Key To Exercises

in Fart
FACULTY
,
Faculty of Music Library
Anne Bolger
UNIVERSITY
OF TORONTO
A KEY
TO THE EXERCISES IN
PART
II
OF
A TREATISE ON
HARMONY
BY
J.
HUMFREY ANGER
Late Professor of Harmony,
etc., at the
Toronto Conservatory of Music
Hon. Mus. Doc., Trinity University, Toronto;

Mus. Bac., Oxon; F.R.C.O.
BOSTON, MASS.
THE BOSTON MUSIC COMPANY

(G. SCHIRMER, INC.)
Copyright, 1913, by
For
B.
THE BOSTON Music
all
Countries
M. co. 3710
Co.
PREFACE
To the purpose, the double purpose, of a Key, and to the use,
the proper use, of the same, reference was made in the Preface to
the Key to Part I. Reference was also made to the fact that the
great majority of the exercises may be harmonized satisfactorily in
more ways than one; but, that the solution given is regarded by the
author as being the most desirable one in the interests of the
student.
In addition to the above, two other points arise in connection

with the exercises in Part II, to which a brief reference must be
made. In the first place, it has been thought well to symbolize only
the chord or chords under consideration in each chapter; for, the
student should be thoroughly familiar with the various chords which
have been previously considered. In the second place, in regard to

the figuring of auxiliary notes, and in accordance with a very general law, the accented ornamentations alone are represented in the
figures.
To Miss N. R. Hearn, for indefatigable clerical work, the acknowledgments and thanks of the author are due, and are herewith
cordially tendered.
Toronto, Canada
March
24th, 1913
CHAPTER
XII
SECONDARY SEVENTHS
(Pages 198-204)
(F,
1.
C,
HI,
VI 7 3;
1
,
(r)
II 7
Bb,
VI 7
Bb, II 72;
Eb, III 7
Eb,VI 7
2
;
IV;
(b) D,
Ab, III 7 2.
G,
(d) G,
F, III 73.
2.
y-%-
2f
i
T
87
6
5
A+
^^
f-
T=^F
r~
r
i
-r
J.
1=^
687
AH?
123
VI 7*
3
7
C,
SECONDARY SEVENTHS
124
r r r
-A
Bi
SECONDARY SEVENTHS
4- (a)
125
(0
r r
-^
iL
r7
D-
E-
677
BVI
rr
j
<S>
AA
j
&
r
677
*
G-
K
IV
787
CIV1
II 7
(*)-
r~r
J.
-s>- --
h^
f^r-T
4
3
A+
G+
IV
6
5
SECONDARY SEVENTHS
126
&
nit
j~i
4
2
6.
6
5
rr
SEE:
667
(a)
x^>
$>-
4-44
PS
6
5
S>
#-
47
4
2
E-
6
5
Fl
()
-4
EÊfe
4
2
D-
teki-
r^
4,
-(5'-
m
4
3
6
5
G-
6
5
7
#
n?2
87
-
SECONDARY SEVENTHS
127
7.
^
rrr
F--^
677
677
G+
G+
117
8.
^^p^p=pd^pp^^^P
^:
tt
r*-r
7777777
D+
BVI 7
II 7
V7
I7
IV
VH07
9.
Zu-5
/-
rn'T
687
77
D+
SECONDARY SEVENTHS
128
&P
_H
SECONDARY SEVENTHS
129
11.
<3=t
== =
^r
hf==t- *rt=T
}:
4
2
6
4
6
5
5
ft
i
5
E-
IV
PJ
IV6
J-
SECONDARY SEVENTHS
130
<-
fn}"
r*
SECONDARY SEVENTHS
/r "s a
131
SECONDARY SEVENTHS
132
3
i
J:
^_J_J J
6464646
52
5
A+
IV 7i
VI 73
HI?
15.
^=4=
rr
p^
rfTr---
|
i
iij
^^
665 77
677pt^^t^p
4
4
2
7##46#666 67
6
5
4
3
EII 7 3
17.
() The dominant
seventh occurs upon the
fifth
de-
gree only of a scale; secondary sevenths occur on other degrees.

a primary seventh are a
(b) The constituent intervals of
major
third, a perfect fifth
and a minor seventh; those
of sec-
ondary sevenths vary, but are never the same as the former.
SECONDARY SEVENTHS
133
The term 'primary' is usually employed in reference

(<c)
to a chromatic tetrad only, the dominant seventh being a primary
diatonic tetrad.
18.
=rah*
J^
6
5
6
5
6
5
6
5
G+
G-
G+
IV6
IV-6
II?
6
4
G-
19.
pi
7777777
{{7
a.
&.
687
5
G+
VI 7
II 7
I7
EIV 7 /L 7
V7
G+
I
VlI 7
20.
ff
^rryrr
Jj*LJ_LJ
i
^rrrtytp
6787
&A
I
f^r^r^f
6787 67 f687 r
565
L07 III 8 7
SECONDARY SEVENTHS
134
21.
H^
fr
UB
mr rn
J i'
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mr
46
253467 6477
687
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aa
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325252
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ttB=F=2
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23.
/L S
'
SECONDARY SEVENTHS
24.
135
SECONDARY SEVENTHS
136
26.
r r r
r*r f r
nrrr
'
j-j-ju
6
^^'^M=^
334
t)6
C-
Eb+
II 7
V^
I7
27.
)fe==^=
H
^ L^_^g
^
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7^Z
^=bg
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4
2
r:
67
HT
Gi
SECONDARY SEVENTHS
28.
\J
IE
b']
137
SECONDARY SEVENTHS
138
LLr
J-
^
7
'
^Fp^^^B
7
A+
6
5
7
#
OS
30.
F=?F =f==p
JJ
6747 35
646
47i(643
25 647
3))b
3
C-
Eb
C-
C
Blank rhythm
31.
in bass.
=C*=3t
677
677
Bb+
Bb+
n,
4
3
6-5
4-3
SECONDARY SEVENTHS
139
=d:
t=F
-r
1~
i-A
4646
2525 46464677
25252
II 73
I 73
Blank rhythm
IV 7 L 07 3
i
III?
VI 73 Ilyi
V7
II 7
in treble.
32.
A.J_q_q~
r-^
-F~T
SSp
""
".
**
6
5
6
5
B-
6656
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ft
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III 73
SECONDARY SEVENTHS
140
33.
>f
EES
SECONDARY SEVENTHS
141
^J
3-J
f=f.
1
m.
7
&
a
i
x -
33
142
SECONDARY SEVENTHS
I?
IV+ IV-6
1+
143
CHAPTER
XIII
CHORDS OF THE NINTH

(Pages 216-221)
(d)
=t
J J
-2-
$*
tEE
4
3
2
Roots
5
_D
rr
AJ,
,?i_ L^ztL:
JJ.
û
f2
:?Z-
-9
rt==ffg
4
3
2
Roots
CHORDS OF THE NINTH
144
3.
(fl)
Bad
the ninth must not be placed a second above
the root.
(b}
Good
(f)
Bad, as
provided the ninth (below the]third) be prepared.

V 9 (third being omitted), but good as V 7
.
(</)
Good
best position for the upper parts,
if
the third be
omitted.
(<?)
Good
(/) Bad
provided the ninth

as
2
9
(in the bass)
be prepared.
(third being omitted), but good as
V2
7
CHORDS OF THE NINTH

4.
145
CHORDS OF THE NINTH
146
6.
etc.
3ft
--&=
7.
>i2^s-
r
fT
:
i*
-^ ig
-^hJ
J
J J ^n*ff-^}
J 4-A^n^
^>
.
I
<s>
:^
(Sl-ii
<L
mTFTrl
rf'r-F-rT-
r-^-ff-iS'
i
f fT^F
li^X
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5
F+
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D-
F+
II 7 T
8.
/L h >
CHORDS OF THE NINTH

I
-<s>
147
&
rr-rr-f-i
i
'am
(2
9
7
V7
9.
^LJ-Jtffi
'9
76
b7
V9
b9
7
3
CHORDS OF THE NINTH
148
10.
ri
I-
pEFW^N
79797
9
7
I
IV9 VII 7 III+9VI 7 Il9V 7
-J^-4
>J-
5-fe-s^-^bl.^ aJ-g*t^
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,
9
7
A+
li
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f^f^r^F
66
6875
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11.
frrpf
CHORDS OF THE NINTH

12.
_/l u
_J
149
CHORDS OF THE NINTH
150
14.
^m
1/5
(1)
Z""^
(2)
(1)
(3)
(4)
(5)
(1)
(1)
(7)
(8)
CHORDS OF THE NINTH
151
II
15.
g
J.
IP
F+^H
f=(
J.
r^TTf,
J_J_JJU
r
6587
16.
iid-Jdi
Eb+
CHORDS OF THE NINTH
152
17.
yt,
ÊEjE EB3E|EBEp|
rrrTr^TTT
r
r
r
lldrr^
|uM=pr-t
J id
*=if=f=t
^
^=F-=3
989r
J-U-+*M
L^3
a^^
_--=!
r-r-
676546
2
A+
V9
-pfl
V9
D+
V9
CHORDS OF THE NINTH
153
19
-&
&-
<s>
>_A
AU&
6
5
G-
20.
j^-jiLj^
A
I
A.*
6466
3
2
r-r
965
743
7
2
G+
H+9
21.
TTrffr^m
J^.iM^lîyjl ^J
333
46464
2
J|7
9
7
F+
V9
CHORDS OF THE NINTH
154
I-
a-^-T
r1
rr rr
rr
trf-
87
6
5
F+
IlT
v.
22.
-A:
-<S><2-L-V(S^_
I
\
if
98-
A-
f*=
f^
S
98-
C+
CHORDS OF THE NINTH
446 7965
33
743
6 #4 #6 6
34
2
C*'
B+
E+
155
E+
H+g
V9
24.
9
7
F-
25.
it
6JJ466
3
2
65
4fc3
t>7
V9
9J37
7
#
CHORDS OF THE NINTH
156
=r =f=?
rF
779797 P
vi7
n v
7
E+ B+
9
i7
iv9 L 7
V9
157
CHAPTER XIV
THE DERIVATIVES OF V 9
(Pages 236-243)
I
1.
(*)
(a)
r
n
~a~\
z?
4664
G+
F+
L7
L7
$-4
P=
r
664
5
2.
(a)
P=p=t=f:
J.
E-
#4
4
#2
^ n
THE DERIVATIVES OF
158
Vg
TT
#6
5
DL7
6
4
#2
3.
jg-ar-
i,
f~.
,J
.g?
i.
-<g
J-
<d
II
6
5
D+
4.
11
ft
IV
(a)
G+
IV L 7
4
3
-?!?:
66--
4
2 -
Eb+
(0
CO
w
LJ
iJzi-o-feziJôl
r
f^
=F^
TT
î^fciiiT^H^^n:^
6.
()
uff
'ITfT
159
=i
JC-
21
JO.-
A+
flx?:
F+
F-
L7
b5
W
HOT
b
1
L7Q
1
THE DERIVATIVES OF
160
Vg
tejgjuauM^^
f
rffrrFrmrr
M
i
-)
U-l
("0
(/)
LU-J-J-J-l
rrnTrr-^^^
646
6
6-5
54-3
A+
L 70
72
JM-
fTTr
.(0
(/)
(*)
()
(0
^^J^-^-j^J ^
?^
f=*F
6
5
6
5
7
#
IT!
L?1
I1
II +7
i}7
V7
8.
rff^g-g-
at
53
,-&r-
gg
t^T
1,6
||6
E+
C+
L 702
L 702
L 702
161
9.
I
i
r
rr rr
fO-
&.-^8 -G>\
-!
A+
10.
XL b
-<*<*-
J
iM
I
-<&- 2
j^fÊ^
<&J
r?
-*$>
rjE^z
46
67
D+
THE DERIVATIVES OF
Vg
11.
467
66667
E+
6
4
B+
L 72
L7
VI 7
-Vl
s:
L7
L^
-i
r~
3E3
v
-5
E+
#4
2
CJ
'L 7
1(7
Fl
6667
543
E+
ih
L7
,II 7
IS.
^
fi=
76
5
B-
rrrr'r
^J^-
64-6
32
667
-54S
687
THE DERIVATIVES OF
163
Vj
13.
~d2
-r-r*rr\
LAM
PWFtf
f-r-f-
4466
3 #2
#4
52
6987
7 #6
5
765
# 4 #
G-
14.
_L
_L_
isi
1)4
FLT*
W
_u^
II 7
724
9
t}4
b6
^3
F-
Bb-
V9
|)4
L^
PW
r
- .
b7
6 b7
r:_
_^
Eb+
L 70
Ab+
L^Q
767
4
fa
D[>+
F1V 7
THE DERIVATIVES OF
164
Vg
r=f^r=^=r
j.
-i
^PF
466
47
35
Lr
/L b
h"
L 7i
2
Ii
VI
LT^
36656
43
IP
V P
(*)
165
(<)
3E
,ej
-tffej-^-
J2L.&
rf
y ^Bi
j x_
6
5
6
5
6
5
6
5
D-
F+
DLor1
(a) This is a chord of the diminished seventh
18.
(),
(V),
IV-6
(^/)
and
same notes by
(<?),
certain
enharmonic changes.
Generator
Key
() D
B
(^)
F(d^
19.
A
F#
C
Eb
Ab-
change of name without change of
Enharmonic
sound.
0)
(a)
(t)
trl-
tt6
b6
A+
and
are diminished sevenths formed from the
Fl
L 70 L 7l
A+
JJ7
fa6
b6
A+ CL 70 L^
THE DERIVATIVES OF
166
20. (a)
\\_\L^.
E
21.
/T"
Vg
(0
(*)
1.LJ2C2
THE DERIVATIVES OF
Vg
Tr
j-
^j
167
^P=P
4667
*=s:
<
24.
=i=g-M
fcfei
^ -^f
;-^!^^^-^
g=
1
^
g
11
'
'
i
i
?=FJ=
'
*=&~*
T
JiJjLiAiJ
r
rn r
9
7
L/
V9
#6
A-
L7
L'
1="^
#4
3
fir
656
4
THE DERIVATIVES OF
168
Vg
26.
pppp
J
'&-
ggf^t^
#66
765
65
L7
/k
IV7
THE DERIVATIVES OF V9
4
3
169
#4
3
B-
H7
27.
^ 1 J
466
fr
E+
28.
cn
^4^+^yEd^^fî^
rrfPWf^
9
2
,,1
^=2fcfej:g
6
5
Lg-g_Lrg
cr^-^-L,
J16
65
443
6667
77
L7
VI 7
II 7
Mw
170
29.
r r
rT
TTTT
jjjjjjjjjjuxju
ttU ^
4
3
2
67
677
9
7
A+
V9
rrrr^f t-f-7-r-T
i.j
i^yÛ
fr
f=t
46667
43
I
B-
D+
30.
3^
&
D-
-r-tri
55#6
#4
3
^668787
j
5
3E?EEB
1
:=
^=fl
THE DERIVATIVES OF
31.
*
&
*ft
*jfJT-T*
tf \7
rg
1
f
171
m
53
#6
Vg
#4
6
4
9
7
# 3
32.
L-U.i
O ~*
JI
C+
F-
L 70
L7
*
*
77
b7
L 70
/I^
3
Vllr
The more advanced student would regard this chord

XVIII ( Part II ) and XX (Part III ).
Chapters
<^
as
xIV 70
/I 7
L7
\V 7
resolving upon V,
172
3=s
|_
feîîiSg
A
6
4
3
6
4
it!
fc2
it
fa
F-
r
6
^-^
-J-
6666
4
2
J.
-H=2.
6546
433
6667
543
I
4
2
6
4
THE DERIVATIVES OF V9
34.
i=t
W
-I A.
173
J..
765
46
}2
L7
mn
w
j.
i
6
fa"6
.Uû
^=r
6
87
35.
41
fei
f-r
^f-if
J
'
j
4
*2
A+
L 7o2
n?
1^3
^^
6
4
E+
L 70
THE DERIVATIVES OF
174
Vg
mrr~r
r~r
-u
PI
4=
46
6-6 77
Hg
87
"
'I
A+
A+
VI 7
36.
^[î^^^^j
'
'
'
'
'
j^-j-
i^F^f
p^^r
979
687
#-
69fc7
A-
E-
L7
iv9 vii 7 ni9
h46
446
C+
F+
3
2
#4
b
D-
66687
4
A-
# -
CHAPTER XV
SIMPLE SUSPENSIONS
(Pages 259-264)
(0
i-^,
.A
798
6
5
gz.
476
G+
I
12
N8
>8
so-
6764
4
2
965
5
2
E+
V9
12
^
j
PE
si
ai
b^&A
^-trSu
Jt2.
^-
643
fap
&l
&i
778
476
D+
F+
I
Ii
\Q
.0
/o
175
1^=
6764
2
I
\q
o
FP
G+
(0
(a)
fS
778
A+
SIMPLE SUSPENSIONS
176
i^ iiS
till
4
2
66-
5
2
A+
E+
12
C*X
35*
=!t?
986
498
36-
46256
B+
3.
te^3
j^ j
n ^^H
rir^nFFTgii
798
76
6
5
A+
I2
N8
4
3
4
2
SIMPLE SUSPENSIONS
177
4.
A
?=3i
ESf:
676498
4-36-
64 345
2
I2
Ii
N3
^3
6.
r^r
f-r
-r
1
6
8
B-
r
^
43
V
**
>8
if
re
J:
65698
4
#6
4
3
V
>5
Ii5u_fc
#4
ft
IV
^8
^6
4
3
4-6 4^7
2
SIMPLE SUSPENSIONS
178
6.
n g>_ L^
^ j rr^j-
ns
76676
698
IV
II
N8
5
2
zJL^_Lj|i
N3
SE
U.
SiEiabi
r
J
i_
^=
256 765
f-
iS'-
698
Cfr-
IV
VI
Ii
/8
Hi
>
v8
676
4
5
2
Vi
"|
6
2 #5
#4
765
ft
VI
SIMPLE SUSPENSIONS
179
7.
w
ITT
&
&
ri
r^rl
rj
PIfci
&
\\
g.
-r
4
2
t|4
22-
(14
JF-
'
96r;
h y
~^r
^-i
fc
66- 676
5
42
fc6
I2
>I
9
6
SIMPLE SUSPENSIONS
180
8.
9(?
SULjfcS
T ?
'
i
6
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XVII
AUXILIARY NOTES
(Pages 308-319)
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AUXILIARY NOTES
3. Measure
i.
(a)
Consecutive
fifths
(treble
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at
third beat.
(I))
Consecutive
fifths
(alto
fifths
(alto
and
tenor)
at
and tenor)
at
fourth beat.
Measure
2.
(c)
(d)
Consecutive
first
beat.
The
use of the mediant chord
(first
beat)
not desirable.
(e)
Similar motion
(treble
and
(/) Consecutive
the
to
struck
fourth
second beat).
alto
fifths
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at
fourth beat.
Measure
3.
(g) Incorrect treatment of a dissonant note
(B
(Ji)
in tenor)
Consecutive
on
first
fifths
beat.
treble
and
alto)
at
second beat.
(/*)
Incorrect treatment of a dissonant note
(F in bass) on second beat.

(/) Consecutive fifths (alto and tenor)
fourth beat.
at
AUXILIARY NOTES
224
(k
Consecutive ninths
treble
and bass
at
fourth beat.
Measure
(/) Consecutive fifths (treble

first beat.
4.
and tenor)
at
(m) Incorrect treatment of a dissonant note

in alto ) on second beat.
(
6. At (a) each note
is
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there are
five distinct chords.
At ()
B and A
are treated as free turning notes

distinct
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three
only
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At (c )
there are but two distinct chords.
there are
now
By
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augmented second
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the term
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234
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54. Discords are divided into two classes, viz :
53. Ex.
re-
Essential and II unessential discords.
Essential discords comprise tetrads (chords of the seventh)

primary and secondary, diatonic and chromatic also, pentads
;
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and diatonic and chromatic, including

and various modifications.
also, their derivatives,
Unessential discords comprise suspensions, rising or falling,

tied or struck, and their ornamental treatment
also, aux-
and
accented and unaccented, diatonic and chromatic,

various chords (modifications) which arise from their use.
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2.00
4.50
A. M. Browne
Practical
.50
i.oo
Music")
Handbook
i.oo
H. Riemann
(A Sequel to the "Elements
69
72
1.25
2.25
Organ and Harmonium

The Rightly-produced Voice
Pianist's Manual
Student's
1.25
1.25
Harp, Mandolin, Zither, Guitar, Piano, (Cembalo),
The
71
i.oo
Richard Hofmann 10.00
67
68
70
i.oo
2.00
62g
of
1.50
2.00
Part
An
2.50
Tobias Matthay
F. Niecks
The Strings
The Wood- Wind
III. Strings and Wood- Wind Combined
"
IV. The Horns
"
V. The Combination of Strings, Wood- Wind and Horns
VI. The Trumpets, Cornets, Trombones, Tubas and Instru-
Part
65
66
Vance Thompson
I.
62/
64
i.oo
II.
626
63
.75
S. Rockstro
H. Wessely
S. Macpherson
John Kennedy
.50
1.25
.50
.50
W.A.Mozart
.75
E. Dannreuther
2.00

Key To Exercises

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Key To Exercises

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in Fart

Late Professor of Harmony,

Toronto Conservatory of Music

Hon. Mus. Doc., Trinity University, Toronto;

THE BOSTON MUSIC COMPANY

THE BOSTON Music

In addition to the above, two other points arise in connection

have been previously considered. In the second place, in regard to

seventh occurs upon the

gree only of a scale; secondary sevenths occur on other degrees.

third, a perfect fifth

and a minor seventh; those

The term 'primary' is usually employed in reference

CHORDS OF THE NINTH

CHORDS OF THE NINTH

the ninth must not be placed a second above

provided the ninth (below the]third) be prepared.

best position for the upper parts,

provided the ninth

(in the bass)

(third being omitted), but good as

CHORDS OF THE NINTH

CHORDS OF THE NINTH

CHORDS OF THE NINTH

CHORDS OF THE NINTH

CHORDS OF THE NINTH

CHORDS OF THE NINTH

CHORDS OF THE NINTH

CHORDS OF THE NINTH

CHORDS OF THE NINTH

CHORDS OF THE NINTH

CHORDS OF THE NINTH

CHORDS OF THE NINTH

(a) This is a chord of the diminished seventh

change of name without change of

are diminished sevenths formed from the

The more advanced student would regard this chord

iv9 vii 7 ni9

98-476 443 66-5677

7676 7676 7676

use of the mediant chord

(g) Incorrect treatment of a dissonant note

Incorrect treatment of a dissonant note

(F in bass) on second beat.

(/) Consecutive fifths (treble

(m) Incorrect treatment of a dissonant note

6. At (a) each note

five distinct chords.

are treated as free turning notes

" melodic "

understood a minor scale, in which the unmelodious in.

9-6-8 987 874342

rule, are not represented in the figuring.

tfz^-r-'-i^^a__^ -^jfcBB5j= =:=

-VI 6X L 702 Ir- -H+ 1 -VI+ x!V 70

28. Transposed a major second higher,

Essential and II unessential discords.

Essential discords comprise tetrads (chords of the seventh)

(chords of the ninth) major and minor, primary and secondary,

and diatonic and chromatic, including

also, their derivatives,

Unessential discords comprise suspensions, rising or falling,

accented and unaccented, diatonic and chromatic,