Analytical Key Toe 00 Pro Uu of T

FACULTY
/-AyfTTCT/^
of MUSIC
Presented to the
Faculty of Music Library
by
Mrs. G. Courts
UNIVERSITY
OF TORONTO
AUGENER'S EDITION,
No. 9182E.
ANALYTICAL KEY
TO THE EXERCISES
IN
HARMONY
ITS
THEORY AND PRACTICE

BY
EBENEZER PROUT,
B.A.,
LOND
Hon. Mns. D. Dublin and Edinburgh, and Professor of Music
in the
University of D:iblin.
FOURTH IMPRESSION.
UNIVERSITY OF TORONTO
EDWARD JOHNSON
MUSIC LIBRARY
AUGENER
LONDON.
LTD.
Printed in England
AUGENER
LTD., MUSIC PRINTERS, 287
ACTON LANE. W.
PREFACE.
THE
very extensive modifications introduced in the sixteenth

Harmony : Its Theory and Practice, have necessitated the writing of an entirely new Key to the exercises in
that work.
Owing to the alterations in the order of the
edition of
chapters, and the more complete separation of the chromatic

and diatonic elements of the key, it became needful to re-
model, and
in
some
cases almost to re-write,
many
of the
which their order has in many cases been

changed, the additional exercises being now incorporated in
the body of the work.
It should be distinctly understood that every exercise can
be worked in more than one position in many cases two or
That which is given in
three positions may be equally good.
this key is merely the one in which the exercises were
exercises, besides
written
originally
by the author
if
the student's version
this, as in most cases it probably will, he is not to

infer that his own working of it is necessarily incorrect.
But,
differs
from
inasmuch
to
as all these little musical sentences
show the treatment
were composed
of the various chords, and were not

of an already written figured bass, a
merely the filling up

comparison of the student's work with that here seen may
show him what opportunities of a flowing melody he has
missed, how passing and auxiliary notes can be advantageously
introduced,
etc.
The most important
feature of this
new Key
is
the complete
analysis of the harmony, given beneath the bass of every

exercise. The value of a thorough analysis to the student who
wishes for an intelligent mastery of his subject can

hardly
A very successful teacher of harmony once
said to the author that " he would rather have his
pupils
be overrated.
analyze their exercises without working them than work them

without analyzing them "
and there is little doubt that he
was right. By comparing his own analyses with those here
given, the student will obtain an insight into the subject
;
PREFACE.
iv
which will be hardly possible in any other way. Tt should be

added that with some of the higher discords more than one
In these cases uniformity has been
analysis is possible.
At one time one analysis, and at
intentionally avoided.
another time a different one has been given, that the student
may accustom himself to regard the harmony from various
points of view.
not be superfluous, in conclusion, to give an urgent

u
Under no
cram."
this key as a
circumstances should the student consult it until he has
worked the exercises and made his own analysis. To use it
It
may
warning against using
while working is like learning to swim with corks. But, after

he has completed his own work he will find the use of the
key as beneficial as he will find it injurious if he uses it merely
to save himself labour and thought.
EBENEZER PROUT.
July, 1903.
KEY
EXERCISES
to the
IN
HARMONY:
THEORY AND PRACTICE.
ITS
CHAPTER
INTRODUCTION.
I.
30.)
(c) Dimin
(i) (a) Major 3rd (C).
(b) Diminished 5th (D).
ished 7th (D). (d) Perfect 5th (C). (c) Minor 3 rd (C). (/) Augmented 2nd (D). (g) Augmented unison (D). (h} Minor 2nd (D).
(/) Major 6th (C). (k) Minor 6th (C).
(f) Augmented 4th (D).
(n) Diminished
(m) Augmented 6th (D).
(/) Minor gth (D).
3rd (D). (o) Perfect 5th (C). (p) Perfect 4th (C). (q) Minor
6th (C). (r) Major 3rd (C). (s) Augmented 5th (D). (^Diminished 8ve (D). () Minor 7th (D).
Minor ands.
Major
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6ths.
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Diminished Sves.
KEY
TO THE EXERCISES IN
(4)
Minor
Major
HARMONY
rchap.
uths.
gths.
gths.
I.
Minor
i3ths.
Major
iritis.
(5)
(V)
Minor
6th.
Augmented 4th. Augmented
Diminished 8ve.
(D)
Major
(m)
Major 7th.
(D)
Diminished 3rd.
(D)
Minor
-ird.
(C)
(C)
6th.
5th.
N.B.
written.
It
is
6th.
(C)
Mfnor
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(D)
jth.
3rd.
(C)
(o)
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6th.
Diminished
(D)
(C)
Augmented
4th.
OR TONALITY.
<@
Perfect 4th.
(D)
unison.
(D)
CHAPTER
KEY,
Major
(C)
Diminished
(D)
yth.
(D)
(0
Major
and. Perfect 4th.
(D)
(D)
(C)
.CO
(e)
(c)
Perfect
(C)
Major and.
(D)
II.
3!
56.)
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77-5
Chap. iv. j
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Chap. VII L]
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KEY RELATIONSHIP
HARMONY:
[Chap. ix.
IX.
MODULATION TO NEARLY-RELATED KEYS
FALSE RELATION.
270
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S J '~s N
J"
ES
'E
"C
is
r>
J*
J.
[Chap.xvn.
h
(Vb 9c)
Chap. xvii. j
ITS
99
P.I.
'
be
K4
Ab:
Ic
iv&
87
8b7
b?
e
5
ic (Eb: V.
bs
b6
^m
ftca.
ft
*4
g
C:
(G:
H7
V7)
OW)
u
n^
'
u*
na
* ^
f
'
1*3
"
%
p.n. p.n.
d:
6
4
(4
b
^ V
i*
viio 7 c
43
b?
Q6
{{ &
C:viiO|, 7 c
16
Ic
V7
j-
(XI.) Allegretto.
-4i
^,J
5
j j
564
Jf4
a
Jpv<k 7 c
se
6
JJ7
a
:
(Hb9<0
r^-IL
r
r
flj
^=4b5
=j=^
9
116
1)4
fl6
4
b
fl7
55
iii7<
Vo
A?:
tJf
-J
V-
IOO
'!J>A J
KEY
'J
TO THE EXERCISES IN HARMONY:
[Chap.xvn,
chap.
xvn. j
ITS
101
KEY
102
TO THE EXERCISES IN HARMONY.-
[Chap.
xvm.
p.n.
7
q
qe
q*
bi
b5
(7
vii[, 7
v7 6 -
f $iv0 7
:
VT d
16
CHAPTER
V7
VI
XVIII.
CHROMATIC CHORDS OF THE ELEVENTH AND THIRTEENTH.

(
(I.)
Moderate.
J.
J.
548580.)
ITS
Chap. XVIII.]
-ft
jj
103
KEY
104
(III.)
(
Ot
TO THE EXERCISES IN
Andante.
\
HARMONY:
[Chap,
xvm
chap.xvnU
ITS
tt .$S}
"$
V'6
'
*
Q7
85
V7
D: V 7
86
I.
105
a.n.
(V.) Pastorale.
cl:lvl*
!l *
86
v
(
^>
JJ7
lc
Vn
J6
6
t|5
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lc
8iv&
VT
KEY
io6
(VI.) Larghetto.
/
bu
P*
[Chap.
xvm.
Chap. XVIII.]
ffrf
..J
107
KEY
io8
TO THE EXERCISES IN HARMONY-.

p.n.
-5
Vi3
Q6 Q7
ib
ll
ib
(f*:
(X.)
A ndante
u V7
V 13 )
iv6
ii<> 7
con moto.
A,
$
I
t*
p.n.
65r
*2
V7c
V7
p.n.
V 13
p.n.
46667
385
P-^-
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xvm.
p.n
iv
[Chap
p.n.
16
16
ii 7
V7
16
vi
>
^J
II 13
(B:V 13
(Vud)
>J.- ^ ^
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II 7
V7
7465
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16
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,
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uo-c
vi
(a
ii70
iic
ftr* *-*-
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ITS
Chap. XVIII.J
'
mi
.
"'
Q7
4
Vu
Ic
tap**
ml
gC
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8 J7
5
6
Ic
109
6
4
~w
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4
6
5
8
P5
V u V7
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Ic
V7 6
II 7 c b vii
B V 7 c)
:
(a
r
-r
IV6 16
vi
;XI.) Moderate.
I
16
ii 7 6
4
Q
ii 7 6
Ic
7
6
ii 7
(V uc)
iv)
~
v-
5
3
Vw
V7
no
KEY
[Chap.
xvin.
3746
4393
G:
in
ITS
Chap. XVIII.]
V, V-d.lb
05
V u V 7 Vu V7
Vb IVb
Vjji,
(g
V 13 )
Ic
(D
JfiVV
:
vii 7
II 7 fr
V 7 6)
rz-2-2
I
L*
766
24
vu" 7 c
Ifc
ii
IV 7
Vi
[J5
3 rf
V7 d
W'
I'
$4
ic
<-ri,j
j*
tij
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(XIV.)
Allegretto.
V 13 6
vii
p.n
543
fl7
V 13 6*
06
viJOp;
ivc
(V CS ,6)(P.C.)
V-c
J-
J-^^K
KEY
ii2
TO THE EXERCISES IN HARHONY-.
a.n.
9
7
Ic
V9
'6
7
4
IB:
V 13 *
(b
viiOp T div6
:
vii<> 7 d)
V7
*6
V 13
iv r
viio 7 c
(VA
D5
Iljc
V
Vi7 c)
ic
M-
8
I!
(a:
viio T e)
h 3 b*
16
(g:V 13 6*)
a.n.
a.n.
vi T
(b
-l
(Virf)
Ic
(P.O.)
rail.
*~
d:
[Chap.xvm.
p.n.
V P:I
Vu6
V 13
p.n.
ITS
Chap, xviii.]
113
a.n.
JL
V76
5
3
iv 7 b
ivfr
ic
V7d
ii
7c
(Vti)
viio 7 c
ib
V 13 d
ib
iv 7
ifc
(g:V 7 6)iv
H4
KEY
TO THE EXERCISES IN HARMONY: [Chap.xvm.
chap, xviii.]
ITS
4
3
D:
,c
6
16
J5
(G:V lt)
IV
16
n6
KEY
rchap. xix.
ITS
Chap. XIX.]
/?
'
j~1
117
u8
KEY
[Chap.xix.
Chap.XIX.l
ITS
119
J.
Ic
IV
(D:
iic
V7 )
iH=jfc
r r
_j
j_
^^
96
5
I!
V7
(C:
r?*-^
(V T c)
=J
C:
120
OJ-<
fl
KEY
[Chap.xix.
;rS
Chap. XIX.]
(VII.)
Unpoco
D:
Allegro.
vii6
(V 9*)
ffivP 7 d
(a: vii<V)
121
KEY
122
[Chap,
a.n.
a.n.
5
8
A:
G6
56
55
D4
J?2
Ic
Ib
iifr
Ic
ii
Q5V
J6
4
3
I
Vbis
(bb:
V13 )
uir
VI,
'
f.3
p.n.
44
be
3
7
6
3
H 7C
Via
V;
q6
vi (g
(IX.) Andante.
o^'i
vii 7 c) ii&
Ic
q6
bVI
F6
(V U
xix
ITS
Chap. XIX.]
123
j
i
-r
j
be
b5
VI
G6*lEb:
Eb7 V 7 6
vii6
i6
(V 7 c)
'
(X.) Allegretto.
im
3EES
47443-
Q6
4
Eb:
V7c
IV6
16
Vu
Ic
Vn
Ic
V7
vi
bVIpg
..
>
qJ
'
-fc?
06
t>5
flj
:e
bVI T
fi
It.6
ic
vii
D6
b5
Eb:
li}
J_K J
qe
4
Eb:bII it.6
(XL) Moderate.
^=E
T^
866
05_
A:
vi
bVI
F6
?VI
Gg
Ic
VI Ffi
IV
16
vii6
A'EK ro THE EXERCISES IN
124
HARMONY:
[Chap. xix.
i
r
86
3
4
q
(E
V 7 c)
iiio^ 7 d
(d
vii 7 d)
V7 c
ITS
chap, xix.]
125
p.n
I
*""
..
fea
cj
33
5442
16
&6
fl2
I,-/.
G6
vii 7 d
(Vge)
(XIII.) Andante.
ic
p.n.
Q4
V7 d
i6
vii 7
(Vgb)
6
4
fl6
7
Q
ivc
I?!!^/.
V7
Ub
126
KEY
TO THE EXERCISES IN
HARMONY:
(XIV.) Double Chant.
F#,
|'J
||
||
[Chap. xix.
Chap. XIX.]
ITS

a.n.
127
KEY
128
~^-J
ll
Jr.
Vr
A
i
[Chap. xix.
Chap. X1X.J
ITS
129
130
KEY
[Chap. xx.
chap, xx.]
(II.)
Moderate.
ITS
KEY
132
TO THE EXERCISES IN
'
HARMONY:
J
I
675
EEt
C5
2
vi
(III.)
1
Vfc
Andante.
(F:
IV
ii
V7
[Chap. xx.
chap, xx.j
(IV.)
Andante
ITS
KEY
134
p.n. _
T0 THE EXERCISES IN
HARMO\Y
[Chap.
xx.
chap, xx.]
ITS
135
p.n
j
|
136
KEY
(VII.) Moderate.
TO THE EXERCISES IN
HARMONY:
ichap. xx.
Chap. XX.]
ITS
37
KEY
138

N
ii06
vii06
vii0 7
TV.
D:
IWA
[Chap.xx.
V7
V,
IV6
IVc
Inv.
V6
IV6
iii6
116
iii6
16
ii6
V V
7 rf
16
DI
V6 IV6
-e^-
J4
c-
$6
2
iiift
IV6 V6
vi6
V 7c
-j
^5
05
IV
16
Jfiv06
(B:
J?y
iii6
viM
V76
/TS
Chap. XX.]
543
V6
16
V7c
16
V 13
IV6
lc
IV
16
IV
iib
viio 7 c
(V.4)
42
V,
545445434
232 32
8
4
vii6
(v,c)
fl7
6 q?
ii&
IV6 iU6
ii6
Q7
vii06 1
lc
TP
KEY
TO THE EXERCISES IN
76
HARMONY:
a.n.
V7
9
6
4
vi6
4
2
IV6
Ic
9
(77
4
IV
7 6)
p.n.
V6
(V 7 c)
_p.n-
*-*
1
J.
IV6
iiift
iib
/rs
chap, xx.j
141
Double Chant.
(XII.)
J.
434
17
'a
'.
V6
vi
Q y|
.
viioft
f'7
iift
viiofc
Tp
^
43
07
f 4"
(a:V 7 6) c .^|
(XIII.)
Hymn
C:viio 7
(F:
V7)
IV6
jpvo97
v iio c
Tune. Maestoto.
I
KEY
142
(XIV.)
a;
Hymn
Tune.
vrc
TO THE EXERCISES IK HARMONY:
Andante.
[Chap.
xx.
ITS
Chap. XX.J
rf*
=1
=g
KEY
<s=g=
i
err
TJ
J.
J!
J>j'g
JL
65
43
7
jj4
6
_
'"
rchap xx.
^
r
q6
5
C r
tl
98
_76
*
-0~-
Vu
Hymn
(XVI.)
ITS
chmp. xx.j
Tune. (Five voices.) Lento.

i
==f= =iB
r-
Hr
86
|4
G:
e:
TP-
0:
Ic
IV
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1/1915
V.^Part F.
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Examinations.
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FACULTY

Faculty of Music Library

THEORY AND PRACTICE

Hon. Mns. D. Dublin and Edinburgh, and Professor of Music

LTD., MUSIC PRINTERS, 287

very extensive modifications introduced in the sixteenth

chapters, and the more complete separation of the chromatic

cases almost to re-write,

which their order has in many cases been

the student's version

this, as in most cases it probably will, he is not to

as all these little musical sentences

show the treatment

of the various chords, and were not

merely the filling up

The most important

analysis of the harmony, given beneath the bass of every

wishes for an intelligent mastery of his subject can

analyze their exercises without working them than work them

which will be hardly possible in any other way. Tt should be

not be superfluous, in conclusion, to give an urgent

warning against using

while working is like learning to swim with corks. But, after

Augmented 4th. Augmented

and. Perfect 4th.

immaterial in which octave the above chords arc

THEORY AND PRACTICE.

THE DIATONIC TRIADS OF THE MAJOR

THE DIATONIC TRIADS OF THE MAJOR KEY

THEORY AND PRACTICE.

THEORY AND PRACTICE,

THEORY AND PRACTICE.

(XVIII.) Double Chant.

(XIX.) Double Chant.

(XX.) Double Chant (per

THEORY AND PRACTICE.

(XXIX.) Doable Chant.

(XXX.) Hymn Tune.

THE MINOR KEY:

the leading note, the sequence

DIATONIC TRIADS, AND THEIR

THEORY AND PRACTICE.

THEORY AND PRACTICE.

(XVII.) Double Chant

(XVIII.) Double Chant.

(XIX.) Double Chant.

THEORY AND PRACTICE.

(.XXVII.) Double Chant.

THEORY AND PRACTICE.

THEORY AND PRACTICE.

THEORY AND PRACTICE.

(XVI.) Double Chant.

(XVII.) Double Chant.

THEORY AND PRACTICE.

(XXVIII.) Double Chant.

MODULATION TO NEARLY-RELATED KEYS

[In these exercises the ambiguous chords ( 280) immediately

THEORY AND PRACTICE.

THEORY AND PRACTICE.

THEORY AND PRACTICE.

a passing note, as will

be explained in the next

THEORY AND PRACTICE,