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ELEMENTARY
HARMONY
PAl^
III
BY
C.
H.
KITSON
OXFORD
AT THE CLARENDON
PRESS-
ffa^ 'C^K'-'ji
GEOFFREY CUMBERLEGE
PtJBLISUER TO THE UNIVERSITY
50
V.
3
FIRST PUBLISHED I92O
REPRINTED 1922, I926, I929
1933. 1935. I94I. 1946
PREFACE
This part concludes the elementary survey of Harmony
as practised up to the time of Brahms. The student, of
course, knows that this technique is now practically
a dead language. But there are two valid reasons for
still
teaching
it
(i)
The new
technique
theory;
(2)
is
not yet
any systematized
we now have
Broadly,
three
periods
(i)
The Polyphonic
is
Period
up to
1600
this
technique
Counterpoint.
(2)
(3)
is
',
sound
itself
styles,
was the
result of
combined melodies.
In later
we have
periods
give
conversant
with
the
harmonic
attention
he
till
basis
is
to
the
thoroughly
underlying their
combination.
The
is
puntal phase.
It
is
he
who
understands the
A 2
KITSON.
CONTENTS
CHAPTER
PAGE
16
CHAPTER n
Chromatic Supertonic Ninth and Thirteenth
CHAPTER
III
26
CHAPTER
IV
34
CHAPTER V
Chords of the Augmented Sixth
CHAPTER
43
VI
Pedals
50
CHAPTER
VII
Additional Exercises
59
CHAPTER
VIII
Accompaniment Writing
CHAPTER
66
IX
Appendix
.75
.91
CHAPTER
is
One
b.
I.
,^=-=J-_pi^=p^
J J
'J
J
II
J-
J-
<-^
Ci>
i-r
By
to the resource of
x.
2.
new
colour
is
added
harmony.
^i
-f-^-s>-
^^
-rfn
P^n=^
<n
-l^c
t-n
()
.^^
Hi
=!t=
-J-
pg-
J-
-f^
"
1
3.
=--:
^^
A
12:^
!-.
f^^^ m
A
F?=
CHROMATIC SUPERTONIC
it
common
Ex.
4.
J^=Jz
rS:i=S:
3EP
w=i^w2.
If the
The
(a)
On
to the
Ex.
The seventh
5.
in the supertonic
dominant chord,
dominant seventh.
if
the
fifth
latter.
Ex,
chord
may
^
6.
-I
^
J
1-
-J-
to the
Ex.
7.
J=A
?
^^E^ m
^
r
^.J- A A
-7^-
*==
possible
J. J-
J_A
J-
<& p jp
Or
it
may
chord as the
fifth
rises
to the root.
Ex.8.
A=d^
pf^
J-J.
^
This
is
6.
9.
dP-J =i^
o
U
ta^Uf ^^Jp:
i
22:
cL
CHROMATIC SUPERTONIC
lO
The major
because of
its
3.
As
'
supertonic seventh,
it
Ex. 10
The
Ex.
character.
incomplete-
^f^
^=Nr
J=J:
supertonic chromatic
really the
3S
is
pfc^
4.
fixed
rrrr-^
seventh
may
minor key.
II.
r^ F^V^
'-T
rJ
=ill
<s>-
J.
ri
^^r-f^- -r-^-
A.
A
p-
-1
*^
pension.
(a)
Ex.
Root decorated
la.
^
^Ej^
-xii
i^p-Us,
J-
J-
^!-r^
li
The minor
ninth
may be
II
f=^
X-
{b)
Ex.
13.
^=^4-.^^ ^
-^
^^
-j^
-A, 221
WT^
i
g
m(c)
Fifth,
or
fifth
and
third decorated
Ex. 14.
-ct
I
T
Y
^711^3; a
^U=A
^
jiii:
:?a:
f
-s-
r
-e>-
?2:=o-
fifth
by the sixth
is
CHROMATIC SUPERTONIC
12
Ex.
15.
ugly
-
i r
Q-^
fac^.
i^-
^^^
J:
|g=fe:
dominant key.
Use
Seventh, j^ (or
(1 3).
(J
3,
as the case
may be).
Exercises.
(i)
Harmonize the
supertonic
introducing
following,
common chord
r-f
(c)
chromatic
the
C'O^
-^^
:?3:
t=i
(*)
I
A
mr^
-)S>
(0
fep^=pqi^Ff^
()
r-f
major and
minor,
13
If
^
(See Ex,
irt
^
5,
6 and
8.)
()
-e>
--!
yd
rJ
tt=2:
-o-^
(rf)
J |W:;ui^=P^ "^^i
^^b^-^
\-
tI^It
jS^ n^'b
^^
(0.
=pz:
^dt
r-g,i>
^=FJ^
!-
-6'
ri-
t=^
Z!c^- o
::
hb
'""1^
1
LgJ-^^sJ-J -0
e*
CHROMATIC SUPERTONIC
14
(5)
appoggiaturas
(*)
()
#r^^-^=^^^0 =r
=^0
=s
-^
par. 5 (c)
par. 5(6)
1
%t=^= -r^
F^
l-n
*3
-0
-1
'
e>
(6)
Add
^g-J^+3-^
(6)
S^
^^S
ypv=^
32:
(0
^^
for S. A. T. B.
()
-ri
-e>-^
gdt=t|Q==^
{7)
-JOL
?d
E^3!^
Ex.
^^=J-H-|j-^
Ex. 13.
2ir
8.
(*)
*fe
^-^.'
15
nr^^,^
Ex.
13.
u ^=N^fe^
#^4
Ex. 12.
I
(8)
n-f?itzit
fcit
Add
parts for A.
introducing
some
^
and T.
^-
unessential
notes
(the
may be
soprano
elaborated)
1-^
III
J-iJ=J^
i'^p^
^^
gg
65
ki
Q6
i
M-^
*
^>-r-
8975
6
.\
132
^
U
6
5^
b7
::
CHAPTER
II
Ex.
16.
$
J-.
1
V7.
,^T
3^
17.
i ^
^
fifth
23=^^1
zdjlcz:
ip:
4fS:
32:
-JzH
^t^E^
^^--
{b)
way.
22:
of the tonic.
17
Ex. 18.
1
te=t
-jzt.
*f^
-J-
i=feJq:uJ-JL3i
|P=^
a J
-J-
JL J.
~q:
j^
^
minor ninth
In
sharpened root {D#).
2.
is
is
chords are the Leading and Diminished Sevenths of the dominant key.
Ex. 19.
Q ~P'
^
1.1
^=^^^
m^
jj. 4
3::n
^T-p-lf?^
rj
An J.
z^-
j-_
A J- j.jAj.
^;~i
rtt-r::
(n
52
5
B3
J.
/^^ U ~
^~t~?2=Ss22:
-1
n1
?2: 1^-
2:i:
6
5
f6
CHROMATIC SUPERTONIC
i8
The major
last
this
the
is
fifth
is
not used.
In
mental.
3. Note the use of the diminished seventh of the dominant
key as a link between two statements of the tonic chord in root
Ex. 20.
(A)
()
=P
n^i:
W-
2Z
:#^
m S3
^=i
221
at (a)
and
(b) is
that
1V=>~tt
j-
jsL
@=nii^pAt
(a)
5.
J >J
-xiii
--?2=^^^=2L
J-
il ^ r
?^
A*
may be used.
J^
32:
It
The
It is in
any case
rare.
It
231
IpEd^p^^br^
m: T2L
must resolve
is
into
19
of modulation.
key.
Any
(a)
diatonic major
a chromatic supertonic
Key C
quitted as
major.
quitted as Chromatic II in Bl? major or minor.
IV
Eb major or minor.
,,
F major
Key C
or minor.
minor.
F major
quitted as Chromatic II in
VI
G[?
or minor.
major or minor.
Ex. 23.
-^
^ J
^ -^
T2.
V C
Ch.
(b)
pEB^EEp^^
=s
II
J-
major
major
The dominant
iA.
?z:
^EE
I
Ch.
II
C major
Bb major
)
\
new
key.
Ex. 24.
jp~
J.'^A
1^
:p2:
zizH
Ch.
(c)
its
II
The chord
will obviously
^
C
F
A-i
f^rr^
A.
J_
major
major
J.
V9G
Ch.
-3=t.
II
major
C major
be a very
enharmonic
fruitful
possibilities.
B 2
CHROMATIC SUPERTONIC
20
We
clear
Ex. 25.
^i
=P=^j^^^=^'
J.
rj
t1
t>py
X2.
i^^^ |p=p^g=^: d:
?2=
"cr
V9C
C major
Ch. II 9
V9
major
C major
xiL
Ch.
II
major
9 F major
minor
^KrT
II
II
9
9
A minor,
Root B.
are:
Ex.
26.
22:
ip=^
1231
jC21
-|cr
t-^-
w=^^^m
Root
The
Root
i^te:
Root
Root G5
^r^Root F
by remembering that
major third, perfect fifth,
Al>
ZCZL
21
minor seventh, and minor ninth. Also bear in mind that the
harmonic chromatic scale has the following notation tonic and
dominant once, the rest twice.
:
Ex. 27.
C major or minor.
^^
i
The
-ff
rj
rj
bo
Use
7.
Abbreviations
if
required
II
7
6.
8
8.
Compound Modulation.
fifth
confirmed
is
series of
in succession
till
fundamental sevenths
may be
a concord
used. In this
used in cadential
is
idiom.
Ex. 28.
*J:
3:i:
:P2:
w4
^^
Tc^
'
i^^
=^
ifei:
^
V7C)V7F)V7Bb)V7Eb)V7Ab)VDb
II 7
II 7
Bb
II 7
Eb
II 7
Ab
II 7
Db
Exercises.
(i)
(6)
S5
J.
(0
-\
-cL
te
"=^^
:e
IDb
CHROMATIC SUPERTONIC
22
(2)
()
(0
(*)
EtSE
^.
*3=
Efe=
in the
key of
major
(d)
3^
i^
^_
lE
00
fol-
(&)
E3E
S:
^
t-
(4)
(6)
-P^ X
^
^
^^^^4f
(5)
::P2I
means of a supertonic
means of a supertonic
means of a supertonic
means of a supertonic
23
(6) Write the following chord with the correct notation for the
keys specified, and state whether it is dominant or supertonic
i
w
-^
&iz
major.
major.
{c)
Ai? major.
{g)
F# minor.
E9 major.
(d)
{h)
'
[e]
(/)
major.
Key A
Key D
(a)
{b)
major.
major.
ft(l
-j:=t
f^
&^
I-
4\
*^vrW
-joL
W
ii*
i 't=F
^;CV
gy=Fj=^id^;E^^
I P^
^fe
X
w
*t:
:?2:
ff
^7
CHROMATIC SUPERTONIC
24
(8)
Add
SS
^^
^^p
vrxTY ^
=P2=&
(9)
for S.
A. T. B.
pBEtr=^-{^^^Tr^rf=h^
gTTf
i
(10)
Add
some unessential
i^
p
5
3
53-
6
4
07
5
6
5
j^fe
notes)
23:
3
3-
5 6
5-
3 -
m=T- es^
7
(6)
b:
:c2i
5
:=
f^=^fe
ft'^Wr
354
2
5
3
66
-<9--
25
22:
jc:t
6
3-
5
3
J4
S2
i:2L
6 S8
5
(0
ja^H^-J=r
B6
87
5
3
CHAPTER
III
supertonic,
and
tonic discords
Tonal Centres.
Ex. 29.
KeyC.
g
Dominant
Tonic
Lower Dominant
Fundamental Discords.
><=
:z2:
jd.
'H
Dominant of
Subdominant Key
11
Tonic Seventh.
must be followed by
2.
Dominant Chromatic
""
''""and'Diatoni'c"
and Diatonic
ixo:
Dominant of
Dominant Key
Tonic Chromatic
to.
Supertonic Chromatic
i|
Ex. 30.
KeyC.
-Q
^r
27
{b)
P^
m
^^
f^-^r>J-
-JoH
:?2:
1^
!?3:
:S=:
The
averted.
The use
it
is
rarer than in
third.
3.
The
lation,
modu-
to
wP
it
to
Bb major.
2^=WE-^
-O"
-e>-
Or
major.
->-
C major
F major
may be approached
II 7
major
Bb major
ICL.
)
)
28
Ex. 33.
1-
-4
-jct.
^
4.
-e
F major
.*
If
^^
22:
II 7
major
Bb
major
giatura
(a)
minor key
-4^^
&c.
&c.
-rj
1
m
{b)
-feo-
^ i
Ex. 35.
i=A
^.
-^
r^z
czpz:
-r^
&c.
'A
:g=>
221
32:
i
m^-
-1
d=j.
^^=^
X=^-
1321
122:
Jto-
33:
{c)
or
fifth,
29
and third
fifth
Ex. 36.
r^
^
J20-
J20_
The major sixth may only decorate the fifth in the major key.
The minor sixth may decorate the fifth in both major and minor
keys.
5.
The
Tonic Ninth.
ninth
may be major
or minor in either
The
same as those
The
(b) fall
ninth
may
one degree,
Ex. 37.
Key
(a)
remain
minor
to
rise a
(c) if
C.
(0
(*)
r^
|r?iitl r7'
-fcsL
ll~ -
f-^
321
r^
m\-
^<j
J
11
f^i
IS
-I
*+=^
Root C
AJ = Bb
CJ = Db
is
best used
30
Thus
dominant
Ex. 39.
la?
^^
J=d=ri=^
P
lgF=^^
^ l^
?=i
6.
The
tonic
in the
(a)
seventh.
(c)
may
teenth
rise a
fall
one degree.
The minor
thir-
chromatic semitone.
Ex. 40.
3^^
^
I
:lte
J.
'
I
JzJ-fe
22:
GJ = Ab
if
r^
u 1^^ 1^
as ear-tests.
required
Tonic seventh
ninth
thirteenth
I b
7 (or
I bT*
l^l.
t),
as the case
may
be).
31
Exercises.
(i)
lation,
Resolve the following chord in two ways without moduadding a few chords to form a cadence
^^
:?2:
J-
(2)
By means
{b)
(c)
D major
D major
G major
{d)
(a)
(3)
from
to
minor
major
D
D
major
major
major.
suspension or appoggiatura
*:
^35
^--
22:
j-
get
y^
major,
^ ^ (U
sj.
_Z2_
:i
"yp~
^P^
32
(5)
Add
^V=^
Vw-^ Kj
1=^ -1
m *
=^
-=^
-=f=J
|-
--TT\=^
r^
-4i
-i
-73
\
^-^
:^
4-^^J-4-J-^-^U|^
i
->-
(6)
for S.
A. T. B.
tt
gifa^^#=^|^=^l^^:f^^
fet
3^^
^==p:
(*)
-#*-
^^I^^P^^
i
q=p:
ae
(7)
-ii
FT=^
=1:
#1
p:
:g
?^^ =S
for S. A. T. B.
()
fc
3a
(*)
S^e
si^
(8)
ici.
Add
J2I
is:
-<^#itp
:e2:
fe
r3:*:
iE
^
6
6
5
5
3
CHAPTER
IV
The
following
triads of the
is
list
Ex. 41.
Key C
Major
major.
I
series.
s^
i=t&
Minor
Diminished.
series.
i
Key C
minor.
tt
I
Only the
2.
chief of
them
will
Ex. 42.
()
j^
r-TJ
^j-j
P ^f-^-f
^ ^-i-^Yi,','
22:
22:
35
im ^ s
m^
s
i:^
J-
r'r
-:gi-
f>
-g
22:
r-^
w
2:3= =2i:
:pz:
^5^y=^
@:
33:
zz:
C major
corresponding diatonic series in C minor
at {c) some of the chords from the minor key incorporated
in a passage in C major without producing modulation.
{c) only differs from {b) in the first and last chords, but it is in
note at
(a)
at {b) the
major, not in
Note
in
{c)
minor.
new form
(at d).
3. Care must be taken not to follow I by IV (1? 3), else a
modulation to the subdominant minor is produced, unless of
But at the very outset of
course such modulation be desired.
a piece, this does not matter. The modulation is only theo-
retical.
Ex. 43.
li'
,JI
J-
^1
1
J.
IfM
i. J.
6>p
i
f^
-4
f"
C 2
<^
<^->
s>
"
-g1
,1
36
IV
(t>
3) is often
cadence.
Ex, 44.
*S:
^J
iz?:
Ex. 45.
^^
J.
!<?)
4.
The chromatic
commonly used
J.
P-
triad
or perfect cadence in
Ex. 46.
Diatonic procedure.
E^^g*
?
i^
^A
A^l
^
o
f-*
Chromatic substitution.
^^
g-
feS
tt^-
AAA
:.
Bt\),
at (a) the
37
Dj?, Dt^.
This chord
The
third
sion
except as a means of
modulation.
c.
47.
F^=^F^^
_p<
1
t
&c.
t^
^f ^f
bll C major.
-i
VI F minor.
5.
The
simplest use of
(a
semitone
apart).
Ex. 48.
t^T>
^^
^
d-l -J l
'
Wf
6.
first
Ex. 49.
^
*
jycr
i
M
&c.
g=2pr
33t
^^4^^-^.te
tes:
3lt
32:
^
fe
r
CHIEF CHROMATIC TRIADS
38
hn
Z3:
nrJ
izi:
:ig
:(M
^
They
rJ-
^
first
key
Ex. 50.
^t
fe^S^p::
^i3
-f^
-&-T
g^^-^
Or
first
key and
{a)
^tgsl^
The chord
at (a) is the
Neapolitan sixth in
major (chord of
B major.
however, for the sake of practice it be desired to approach them and quit them in the same key it is best to precede
and follow them by some diatonic chord a semitone above or
below, or by some diatonic chord having a note in common, but
not inducing modulation.
Dt?)
7.
and
is
If,
Ex. 52,
?j=^=^
w4
A
32;
39
d:
=te=t|s.
jm- J.
in the
new
key.
to
be a given start in
major
Ex. 53.
J d/J
r r
:?3:
in G major be required,
It would be advisable
major.
modulation
to
[?
followed by a
chord
of
the
phrase
with
the
E\f, and imitate the
start
new
to
and
also that
opening bars.
Ex. 54.
new
bar 7
A^J.
S^
phrase.
231
!g:
8cc.
I
:Bz
l2-
&=fc
te
Chr. b VI in G major.
Diatonic I in Eb major.
9.
had
"
40
and
well.
Exercises.
(i)
mi
(2)
J=d=
-CE
I; 33:
r^
AA
3=:
M--
*:
TT
marked x
m
{3)
tan sixth
P^
I
A
ffS^
fe:r
q=
J^.
-g..^.
m^
m^-(4)
-rj'fz.
(ft)
()
41
A:
i
A
m^
(5)
By means
r
-p^
in the
(c)
{d)
(6)
late
By means
from
(7)
(a) Ei?
Bb major ;
'
major.
major
to
minor;
{b)
F major
to
key),
modu-
major.
()
new
J,
-rir
bo
bo
IZtL
XiP^
(0
t^C^I
>'
f-
iOfi=.'^
(^
^^
7
r>
^te^^
2^
-j=t
22:
-f>-^.^
(/)
52:
^
~^v
42
^
(8)
Add
Explain the
modulations
PTF" r-rT^
I
(a)
J^
r5.
J-^H
-^^r
7as/o So/o.
mu::\n o
r^^^r^^^g
P
"^
ff3=f|J=5^
r^^XT
=F
^^^^
^33Sp
iaJ-i.^J=5
^4
S^^^^^i
i
fc^rf^
'ua
H-|^<r^^
Jr=flp-
Hg
IS
rj-
^asto
?4
mkf^
r^
Solo.
jE *-3ZP=
1=ifl:
(a)
z:
i^p:
_Q-
CHAPTER V
CHORDS OF THE AUGMENTED SIXTH
I.
55.
Key C
major or minor.
--^
()
(b) is
{c)
is
te
(*)
m
(a) is
ic)
:i22
^.
22:
the complete
,,
,,
A is the
fifth
of the fundamental
augmented
if it is
Fjj;
sixth.
Ex. 56.
=&
-#5=
CO
{e)
i<i)
:JS2:
is:
lirz^i
S6
3
{d) is
termed the
Italian sixth
[e)
French
(/)
German
44
dominant harmony,
thus
Ex. 57.
*a=
TV rr
w^^
&EmFFr?
!=tS
r r r
(i)
t>
^p
Ryp
,.r
i^:
'r
At
;p3^Q
rr
^^
=*^=^t
^^=&'-
U:
:tS=
commonly used.
2. As the Ai?
now
i1
mt
In case
At],,
tone
(A),
cr
33:
;^L-^IZl]y-4^p-Lp
p^
or
^^m
when
Ft can then
_p
rises to its
fall
normal note
a chromatic semi-
fundamental.
Ex. 59.
Al? is
if this
45
procedure be
Ex. 60.
However, it
mented sixth
3.
is
to
The chord
more usual
for the
proceed outwards.
commonly used
is
in
Full Close.
Ex. 61.
iz^
1^ *-
^^^g-,
^.,4d^A,^
^
p
^ddd
it
,-g-^
<^
The German
lation.
1^
i^zzrpnzpzi:^
sixth
is
specially useful as a
For example,
in
modulating from
in
means of modu-
AQ major
(At?,
C,
El?,
to
G7)
major
A7,
in
major.
Ex. 62.
iB
g-vlb
It
'
X'
- i'^it^
:?2:
I-
izz:
quitted as
German
sixth in
major.
Gj?,
and
46
Ex. 63,
A A
f^
ifl
ji.
*=
Or
it
German
as
sixth in
in Dt?
and quitted
major.
Ex. 64.
^M
m
Conversely, a
^
f=r
1 A
^^
32:
German
tonic, supertonic,
W af^
or dominant seventh in a
new
key.
augmented sixth
is
used
Key C
/
)
major.
s
()
//^^
((*; .
Vw^
^_
,_^
^_^
^^^
?T3
fj
i-D
V5
^^-
k^
[/C?
^..^
the
(a) is
^d)
(0
(*)
if)
.
:l/-o
*rj
k
^>
[7
UIa
[7C?
seventh
{b)
{c)
is
the complete
diminished seventh,
fifth
termed the
(e)
(D)
Italian sixth
French
47
German
,,
(/)
These chords resolve into tonic harmony.
Ex. 66.
^-
B^
jC2Z
1^-
42:
(i)
^^
(i) is
good
useful as a cadence.
The examples
5.
jTt:
Exercises.
By
(i)
augmented sixth.
and resolve them
forms they
are,
^()
(*)
Im
^^^^
(2)
-4i
id)
(e)
1
:g:
(/)
rrsi
:c2i
-O-
te-
32:
spaces
i j
fe
^
g
r
^
iii^
sprp
;q=:
48
(rf)
C/)
4=A
^21
A-.AA
ii
Harmonize
(3)
following
the
T r ^^^mt
aa
d
fragments,
introducing
the
()
(6)
j^sn -p*
p-
r^
h r^-
(<^)
(^)
i
Modulate from
Bt? major to D minor (by means of the German sixth in
second key);
{b) Al? major to D major
(a)
key)
first
(e)
(5)
Add
to Gt^
major
parts for A.
^
^m
and T.
"^
^g
S^
*
S-
1^21
liH-
-&-'--
s -^
it^'
'
>
4^.
(6)
^
..
^f=^
zz2r
:?2=
.!
:^
?=fc
Add
49
1^
JdTf)
|,J
Z^
^^!^-/J
^^
d
,136
b5
^^
'r^=^
FTr~^
6
4
(*)
^^
1S-
jO
J6
?^
6
ipz:
r^y
(w.
v.^
rJ
\
.\
^::>
r-j
CHAPTER
VI
PEDALS
1.
When
termed a pedal.
Pedals, or pedal points, are generally used in the bass.
When
2.
in
Bass pedal.
The bass
(a)
of the
first
in
fifth (in
elementary work).
{b)
The
The
The
the key.
(c)
(d)
real bass, and it must proceed in accordance with the rules for
a bass part, except when the pedal is the root, third, or fifth of
any chord used.
Ex. 67.
At
{a)
the
fifth
of the root
is
tonic
is
the root
itself.
PEDALS
The
On
I.
51
[a]
b)
[c]
d)
e)
dominant pedal
in
major
key,
Supertonic minor.
Tonic minor.
On
II.
a)
b)
c)
III.
a)
On
tonic pedal in
major
key.
Supertonic minor.
b)
c)
Relative minor.
IV.
Ex.68.
1(a)
1(6)
-J-i-
^=^
?a=s:
ti'
.^iAA
--ri
-^ c
~f^
'
I(rf)
1(c)
-!
*m-
-ff'fjV
~rzi
t"
'
^^i^-^'
1221
i ^?=F
22r
D2
PEDALS
52
11(a)
U')
-It-* -H-z-
S-iL
r
J
r-
Hsfe
r^
....
<s>
ii
-:>
L.^9
d^
+a=4feM^
11(6)
^^
1^
^f=S
-jtzn^zit*:
Cj'^-cf
11(c)
::
F^^:3
III ()
w-
^=fe
m
in
III (6)
-<
1-
-i
F--"-
:g:
^^iM^
IV
gJLj-Jljlj
4-r-4-
(c)
iT
^^
%p^
^ f^-^J
4.
PEDALS
53
Ex. 69.
I-
-^
m^
5.
:g=
j-
commencing a melody.
Ex, 70.
!-
-1
.piZiZ
itzt
j^
Ex. 71,
f^^M"
i-'
(c)
in the
See Ex.
(d)
68,
{c),
{e).
i
m
^a
w=w^
r'r
-^-
hJ
32:
22:
;j
PEDALS
54
tonic
6.
phrase
{b)
(c)
in
Ternary Form
Basses.
The extended tonic pedal is also used in case (c), or the coda
may be formed on a dominant followed by a tonic pedal.
These
7. Inverted pedals.
dominant in this chapter.
An
is
will
much harmony
of which
it
not a factor.
The
following
is
Ex. 73.
4-
:ci
'r'r
s^J=J:
t-
treated as
Ex. 74.
PEDALS
55
Ex. 75.
-^
-3:21
f^^-ar
r-fn^
&c.
* y4,i
(6)
is
at
it
Opening.
Recapitulation.
r-c ^^^^^^
i^-
J-
m-Tr
<
It will
-F
rjcr
strong accent.
(c)
at
iT
-r
0m
^^
F-*--*
22:
321
PEDALS
56
8.
Two
parts
may
Ex. 78.
1^31
m
Or two
parts
may combine
This
is
^m
79.
-*ii-
tJ r
'
jCJlL
Exercises.
(i)
Add
first
^^
(a)
(2)
(3)
Add
Add
uJ3
phrase of a sentence
-m
Modulate
to the
h-
first
phrase of a sentence
-jol.
=c
J
to
:?2:
2^
B minor
Plagal extension
JPSI
221
PEDALS
Harmonize
(4)
for S.
57
()
3^^
(6)
^^o
I
Taking
(5)
conclusion
(a)
-^-
-^
Ml
(b)
as the
()
rs?
:^
u-^-m^
r
^^ ^
=F=r
&c.
rj
(*)
-j^T^-T
i
(6)
Add
US^
-te=j
modulation
()
;t=p=
(6)
^Sfc=p:
-O
(&-
(7)
under
()
W^
PEDALS
58
(a)
from Bb major to
{b)
,,
(c)
El?
major
major
minor
,,
(d)
(e)
,,
w^^
(a)
from
(b)
Bl?
:t=:
minor
to El?
B^ minor
F major
(7)
(a)
from
(b)
{c)
(8)
On
minor,
Bl?
major to
,j
the
G minor
,,
El7
F| minor and
and back
(9)
Add
IZ31
32:
CHAPTER
VII
ADDITIONAL EXERCISES
Following the procedure
at the
end of Part
II, this
chapter
Part III.
to add,
(i)
Is
for S. A. T. B.
^=ijJ^UYT-^
s^
^m
^s^
ff^#
9
ADDITIONAL EXERCISES
6o
(*)
^*^
li-fJI^-f^^ T-|f
I_J]
J -tf^r
^.J
-r^p
I'p
L
Jr
*-4^_^
P--J
-.|sJ
-1
^).
1=^
p_
^'
-rO-;
iS
^^g^^^i
\-m-
-!S>
H^
g^^^^^^
id)
-w-rr
^^
'w-'-^
^ ^5^S
p g
-ef-^-
(^)
fi
^3:
ftpz^
^"^F=3|g^^
=^^
-
e>- .
P?=|^=fiq=ir^|g:
^"B-i
ADDITIONAL EXERCISES
6i
(/)
-^:
b> J. Zgb3=g3Z
(2)
ie^
T21
Write
:?=:
in
any time
and
value,
()
(0
yn
/l
fm
VM
in
all),
(3)
<^->
r-j
jt
rj
k^
'^
<^
*-^
rri\'
,,
V.W .
(*)
a?^d^
IPZJ
(I)
(2)
(3)
m=^
W
(I)
ir
(2)
The same,
(3)
331
rilS:
(3)
lito:
_Q-
IQ-
ADDITIONAL EXERCISES
62
(a)
(3)
(2)
(I)
:l^
b^
-HSi.
@ti=*(6)
lz=fe:
^^^=^-
s^
^
3s
3^1#:
Add
ll^
(3)
(2)
(I)
^
(4)
izz:
j^S=
^dt
(3)
(2)
(I)
^^
parts for S. A. T.
ii^^g^:
w
^ge^^^^Eg^^
(')
^^ft^a?
-erf
->^-
^T^j"^
-g> .-r>
ADDITIONAL EXERCISES
63
^-yj^a
^-t r >-^
b^^u
^ ^^a
i
tf
-w-rat
ai-
1^=]^
V^^-_f
(/)
^^
^H?-F-htr^=F^gta
it
^
(5')
(A)
?2=7t
h
"^
(W-.'p
'k'
^
:&>
-rr-rrg
(5)
/ V
L-o
L_e*
'1
^^^
^_
rj
<::.'
e,
Ground Basses
MRFh
:^b
fe
Izzl-
(*)
^B^
-4^:
iJ
(0
^-i jTTp
^^y
^^^j::^
=pc
12p-
._f___j_
(rf)
-JJ^
gl-l-d*-!
^S^
f<si-
:ito:
i.e)
^S
-SI
3==^
-<5---
11
ADDITIONAL EXERCISES
64
(6)
Modulations.
(a)
Dl? major,
major,
minor,
major,
:&
4i:
to
fc
BEE3
=]=
S:
{c)
:SP~1"
sisdy^^
(6)
minor,
#^
W=5:
-f^'
Gi? major,
^1
=a3:
i=|i=p:
idftig:b:z^!?-r
(7)
Add
S. T.
-4^=^---
to
^^5ap^3p=
1^
1
3^ dzz
A minor
=1=
and B.
to
major
1^
Sup. 7th in
-o-^
e--
^^
ADDITIONAL EXERCISES
65
(*)
;^
P'^TTi-
-^
*=fs:
lei:
-n
#^
^=^^3^^fda
S
rJ
{c)
$
^
-^
:n=T:
* ^ *
(8)
Add
ir*Tiir*-V^
S. A. B. to the following
()
^^
^i-**-jt
fcl
^
to
4=-
F major
Tenor parts
t^
rf ^
==p Sfc
U^
Bo major
to
&^
SEE^ESi^^Efe=^te=^=F^
Bb
(6)
VF~1
to
fc
^" *1
U\-J.
minor
^^S3
s
^ ^ffl^t
to
:^
Eb major
%^
-Q-
-#- -s>-
xr:
-^^
-i-rP^
-fyT--^
-^
CHAPTER
VIII
ACCOMPANIMENT WRITING
To this
1. A short theme for voice or violin is given.
be added a simple accompaniment for the pianoforte.
2. Pianoforte Writing.
(a)
(6)
(c)
is to
The bass
Ex. 80.
^^^^^^^
Violin.
Piano.
good
good
bad
^
The accompaniment should
(c)
except momentarily.
The
*
shadowed
'.
It
ACCOMPANIMENT WRITING
67
Ex. 81.
Jt
Violin.
Piano.
^^^fe
4.
je.
s=b:^i^
feri
Types of Accompaniment.
(a) Broken chords.
The
Ex. 82.
P
J:
ri
P=g^
J i ^ ^
ipz:
:3=ti:
3~
Ft^=F
-y~r"
i^=3=
-^^-H^
!H^g=^H5J+kj
1
Note
^^^
merely ornamental.
The
ACCOMPANIMENT WRITING
68
^-^St
-F^^
LcP^-^J-^^
r
^-
lJ
1^
r-
(^
^glF^!^^^=F^^=^=^
^^
{b)
>
^^^.^.^c^^^
r^#
w
=p=r
figures.
Ex. 85.
r.
>
[^
ACCOMPANIMENT WRITING
69
-^r^
3?^
()
^
,0
^s
=4:
f ^
^f
j=fa^
#=4=^^?^
>
>.
-1
^ ^
0j^ji
^
-*-
'
-^^
''
-r
^L_n
In such cases care must be taken not to repeat the figure bar
bar.
Rhythmic variety must be introduced, and relief
should be given specially at the cadences.
after
v_^
to
first
four bars
87.
rj
CJ
CJ
"-^
frf
rTf
ACCOMPANIMENT WRITING
70
(jj
-1
S^=^
:SBti9=itz3i
(i)
^^^
And
.^^.a-^^a-
rj-
combination of
{b)
5.
work.
if it
would not do
demanded
Ex. 90.
i
$
S:
LS
CJ
bad
m
i
t
If the figure chosen will fit most bars, but not all, it must be
modified in the bars that will not stand it. And this variety is
really a virtue.
ACCOMPANIMENT WRITING
71
Ex. gr.
m
mm
1ar-
:Uit
^^czt
J=p4
^
i
it,
if
up
rigidly,
it
is
^^
i
-^
^EE
then they
arrangement.
same time
in the original
there must be
variety.
6. The Introduction.
The accompaniment should have
a few bars of introduction.
It should give out (a) the accompaniment figure, or [b) the
opening phrase of the tune in addition to the accompaniment
figure.
ACCOMPANIMENT WRITING
72
The Ending.
7.
(a)
The
means of ending
accompaniment.
{b)
setting.
Exercises.
(i)
Add accompaniments
for
pianoforte
the following
to
themes
(i)
Violin.
1^
-*
M-
1=^
ZP2Z
I
^rir
tr+ g
fc
liO-
S^=^ ynr^
f
Styles,
(a)
i 3S
Hz
(6)
^^^
^3-
t5
-JZZ
31=3:
:=r=i--
i^Ss
>-
ACCOMPANIMENT WRITING
'
;;
Soprano.
(a)
y-a
i=r--P^^^^
i
rr
i
iti=i:
73
F=t^
'
sqp^
-;.
*_^_zz:j.
9=^=Eg
()
1=^
f^
-s>-^
1^
(*)
-^
^^i^i
#-
iz*:
:**^
71
^^
=&
i ^^-j-^^^H
^dt^
r^=^
^=ii^3-*i-
j=5-m
' d
new
figures at bar 9,
and return
to
the
Add
Voice.
P^^
tit
sgrzQ
ACCOMPANIMENT WRITING
74
-^ ^,
i &e t^
p=^^^
(b)
^^^n
111! \__\\
^^
Voice.
T^T^ Tnrji
^^3^ u ^pg^g^^
"^g
;=e^3
^^
i
T!X
-^^^
CI)
-ww-^
:ic=i|E
^feS3
i #
(i)
(c)
Treat
as an auxiliary note.
Violin.
^
p-^ r ^ *
r=^=^
-*
-iS>
-^f
*fr-=e^p^fe=Pm^-^|.f=!!^
^feP T'P
P^^S^
(rf)
F- r
p==zz:
Violin.
?^~^
Iirf ^
-1
:^=plr-=^ -^-FTj*-^-l
CHAPTER
IX
A simple
The
theme, harmonized,
is
given.
student
is
this chapter.
2. Method I.
Decoration of the theme, by florid passages.
This does not mean mere meandering by means of various sorts
of unessential notes.
(a) When one particular kind of figure is kept up throughout, it is only tolerable if it contain no variety of rhythm, except
to
Ex. 93.
4=^
f^r^
-pz:
^^
:S^
:|t
^
r.
^ir^^-U^
^ r
.Tn
A
^g^^^EJPg
-^
n"j
I/
it
J-
M^^
v^^-g
fe*
^
f=t
76
It will
be shown
in
to
do
in
such a case.
some
definite plan,
of the theme.
It will be noted that the theme starts with two responsive
The variation should
phrases containing rhythmic variety.
therefore have corresponding responsive phrases, with variety
in curve.
The
following
is
poor, because
when
it
it
80)
Ex. 95.
This, however,
is
much
better,
because
it
Ex. 96.
;fe=i:
^^^P)P=
When
that
pattern only.
Ex. 97.
i:
77
uniformity.
So
left
we
with variety.
Ex. 98
(I).
^fc
^^
m^
i
w
^^
^r=^^
?=^
I
j^
^i^
m^
~
-
r^
The example
rigg
could also
78
Ex. 98
(2).
:fc
S^
r^^^m
&c.
m^
^3=^=r^ it
The important
curve
in
successful
two patterns of
for a really
method the theme itself should have
thing then
a figure that
is
use of this
is
to get at least
uniform in rhythm.
And
When
is
used,
it
should
Ex. 99.
P^^
^T^^"
would be well
and introduce it
it
to think of
1^^^
in bar 7,
Ex. 100.
The
I
and
bar
2,
Ex. loi.
Bars 5 and 6
will
rt
v^
m
3.
79
^^-
^^r
Method
II.
^^
^^^-
except that the ornamentation does not follow the curve of the
The harmonic basis is retained, but the figures do not
tune.
i^^=^^^
^E -^
^^P
^'-^^
SIMPLE VARIATIONS FOR PIANOFORTE
8o
/*
"Nl
'Hf^
sgg
F-:-r-b
m-^^^^s^S^^^^
i
i'
P^
5:^
f^^^p^i
^^
:^:
S
^?^
With
F^
^fe=J=
-^
5^
=^1
1^
^^-^
-T^-
Ex. 103.
^m
m^
\f
\
:f=m
f m W
-^-j f T T
m^
r-y^
-^
* bJ-lfc
8i
S-
!^^-^
-0-
B^^^ i^ nj-u^
\
j^
>
^m
. t
=g=
:l
"*
L
f
1
-.
-^
I
1
^^^-dy^-g^g^p^^S
f r f
r.
,^
But a tune with the harmony marching uniformly all the way,
and with the phrases all the same, would not stand such treatment.
If such a bad theme as the following were set for variations
Ex. 104.
$ ^^
m M
r^
=a^
Basis.
s^
r-i-rz-r-^
m^^^-^
'
3^^
E dtS:
-p
P==5=
La
I
I
82
its
grave
faults
would have
In elementary work,
portions, all
we
we can do
to
is to
relieve the
Ex. 105.
:!:={:
:[=
TTTM-ES^
m^
=-^
^^^ ^
mji-M^i
^^
:S=&
tq
=^
m^
F^=^v^f^f~r t=t?
^^
^^
r_r
-^^^
83
harmony.
Ex. 106.
Adagio.
^J^
sj
accel. e cres.
P=
A
'
'
hr.
r-g-i-
m^^
S$
3
i
^^
I+SC^
Hf^
:^
33
a tempo.
i=5
tr^tyy' g
Q=
ff
33:
atnt.
mn^
'Trr^
^ ^^
-^til-
:gi
time.
Ex. 107.
gya
m^
Cf.
-jp^
Ex. 98
(2).
-Mrijp-
'i
\
-&
^^
r~1
^^
1^
Method V.
differently,
in bar 6.
F 2
84
Ex. ro8.
d^55:
--^
=^
--t^
2d:
Stacc.
^^
l*=^==
^
i^-
1^
^ ^ -}-:r=k- i^
-Ij_r^J,.,J
g=
pl^
g
|-
Method
:3:
f^=^^^-
7.
-^
VI.
If the
theme contain a
fair
amount of rhyth-
mic variety, and ideas that can be detached, some of these can
be used as figures for separate variations, and developed on the
Theme.
"P
.^
Basis.
:?2_
Here
W m
^ni^fj^E^
&c.
IPC
be used
85
Ex. no.
Var.
(a)
I.
I -
i^^
5S
:3=t
A*
^^
Var.
2.
(6)
'\~
ESEEBE
E3
U-k4-
i^
L
3.
(c)
W^^
yifi'^z^A^
'-^ppfi
-7^
#T
&i
f?3
There
P=t2=
Var.
S^
8.
elementary work.
The examples
It
But these
written do not
was thought
better to
write examples of this sort rather than quote classics, so that the
all that is required at present is some
and technique. Any average student ought to be able
write such examples as have been given in this chapter at
to
86
(i)
(I)
Allesro.
rct
^-zE=f:
^=^=f
nt/
^iznzs
-J
:Ji
liPOt
rr^
lE^
w^~=_
ffiit
J- '^^
"J-
^ '^
-fe.
2.
J:
3C=d
dint.
mr-w-
i
^^
r-
^F=f-^^-^
srir-i
:=^=fe:
:3"
87
(a)
Andante.
ie
P=
zi:
r^-j- ?
^T^^
:S=P=
i=5t|*
~w
-^
*-
T-TT
w-
f=f^
&^
e-=-
*r-r
cres.
t=;l
@=^
J^A
(3)
Adagio.
--
ElEE^
J.'^i
^^
^I
-
*=|:
88
a
= /
p^^fH^
-^1
1/
^
iS^
-q
==1
^^^
J^
^^^3^
(4)
Andante, ^^
^gg^
;fcs=^
?2:
^a
y=^
r^
^
r3u
n:::
:lfit
-^
a^Q
tez
^jr>P-
^fe=t:
3fc
:^=q
rs:
:t=fe
89
(5)
Andante/
M * M ^ d
i
'
r~~^^tr
F^
fet
^^TI
^.
S ^gl
&
--i-
v^
i^EsS^y^
i
^=^
(6)
Leggiero. '%.
^n:^
i 4i=P
tXj
S^TIj^ 7^
JT^^Si
^^^^=^=S^-"1-J-^-^
PS^
^S:
7"-
s
-t>^
T!H^-^^--
90
(i) ist
2nd
'
2nd
3rd
4th
3-4, contrasted.
5-6 (repetition of
7-8 (corresponding
1-2;
the
first
first
to
2nd phrase).
omitting bar
4.
bars 1-2;
sponding).
5-6
3rd
same formation
as ist phrase.
4th
(5)
ist phrase,
bar
i.
2nd
2; responsive.
3rd
4th
3-4
5-6
contrasted,
(cf.
and extended by
imitation.
ist phrase).
2nd
3rd
divisible.)
(6)
Two
at
(The accom-
distance.)
new
APPENDIX
PART
CHAPTER XI
I,
Add
Suppose a melody
in the
progression
Key
minor.
33
Gt|
must be treated
i
For
(a) it is inartistic to
mony
Gk] is only
note.
passing note,
for
harmonize both
Ft^,
a har-
If,
therefore,
G $.
m^
APPENDIX, PART
92
CHAPTER
I,
XI
Modulation to
if
major.
^'-
m=jt -A
f^^
It is
is
incorrect
ir r
But
it
must be understood
PART
II,
that
II),
it
is modal harmony (see
and not a proper harmoni-
CHAPTER V
Keys
are involved.
INDEX
References to Part
II
'^'-
)>
\3)
>'
22,
Fifth,
63
or
inter-
(2),
48
(2)
imperfect, 19
35
34
99
(2},
17, 42,
54
(2),
(2).
17, 50.
Augmented
sixth, see
German
sixth, see
Interval,
sixth.
Augmented
compound,
consonant,
Changing
(3).
perfect, 7 et seq.
Fourths, consecutive, 89.
French
(3).
(2).
sixth.
8.
8.
dissonant, 8.
12.
harmonic,
mediant, 98.
minor common,
85
(2),
(2).
37
or parallel,
(3).
false
62 ; 55 (2).
exposed, 18, 29.
74
Cadence, deceptive,
41 (2)
augmented, 95.
Fifths, consecutive
)>
)j
False relation, 29
>>
>
23, 28.
pivot, 35 {2).
Chords, chromatic common, 34 (3).
Close, false, 31
35 (a), 48 (2).
full, 18, 31, 34, 36; 38 (2), 46 (2),
49 (2) 45 (3);
7.
Augmented
sixth.
74
35
(2),
48
(2)
45
C3)-
Keys nearly
Key-note,
related, 35 (2)
92
(3).
12.
Consonant
interval, 8.
Crossing of parts, 14.
Leading note,
8 (2).
7, 17
Leaps, forbidden, 17, 74.
Mediant,
Discord, 82, 86, 94; 7 (2), 17 (2), 89(2),
92
(2).
Dissonant interval,
8.
Dominant of scale,
7.
7.
chord, 98.
Eleventh, dominant, 72
(2).
INDEX
94
Neapolitan sixth, see Sixth.
Ninth, interval of, 8.
auxiliary, 75.
cadential, 73 ; 10 (2).
passing, 74.
Six-fours, consecutive, 77.
Sixth, added, 17 (2).
(3)
augmented
leap
(2),
Root
position,
39
(3),
47
harmonic chromatic, 21
(3),
40
10
Sentence, 46 (a).
Sequence, 94 7 (2), 16 (2), 40 (2).
Seventh, diatonic chords of, 7 (2),
;
17 (2).
major, 7.
minor, 9, 10.
supertonic, 8 (3), 43
26
(3).
Subdominant, 7.
Submediant, 7,
Superdominant, 7.
Supertonic,
7.
tonic,
(3).
(3,1.
major, 9.
minor, 9.
tonic,
29.
major, g.
minor, 9.
Neapolitan, 37 (3).
23, 49.
melodic minor, 56.
(3).
parallel, 61.
7.
harmonic minor,
leading, 19 (2)
leap of, 17, 93.
47
(3).
(3),
27 (3\ 29 (3\ 44
elision of, 74 (2).
Rhythm, 59 (2).
Root, 12.
of, 17,
German, and
(Italian,
French), 43
(3).
30
(3).
Transition, 39 (a).
Triad, 12.
augmented, 95.
diatonic, 12.
diminished, 28.
primary, 12, 23.
secondary, 28.
Tritone, 29.
34 (a).
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