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2. music
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4. music composition and theory

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
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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.
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1
i
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4^^
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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
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"
.^
"
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?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"
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It
^
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i
i
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6i.
Exercise
g-
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ii^
^
^
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Exercise
^jrp:^'^if^^jJiI[J
62.
^
^^
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^^
Exercise
5:^
63.
64.
Exercise
in
(Melody
"
85
Passing-notes.
F.
Chap.
Tenor.)
the
^r^^
s
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f
t"^
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r
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p
I r-r-rT^fJF^
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9
"
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4^
I
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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
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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
!
^
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i
m
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^^
68.
=P!
ap^
^m
^m
Melodies
92
and
How
to
Harmonize
Them.
tf
^^^^^^^^
^^^^^^^m
Exercise
69.
^^^^^^^
Exercise
70.
^m
"fg
^
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SZIIZZ
t=
i ^7^
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fi^
1
^
"fi'
"
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fr-Ti"
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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^=.
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zgsi
Ky
e,
-
-
"! i^JJ
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is:
W.
**:
a
ffi
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a
a
=av-
ri
-
VIII.
Chap.
i
?sr
e
e
-
Chromatics.
:irz^_=f
le- i- son,
Ky
117
iiszizzzz^
ipr^
ri-
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g".
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e
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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
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87.
Exercise
^H'J
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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^
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O-
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g^.
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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''-
^
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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
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^^
e
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"
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m
a*
#A
EEie
S
a^
i
1*=;^
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i
SP
r ir r a^-|y"_i^jiJ
9ipfa=^=^^^f^PSf77^
^
^""
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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
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w
"J
'^
5^
^
^
^
w
I
^
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^
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
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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
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