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HARMONY
9198
SIMPLIFIED
OR
BV
DR.
HUGO RIEMANN,
Leipzig University
THIRD IMPRESSION
AUGENER
LTD.
LONDON
Printed in England
by
AUGENER
Ltd.,
W.
4.
e&tcatefc
TO
PROFESSOR
EBENEZER PROUT.
B.A.,
etc.
THE AUTHOR
CONTENTS.
Introduction
(Harmony
page
i.
CHAPTER
I.
I.
page
2. Four-part writing
(TD
The
10.
writing of
S) The conand
Chords of six-four (-Z?Jand S\i)D) Complete (bi-lateral)
and
4. Contra-fifth step
cadences.
and D S) Consecu 5. The whole-tone step (S
"J? and
tive fifths
The tritone Score. 6. The turn of harmony ( +
+
+
+S
Contra-fifth change {SZ> ) and fifth-change (S
+ -D) Diminished and augmented
and "D
part-progressions False
single chords.
3. Plain-fifth step
nection of chords Consecutive octaves
(TS
"T
T D)
relation
CHAPTER
Modulation.
II.
Characteristic Dissonances
Parallel-Clangs
Leading-Tone-Change Clangs
7.
The
{D
characteristic dissonances
dissonant tones
Alto
page 55.
S vn S6
1
,
D Treatment
vl
of
1
8. Chords of seven-three (IP
"Sp ; Tp, Sp, Dp, + -Dp)
vu
and
parallel clangs
Treatment
(Tp, Sp,
Dp,
of feigning consonances
change
Chromatic-semitone
step.
Contents.
vi
CHAPTER
III. The
Theory of
Dissonance
Sequences-
Intermediate Cadences
10.
page 107.
dissonances
mony
formations
12.
for
ments.
tion)
13.
141.
Change
of
figuration.
14.
modulating sequence.
Exercises
pages 11,
16,
20, 21,
18-120, 126-127,
Alphabetical Index
...
._
and
the
Chord
...
Signs
page 191
page 196,
HARMONY
SIMPLIFIED.
INTRODUCTION.
The Theory of Harmony
With regard to
motion of a part through notes of different pitch.
the aesthetic laws for melody formation, we refer the student to
the philosophy of music (cf the author's " Catechism of Musical
f
As the foundation of
.-Esthetics " [ Wie horen wir Musik "]).
rational motion in melody common to all ages and all races, the
history of music suggests the diatonic scale, the simple step succession of the natural notes of our present note system
'
with
its
scale,
Introduction.
Such simple
air that
One note compared with other notes (we shall speak now
only of notes whose relation is recognised by the ear as harmonic and
ratio,
intelligible) is
starting
from which
are considered, or, conversely, it is in its turn cofisidered in its relation to some other
note ; in the former case it is, therefore, the starting point of
reference for other notes the prime ; in the latter, a note to be
referred to the prime, and whose distance from it is expressed by
the ordinal number corresponding to the degree in the fundamental scale which the note occupies, counting from the prime.
So, e.g., if we compare c with g, either c is the prime and then
g the fifth step measured from c upwards ; or g is the prime,
and then c is the fifth step measured downwards from g (underfifth).
The general name for the distance of notes from each
other, measured by the degrees of the fundamental scale, is
the
others
Interval.
The
i.e.,
more
Introduction.
the unison, 1
1, will be more easily understood than that of the
whole to the half, 1 '/,. Next to these two comes the ratio of
the whole to the third part (1
'/ )> to which the musical interval
3
of the twelfth (fifth of the octave) corresponds; then follow
1
double octave, 1
1
(major) third of the double octave,
74
/5
1
'/e fifth of the double octave, or octave of the twelfth ; in notes,
if we take c for the whole string
:
If,
conversely,
3
and
we
start with
a higher note,
e.g.,
thrice-accented
(<? ),
try to
Intervals which are greater than the octave the musician does not
conceive in their total extent, but divides them with the help of
the octave, e.g., twelfth
octave -+- fifth, fifteenth
octave -foctave, seventeenth
octave + octave + (major) third, etc.
The octave is the most easily understood of all intervals (for the
unison is not really an interval, as the distance between the two
notes is equal to zero) ; notes which stand at the distance of an
octave from each other are similarly named in our modern note
system, as has been the custom for thousands of years, and are
regarded as repetitions of the same note in another region of the
domain of sound. The melodic fundamental scale (see above)
passes through a set of six strange notes and at the 8th degree
reaches the octave, the most easily intelligible note ; but the
fragments of the two harmonic natural scales, i.e., the two series
of notes having the closest harmonic relation, the so-called
overtone series and undertone series, which we have already considered, prove that even if the intermediate degrees of the
melodic fundamental scale are not all directly related to one
particular note, still they are connected with one another by
the relations found in the harmonic natural scales.
If,
instead of referring the notes from \ to \, or from 2 to 6, to 1,
we compare the notes of each series with one another, we
Introduction.
Fifth.
And
Fourth.
Major
Minor
Third.
Third.
Fourth.
Fifth.
Major
Minor
Third.
Third.
we
follow
multiplication
from
c=i
Whole
Semitone.
tones.
(9
/"
l">
/n
/3
/"S
'
and
from e 3 =i
Whole
tones.
Semitone.
and
8th to
6th Undertone,
j.
Introduction.
the
while
(/),
the
by
F. A. Vallotti).
we examine
we must make a
at all,
quarter-tones,
=
=
Vs
U 7 Vs Vs 'In; respectively, as nearest
Vs
Vs. U
related to the notes 3 and 7 3 > as belonging to them and derived
from them, and similarly with notes found by division by '/ t or '/ s
and multiplication by
4, 5, etc.
!"-e-1
'/.
Vs [V.
VJ
'Is
[V.
V 3]
7,
[V.
'/.
'/.,
Vs
V3
>
Introduction.
and
ij
ii
Of
all the primary related notes, our ears recognise only the
ones (up to \ and 5 respectively), as the asterisks show, and
refuse to recognise all the following ones, which appear out of
Those thus remaining are the octave, fifth of the octave,
tune.
and third of the double octave in each direction if we shift
these into the nearest position to one another, which we may do
on account of the similar sound of octave-notes, there remain in
each case only two notes towards the filling up of the octave
interval, viz., the (major !) third, and the fifth
first
i.e.,
as
third
-=-.
-j-( 3
third
9/
S
:
L
'
L _'*/\
/ 3h
L
1
= L=
,a
/s)>
5/
'
v
t he semitone as
.i,
octave
third-fifth
/*/,
(
octave
as-
'
-L*
12- n
h6
These secondary
Introduction,
(prime), (b as sixth
fifth
of
/=
(3JY
~=
2
720
1?).
^
and
following),
scale to
its
4
,
Introduction.
Similarly, starting with an underclang (minor chord), the. underclang of its under-fifth is under-dominant (S) and the underclang of its upper-fifth is upper-dominant (">), but also the
contra-clang of the tonic (the overclang of its prime) may appear
as upper-dominant (D + ); the overclang we generally indicate by
the simple chord-signs, T, D, S, without any index, but in doubt+ in opposition
ful cases take the precaution to indicate it by a
thus in a minor,
to the
:
Introduction.
I.
There are only two kinds of clangs : overclangs and underclangs ; all dissonant chords are to be conceived, explained, and indicated as modifications of overclangs and underclangs.
By keeping both
giving
Harmony
Simplified.
CHAPTER
[Chap,
I.
I.
AND dominants).
From the combination of a tone {prime) with its {major) upperthird and upper-fifth arises the overciang {major chord) ; from its
combination with its (major) under-third and under-fifth, the underclang {minor chord).
To learn with certainty to know and to treat all overclangs
and underclangs, with which alone we are at present occupied,
and to which all that remains is easily attached as bywork, we
must impress firmly on our minds the fifth-succession of the
natural notes
f
{to
g d
a,
and
e,
b.
The
flats,
the lower).
chap,
i.]
i i
ist Exercise.
All the thirds arrived at in this manner
{in all 31) are to be completed as overclangs by adding the upperfifth
fifth
c e
and
e.g.,
e underclang
by
c),
(e).
13-
g=^r4Eg:gE
in
principal harmonies.
2.
FOUR-PART WRITING.
ample
human
bass.
voice,
The
and
first
exercises are to
them soprano,
be noted down
alto, tenor,
and
in the simplest
Harmony
Simplified.
[Chap.
i.
fashion with the two most familiar clefs, treble and bass, the
former for the two upper parts (soprano and alto), the latter for
the two lower parts (tenor and bass) ; two parts are to be written
on one stave, on the upper the soprano with the note stems turned
upwards and
More
upwards and
compass of each
exceptionally
the
the
bass as low as
&
as
--
be
it
chap,
i.]
13
more
underclang the
considerations
fifth
somewhat strange-looking
Unless all signs are fallacious, there has been a time which did not understand
the third as part, or rather because that remote age did not know music in parts
as representative of a harmony, but rather stopped short, in its recognition of
relations of tones, at the fifth, the simplest relation after the octave.
The old
Chinese and Gaelic scales do not possess the semitone, which results from the
introduction of the third as representative of a harmony. Also the older enharmonic genus of the Greeks is probably to be explained as a restriction to the
fifth as representative of a harmony (cf. Riemann, "Dictionary of Music," under
" Pentatonic Scales''). For a music which does not understand the third as a
representative of a harmony, the double modality of harmony is, of course, an
unrevealed secret for instance, the following group of tones
Tonic.
Dominant.
Subdominant.
neither C major nor C minor, or, perhaps, the one as well as the other.
Only
when the third became recognised as representative of a harmony, the distinction
of relations of tones as either upwards (overtones) or downwards (undertones)
It is impossible for
received practical importance and theoretical consideration.
us here to develop this thought so fully as its importance would deserve we only
remark that the fact of the fifth being a much older and naturally more prominent
representative of a harmony, exerts its influence in this, that the third, as it was
recognised much later as possible representative of a harmony, so even now is
regarded only as a sort of complementary and distinctive factor of harmony as
a factor necessary, indeed, to make harmony complete and unambiguous, but one
which, all the same, appears only as accessory, if compared with the two fundamental pillars of harmony (prime and fifth, whether over-fifth or under-fifth), that
is
were much
earlier
much
other.
is
Harmony Simplified.
i4
[Chap.
i.
downward
bad when
is produced
by two parts proceeding
Let us put these directions together so
as to be easily surveyed, and the result in the following form
will be easily remembered as equally applicable to overclang and
particularly
in the
same
it
direction.
underclang (with
may
be omitted, but
may
also be doubled.
As the aim of plain four-part writing is the harmonious combination of four parts progressing melodiously, a disagreeable effect
will be the result if the parts stand at too great a distance from
The conception of the interval of the fifth as the prototype of harmony
produced by only two tone-, presupposes the identity of octave tones for simpler
than the ratio 2 3 (fifth) is the ratio 1 3 (twelfth). The third appears, in the
series of related notes, only after the second octave :
voice).
ia
Ei,
and
G
4
345
<
3
c-
e'
g>
an
c
3
g
3
e
5
and
532
eg
T
Chap,
i.j
15
one another.
Observation of the practice of the great masters
and close examination of the sound of different combinations,
have led to the strict rule, that the greatest distance allowed
between the two highest parts (soprano and alto) is a?i octave, which,
however, is no longer admissible between the two inner parts, while
the bass, vvhich is added more for the sake of completeness and
good foundation, may at pleasure be removed further from the
tenor.
Our exercises always keep to the natural relative position of
the higher and lower parts, i.e., a lower part must not cross over a
higher one (crossing of parts).
As has already been hinted several times, the bass part as
actual basis readily takes the fundamental notes of clangs, i.e., the
prime (1) in the overclang and the under-fifth (V) in the underclang ;
for the beginning of a period this is certainly to be recommended,
for the close it is strictly the rule, and also in the course of work it
is at any time good, unless the bass, which should also be a
melodious part, be by this means condemned to incoherent
groping about with large intervals (cf the directions for the
melodious connection of chords which follow below). There are
no rules directing the use of certain notes of the chord for the
other parts, though there can be no doubt that, at least in the
majo'r key, to begin
fundamental note
(1,
We
chord
in the following
(a)
Fundamental note
-4-1
forms
in
I-
r'-t
(All good.)
(i)
Third
in the Bass.
(All good.)
(c) Fifth in
the Cass.
(All good.)
there
to which
is
in fact
Harmony
16
mostly necessary
must
Simplified.
[Chap.
I.
temporary rule
The
be doubled.
J
17- \
()
fifth
(Good.)
to
to
may
(*)
also
i
be given
i
(Bad.)
We
shall
come
across
further
restrictions
as
regards
third-
3RD Exercise.
chords
after
Write out a
the pattern of 16
number
18,
T D
Chap.
I.)
17
note has
its
secutive progressions
,W !
'J,
15
(*)
(Wrong.)
Harmony
i8
Simplified.
[Chap.
I.
by step have
the parallel motion itself which is the principal fault and causes
Fifths by leap in contrary motion
so disagreeable an effect.
:
21. i
No
occur in the works of the best masters.
recommendation, however, can be given to their use, nor to that
of octaves by leap in contrary motion, much less to that of
The student who
octaves and fifths by leap in parallel motion.
wishes to get acquainted with the regular methods of part-writing,
to learn to know the normal paths, and to acquire and make a
indeed, often
and fluency
in the progression of
parts, so that
Only the
bass part,
whose exceptional
position
we have
Chap.
I.
Example
26).
after
Harmony
Simplified.
[Chap.
I.
were reached by stricter progression of the parts, and also that the
G-major chord proceed with better connection. Several such progressions following one another without real melodic support would
be unwarrantable for the same reasons as those in Example 19.
On the other hand, the following progressions are faulty
:
<
to
<<0.
to
(/)
_ J
'
IS
'8
(b)
the
consecutive octaves between soprano and bass
same fault, but aggravated by the doubling of the third of the
dominant. {Rule : Doubling the third of the major upper-dominant
and minor under-dominant, equivalent to the doubling of the
leading-note, is at all times even in contrary motion a bad
mistake]
too great a distance between alto and tenor ; (d)
(c)
and (e) the same between soprano and alto (/) consecutive
the same, but
octaves [by leap] between soprano and bass ; (g)
in contrary motion [less striking, but not to be approved of].
4TH Exercise. Imitation of the seven different progressions
in Example 22, starting with the 11 other forms of the c-major
chord given in Example 16(a) (carrying out strictly the directions
for the distance of the parts from one another and for their total
compass).
The conditions for writing in minor are almost the same as
in major ; the plain-fifth clang (the under-dominant, S) has one
note in common with the tonic (T) (the A-minor chord [e] with
the D-minor chord [a~], the note a), and there is the possibility of
making a leading-tone step (ef) ; on the other hand, it must be
noticed that the treatment of the
as fundamental note and as the
one best for doubling, stipulates a difference in the progression, as
not the V, but the I has the possibility of proceeding by second in
either direction (e
dund ef). Therefore, in minor, doubling of
the I will occur more frequently than doubling of the 5 in major,
which only confirms the correctness of the view that the minor
and major chords are constructed on opposite principles. The
following are normal progressions in minor in imitation of the
first form of Example 16 (cf. Ex. 22)
(a)
(*)
to
W.
to.
(/)
(?)
Chap.
I.]
STH Exercise.
Imitation
We
TD IT
7
.?
\D ..\T..\DT\ D T\
5
In the
place,
first
figuring.
The signs
D
D = major upper-dominant)
T D
26. <
(First
model example.)
It should be well noted that the middle parts are here entrusted with the duty of keeping the other parts together, i.e., they
Harmony
2*
Simplified.
(Chap.
I.
We
Chord of
six-four,
mental note
(1 of the
in resolving the
And
signs,
chap,
i.j
z$
tone higher than the third, the latter the plain (major) sixth
tone above the fifth.
Finally, at (c), in the
we have the first case of necessary omission of
the fifth before us, because the prime is prescribed for the highest
lying a whole
closing chord,
part.
Exercises 6
n,
major
in
(7)
'/
T\D
..
TD
T\
(8)
(9)
z>
(10)
T D\ T D\
DT
rd r
'3
si
^^.T\DTD\T ..
'3
'
D*\?.
..
T D T\D
\D
3
. .
dt
..
..
..
'
D T
Z>>
(a)
*
i
\j\
Js
TD\T..D\TDT\dAt(J
35I3
z>
T (J
1^ (J
(n) v4
major
all
T..
Z>'
T\
..
be worked out in
(to
major).
c\>
J)
^.l'
\o>h T(j)
Exercises 12
minor
17, in
be worked out in
(to
all
minor
keys).
(12)'
v
$
^ T\ST
:
(13) %.:
.".
in
(14)
v
*'
(15)
'
(17)
"
/
2"
I
^ '"
IT..
hi
Tl 5
III
'"
\S..
TS\TS\ T
S\
.'
I
III
in
\S.. IT!'!
T"S\ T.
V
ri ^
!s
.'
III
$ 'T'S r
:
HI
III
'.'!
y.
ty
1
J
TVS)'"
*
_).
^J
\T..\ S.
I
III
\T(\ae*h
J)
..
S\T(Ke3)
J)
III
'
..\S
in
v
.x
III
III
5.V ,
VI v
(3,.
v
Harmony
24
We
Simplified.
[Chap.
i.
must
here, before
As already
figuring.
all,
indicated, the
(Soprano.)
Where
N.B.
or without
prime
is major prime
;
The
given part
is
Chap.
I.]
-'5
stave
also, at
it
to be indicated by
is
28. A
..
..
T D T D T D T
Major.
I.
Exercises 18
g 5 3
bo
20
d g 3
d g 3
5 3 f
(Soprano given).
bo
..
f 3
5a
b*
Harmony
26
Exercises 21
Simplified.
23
[Chap.
(Alto given).
c
1
Exercises 24
fyb
fy A
27
fy b
Exercises 28
ab
ft
31
..
(Tenor given).
fy b
ft
(Bass given).
di>
ch
a\>
db
..
I.
3^3 a
gt
g%c%3g%\
..
Minor.
II.
Exercises 32
34
Exercises 35
IV
I
V.
(Soprano given).
37
III
a - VIII III a o
+..
III
a ad a d
.'.
(Alto given).
es
..
III
a d
..
"iv
"a
Harmony
j8
Exercises 38
--&-
40
h /1
Exercises 41
dt
et
'as
'at
- dt
..
=t
1
I
f "bo
I.
w-x-f-
f tn
[Chap.
(Tenor given).
-*r
g xz
B
4.
Simplified.
fo
45
(Bass given).
bo
"df "a; d%
..
as
et
<z*
aj
df
V;
"a
..
at
f fo ..
'/
dt aid% a;
at
es
on the one hand, the transition from the tonic to the plainclang appeared only like a natural continuation, a progression
to partial notes of the second order, making the fifth of the clang
If,
fifth
chap, ij
i<)
the starting-point
T D
v
cTgTd
<
The
and
>
<
d
JjJJ ~>
"S
the tonic (D
T,
as regards the
means of melodious connection, with the contra-fifth step, but has
an entirely different meaning ; it is only a retrograde formation of
that which had grown out of the tonic prime, a simple return,
whereas the contra-fifth step presupposing the consciousness of a
tonic as a fixed point in the change of harmonies
causes an
artificial suspense, which renders a marked forward motion necessary.
The contra-fifth clang is the stretched bow which slings
the arrow beyond the mark (the tonic).
This applies to major as
well as minor.
In major the contra-fifth clang (the underdominant, subdominant, abbreviated S) forms a receding downwards beyond the tonic, which itself strives upwards from its
fundamental note therefore, a pressing down below the level,
whence it again powerfully forces the harmony upwards ; in minor
(as minor upper-dominant, abbreviated D) it is as a pulling upwards, an artificial lifting beyond the starting-point (the minor prime)
from which the tonic develops downwards and generates the
therefore the contra-fifth clang in minor presses
plain-fifth clang
heavily downwards into the region of the dependencies of
For this reason the contra-fifth clang is generally
the tonic.
not followed by the tonic itself; this simple solution of the
conflict caused by its introduction is not
at least at decisive
satisfactory or sufficient
points of the harmonic development
rather, the contra-fifth clang is generally followed by the plainfifth clang, which, then, leads back to the tonic in a thoroughly
The clang successions
satisfactory manner, and closes restfully.
to
i.e.,
TSDT and
rZ)Sr
harmonic motion in general ; they are so-called complete (bilatWith the addition of this new element (the contraeral) cadences.
fifth clang), our exercises for the first time lose a certain stiffness
for
and one-sidedness
Harmony
Simplified.
[Chap.
1.
^llippl!Sl
J]
Now,
fixing of certain notes for the bass or for the highest part, they
Exercises 46
(46)$
51
(Major).
"
I
T.
(47)$
(48)
% T
T\D T
r s
(49) V.
S \T
I
..
T S T\D
S
(50)
t.
d< s
S\T D T ID
,.
\S
'
T iJ).
?.
T S\T
I
..
\D T\D \T
3
D\T
S
'
S\D*
i
"
TS
Chap.
I.J
Harmony
32
Exercises 6i
ea
Simplified.
63
63.
mm
66
..
ctf
-5
Exercises 64
c\>
b*
m^E^M^
=2=S=zfl=
di>
^J
&
(Tenor given).
go dn
f.
f%
N.B.
5-
g^
J
i-^Eg
-4=45:
335
+..gSCS/t'rtgt-Ct+..
g^g ^%
=
Ei
fy
..Ct
Exercises 67
=t==t
69
(Bass given).
1../JCJ
S=
<l
(=
=t=li=f=?=|=fE:
zt^fct
(Alto given).
b*+eb
[Chap.
Chap,
i.]
33
69.
dt>
ai
d\>
gb
do
65
4 3
II.
Exercises 70
72
Exercises 73
74-
Minor.
(Soprano given).
75
(Alto given).
Harmony
34
Simplified.
[Chap.
=t= t=E
ia@^
I.
=t:
'fib
"to
..c.
d%
"at
e% "at dt
Exercises 79
'c
"c
"/
oz
gt
dt
"c
a%
81
g
dt gt
e%
..
..
HI
d$ ..
(Bass given).
O a%..
. .
dt gt
"g
g$
..
"df
N.B. For the first time in Exercise 65, a slur from the 1 in
the sign of the third chord from the end to the 1 of the last
chord is used to indicate that the bass-note (ct) is to be sustained.
There the c% is also an element of the middle chord (5 in/j + )
later on we shall find this method of indication very useful in
expressing and explaining in a simple manner the most complicated formations of the so-called Pedal-point.
5.
D AND Z>
S).
The
direct connection of the plain-fifth clang with the contrafifth clang, as has been pointed out, brings with it the risk of
the worst of all consecutive fifths, viz., fifths rising or falling a
Major
Minor
l^SESs
32-
m
SD
^^m
DS
$~?
and
v v
::
Chap.
I.]
35
As
at (a) c
proceeds to
b,
b,
because
the latter
to g.
if
we
At
to fundamental note.
(c)
/must
will
()
(i)
(d)
(<)
For, at 34 (a) and (e), and also at 35 (a) and (e), the leading-tone
step is made impossible ; since the leading-note itself (3 of the
I) and III of the S respectively) may not be doubled, the c in
+ g+ must not proceed to b, if a has proceeded to b [34 (a)], or
b [34 ()], and in ba, e must not go to/ if g has gone to/
or b gone to
[35 (e)] ; therefore, in these four cases, the
[35
leading-tone step must be sacrificed ; in major
/to
(a)],
Harmony
36
[34
O5
(h)
i.g)
similarly in
minor
bad
37-
J* "
J J
(1)
good
[35
'II
()
bs()]
/
[Chap.
Ml
(/) N.B.
and
Simplified.
II
if
Ml
good
I.
Chap.
I.J
minor prime
be explained
in the bass
in
37
The ways
of evading
WJ
ia)lc/. 36 (i)l
135 (*H
Here
at
(e),
and
(')
be preserved.
at
rise
to particular
b <</[/
36(A)]
I
Harmon^' Simplified.
33
[Chap.
I.
(/3 and bf
too small by a
semitone) ; on the other hand, it is bad as a fourth (augmented,
too great by a semitone, tritone [three whole tones
i.e.,
fr\).
Good melodious setting, which must always
a
g
f
be our norm, has to avoid the tritone under all circumstances (at
least with changing harmonies ; when possible within the same
harmony, it may be allowed without hesitation, so long as it does
not incur the violation of the most important melodic principle
turning after leaps; i.e., fb [rising], is good, while the same
harmony is sustained, if a can and does follow, an exception
which is of consequence in the treatment of the chord of the
under seventh, as we shall see later. For the present we must
accept the prohibition of augmented intervals without any
respectively)
is
good only
as fifth (diminished,
i.e.,
exception).
many
to
score
40.
Chap,
i.j
39
Exercises 82
(82)
T\DT\ SD\ T
%\
(Major).
D..
TS\D
T
3I
31\
..
'
J)
-J^
*l,\
/?'
(84)
..
3
I
I
(83)
93
6: T\
Z>'
T S D \T
(85) /:
3I
T{= .)
T S D T\ S
D \T D T\D
..
\TIJ
\TST\SDT\
..
(rr)
?**
5
(86)
T(J)
%:T\D..\TS\..D\TD\TS\..>\T*,
3I
si
I3
(J)
(c r c-c)
(87)
rz> i^ri 5
$:
(88)/ 4
z?
rz> irjp5|Z)'|r.( o )
3I3
'
SD\T\SD\TD\TS\D S^&If^T^.)
(8 9 ) / 4
(90)
V7/
fi
reto
(f r
2"|
5/>
7-..
3
|
5,0
7\.
5/7 5
(rrrrn
:
r/)| T5Z>
3
..
3
TDS3TD\'35..
DT\ SD\ T
r
(r r
Z*
r)
r Q)
v/
Harmony
(91)
T D\T
/:
riszH
(9a)'/.:
-/4
r)
r^ir5ris..|z>..l
r.. I5Z7I
(c r c)
(: r C)
Exercises 94
i/
S T
in
S
( 9 6)
/4
..
T D
in
c r c
e r e
100
T'S\T
&:T\ST\ >S\
ml
I
(qc)
V'J
r(j)
(94)
V7 '
7*
..
rccsf
c*-
0|rsi p..riz>sirsz>|rsz>|rz>|ry)
r..
T S\D S D
re
Car
(Chap.
re re)
(e
(93)
D T\D
re
(Ca*
Simplified.
(Minor).
T S
\DS\
..
in
S T
in
\T
in
(
|j
vt"x_L-"
D T
>
\
in
rn
T(o.\o)
Z>
(r
T S\
TD
2"
..
..
"T
r r)
r^(jjj.)
(f"D
(Q7)
v
"^
/s
"^
"-O
(U
(98)
T^
E: TS T
rZ>
in
v in
TZ>
>
>
"5
Z>
T "^
(99)
&: TS
TS r
III
III
Z>
V
"S
r
III
">
&
"S
(>
&
1
1
7*
in
T
I
Z>
,S
T (J
certain
figures)
There would be
III
f "S
TD "S
etc.)
The notification of a
^JTJIJ. etc., under the
explanation.
etc.)
|J\
(J.
\
chap,
i.]
41
exercises
Major.
I.
Exercises ioi
do go
ft
J go
103
3
..
do do
do ao
Exercises 104
eodo
eo
.do
..
109
ft'f
..
do. .go ao do ao
+ go
. .
(Alto given).
+ db
Exercises 107
106
bo
(Soprano given).
5 do
eo
..
aodo
bo
c*
bo c
(Tenor given).
..
..
..
do
Harmony
42
Simplified.
mzsE
/J
+/f
bo
01
4>
<^
Exercises iio
110.
[Chap.
..
..
112
aobi
+ ../+..<:
(Bass given).
6 5
4 3
Of 4
A/j
Chap,
i.)
118
Exercises 116
C%
g% "ft
gt
fy
Vj
g; "dt
Exercisfs 119
(Alto given).
g%
"d
CS
o d$
ct
121
43
g% "ft
c%
(Tenor given).
d.'gi V; "at
m&
i^
^a
"/
g-
df
"at
b ..
1=4-
o eb
..
fo
..
eb
"ft "e
..
5
o
bo
V>
..
"dt
'
124
"/
o"gt"d}"a;"gt
..
Exercises 122
Cat
-m-
'
V "bo f..Vfcb>
"c
Yjj
-!-
dt"gi "dfas o
'dt
..
"at
"f
III
"et
..
(Bass given).
'b>
"bo
"a bb
..
"at
Harmony
44
6.
D+
FIFTH CHANGE (S
Simplified.
[Chap.
I.
Z>Z>+).
If the contra-fifth clang coming after the tonic appeared like
proceeding in the opposite direction beyond the uniting point of
harmonic reference (pressing down below the level in major,
forcible drawing upwards in minor), therefore, in a measure, as a
step in the sense of the contrary clang principle (the contra-fifth is
under-Hfth of the major tonic and upper-fdth. of the minor tonic),
we cannot be surprised, if, beside the fifth of the contra-side, also
the third of that side be used, and the complete contra-clang be
placed in juxtaposition to the tonic, so that, in place of the direct
relatives of the overtone series, the direct ones of the undertone
series appear in company with the prime, and conversely
Major
N.B. S
Minor
Z>+ N.B.
df a
g% b
'
>
of the marked tension peculiar to the contrathe contra-clang (or " turn-of-harmony clang ") of
the tonic produces a transient contradiction of the mode, a
mixture of major and minor relations, which, it must be admitted,
is characterised by a certain artifkialness and excitement.
After
the major tonic, the minor under-dominant
for the contra-clang
is that
appears like a sorrowful glimpse into the gloomy region
of minor relations, and, conversely, in the major upper-dominant
of the minor key, we must see a yearning straining upwards into
the bright domain of major relations.
So much is certain pure
minor as well as pure major, in opposition to these mixed modes
arising from the introduction of the contra-clangs (so to speak,
In
fifth
place
clang,
formations
like
more
by the
healthier,
fact that the contra-clang contradicts the scale: a\t is foreign to the
modes
* For this reason we do not indicate the contra-clang of the major tonic as 'T
(underclang of the tonic), but as "S, and the contra-clang of the minor tonic not
as T+ but as D+, and in c major understand by 'T the c minor chord, and in
A minor by T+ the A-major chord (for which more reasons will be adduced
later on).
chap,
i.)
45
sibility
way
the
TSST
It
and
"TDZ>+"T.
characteristic effects of
fifth
clang)
clang
and
tonic).
The attempt
till
means of the
step contra-
a contrary combination,
at
viz.,
TSZ> +
T DS rand
TSDS T and
TBS D + T
Harmony
46
Simplified.
[Chap,
6
4
We
!).
to
new
exercises,
examine
the connection of the contra-clang with the tonic and the other
clangs hitherto considered, in practical four-part writing.
The
steps T4
S and T Z> + (turns of harmony) prove superior to
"
firstly,
two
chap,
or
>
i.)
47
cadences
(bad)
(bad)
"T
(good)
(not bad)
(good)
The connection
(Z>
D + "T D T
D+ T
(not bad)
but the
mode
<
is
<
also
.
df
and
>
changed
>
and
<
we must indicate this succession of harmonies as a contraThe consecutive fifths which threaten us in writing
fifth change.
the contra-fifth change
_s
46."*
Harmony
*3
The
common
Simplified.
[Chap.
bf
I.
in
and
III)
NB.
[36(a)]
NB.
[36 0)]
NB.
(39
Wl
\3T(<*)1
[37 (*)]
[37
Ml
NB.
[38 0>]
I37OO]
[36(c)]
(38(/)]
[38(f)]
[38(*)|
3!)
())
4.
[39(A)]
[39 (OJ
[ 1
t39(>)]
[<))
In four cases (at N.B.) even doubling of the third would occur,
which is altogether forbidden for the contra-clang.
few new
ways are opened to us by the step of the diminished seventh
Chap.
I.]
49
The
is
likewise a
new harmony
/+
>"
step,
and
and only
a
differ in
the third
Harmony
Simplified.
[Chap.
1.
Here (a) and (c) are particularly bad, as are also (Z>) and (d),
though the effect is somewhat mitigated at (c) and (d), because
the major chord appears second ; at () and (/) another part
takes up the progression in the same octave-position, at (g) and
(h) the chromatic note appears in the highest part, and is, thereThe reason given above for the
fore, more easily recognised.
bad effect of false relation also explains why the actual effect of
false relation is felt only in the fifth-change, and not, for example,
third-steps of harmonies, etc., and why in certain harmony
successions (tritone-step) progressions with false relation may
even be normal.
The following exercises are to be worked out, similarly to
those of the last paragraph, on four staves, but the tenor is not to
be noted in the bass clef but in the treble clef, an octave higher
than it sounds as is usual in modern vocal scores like the
following model example
in
TD
"S
TD D+T
..
"S
5M
Exercises 125
(125)
T .. D
$: T\ SS\
I
(126)
3
/2
D T
T\ S S
..
130
J".,
\SZ>\T S \S&\ TS
I
(Major).
D T
(o)
"S
T.
D*
T\
chap,
i.j
(127)
/4
(r
(i28)7 4
r5
&
(129)
E:
(130)
r
l
Z>
r'u
D..S
.
(132)
5'i
T S
/4
^5
'
+S
136
I
D*"* \T
+S
Z>
*.*.
'
I
(Minor).
D T\D+T D S
rcir
Z>
r Z> r "S D
"5
Z>
D+ S
(j:
"T
Z>
"2"
S
*
...
r c
&'*TS\
Exercises 131
(131)
r(J.).
(C
r^ri-s^..
55+..
(j).
"5 Z
s
3
r 55|z^'
ri-^i?!
51
Z> +
.'
n.
l
Z>+
(133) V
"^
(134)
/3
T.
I
D*
\"T
..
D*
T.
..
..
Z>
"D S
..
S D*
3
|
p f
Z> Z>+
"rr
IT 5
III
(13S)
$ T5
:
TD
r r F
Z> 4
Z?
'
T.
III
rr
j
r r
D D+ 5
7"
Z +
"5
Z>* 3
|
j
Harmony
52
(136)
/4
T D* D
Simplified.
'
'
[Chap,
>+
D T S
"T
i,
etc.
c+
g+
f*
c+
</+
n.b.
..
N.B. introduces
whole tone from it
d+
its
will
as
5 D,
i.e.,
at
g+,
..
harmony d+
distant a
subdominant
significance into
be correctly noted
thus,
=S
..
I
place.
Kxercises
137
140
(modulating).
im)%\T\DT\'SD\TD\T-i
1
D TS D
I
'
=s
TS D
I
T\S D\ T\
Z>
D and back.)
'
..
..
I
Chap,
i.)
(138)
V4
ZH*
'
= "5
S
TS \TS
\T S
..
Z)+
H: 7\.
SDTS
ff
\D T
<=>
z>
"I
(J)
=5Z>|
d*
Z>
back.)
DS\DTD
rsrsi t s
*D and
(i39)
53
*
\
HI
*\T..
r
t
,51
I
(140)3/,,:
"T S
\'S
11
hi
5 and
back.)
= S D+
T
=Z>
"S > S
S T
hi
in
3
I
is
to
determine in
this
Exercises 141
ad
ad
..
144
..
bo
bo
(Soprano given).
3 a d
bo
..
a*
c*
Harmony
54
"bo
io
"bo
a>
"a\>
Exercises 145
"a
an do
"do
..
g d
Simplified.
eo
148
[Chap.
<to
ea
go do
eo
do
'/
"a
+ *
o
g
bo
(Bass given).
"a
do
bo*
148.
b .. e
b.."b
a .. I + e +
b e
<fc
+ "5
I.
chap,
Characteristic Dissonances.
it.)
CHAPTER
CHARACTERISTIC
7.
55
II.
PARALLEL-CLANGS
TONE-CHANGE CLANGS.
DISSONANCES
(Z> 7
LEADING-
S vu S6
,
vl
).
We
conceiving it in the sense of a retrograde plain-fifth step, therefore of a close in which what was intended as contra-fifth clang
would be tonic). These characteristic dissonances are notes in
each case borrowed from the other dominant, viz.
(a)
for
'
eg%b\d).
major subdominant, the fifth of the upperdominant (in c-major, f a c d).
for the minor subdominant, the prime of the minor
upper-dominant and fifth of the major upper-dominant
(c)
respectively
(in
A-minor,
d f a;
c-major,
in
d \fakc).
the minor upper-dominant, the fundamental note
(V) of the minor subdominant (in A-minor, d e g b).
(d) for
The
and
(c)
Harmony
56
Simplified.
[Cb&p. n.
(a)
[a c e\
and
\_f
c\
^S^
gt b
^Ip
T
(b)
fa
c \e
^S^
(c)
df a
[c e
g] b
(d)
b~\
'~D~'
f a
c]
/ an
c [e
"S~"
g
C
and
b]
i.e.,
Chap.
Characteristic Dissonances.
II.]
57
at (b)
(d) we have vicarious resolutions in place of the
normal one at (a).
In the major chord of the seventh this substituting resolution
the contrary, must
is not possible for the seventh, which, on
proceed by step of a second, if the expected harmonic pro-
Here
n.illy
gression
proceeds
downwards
a second always tend away front each other. The resolution of the
dissonance of a second by merging the one note into the other
is
is
not allowed
55
(c)].
But naturally
may change
is
simply
(0
(d) [bad]
(/)
()
(tr)
^
pllPpPfiPfllfp
J
i=
3^ =e*?= mm
5b
=j
1-
tp^",
S5-
ifc
Here
omitted;
at
that
(b)
is
the fifth
Harmony
58
Simplified.
[Chap.
u.
and
both prime
very harsh
it is
^ii
56.
m=\zz-
-fJ.
r-
m
(but):
(not):
D T
7
As the seventh in the progression
makes the leadingtone step to the third of the tonic, or, at any rate, has to proceed
by step of a second, and, on the other hand, the fundamental
note of the tonic is required for the bass in the last, closing
chord, the seventh as a bass-note for the penultimate chord is impossible. [57 ({)].
If the chord of the seventh be not followed by
the tonic, but perhaps by the subdominant, there is no necessity
for this progression by second ; but it will generally occur subsequently [5 7 (a) and (/)]
:
(good)
(good)
(wrong)
will often
good progression
explains why the
Chap.
Characteristic Dissonances.
II.)
59
will
appear normal,
in question
if
in the
same
the seventh
and (a*)], as
57)
the following
59-
S6 D*
S6
z>vl0
>VI
But as the
fifth clang,
contra-fifth clang
the
[60 (a)], though it need not, but can proceed first to g; the c expected then first appears with the subsequent entry of the tonic
[60 (bj\ ; even the chord of six-four may be also inserted [60 (c)\ :
too,
(c)]
Harmony
6o
Simplified.
[Chap.
II.
61. i
But the d will mostly be sustained [61 (d) (/)]. On the other
hand, the under-seventh is subject to exactly the same treatment
(b) and 60 (a)
(b) are
as the over-sixth, and examples 59 (a)
standard for it also, if the I? before the a be simply added
62.
become
The
Chap.
Characteristic Dissonances.
II.]
61
=V
The
exercises which
now
fifth
D =
follow are to be
worked
stringed quartet, with treble clef for the two upper parts (1st and
2nd violin), alto clef for the third part (viola), and bass clef for
the lowest part (violoncello) ; in these exercises we also keep to
the normal compass of the voice as hitherto determined (regardless of the compass of the instruments)
(Fifth
model example.)
hitherto.
To
clef
is
treble
easy,
from the
if
we look upon
line
'
line of
stave
(Alto Clef.)
the treble
Harmony
62
Simplified.
[Chap. n.
& and
with
and then
write
them out
They
in score.
are to
sketch the
will
it
As
(a) Passing notes, i.e., notes which fill in the melodic gaps
between two others entering simultaneously with the other parts,
and which stand a (minor or major) second distant from both;
thus,
e.g.,
and g
ef%
iefg,
the plain
if
in succession,
unfigured
then / or
movement were
f% would be
to introduce
a passing note
g).
insertion of a
The
difficulty
in
these
new
inserting g,
sort
but
if
Chap.
Characteristic Dissonances.
II.]
63
Good.
Bad.
"T
> +
T S
67.-
N.B.
significance
dp)
here
in
we may
the
figuration (dp
Harmony
64
Simplified.
[Chap.
II.
and harmony
to,
e.g. :
68.
Sm
6>
S vu
J49)
/*:
TS
(150)
/4
(for figuration).
TS
160
6
.
Z><
.
I
T S
I
'
D T
'
l
J).
T.. 6
= Z
s
3
.".
\
=Z
=D>
= S6
1
I
7
t)
).
T
=
Z>'
D>
TD
.
.
Chap,
Characteristic Dissonances.
ii.]
(151)
/4
D TD
(152)
*\ %
/4
TS
r l
I? If
$:
(154)
T\DS
6
6
(j.).
5.
\Z>*
r
=5 DT\S^jy\ T(
= D S \DT
'
$: "^
v"
-S
I
\TD
6> s.
(156)
'Tf" T\D
,
/4
(157)
V4
3/,
*
I
Z>
.
|
VI
O^p
SV
D7i
J~)
rr
I
"'
07* vi
S va Z>+
""
"T
Z>
).
'T
-S
..
vn
^(J.).
v " Z+
j
5 vn
2?
vn
.
T S v "
.P.,'T#.,T
vH
..
r "r
Figuration in quavers).
etc '
VIl
VII
>!
5 vn
5 vn T\S D\'T S vn D*
(158)
VI
(^
,.
Z>
T'S
\J).
'
(i55)
TS
. .
= 75
= ^ zm r -s
^-- 7
= D S\ J>
S ..\D<* T
p n
'
(J).
<r r
D TD T(J\
=S<
etc.)
T^IZ)
=DS7DT\DT..*
S*D>\ T.*
(C
(153)
D T
S 6 iy\T jy T\
65
.,
7.
T.
..
Harmony
66
B: TS
(159)
T S vu
$-.
(160)
D+
ZJ'^I
r S vn
Z>+ "5
[Chap.
Hi
VII
>
J),
M\l
oyi in <
J).
6S
VII
rz>\ s
Simplified.
_S
)t
"T
T=2?
=5 vn
T.
v"
.
).
in
iambic
rhythm (J
J.
J*
J),
or
in quavers, for J
hitherto allowed.
The following hints will, for the present,
mm
be
sufficient
,1^^
Chap,
Characteristic Dissonances.
ii.]
67
Figured Part
Exercises 161
(The tonal functions are
161
"a
163
d va
to
172
be added, as
hitherto, in
working out.)
a+
"a
Harmony
68
164
166
Simplified.
[Chap, il
164.
t=S*
Vil
>
l>
..
vm
b vu
..
d"
vn
Jt ft
ft1
ft
..
ft
ft
+ b.. VII
/|
+ b1
d6
e*
'
III
5 V
167
d 6 5
..'
169
..
..
..
..
g6
</
168.
07^
<
..'
VII
"Of
,*(..
5-J'VlIfj
gt
g%
'g%
g%
"gffy
..
Chap.
Parallel Clangs.
11.]
69
i6g.
4 3
170
"dt
8.
172
dtf
gt
v
gt " +
"
d$
..
.'
gt
yn
['Cello]).
..
J.
dt
^vn
ct
Harmony
7o
Simplified.
the chord
[Chap. II.
of the under-seventh
is
70.
Chap.
Parallel Clangs.
II.]
7i
at
by steps of a second
In the chord of seven-three the fifth is the only note that may
be doubled (the third [leading-note] and seventh, as we know,
must not be doubled).
Another formation results from the omission of the fifth in
the chords of the sixth ; first, in those hitherto considered, namely,
those arising from the addition of the characteristic dissonance to
vl
the contra-fifth clangs (S 6 and
in these, by omission of the
)
fifth a clang apparently of the opposite mode arises
i.e.,
SI
{the stroke through the 5 indicates its omission) apparently yields a
v
minor chord (in c-major f a z d apparently
a), and
a
+ ).
major chord (in A-minor d e g b apparently
Thus
we
g
become acquainted with a new category, and, indeed, a very
important one, of dissonances under the cloak of consonance
{feigning consonances).
As the feigning clang {"a as /J and g + as
=
=
v
b J) stands to the principal clang in the relation of plain thirdchange {a is plain third in/ + , g plain third in b) or, which is the
same thing, in the relation in which tonics of parallel keys stand
to each other (F-major and D-minor, E-minor and G-major are socalled parallel keys), we will call it the parallel clang and, in the
sign representing the functions of the harmonies, indicate the
relation by a / at the side of the S or "D.
Thus Sp is the
feigning minor chord arising from the omission of the fifth in the
chord of the subdominant with over-sixth {S$) ; and, similarly, "Dp
the feigning major chord arising from the omission of the fifth in
the chord of the dominant with under-sixth [D ').
The parallel
clangs open entirely new prospects to us, in so far as they allow
of two methods of treatment, viz., either in the sense of the principal harmonies represented by them or, with augmentation of the
feigning, as really consonant harmonies ; i.e., Sp permits [73 ()]
of the doubling of the fundamental note of the subdominant (which
is third of the feigning harmony), even in parallel motion
[73 {b)\
as well as [73 {c)~\ of the doubling of the fundamental note of the
parallel clang (which is actually sixth of the subdominant, therefore really a dissonance), also in parallel motion [73 (d)] ; indeed,
also that of the I of the parallel clang, which is the third of the
and likewise
(I)
of the
"D
in
"Dp
it
is
just as
Harmony
72
Simplified.
[Chap. II.
73-1
V"
p-"-|
Kill)
'
P>-"-r
iO
iQ
'l(i'ii)
v(l)
'
!<E)
Ka
-
3Q
I(-0 -K)
Chap.
II.]
(I
Parallel Clangs.
73
Harmony
74
Simplified.
[Chap. II.
and
in
in
SSp
is third of T,
third of T.
enters between
Dp
and
in the
J and S
S D
1
T,
"Dp
"D
Sp
S
"T,
Chap.
Parallel Clangs.
II.]
75
Sp,
of parallel clangs with one another (Tp
or TpDp, SpTp, Dp"Sp) corresponds entirely with the connecting of the principal clangs
of the parallel key, with this difference, that in the former we
have good doubling of feigning thirds in place of bad doubling
The connecting
DpTp, SpDp
latter
77-
apparently
j{|
jj|
The doubling
apparently:
of the leading-note, otherwise so strictly forbidden, appears permissible here (at N.B.) ; nevertheless, in a
succession of several parallel clangs, the method of writing used
for the key of the opposite mode is generally to be recommended,
and it has a particular charm on account of the abnormal
succession of dominants, which in this case appears natural and
justified
Harmony
76
Simplified.
[Chap.
SpT
-Z>
(!)
(!)
(!)
(!)
(!)
II.
(!)
Here, at 78 (a)
(/) and 79 (a -(/), the parallel clangs are introduced with doubling of their fundamental notes; at 78 (aa) (ff)
and 79 (aa) (ff) on the other hand with doubling of the primes
of the principal clangs, which latter at T&(aa)(ff) yields a more
convenient result on an average than at 79 (aa) (ff), because the
doubling of the minor prime is not doubling of the fundamental
The harmonic
note.
The
steps
new
to us
which
result, are
(aa),
78 (/) and
(pi),
"]8'(d)
leading-tone
and
(ff),
(dd),
is
plain changes.
The conditions for writing these steps singly are the following
Leading-tone change (T Dp, STp;"T"Sp, DTp),
the step from one clang to the change-clang of its plain
leading-note (= of the plain third of its plain fifth) connects
clangs, which have two notes in common, show a leading-tone
step from principal note to principal note, and admit the doubling
of both fundamental notes without danger [80 (a)
(i)]
(a)
i.e.,
&M
Chap.
Parallel Clangs.
II.)
77
DpTox
DT
we may
see at 81 (c).
minor-third change (TSp,
TDp,
S Tp), the step to the change-clang of the plain minor
third, i.e., to the change clang of the plain third of the contrafifth (! , thus really the progression from the fifth-clang to the
third-change clang of a third clang) connects clangs which have
no note in common, and therefore give rise to danger of consecutive fifths and octaves, which may, however, easily be removed, but only if we either forego the possible leading-tone
step, or double the third in the parallel clang
(b)
The
DTp;
82.
This step
in the
first
Harmony
Simplified.
J
[Chap.
II.
1-
83-
D and Dp S)
connects the
entirely the
step without
risks.
its
fifth)
gives rise to
octaves and
factorily
some
tritone
fifths,
removed [84
(b)
84
()],
of consecutive
satis-
(</)].
84.
By
(T TpSSpDDpT)
ef+a-
(T>
"a
c+
T)
Chap.
Parallel Clangs.
II.]
79
(r
Harmony
8o
Simplified.
[Chap. II
readily
prime
may
(in
NB.
(ii<)
Chap.
II.
Parallel Clangs.
(T
!?'
Tp
81
!!'
*S/>
/+
"e
"
"a
Z>
T)
Z>/
'T)
("T
*.*
"Tp D
"^ "5/ T)
r
g+
(T
Z/
;.*
c+
t)
i.e., here again we have two successions which, when inverted, are
normal in the cadence of the parallel key, and will by exchange
immediately suggest modulation
:
still
to be written as
for figuration,
tenor
if
clef,
may
and
for
but with notation of the 'cello part in the tenor clef; only where
more than one leger line below would become necessary, the bass
The tenor clef is, like the alto clef, a
clef may be resorted to.
c'-clef ; the line to which it is prefixed (the second from the top)
has the tone-significance of once-accented c
(Tenor
clef.)
Harmony
82
The
Simplified.
on
three notes
For the
The
example.
mind, and he
his
we
rest
figuration
is
[Chap
of these
tone-significance
the
will easily
will refer
to
still
auxiliary notes
<
!i
D T
Sp
II.
Tp Sp
fifth
D T
Dp S
90.
Exercises 173
(173)
U-
t \"<Tp\spn
r
(f
E: T
**
(i75)
'L--D
(176)
/ 3
..
Tp
="T
D\"T
J>
.)
*\
S/
$=^.
--Sp
sp
Sp
Dp
Tp
(<=>)
.1
6>
<T< II
Sp
Tp
7)>
=S D
D
=S
= t
(177)
..'
(J
D TS D
Is
Tp
2>
(J)
TD\
Sp
2?
..'
T'etol
(J
sv " jy
SD T
=.S
:+Sp
"T
(J)
D S
(for figuration)
Tp
etc.)
Dp\T
Sp
(174)
184
T D<
g!
Z>
= Sp
7>
(=>)
D\T Sp
^T
|.S
V"
Chap.
Parallel Clangs.
II.]
(178) /,:
&
S6
=
= S
Sp
(179)
Z>
\Tp Sp
5V "
B:
Z?<
,S
83
svu
Sp
..
TS
5
Z>/ 7>
VI1
Z>
jI
(j)
S vn
Tp
Z>
,S
I
'Sp
(180)
3/ 8
Z*
= Sp
(Cj
> 7
ctc)
'I.
TS
III
(Figuration in Semiquavers.)
(181) '/,:
"T
--D
2>
rD
= Sp
TS T
= Z> Tp
Sp
S vn
TD
%:
Tp \ S
(183)
/4
s vn
(184) U
D
r
5/Z)
=
Z>+
3?
5/
Z>
5
'
Z>
Z>7
7"
I
VII
II>
=S/ VI1
T'
etc.
Z>
Sv"
o^
V1I ,
07
III
U)
..
5 vn
_0 J>
56
=sp d*
III
Z?/
Z>7>
7"
"^"Z? "/
DT
vn
= ".>
I
Z> Z>
TS
T
(182)
n~>
Dp Tp If
D T
D* S
= Tp
)=7p
r*
"J"
(J)
S vl1 D>
T
= 2?
Z>'
Harmony
84
Simplified.
[Chap.
II.
SpS
TpS
<*)
()
Dp
(<:)
"S
Tp Z>+ "Dp
(d)
D+
"Sp
D+
(/)
-J
9M
The new
steps are
third-step [9 1 (a) and (</)]," which, in the progression of parts, differs from the leading-tone change
(a)
The {plain)
(b)
The
gg%)The {plain) leading-tone step [91 {c) and (/)], differing from
the tritone change only by the exchange of a minor
for a major second.
The next exercises introduce also these steps, of which one,
viz., the leading-tone step in minor [91 (./)], requires particular
notice, because retrograde, in the sense of the progression to the
tonic leading-tone substitute from the major upper-dominant, it
yields the most important (most frequent) form of deceptive dose in
tlie minor key (with or without seventh of the D)
(c)
92.
Of 92
we must remark
amoutits to
an
octave,
Chap.
Parallel Clangs.
II.]
and bass
clef
is
(Soprano
The
right
following ninth
clef.)
:
= S6
"T
Sp
"ft
ft
f%
>>
..
VI
..
S6
=S
V1
6>
Z>< +
94.
S*
z*ft A
'
Harmony
86
Exercises 185
(The
do
196
do
gt
do 7 go
viI
d%
"d%
[Chp.
ab
given.)
o ft
is
fy
?&*=F
b
edf+
do
gt
a b
VI
vn b 7
c7
"a
d vu a
+ d% b
+7
o-l
v"
bo
d%
dtf
g%
dt gt
ao
bc+ b +
VI
"aj
eb
dt
gt
ea
an
1.
"ft
&
n.
(not to be figured).
bb
dt
Simplified.
'a
"a bo
bo c*
Chap.
Parallel Clangs.
II.]
87
ei
bo
c1
e lib
da
c%
"ft
c*
to
..'
?.
fy
gvn
bb
vl
d'
193.
..
"a
d*
Pi
to
o d
to
eb
..'
Harmony
88
Simplified.
[Chap.
II.
9.
The minor subdominant in major and the major upperdominant in minor disturb the melodic flow of part progression
the thirds of each introduce the step of the augmented second
into the scale
NB.
NB.
(B)
in
in
m3 n
7b
97-
vin
mn
V)3
2|;
/rf=
As proved by
question
is
the
J)
against
the
and
in
figured harmony.-
melodic grounds,
may
the tonic, but rather as chromatically altered thirds of the plainclang [98 ()()].
fifth
Chap.
Parallel Clangs.
II.]
if)
89
(in*)
98.
D*> "S
(3>)
to
T Dp u< Z>+
98
(c)
(d),
indeed,
harmony of the
may be conceived
contra-clangs,
Harmony
90
Simplified.
[Chap.
n.
further into.
At
first
we
lowered (" Mixolydian ") seventh of the major scale which takes
place in order to bridge over to the lowered sixth (the III of
the S),
sixth of the
to
as these notes enter as chromatically altered thirds of the plainfifth clangs, they apparently give the major key a minor upper-
t>
fa
n.b.
jjj^
c e
<~~>
d+),
"e
(a)
The
Sp
D T
last
Sp
D T
Dp S I
Dp "S
Chap.
Parallel Clangs.
II.]
(/).
4:
(*)
Or),
*d
J.
91
Ui.
"S "Dp T
S "Dp
"T
Dorian:
fg
b d
'
r
Phrygian
Lydian
/g
Mixolydian
fg
a b
a 6
a b
1:
c'
d' e
d'
e'
d' e
f g'
'
i.e.,
Harmony
92
The
[Chap.
The
Simplified.
above
II.
modes
N.B.
N.B.
W|_.
oj'
ul
l_(
"S
vl
vn
"
(T%
D*
+
"
"T S m< T
(T%
n
ii
N.B.
..%
Sp
D T
The charm
Chap.
Parallel Clangs.
II.)
93
&,
in c-major
A-minor
S-, in
ft
a
\_g]
f [a]
d and
t>\f
chord
known by
We
less
104.
D +1 <
i
..
D+
<
T*
4<
fifth
Harmony
94
Simplified.
[Chap.
II.
the tonic
both leading-notes to
fifth)
(0
,(),
Mi
105. 1
6>
&
W),
Chap.
Parallel Clangs.
II.)
95
(a)
close
is
the following
manner
of the
tonic,
allowing
cadential
J[107
o/)(VI)
J~
(a), (d), and (/), the closes from the upper dominant, are called
from the under-dominant plagal closes,
authentic ; 107 (b), (c), and (e)
designations which we shall drop, because they bring entirely heterogeneous effects under one heading. ]
dominants
Harmony
96
".>
Simplified.
+r
Closes.
as ellipses, only
binding on
us.
))
Chap
Parallel Clangs.
II.)
97
in.
(Half-closes.
"Tp
D+
D+
"Sp
This small selection will suffice to show what is usually understood by a half-close ; of course, one can actually proceed from
any chord of the key to the + dominant and pause there. But it is
clear that any dominant, indeed even any parallel clang, and any
leading-tone substitute of a dominant may become the bearer
of a half-close, only presupposing that it falls on a beat with
rhythmical cadenlial power in a higher degree, and is made use of
as a point of rest (long note with or without a pause ; indeed,
if only no rhythmical change of meaning or feminine ending
destroy the effect of half close, it is not even necessary to stop at
all).
We will now proceed with a few suggestions again only a
selection
as to how a half-close (principal subdivision, close of a
part) may be made to one of the other dominants, and we draw
special attention to the fact that just this hitherto limited understanding of the terms, close and half-close, bears a great shai e of the
W *njfr)
112.
*J
-&
-&>-
-<S-
--
-&-
-5
~ZT
Sp
Dp
(Half-closes.
Tp
Sp
S Dp
Harmony
93
Simplified.
[Chap.
if)
cf- IT 3
II.
(/')
or leading-tone substitute
^
"3-
(*>
f*Sfe
"--
M),
Uf)
IS
cf. 107.
~&~
r-
,"),
/*
zztz
Tp
"S
Tp
Tp
Chap.
Parallel Clangs.
II.]
A-minor
first
+
e
V# [=Z>+ Tp,
really
99
close-formations,
T\$,
cf.114
viz.,
(f)],
and
But the
{d)~\.
14
the parallel clang of the tonic-variant is possible not
only from the contra-clang, and that to its leading-tone substitute
not only from the plain-fifth clang ; we therefore gain a whole
close
to
series of
new
W,
(e)
(ot)]
5fc
114.
(Deceptive Closes.
^fer
D
1
Sv
Tp
Sp
Tp
difficulties
all
in
Harmony
(c) to
114
Simplified.
[Chap.
II.
to 114 (/).
(rf)
(a).
-I
Z> 3 >
= "d
c-major:
$"m<
= "/#)>
d+
(S +
),
supply a few
n ') and
<r
new combinations
are contra-
whole-tone changes.
(b)
"c'f%
(S-&),
a\>+-d+
(Sp+>"*),
e+b\>-r
semitone changes.
+
(d) at?
/4 (Sp&) and
augmented-sixth changes.
g\
b$>+
+ Z>/
S)
are
{TQ-&)
e^'Jl
and
"4-*b+ {Z^S),
an
Chap.
Parallel Clangs.
II.]
subdominant (a7+"a
(S
S &
&S
(Vjf b\>+),
and
B-S"i?d%d).
The
fifth
or
3 D T
&S
vu
+Z> "^
D>
"T
g%
sixth
The
g\
tritone
step
(S&,
Sp@, +>$,
1,
3, 5
+ Z>pg)
5,
or I
I,
Harmony
Simplified.
[Ctiap. II.
or
Ill
III,
3,
V), also an augmented-second step (5
III
V) to be avoided, but is very simple if the possible diminished-third step (1
3, III
I) be made
= 8SC
TgT' p
7-i
^E^
-o
The
+ Dp
S +0"-11
^=
"Sp
however, obviated
if
Sgj
^fl^
3DT
Z>+
".S
T +Z>/ $ S D
(S &,
change
D S, "Sp + Sp,
only one possible augmented step, which is,
the leading-tone step be made
chromatic-semitone
Dp) contains
jj.
b^<
52
S+D
11
"
T + Dp_DpS
&
+ Dp,
aagmented-sixth change (Sp
&, Dp ,
of a diminished third
is simple if the possible step
be practicable ; it has the possibility of two augmented seconds
(1
III, 3
V, I
I), an aug5), two augmented fourths (1
The
&Sp)
mented
fifth (5
III),
and an augmented
sixth (1
I)
which
arf
119.
"Sp
&D
p SS T
r~r^
S-
Up T
(1-V):
w._
m.
_|_
Chap.
Parallel Clangs.
II.]
The
+ D/>
103
Sp
+ 7p,
Tj>) gives
two chromatic
121.
The
augmented-third change, connecting the two most artifichords (SB), gives occasion for making both those
diminished third steps simultaneously (2*
II<), but, for
3, III
the rest, an augmented second 5
V, an augmented fifth 3 V,
cial
and two
augmented
sixths
(1
V,
5
I),
obstruct
the
way
[122 ()-(*)]
122.
&
The
use be
"$
(d)] is not
chromatic-semitone step [122 (c)
of the proper doubling (V of S, and
made
difficult,
of
if
Z> +
respectively).
If
we now proceed
to
make
the
Harmony
104
220
Exercises 197
(197)
TD
VII
(198)
(199)
/3
/<
D\ "T
s
(200)
E:
"T
(202)
6
:
/e
$ m<
$:
Z>
,>
I
T|
c
(203)
Sp
r/
2>
.'.
1
..
I
Z>
5
1
S
r
6>
&*
"Tp\
+rp +np\
..
a> + ,1<
Z>
..>
"5/
S vn "Tp
VII
"S Sp S"}.
s m< s
+z>/ + rp
s &
r~
Tp
S m<
&&
D $m
IP
2 s
+z>
2?
S vl
D* J
VII
@ D
\Tp Sp\
"Tp "Dp
$ m< 5 +D n<
(201)
in
VII
& \
& D Tp
+sp
VII
"T S m<
n.
T&\ "S..\>
I
ichap.
Simplified.
SI
& @
>
Tp S
"Tp
..
\
+z,n<
(204) V,
1
1
S Z> 5/ &
T'S m\ d s\ T ia rrsi.)
5
Tp
VII
(205)
(206)
> 3>
oj-
1
I
+Df +Tp
2?
Sy
D<
6>
"Sp\'S S D* +
yj
MP"
'S'"
D T (J)
^> 7>
'
I
Z>/>
I
iv
Svl<
in
Chap,
Parallel Clangs.
ii.]
(207)
V4
S-
I
I
in
"Dp
T\ S m<
"g S
..
|
VII
T S m< T
in
(208)
105
VII
$ m<
D S\"g
D\"T
"S
(J
hi
E:rZ)'|?+2>|SZ)|
2? "Sp
I
+Sp
,)
+Z>"
l
|
(209)
IV
III
S vi<
J,
S'"
+Dp
f2io) V:
"D
"S
I
$ m<
"T
I
S D\
VI
S m<
D*> \Sp
!.
..
v"
|
(211)
3
:
/4
(212)
(213)
+Dp
+5/
'T
Z>
lt
5 vn
lu<
'
"Tp S'*
Sp
Sp\S
Z>
'
"Sp
I
/
6
Z>*
..
D\"T
1.
I>
\'-D
"S
T T
S-
hi
D
"Tp "T S m<
SP
Dp
*
\
Sfi $
Z>+
I
vn
VI "
ti[
+Tp
S'
Tp &\
S S
vl
*
\
S n
m
|
T
VI
VII
m<
# m<
^l S
r r
: r
7}VI
"Sp
+D U<
vu
..
Z "5/
3?
n<
\Tp S\ Sp \"S
"Tp
/4
s>
D+ "D
(216)
+Tp S
5 1>
-T
Z>
I
hi
(215)
S
VI
VII
D> Tp
(214)
DV
T Tp\"S Dp
%:
Tp
..'*
.'.
oC2>
DP
rr
cm>
=
/}
c r
o'p
II
oy
+Tp
rr
"
Harmony
106
(217)
+Z> n<
Simplified.
65
6
'
..
[Chap.
S vtl
>*
VII
Tp
n.
VIII
Sv
VI
in
3D
(218)
D$
%:"S\
S vn
+-D n<
'
Z)/
^ "5
I
Tp sp
(219)
V4
v"
1
r S vn T \D
5
I
VII
VII >
(220) 7,:
m<
D
l
VII
:T
II<
+2^n <
$ UI<
2)VI 111
&\ S vl
VII
<
J)
gS
oy
D T
CVI
"Dp S v
~
Vll
VI
&
oji
Z>
S m<
(S 3)
&)
A-minor or ff% (
in c-major
in
"J?
(without modulation) signify a powerful respiration, as if to
Naturally the student of
burst the fetters of the mortal frame.
composition should be most imperatively warned against the
misuse of these strongest means of expression.
Our view has now become extensive, and the following
chapters, which lead us back into the more trodden paths will
introduce easier work again.
chap, in.]
CHAPTER
III.
SEQUENCES.
CADENCES.
10.
107
INTERMEDIATE
We
wVII> (/)
II
Vl
IV
^^^^^m^F^SSSM
()
d)
(9)
123.
(IX)
{g)
(/0
Harmony
io8
The
Simplified.
[Chap. in.
(0
(*)
II
(*)
IV
regards
effect, so-called
Passing Dissonances.
WN.B 7*
/rf-^- t ^
2>
(*)
6>
(c)
_U
frf)
>
125.
VI <
IV
4H
(,-,
(i)
11
IV
t)
octave-positions),
thus c
in
123
(b)
(k)
Chap.
III.]
109
a 6
c in 123 (A) and 124 (m), whereas all the dissonant chords
VI
vu
1
considered hitherto (S6,
only two notes on
, S
) had
degrees next to each other (*, &, vm, ?)
It is evident that such
chords, unless they arise in the fashion already discussed, as it
were casually in the figuration, would make themselves very noticeable by their striking dissonance, and they therefore remain
alien to plain, unfigured writing, which avoids all that is remarkable ; this style in general prefers feigning consonant clangs,
tions,
mon
for centuries,
Prepared Dissonances.
the
in
(T S, S D,
harmonies
transition
D T, S T,
from
etc.),
126.
D<
D'
S*
D'
Harmony
Simplified.
[Chap. III.
7*8523 52l
3
(0
(0
(*)
S
To
Z>[!]
correspond
II
I
-l-n
127.
Ill
II
III
Vrs=r-\
III
(*)
()
r-n
!^=M-
In
III
*=
Chap. III.]
arising
[i
from the
III
IX <
(<)
III
6>
()
VI V
(d)
128.
z>+
z>+
IX<VIII
III
>
+T
+T
VI<V
III
6>
(A)
CfO
3
8
5
3
<
323
<
fa)
^j^Fi^f^^Tarri
129.
Jr
Jr
=Ie
398598898
V
7
D>
s"
(/)
Z>'
Z"
I43
(;
III
9>
(*)
D>
Harmony
112
VII
III
III
6=-
(0
Simplified.
VII'VIII III"VIIVIII
V
W
III
II
(*)
D+
D*
[Chap. III.
III
()
"S
parts, which we
number of new
shall
have
tc
Chap.
III.]
The Theory op
jJissonance.
113
Harmony
ri4
Simplified.
[Chap. Ill
5*
<)
()
4*
Unprepared Dissonances.
All the dissonant formations introduced as prepared dissonances
above (126 130), may also enter freely, without preparation of the
dissonance, and with more or less good effect ; this third category
therefore includes all dissonant formations.
Certainly we should
be very wrong in assuming that any dissonance might with impunity enter unprepared ; on the contrary, it will under any circumstances be well to bear in mind, that any such free entry
is always more or less the result of substitution or ellipse.
The
following examples throughout confront the unprepared dissonance
with the prepared, that entering by step of a second on the
accented beat, with the passing note on the unaccented beat, as
Chap. III.]
more
perfect form
with {ad),
[cf. (a)
(*'
"5
(b)
(/>')
to
=*'
I
trr
136-
2 [*1
gj_
7'
00
-
n
I-
j=
=F .g).gszgzfligl^^;
:
J-
mm
7*
m^mm
I
*=E
<*)
to
Harmony
ri6
Simplified.
[Chap. Ill
VII
VII >[3]
for
13M
The
Chap. III.)
117
unprepared dissonances
possible,
139-
Harmony
n8
(*)(.*! j.
lr&i-^
)r
[Chap. III.
..
J-.
Simplified.
B>
Dp
Sp
Tp
Exercises 221
(221)
T J"
1
'
Tp
236
\
(for
Sp\&
syncopated
1.
S+
).
figuration).
\T Tp\S
Dp Tp
\
S"
D T
I
chap, iti.j
VII
(222)
D**?.
I
(223)
T\ S 6
T f
3
:
/t
(224)
/.
T D
T S
Dp
Sp
Tp S
D/>
5VII >+
o
J
"T
2 S
'227)
(228)
V4
3
:
/4
"^
Z>
(231)
/2
/2
Dp T
v"
Z>
T
C
..
"D
..
D T S\ D
Sp
Dp Tp
D T
\
TS
?.
D T
VI1
S Z> 7
I
\S
T Dp
1
I
Tp T
\
Tp Sp D* +
>
. J J J
"T
T S v,
"D
J")
..
|
T
\
D<-
1.
I
Dp
S v"
Dp T Tp
(Figuration
Tp S\ Sp
$ T
S vn
"T
.S
^ S
\Tp
etc.
S6 T S6
s>
^ vn
5/>
Z^
I
..
D
(232)
..
- S
(^
sp
Tetc.
Tp S
(230)
'
5 Z>
B:
etc.
-O
T D
(229)
Z>
Z> +
5 VU
Z>
etc.
1.
r\n n
Sp =S
(226) 7.
etc.
D*
'
(225) %'.
S\T
r 5 vn
I
$ vu
"Sp
etc.
2?
119
"Tp
\'T
T
\
..'
\
Sp
(Figuration
"S "Dp
D T
Tp Sp
:}JJ
"Sp
+D
.M^J)
T
|
Harmony
(233)
$:
(234)
T S yn
%:"T
D
in
D>
B T 5" *
5
Sp
Tp S
Tp \'S Dp,
S T\
1
vn
"Tp
S M
JJ)
|
"Tp Sp
.'.
I
Z>
\Sp S*~
:T
+>"<
Sp
Z
I
Z?/
(236)
in
Z> 7
2>
(235)
+S
SI
fChap. in.
Simplified.
Z>
S S vu \D
1 1.
SEQUENCES.
The method
was
for
thirteenth
(<z)
Major.
T
()
Sp
Dp
Tp
Hf
(*)
Minor.
"T
T"
1
$*" Tp
D S" D
6
"Sp
"Dp
D*
(d) Minor.
7*VI
jytl JiVllt*
CH
Sequences.
Chap. III.]
121
>+
(jy
and
6=
VII
r vi
^iii*
also those
Bi
Uf
(S.T..)
VI
m<=
D T vn
,
t\
UP*
[$
1x0
mS
]
H3
T vlVI%
$^T-^
*%
*$
*?i
>g__|
tonic,
around which
Harmony
Simplified.
[Chap. III.
furthermore
notes, anticipations,
and suspensions.
Only
characteristic dissonances;
144.
(<0
ld)
1
1
the
to,
least
Any sequence in a part to be harmonised will more or less certainly give occasion for the other parts to proceed sequentially ; but
do so proceed that we call part-writing
it is only when they
Now as regards the harmonies, the sequence
a sequence.
(harmonic progression) thus formed is the imitation, proceeding by
step through the notes of the scale, of a succession of harmonies ; the
model of the harmonic progression must consist of a succession
of harmonies which has logical sense in itself that which follows
in the imitation is accepted as the result of a sort of necessity
of nature
Chap.
Sequences.
111.]
123
dissonances
of the above
Dp
4M
T D
Sp
NB
Tp
D T
7
Dp
S "Dp
M> 7
'
7
D'
T S
'
S *Dl
UP
T S
rpsp
Tp
Sp
Dp S "
7
Here we
those
145
(a)
of the motives of
Harmony
I2 4
Simplified
by degrees, as
Tfi
[Chap. III.
and not
Sequences
125
euphony
still
room
less
treble clef
9
SS'
D T
149-
Sp
D TD
Harmony
126
D
(238)
V2
IP
248
S 6 D>
S S^
vii
5"!-=^ VII
VIII
2?
T V1 S lu "
1^+^111-= J)+\0
(239)
^T Z>'
(240)
T S v"
Z>
^m
(241) V,
Z
V
Z>'
Sp
..
Z>
7.
1 .
MP
%:
T S"
\
Mf
~~
'
Z'
""=
Tp
..
Z>-
Tp Sp
Sp
D T
Z>'
Tp \S D' \
S\
3
(242)
vn
">
Z>
27
III
7|
III
6s
-=
6'
d z
|)4
..
r-
"S
6S
ip S<
.'.
S 11 ""
Z>
[Chap. III.
D T
05
..
Exercises 237
(237)
Simplified.
T D
\
Sp
\
Intermediate Cadences.
ihap. in.]
127
(243)
T "D
s/:
3/ 2
,.
7> 5/ Z>
t\
"T
Z>
D~Tt>
""
S vu
vll ~
IV
,v
"TS m
'
"Dp
I
2*="
'
~i
v
v nI
III
r
j
'
iv in v
IV v '
ul
r r r
T S vu
..
D**S WU D>\..\ T
T\ S
Sp
D\DpTp
S v"
7
|
Z>2'=-
^
7-=
5"=
.1
;.-
D\
<
7^
%
(246) V,
*"
D \T
Sp
(245)
Sp
I
(244)
^ vn D>
7
I
(247)
E:
TS
6
\
n
(248)
B T
:
Dl
Tp
**
t> s 6 z?
^
3
5/5|rr5
i)|
Dp
\.
zT
..
I
Z"
I
12.
INTERMEDIATE CADENCES.
More gifted pupils will very likely often have felt the avoidance of familiar chromatic alterations in our exercises hitherto, as
a rather unnatural restraint ; at least, many, of the turns to be
developed in the following may by experience often have entered
their minds, while we, with the single exception of a few har#
(S-,
&, SUI<
o
,
Z>3>
lj),
",
@,
Harmony
128
Simplified.
[Chap. III.
7.t]
.'-=
vlI
ti
(S
vl1
)
($
" S.
vn
alteration of tonal
harmonies (by
7b, VII t|, l^ P) still seems the more convenient and easily
intelligible (that which, in reading, renders most easy the trans-
Chap.
Intermediate Cadences.
III.]
"T (S vu D) D
{S
vu
as
129
circumscribing the
tonic, e.g.
chord
D)
leading-tone substitutes
(S
wa
(S vn iy)Tp(S D)Sp (S Z)
O, .1
J
=c
Efc
5gE2
4=
r
Sr
D>)
Z)(S VU Z>')
rr
&
1=
J-
') S
2&L
D T
{S
VJ.
hj.
3L.
i
(S
{S 6
D)
t^
b-J-
f=r3&
Sp
S-
@"
1-
>+) S (S+
D)
Sp
S vu
v\
130
Harmony
Simplified.
[Chap. Ill
Intermedia te Cadences.
Chap, in.]
would
is
to be read as an
signify the
exercise,
e.g. :
Key
= 2b
= 5$
Remainder
Key
Tuned
Remainder
in
A-major = 3 J
(for key-signature)
= 2J
Harmony
132
Simplified.
[Chap. III.
If the key of the exercise have fewer flats or sharps than the
natural key of the instrument, then the excess is represented by
the opposite signature (\f for $, and \ for \>)
:
1$
Key
ojf
Key-signature = 3b
Retaining the normal compass for voices, with the clarinet for
the alto part and the horn for the tenor part, the pupil may be
sure that he is not expecting impossible things of the instruments;
more detailed explanations of the nature of the instruments are
therefore not needed here (on this point cf. the author's
" Catechism of Musical Instruments ").
Our principal aim now
is to prepare the pupil gradually and thoroughly in the practice
of reading from score, and with the introduction of transposing
instruments an important step forward has been taken.
The following (twelfth) model example is calculated to illus
trate the
above
clearly
"T S vu
{S vu
Z>;.)[Z>]
Tp {S vu
2?;.)
I
Oboe.
D m
If "T
{S s
I 5
7
ry
..
"s>
t
4
07
*
Chap,
Intermediate Cadences.
ii.
Exercises 249
(249)
%:
{$?
263
D
265
D
&
(250)
% T "D
s vn
Sp
(S vn
D)
g S
[S/>]
D\"
jf
1)
133
(for
T m \ &\D
M'
(251)
l.\
[S] "Sp
(2?')
|
"T
z>| 7>
D>
T\
(252)
(253)
(254)
B> "T
ni "=
7.tJ
M" D
3
in
B: f
Z>
(S\Z>
Z?
/.)
[Tp]
v
(S "
(.S
vn
I
(Z)
S-
V~-
&
D*
?.
>l
S6
Z*)
>
IV
III
VI
Z>
2? .-
[5J
*t
= D\
..1
S D>
^
T
Jk\
..'
I
Tp
./?/
D\
sp s
Z>
I
D r Sffi
?:t\
* z^=- +
Z7 (Z)
Z>< &
s
I
VI "
(/^) 5/
v"
..
I
"T"
$=-
(258) V.
Z>)
B: 5nr
..
D
-
Z>
6 =-
Tp Sp Dp
(257)
S (S vn
ZJ*
(255) V.
5 VI1
D".
(256)
z>
$: "^
"T
if
S vu
$: 1$
z>
..
vn
I
z>jj
*
I
(Z)
..
I
7>
..
Harmony
134
(259)
V4
?.
"J 2 * 1
"5/
Z>
..'tj
(Z> 7 )
=Tp
..'
I
..
T
5
2>
$: r
Z>
LP
-.F
=Tp $ vu
$:
Z** +
(262)
-.'
(261)
15=
Sp {D>)
(Z)
Z>J
(260)
Tp
{B>)
[Chap. hi.
Simplified.
s
1
5'"
D*
.'.
I
=S VU
= S V1
..
v"
(Z*)
Z>+
=^ in< zH
..I,
3>
= Z>/ Sp
oT1
(263)
$:
..
1
Z*
Z*
vn
I
280
Tp
..
(IP)
Exercises 264
=iS vi
rp
5,
(for 2
5 r
Trumpets and
is
Tenor Trombones).
higher.
Trumpets
Tenor trombones do
'not transpose,
key-signature.
T
K6.
2
2
ED
(IP)
S D> Tp
Trumpets.
Tenor Tromtxmes.
,_,
,^_
1
|.
W)
Sp @>~
7-=
*~
Z>
(&>*)
V 'r^f^ft
Intermediate Cadences.
Chap, in.]
Tp S 6 $1% D\
D\
S-
Dp
'35
the trumpets are always to be taken in the tuning corresponding to the key of the exercise. The notation for the trombones does not vary, as they are not transposing instruments. For
these school-exercises the trumpets in low a and BJ7 are preferable
i.e.,
to those in high
"T
(264)
..
a and
bI?,
Z>
^ vn
(>')
..
S L
v=
.#*
(265)
$:
"T
S 0*
VII
..
tl
1
I
Tp
D\
(267)
Z# #'
(268)
$ 5 6*
LP
VUI
I
(JP") \S T
DJ
..>*
vn
Tp (D>)
..
(Z)
Sp S v "
')|
7> (5
VI1
Z>
.'.)
(Z>)
VI "
I
Z^ +
I
Lf
Sp
S wu
..'
$: 7Vt|
V1
m-=
(266)
[7>]
(2?)
".>
&~
|
^9-
(269)
$:
"5/
+>""
Z*
$:
(271)
$ T Tp
Z>r
(Z>
I
__o C
VII
VI1
|'|
7*
.9
(270)
Z>J
Dp
r
Z)+
S) S
4/>
ZJ
Z> (Z>)
7)>
(Z>)
>S
v"
Harmony
136
(272)
/.:
(2 73)
D {&*) \Tp S
$*
Simplified.
(5""
2?)
S (S6
[2>]
(p)
[Chap.
B\X.\E^^\T
"Sp
..
I
5 (S
2?)
m.
2?)
5/
m\\T
(274)
$:
VII
2?
I
111
"
V11
2?)
[7>] (S
(275)
$:
.S
I
^'"- 2?
+&p
..'-
"Sp
[5]
I
5 vn
(7' VI, B
-vn
=Dp
2>)
2>
(5 D)\D..\
Tp
(.S
I
2?)
3?
&\D\T
(276)$: T\ Sp(D)\
D\.
T $>""
(277)
(278)
$: r
/,:
&
(^>
(#*) Tp
"I
(2?)
=2?"
(2>
,)
7.)
V
(5 "
[?>]
[2?]
(#$,
(Z?
2?')
7.)
$'- 2"
(279) Hi:
VI1
-s
[7>]
2?)
Tp
\\
|S
(#-
Dl
Tp
#i;
v
(S "
2>)
2?)
[7>] 5|
7I
(280)
%:*T\ (S #'
'T
v
(S "
Exercises 281
2>)
289
2
Z>)
[Z>]
.S
v"
2>
(5
[2>/]
29'=*
I
5 V"
2>7
in
vn
\
D)S\
'T
high
b|?
and
Chap.
Intermedia te Cadences.
III.]
137
(281)
$:
..
T S
D 0* D
I
I=--5H 3
(5
V1
,)
Z>1'
(Z")
I
Sp
(&)
..
<
'2
(282)
0:
S vl
(B>)
I
(283)
$:
(284)
Z"
D)
D+
VI
-t
5?
Z>'
'."tt
..
7.
Z>
I
(Z
\T
+
9:>
)
2>
(Z)
S\m,ZD\>T
C
T 5V" S
--^S
5 VI1 iy
("
S'
"S
z
D\*Tp
{D)\
..
v ''
Jv7
\S
(S/
>)
[5] "5/
.'.
vl
+Z> ni
Tp
j>] sp
ZJJ*
I
[7>] Z>
Z?)
I
[]
..')
^| Z>^
S $'
(287)
Z>
d>
=Sp
(286)
V"
(,S
T/) ( v ")
Dl
<
in 55; 3
T\ $""{J>~
^
(285)
"S''
(Z>)
IX<
\
D)
TP
(Z?
j.)
Harmony
138
(288)
$: T
i>
(289)
(Z>
VI1
D>)
(S
[.S]
T '&
&:
$>~
SI
Z?
Simplified.
2}
&
[S]
..')
+/>
..
I
[Chap.
&
m.
T
_(Z)
I
2?/
(Z)
<
Exercises 290
300
Oboes,
2 Clarinets, 2 Bassoons,
Horns),
to be written on four staves, the two clarinets in unison with
the oboes, the two horns in unison with the bassoons, as in
the fifteenth model example.
(for
and
(Fifteenth
(290)
model example.)
T Sp\_{D) [Tp]T\$ (
>)
(Z>>
H-rmS
1-
(D)
_CO
\_Tp\iy\T
[Tp]
\
T Sp
Chap.
Intermediate Cadences.
III.]
(291)
$: T
y"
(Z>)
5
=J
'
I
="5
(292)
$:
Sg
.7"
Lfi*
Z>/
139
(.#")
2J
/^
VII
&:
I-
5J3
5 s.
III
(293)
7* *
I
5 #*
Z?
..I,
2? (If)
(Z>)
sp $tz
.'.
I
G>
I
(294)
%'
(295) ft:
(296)
>/ 4
V* \\
A=
[5/]
5J
rv
"t;
t- TP\
T
*
(299)
/.:
/,
['S]
I
\_Tf\
'<
&
D ^
D f
'
&D
(S m *
\"
(D>
\
)
|
W>\
S^ T\
Z>
['S]
?.)
I
S'V
v
lv
(D) Tp
Z? (5""
Z)
"#
\{D) Tp\
IJ>
S "Sp
3D
(S l,l Z>)
^/
Sp
$>
T
#'=*
"Sp
4
I)
&\ D Dp\T
(JD>)
V
(5 " Z?)
..
(D)
\*D>\T
z?/ (#)
(300)
T S D
(-&>')
\*
**
c\a III
SSj>
(298)
\_(S J?
?.
(297)
..
2j>
^> "J
T S $*
y/si $
I
Z^
^
s
T
'
I
S (
zj
(/?')
I
|\S] +5/
Z?)
I
o
1
sp s ..
(5 Z>)
..
I
"J #'=|
140
Harmony
Simplified.
[Chap. in.
CHAPTER
IV.
STEPS.
CHARACTERISTIC FIGURATION.
In our exercises hitherto we did not, indeed, entirely avoid modubut only resorted to a very few means of transition, and
those only occasionally and without particularly discussing them,
merely for the sake of giving animation and variety to the examples; our principal aim was directed towards strengthening
the feeling of tonality and extending to the utmost the circle of
harmonic formations intelligible in their relation to one and the
Our formulas for the tonal functions gradually
same tonic.
became more complicated, but became simpler again with the
introduction of intermediate cadences.
We, indeed, succeeded in
characterising every chord not only as a transformation of another
major or minor chord, but also as a more or less equivalent
representative of some tonic, dominant, or subdominant.
lation,
We now
to the obser-"
vations made in the previous chapters, are intelligible without
denial of the tonality, are calculated to incite modulation.
In so
doing we shall soon perceive that the very simplest succession of
harmonies may help to bring about modulation, if we call to our
aid either characteristic dissonances or characteristic figurationnotes, or again rhythmical expedients.
Even in our first explanations we could not but acknowledge
the fact that the contra-fifth step in its outer form coincides entirely with the retrograde plain-fifth step, and likewise the plainfifth step with the retrograde contra-fifth step
:
(T S)
(TD)
in
c-major
c-major
in G-major
(TD) in A-minor
in E-minor
(
TSS)
in F-major:
in
in
in
A-minor
D-minor
c+
/ +
f+
+ +
c+
contra-fifth step;
step
T)
(D T)
g = plain-fifth step
g + contra-fifth close (S T)
c+
=
,
plain-fifth close
b,
plain-fifth close (S
"a
contra-fifth
plain-fifth step
"a, contra-fifth
close (TZ)).
Harmony
142
Simplified.
[Chap. IV.
(T +
S)
(T
It
T to
V = turn of harmony ;
in c-major
c+
inF-minor: c + V, turn-of-harmony close (Z>+
Z> + ) inA-minor: "e e+ = turn of harmony;
e + turn-of-harmony close (5
in E-major: e
is,
we only require
to
add the 6
T)
T+
to the
prompt
its
The
principal
harmonies are
NB.
{d)
J-
vii: vi"
(i)D NB.
descending
vni] viq
The
as
figuration in scale
we know,
IX-
s ) "S in major.
160.
lit)
III
(VI* Vlltj)
Chap, iv.)
D+
(/,)
in minor.
A
but what
does not
143
(6* 7B)
[9"\
is
lie
the prime]).
The
is
parallel clangs
figuration,
Tp or ?
[cf.
159 (d)\
161
( r)
Dp
or
(VII- V1H)
'5
159 (f)\
\cj.
(ft
Vllfl Vlfi
in major.
Ml
59
4"
()]
S- in major.
(,)
cf.
(,/)
IV*
[</
(VII-Vlfl)
in major.
IV[cf.
U)Tp
159
(*)
or S-
(0
Sp or
{cf
159
(*)]
and 161
(d)]
['/
159
()]
w Dp
k/'59W]
(i)
i in minor.
[cf.
159
(*),
161
(</),
(*),(*)]
Harmony
144
(/)
+Dp
Simplified.
in minor.
(,)
159
iv
in minor.
IV*
IV*
\cf.
[Chap,
['/
(*)]
iS9
(3),
161
(A
IV
&
&
'Dp).
instead of
c,
asked
later
for
etc.
on
/J
The (three-part) new
[ex.
304(/)]
exercises in figuration
student an oppor-
importance;
Chap. IV.]
145
intermediate
example
TD\TD\TD\T..
D T D T D
|
(Z>
T D
D)
..
=S
(S
S)
(II)
jy
(l)S 6
S6
S6
146
Harmony
Simplified.
[Chap. iv.
Chap. IV.J
'47
explanation.)
(B) in Minor
(a)
<*)-
c+(T/>).
Tp
Tp
Z> 3
-S D **
+D n "
Tp
l-O-^l
&
= '>"S
>l
,.
Z+
Chap, iv.]
step,
plain-fifth
Functions.
149
Harmony
Simplified.
IV
[Chap.
and, as it is very
for modulations
nothing to hinder its being made from
any harmony of the key. The typical forms are S Z> + and
employed very
effectively
D+S
(i) in
is
Major
Sp=SD+,
in
c-major
"a-
- + ithe d Sonfch<^)-- +
t
e b+
Tp=SD+
Dp=SD +
)^SD+
bfi+
da+
T=DS
S=>S
etc.
(2) in
Minor
T =SD,
D=SD
in
A-minor
chap, iv.]
151
chord, +
A. (Major)
Harmony
152
Simplified.
[Chap. iv.
Another different interpretation of the fifth-change, more important than these, which are but seldom successfully carried
out, is that based on the change of the second upper-dominant back
into the parallel clang of the under-dominant in major ; I say the
change back, as the second upper-dominant in reality arises
chromatically from the parallel clang of the under-dominant
m<
3>
By this means
conversely therefore
Sp).
(j5/>
the rule that the minor chord arising chromatically becomes
"sub-dominant, receives the new addition, "or parallel clang
of a major sub-dominant," and a few new modulations are
= &
added
to those
^ =
developed above on
T ?.'Sp,
c-major
A-minor
?."=Sp, in c-major
similarly in A-minor
S?.~eS)=Sp, in c-major
similarly in A-minor
in
similarly in
"Dp^'M,
?."=S/>.
g+-
leads
Dp ?."=Sp.
/+
to bk-+(g)
d,
over c+ to
f + (S)
etc.
returning
m< =Dp), we
Tlll< =DpSr,
15.
151
Tp
The examination
p.
c + g, leads over
minor
(e.g.,
c+
}."
=c\
}."=a
c e\t
in c
maior i
major
\
^f
(d f bt
mA-mmorj^,
.
~A
b * (="/*>
{
a7 fa ( ==rf r f )_y a y
j
(=t>+) d
d {=g>
d ( =evii)
b% (=ft VI1 )
jj_^ /| $ \=e>/
Chap. IV.]
and here,
dominant
153
too,
significance,
with
signi-
ficance).
consonance in tonal
effect,
prime, into a
may proceed equally well in major sense or in minor ;
A. (Major)
<-( J$
in
c-major
f^
S -\vi.
D <_/^
~\s vu
f%{@p,&) or b+,
-b v "
<
:f+ev "
<(Mvu
m-
c+
:^ +
~\s
<_/^
Sp~{s yu
Tp- >_/^
"
-4
+
^+
^+
d?
fe
{Dp) or
e+.
>,
V (7J) or +.
4 orft +
"b
.-
*#+
(Dp) or e +
Jl>
(#).
^ + (2?)orV(^,^3>
Sp-
'b
^+-e'
^
-h? 7
_vu
\$ vu
^ +(.)
+ (Z))orV(ir/) 2?').
(7.
f + (r, thus tonally)
or "g (T).
up
"bz
ix v "
NB. 'S-^={fm
v j^vii
..
..
B. (Minor)
vu
($
T ~~i> -{if
ov,
on
D
"So
S-
I>
/>
-{&vu
.f$
U'vn
j$
U>
in
A-minor
11
C <?VH
).
Harmony
154
i<-
/,,
"
"in A-minor
P
XL
1
i_J*
.c*
'
^ ~W
_i<
"
(^
~(fVB
.-
V"
-L0
[Chap. iv.
vu
g +f$ leads to4 (+2}).
+&
e (T, thus tonally)
VI1
.<_^
NB
Simplified.
v
:/ +-e "
+
:/
+
:^
:^ +
-^
-^
^ + CZ?/)orV(^)
-^ "
v
:&>+ jt v "
:#+-*'
orfl + (+r).
+ {D+).
(Z?) or
^* and
4-
Vf(+7.
<
,+
^vn
(7}>).
),
IX <
lx<
or S
4?
), are characteristic and particularly effective forms of the dominants ; any
chord of minor nine-three may, like any chord of seven-three,
proceed either in the major sense or the minor, but either way
will lead to the same tonic
df
dp
9>
<
?fflx<
briefly
ie M/ 9>
'
.'
'
of c-minor or c-major.
>
j. IX <
VI1
A. (Major)
m
cvu
9>
i>_iS lx<>
>,
-\Mfi
cvu i_
"~\
5 *
7^'je
g
in c-major:
'
B. (Minor)
i<_ ^
-}ix<
r-_^ix<
gl
e^
ea
br*
yn
vu
c
c
both lead to
|
,x<
(Tp)
lead to
e
eb +
orfl+
Iboth
\ both
(Tp) or fr.
^ IX<
in
A-minor
-0"
lx<
-$*
9>
Vm -i<_i^
~ S*<
P'
111
or'g.
{both
*-$*
lead
to
Yfc
or/#+.
(+7J)
c e
cflf
b?
or a c e
T
we
/Jf
in this
ace?
.}<
manner (T
and
chap, iv]
155
i>
everywhere .. vn t|).
The nine-three chords acquire fresh importance from the
possibility of enharmonic change of meaning of single notes,
which we have already turned to advantage here and there in our
1
1
- *, instead of. .',
We
exercises.
J?
a?
9=-=
a\>
=VII/
a?
: )
Harmony
156
ichap iv.
Simplified.
note [V], for IP 9> on the other hand bad, as /would be seventh
the change of
[7]) ; it will therefore be sufficient to indicate
meaning over the one formula $" or $ lx< but naturally avoiding
Then
the change from major into minor numbers, and vice versd.
9> or 4? IX< in
the result of changes of meaning of b dfd$ as M>
c-major or c-minor, indicated in a form easily surveyed, is
,
(3
^O
9>)
(IX < !
W
CO
(9>
(2A)
(Ill
dfa?
into (?)
d f cfy
IX <
>
of E^-major
or E|?-minor).
(=M>
c\>
III
df
from b
IX<
of
cV ('!>) (=
E|?-major or EP-minor).
into
cfy {c)
3)
from (g) b
into
g%
()
a!)
d /(=&>*
of A-major
or A-minor).
IX <
III
from b
dfaV
JJ5 IX <)
$ IX<
(b)
(g) b
Ill)
S lx<
(b)
9*
ty from
(ia)
g\
into
a\> {c)
(a)
{=$<**
of
A-major or A-minor).
(3A)
"J**
(or aa)
from (g) b d
from (g) b
*Jp&
f a}
df
a\f
(=#"
of
g$ b d
FJf-major or F^-minor).
into
(<:#)
e%g%
into (ct)
d (=Jp
of
Fp-major or F$-minor)
15
(V
(b)
IX<)
ix<
(Ill
df
S?[ VII)
$ ,x<
(or bb)
ix<
from b
a?
(<r)
IX<
of
(/#) (=
F$-minor).
-major
or
fJ
e$g$b d
into
VII
III
d J a}
from b
(e)
gl
into e%
(/#)
(=$ lx*
of
F$-major or Ff-minor).
e.g.,
jg 3
to
(3
CO
9 =)
My=H)\r,
also in the
(Vii
(7 5d 3)
JP>=JZ>y,
minor sense
in)
Sv " = S lxr,
(5
go
0=
M>'=M~,
(5
Ks 3*
^>'=MT
mi eg ix-=)
V " = . 1X ',
rv
co
mi
^ VlI =^ ,x "=,
(V
ix-=>
^ V1I = ^ IX ',
Chap. IV.]
i57
For the
signs
for
It remains to be
remarked that such ambiguous enharmonic harmonies
times be figured in a sense different from that determined
may
at
by the context,
e.g. :
Here, as
it
io=-
9>
9=-
io
9=>
mocks
We
The
all to
be worked out
Harmony
'5
(a)
from
to
Tp
Simplified.
TD T
[Ch.,p.
..
=Tp T
(b)
(c)
from
from
D
S
to
Dp
Sp:
to
T D Dp
from
T\ S
ay1
Sp
to Tp:
r.
\T
T D
Tp\
(e)
(f)
from S to
f.
"S
(d)
IV
"T "D
^:T|
T.
"Dp
=D
T.
S "Sp
T.
is to be regarded as definitely
be needed to establish the new key.
The leading- tone change, minor- third change, whole -tone
change, and tritone change, being transitions to principal clangs
of the parallel key, and being readily comprehended in the sense
of that key, have similar modulating power, which one often
enough experiences in minor as endangering the retention of the
tonality (e.g., in sequences in which we only too readily pass over
to the conception in the major sense).
Possible modulations by means of leading-tone changes are
Naturally
if
the modulation
will
(A)
IK
y
=D-
(b)
T\
z+
!!"
O TI 2>
T.
S Z>+
I
o r
(c)
D
(d)
T.
S
The
minor-third change
may
effect
(b)
Sp
T
= Tp\'S D+
Tp
T D
"Dp
(c)
"T
Dp
= Tp D
T.
"T "S
I
T.
T.
manner
(a)
r.
T.
Chap. IV.]
T S
159
Harmony
i6o
"T
(l)
(n)
T
a
2>
\T
E-minor).
(e.g.,
A-minor
{f.g. t
A-minor
Z>
I
=+.S II<
+2*
jy+
>
D T
G-major).
F-major,
A-minor
(e.g.,
2.
(a)
(b)
(c)
(d)
(e)
(F)
(g)
(h)
(i)
T\ S
=r
sp
T\
Tp
=T
Sp
(k)
(l)
(e.g.,
c-major
D T
{e.g.,
c-major
=S 3
D
& Tp
= Tp D
T Dp
|
(e.g.,
G-major).
c-major
G-major).
111 '
(e.g.,
c-major
T\Dp
= Tp 3
D
?r-
=& D
c-major
(e.g.,
Sp
=Tp
A-minor
(e.g.,
="Tp
G-major).
A-minor
(e.g.,
A-minor
(e.g.,
(e.g.,
D-major).
F-major).
A-minor
"Dp
G-major).
Ep-major).
Tp
D-major).
=S D
"T \S
"T
(e.g.,
Tm
Sm "
D
I
c-major
(e.g.,
=S D
A-minor
D-minor).
E-minoi)
(a)
(b)
Tp
I
=Sp
T Dp
=Sp
D0| T
=Sp
(e.g.,
c-major
(e.g.,
D-major).
c-major
D T
\
(e.g.,
G-major).
Tp nv-
(c)
F-major).
d T
J
=S'"
3.
iChap. iv.
.."
O *T*
(m)
Simplified.
c-major
E[7-major).
etc.).
chap, iv.]
(d)
&
Dp'
=Sp
(e)
(f)
T
T
&
n*>-
D T
Tp
(h)
=Dp
"T ^
(e.g.,
S
c
Z>+
{e.g.,
,>
.>3
=^
5'"-=
{e.g.,
D-minor).
A-minor
A-minor
G minor).
FJf-minor).
A-minor
{e.g.,
A-minor
T
T
c-minor).
{e.g.,
A-minor
{e.g.,
c-mnjor).
E-minor).
(a)
&
=S
(b)
(c)
=
T
Dp
{e.g.,
Tp
I
(e)
T\S
=S
"T
D
(f)
(g)
(h)
T
Dp
S-
Sp
"T \Tp
'T
=+T' * S
(d)
c-major
&
{e.g.,
{e.g.,
G-major).
c-major E-minor).
c-major
F-major).
T {e.g.,
c-major
A-minor).
3!-
"T
A-minor
{e.g.,
A-niajor).
F-major).
7/>*
4.
S>
=Dp
(m)
c-major
c-major
(l)
(e.g.,
=Sp
T
(k)
c-major
Dp m
(g)
(1)
{e.g.,
{e.g.,
D T
I
"S
D\
A-minor
{e.g.,
A?-major).
D-minor).
A-minor
F-major).
&
T"
=Z>
"Sp
T{e.g, A-minor
E-minor).
cj-minor).
161
Harmony
62
17.
Simplified.
(Chap. iv.
modulation
(a)
(b)
Tp
=Dp
&
T\g
T ^
"Tp
Si
=Sp
(h)
D+
T m<:
T "D
=Dp
T =
Dp
M
&
=Dp
A-minor).
D-minor).
(e.g.,
c-major
\_T~\ (e.g.,
A-minor
Z> +
"T
c-major
=Sp
(K)
(e.g.,
T(e.g., c-major
D T [7"]
G-major).
"Sp*-
(e.g.,
A-minor
(e.g.,
A-minor
T+
(e.g.,
(e.g.,
c-major).
G-major).
A-minor
T\
I
E-minor or E-major).
D-minor).
"Tp^
F-major or F-minor).
(1)
F-major or F-minor).
=Sp
(g)
c-major
c-major
\T
Z>+
(f)
(e.g.,
D+
Tp
=Sp
(e)
(e.g.,
Dp m
T\ S
Sp
(d)
[T~\
=Dp
(c)
A-minor
E-minor).
Chap. IV.]
163
6*
Harmony
r&4
(in
minor)].
It is
Simplified.
more convenient
[Chap. IV.
direction
Chap. IV.]
i65
dominant
"Sp,
(Z>)
Tp
{S)Tp
&
"T SV
of the step belongs to the clang of the tonic, the first is, properly
speaking, tending away from it, and so our indication of the
third-clangs hitherto as dominants of the third-change clangs or
as third-change clangs of the dominants, is, for melodic reasons,
The g$ in 168 (a) should by right proceed to
certainly justified.
a before going to g, similarly the a? in 168 (b) first to g and then
Harmony
i66
to a, the eV in 168 (c )
to
<f
and then
It
is
to ^
possible
[(/:
Simplified.
to ^ and then to
168 (e) (h)~\.
first
to obtain real
c,
cadential
[Chap. IV.
the c Jf in i68(y)
significance
for
first
the
enters
chap, iv.]
(1)
Sp
=Tp
(k)
Tp
(l)
S
I
"D
Tp*
=Tp
(m)
-Sp "
167
(e.g.,
A-minor c-major).
(e.g.,
A-minor G-major).
&
"D
N ) s
(o)
[#]
(s)
=Tp
+ Tp
(e.g.,
&
=+Tp
F-major).
=T Dp D\ + T [T]
(p)
A-minor
e.g.,
A-minor D-major
[D-minor]).
+
I
Sp
Tm
=Tp D+
SSm "
A-minor B-major).
(e.g.,
'
(Q)
(r)
=Tp
(s)
+ Dp
= + Tp
D+
T
"T
(e.g.,
A-minor
+T
(e.g.,
A-minor
"T
S
and the
A-minor
(e.g.,
up
D-minor).
G-minor).
E-major).
to us another quite
new
path,
(6)
Minor.
I70.
(Major.)
(Minor.)
Harmony
i68
Simplified.
[Chap. IV.
Here the chromatic note (g'fl, ait) no longer causes any disturbance, because, though its diverging tendency is felt, it is
cancelled by the forcible logic of the progression.
But not only does the return from the third-clang over the
fifth-clang to the principal clang, by means of clangs corresponding
in mode to the series in question, appear normal and logical, but
we find also a series of clangs of the same mode, whose principal
notes present in succession a clang of the opposite mode, likewise
forming a return
:
(3)
(a) Major.
Minor.
171.
(Major.)
(Minor.)
though, perhaps, the ear will slightly object to 171 (b), in consequence of its not being accustomed to the progression.
But third-clangs are also readily followed by a fifth-step
in the same direction, which is, no doubt, explained by th
leading-tone step formed as total result ; the latter, which by itself
is not easily intelligible, will then rightly be divided into a thirdstep
and a
fifth- step.
( \
172.-
J bJ
.b
fe
W)
^^
z$=t;
=fc=:
"Sp
=D T
T{D)[Tp]
=S T
'T (S)[Tp]
Ig gP
T Dp
=S<
Chap, iv.]
169
>
a+ +
+aV+
Yjf "g%
g"c;
e+
c+
"e
e
e'p
to
a+c+/+
ek+ c+
g+
Vjf 'a;
'e
be
b.
sure, in tonal
In A-Minor
"a
S +SpTp
<+
harmony
:
g + c+
Z>+ "Dp Tp
but there they have not the sense of real closes (returns) to the
last clang, but rather that of deceptive closes ; but if their actual
cadential power be beyond doubt, we cannot do otherwise than
make room for the third-clangs and minor-third clangs within
tonality, besides fifth-clangs and their parallel clangs ; but we
shall not require new signs for them, particularly as on account of
the chromatic steps their direct power of making a cadence to
We need only recognise the
the tonic appeared "problematical.
harmonic successions
In Major
T "Sp +ST
T(D)\_Tp~\ DT
T Tp > T
T(Z))[Sp'] ST
In Minor:
T +Z>p Z>+"T
T (S) [2>] 5 T
"T +Tp ST
"T {S) [>p~] Z>T
sented.
Under
the
steps
::
Harmony
170
Simplified.
[Chap, iv.
(a)
(b)
T-'Sp
-{D)\Tp\-(D){Dp\-
'T
In Minor
c)
(d)
&
T +Dp
-S T
T'S\?Tp\S$Sp\
y.
T+S
TTpST, TSpST, TDp
TSpST,
D T,
18.
The
HARMONY STEPS.
may be found between
between the chord of the Lydian fourth (&) and the minor
under-dominant ; it is one of the most interesting substitutions
for the whole-tone step, and forcibly circumscribes a tonic (which
may be either + or T). If it proceeds from any other harmony,
it produces a change of key
as
(a)
m
=S- D T
A. In Major
sp
(b)
.S
=5 D T \?T]
T
=S-
(d)
c-major
(c)
[_T] (e.g.,
[e.g.,
c-major
E-major
[T]
(e.g.,
c-major
D
=& D T [T
(e.g.,
c-major
G-major
[G-minor]).
[E-minor]).
B-major [B-minor]).
Fjf-major
[pfl-minor]).
Chap, iv.]
"$
Dp
'e)
=& S T [T]
Tp W =*
"S \T [T]
c-major
{e.g.,
171
r-major [F-minor]).
(e.g.,
In Minor
B.
= & S \T + T\
= & S T + T]
T
= & s| T[+T]
S
=& S "/"[+7
(G)
+Dp
(e.g.,
(e.g.,
A-minor F-minor
Sp
] (e.g.,
=
The
T\^T~\
"S
Sp
A-minor
(e.g.,
B-minor
[B-major])
A. In Major:
&
T
(e.g.,
c-major
G-major).
Tp =^ D
"T
=k
E-minor [E-major]).
T]
(e.g.,
c-major
T]
(e.g.,
c-major
B-minor
+ T["T]
(e.g.,
c-major
D-major [D-minor]).
>T[+T]
(e.g.,
c major
[B-major]).
t*>
D
Dv
= S D
=$
(e)
E-minor [E-major]).
=?D
D)
A-minor
iS
[Efr-major]).
(e.g.,
77 [+Z']
contra-whole-tone
transition
(c)
A-minor E?-minor
>\
'Dp
(n)
(b)
[B?-major]).
D\
"Tp
(m)
(a)
A-minor B>-minor
(L)
[F-major]).
(e.g.,
(K)
Z>
(1)
BJMnajor [B^-minor]).
(h)
c-major
A-minor
[A-major]).
Harmony
172
In Minor
B.
D+
(F)
y^Z
S
r m<
=- "S
S 1U<
=- S\
Tp
(h)
(k)
] (e.g.,
F-major [F-minor]),
A-minor
==
(1)
D-minor).
A-minor
(e.g.,
'Dp
(G)
fChap. IV.
Simplified.
T\?T~\
(e.g.,
T[+T]
Bb-major
A-minor
G-minor
(e.g.,
A-minor
(e.g.,
A-minor
[B^-minor]).
[G-major]).
+T
[T~\
c-major [c-minor]).
173-
D>
The
g*
=/
Dp
A. In Major.
(a)
B)
T
T
S &
="Sp-S^<
=Sp
(d)
+&
Sp
T
Sp
+
I
+ Sp D
f*
Sm<
[e.g.,
c-major
F-minor).
&D*>
Sp
(e)
A-minor).
S D
T
(c)
c-major
(e.g.,
(e.g.,
(e.g.,
(e.g.,
A-major).
c-major
c-major
F-major).
c-major E-minor).
Chap. IV.)
(f)
+ Sp
=Sp
I
(g)
+T
D-
=Sp$\lU
"T
(b)
(c)
T|
'T
"T
">
&
& S
"T
&
=+Dp
"T
(e.g.,
A-minor
(e.g.,
A-minor
-#5-,
=+Dp
T
"Dp
E-minor).
S
I
T+
(e.g.,
A-minor
"T
(f)
"T
(e.g.,
= DpJp>i9 S
E-major.
F-major).
F-minor).
A-minor
The
A-minor
*T
(e)
(g)
(e.g.,
c-major).
m~
= Dp^,
c-major B-minor).
""
= +&pDp
(d)
(e.g.,
T (e.g., A-minorc-minor).
DpM>\^S
1
c-major E-major).
= + DpDp
*> $
'73
Minor
B. In
(a)
(e.g.,
Functions.
(e.g.,
A-minor
number
Bit-major).
of possible
modu-
The
on
We
Harmony
174
Simplified.
[Chap. iv.
shall
chap. iv..1
175
Harmony
176
Or I J
:
'
"
J IJ
'
(2)
Of
those in
(J
manner of
(*/,),
/8 ,
writing
3
to
(for
'
"
'
(8)
we have
/2
which,
naturally,
there are
important
C|0 [VJ>
the point-of-stress
bars, e
%, and
If every
aesthetic reasons).
great bar (/ / 4
'"
[Chap. iv.
(4)
same import
the
Simplifiev.
note of
7s, 7*)-
the
%. :
e-J~-JJ-J-J(2)
j. =100.
3-.N-J
JU-J-^fc-UH^-UUL etc.
(2)
g-JJ-J JiJ
'
U-^LUUL
etc.
(2)
Therefore, particularly in measures of three beats, it is important to see clearly, whether the time-beats given in the notation are really time-beats, or, on the other hand, whether the
whole bar-values correspond to beats, or, finally, whether the long
and short values have the effect of time-beats of differing length
(so, e.g., in 3 / 4 J
150, it is very convenient, and therefore
correct, to look upon the values J \J
J \J continuously as
time-beats).
slight lingering
chap, iv.i
177
we
* J
V
J J
J "J
'
J J
'
'"J
J J
J "J
'
find so
'J
(8)
(4)
(2)
'
'
JJJ
-ra.
"
'
'"J
laQjT'J
-.
3 Bars.
'
(2)
(4)
'
'
'
J|
'
-v
(6)
3 Bars.
'
:||
(8)
3 Ba-
3 Bars.
Here we may remark that the long accented beat does not
necessarily entail a complete cessation of all sound-motion
especially the after-section, which, as answer to the first four bars,
has more the character of unity, favours a continuous motion.
But altogether three-bar rhythm may abandon its original sense
same way as
triple measure.
the normal eight-bar construction (we retain this
name even for the actual twelve-bar period of continuous threebar rhythm, still using the numbers 2, 4, and 8 for the principal
points of rest
the concluding values of the several symmetries).
As regards the relation of rhythmical form to harmony, a few
remarks have already been made (that dissonances on the unaccented beat, entering and proceeding by step of a second
[passing-notes], are not striking ; that dissonances falling on the
accented beat are best prepared by tying; that cadential effects
[perfect close, half close, deceptive close] are possible only on
time-values which conclude greater symmetries ; that harmonies,
coming on unaccented beats, between repeated ones coming on
We may now
the accented beats, have the effect of figuration).
say generally that accented beats are really the bearers of harmony
effects, and that, the more accented a beat is, the more decidedly will
This may be explained thus
a harmony effect be expected of it.
every point of stress of a symmetry represents a unit of higher order ;
i.e., beyond the motion in plain time-beats, we are conscious of
the units of bars, and of bar-groups, and finally of half-periods
in the
This, then,
is
or even periods
B,
,.
Motionin crotchets:
Z.
Motion in minims
(2)
'
(4)
(2)
(*)
e)
'
(6)
(6)
(8)
(8)
at
Harmony
*1&
3.
Motion
in
semibreves
<=>
Simplified.
[Chap. iv.
4.
Motion
in breves
(6)
4)
I
(4)
'
'
(2)
(8)
I
=a
(8)
*
O.
S>
(2)
=>
22
<~'tr
c
"~
motion
in semibreves
11
- -*
1
il
m-\-M =r-
etc.
w
but, nevertheless, the second bar-motive
complete (with up-beat) in crotchet motion
may be introduced
:
Chap, iv]
Functions.
"
'
JJJ
(4)
"
(5)
IJ
"
'
'
scheme
JJJ
(9)
(8)
(6)
.MJ
179
is filled
(2)
etc.
(4)
eight-bar construction
is,
motives).
But
it
is
J "J
J' J
first
bars,
e.g.
and
fifth
J "J
J '"J
I
Here the
symmetry by
and dropping the missing un-
J
I
J" J
I
etc.
11
1
I
111
(8)
(8a)
Harmony
i8o
possible (4
s,
indeed even
Simplified.
3,
manner
[Chap. IV.
and 6
7); also
members overlap
in such a
{e.g.,
the
be sufficient
for the harmony student to practise the more important forms ;
first of all, entirely regular constructions, then three-bar formations, then those with elision of the unaccented beginning bars
of half-periods, then close-repetitions, and finally formations converting the eighth bar into first or second.
It will be wiser for
the present merely to study bolder overlappings in the works of
the great masters, without as yet attempting to practise them.
Exercises 301
305
(free
will
It
5).
written)
A. (Major)
(a) to the
(b)
V.W
(d)
(e)
(f)
(g)
(H)
0)
(k)
(m)
B.
(Minor)
II
II
II
J'
means of Sp="S.
Sp m < = S "*.
D=Dp.
,,
,,
Spv< M>^s> .
,,
under-doniinant by means of
,,
S.
^=
>,
D = Sp.
vn
Dll = S
SU=ry.
parallel key by
T ~S
key by means of
(c)
(d)
minor upper-dominant by
S vl = S 6
S ,n <=g.
r vu ^=,%
.
means of
[
T vu h
= 5 vn
VII
( E)
11
>i
SnK^iy.
n-iy?.
o
(g)
(h)
(1)
,,
(k)
,,
'l)
,.
parallel
parallel
"= S.
S-T y '%
Tp=Dp.
minor under-dominant by
[means of S-=S.
of the minor under-dominant by
of
the
[means of S= Sp
Chap. IV.]
Functions.
181
added
to
effected at
A. (Major)
(a)
to
B. (Minor)
by means of
=B>.
Harmony
|82
Simplified.
[Chap. IV
||:
Take
A. In Major
(a) to the
(b)
T t< =Zf.
6
I?=S
parallel of the
(E)
(O
(D)
6
.
Z>=S.
dominant by means of 7p vnlQ = S vu
i)
o = *3-.
>>
VIK
i l
s- i
(F)
i=r^'.
(G)
B. In
(a) to the
(b)
(c)
(d)
Minor
D^S.
by means of
VI
T"J<=$ 1X<
= S6
.
Chap. iv.]
(e)
to the
(f)
(G)
dominant of the
parallel by
means of
S '" * = D.
D V >=S'<.
183
D\^ = l$>.
(b)
(c)
by means of D\>
by means of S =
(d)
by means
(a)
fi
=S
VI
there by
(e)
(f)
B.
(g)
(a)
means of S= Sp
i>
VI
TH=$
principal key.
(b)
(c)
T u " =Z> to
by means of $-=*S
to the
again by ,
S to
Harmony
84
(d)
(e)
Simplified.
rChap. IV.
v
7
by means of
t{= S " directly to the principal key.
by means of Sp=S to the "dominant, from there by
means of D\\
(Cf. 303, 2
d, with
mixed
figuration.)
S ul< = D
Chap. IV.]
(2)
"5
(1
4,
8a).
(3) by repeating the whole after-section (1
8, 5a
These periods, extended by insertions, should include modulation and return
the examples in major should modulate in the
;
and
will
Tempo di Minuetio.
176.
Harmony
i36
Simplified.
ill
[Chap. IV.
ill
2?.C.
To promote
the
skill in
management of
|"
-f
parts,
alFine.
and
as another
g:=
are to
The
following nineteenth
the working-out in six parts of Exercise 198
hitherto practised.
be added to those
model example
is
T S m<
-*=
<s
T Tp "Dp S V1
,
*-.
I?
1-^
&.
177-
lE frr'
7T.-H
<S>
5SE
eIe
D
ip
VII
$ nl<
8-p.
Chap. IV.]
20.
187
We
We
7<
7fl
6> 5H
D*
3
258
); sequences are familiar to us, at least tonally,
from n, and intermediate cadences have already introduced us
The whole circuit of
nearly up to the modulating sequence.
:
harmony
The
J>
D*
therefore Z>4 \
on the third or
*,
>'
fifth
Harmony
88
Simplified.
[Chap. IV.
D. G. Turk advised those who did not know how to improvise a proper cadenza to be satisfied with making a shake),
illustrate most clearly the history of the origin of the pedal-point.
The extent of a pedal-point varies a great deal according as
it just fills out the last bars of a symmetrical construction, or
comes to a standstill at the 6th bar (by which it will generally be
introduced), stipulating the repetition several times of the group
5
6, or again entirely breaks through the symmetry, and independently forms whole periods, or even series of periods, by
itself.
But the two bars 6 7 of a regular eight-bar period will
(e.g.,
be
sufficient
to
effect,
e.g.
(in
five parts)
The chords
that
'79-{
:
&'(D>> ~) Sp(D)
Tp^J^"D
T(S vnfSMfi"T
Both examples close with short pedal-points on the fundamental note of the tonic.
The combination with the modulating sequence increases to
Chap. IV.]
189
the utmost the call for power of tonal perception, which in the
pedal-point finds, as it were, a tangible embodiment. The nature
of the modulating sequence differs from that of the tonal
sequence, in that not only a melodic formula, but also a harmonic
one
imitated in
is repeated
of the tonics were never
altered, and the size of the intervals in progression strictly retained, the sequence would soon reach the end of notation, i.e.,
the limits of representation, and could only be continued by
means of enharmonic alteration
is
in other keys
if,
it, i.e.,
in so doing, the
mode
S If T (S D
7
)
Sp
(S
Dp (S D ) S
7
(S
D D
1
some
length
Harmony
190
Q
182.
1
;
Simplified.
[Chap. IV.
igi
>
Therefore c*
g + andg "g
contra-fifth steps
and g+
c+
contra-fifth
+^and
and g
changes.
^,
g+
+ plain-fifth changes, c
,
We call plain, in major,
all
Harmony
192
Simplified.
resulting
intervals
all
third-step in the
step,
{e.g.,
as
cf\ =
e.g.,
direction
as major-sixth,
tone,
(e.g., c b = c
gb); the tritoneof two fifth-steps with a third-step
df$) ; the minor-third is to be considered
as connection of the fifth-tone and the third-
same
combination
i.e.,
g as [C]
e',
or as
[b"~\
g;
e'
this interval is to
be
their roles
&
193
Numbers).
Letters, capital (T, D, S) indicate the functions of clangs, as
Tonic, Dominant, and Subdominant.
Natural are those plain (q.v.) intervals which are component
(see
Harmony
194
Simplified.
keys,
therefore, a
its
minor chord,
parallel clang,
in "Sp, the
therefore, a
lating to the
in
major Subdominant
is
Plain
is
Second upper-domixant
is
the
(S, M)
<
second under-dominant
>
dominant
Signs
(with a
(.f,
is
M).
>,
"lowered a
semitone."
= meaning
writing corresponds.
the round brackets, emancipate the indications of tonal functions from the Tonic of the principal key; the Dominants,
etc., indicated in such brackets have their meaning by reference to the chord following immediately after the brackets,
whether it be a principal clang (D, S, S, D+) or a feigning
consonance {Tp, Dp, S-, &, S m< , etc.); for instance,
(D1 ) "Sp = Dominant seventh of the following minor Subdominant parallel (in c major e? g bb d?). There are cases
where the chord to be conceived as Tonic of the functions in
:
195
( )
[ ],
196
ALPHABETICAL INDEX.
{The numbers indicate the pages.)
Accented bar, 175
Accented beats as bearers of harmonic
effects,
177
After-section, 175
Alto
clef,
61
seq.
Augmented
(I)>
may
thus pro-
Bassoon, 131.
after the
round ones
(ellipsis),
130
seq.
Calligraphic rules, 12
C(antus)
f (irmus),
Chain of
fifths,
25
10
Characteristic dissonances, 55
as
means of modu'ation, 66
its
effect
to
parallel clangs, 72
Alphabetical Index.
197
Church modes, 91
Clang, 7
Clarinet,
31
same
Consonance, 7
Contra-clang, 48 ; figuration of
Contra-fifth change, 47
Contra-fifth step, 28
Contra-second, minor, 93
part, 18
fifths,
18,
its third,
34
88
modulating, 171
Z3% 55 Z?vi, 55
Deceptive close, 94, 98, requires a feigning consonance, 71,
Diminished steps not always good, 46
Diminished-third step, 94
;
may
Dissonant tones
73.
passing, 108
prepared,
a second, 56
Dissonant tones must not be doubled, 24
Dissonant tones (not intervals), 56
Distances, normal, of parts in plain four-part writing, 14
Dorian
88
sixth,
proceeding
elliptically,
96
Elliptical progression of
Enharmonic
Feminine ending,
79
Fifth,
when
in the bass,
Four
clefs,
85
Functions, 9
Fundamental
Fundamental
Half-close,
Harmonic
94
note, 13-15
scale,
its
conception widened, 97
relations of tones, 2
may
not
Harmony
198
Simplified.
Harmonics, 2
Horn, 131
Intermediate cadences, 127
Lydian fourth, 91
Major and minor interchanged
Major, character of, 16
Major close in minor, 45
(in
of,
16, 29,
44
Minor upper-dominant, 29
Mixolydian seventh, 88 ; proceeding
Modulating sequence, 189
Modulation, 9, 52, 66 141, seq.
elliptically,
Neapolitan sixth, 93
Oboe, 131
Octave, 2-3
Octaves by leap in contrary motion, 18
Omission of chord tonts, 12
One-sided cadences, 169
Over-clang, 10
Overtones, 2
96
Alphabetical Index.
199
Parallel clangs, 71
Passing notes, 62
Pedal-point, 34
Period, 175
Phrygian second, 88
Plagal cadence, 95
Plain-fifth step, 16
= S ln *
151
Relations of tones, 5
steps,
47
S, i-vn, ss
Score, 38
Second has a diverging tendency, 57
Second, progressions of, 18
Section, 175
Sequences, 120; modulating, 189
Seventh, 7 in the penultimate chord should not be in the bass, 58
S vn
in the bass,
VI1
in
60
siq.
String-quartet score, 61
foreign to the key, 115-117
Symmetrical construction of periods, 173
Suspensions, 22
Tenor clef, 8
Tenor written an octave higher, 50
Third must not be omitted, 13 must not be doubled,
;
when
is
doubled, 16
13,
20
particularly
may be doubled
in the
is
Third-step, 84 ;
Thorough-bass system, 120
Three-pulse bar arises from prolongation of the accented beat, 174
Tonic equivalent to absolute consonance, 72
Transitions, 128
Trombone, 134
Trumpet, IU
Turn of harmony, 44
Harmony
200
Turning
after leaps,
Simplified.
18-19
Twelfth, 3
Two-bar group, 175
Under-clang, 10
ellipses,
114
Net
10116
POCHHAMMER,
9182
9182e
9183
A.
9184
9185
9186
9187
9188
9189
9190
10107
9210
10115
6
7
Bound
Bound
PROUT, LOUIS
B.
Harmonic Analysis.
Second
3
Harmony
Time, Rhythm and Expression. Third
Sidelights on
REINECKE,
The
C.
Impression
RIEMANN,
Beethoven
Pianoforte
a Lady. Translated by
Harmony
the
Theory of the Tonal Functions of Chords. Trans,
from the German. Second Impression. Bound
L'Harmonie simplifiee, ou Theorie des fonctions
tonales des accords. Translated by Prof. Georges
Dr.
H.
Simplified; or
Humbert
9204
9207
9209
Catechism of Orchestration
Bound
Introduction to playing from Score
Bound
Analysis of J. S. Bach's "48 Preludes and Fugues."
Part I. 24 Preludes and Fugues. Fifth
Impression
...Bound
9201
Bound
Sonatas.
Letters to
E. M. Trevenen Dawson
9198
Edition
10106
6
9
Bound
9181
(H. Heale.)
Impression
9183a.
d.
Bound
PROUT, PROF. EBENEZER:
Harmony: Its Theory and Practice Forty -first
Bound
Impression
Information.
9202
9203
Bound
9205
Second Impres-
Bound
sion
9208
. .
R
9206
EM ANN,
H. (Contd.)
Dr.
Net
s.
d.
Bound
...Bound
3
2
3
3
Fourth
Paper
Bound
Bound
Rules of Counterpoint
A History of Music. Twenty-fifth Edition.
9193
RUBINSTEIN,
versation.
9212
Playing.
Handbook
C.
of
Violin
Bound
&
Catechism
of Violoncello Playing.
9213
Handbook
of Conducting.
Matthews.)
SCHUMANN. Advice
10148
SHINN,
to
Young Musicians
F.
Elementary
G.
Ear-Training.
Third Impression
II.
10152
10153
Dr.
Melodic.
I.
10150
10151
10149
Sixth
Bound
Impression
9194
10146
Fourth Impr.
Bound
(J.
Viola
Bound
Fourth Impression
9211
A Con-
SCHROEDER,
Ear-Training
Diatonic Harmony
I.
II.
2
2
Bound
...
10121
10131
10132
10133
Second Impression
SIBLEY, C. The Voice and
Control
SIMPSON, J. 300 Questions on the Grammar of
Music. Based on the Syllabus of the Associated
Board of the R.A.M. and R.C.M
Key to the above
400 Questions on the Rudiments of Music.
its
Tenth Impression
10134
10135
9196
Key
above
A concise textbook on the Rudiments of Music ...
STEILER, J. The Great German Composers. Biographical Notices, with some account of their
Bound
Works. Illustrated
SUTTON, R. Elements of the Theory of Music.
to the
133rd Edition
10109
of the
Pianoforte
WHiTTINGHAM,
A.
AUGENER
of
Music"
Ltd.
GREAT MARLBOROUGH STREET.
CONDUIT STREET (Regent Street Comer) & 57 HIGH STREET, MARYLEBONE,
18
63
in
Fifth Impression
200 Questions and Exercises
on F. Davenport's "Elements
LONDON, W.
1.
i'DM