By ** Key to * Melodies the and author same How to : Harmonize Them' " A BOSTON, THE New Yosx: BOSTON G. Schirmer, MASS. MUSIC Inc. .'. COMPANY London: G. Scfairmer, Ltd. 5( M" ^- A 0^ \'^ To SIR MUS. Professor of Royal the HUBERT M. DOC., Music in College Bart. PARRY, A., the ET OXON. University of of London^ Music CANTAB. Oxford^ this of Director book little " ^ ts dedicated respectfully by his former Pupil ^ The B. Copyright, igo6, by THE Author, M. Co. 4391 VINCENT MUSIC CO., Ltd. PREFACE. When Thomas and easie Introduction exclaimed such of part mine infinite works in downe Writers of of twice think tested such of rules the to his For rules, which harmony-book, futed con- and tedious do is bear course must of has been odies) mel- but there still be small as appear proof cannot no made beneath that the well- author has so to (with parts but them wrongly), or the ; cause The student of Cooper may conclusions, not the longer no attempt rule, hasty but eye, most be too and (of adding definite down setting fear domain. little as very any the Cooper, unarmed (rightly work, practice the to risk their into For rieduce Ouseley venturing little rience. expe- to be Fairfax and concern. would need day Tavemer, maxims) easie and Fairfax, it down practical " he place." before present false " setting continues, he Tavemer, own Macfarren Prout, to this in of test see," names our confutations the of whose more, set to I the precepts owne the by did Then " stand might as **Plaine Musicke practicall difficulty great his issued 1597 to the on rules in Morley of go tice. practhe to dispensed with. is Illustration in alone, of the Melodies here author's be employed opinion, adequately iii ; can and by the taught. illustration tion HarmonizaA book Preface, Iv has, designed thus reproduction place in harmony, this of them, practical far with credited initial the of he mixtures is it is with so is equally least generally and known forth set harmonists, was In one. that his there " are in " the combination the as source, re- at or (i. e., harmony) and no melodic 930), mentions syllables not are he to t one. himself ulated tab- them of collect to knew even harmony, earliest the octave, others, than full about first the of and letters ^ome ear until symphony," fifth, and fourth, of with ancients and difficult Enchiriadis," kinds three science they put for in all likelihood " "Musica took connected the scales, very being attempts whom of is known lived (who Hucbald, that the combinations as a of though Greek task systema- a process early history unsuitable proved the same that The use. rendered the harmonic as practically mendation, recom- to-day.* it appears simpler important development mention to matter, the the it is known as Briefly of gradual the it is that namely, tised this however, of pleasing more in sounds the to music All sweet.*' i s W-Z?. Tu * authors thus " tris - they shown sem to used ** to ter - songs or Art The of in " origin The Oxford of they make loth of edition, " ern mod- point counter- view to is Henry 1683. the with Musio but opposite attributed Polyphony History bass, " us. - the the Descant," Playford's Introduction, and when treble, the li - from compose ^ -^ fi es nus - " tunes in pi - from compose material t The well pa expressed Purcell. ^" "^ TO " . basses or -O ^ ^ .^- Formerly " -O "^ c^ ^ .^. (Vol. Greeks is i) by fessor Pro- Wooldridge. " Odo, the abbot authorship of of Tomi^res, this ancient has been and learned latterly work. credited with Preface. Bumey and the quotes adds, speaking " pleasure remained could and principle, P g^ Te hu and rules, of his ous multifari- single bass, or least, of man practice of and of will as of the -^ boldest :^ the to meetings." * be the discovery of the combinations * it was and together " Discantus counterpoint during the reached such the from period be to of noted, ery discovbe might whole originated of logne, Coof practice remarkable 1 by social amuse Franco a velopment de- thought Thus the the amusing well." season due which sound turies. cen- intention melodies counterpoint or in and yet " and new a totally independent two of however, discovery of four than author's may, of use fifths, now, stages the says example.) and less no the in above counterpoint, chance ** in it is not issue For observed succeeding important a indicated," fourths lasted etc. li. - is ll zg mu - (See consecutive be g? between harmony One Helmholtz " notes tenth." Through the passing abandoned, course, that fa - ally the of use namely les " Parry, octave go. o mi transition ninth ej - Hubert sung -El -^ g origin The to a ^ The of others harmony." ^ the der wan- disregarding note, at the been miserable holding 1l a who, the a the ^ Sir have lows: fol- might while scale, views, upon suggest " voice one to Hucbald, immediately points d'orgue, pedale, our harmony modem that the beyond from which him enlarged time, into and idea shows penetrate example that through fixed, genius of Hucbald's " at above v 4th to the fection per1 7th centuries. * need This system of principle not be magaditing of Polyphony. taken is to too be seriously. regarded as The the old Greek fundamental vi Preface. readers counterpoint The aim of An average such an while and of difficulty), the examples, the most be to Of the for benefit sensible it use method text-books excellence of something " In of one due in Prout, to the work in long has to for the any a encourage music, the the confident been wanted. works *An many the best Dr. him. class of to aminations, ex- little modest belief that is essay such some Duncan. 1905. analytical interesting present of student, Edmondstoune January, his intelligent view more this ises. treat- advances, average of matic," Chro- modem leave may Dr. to 'and of the to we assist to of making forward put hands him prepare and of directed safe turn student the as be then practical most to sire de- who Diatonic Harmony course, whose order help the recommended Those well do will Harmony. on be may work the examples. will " should attention its newer Vincent's Charles In Goss's of Doubtless Manual a degree perusal a employing with concurrently older the of peal, apfinds (who rare.* are teacher. in from wKich from should student, accrue of some his difference no pick to derive may treatise gifted may left from present offer basses he begin to usually remarks really the to matters. diflScult is aid what the one, it he occasional and these ous numer- chiefly practical. and with the to of treat and harmony referred finds melodies, counterpoint melodies is book himself, by To directly our of growth be student harmonizing up the must which volumes it of history the for But volume. key, solutions in course of the of no preparation, exercises will contained offer in OONTEl^TS. I'HAPTER I. PAGE Cadence. Perfect Scale Harmonized Major Scale Major Plagal. Triads. with Triads with Hints Writing ON versions. In- and Basses. . II. Minor Scales Harmony. with "Harmonic" The and 18-42 Melodic." " III. Association in The Seventh. Dominant Monte AND Mouton How VERDE. Chord the Inversions Its and Employ to . IV. Modulation. To V. 1-17 Attendant The Other . . 43-57 Keys. Keys 58-74 Diatonic Passing-notes. matic Chro- and 75-85 VI. VII. Syncopation Arpeggi. 86-93 Ancient Sequences Modern and VIII. Chromatic Chromatics. Minor Dominant . . . Chords. Diminished 9TH. 7TH IX. 100-119 The Sixth Augmented and mented Aug- the Triad X. 120-134 Study Further Cadences of 135-144 .... XI. XII. Suspensions, Pedals, R. C. ^45-^55 etc Melodies. Examination-paper A. 94-99 O. ; F. Society. R. C. O. Mus. ; The Bac. rated Incorpo; Mus. 156-166 Doc. . APPENDIX: Comparative Composers Quoted, Foreign. A Early Chromatic Old Seventh. Table Tune. of English Harmony. and Triads. Harmonization Origin of Modulation of an Diminished 167-182 vii AND MELODIES HOW HARMONIZE THEM. CHAPTER be the to in found monization har- the study cadences. half-close The and taken be with but form, part, Example Perfect z." I such some scale, already of will show i. attendant five on result the may their in turn the as of G of a of means degrees and of notes Transpose " keys or in in notes that by can, we harmonize Exercise chords root the top following : .1 -v part) upper dominant, the Cadences. exammatibn An sharing and both several the obtain we tonic Keeping first. cadence perfect namely, chords, same the introduction will melodies of of CADENCES. practical and SIMPLE I. OF STUDY A TO of the possible these the either (or in seven chords, two scale. Example F, melody into i with an the ment instru- paper. (I) Melodies With and the help enabled to for first the to Example of The a." scale, the before of be subdominant) (the These, over. the of which notes pass 6th chords shall we harmonization two two Cadence Plagal the Them. Harmonize to the its of the and 4th of complete contains obliged How were we the were course, scale. Cadence. Plagal ^a iBga Exercise in its and three --Transpofee positions, to plagal the keys attendant the cadence, of G F. the From now may be to 2. three construct placed chords a beneath table, each thus far suitable showing degree employed, of the major we chords scale. Richter'8 Melody. 1ST Note Harmony. / ./J/ Tonic or Fifarinc. Subdominant. or IV \/ 2D Note 3D Note | 4TH Note | \/ 5TH Note Ir-V^ Dominant. Tonic. Subdominant. Tonic or Dominant. 4 /. Chap. 6th Note If 7TH Note V Dominant 8th Note ( Tonic The note, lower numeral M. which gives With also, a note, a" modification Gottfried of of the and for the since let lowed folrecent Harmony," " of figuring table, the well- most Vincent's Dr. Roman the and and Richter, melody the of Weber, ". F. system assistance the bass is X., Chap. shows column) the ". ingenious an third by Hauptmann, See writers. {i This root. invented system by the gives figure the gives known Subdominant (in figure npper the 0} Cadences. Study us melodies. monize har- now scale. major 6 1 -tf"- '^ =f= -"- ^ Exercise keys of 3. G Observe are Let ones, sixth and excellent us motion bars seventh means to passage our table inversions the bass subdominant is also themselves, of of from progression extend by above I the F. in now but the Transpose " awkward the The the and 3C but of in the to unsatisfactory. do not chords, of the above dominant not by in in chords The naturally. progress three ample. ex- adding use. new Melodies A 9fld and nujor Haw XMit, Admittiof NOTS Them. few a imrert and their inver- i 3 i L Mon", Dominant, and 3"D Ntnx 4TH Note inversion. and Tonic, iu inversion 468 IV . . . n 2nd 3 only, Subdominant, and its inversions. Uv.. Tonic, 5TH Note nons, its ist 2nd Note may now Example f ome J """ and inversion. (Like Note the 4." of The Scale invereione. 2nd on bass. the (See allowed result such some 6-3 I.) No. freedom greater obtain and 6-4-j or degree With S "" inversion. Subdominant, Dominant, 8th (5 Note the 7TH inver- Dominant, and 6th its and by as /" ,1 the with harmonized / No. I.) table, our we following Triads ^r : and "7 I;:--n't:i3E-fe'^z^^ ' -i' -^- ""-"5'-* -(9- 'lar 1pj_i" ti;!'^!:: " " V IV ft I J I . {i.,,,:' its Note first 5 I . 3WD ioni. Subdominant Tonic, IIT Harmonize to o IV Vlio Exercise of G and It will of roots allow of while the Let 4. be the or in I^ employed the effect is add now into 4 keys the the on the to useful in skips list following relative 5. SequencOi or available minor of any the belong They key. chords ; as for as are ample, ex- passage. minor three -i9- =i= and mediant similar employing chords) triads, minor bass, connected. more (of inversions previous supertonic, sequences the the of and being These, more, wide the though the unchanged, are the that example smoother to formed " above the avoiding our us from chords whole especially Example Example Transpose " seen submediant. much, IV I F. triads the tT o ^ ^- IV triads. S Melodies 0 and How S Them, Harmonize to igi il s: =f= fi"" " i V I Exercise taken as G major), ( of step of The the the (in C ) two or descending of use into first point or even as time a ; follows ; additional view of the which plagal a be may cadence by advancing bars ( I F. chords, reproduced notes these of at and G two major), systematically is note a * sequence from half-close a of IV III Transpose " progression The (in 5. VI 6 to i ( bars 7 chords is melody to one Another ). 12). considered shown in the table. next Chord. Treble. '-[ Triad Tnad(ai (and inversions) Note 1ST Triad (and Note Note (and inversions) . 3 5 . . 7 . Chapter on VII treats of Sequences. on Mediant. 3 III " inversions) Supertonic. Triad 3RD Sub- mediant. wm 2ND of . /. Chap* Study of Cadences. No. (Like 4Titt 2.) Note J246 6 In.. Q I-n M (Like No 3.) (Like No. 2.) Note 5TH 6th Note 7TH Note the 7th the major use, scales. the Diminished ( the leading or in included even in table the key major of be may is which it there has chords ; its general given in on belong to limited a it will for chords of formed properly not of sequences illustration One ) does note, key, though especially be change.) (No triad The in ^' fore thereminor the employment passing. (See Ex.6.) Example Showing 6." triad in a major j^ il^ :S= manner a of the introducing inished dim- key. .JL. =3C =f= -f9- S =g= _ff.."g. -"5"- "S- IV I e IV VII" "g~ Melodies and Haw Them. Harmonize to J^ i "JSH ^ :^ =^ izc -^ -"- zsn VII" VII" IV III i la: ^ :^ ^ * = .CBS. ..a. -fi'- 321 i 6 vn" IV 6. Exercise G and VII" " III into Transpose keys other such as F. triad scale (when in the melodv) same chord is also availaole Here the are 67' * and that under chords same 7 and the those first of 2 the inversion major of (See notes. ished dimin- the *.) figured. I 3 1473 3423 I IIVvii^iii IVvii^iii the that seen 8675 5 6 be may numbers beneath employed is it example above the From 2 7 1423 I IVvii^iii 6 23642175625 vii"iii It useful invites the is to VI be observed when the the support diminished vii"* IV next triad that note of a is of minor rarely I the the VII** VI Diminished The in the V II is triad avoids melody triad. used III second major chiefly tonic, the inversion key. and of Melodies lo and How to ^=g^^ Harmonize Them. ^ i:=p: I -4- -fiJ-T- ^a" (i-^ f^ ^ 9! The i6th Notice example omits the parts in natural the bar in bar of crossing Example 6. the ( see in parts The two ), upper of and the F- another bar. also song ) ALE.' and allows voice (Version Anon. Book. Virginal Fitzwilliam ( present exactly,* taken part the From * the be loth Museum. copied crosses from 8. 'WATKINS the is middle the British the also may ) is quoted 7 which and 4 Note 7 the bar No. in harmony, in 3rd ( MS century how I TSl three-part early an I H"=F of above the it perhaps melody being ( transposed an placed octave by in ). Dr. the Bull.) middle, with /. Chap. Study of Cadences. J J J- ^MJ J y ^^ , 'p 1^' i ..jUTif ^ pZZrzpE J " Xr^ r r:i^ , i^ "^-^^' i# ^ J-. -x-^ II ^ r r\y^,^dm^ l^,f ^,^J H^Hi i "; ^ ^^ =f Our " Example Elizabeth's Queen is perhaps done 8 in by Virginal Bull. Dr. triads, and introduced. version selected is the so-called Book."* The harmony is almost from It until not The air the was 7th once bar entirely is an in exceedingly popular. *The between popular 1550-1620). name for the " Fitzwilliam Virginal Book" (written Melodies 12 Xzample and How Harmonize to Them, 9. YORKS TUN". (Ravenscroft, 1 62 1.) Milton. John y^ rxj. fi J *- ^/r in tn the the tenor. "^ *" ' 1 i J f= "^f i^Ei i ^sf^pi ^ i i tr " r 25^- -p ^-- ---^ as "rr"r r r cr ^ I r 4^^ .j J. ^^^ i Chap. Example 162 the No. is three of Cadences. times the omitted in of up of 13 Ravenscroft's placed made father the from is melody mostly Milton, 3rd Stmy is taken 9 The 1. harmony John /. ter, Psal- the triads. and (see A, B, is It Note poet. and tenor, by that the It must C) . be pointed that out this interval exceptions this to the rule available for proceed of for such " ; first ( Chapter " Example J_ triads, the between. (on p. in be to now may melody follow. ) 4 student given a melody several ; Let take us tion "Introduc- Goss's ). 20 A 10. to quires re- basses.* the key, all far shown procedure a the example chords bass a and writing on major write to examples of the few harmony in present being hints table four-part be to General With modern B^C -^- J_J_ J- J_-J G F D,E J. I if"t 5^ ?=r^ ' o I the In first IV above dominant By chord ( this contrary motion, with of effect. Another good fourth tonic, *' F," chord and scale. " the See tXhis G root also cannot p. the " inner two be may seen series of the position of the the 6-4 the VI is is chord at 4, " At we which 34. always be done, but it is well to aim by at it. the for avoid " D," of 3, 2, E," tonic-chord,t its sub- always " to method Nos. in the employed chord. ordinary notes, of approached, bass the final taken stationary parts inversion of I position root enables for 8 successfully ) is first kept " means means "), which alphabetical By avoid C is better which the " (" the 4 chord second the B " see IV I IV example, inversion. ' 'e and the " E," izing harmoni may appears of the again in and Melodies 14 its tnie be place in the tenor a simple of same the and "D," For stationary. In the analysis discover may which upon bass whole the some fabric rests. another source, which part most student this, the is better. be could considerations alto " "C at bass and melody (downwards), the the of motion where place one nothing is Here contrary while like elementary harmony the upwards, passage the Let Them, Harmonize to direction same chord-writing the of the moves smooth of In noted. carefully proceed end. the at How Example simple strain, comprises from drawn of series a the for notes alphabejicalJlL /^ II. iZZ^j"^^ (f ^T , * As late^r consist melodies finale the of the Ninth of George an Grove alphabetical Symphony pointed series out, of of many notes; e. Beethoven's g., the theme finest of the /. Chap' of Several the at attempt same and like a them same aim the parts treble the Thus between inner ( or at is there treble bass and 15 and bass, least in move the of one the same ' harmonies Simple short ten table when Cadences. reappear. motion, keeping ) stationary, direction. features contrary at of Study on melodies, page but should 4 will Exercise chords added show the given on 7 principal should use the to (Exercises occasional supplementary be be page ing follow- 16). to chords made The essary, nec- of the 6. 7. '$ =^ i e =g2 a) Exercise ^ -^""^ i ^^ w Exercise i I 8. i t ^ ^- 9. FF=y= ^- '-*=^ I Exercise Haw and Melodies 16 =^q:^ s "2" -fi?" its: Exercise Them. io. m i Harmonize to isz-ie ^- I ISZ .^=^ ii. iteSS Exercise 12. ^jg^f^g^ig^ Exercise g 1 1^ " -" ^" " i-^- iE^^ iw- -"- V- -^-4-^- Exercise S 13. f" f si " X- " t^s^^^m 14. ^3^ 2 ^"" ^" 3" ^" s" ^~Fi^ zsi " " .^ " "^"T -Z;! (g- "^ ?g- ^g^- pSE -zi""s^ I :M: 1 8 Melodies and How Harmonize to CHAPTER THE MINOR II. SCALES IN WITH The the three podorian five first forms of ( in A A to Following the the major scale, and the upwards the first be Hythe as concerned.* are cadences are or far so in employed two perfect ) may only ) which Locrian the agree method same scales, of use ) ( counting notes Example minor the now octave ASSOCIATION HARMONY. varieties three Them, regard to half-close (the applied. za. ^ ^ S"4= -^ ^ 3?r l"- t i "^ -:r- ^^ I Exercise of keys The all the of the the the seven is of notes 4th help after minor E result "The us 17. of and a Common, and similar the 6th. minor or Example Transpose " to that Locrian, obtained harmonized were These plagal two in the i, where Example with omissions the exception with supplied are cadence. or Hypodorian octave (A to mediaeval notation of modern our starting-point \ for this octave calhng on finally settled experiments, AbdyWilhams. of Notation. Story letters of our alphabet." many into minor. D scale 12 riven A) has musiduis, by the first (p. 29.) Chap. Example 13. II. Cadence Plagal " Minor Scales. in Minor 19 Key. H^Am m final. B^=l^4j^N=^j S=^^Ft^ :sr jK ^^TlBa^^^a Exercise into E i8. minor be It will ''tierce of in a minor table The that last given for that raised leading-note chords and their properly as in by there It is inversions last minor part chords. with be not accidentally an all liable are the the in any must minor, the is identical nearly key. third this in appears be used balanced is major a for name however, major the forgotten, however, that It may, follows which old commonly which if be if that example The chord. piece. composition, a above the Picardie/' de of the cadences minor. D from seen is introduced chord and above the Transpose " dominant to contain interval. of Table Scale. Minor FignrinS. Harmony. Melody. I I Note rsT Tonic or Subdominant triads. I I 4 IV a (with Note Dominant 3RD Note Tonic 4tH Note Subdominant. 2ND raised tlaxd) r i t 4 IV V- / y triad. ^ and Melodies ao How Them. Harmonize to ^ Example Harmonic The 14." three Minor Scale chords. " Exercise The 19. effect With at 3) is assistance the triad harmonies No. on of and employed, above the the of one Transpose " to in obviously the mediant, together following table principal chord, is with minor these for of the that first In is the be now and use, minor. D (like 14 may constructed. suitable ^ responding cor- crude inversions their in 7 and Example supertonic the E to harmonized ^ .. I triads added the sub- inversions, the on each placed case first. the /-Vl /v-// jjl 1/ 11, Chap. Extended table NoTB 1ST of triads and Tonic Minor Scales, inyersions, for and inversions dominant and Sabmediant, 21 minor Sub- ; inversions (though inversions). rarely with scales. 6 (I) (3) .VI Dominant NoTK 2ND (with triad major inversions 3rd,) and ; Super- (rarely) on tonic, and its and sion inver- ist { 7 5 (2) 2 V 4 ii"5 . . . (commonly). triad Tonic Note 3RD and inversions, Submediant and { 1356 triad. VI I . Subdominant Note 4TH triad and . . versions in4 Supertonic ; triad and 4 46124 inversion. ist { rv (with major 3rd) Dominant Note 5TH and inversions, and triad and ic Ton- , n" . {^'.' 2135 inversions. I . . 6th ad (without being raised) Tri- Note and inversions dominant 1st ; and inversion Sub- on triad on and { 6 4 diant. Subme- I and 6-3 (like Note inclusion The of anticipating the which to the admit this form omitted its 2nd . . inversion, [or Supertonic]. on No. i.) the 6-3, on chapter (See a on properly belongs. chord (in brackets) those I nant, (raised)Triad on the Domi(with major 3rd) Note 8th 6 VI IV . 7TH . are are of it at rarely to better the be supertonic the left alone. bass, is dominant stage. in i.) what some- seventh, It is convenient, present used No. The to however* inversions early practice; while Example Haw and Melodies 22 Hi-' Them, harmonized. scale minor Harmonic 15." Harmonize to E^: pTT^r-rr^ '. ^^ '1 5 t=* Tiy- iv " 4jz^ ,y i ,v S^ ^.ji^ .i^-i S i do, Exercise Returning the to Sample in chord, position one or ^tuJ I the VI the use the lowing fol- of that another. I IV VI IV V 18.) Ex. I ^ VI wide by have and r f\" I fj I.. iliTTTr 12= I would like employment (See The with 3d z6. Szample * minor E ist, (VI), phrases for call commonly the connection in triad submediant the avoided, to 15 of consideration melody the of notes i I J minor. D of I 6 6 Transpose " ^*^ t-it=^-: O 6 ." 6th i M^^^=f- P and 4 4 2^ the been V IV skip bass the in second proceeding somewhat too I bar of I have could easily been Example is the parts, however, to"B"| downwards, separated. VI II. Chap. In the note first to seems tonic ; and 21. will chord is dominant, or the *). Example required, in In the harmony introduced Example in or approaching submediant thus effective prove cadence. perfect be from harmony marked Transpose " of sustained the phrases, change a 23 to 17 minor E minor. D tonic the these (See chorcjs ^thus The the suggest " Exercise of three Scales. Minor : where proceeding a relief a to half-close, remaining ( in its the sub- lastly, or melodic first from a phrase, inversion ) may " 18. ^s I ^^a) ^ i ^_.v -tf"-s- it I Exercise and D -^-f^"f 7gT minor. 22. " ^Transpose Example 18 to E minor Melodies 24 When of and melody) the viz., tonic similar: " between chord it may as avoid tonic a Eiuunple chord in sometimes with original chord, the to a 6 somewhat be inversion an No. (beneath will dominant, to such return employed progression " or is Them. Harmonize to itself triad the the Haw of the or be a tonic " used to cadence. zg. ^^^^^pp In (see 217 of A), 327 inversion first of succession a the sixth the thus as : Exercise t Compare B), or 3 2 triad supertonic ) may 5 such as (see C), ( i.e., a be 3 the chord effectively " (?" , minor (see melody the ao. (A) E in subdominant the on introduced, Example of notes 23. or D Transpose " minor. Example 48. (9" " to other " keys, such as 26 and Melodies Exercise Haw Harmonize to Them, 27. M "Gh-s- i i Exercise "" I m 28. -^ i |S"- W-^ "^- i FH=": ^(2- Exercise ^g^ 29. ^ lt I IS Exercise 30. Hitherto regard referred to. liOcrian, little need are sixth a descending scale ; to In to the be said, both the Melodic discussion of form, which been namely peculiarity minor, (or has its harmonic as its Moreover seventh, scale oldest the to here small. and minor harmonic the is sibilities posof may ing havin common Arbitrary) we the then minor ceed. pro- Example Scales. Minor II* Chap, 27 aa. i ^^ 22: m 0 ^=h i form sixth of inversion may ) on a Example (a) be supported sixth dominant ( *) forms of is is when thus by triad at in the (or) tally acciden- ( triad a dealing 23. ^ a little used seen held new or are features. some by supertonic, method commoner the melody Both raised where the the subdominant. offers minor the of note raised and I ""- t This The ^ on the nowadays, with the Example bass first or as 23 a dentally acci- (c) pedal. 28 (d ) A Haw and Melodies Them. Harmonize to simple harmonization, when the 6th and 7th are raised. not ^_"^_^__^______^_"_^ U^ s =r The (e ) i f^ difference. IB f r T " the When f ^ * 31. E minor. and r " ^ Exercise minor a K f. S with same, -r Transpose seventh Example sixth and not are raised, as in the descending form of chords usual consideration, the most the triads. accompanied by sixths, ( See Example 24.) Eiuunple 24. J also example The and the to the quotes the triads ^ ^ J V V ^^^ J ^^ o VI \ ^ 6 I ". 23 S 1 into D accidentally scale under employ same are notes suspended. II. Chap, i ^ A Minor i Scales, J "4 ^m ^ J -^ i -_ ^ -"5"- e 121 6 i VI VII I r^M|0 Exercise 32. and of good also when chord 6 26 V I Example 24 Three "), with scale and its into B what the early blended. were teenth seven- different the ease to serves ( See bars 8, etc.) friend of the three-part his harmony. bare in treated ) illustrates employing with i ? I Soldiers was of specimens ( Example IV be and Lawes, Henry i ri z ^Transpose " minor the ; I i 8 I minor the century, 4 S 8 ("We 25, how :*t- minor. C Example and i I- If E^sp^ Vf IV 2 \ I i j"g. is forms s IV r\^['.j^.^fj^^ s show V tLkl^i^ ""i minor 29 fifth, music. use The of the Observe which left Milton, poet following minor the is not many key, opening to be tated. imi- Melodies 30 Example How and 25. "WE THREE." SOLDIERS BE Ravenscroft*s From " i Them. Harmonize to " Deuteromelia E ^ -" " rg #-^ ^-TJT-M^ fe i^ ^^ y~i |*JL ^' H*-' ^3^ .. =""" ^g ""et- i ^"r (1609). 3^ P ^^^ifeS r|f-^Trf*^r^ I d *. W P *'tr ^^ # _" " FP=^=P= aJ ^- g I Lawes. Henry Dialogues," and Ayres BOWER." THY TO WE HIE CHLORIS, "COME, " 31 a6.* Example From Scales. Minor II. Chap. I, 1653). (Book i^-^-^4 i 1^ W -"s"-^ -^^ g -a. r f " "jbf^-f^r7qr~/=j^ " p^-^^a^ _fi-! n^"rr 15" f-p^j-j-^ f9- ' A J_^ :#^ . A' g 1 -""- ""^-^ "=g g' S^ =P^ I ^S^-2" #2= "--- J.-.-^ "5^ i i "^-5 ISI * (p. Another laa). vernon ^ (from a 17th Century MS ) is quoted in Example 100. Melodies 32 The and advanced from next tables of point chords Example when lightly pass press letter- the over 33. illustrate examples two Example may to Them. Harmonize to student this The How applied the minor the to of use the key. 27. D i ^J J J J i r-r^rr G i m :.S: r f r r ^ g 75 I ff%- " =r=r^r Example In by chord the would bar while belong this treble the to the C, seen at mere sake in of the variety the In are chord the Intervals 4th. of where, second second stationary, a similar however, chord is that treated effectively are bar, next supported dominant parts a instance Another manner. the down chord same the useful. as how moves is leading-note though nearly observe B) the 6th, the been have (at (A) 27 of I22Z kind for changed in is the to Melodies 34 the In 6th the used minor There was In had been given in Examples If and ( the ) a method good where preference to B-natural to form they Cadence of in occur approach will be the triad ) the sulxlominant the observed and (^ both its ) in version in- own other. difficulty in working chromatics may of the this ^^ at each mark and of any (without melody triads,Jhus the stage following your succeed in ( A-flat ) c The It ). experiences this at B naturally ) may melody ordinary Take how 28 student the ( 20 versa and chord the effective. equally vt'cg (b 23 of place major, given chord -^ ) ( see ** 2nd examples are Example 27 ( or example augmented an Example at melodv. triad of last accidentally ** Them. Harmontze to the made is scale How of interval bass. the the bar fifth the having in and be the bass and posing com- to an tion) modula- employed. likely places for i) : . Example 29. I ^ xl" ^ O IV } 53 f 6.2. -3 V 8.1 ^^^^^^ i S i EfeE \ r II. Chap. bass The for the notes the table second this of is and A), allow dominant On chord testing if still if it the the for obtain we triad ample Ex- ( inversions, be quoted. not are table our intermediate the to a therefore 35 Irom unsatisfactory worse latter The Example d" derived melody. which result, used. would note 30 is fopned Settles. scale./ Proceeding the ; fofmed thus minor Minor 30. A. B. . fest ^ i ^ r- J. s EE harmony but dominant is 30) which leads us the fifth To write at as but to proceed Example a to thus : employ the inversion, second take to for 30A. the first we the the tonic Therefore inversion 6-4 G, would 31. ^1 the is no tonic ever, how- namely, inversions. be there " its or the beneath would on of This, allowed are (No. of form follow; to bass-note dismissed. 24. selected are sub- to example same Example table, our be melodic the in triad may the in triad the to tonic Example shown as melody another while 8ves, of note they so ** possible im- not motion) dominant from B and (by contrary employing from Returning " at from away bass the solution i unsatisfactory only unusual, descending, F. on in and the is progression the derived is scale that 8ves harsh is stiU minor the " A " at and unnecessary, There m i ; 'r r r r j. The i nous, monoto- lead other chord to native alterand Melodies 36 table The bass note be for the "-flat, which bar 2, most has 3 Bars minor Them. Harmonize to scale excludes is outside and 4 and Xhe key, need triad from the changed to not evidently so dominant, avoid result monotony : f^ the altogether. " inversion With ) or ^ it ^ "^ ^ Qe 6 inversion ( Avoiding ) feiM is " i f-rr-f ^L-^- take of one avoided or nies harmo- tonic, 3a. ( and 6 the inversion, in each bars an etc. A 1 ^ riF^ In fore there- inversion. to inversion an this give tonic, To list. our methods exchange, merely is contain from Example i^ the triad^n the and feature. same 5 be must two bass movement the derived The treble natural Bar tonics How discussed. In the and 5 second note avoid to case in melody wide too a had better skip in the bass. bar At used, so 7, will student sufficient * melody being The find correctness modulating parts the (the note he to can support which will an produce ordinary further above in the confidence with just Example at shown considerations has dominant) shown progression the substitute By following the bass the diatonic of admit 20B. analysis, a chord b induded beneath No. i of bass and the two the table. added. submediant been of non- inner In Goss remarks Example will be Scales. examples supplementary the ) Minor II. Chap. only added 37 from (adapted where necessary. 33. ^ 3 ^^Ig 2^1 r ^^-^^^ p" ^S I r 0 6 i * J -^J r 6 V 11" IV VI I I V I'J r-=r i l""-nf-t 6 I 6 VII ^ ^Ee 6 VI 6 V i 3^ Melodies and Haw Harmonize to Thenu n??^ ji'jij; 1,^ 6 6 V IV Example In together with common formula, minor the 33, their they be may 3 - first be as Subdom. a harmony 8ve, Both melody, is the the * e. The and 5 th g., (See lower major of part chords. (A It is in that 34, uses words, a rule at are and as 5th the (with tonic added tonic to A as be doubled examples with beginning, also may proceeding formula it regard to Example the Tonic B) begin and merely little succeeding I inversion.) however,) note 4321, Dom. it is well desired. like 2 34 immediately Beethoven. minor 2nd Examples sometimes and in exceptions, few 5- : endings or 2, Tonic ( of scale, viz., * thus 3 degree or - 43 treated, 4 both a ( major melody the of means Tonic. such similarly As expressed inversion. Half-closes may in Tonic by of degrees be may the represented 5-1 Tonic. notes when V I harmonies that these ) employs 1-3, opening proper so II" I f S 6 the that unison harmony. drawn from B.) these stand for both Chap, Example IL Minor Scales, 39 34. [A] f m. ^^ sfe* Example is 35 chromatics adapted modulations and from i a not melody (so by Goss, far) being admitted. Example 35. u "^--1- ^^^m D s 6 qj nJrtnJf ' and Melodies 40 How Harmonize to Them. 9 is EE Qe 6 " be ' 'Q B the . The great are are The necessary. second the at 35, 34, ignore with sixth is example shown (No. 35) of 36 ) the second. ; a few two first of ( in [Chapter explanation in the needs only ever, how- These, occur quavers there 33-38) words passing-notes the Nos. modulations. only any and ( melody Exercises 33, harmonization deals V ; fully more passing-notes.] With regard relative y to and, in the of, and major student the the following these modulations, both as treated been now the follow and that simple so of which passing-notes both of else. exercises the In half quite nothing employs are use where above, chords of merely are minor will have have directions general culty diffi- no already given. Each melody is of character See also the the i be begun, scale chapter Exercise i should it as { i* on carefully e. is only major modulation. or before examined this by minor ) can ( Chap. determined. IV.) 33. j^#- Wi M ji="Mz jizMz monization har- that means be the X ^ ii^^B the Exercise in as How and Melodies 42 Example " ( 9. See in melody the Place 37. Them. Harmonize to the Tenor, below.) note f-f-^ s^^ ^ m -jSL ^_ ja ^ ^ g . f2-^- -^ ^m ^=^ 38. Exercise * -Wl=F|s=^ sEi*"=^^^ I" ~g" Ust B^-^ i -("' s 2z=a: "g- i^^^ powers, the ""=^ -a If Note. let ordinary ^ gz. him way. the finds student transpose it an " the octave, Wt: "" above and exerdse place three ( No. parts 37 ) beyond beneath i his it, in CHAPTER THE DOMINANT been If the to seventh be of it the itself ( 1 as Fifth * M22, the the to of Dominant of chord of present-day F^tis in musician credits Seventh. Marenzio credited works has Seventh in of bold a of of Monteverde close " been ( 1560-1599) the i6th time. Jean found Mouton, 1475- with the Briiannicat with of example an approached {^Encyclopedia his departure the Macfarren George practice/' Luca the as say either published was habits Dominant the to consent,* at whose ing establishis that considered Sir late in Claude This contrapuntal earnest Music") his those preparation common then was old phenomenal freedom " the by Madrigals, of Accordine is is, and the chord, from apart discovery. century, of of of long passing-notes. 643) Book from used or the obtained was independent an notes with colours gayer is Seventh be to 568-1 the principle the on so use, hue. Dominant chord back, command good sober tied kept foolish a gree de- admissible. before to put will fourth the not easily too which chord, harmonizing reserving painter The a minor the : manner a been until more in only hitherto palette arising. add now important in useful is wise the and scale, chord has cadence, perfect thence we thus root, new a especially The the sions, inver- 36. obtain we triad the from in its and triad, combinations the dominant " Example dominant employed and half-close the SEVENTH. the only Hitherto have III. the full art. first plete com- Melodies 44 the In the Example from dominant by the of case is made but chance both stances in- tions combina- ornamental notes, or be.* may 15th 37. Each quotation mere as of use traced. seventh, use the as " gradual easily which regarded produced notes be Them. the follow, may carols be may passing which palpable a Harmonize to seventh two-part contains How examples dominant the of and (MS. Trinity 3^ Carol. Century Camb.) Coll. 4= -^5^ p^^EE^J^E^ =g iS?- " is There Example m It such of rose no ver-tue. 38. NATIVITATIS. DIE IN ^ . 15th Century MS. (British Museum.) Triplex jS-i"3- * -Gh Tenor. I i HS^ -"- ^^^^^^ m m -^ * Machault An astonishing (dated 1364) " in example, may '^^=^ 25- be seen four-part in Grove's harmony, Dictionary, by de Guillaume vol. lu., p. 12. III, Chap, The Dominant Seventh, 45 n ^m ih jjji^Tj^ -""-. The his from extract dominant is arising from 3 which ( treble present, Example and quitted and all gives and bass owing to be may 4 ) the without crossing of the part. unusual of being again treble the effect course, combination a the seen the but as in of undoubted an 39), passing-note the bars to us (see Example approached Between fifths introduces seventh (with, VIII, Henry harmony), own chord I gression pro- consecutive ing strictly speakthe parts.* 39. From in manuscript a ( 1491-1547.) VIII Henry the British Museum. -tfH--"-. -f^T 1 - :1W: rsa:: shall what las, I m T TfT lllg[l rT^J -HSH- urt -"-^ ^ for do * TIm melody is given in large notes. I 41*: love I and Melodies 46 The three next a inversion second tenor A from extract being part otherwise being last three The instance surprising seventh Royal the 5ths on is the Example observable, note Willaert the as of esting inter- an 41 bar 2). ( probably shows ) 3 , ) by passing-note, a the 7th itself, (bar about regarded tal contrapun- gives ( Example brought old inversions the the classed usefully passage of the the note understood. chords of of the (prepared) example of some resolution delayed The illustrate Byrde's Seventh. Dominant Them. be may to serve employing of system Harmonize to examples They together. How last and quoted owing example Mouton*s inversion its above, to the of give the resolution. the re-entry nant domiAs impression of a the in of bass G. Wm. 40. m -..L-J-L^J Byrde. ^^ i=^ 1 etc. i III. Chap. Szample The Seventh. Dominant Adrian 41, 47 Willaert. i==^ g etc. i"i. te E^ Jean Mouton. ( Dodecachordon.) "t: J' :;^ " I ^ 3^ ^ji^n P k=lf" "" i^J :" ^ ^ i 48 Melodies We now chord his (from and Monteverde's be be in it that is ") distinct a example The Amarilli to ing employ- of method Cruda found famous a advance upon neither employs passing-notes. nor Example ** illustrations preparation Them. consideration. madrigal will Harmonize to under previous our How to come the one, and 43. Ei I ~'f i-^ ^m a=i^=i=^ This novel method opposition, great To overcome. deeply treating which, however, Sir quote habits ingrained retarded Dominant the to circle Tonic of above the key ; quoted, the the the as Parry: old but chords of of Monteverde's a ever wher- teaching poles cant, Desof the monic har- the of use decided The ** " recognition two shows with met triumphantly was taking considerably and chord the Hubert of lay, according they seventh, of the approach to it. in Moreover, century as ) the is seen practical from illustrations from becomes modes, the of universality distinguished The works belonging of the time the (early harmonic cadences of the 17th cadence, tical Ecclesias- apparent." application following this of the table, to it. use which of the dominant is followed seventh by the cal musi- Melodies 5" and degree Fifth How Them, Harmonize to Scale. of d=g?H-45l -^9- -^- -^- -^- -^- -^r \VfAA.vh^^^^w^^^m -Si- -(9- degree. Seventh Dominant the of with chord, the the to figures Example precisely are ( tonic or taken be 3rd (Unusual.) sevenths major must -i^- minor ) the put in when the keys. necessary minor a in either same Care, however, accidental to key.* example One sufficiently illustrate will the this. 45, t^- 1^^ W "y -^ U^ 122: ^^ l3t2E 2^=^l s I I i 0 s V example An *^ supported The * by passage Because Dominant it is minor a is the ;th the of employment 46 ) is added No. ( see fourth with the quoted from PurcelPs raised cannot leading-note, be formed. and of degree 6-4-2 same without the of note the ual unus- scale the as opera it " a Bass. Bonduca, chord of the ill. Chap, Bzample The DominatU Seventh. $i 46. (*"BRITONS, STRIKE HOME.")* PURCELL. 4- J :i U i=i r=r LUjLU ^ i = ^ ^ * j-^^-^ 4-J" I i9- i--J- i J resolution of so-called Example * Scored a are "interrupted a 47 tonic chord, gives the cadences" as not, in the most useful which avoid 47. ( monieslies to does seventh chord. tonic the } dominant Example cadence. perfect the necessarily lead course, of the of 4 ^i J J ' 8 S The l9-" for an exact Rarely strings, with transcript used.) a of Trumpet Purceirs. doabling the top part. The har- Melodies 52 the As and How resolution of and added are done. The at Example usual few a in method and C at owing minor scale. to is seventh delayed, minor the to descending offered the Them. dominant progressions transferred the the conveniently showing Harmonize to examples which F the An monly com- this be cannot peculiarity of alternative is H. 48. " Some delayed resolutions. B A i i I 9i=f= ^s f "7 I'i, "^ /t I i 1/ 1/ TJ-^iM ^ T^ rcf^Xp i^ ^" J -ff. m 1^7 ^v; E 1 " ^ is \ " / '/ III' Chap, The Seventh, Dominant 53 H i m fe=i i ^^^ ry A A J. d. i^ Our the OE ^ quotation from employed. properly Let omitting example effect the dominant the of the note A D, minor well serves seventh from so E when the over observing that appears,* counting play afterwards Note show to impart can student the 7th (F), added. when 7th course, Beethoven dominant the character I i^ the at "D" the 7th is, which is of the dominant. Example Beethoven. 49. (Sonata Op. 2.) 14, B Andante, , i D ^^^^^ etc. ^ i ^s -"-TT * In its second inversion. Melodies 54 Two and short the How from extracts remarkable Harmonize to Them. Schumann character further of size emphaDominant the Seventh. Example Schumann's 50. Afolto lento. Kreisleriana, (No. 6.) PP a^ * 3ZZ ^ -^-5 Ped. And again, Example later in the same movement : 51. I W"^"^ PP i n''^L^jm:"r i^ ^^ -*-^ I i etc. ^m SSfc Our of the remaining chord examples employed in offer four-part plain successions harmony in the easily be they that in their Example but inasmuch 28), this enough for to and chord haps per- may here observe imitation, though excellent. are 52. ffl. 3 E" ^-^ Example i p 53. ! ^ ^ i^ I'rA M EE in "and Me instances Other it is Op. with recommended they place 23, opens it. found not are named with closes other the piece first the (No. F the namely Seventh, Taught tion men- of instances unusual Mother 55 chapter the Dominant my in Prelude Chopin's as Songs " Dvorak's in two the of chord the of use of made be may Seventh, closing In keys. minor and major Dominant The III. Chap. r: Them. J J hi LLhUi rrTT^f^=F liiiAAi^^i $ i ^ six tJ Exercise JJ^J,^A^ J ^ below exercises as the of in shown are designed dominant the two seventh preceding 39. i^^= g ^^ 1^ P Exercise i i ?c "g " H- 40. i -f^- -zg- ^S i ^ _ifi_ employment inversions, ^ ^m ^3^ I The m 6 i the Harmonize to How and Melodies 56 to admit and of its examples. SS Melodies and How Harmonize to CHAPTER Them. IV. MODULATION. In melodies harmonizing '* what How I am key the when know to student will ask modulate, to self him- and to reply to ?" Without attempting :he dual yill enable :or themselves question, all give to the exhaustive an following its out methods melodic such it is chapter, present hoped, solve to problems they as arise. An accidental, melody, is, as For instance, letter the " leading-note A rule, a D sharp, ", the and first the turning flat, to indication Example introduces the of the lation. modu- a (page 53), 49 prefixed sharp in natural, or the to G is cadence perfect at a in minor. Let us Example continue the passage a little further : " 54. i -=ibi-q^ mf=^ "s" 'cres. " sf " " cres, " " is" " sf IV. Chap, Modulation, 59 " D litt^^^m i#tt"f p cres. " " the At each a of of part the A, the (C key indication of bars B at a ). the C and F a natural and bar, It be is leading-note, chromatic-note, bar, subdominant. have accidentals A The next will the at mere previous In new marked a 7th ). of " sharp is Diminished and D, The flat leading-note original B, meaning. ), the G j^^a ":" # marked places different ( in key the b " T etc. at thus at the be may dicts contra- the re-asserts ", considered ing ( formD flat is observed later in the that this chap- ter. The be generally may shown of appearance be to taken ( the Similarly commonly stands accidental in minor seventh, the .seventh, or as one sign for or an of a a new melody. placing of its ( or obvious ( or the of beneath inversions. this a will when chord ( See be thus be lowers occurring the of ", can key. that treat case raises) it unless new accidental subdominant, In that harmony ) inversion flat accidental an leading-note, new a The otherwise. Dominant-triad the sharp a in top the "xample ) most as note an as dominant 54. ) a 6o and Melodies How Harmonize to Them, . It is and leading-note, a of majority look to B by be easily can its chromatic The cadence In the not to express : balanced ( See B, C, the modulate the key, by means Analysis F, that commonly What might be would still not were the of which we may of some and being the the trite study already harmonizea, in which, manner is of at once with key ( commonly flat sharp and a attendant the due the first point tion propor- cadences. ) 54 have dominant a again us of chord the to the to the dominant succeeding bars. two of the to F, and the to accidental so it example, ) on, must B is back be to to the and C. pointed understood, return we key, original out the by original half-close. such to Mozart, and kind apply will it to obvious, the he which as useful, prove Airs will chants ( and find ( so and dent stu- Variations clearly often the defined, employed) are. have ; inant; dom- ) return natural a the modulation brings by 54. (without of Beethoven without ) G, modulation confirmed with airs we direct a is recommended of major, if, during Example D, letter so of bars, two Example parting signature, at subdominant, tendency sense a where plainly we the into key briefly letter Before at with ( see of is of of use bar, is there which A, At which The original employment also' phrase, (G) that the second the then key D, flat key.) new little every the Beethoven by air is in another G in close cadences. mind his in observed repose in The analyse alternate the impress the the to return a and half-close), In at assistance he pieces, short in will a ( F-sharp the to melodies, observing to by keys, of close natural full a much find will in especially the I view a notes I modulation with confirm _L student The to is adapted V V It melody. " 5 5 full a correction. requiring _2_ J_ sign leading-note new formula ( The of the so thus the the just quoted, the be if see example the from inferred plainly pointed melody and the in though in treated, so namely C, at and force, be sharp every subdominant, a ahead that assumed progression. if meaningless in shown be reasonably flat may well reject modulation. or hastily every they cases is necessary be therefore, not" must been called Pivot-notes are much ) IV. Chap* used modulation;* in which the connect and keys. new Example Modulation. that is to 6i holding-notes say modulation-chords For example: with " 55. Josquin i old the de Pres. -(fi- Re 4 m qui - es - fg (g fg in cat - i fi pa A ce, - - "g fg t=t B[|"4-fi' 1^ {g |fg~F i "HSH- Mff "" mr-rr "Sf " " " IMS: s"- w= p ^ *": MEN. **: _C_ i^ ^ ^ 'f~pq) -"S"-S- gffr '^^^ - -HeSH- ^ tg" -t -HiSH ^ * of " It when Descant.") is good any and one usual, of the to parts change keeps from its any place." one i i ? chord, i 4"^ Mt to any ( Henry other different Porcell, '* Art 62 Melodies The pivot-note distant most be and by of the nearer keys. Example laws well few A as lends the to as which ones Them, modulation modulations, same The related of as Harmonize to system removes, remarked ened How apply to that It are succession any bounded are they the by the to keys. nearer whole, a itself may gov- of monies. har- attendant or follow. examples 56. A Jiij ^AAj.J. it ^^=ggfe| i J^itJ m w " 9 i rrTT J -f. ii J r ^^^^a examination An of means seventh and is ) the all quitted the these, notation of perfect with without refers cadence attendant the crucial above the chord, regard to the it ( with keys As ease. is ( for examples the of ngw and C principal present key, in ) in this the case dominant each while to by that approached were dominant worth show the without major perhaps the will to new melody. C. key tabulate The IV. Chap. Showing Table the Triad Supertonic Ex. Modulation. Bass-notes of Attendant Keys. 63 New raised (with accidentally for Dominants 3rd) " see A " (in 56.) Triad Mediant Triad Tonic Triad " see on Leading-note on the :he minor (with 3rd Submediant (with made modulations 3rd) seventh) and " see " see B." C." 5th accidentally raised) back to G, C to A minor C to F and C to E minor and back. to D minor and back has before melody is illustrated and been generally by an C. to back and chords (Ex. to were 56, C. back. pointed a example new to ont raised accidentally these by C C It accidental (with raised D." Triad The (with accidentally that C. an covering the see : Letter A.) (Letter B.) (Letter C.) (Letter D.) (Letter E.) accidental This leading-note. 3rd) attendant sharp may now keys, in be as before. Example 57. C. D minor. E minor. W^TY^^ r J- ^ fH-4 I and Melodies 64 there As may what of to the be borne may in that the bass note, thirds not triad three fifths the scale. in the seen in turn, upper that and part raised 3rd.) To the Relatiye Minor. As an of to the that of the for the in a the the refer the it melody, Where of each Let scale they plication ap- leading formula. a employed. 5 2 (With be follows cadences refers degree it melody. brackets, in will triad same to be to treble the given are of marked It in appears numbers are or number name triad the the reduced upper Them. dominant treble, the be the given showing and chord, the is the before, gone keys mind to in appear has Harmonize to notes attendant beneath while three are these of any Haw to the of notes few resolution. cases 66 Melodies and i^i Haw Them. Harmonize to i^^^J^J LJlTL J 3 ^i 9^=i i==r f r progression The chromatic scale inversion) ; modulation of seventh) dominant In key, sharp is passing-note), try minor third in of in bear be to mind It flat third it should in a the chromatic its for best puzzles. a Above masters, the that similarly where it is not merely), is to several pursue all, study especially the Bach, key and ; is likely its by bar. a leading- new a from (or sharp a major new discovered or ; dominant. is to further notes portion a attention easily or a tals acciden- the be may thus tonic new plan, then, progression of (or even or several the a sub- new dominant or from chord establishing attract key, which a forming at parts added If tonic and poses pur- without (or, tonic, new aim new the for chromatic a a to natural) stand may great view important be key The the that in (or note a flat tonic. new scend. de- to and indicate not be that (with accidental it second which importance. primary melody, emphasized repetition a with scale, a if show to entire its (in with cadence merely a the said does not from occur of chord *1 the cover seventh perfect the and would of been natural) a dominant, class is where cases dominant the the ;'^ continued, the has then, Enough, the while shows 6, at if A, at 'c r I 1 carefully study than that compositions Beethoven, which of and the Wag- in ner regard is The the only selection of emphasize to chosen with obvious the chords (already keys, Sxample would form which tonics new be merely in ; not included lead serves They than commonly tabulated) or said. modulation are these though follows, variety melodic of accidentals part, upper been to perience ex- mastery.* which already view a illustrations reason its to examples has what more guide for modulation, of practice the to 67 Modulation, IV, Chap. as for this in the in to are the the tendant at- themselves. 59. Winchester. Thomas in (Melody the i Raven scroft. Tenor.) gfef-jl^-j^J-ja s rffi^^^'Wff " can be player A list of easily Ckoptn, whose masters suggested to the by works a singer the specially favor study of modulation this little work. To the using pianoSchubert and the recommend to organist teacher ^ Bach. 68 Melodies In the previous the simple seen with the chords seventh bar chord chromatic the scale is it Here Szample in to serves dominant the to noticed degree which the correct is two seen the triads In of use a of (flattened) chapter our dance accor- in appears old-fashioned an teenth seven- (in entirely seventh the on this ; is there day) almost are early melody the be may in The of custom Ravenscroft current psalmody. The the from example Them, Harmonize to contrivances century tenor. How and matics. chro- on little tion modula- bars back. 60. Schubert. W ^:^^^rhP* " (Cor. fz i Fag.) etc. ei brief The of strain a simple very modulation from quoted ^from but minor the Schubert is astonishingly to flat its first of orchestral " major will the key. recognize first Symphony, and it student The as the second first movement. connecting subjects of phrase the an ample ex- effective ant) (attendmusic between "Unfinished" Sxample 69 Modulation. IV. Chap. 61. EXTRACT FROM BRIDAL CHORUS. "Ix)hengrin.* Wagner's In quotation our beautiful modulation third the of into resolution, into i. e., forming from B-flat influence the second, from Lohengrin, triad third a of of pivot, and to of third, in a in minor major a Observe the dominant fourth the The chords. is melody after Notice scale. A-sharp. and chords. scale, and, changing three remarkably a four employed sixth a a tranquillo. is effected major converted B-flat Molto u M the enharmonically, also the sevenths, ening softin Melodies 70 Example and Haw Them. Harmonize to 6a. HARMONY. SXTRACTFROM Beethoven. A m i 3^ mz ^6^ i ^Iw^ i"-"-^- ito(fe)g last Our example treatise in change the Bass, G-flat becomes C-minor, in on chords modulation, the of where in enharmonic first note) chord B-flat minor. one another follow thoven's Bee- (a leading the ; from an F-sharp fourth course drawn shows Harmony, (a submediant) and could of I being The two shown as A. at The the most part, of modulation. be harmonized (No. 55) is Exercise Exercise Slowly, i t which exercises eleven simple and in intended three to obvious even first The follow, exercise parts be in contain, opportunities (No. 45) only, five-part while should the harmony. 45. 46. [" 1^ i ^^ for =P=^ ^ last Exercise Modulation. IV. Chap* 71 47. h. ^m ^ ^ i iS^ "g it Jt tl If ^. f i r-r-f^ ^^ =e=^ f^fri' Exercise ^- " =^=:a: r" frifT^B^ 48. J. ^ Jpir ^ -|g "!"-tt/5-r"S^ g"" " -"5" i^ hg o j5"- m Melodies 72 Exercise ^ 4 How and to Them. Harmonize 49. I# p ' jt t # " # " :" " y ggjarTi'J^^giiEiH Exercise i 50. ^- -fi' ,^Z_:2-L .221 W- ^ Exercise g" ' 51. ^^^^^^ ^^^^^^^^m ^^g^Jj^^^^H I tS^ZZS. ^ Melodies 74 i and How to ftt rrgr" ^ w i I* p r f Harmonize % * * J ifiOrrrf^ T -" Them, #- ^^^^^^ ^^^i^^^^^ s ^^ ^m "d Exercise j i "+"^i-# " d^r^ ?2=#^ The "1*: 55. ^^^^^ i "mz^zjt parts may ^r be crossed in bar 5. ryTr r "m IS V. CHAPTER Passing-notes Parry have a general special harmony As only remains it may passing-notes answer from the one observed in another E, G C, D and is harmony Example * appears in the " it order or the (i. the e., concerned, in is in occur another. to for room be fifth the ignored, this way : ing passThus first, third, and is obvious may to parts. they triad advisable often as of ing-notes passfar as " 63. " Parthenia stood to part which of it is that F, which SXTRACT it also in triad) there common the be interval chord the in presence any and notes, their detect to form simplest The in him monic har- provide not ornamental these the principles." need student the for for passing In rule melodic on of factors are them. ignore to music of structure which notes essential the Hubert Sir by discordant between interposed defined been "inessential as CHROMATIC. AND DIATONIC PASSING-NOTES" for have Messiah. an 'PARTHENIA."* FROM of one was air in employed the as part names " Playford's of the bestowed Introduction melody on ' of the Queen (1655) Pastoral which Elizabeth Handel Symphony : easily : Them. Harmonize effect with the parts by accompanying the by produced obviated passing-notes melodic thus is still standing to bare somewhat The Haw and Melodies j6 in others -the parts ; " Example 64. uyj'uzra i4^f^HJ. "TTfT As which notes, " passing-notes with the them include Example " are same under treated nevertheless indifference, the general Presto, Violin. FROM sential ines- strictly speaking not it is cally harmoni- convenient description. 65. EXTRACT , though other contain follow which examples the SEPTET. Beethoven. to V. Chap. Passing-notes. 77 m ^ ^ etc. iTFi=^ =p=i= i"^ rs='^-r-r=E The little the remark; attention dissonance caused bass) In in the the suggested Example first by the may second a however ( bars is third beats ICH WILL From a DIR Choral effectively ). J. GEBSN." Prelude S. (for Organ). Bach. Man, i^E ^ Fed. ift ff the beat. 66. ""VALST for to ( in second the on seventh the on directed be passing-note dominant bass calls Beethoven the by and bars, same from example two-part I i^ Melodies 78 and Haw to Harmonize fei Them, *=i -9^ m i^^ etc. ^ m I ^^^^^^i ^^ i 'it= -'-zi- in passing-notes Notice motion. of the Prelude Choral Bach's second Example bar. 67. Leggiermente. offers us triplets, and also mediant the ( See also From a good answered pedal, our chapter Piano Sonata ^^m PP ^S=F iHft: feg--^^Hf:^i in contrary in the on ( Op. Beethoven. ^ of example bass pedals.) iii ). F. Chap, In the delicate of from extract Piano the which rhythm of the Example one lower and below also ; the not - observe the primary being part upper able. unmistak- but exact, the alternation the by in movement may imparted Note 79 great ) 1 1 above melody. of the 1 is notes diminution a Beethoven's ( Op. Sonata ornamental notes Passing-notes. 68. EXTRACT " FROM SONG THE MOORISH THE OF PRINCE." LOEWB. p Per Sieh*,granzende ich bnng* len - dir sic dar, eta ^^ Sfe 3p" simple The his depends which of into throws melody so and ornamental only permits the of group second bar delayed the note the trite four and then C " B, D. so /^ its inessential us melody by retarded, we get C, B, instead brief is which third the note melody the upon Our notes. at quavers, the effect example, one little quaint the for much where ; relief beneath placed has Loewe harmony I f beat proper use tation quo- seen of C, of D, in the is first interposition the in place of of Melodies 8o The piano-forte. for is need dwell not of basis chords the Example further example, the is written on pointing which in of than this out has the trated illus- well Chopin's employment instrumental beyond harmonization, from extract the to common more we As Them. passing-notes following the by Harmonize to chromatic of use How and lower Etude such notes vocal of phase music melodic the extreme for its plicity sim- harmonic clef. 69. FROM EXTRACT GRANDE ETUDE, No. a. Chopin. Allegro, semfire legato. 82 Melodies Haw and Harmonize to Them. C ^ frrff ilA.'^ MU^ ^ frr is owing partly first of of The convenient the to of each enough of it *'A" At in change example first the at bar three '^B" could it is ; shown, as the to have chord of chord because aJso the on is there parts. upper had tonic a however, advantage, an the tonic a and bars, opening pedal-bass, sustained a on suggesting melody the begin to sixth the to C on bass the for gradually In cend, as- the second be treated . bar as the part melody of chord. one G interval The bass, The of is and be will More the '^C*' obvious, of the and Exercise in melody which the 56. in also In four the notes chord contain of with ninth. chapter as the scending de- a dominant served have supply follow the the melodies. the introduction chromatic. of etc.). arpeggios, shown, as chord equally where exercises for might treatment a should on taken subject this on be can in C-flat) chapter next contained at arpeggio especially The F-flat said example B-flat (See and or and (D-natural notes matics. chro- on an third example bar this B-flat, "-flat, placed beneath. various passing-notes G tunities opportonic dia" 83 Passing-notes. V. Chap. ^m i^ m "0-0- 4-H^- n Exercise 57. Exercise (Add " 58. " ^ ^^jL Exercise Alto an (Add three ^ and Bass.) parts.) ^^iS ^ 59. S fel:"fc S i^E^i^^ a^7V~7y SEg^E^ S=Ezp i P^pte 84 to How and Melodies Them. Harmonize 6o. Exercise =i |az" -t^-T-P-f^ -f" "" It ^ ^5=fc5"3 i i zM=ts. 6i. Exercise g- ^" ii^ ^ ^ ^^^ frZ^-TT ^ fcp Exercise ^jrp:^'^if^^jJiI[J 62. ^ ^^ -t^^c ^Tj-ir-gr ^Pi ^^ Exercise 5:^ 63. 64. Exercise in (Melody " 85 Passing-notes. F. Chap. Tenor.) the ^r^^ s -"-rf f t"^ fS* r " \yM p I r-r-rT^fJF^ f'' " 9 " " 4^ I " ^ Exercise 65. ^ ffrrri.^frig^^g^ Exercise 66. f'^ijijjjjii-j.a^ ^ *=rf ^ Bfcfe^F^MJ 86 Melodies and How Them. Harmonize to CHAPTER VI. ARPEGGI. Arpeggl be considered As each to applied as triad if the keep to being addition other has original dominant a especially the in With the scale cause no be sary unneces- This of will melodies, skips melody and can harmonies. the the ninth, harmonization the where places to as three, harmony and of sublying in help great manner a in interval any such triad. seventh, venient, con- the on series, the such subject commonly changes probably movement prove the the in contained, ring for chords, such it is notes, harmony the of the chapter. three melody one most this in form melody to much or rapidly. The great probably will ere take " bars the confine their of ourselves to a no limit masters few remarks and such in to '* on Das whether First works the both ; as ** old and new. the use of the Virginal Fitzwilliam Book. ^^^^^^^^ ASKE " ( see scattered Here we arpeggi, and exercises. YOU." Giles or Parsifal Rheingold" examples he Sonata 72. "WHY From or Everywhere composition the melodies of student. the Bach, example illustrations necessary Example the of of Beethoven, is pages to practical Fantasia There 1-67). in remarkable the or through them " harmonization the occurred Chromatic Appassionata Vorspiel, have with the up in arpeggi this confronted is he the of use Farnaby VI. Chap. Arpeggl. 87 ^=J=^-Am i -tii-^J ^ f" g^E^^^ gf^ i-^^Tn ^?^^7r^!j"f i :r*=:ifc m I p Ji-Ai. ^^^ " The little book (Example said. been just last must not rather be than Note the bars, air. that harmony 72) wide are supported that in what three the be is very of parts, style has chords by harmonization the ginal Vir- the would It notes. especially from illustrate to skips upon overlooked copied serves melody improve to four The such containing difficult of piece the though instrumental vocal. each bar needs but one chord to support it Example How and Melodies 88 Them, Harmonize to 73. MOORISH "'THS FROM EXTRACT PRINCE." LOEWE. g^J^EBEEi^ Dass im er Kam-pf e, das ge-schwungen Schwert. I tie W / ^ four The offer the a still less extracted from promising group method same are merely fall into Example bars of portions their I place harmony of of so intervals, perceive we chords when (Example Loewe which until that 73) by they quite naturally treated. 74. From a song by Dr. Greene. Vivace, s^ t=^ The mer-ry cuck-oo, ^ ^^ Mes-sen-ger of Spring, ^^ " " ^ His ^^ Melodies 9" How and Harmonize to Them, m *z: -W' HH: t"'hrf^ r miii^ i-i: J. A ^W f J p p^^ It be may pointed syncopated the which they of change time and suggested Example notes move. harmony out also the form avoids wherever the Written example the of melody tied with no from chord by monotony needs all exception one part Byrde opportimity. below, with that a admits of notes, further as ment. com- 70. ri:^ fW^ Jjij jj jp etc. i ax: i Chap^ F/. of exercises selection The many which passages arpeggi, though as will found be vocal the for In harmony. before working will other the in the includes do well cases, the methods be last of the melody to in these treat melody of worked to are occurring below other exercises syncopation noted, in as possible 91 given student the here, The part Arpeggi. (No. monization. harfour- 74) should be exercise. 67. Exercise ^JiU^J^t^E^^^^ i b^b ! ^ F=T^ ^ 1 i m ^st ^^m ^s tz=:t *5=t *1 ^m 1 piSr-n-nH^i^f^^^ jfei^ Exercise 3ee^ ^^ 68. =P! ap^ ^m ^m Melodies 92 and How to Harmonize Them. tf ^^^^^^^^ ^^^^^^^m Exercise 69. ^^^^^^^ Exercise 70. ^m "fg ^ " SZIIZZ t= i ^7^ J fi^ 1 ^ "fi' " Exercise fr-Ti" "" ^-i 71 n^i ^g^^%^^^^^=i^^^^^^3l3^ " N Chap, Exercise FA Arpeggi. 93 72. ^^g^s Exercise 73. ^^^^^^^ ^,^^^j^-.i^^j^^EH Exercise 74. ^^^ ^ #=^ r"" p=:gz ^^^^^^E^^^ ^S^ Jtciat i i '-^-4- Melodies 94 and How Harmonize to CHAPTER Them. VII. SEQUENCES. Sequences in their and touched ** play of group of the student and then It be writers Example his to the be is the first student's obtained by two, also be trived con- go may is better is the the above perception of than varying the replies favour this method. their sequences them beautiful Many care. that sequences FROM A which effects in may sequences. The literally. 77. EXTRACT ody mel- or relatively they from preserved exactly matter. espedsilly usually melody, step a to are the if the say, Example presumed It the follow repeated that manner exact. is to harmonies melodies, in they nite defi- a ing." descend- or to sequence that particular composers more trace process. be be afterwards application which of positions ascending That Parry, different their leads. usefully Hubert repetition in chords harmonies same not always Modem a this in must should such the mean regular steps his lower, the precept or phrase a or through notes melody offers in to first test the higher taken Sir says melodies be now may Sequence," regards must where A like scale, As are " upon. in both part and harmonization, generally is important an FUGUS. RiNCK. older VII. Chap. little The 77) For turn shows further to he where, Bach, will kind seek far exactly carried sequence. should student the among to ( Example the of out especially need not sequences "zample this of 95 Rinck from following exact examples his Fugues, quotation two-part an Sequences. the to Organ meet teresting in- out 78. EXTRACT FROM CONCERTO No. 2 (FOR ORGAN). Handel. Allegro ma non presto. ^^^^g^ m pwf= m m n i ^3^H etc. m rnjjj 9^ and Melodies The harpsichord Bzample famous the Among are which Organ of what built all ( as course certo Conhas ready al- composer's same passages many is still in ) Them. 78 ) practically confirms pieces principle, are HandePs remarked. been Harmonize to from example ( Example this How on up good ciples prin- vogue. 79. EXTRACT "" FROM ( Chorus.) STABAT MATBRJ Dvorak. , 4- " "g^ hU: m More of modem Dvorak's example. do not scarcely give be instances us * The exact consecutives offered, by now bars opening practicable. sequentially are an are ( Example which sequence, last The four bars 5 and 6 are not 79) would bars, however, accurate. between way for imitation. 98 Melodies A few out and exercises of Exercise Haw added are in passages 75. Them, which favour parts only.) the ing carry- sequence. (In " Harmonize to three ^jJj^jFf3=-'^^^ %^^^^^. I ""-# Exercise 76. " ( In four parts.) rn-m^^^^^ i^Af. iP=PE s Exercise urMn\i^^ 77. m 1; im^si ^^^^^^m i==?E ^isxmi " d V Chap. 78. Exercise f^ i 99 Sequences. VII. m fo^ p:p: Ptf^ EE P= Exercise 79. ^^^^^^^ ^J^ipT IJ . I-J^ 4*.^|JJI^^4^PP5I Exercise ^^m 8o. " ^fiii_i ^1=1 ^ fVlf^C.L?JlLL^gP and Melodies loo How Harmonize to Them, VIII. CHAPTER CHROMATICS. The melody involves passing (or in traversed of perusing them the unimportant is thus and asserted it from of while been already carefully the observe chiefly bar. In fall The 8x. SZTRACT FROM "" in true ody mel- ornamental dull. becoming amples ex- offered. now the or further Some are pulsations chords, has chromatics the chromatic chromatic V. given any mere should student which of ground chromatics the in notes, IV in notes use the Chapters manner Example of melodic prevents the inessential) the harmony either Much modulation. chromatic of treatment CALVARY.' Spohr, ^5=^i=ik^i^i^^^ With chords two Example 8 ) 1 chromatic takes scale falling note of scale occurs first the on ; of namely in Example beat I, V, of middle the of the of part the taken third alternate the notes be may in ( melodic bar I, while and Spohr chief The each I, V, pedal, the minor. A tonic basis, tonic a through us lOI harmonic his as maintaining and dominant, Chromatics, Vlll. Chap. of the bars. 82. EXTRACT NOCTURNE FROM (No. ). 5 Field. Field's chord, major, make to note it of I, the complete, previous Example of being i. e., the of group sharp a tonic, note one each " on the namely B-flat offers example 5, 7, three 9, and in harmonization, the chromatic in wanted 4th, falls thus shows melody the initial The in an the 83, FROM "FAUST." Berlioz. m^^^"-%^ ody; mel- advance example. EXTRACT of scale E-flat. thus one Melodies I02 in as 138) is it or with a instructive chromatics may Bzample may free as of use of or be even perfect a be nth in explained The example of as a tribe may Vincent's ( see above. of It 83. supertonic the part interval the Example appoggiatura an page inversion, bar Them. Harmonize to striking first the explained pedal How makes Berlioz tone, and mony," Har- " its third a triple whole passage how melodic ignored. 84. FROM EXTRACT ' NONET." Spohr. A/iegro. Violin. Dolce, VioU. etc. CeUo. S i^^^y^^i VIII. Chap. 84, from the effect Example instance of of the Spohr's This passing-note. melody of is 103 Nonet/'offers " skipping from clearly brought of notes the first of Vincent's ( See appoggiatura. Chromatics, simple a chromatic about by bar being the " a each Harmony," an page 161.) Bzample 85, EXTRACT FROM "tud"s, Nouvelles ( Trots Andantincu , ^ ^TUDB. AN 0 T v /.) Chopin. ^ tea==f la No. ^^a 5=it^itsit^ cresc. ^^ ^ E^ ^ m Ped. 85 offers Example all of chromatics, chord dominant belonging to the a which ( in harmony elaborate more are harmonized E-flat may succession minor be with ). profitably The set of a ple simnotes down. and Melodies I04 The It the the leading-note three also of harmonized Here notes. have Exercise a the the a chordal offers an of 7th 4,) the in the follow. These with one and there chord the passing-note should to inner each rapidly by raised treble. quite group parts introduced. 81. 82. tionally excep- be ^^^^^M Exercise for 152. chromatic fe^E^S way. assisted bass, (in bar flat with scale the pianoforte, employment Observe, bass, exercises simply for of ordinary the contrived, above Example Two that pedal. sostenuto Compare added medium melodies degrees in was passage good changing the harmony be perhaps may which the show Them. Harmonize to figures give upper lower the How ^ of might ; io6 Melodies The quite and usual in namely, modem usual will chord chromatic ; 86) (Example above Byrde's day More Them. Harmonize to quoted progression I-1?VII-I. a Haw the harmonies seen such of treatment be was Example in 89, (p. 108). 87. Bzample Air from Fitzwilliam by Arranged the Virginal Book. Byrde. William ^m E^#E ^ ^/^"^.^l/^^^'^ i i VI quotation Our (Example by was be " gathered vi-frVII-I song. from I the that shows 87) no kVII Fitzwilliam this confined means from " the cited chromatic church to similar from succession a popular Virginal Book progression music, of as may chords, Elizabethan Example Chromatics. VIII, Chap. 107 88. From the FitzwiUiam Feroci. Francesco Folio, Adagio, do A - - ra Chris Te mus - - et te be - ne - i w- etc. -^-:gi" "l-j, IM di ci Feroci's gives may point of This is quitted view, three-part final of in a perhaps managed dominant The little illustration an be ti mus - - and " dwelling a and a return on is the to the from modem a " satisfactory more the it same key bVII for as of manner. all the sub- new brief a in a 88) chord chromatic same smoother by treating destination namely the how (Example passage three tonic. moment. ples, exam- io8 and Melodies Example Haw Them, Harmonize to 8g. FROM EXTRACT MASTERSINGERS." THE " .Wagner. f^=j^bi^fzi^ kVII I m IV ^^ p etc. g^rr^~NNE^irj-*^N^ Wagner's for which we of we It as ; the II have may obsolete. have is progression ones the Is thus be modem It space. but slightly example will be varied from in noted IV the that serves general few to 89) that the the I-bVII-IV-ii-I-V-I. the (No. seen The " following made only show balance effects the of ever older effect advance harmony. become The of a Pathetic the chord Bzample chord is It the in be Sonata Dvorak's arose in us Doric Greek found " of the mode. first too in and the are of drawn 91. Melodies, will cadence and make (A) ^^^ ^,. . " m^^ Bach. long for of the the the from papers. Bzample of movement Beethoven, above Neapolitan time the unfortunately the the chief Requiem." book appearance of the as before in phrases Society's first the known long " following the is course used may Moonlight show likelihood given or to instances, quotation, motive of was modern The combinations alluded and Sixth. " instance 90. The series, all in Phrygian," " 109 another supplies which ancient ecclesiastical More Cadence chromatic from Chromatics. VIII. Chap. ... ,, " ^^ porated Incorto serve in amination ex- and Melodies no How Harmonize to Them. (B) etc. ^S i ^1^ ^ i m r'^rr ^^i^ ^fs It i will be the quoted phrases in the melodic treatment of the harmony the of One chords the refer seventh invest or resisting of these of the to with it chords than pupil is pages 139 and to 148. itself which it is its as down or up more of Dr. precise and venient con- original diminished the powers examples referred general chromatic of peculiar For our the ninth proceed modulation. somewhat the of resolutions its power and three easily adapt dominant various The position. is Seventh, the to the shown. as Diminished is the to should important most of given; notes conditions, altered each cadence pathetic disguised to in that observed notes Vincent's matically chro- inviting details admit mony," ''Har- Bzample Chromatics, VIII. Chap, Ill 92. ^^ ^ 9i4==^ M- V-^V"^V- etc. -N-="- Our as a 2d 9 Each bar be in chord, the it in as drawn the began, to third bar the bar, by a the the ninth, chromatic lower answered part ever, how- which, descent is major. C Attention key. major Ninth is in passage minor which Minor Dominant a for emphasizes ends may gives example chromatic ^^^^^ fr -=1" having of the in the a ody melceeding suc- similar progression. Example 93. Beethoven. (Op. 2, No. i.) Melodies 112 Example of in is the the the fewest effect of Example minor ( in of dominant dominant 3 which ''ALL ye 7E has supplied is in the been of ) by quotation be may of is noted giving first clear a LOVE.'' (1597.) Dowland. that early chromatic by be-trayed hath For-tune Seventh. inversion Seventh. WHOM remarked the distinguished Diminished or Diminished already important Love whom The the The ninth. FROM All which duced intro- bass. the it John most chord the 94. EXTRACT It of capable parts of successively a bar harmony, number the on Them. intervals ninth part emphasized three-part the all upper Harmonize to shows 93 dominant the chord Haw and a of separate In the the one of the is chords minor ninth, designation sixteenth " century Melodies 114 the In and will It tonic the on By a (iminished scale, in a and is other On the ( or inversion attractive " Notice ) and the a another pedal bass. it began ends as rarely by alternate on hinted effective, the each as and judicious diminished in of the String that of effect the therefore last sevenths parts. he become be may such example, better can matic chro- the this interposition useful. progression find degree occasional an as will student sevenths though hand, ished dimin- one on passage the practical harmony, succession the a minor). experiment simple construct done (E the that observed be chromatics, is there of succeed which of passage freedom the of * rising a of four sevenths, Tschaikowsky, by specimen Them. Harmonize to example, 95th favourable in Horn avoided. of a at triad once VIII. Chap. Bzample Chromatics. 115 96. FROM BALLAD THE "BDWARDJ OF LOEWE. Agitato, Dein Sc:hwert wie ist's Blut von roth. so pHfj^t^^^m ^ i -=1-=1- Ed ward? ^^ etc. u:t^=tz I B sevenths first for the the tonic, second supertonic * may In its third (marked three E-flat chord chord (No. example Loewe's in bars the seventh,* be at If otherwise may prepared. as be and as the a chord bass pedal on regarded, taken Lastly, a ished dimin- two B), taken be example explained inversion. and A may minor. contains 96) of as the the a the flatsame thir- Melodies 1x6 and formed teenth, is certainly that in the (written a Before last dominant chord of Example be the B-flat, root contained in be also as the and in observed the melody, thirteenth the or fifth which example, G-flat, regarded third root, may note from note a the is to small) it one, bar, its with parting curious a Them. Harmonize to G-flat, with on all omitted. How as a of mere previous tardation re- chord. 97. KYREB. From the Fitzwilliam Folio. Leonardo Leo. (1694-1746.) fa -"s"- Ky $ 4- ri w^=. ^ zgsi Ky e, - - "! i^JJ " is: W. **: a ffi -HS"~ a a =av- ri - VIII. Chap. i ?sr e e - Chromatics. :irz^_=f le- i- son, Ky 117 iiszizzzz^ ipr^ ri- e i g". (g" ^ "5" I le e 1 i - - " " (S" iffi^ g^^^^7]!^te^--fff^^=^ ^ iii^ ^;^= ~g~ ^^E^g i -"-ZSr 9 e -^ "g (5"-i le - "-,- 1 - f2-! E^l son. ii8 Melodies The and five-part Leo, shows it last a bars two makes again few does less no leading its to for Exercise this working, we remain chords the pedal a and example close the to curring oc- In close, With chromatic other dominant a part, times. five than which in harmony, important an appearance. exercises though plays Leonardo by 97), of piece seventh as (No. expressive an Them. Harmonize to example diminished the How chapter, noticed. be 83. (9~m- "or " " 1 a "^- r ^ i P^^^isz -^- p"="=i Exercise 84. " I i sirs in Melody the ^^\rrr^\rr^ Tenor. ^-(9 I "g' g" ^ " ggg ^^r^=-r^ 1^^-ff-a =9^ Exercise S/oTV 85. and expressive. ?:"== -g*"?- r "g- ^m 119 Chromatics. VIII. Chap^ *l*"l||J '["-^J^Ni^J ^J 86. Exercise ^ SEl^-*iM-r-e gl " :"i 4" J J jijir rir ^^^fl 87. Exercise ^H'J l::==a::" J J ^ffi M!!!: J-bJlJ ||J|jd^^^jy ^^ 88. Exercise i f ^ 9^ a^^s *t ^fflsi^^e fe^ "?= 3 *=H Melodies X20 Haw and Harmonize to IX. CHAPTER SIXTH AUGMENTED THE chord of possibilities many in use the chord of melody, regards as 7th with its into came ular pop- century. alteration 6th the THE Sixth, Augmented the chromatic simple A 1 AND TRIAD. AUGMENTED The Them. produces harmonic combination, or the form primary the dominant in note one supertonic the on of known subthis of Italian the as the Sixth. Example The 98. sharpened of or are the of tendency note these to 9ionS| which, flattened is rise, of These boweyer, a 5th, are the note significant intervals. extreme substitution obtained. the two given student the should and of their wnte of ordinary addition forms without fall the of With other to the out tions resoluof same several for the a 4th, chord inver- bimsdf. Lawes' diatonic of barring the ( 1653 "Ayres" mere a How and Melodies 122 ), the into is modified third and added, part altered. much song Them. passage a passage, the Harmonize to ( See ple Exam- 26.) Example xoo. CHLORIS." "COM", DUET.) (A the From ( British Museum, MSS. Add. rare Guise circa MS. Henry ( 1595-1662.) 1650.) ii,6o8fol. Lawes. 8b. ^_^_2 r~^r^ r-b-WF^ ^_,_"2 O- m^Bn:MiA"^^ is l" g/ ^ |g g ^ I g^. I P P I g- ^ S Jh'lf f [^ m ri9- S " S 1=3?= 221 i IX, Chap. Purcell chord The does to any not Carissimi The example. from shows form of Example the the his cessors prede- both and set voice-part an Aeneas" of employment the chord the employed "Dido is from chord, 123 Humphrey effective an of note one Pelham etc, although extent, quotation ( 1675 ), and Italian and have to appear great very Sixths Augmented the proceeding another. to zoz. EXTRACT "DIDO FROM AENEAS." AND ( 1675.) Purcell. m *t^ Death is now wel a - guest. come m ^ PES T i I 3=^5 The shows composer, to the German The step. unusual in Frederick " resolution page another Published letter by means is also " Novello The Mention in the T." " Co. ), from 102 same from the the of the melody to be noted passage edition new 15. No. changing writing. example the by form, vocal ( chord the Bridge's Deum,"* before example three-part of may work the also at French rising a being as is same from Sir "Te great be made of page 21, just Melodies 124 and Haw Harmomze to Tketm. x"". SZT8ACT "TE FSOM DKUM.' PUKCELU itf^-^u^L^m We therefore Thee, may Thy hefa" ser - "ants ^aiil [etc. f m The the student will His which for Bach, attention is of movement to which in ( Example in chord directed shown as below. Example also instances mifortimately have Beethoven, sixth, quoted chromatic we PI splendid many this of employment of find y~r X with mented augbars 103. modem use passage is the in the for of the same pianoforte simplest hands ( Op. 78.) vivau. Allegro sixth the 103.) Beethoven. A space. opening four the no works remarkable the begins the of of chord a master. a how shows suggestion in of the (Example rapid lodic me- istic character- augmented 104.) IX. Chap. For completer a Harmony," Augmented view of .this should reference " The pages Example 1 Sixth, chord made be etc. sions, its inver- and Vincent's Dr. to 125 21-133. 104. Brahms. Presto, ma (Op. trofifio, non Bk. 35, 2, Var. 14.) 8va Scherzando. p etc. I^W?KP T^ final Our how shows by grouped have be illustration whole the taken time each Beneath Exercise 89. with passage, diminished for * Becauae all the sevenths, the of and, more their augmented modem one in time combination conflicting tonality. must rapidly. is some given, cases, 105.) out, sixths the they care group write Thus too (Example or ered cov- that and or position at mind * small over, be may ; a Play " in many equivalent. enharmonic the too discussion sixths. eflfect chords the original the showing scale borne much introduce of under augmented be make to to not of it must together, chord the chromatic succession a not of ?" the altered favourite written. same to stitute sub- 126 Melodies Example and A 105." How Harmonize to of saccession Them. Aagmented Sixths. $iM-k=^^^H ^.^^^_dM_^jAj^J pi?T-r"^=r[iEp^ g=t ^ I=^^^=l==5z6|z=|"= ^PW^^^ The For usually Triad of include tonic will 13th, chord Thus give of of the taking ignoring chord augmented the the root, other Augmented the as arising the theorists classification, known combinations thirteenth. process minor the the among the any convenience the Triad. Augmented from built so triad the the by third, intervals. up the and chord from ple simthe Long IX, Chap, before classification such triad back will the third bar the composer the chromatic of ( doubled uncertain. this The ples exam- our be of note harmony the in harsh, of account on he other way F. illustrates. the C-natur^ the tonality from obtained. Edwards. ?=F^ In "S ^!^ji r plea 4:- - sant i greene ^ doe A sting Ud g=F=l-i" ^ J. ^ of The (1523-1566.) w The effect biting Richard zo6. lished, estab- piquancy be to in seen not of key rendering derives melody no the is is emphasizing against ) tenor in words the chord minor D as be to the of curiously from judging the by held the felt would particular Example be must evidently custom of mented aug- traced be can some as application ic^ where, Example passage combination, modem century, 127 of, the It use. etc. show. to serve Sixth, thought was common sixteenth entirely An in was the to Augmented The - ing 128 Melodies It bar at which 4) gives in way which tied, suggests Dowland's bar E-fiat to accordance triad was first bass the the three old is ancient all methods the In the This ing-note lead- parts contrapuntal by The the upper produced in used. predecessors. Na ( manner approaches anticipation. an with Example fifth alto ing mov- is again in custom. 107. " FROM EXTRACT The From of the triad as example next idea immediate augmented an the Them. good with strongly Harmonize that the B-natural, of a augmented the cautious to unlikely not seems 107, Haw and Set First of CRYSTAL 60, TEARS." Songs. John Dowland. (1562-1625.) (1597.) ^ m r Tg^ J" " ^^" 9=wi- ^ ^^=i ^ i "^-^ ^ ^ that in even discovered necessity the that be sixteenth the prepared. f Dowland from example ( No. century augmented At the i i 'r- r Another s= ) proves had composers need triad second 108 bar of not Example of t^o Melodies Example How and Harmonize to Them. 109. FROM PLAYFORD'S 'SELECT ATRES." William (Bk. Ill, 18. p. 1653.) be For less 1 whole pointed out Purcell did ( chromatic plain FROM he what ; but been has passing-notes than more The (*) that Macfarren, George chromatic employed little (Example asterisk. prove chromatic alone in the occur an to Sir ) passing-notes chords Example use Taken enough. late the not thougii extent, with plainly goes by true. so "Bonduca," marked are passage ne'er triads PurcelPs from These 10). chromatic four taken piece love riP"T::F^""^ r than old the :^=^ r No I Si ^ I Webb. chords part one these being to any freely reads as combined result. no. THE OVERTURE TO Henry ' BONDUCA.' Purcell. Andante. (1695.) ^^iij^ti^ ^^^p^^^^f=F|e r Chap. IX. The Sixth, Augmented "fffrr i h etc. 131 ffV T ^iJjtUifci^ ^ j^^TrT M ^^m i F^^ 1f*F is It doubt no but Wagner, in being be should descends fifth itself note D-flat to a correct wide leap Example in in entirely taken of the the to the iii, is exhibited consideration passage a of progression chromatically, resolves and (D-natural ) chromatically, The voice understanding part of omitted the the inversion, G-flat. of key under chord same its second the Richard of art the bass, that harmonic which augmented the is Note not is, on the essential structure. Melodies 132 Example and How to Harmonize Than. xzi. EXTRACT " FROM PARSIFAL." * Wagner. M i piu morendo. -S^ find proceed in this With marked. proceed then * the Page such to the 18, Rleinmichers table melody aid sixth of I g-i of and these the sharp a table exercises. Score. If the chords two himself, showing available are two before for chords ; viz " triad. augmented note should he does, he for should student the introducing a the the augmented resolutions out of by the follow, chapter. make to degrees what which difficulty in discussed 'I ^- exercises little Ig ^ to- the ^ p -jyzys- In "iS":^ should him monization har; " The be also he may Chap, Exercise ^ IX. 90. The On " 2=^-1^ i i the ^ fc Exercise Augmented Sixth, ^^fe s"- 121 On " ?2=ie the Augmented * ^ " ^ ^^P gJ ^ ^ ^- I -d* On " the I Triad. :^ 92. 133 Triad. Augmented " 91. Exercise etc. " ^fi" z^" Sixth. Augmented * -ei zi S:^zgi' " i " 93. I?g gll!^ ^^^^^ -(S*- ExERCiSE ?? On " the Augmented Sixth. i!jy|^^M=F#^F^ ^m ISI 12^ 1 and Melodies 134 Exercise ^3 Haw Them. Harmonize to 94. s I p Exercise 95. On both Chords. " ^^ m M " $ ^^m^^^ Exercise M 96. On both szzis: Chords. " ^^^m 4^fekJJbLLL"B3E^ F ^^tss^E^^a ^'~r~r i ^3S CHAPTER FURTHER STUDY considered. however, Book, shows with the be are removed of the their Example is, no less others, ; historic great Fitzwilliam the had air the in the but cadences, of series ending doubtless zia. HANSKIN. "JOG the Virginal ON, JOG ON THE FOOT-PATH WAY." Fitzwilliam by Version Book. Richard J ^ Farnaby. ^^=f^ J U^ 1 they producing discarded. being an variations^ thus ; the added be may instability which and unrest in finish to attempt It such Virginal enough cadence. throughout of the common that finally employed From been already follow are from dominant only not to which procedure a period, feeling led dress copied 112, retained a have which those forms rarer Elizabethan and Cadences ornamental are Example were of CADENCES. if obsolete. value, that OF df Some if their simple air forms simpler The X. i i J- 136 Melodies and How to Harmonize Them. r^' fine The from copied an bar. harmonization old the uncommon same use The of the and plagal basis may be Byrde gives source, harmonic simple, of of read y thus in example : 113), instance an cadence the (No. " of last the is tremely ex- Melodies 138 Lasso's of example plagal the the the (No. to introduce two chords, this in bars Bzample three but tonic) final two in voices observe 3 takes by third a the sire de- each of able. avail- are also i. e., dominant ; " to and 2 the about of form melody in brought only varied a the seen is which cadence (not which interval the Between " in Them, offers 114) progression apparently ; Harmonize to cadence, imexpected chords How and the terrupted in- " harmony ceeding pro- submediant to 1x4. FROM EXTRACT THS "SICUT MOTET, TATUS ABLAC- EST." FiTzwiLLiAM. Orlando Lasso. di i ^^ S -ini-^^^^ i X ^ m ri-zt- mtjmP 1 "g-r^ M in occurs There VIII. which the by and treble the in odd bar would a are may and be pointed suspension 2, be the in in in out bar i, the leading-note amended in modem to plagal of of Henry modem occur, the dence ca- Motet, tice, pracBetween passing. yths lower time the exceptions two the Willaert's of of composition tenor, of use quotation our 115), (Example modem almost and Another produced two is doubled. practice. parts Both ; tails de- X. Chap* Example Study Further of Cadences. 139 1x5. FROM ""QUEM MOTET DICUNT HOMINES." Adrian Willaert. ( 1 480-1 562) r f ?-r^f " 1 i m ^t=F-f=f^ I 121 Almost every The one rare employment without tierce FROM of de of cadence (Example quote we Example form plagal a in occurs 116) illustrates in cadence Bach. the minor the Picardie. 116. "" TOCCATA ET FU6A" m D MINOR. Bach. ^^ir%=?- ^ I Melodies 140 and Example croft's the father is of The with (false) would not is in in muster our John particularly bar Ravens- Milton, cian. musi- accomplished and Picardie; relation pass by an cadence de from Tune," and poet, its tierce harsh Them. harmonization a the final Harmonize to "Norwich 117, Psalter, Example How apart trived, con- from is little there 3, well the that day.* own 117. NORWICH j; Raven scroft's ( 1621.) Psalter, Psalme MU TTJIVS. J ). 102 jfJj^B ff in ( Melody Milton. John te= f Tenor.) . . j j ^ m. r? ? ^ f "i i 3 TTT^f r S P^ iUiVir^ii^ ^ r^ f^rr '^^^ixm^^M ^ ^^1 ^^ *The excq"ted. Syea f between treble and bass f (bars \ f- T 7 and 8) should perhaps be is major connection close The it must though the example tannicus of (No. ( 1695 the 17th delicacy may these in that easily be of ), Purcell how combine of real the In the bert's Schu- aflfinity ing followBri- Orpheus the with similar, fundamentally and practice; many from shows could in found. copied 141 minor than illustration 118) century tonic the theory admitted be keys two in practical Songs of of evident more of Cadences. Study Further X, Chap. hand master the but utmost cally practi- conflicting keys.* Example * See Henry 118. page 43 ( par. 66 ), Dr. Vincent's " Harmony. Purckll. Melodies 142 drawn from abounds in is ) 119 which novel in way chorus here the chromatic effect triad, Example the given probably with an a mented augrupted inter- an of invention an " of impression the staff of use the by enters the by The upper staff) (lower gives is work a kind. the close by produced cadence, of perfect (No. Isolde," examples a orchestra cadences and represented " while Tristan fine Them. unusual of " which Harmonize to illustration last Our Haw and Wagner. iig. EXTRACT "" FROM TRISTAN AND ISOLDE." i fe^ i =^^ f^^ i I i obvious For not necessitate exercises generally without cadences. Exercise taken 97. on inviting it. upon to the the does concfuded chapter exercises therefore bearing before, the direct is opportunity gone reasons give a which matter use set of The six of has nary extraordi- Chap. X, Further of Study Cadtnces. 143 h^Mj;lj *\}^tp^^ l^t^XJirjI^BfeB Exercise 98. k 4r S^^ ^ m "." ^V-rrri^rrr^^^^T^^^f^ Exercise ^ 99. p^ "# # " -# " #" Melodies 144 Exercise and How to Them. Harmonize ioo. Exercise ^^ zzzTaiifs: "s^-^" ^ y-|^-" ^^^^^^l^s Ai prfFrff^^^ffeggg^gJ i SP Si^i"^SEitES W=^lf^ Exercise i 102. 3====F==F=^^"^3 ^^g '0^ 3"^" P3^ =P=# P m:?! I Example Haw and Melodies 146 Them. Harmonize to zaz. ""PRAISE 0 LORD, THE Canon " two GENTILES." YEE in parts one.** Tallis. Thomas Ravenscropt. * ^ f^V' r ry rf^ r d^jj. rryrrrf H, I \f' \^S "4=U4 ^ This old form of Note, imusual the A of short Pedals properly Tallis's collection will introduced the however, suspension (in of tend and the examples to is of Canon show in fifths bass) of how quitted, may at the a be monization. har- simple bar bar 2, and 4. employment single sustained note, at XI, Chap, with length any widely and by the end of its duration. in connection. The (See tonic dominant, pedal same The pedal and, in the passage for observed from in examined EXTRACT the opening two than part upper (see in repeated, these, bars sequence, 4, 5 SONATA m B-FLAT a a ant medi- and one MINOR. Chopin. w^mm a then bars, laa. FROM this 122) gives higher. Szample the at quoted (Example uncommon is duced intro- iv). Chopin more be heard integral part, instance early should page from an be should 147 "properly it is which Preface our extract simple of condition same Hucbald The chord any is note a etc, harmonies diverging Such simultaneously. " Pedals, Suspensions, 6.) step and Melodies 148 Haw Them. Harmomze to simile. shows the scale, the freely to of use other flowing parts sixth the on (No. of quite the major ^ Antonio Cesti. f=i=^ Jt=" P #-"-# a A^^^ ^^1 ^i"z ^^ century pedal part. but naturally 123. Marc Goes* 123) half-close. the Example pedal a Cesti from example three-part The * r example (No. introduces composition, sustained The with tierce 124) much de us to ingenuity Picardie sixteenth early an a in occurs tonic the in minor middle the final bar. * A Portuguese "History.** amateur of great musical distinction. See Hawkins' Chap. XI, Suspensions, Pedals etc, 149 , Example 124. Damianus i Goes, ( 1501-1553). s *~g~rT^=^ m 3r= -(S- i^ k -^ i ^ |yr:z"j^^^^^j^^ Me^^ i^ " ^ " I I s^^ ^- ^^ ^ " ?=^ -"- I Melodies 150 below give We unusual very whole Harmonize to 125) phenomenon, passage equally bar worth is Them. in 2, pedal. imitation the appeared The being The in that bass.) the melodious. have of specimen leading-note study, and well a a " of half effective extremely might Haw (Example second the (See and passage chapter our on passing-notes. Szample 125. EXTRACT FROM THE FUGUE m B Preludes Forty-eight J. S. 23). (No. and Fugues. Bach. ^^^^n Mm^ Note." changing The Brahms. recommended Cat0 fine A harmonies Uggiero** passage instance is seen is too of the in the lone capabilitiesof Second for the second part peruse and onwards. bars twenty to quotation of pedal a Ballade the here. piece with rapidly ( for Piano But students marked "mctto ) of are stac" XI. Chap, Suspensions Pedals, etc. 151 y with melodies of more we have is there Though less all the intelligent understanding would perhaps and thirteenths, them, in or of matters a so the material the phrases the which particular the of of designed Example also for the the ^^^ is not Prelude in F ( Vincent lieu Music Co.). of rest say, of that derived For this referred to only contain expressive most ^ S: a are E. i^ From to parts for One organ. \ " in imitation. which Bach, these practice the is to space 126) student the but that za6. Organ. p-'- where actual (No. other in such part-writing. it ; the music workmanship, ever all 15, in given employed Preludes exquisite * and class Choral music in eration consid- is there which surrounds employed theme refer may call so may (in tenor) supplies theme The precept. we an Some elaborate elegant be may if for elevenths the on Nor for however, subject. pages8i-i imitation, of necessary very I discussed. fully our more a sevenths. study example, from these, "Harmony," are proper is the Vincent's Dr. of place necessary chords, compound selection practically, treated chapter a dealing a ground of expect follow to papers, problems knotty traversed now chapter a examination in set or still Duncan. Melodies 152 and Haw to Harmonize Them, j|Jk?^^',V'V!7i \p^ .fJIf^^flv^ ^ (Theme,) i =P 4 'J fl^Cj 'J: IJ^^'" I etc. i Si i I I 1^ Melodies 154 to Harmonize Them. imitation. Introduce io6. Exercise How and " i=^=f4f^^!^ f=" ^ rP- ra S ^ -" :^mfw^^mm^^m Exercise 107. Jir~^ yA4-'j% Pedal. Exercise 108. jfTf^ i fe"Efi^ i 1= r7r~7:f i^ rrr^'^-M-1 "--gi " II "- 3fcrii I I __U ! " I K-J ^-L_"'gi "g J Suspensions, XI. Chap. i ^^ Exercise ^ ^ etc. 155 t 109, f- s Pedals, If" F P^B _ ^ srrip: ^S^^IS^a Exercise iio. r|!irii|fmrr^^^ Jii i lii||i| irrrirrii|i 'fjttj'p^i^ J J- ^ 156 Melodies and How CHAPTER XII. EXAMINATION of the the Adaptations Musical is student and with since in the to the here to details is the work his of It admits and it, will always the out copy study given. derive to examples, all versions two melody same of the compare version that following some sities Univer- order In ), then turn the " first its finally the expected the recommended ( each melody it out; from from of papers Colleges. benefit utmost of Melodies Examination leading and MELODIES. PAPER and Extracts Them. Harmonize to ing work- not be to literally agree, several kinds of of harmonization. [Note The ; fourth imitation, which chords The used 4 to 3 ; the treble is tied":rotchet Example 7 a perhaps all are 6. In the disguised and of would Melody i ^ -e^ JiJ -9"- ) more an the alto. always are such the it been been from A. J-J 9 the as minim written in as obvious. given. Adapted i"j by which (No. Had have and invites suspensions, simple suspension. sion suspen- third the phrase sixths, bar of hint in strictly maintain treble penultimate treatment plain a easily managed triads introduction 127." The j higher, parts most the its the possible. as is Let give step one bars. 127. melody of sequence, long as favourable the in succeeding sequence, the bars opening two answered Bzample on R. a C. paper O. set for Exam. ^LjLlJ _flD_ the a XII, Chap. Examination Melodies Paper 157 jSl. FT^rtTFi m The of melody this examination to appears some note at treatment, as few to the the at the 1,5, and the two resolution the which bars, the is reads the of chord, the as we require bar figure same each given, In ) cases assumed restrictions itself it into which some simple taking is so having best near care at hand. to of stray to the from It 2. and i in 5 one just that seen it be Let i subdominant the harmonies by in such (No. subdominant too far away be of the the ing-note hold- should i in ) our melody the treble. the spite cadence as are it should foi is, of endings Two the ( in progression 5 note however, in . plagal treble phrase variation not a way, characteristic some chords, as The bar pedal, The the be now continue, melodic the bar notes prolonged, must parts ing open- harmony suggested much two of of varied. figures is note other by the reality becomes. suggest take of use will bar In tonic. seems the two effective properly final the its chords. to the tal ornamen- subdominant, easily an of numbers an to the part lead it is very imposed in both are the that once from second will for the It tonic. the because making where the for of form a that also motion contrary the and 2, be will chord a be will 4 of treble of owing are answer each the The vigorous make 4 include because dominant, of to i chord first still the the so and Thns submediant the at kind examination pedal or inent prom- exceptional notes the a Look i Better keep its manner. appearance sight a harmonize, to effective an The bar. first the we piece. (42)3. 1,4 this closer A at of with. principal first indeed a the At rarely in 2. having 5th. of beginning that show unless bass, best the bar at others requires awkward seems quavers of bars three set was met conclude tonic, will phrase usuaDy not for ) like and ago, melodies the to 4, end beginning return initial the 128 ( No. years difficulties present sustained figure ejcample to common example, and weave and from at the tonic end, Melodies 158 Szample f and ia8." Haw to Harmonixe Mdody. A. hhi^^\h^ R. C. O., 1882. ^m r^ kAi i m Them. ^ W^ 3EJJ^;-]J n " p ri"T^ ^ A''- ^ J a -PiJ^Jr^i ^ rrfVaTr^a? i minor The taken be may as class, calling details. of the melody and and a the very fair a for marked of bar one easy melody again such a namely done. previous Bzample for be final as an will remarks bars on both which details are eighth fill them and in as take to 1 1 we the up and resumes 12). the on plan to tags of is for opportunity, ( Nos. obvious suite noted The an ready off pedal; remaining such in announced offers. are we treatment carefully may breaks dominant The we advanced the that 159 (No. 129) more in as be give for the will harmony a figure should only melody it dominant, ; the care following two the of opportunity providing as i, where choose, Now specimen a worked have we considerable So reproduction bar which melody Melodies Paper Examinaiion XII. Chap, what maintain the same, has been covered already parallel examples. zag. F. R. C. O., (Adapted.) ^m^^^^m 1882. by i6o Mehdies and Haw Harmonize io Them. '^^m ^rrw E'J |J^J JTJ ^m J J salient be summed the opening the harmony. chosen, the bars the allowed and not melody Care E sets while the close must (No. movement Example and of pair both equally had be hint a for the semibreve G be not kind of Lastly it going during that is advisable bar, as bars R. C. O., the be full penultimate keep to shown. 1882. of be, must 130. F. A See scale Moreover the the to certainly until and four movement rest. of thought ). 12 ( descending of be treating The is at part F-sharp last the it chords form ) natural. that maintained for of given the in movement namely notes, are must little a skips in imitated in i may 130 wide be bar (of G only and The included be No. at account no monotonous. too maintained, bar the fifth bars, and B.) be them methods Two fourth on Let next melody fashion. must triad, same D. in briefer that so the of features up I :^ -^ The ^ r-" ( Adapted.) A the 1 62 Melodies Example and How to Harmonize R. C. Them. 131. F. O., 1882. s= (Adapted.) ^ f-xir^ ^W^^ ^v ..^^JUU 1 r ^^^ ^ i I ^^^ro^ XII. Chap, harmonization The made all here should offers a a modified in form, Example 132. Add " the for three to parts reproduction, bar. next very melodic the 4 are imitation start bar opportunity ready comment features the at bears 132 last The From itself, while commend phrase in marked. strongly No. the example. 163 Melodies in in given previous the on Paper presented recommendation the out Examination the Melody giren. Mus. London Bac. ^B^7'^ai^Tgj ni^ a^ B^ SisEi^ m i u ^ Book has I and tenor 2 a from drawn in progress and voice-part ; of practically end founded of on two is a the Thus melody quite naturally bars dominant. No. chromatics while in balanced (3 bars the foundation, the ciety's So- harmony, numerous tonic succeeding on in basis. accompanies this the spite harmonic simple Incorporated The presented here (and begin course I ^ I by permission), but ni^i i t- melody The 133, ^ f=T and Care its the matic chro- by the 4) being must be 164 Melodies taken in the final How After piece. a of movement called was This for. chords rapidly changing the such employed, kind determined of Thetn, Harmonize to bars harmonies sluggish by and of the is the more a imparted concluding two bars. Example 133. INCORPORATED SOCIETY No. MELODY, pennission. By final Our from a paper musical in what the much in the in part world, for, which such might suit the theme the addition Oxford viola, of stringed five is example though The assigned the an chosen coveted most namely melodic, (an fittingly the perhaps common. harmony is 134) is than contrapuntal this, suitable called for (No. Strictly speaking have appears set degree Doctorate. rather example 647. jects sub- granted and, round parts) instruments. was need Little the of those In the in that the work of the All be put called of five Mark the Example Violin X Violin a VioU I. VioU 2 givei part, 'CeUo parts there that 'CeUo than despite six melodies employ ; parts. been placed in used as in exercise aim some has melodies such some the recommendation such to its 165 the is this cipal prin- always for. Add The complicated harmonizing Oxford so of simpler the examinations explanation before, work, the practice tenor. might is less gone Melodies Paper further which have course of in said be example^ of made Examination XII. Chap. I. a will phrasing the to be 2 and Doc. Mu8. viola violins, (second) part 2 violas, and given 2 'cellos. bowing. 134. Sfr^tr.n : 1 66 i and Melodies Haw to Them. Harmonize Qiif tffri,^^ ES ri i" ^^^^S r=fc Pz " r^ :E=tf: m^^ ^^m "^=?^ ^^ e ypFiihj. " L^ag^pgf m a* #A EEie S a^ i 1*=;^ ^ "i!^"T i SP r ir r a^-|y"_i^jiJ 9ipfa=^=^^^f^PSf77^ ^ ^"" "- i I^^Z^jt "? " APPENDIX. . The of Appendix help further to illustrate is which Melodies, No also chronology, in histories the of study for Although icumen the in " it is 13th has known exist of English edited Harmony earliest the by ples exam- mostly are in is Sumer anterior facsimile in desire research. as origin in the a " few a nally fi- brighten to " native reproduced tend quoted all must arises Round harmony, Those and Early of the which to encourage individual for been of Harmony will century often specimen of and " mony, Har- follow to Burney, hoped if not of usefully preserved subject examples knowledge, fuller made history incidentally given, the Harmonization and the little here paragraphs the of the more Hawkins of What go. is should growth been has follows gradual with one which students thorough the attempt actual which examples the lected colof pages Professor Wool- Music Society. ^ for dridge equally found in Age," and be Moyen carols in our land, late the we what has of 1 6th 1 8th music been of at by will the therefore are its no us idle. means enable the periods to student which the The to our of Dow- for after appear examples native a rapid examples of art table following take of light would though show, can to it countries other best forward day and Lawes which after period the Henry lead to turn few from Elizabethan the reach we century. century, must dates until Purcell Henry a drawn 38, etc.) of writers attention claim direct of Only those as mens, speci- pages. other and B)n-de him these antique student. (Example Au scarcely are such origin, L'Harmonie Such modem examples, iStfi century included elsewhere. the to fragmentary continental " interesting, use of ancient, Coussemaker's however practical Mediaeval and Plainsong almost Others, may the vey sur- refer. 1 68 Melodies How and ^ ro 6 ^ *"" "" m Harmonize to Them. 9 ^0 "o I O "o w^ fs. Q 66 oft " m " in to I 111 U 1 C M B ^^ '--' 1 ^ S S C_i o " w "J '^ 5^ ^ ^ ^ w I ^ .2 ^ ^ I CO " Melodies lyo Example From of a and Haw Harmonize to Them. 135. MS. roll in the Library Trinity College, Cambridge. 15th Century. M^um rWTTi"** f ^ "^ g^ De o - gra ti - Ang as - njt'j 'jljj rTYff Red 3 ^^ de pro - i ^ "wf^ r- IB ? Tf I t^- p VIC The above to - example (No. three-part 15th century omitted, passing-notes were whole melodic be All sense added, curiously * our Um was a ends enough flats, and of the sharp, view word. the usual The of one with absent 7, 6, in the were together, rather of specimen Thirds clashed point are fair a considered was contrapuntal or in may structure is ) 135 a. - harmony.* of the n - 8 the as M.S. than and from as a mony harit cadence, period, the and melody- 171 Appendix, alto accompanying The notes. they look, are hopeless notes, correctly transcribed. "0 HEART." as 136. Example MY Song (A for Voices.) Three (1491-1547.) VIII. Henry From in Manuscript a British the Museum. m4^4JA^^ *rrr f-TTf -"-# J J J J ^= ^^ ^E ^m -)rz;.i\.i-i^U m-^"at- "g . ^ddd^^sddMk rfrrrn -fm mi ^ -"-r' ^^^i^^^si r- t^tj. r r "J J apology of piece hitherto amusement The is the of harmony. so free is use not the august student The unprinted. air, however, for is needed composition the M: rir^ .fe,x-^j Little J of will merit I and in ; nor a believe, with note consecutives without of introduction origin, I bar indeed 2. Example Haw and Melodies 172 to the WHARFS. Giles Fitz"dlliaiii Virginal (Circa Book. 3f*- 1 560-1 600.) " r ff\f^ ^ Jj r i mj-rrrirr^ J Farnabt. ^ " rf-r J ni - m Them. 137. PAWLBS From Harmonize ^- J. . f ^" /' ^J j:? . ^^^^m r Appendix. excellent Famaby's well second in bar ing-notes. also bars The tenor the There is and 6 of 7th bar of 4 the brighter little a and pages, 137 quaintly enough scale. Compare similarly used. the melody within is C-natural where these in part minor 7, scarcely compass an melody the through passes as ( Example ) might early example employing (5 seventh, (see last note ). It is also rich in pass- dominant unprepared an harmony cited been have 173 the is far rhythm from common.* Example Waonxr. 138. Lento, The easily chords pass of the for the Example score find may of " 138 ) would ( No. example old-fashioned an student KleinmichePs above progression them on theless ; never- page 226 of Parsifal." 139. "PROPER ( TUNE." Psalm 148.) Playford*s " Introduction,** ^^^^m UU- ^ ^ "= m f=r "The secutive quaint effect of the C sths in the last bar may naiurai be noted. in th" baM of bar 6, and the eon* Melodies 174 Haw and Harmonize to Them. ..^ p4jlf,y^/\^"/, rrrrffffff The ) 139 the such treat it vary fourth do means as skips at the of which the the of the ; chord, passing-notes. is tenor The (a The endings to at near any part, third and subdominant perfect therefore minor of Better in of the use any opening bass movement the the occupy chord. same emphasizing of satisfactory not prominently. so permit missing it is wide any ple ( Exam- alternation singular keeping shown, though subdominant the hint not music of Psalm 48th arpeggio-like the part as avoiding bars, chord, to slightly, treble the as notes and hand, the 1 closes, slow In melody. for also Note the to subdominant piece. whole set remarkable is and tonic the " Tune Proper " 7th of the cadence made on D), lines to by give Appendix. the in the cadences following 175 order : Tonic, " Subdominant, Tonic, Subdominant, Tonic, Tonic, a truly Example remarkable ( monotonous) and " list 140. OXFORD TUNE. ( Psalm 4.) From the to An " Skill ^- of Musick." Playford. John ^ Introduction m "^- A:^ i" r I ^ T--f-- r r A "TT^Tj^^ A 176 Melodies and Playford's of old an by was of a old no means not Example of by as " In the to on air, in say Chromatic OXFORD p=^"" the in manner ( See so. example an with a regards following same editor the presumption Z4z. beginning Immediately modernization it be The ns throughout uncommon pieces. made yields harmonized 140). Them. Harmonize to "Introduction" tune (Example How triads leading-note the will melody be found chromatic of mony, har- Grieg, Example 1 if 41.) harmony. TUNS. ^ ^ ^ [1^^"pi^^. \ "jvffp^ "\^ ^ 4'|({g" 173 Melodies Example and Haw Them. Harmontze to 143. A CATCH FOR VOICES. THREE ( 1609. ) Deuteromelia. blind Three This 143) venerable is little then I, the in back the of " to of 3rd 2, the and " chord ( 1609 must begin lastly take ot each the at the bar, read To ). top quaint The melody. old wonderful Deuteromelia we (Example harmony Ravenscroft's aright, melody completion thirds no from entitled turn etc. fragment copied collection, the mice, figure line effect must not overlooked. Example Stradella. 144. (1645-1681.) ^ \ Spi "i^^^^ -M T as of be Appendix, The seventh diminished Sir Hubert given from by out above and has Two 146 A 5. already Stradella PurcelPs ) from of pointed example See bars diminished the 94, by 7th 145 Art of Descant). Purcell. r^rrnrttji^ r r rrrrt J Ji ^ i T"f f w ? r 1 Bzample i r Purcell. 146. fe^ 1j i i icasz t^ f *Tht Jlg^res and ( 1683.)* Descant" 145. ij 2 Dowland. (Nos* added ( Szample the 154). fjcample here Art it is in seen of use are " is the and seventh (No. in given been minor subdominant, Parry, earlier much the the on instances more of origin common 179 are quoted exactly. J 1 i I i8o Purcell, in the flat 8). our Example 146 in is 6th, an (in bar instance, early chords 2) in 2 for well as Italian the 145, and the prepared un- for as the graph, para- seventh sharp among use interesting 7th last our the No. example diminshed Neapolitan in to discords, mightily Them Harmonize alluded "two seventh (see masters," to essay of speaks and Haw and Melodies the first very bar. Example 147. FROM BZTRACT *"AWAY WITH LOVmC THESB 8SLF- LADS." ( 1597.) Dowland. John fe#^gi^#jw i^W 1- ^^ 1 u j./jj jM^j F7ffT--^^^;:^fe" etc. ^- i^ a^ -M 1 1. " " 1 Mm F--y- i Appendix. in Modulation cautious extremely like cases the nature century as rule. a in an Exceptional ) 147 English of was ( Example especially found, be i6th preceding the i8i ever, how- can, compositions of period. the beautiful be to one written." of the In all though no who can it well use anything of accused which their the Sxample used will added. is also perhaps the progression not be than ; ance, appear- it be of the covered dis- quence conse- for those of being edness indebt- common themselves use ever little danger the masters ( Example of in Prout novel if a 148), its first surprised be more old and this Dvorak's forerunners. is also is It first who need one shows Professor by probability and ( Example beautiful "most Bach. in Schubert, justly declared been has from progression striking and which is quotation last Our had for lation modu- same 149.) 148. FROM EXTRACT SYMPHONY IN C MAJOR. Schubert. I9i4^" r=^^^ 'CeUi. d^ decres. Pigg. Busi. 9I4-Ht^ /t . P 1 X 1 82 Melodies and Haw to Hannonize Them, ^^^M ^ m ^ ^^ cres. "^ T-f^ ^-rr-r=* Szample ^ I , :t=": 149. "" FROM "XTRACT SPECTRE'S BRIDE." Dvorak. ^ ei ^(S'-i f "" ^^^S: b^' -($^. f 1"i^=gfczi^if=pi fci =^*i; The End. f INDEX. PAGX. Adoramus te Agincourt A. R. (Feroci) 107 Song C. O. 177 Melodies Harmonized Bach Beethoven 39" 53" 5^, 65, 70, 76, 156, 158 77, 139, 150 78, iii, 124 Berlioz loi Blow thy horn, Hunter 9 Brahms 125 Byrde 46, 89, 106, 105, 137 Carols 44 Cesti 148 Chopin 80, Chloris Come, Deo (Lawes) 103^ 31, Gratias 147 122 170 Deuteromelia 30, Dowland 112, 128, 129, Dvorak 145) 96, Edwards (Rich) 178 180 182 127 * Famaby (Giles) 86, Feroci 107 Field (John) F. C. R. loi 0 159, 160, Goes Goss Greene 172 162 149 (Sir John) 37" 39 (Maurice) 88 Handel Henry 95 VIII 45, iv. Hucbald Incorporated Josquin de Society 81, 109, (Preface) no, Prds Lasso (Orlando) Lawes (Henry) 171 164 61 138 31, 183 122 Index. i84 PAOB. Leo ii6 Loewe 79, 88, Qohn) Milton 115 140 Monteverde 48 Mouton 47 Mus. Bac 163 Mus. Doc 165 Oxford Tune 175, 176 Parthenia 75 Pawles Wharfe 172 Playford 173, Purcell strike (Britons, " " (Dido " (Te " " 51 Aeneas) 123 Deum) 124 130 (Song) 141 of Descant) 179 Ravenscroft 30, 67, Rinck " 174 (Bonduca) (Art " home) 178 94 Requiescat in " pace (Josquin de Pr^s) 61 Schubert 68, Schumann 181 54 Spohr 100, 102 Stradella 178 Tallis 146 Tschaikowsky 113 (Lohengrin) Wagner ** (Parsifal) 69 ; 97, 132, (Mastersingers) 108 " (Tristan) 142 Ale Watkins Webb 10 (William) 130 Weelkes 81 Willaert York The 173 " 47" Tune author^s i39 12 example 151 Music Boston The Company FOR Books THE /WT" SERIES IV Net. 8i 82 Rudiments of Musical 83 Rudiments of Music Manual of Knowledge for Choirs and F, J, Sight Singing Part I. Paper cover .50; Cloth cover .75 84* II. Paper cover Cloth cover .75 School Designed each 86 Choral 87 New 88 Practical 89^ Key 90 91 Students' " of Manual Paper .60; cover in Cloth i.oo Vincent C, Voices Vincent C. Diatonic Harmony, and 94 W, 95 96 Combined 97 Musical 98 On 99 Voice P, E. M. ' its Cultivation Fred 100 Hints 1 01 300 Examination 102 Score "75 .40 G. Shinn I.2S A.Page Hear How 104 Vocal 105 Practical 106 Voice 107 On we in the (A Exercises for Mendelssohn's 108 Scales 109 The no Choir 111 The and Art Treatise for on Boys of Men's 113 Major Bentall G, E, Boys u Boys S. Paul Bowing on Voice Production and Musical Rendering Minor Scales " 2.00 "75 .10 "25 .10 1.00' Midgley 1.50 Stoeznng Richardson Madeley *" R, Voices and A, "75 Pearce W. C. Sonatas Psalms, their Structure Memorizing Choir ea. Baxter F, N, 1.50 "15 C. Baker /: Sound) Training Organ Training based Training J. S. Bach Vols. Arpeggios of Violin 112 (48 Fugues)'2 Clefs Various for Choir Suggestions Exercises r. White Mangelsdorff A. 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