Fundamental Training’

Fundamental Reader .

Transposition Reader
Keyboard Harmony .

Staff Reader (A Course in Sig-ht Reading")

^I\THUR P. <§CHJ^1DT,
BOSTON. LEIPZ1.G-, NEW YORK.
146 Bo^lston 5t. 136 Fifth Ave
 .

Preface.

The process of evolution by which we attain our primary ability in speech

depends mainly on i?nitntion We commence our study of systematic
grammar only after having acquired a sufficient degree of reliability and flu-

ency in speaking, reading and writing. The study of Harmony as repres-

ented by the existing textbooks should stand in the same relation to Music
as the study of grammar to language, and can only become effective
when the pupil has previously acquired by imitation sufficient facility
in the usage of chords, cadences, modulations and similar tonal problems.

The logical requirements for intelligent imitation are

1 . Keen observation and retentive memory,

‘Z. Technical skill adequate to the demands of the task.

Only the combined presence of these factors can lead to healthy imita-

tion. Real genius receives these faculties more or less from nature. Bach,
Mozart, Beethoven, Mendelssohn imitated by keyboard improvisation and
intuitive composition tong before they began the systematic study of harmony.
This is very different with the majority of musical students. Nature denied
them at the outset a sufficient amount of keen observation, memory and
technical skill and they can acquire such only from the outside by systematic

training and instruction. The study of Harmony as usually taught with its

written exercises and demands on inventive and productive faculties can

only become of practical benefit to those who have already had sufficient
and successful training in intelligent imitation, that is direct transformation
of tone i?ito thought and thought into tone.

A H S. '*7:18-42 Copyright 1898 by ARTHUR P. SCHMIDT.

 With those insufficiently trained therein the customary study of Harmo
ny leads to nothing else but to dealings with visible signs. Most of the
Harmony students who have come under the observation of the authors had
only learned to analyze musical problems from printed signs, but not from
audible sounds and to illustrate musical rules by written signs, but not by
audible tones.

The present book offers a system of keyboard exercises calculated to de-

velop the faculty of intelligent imitation. It is intended as a precurs-

or to the numerous valuable text books for the study of Harmony. The exer-
cises presuppose an exact knowledge of the major and minor scales, intervals
and moderate ability in playing the FManoforte or Organ, in short they require
a basis as laid out in the authors’ “Fundamental Training Course” They are
to cultivate intelligent observation of relations and connections of chords, the
faculty of fixing these problems in the memory and of reproducing them on
the instrument. The exercises may be remodelled, altered and augmented
under the guidance of a teacher.

Many of the problems are given in the auxiliary notations of the authors’
“Fundamental Training Series’’ in order to enforce the actual working with
scale degrees and tone relations, instead of mechanical application of letter
names of tones.

A sincere application to the contents of this book will not only result in
the desired familiarity with the problems themselves, but also in strengthening
the pupils general knowledge, mental concentration, retentive faculty, ability in
analyzing and sight playing, and appreciation of what is good and lawful in

music in general.

Faelten Pianoforte School. REINHOLD FAELTEN.

Boston, Mass. CARL FAELTEN.

A.P. S. 4738 -42

4

Keyboard Harmony.
Exercises in primary Improvisation
for
Students of the Pianoforte or Organ
by
CARL and REINHOLD FAELTEN.

CHAPTER I.
EXPLASATIONS.
The following Cadences, N9 1 to Nt! 63, are simple chord connections, containing very few al-
tered— raised or lowered _ scale degrees. Students who are familiar with “The Fundamental
Training Series” will find no difficulty in understanding the notation used in this part. The Ro-
man Numerals indicate the scale degrees, for instance in forming cadences in D major. I=d.
IV= g. Vn= itc. If placed above the line, the voice progresses upward if placed below the line, the
j

voice progresses downward. The ring on the line -©- indicates repetition of the preceding scale
degree.

The following example illustrates Nil 25 in the key of F sharp major.

Bass should be given to the pedal, the Tenor to the left hand, Alto and
In organ practice the
Soprano to the right hand. Organists must pay special attention to good legato playing and the
non-repetition of held-over or tied tones marked thus -Q--

When played in minor mode, only scale degrees of the harmonic minor scale must be used.

HOW TO USE THE EXERCISES.

1 . Flay the exercises slowly and deliberately in all keys. Observe the audible effects of the
single tones, chords and their connections.

2. Play many exercises from memory.

8. Make rhythmical variations.

^4. Play the chords in arpeggio forms and apply various rhythms.
5. Combine two and three models and form proper phrases and periods.
f). Apply the character of the models in the last chapter to the models of this chapter.
7. After sufficient fluency in playing has been acquired, write from memory some of the models
with the usual staff notation.

A.P. S. 4738-42 Copyright 1898 by ARTHUR P. SCHMIDT.

 V

Full Cadences. NeitoN 5 :n.

The last chord is the Triad founded on the fonie. All exercises in which the mode
is not designated may be constructed with degrees of the major or of the harmonic
minor scale.

N91. N9 8. N9 4. N9 5. N9<).

N9 7. N9 8. ^N9 9.

N910. N911. mvz. N9i:t N914.

N915. N916. N917. N918. N2I9.

VI
V -e
— —^ TTT
...
IJ I
liZ
II I
I II III
’
IV III 1

VIII r\
T r\
vj T.//. V ^ r\ ‘V'T \J V V r
1
VII V ^
VII
III TV
/
1 TIT
ill IV ^
r') III
111
^ r-i
1
lU II III III III

1
-TV— V Q VIII L.H. J TTtt
I I
J vmI
VIII
"TH-n- T

A.P. S. 47.38-42
6

li.H.

L.H.

m*ZA. mzo. N9‘^6.

R.H.

L.N.

N9 In minor mode only. N9‘Z8. In minor mode only. N9ti9.

R.H.

L.H.

R.H.

L.H.

Half Cadences. No:i 2 to 50 .

THE LAST CHORD IS THE TRIAD FOUNDED ON THE DOMINANT.

N9 32. N9:i:L N9:^5. N9 3f).

R.H.

L.H.

A.F. S. 4738-42
 —
7

N9 37.
II
-i-
VII
VI
lUL -V
V
m \y
II
/.//.
L.U.
IV

N9^46.
N9 '43. N9'4'4. N9^l5. In major mode only.

N9^4 7.
In minor mode only.
N9 49. N9 50.

Cadences in ancient modes. n9 5IioN9 63.

4 2 2 2
2^
DORIAN MODE: l"^l"^ir^V V VI VII VIII.
1 t

5 2 d. e. f. g. a. b. c.

N°51. N0.52.
m
TTT
II
^
(Z\

I
TTT
III
II I
/i.//.
T o + I f'\
i ° V
VII IV ^ III

T r\ VII I
Vr 1
1
VI
L.U.
— I
-^y 9
III

I — II V
T

A.P.S. 4738-42
 — — —

2 2 2 2 a

PHRYGIAN MODE;
2 2 e. f. g. a. b. c. d.

N9 N9 55. N9 56.
V IV III 1
° ^ VII
//. //.
1 T +
1
^
VII V ° Tv III

lij:
V
V VI VI T
”
1
V IV ° 111 VII V
L.U.
-IV + IV -J.
o ^ f" r
TV
r

2 2 2 2 2

LYDIAN MODE: I^I IlfT^^H^II VIII.

N9 57. f. g. a. b. c. d.e.
N9 58.

n2
MYXOLYDIAN MODE. I II III IV V VI VII VIII.
1 g.
^ a. b. c. d. e. f.
o

N9 59. N9 60. N9 61.

\J
I
I
_ri:^
3? 3?
-

^ V ^ ^
- - - IT
n JZ^
^
£1^

IV III I

\7 VI TT ^ W
r\ VII r\
V 11 V LJ
//. //. IV V I
'sJ 1
VI V
III IV r r r
\ 11 ^ °
r\
1 V u U 'U
III VI V III

——
I

/.//.
1 AM Tvr
I
—V ITT
IV
T
9 —H vm 9 I
—e

AEOLIAN MODE: I II III IV V VI VII VIII.

2 2 a. b. c. d. e. f. g.
N9 r>‘^. n9 b:i.
J
I
/ ^
37
r ^

VII
I
m
ITT
^3?
II
CHI

VI O
HU V
V
V
T
1 ^ n
VII
-*

V
in
rti
II
III
V
\ ^ r'.

vlv III
+

L.H V ^
IV V
'
IV '
1 IV I

A i’ '17;<S-'J2
 n

CHAPTER II.

F.\r/..i.Y.-iT/o.ys.

The following exercises, N_ (54 to N‘J 73, are harmonizations of the most natural melody, the
scale, the latter placed either into the Soprano, or Hass. The notation used differs somewhat
from the exercises of the first chapter. The Roman numerals refer to the scale de^^rees, the
(irahir nia/ihers indicate interiut! profj^renfiiotiH.

The following: example illustrates NL’ 71 in the key of (jI^ minor.

—
/ iP f*,* -(• 1
i
1
Pt=— L-i-i
l-5-« — ^11
j-j'
d— 1 1
~n

i hrf f r .rp-r- 17
1

1 _ ^ « J j.

The exercises in this chapter are based on the pure form

of the minor scale, VI and VII ac-
+ +
cording to signature. Deviations are specially marked by VII or 3; raise the scale degree one
it

chromatic step; or VII; restore the pure scale degree.

HOW TO USE THE EXERCISES.

1 . Play them carefully in all keys.

Memorize them.
•i. Apply rhythmical variations.
4 . Use broken chords and arpeggios in various ways and rhythms.

5 . Write some exercises from memory in the usual staff notation.

6. Apply the character of the models of the last chapter.

Harmonized Scales.
N9 ti-4, Maj or scale

A.P. S. 47«S-4a
10
N9 65 Minor . scale.
+
-Vifi
ri +
-n VII VI
y

V IV III II I

R.H. V
\
V o + I

III 2 2 2 2
2 3 ^ \T III
^
5^1
TTT
111 ^ 4
V ® 3 3 2 2 III
/.//.
"4 4
5
0 4
I
,
^
3 2
4
2

N9 66. Major.
2 ^ ^ III 3 3 3 I
V
^ 2 .5 0 2
2 2 I 2 2
R.H. \ U <J ^
° 2 ^
® T T
V
4 III 4 4
TII 2
U
2
^ V n C'l ^
111
;3 I
^ 3 III
» f

L.H. II III IV V VI VII VIII X TT TT

"
VII VI V IV III II I

N9 67. Minor mode.

^
T +2
2
^ ^
^
^
4
III 3
0
3
5
3 +
2
I

I 2 2
* o
R.H.
'XT
\ O u o
® 4
° T 7
\
4 III 4
“
III
“
u
r~\ ^.
o
1

u
r~\
9
I
o
^ 3
0.^0
r\ 4
III

L.n. II III IV V VI VII VIII T.TTT h L_

"
VII VI V IV III II I

-
r r r r r r r r r r r r r r r

N9 69 Minor. .

A.H S. 'tT.iH-'iZ
 11

N9 70. Major.

N9 71. Minor.

o o «
^ ^ J. ^ f.
J, p

N9 78. Minor.

A.P. S. 47 38-42
.
12

CHAPTER III.
EXPLANATIONS.
The following exercises, N9 74 to N2 297, are models of modulations. The notation used
differs materially from the previous parts and is founded on actual keijhoard calculations.
The Roman numerals refer to scale degrees, the Arabic figures indicate progressions by half
or rhrotnatic steps.

The following example illustrates N9 77.

HOW TO USE THE EXERCISES.

1 . Read, construct and memorize as many models as possible.

2. Form consecutive modulations. Apply for instance the same model for consecutive modula-
tions from c major to d major; from d major to e major; from e major to ftf major etc.

IT Combine different models. Modulate for instance from c major to f^t major the following ways;
c major to e rriajor and from there to fit major;
or c major to f major and from there to fH major;
or c major to g major and from there to fit major;
or c major to el> major and from there to fH major;
etc.

^4 . Apply suitable and characteristic rhythms with the chords in solid and arpeggio forms.

5. The transformation of the exercises into staff notation will prove very beneficial, as it

enforces a deeper insight into harmony.

A. Modulations from major key to major key.

3.. Onk CHRffMATFC Stkr Highkr. Major to Major.

A R. S. 'n%H- \‘l
 — — —

1;}

N9 7(>. N9 77. N9 7S.

b. Onk Chromatic Stkp Lower. Major Majorto

{
N9 79.
—^ o i
N9 80.
T—i 1 2
—y ^ 1

XT 1

R.ll.
'
X
'
r
^
r~\
° U V
\ 1 1 1 2 1

r^
u u ITT r‘, r-\

^ —
' 111 111 LJ
1 2 1 2
L.H. e — 1
7 0 ^- o

N9 81. N9 8‘^. N9 83.

Til
^
^ ^
^ ^ TTT 11 ..
" X
I
..
-
1

1 2 2 2 1 1 1 2 1 1

V
1 1 ^
o
nJ ^
1
1
T
i
1

2 2
° ^ 1
1
V
^^2 ^

2^ 1

111 y 'O n
u ^
\7
V y
^'1
^ III
2 1 1 2 1 2 2

I
"
'e-^ — —©—
i >8 Le—r-J J ^ ^ Q 0

N988. N5
^’’^' -—
N9 87. 8!l. 1

A P. S. 4738 -45i
14

d Two
. Chromatic Steps Lower. Major to Major. N9 9‘^.

s
H.H.
\

L.H.

R.H.

L.H.

6. Three Chromatic Steps Higher. Major to Major.

N9 96. N9 97. N9 98.

N999. N9100.

N9101. N9 10‘^.

A.P.S. 4738-42
 i — —— — i —— ] —— — ^ ^— o

15

f. Thrke Chromatic Steps Lower. Major to Major.

N9I03. N9104.
-
e- •

1
O O'
j
-2" I--0- Q
2
2
i-V
— n—
B.n. ) V 1 1 1
1 o
2
-

1 2
1
TTi
111 n
U 1

2
1

2 1

\
\
TTT
111 n o ^ o 1 y \J
r\
u 1

2 1 1 1 2 2
L.n. —©- -© — — -
e— —o— Q Q —i ©- 5

N9105. N9106. N9107.

r-O i
pi '

1 5
r-V "
I- — f—
e n

R.JJ.
n 3 5
R.H. /( TTT
2 ° 1
\7
V u 1 5
T
^ 1 2
O 2 1 1 1
\ 1 ^ 2
TTI
111 c;
2
TTT
111
1 2 1 2
L.n.
'
r r
L.H. 5 2
-H —i s 1
1

g. Four Chromatic Steps Higher. Major to Major.

N9108. N9109.

(i
—® 9 -® — ^fl 0 © j
3 2
® —© 1)

R.H.</\

IT
T
1
ft
V-/

2
1 2 1
T
1

IZ
o
W
Q-
o
LJ
1

—
^212
O 2

1
\'
V
2 2
V r~\

2
e 0
L.H. 1 ^
1

0— 1 ..
j

^ 1 2
1

N9110. N9111. N9tlS.

/|
m Q Q 1
rffl —— ©
° 1
0 V 0 -2
2
R.H.
^
y: 0 1 1
^
1 0 ,Q
° TTT
111 o
Vj n
U 1
1 2 2 1 J

[ —HT— 2
IZ
V
O
^ Ch
^ 1
-
o o
2
T
^ 2
1

2 1

L.H. — © — —©— 5 -4 © —i © -12 o — 1 0 j 0— 5

h. Four Chromatic Steps Lower. Major to Major.

N9113. N9H4. N9115.
/I—V r—¥ ^T- 2 1
O O ^ 1 2 2
R.H. \/ TTT
111
1
° 2
TTT
111
^
O
2 2 1
VV o
u ^ ^ 1 n
^ 2
1

1
\
T
1
2
° 2 T
1 o 1

1 2 2
TTT
111
n
u ^ n ^2^2 1

L.H. 1
5 2 —i 5
1 Q ^ Q 5 1

A.P.S. 4738-42
 — —

10

N9I16. N9117.

1. Five Chromatic Steps Higher. Major to Major.

N9118.
— mm .

0
N9 120.
— e
pffi V 2-
T- ^|—Hi
2 1
R.H.
R.H. T
^
2 1
TTT
2
n n VI
^
T O ° 2 1 2
2

\T n n o

^47
i

2 ^ 8 2 1 2 8 2 ° LJ

L.H.
L.H. 5 T 2 2 1 2 5
"
V f
12

m\z\
-i ^
G
1 1 1 1
1
—
N9 \22.
—m -o-
2
-o-
1

R.H. <
9 —9— G- Q O 1
4- ^ ©- -e-

-HF -e- -e- -e-

2 2 2 2
L.H. 7 1
e- -e- -e-
8

k. Five Chromatic Steps Lower. Major to Major.

N9VZ3. N9124. N9125.

N9I26. N9127.

A.P. S.473%-4!i
 17

1 . Six CiiKO.MATic Stkps Highkk on Lowkk. Major to Major

NL’ 128. N« I2!t.

N9i:{(). N2i:{i.

NO i:52. N9i:i:{. Noi:}7|.

B. Modulations from minor key to minor key.

a. O.NE Chromatic Step Highkk Minor to Minor. . ——
NO i;i5. N9 IHfi. N9 1;{7.

N9i;i8. N9i:u».

A.P. S. 473.S-42
 m

18

b. One Chromatic Step Lower. Minor to Minor.

N2140. N914i.

N9I4*Z. N9143.

C. Two Chromatic Steps Higher. Minor to Minor.

N9 144. N9145. N9146.

r r r r r r
^ ^ 1 ^
Xll
J J
12'"! ^
m 2 1
^
^ 2 ^"1
R.H.
T
1
/^ •.

^
.

j
—j 1
e—3T— r\
\J T
1 ^
r 1
0 O
2
CJ CJ
I
U U
r 1
\T ‘O o O D ^ O o
° ^

12 1
V c;
2 1

L.H. .
,
3
-11
. 1

o'"? ^2 1^..1 2
^ - ^

Two Chromatic Steps Lower. Minor to Minor.

N9 149. N9150.
r
1
.
3?
.
ZP
1

:l
.
1
1
m
JXX 1 ^
^ 4 1
1

R.H. V - 1 1 r\
'O T
1
^1
^ sj Vw/'
1

S
-~-D
^ 1
1

1 1

— — 1 \ 7
V
r^\
J
1 1 1
r) D

L.H.
— ,

t
. 1
7
<i
'I
^
7^

^
I 37
y
^ 7 ^
5
1
7 ^ 7

A.P. S.
 ^ —

19

N2 151. N2 15Z.

e Thrkk Chkomatic Stkfs Highkk. Minor to Minor.

N9i5;i

N9 155. N9 156.

f. Three Chromatic Steps Lower. Minor to Minor.

N9160. N9 161.

0 I
Q-^-^ C) o ° 2 t
T-ffi
n— 8 2 2

.
—V—Q Q -O-
) )
1
° 2
^ 2
1
I o
1 2
°
pi -ft —ft
1
1

V
in
1
— 1 ^
Q-
2 ° 1
^ 2
Tr
V 2
°
1
^
2
1 1

2
-)

L.H. T Q Q-i- ^ Q- --e-

1
2
^ Q Q ^
5 — 1
1
1
^ 0

A.P.S. 4738-42
20

g. Four Chromatic Steps Higher. Minor to Minor.

NO 168. N9164.

N9 165. N9166.

h. Four Chromatic Steps Lower. Minor to Minor.

N9 167. N9168.

N9 169. N9170.

1. Five Chromatic Steps Hkhier. Minor to Minor.

N9 171. N917‘Z. N917:^.

A.P. S. 47.38-42
 N9 174. N91V5.

k. Five Chromatic Steps Lower, Minor to Minor.

N9 176. N9I77. N9 178.

N9179. N9I80.

1 . Six Chromatic Steps Higher or Lower. Minor to Minor.

N9 181. m\HZ. N9I83.

N9 184. N9 185.

A.P. S.473S-42
 —^ — — — —^ © — ' — ^ 0

22

C. Modulations from major key to minor key.

a. To THE Minor Key with the Same Tonic. Major to Minor.

N9 186. N9 187. N9 188.

i—i f-e ° 1
-i —£>-Q ^ HI- 0 — ^
1

;3 3

R.H. —V V
1
\ O bH”' -i O' 0 ° —
1 2 2 j 2 ^ 1

—m
ill
1
m
TTT ^ n
0 1
V ^ ^ °
1
2 1 2 .3
2 2 ° 1

L.H. — i 2
4 O
5
-i r-.s I ...
* 1 2

N9
n— — —
189. N9 190
n— i— 6
® pi -
Q ^

R.H. \r
V ^ 2 2
^ p
° 1
1
V
^ 1
^

2 2
TTT n
^ ^
p, p
°
1
ITT n
111
2 ° 2

^ — ——
J 1 1 1 1

L.H. 9 9 — i
9 — 1
^ 5

b. To the Minor Key with the Tonic One Chromatic Stef Higher. Major to Minor.
N9191. N9 192. N9193.
T
"
III p I °
IT 2 .3
1 1 1
[

R. H. p
^ ° p 1
I
r^\ r\
° ^
rN
1 2 1 j 2 1 2
2 n n 1
n
V ^ 1 2 2 1
1
V b*
1
TTT
111 U r^
U j 2
L.H. 4 2 2 5 1 2
—I I ' i .

C. To the Minor Key with the Tonic One Chromatic Step Lower. Major to Minor.
N9 195. N9196.
N9194.
— -r^ pi 2 1
r-IIl 0 0 -p-| 99 -p-e- o-
1
— 1 2

R.H. V r\ VV n P P p
° p T
1
0
LJ 'vJ
1

1 2 2 1 1 j

2 2 P p
P L/ p -9-e-pp-
1 \T
TTT TTT CJ V 'vJ
111 111
2 2 2 2 2 2
——
1 1

7 2 5 1 2 5 p
L.H. 1 -4 '
0 ^ Q 1

N9 197. N9198.

R.H.
— ^

T
V7
T -
1

'vw/
T7
—i— °
1
1

i 2 2 2
1
Ttl
T rr III
111 ^ 2
1 2 1

L.H. 1 1 7 9 2 -1 5^ 0

A.P. S.^7.‘{S-42
 — —— — ^—
28

d. To THE Minor Key with the Tonic Two Chromatic Steps Higher. Major to Minor.
N9199. N9 ^00. N9‘^01.
r-ffi
1 2 1 1
IH
‘
— ^ -T •

1H--O
(
1
8
1
R.H. T
^ I I ”
1 ° 2 1
f 1

2 ° 1 2 2 ^
2 1
^ 1

TT
V
2 1 \T
^ ^n 2
V CJ
r\
^ ^ 1

L.H. -i — 2
2
2
2
1

5
-i
2

^
2 1 2

-I—!-
2
1
1

|—I ———
N9 ZOZ.
e e
2 ® 2 T o 1
N9 208.

r\ o r-\ 1
n 2 o V ^ ^
R.//. 'IT
V vj L-/
2 ^ 2 2
ITT
111
O
u O
u O
u O O
Pi ' o 2 0 TIT
111
^
u
2 2 2

——
^ 1

L.H. — f e 0 — --0 5 o
1 5 0
I

0. To THE Minor Key with the Tonic Two Chromatic Steps Lower. Major to Minor.
N9*^04.
® —0 ©
n r-i —
N9 205.
0 © © j

R.H.
'
TTT
^
n ^
°
\7
V n
^ ^ O
^ ^ ®
/'A

1 2 2 2 i

\
\
T
1
O
U ^
n
1
w
Pi P
LJ
2
m
TTT n
o ^
-2 © j
e— 1

L.H. —i ^ 8 2
-i — —^
is «
1 2

N9 206. N9 207. N9 208.

m o -

-T 2
° ° 1 2
]-4 e-i 0 1 2 2

R.H. u u u ^ ° 1 XT
^ p
° _Y-y - pv _ - P A7 n n ^ p
1
2 1 1 1 1 ^ 2
\T
\
r-\
0
1 1

2 2
m
TTT
2
p-
° p
° 1
TTT
111 O O
vJ
2
o P
P o
L.H. , 12
2
1
1

1
1

-------e-
-i — j

1 8
1

4 5
I o 5

f. To the Minor Key with the Tonic Three Chromatic Steps Higher. Major to Minor.
N9209. N9210. N9211.

1 1 8
III e-n 1 2 1
r-HI
p 8

—p
R.H. °
1
\J
T
1 n r\ p .- p ^
I P p ^
C4
1 1 1 1

i\ —VY ^
0 — ^
2
8
1 \T
^ 1
o 2
2
1 \L
V o 1
^ 1
1

^
1 1

L.H. 4 2
-I ^ 2 2 0 -4 1 2

A.P.S. 4738-42
 — — ^ — i —
24

N9 ZVZ. N9 2I3. N9 214.

'
u •
° r-iH
1 1

1 2 1 2 -»-r ° 1

N.N. I
1 ^ _J a— 2
u
pi pi —
u I
1
/r-x ^
2
^ LJ 1 C_) o —w
L
1 tC

V\
2 Q °
1
VV 1
o
°
1
^ °
1
2 2 1 2 1 1 1

5 2 2
L.H. —i =r— 1
^ Q O 1
-4 1 1 5 5

g. To THE Minor Key with the Tonic Three Chromatic Steps Lower. Major to Minor.

Ne-^!5. N9 216. , . NO 217.

rr_ t
^ ^ rr ,
I
1 2 1
xii
2 2
""
1 2 ^12
^
1
^ j

R.H.
T7
V 2 1 2 2
VV ^
^ o LJ
1
1
^212
\T
2
5
1 2 2
n 1 2
TTT
IJJ
TTT
111 u n ^ TTT 1

2 2 1 2 1 2 2 2 2 1 2 1 2
‘}
L.H. —4 .a - 1- -r 8
^ 1
O
2 Q-‘

h. To the Minor Key with the Tonic Four Chromatic Steps Higher. Major to Minor.
mz
\ H N9 219. N2 220. N922!.
I III Q
.

1
HI e "
]--¥ —^ 2 2

H.H. T O ^ D T
1 U 1
To
1
o
'-J
r\ TTT
111 n
u ° 1
1
1 1

2 ^ ^ o
V
2 1
1
~\T p ^ r-i

2
V
^ 1
^
T
1
2 1
° U
L.H. -4 ^ 2 5 I.
4 -7T-^-Q -4 —1— -e —— 5

N9 222.
— t ^

4
^
4
2
o — 0
1
N9 223.
-4H e —
1
—
T
R.H. V 2 2 ^ 2 2
2 1 2

—mTTT 2 ^
‘3T— ° ^
1
Ar
V n
^ o
°
L.H. 1 e —^ 9
2
1 2
1

© -4 © — i
1

e — 2

1. To THE Minor Key with the Tonic Four Chromatic Steps Lower. Major to Minor.

N9 224.
^
1
N9 225.
1 2 1
— r—© ^ —— \

1
R.H. \
T T
1 2 1
^ LJ TTT
ill
2 2 2
TIT 1
rn 1
T
i
-
° ° 2
1 2 2 1 1 1

L.H. 4 2 2 I 4 o 5
^ 0 - ^
X
1 12

A PS.
 —
N9 2‘^f). mTZ7.
/I — I
1 2
-1-^ 1

» 2 1 2
1
\
'
o ^ ^ > n
L> L> o ..
1

2 2 1 1 J

\
'
ITT
lil ^ ^ D ^
1
III
HI O
u u
r'l
>w^
2 2
I
*
7 ^
w j
1

1 1

2 11 1
1

^ 5
" 1
^

""
1 2 ^ 0
2

^
2

k. To THK Minor Kky with the Tonic Five Chromatic Stefs Higher. Major to Minor.

N9 ZZH. N9 N9 280.
IT, 1
^ ^ 1 T„
^ I
....
^
1 2 1
It 1 1 1

2 1
5 .
1
1

. o ^ r\
^ 1
T
1
!~\
CJ L->
r\
L/ u y
V Q
U ^ 1 ^ r\ r~\ r\ 2
4
T)

1
r\
u —
2 2
^ V ^
n
u 1
V
^ 3
^ ^
2
TII
Hi 0 ^ r 1
1 .. 1

/.//.
—i 8
U
5
I =5 o i
-{. .q--.^-Q _5 ^ 1 5
•>
2

N9 231. N9 zirz.
-V 2 t
-e- -HF B- — (5

-ffi-
-
0 -
-e — e- -©-
1
T 2
-B-

-
0- -
0- -e
2
¥ 0- -fc»-

L.H. 0-
-
e — 0- -0-
1 12

1 . To THE Minor Key with the Tonic Five Chromatic Stefs Lower Major to Minor.
N9ZZZ. N9 2:LS.

N9 ‘Z35. N9 ‘^3H.

A.P.S. 4738-42
 —
i —— — —

2(5

m. To THK Minor Kky with the Tonic Six Chromatic Steps Higher or Lower. Major to
Minor.
NO NO 2:^8. NO 239 . NO 2^4 0.
f-V ^ 1
^
1
1 2 2^1 2
T-i ^ 2 2 2
I Q 2 2

/L//. ITT
rrr^ V ^^ 1 XT
^
1 \7’
^ 0
^
1

2 1 1 1 1 1 1

T
1
1
TTT
Til n
t?
1
Til fcP- ^ TTT n
1 2 1 2 2 2 2 2 1

L.H. — i 7 2
-l-A- -i
1
^—r- I .T G

D. Modulations from minor key to major key.

a. To THE Major Key with the Same Tonic. Minor to Major.

—^ 1 n —— ® 1 2 2
T~i © © © ^ 2 1

R.H.
T
1
1 —13
n 2 1 XT
Y
rN
tT CT
4 0
^ , ^
1 2 t 2 2
X 7
V — 0
0
b?
2 2 1
TIT
ill
^
c.*
^
^
0 1 Q
° 1 2
2

L.H. — 0 5 5 0 0_ — i i
— - ©--

NO 243 NO 244.
f-H 9
.

— r-e 1 HI 0 -2 2
\7 0 2 1
R. H. V CJ
^ 1 AJ
2 2 1 j

TH
ill
1 1 n
u 1 2 2
V
^ 1
^
2 1

L.H. — 1 0
2 1
—i 0 - A ...
5

b. To THE Major Key with the Tonic One Chromatic Step Higher. Minor to Major.
N?245. N9 246.
pfti 2 2
pi © © e 0 0 1
———
I r-,
-I —\TY ^0
1 ) I i A-^
ia

R.H. 1 kJ ^ 1
^ 8 2 2 1

V
V
^
u
r^.

2
TTT
ill
I'-A
-) u u 2
0 0
2
2 1

L.H. — I ^
0 2 .0
-
i-
=*
^ .
5 2

NO 247. NO 248.
-© © IH
‘

f—ttJ 1
•
2 2
T7 ^
©J ^ r . r 1 0 1
R.H. V sj LJ 1 0 J

TTT
ill © ^ 2 -¥—
T7 ^ ^
p-
1 2 © 1

L.H. i -e —© — 0 —— = 9 — 1 i. ^
5

A. R S. 473 S -42
 —— — — — — —

27

C. To THK Major Kky with thk Tonic Onk Chromatic Stkr Lower. Minor to Major.
N9‘Z^l9. N2‘Z50.
r4H ©
n — ®
1 2 2 t
pV ' — -e- o— —
'
—0—e — j

o n 1 0
n.ii. T
1 u
r^ ^
2 2 2
TIT
111 ^ 1 1

2
1 1 2 2 1

V
V
1
u 0 1
T n
u ^ I"
'vj
'1 ('
'I
LJ 0
w 8 1
*2
2 2 2 2 2 2
—
1

L.H. ;
0 1 2 0 —i ^ ^ '
'
J'-e-
N9 ‘Z5i. N9 252.
111"^ 2
r-T

//.//. T
1 j
n
0 ^
1
VV ^
c\ r\
2 2 1

1 V 0 C\
V-./
0
L-/
rj
L>'
TIT
111 n
0 r-'\ 1

2 ^ 1 1 2 2
!..H. .Q- 1 5
I -e -I i
Ui

d. To thk Major Key with the Tonic Two Chromatic Steps Higher. Minor to Major.
N9 258. N9 25^l. N9 255.
0 c 8
i-Hf—•- n
r 8 2 3 1
° 1 3 2
Q Q Q p— f]

n r\
^ 0
R.IL
/ T

2 ^
2
T vj
2 ^211
I '
^ 1 2 1

\ V'' u 1
° 2
V n
U ^ r> 0 ^ AV7 v-/
0
0 ^ n
° 1

1 8 2 1 2 2 ^

L.H. T
^ 7 2
-i
5 1 1 1 1 9 0

r rr
N9 256. N9 257.
/rHtt
1
^ -e —© r-^
1
IH-0-- 0 ~r^ T“ 2 2

R.H. \ 1 ^ ^
/r:\
LJ
- _
KJ
-- ^ I 0 Pi
^
\j ^ \j \y \J w 1

1 2 2

^7 2 0 vJ
0 2
^ 2
^ D
\
'
V
r\
° ° \T
V L-/ LJ r>
VJ LJ ^ ° 2
1 2 2 1

L.H. —1 -= — e 2
0 -© —e— —1 —e— —©- ^ ——e- -e-
5

6. To the Major Key with the Tonic Two Chromatic Steps Lower. Minor to Major.
N9 258. N9 259. N9 260.
I
^
m ^ 10 n ^ 5 ^
2
>
1

8 1 2 2

R.H.
r\
LJ I
1 u
r'l 0 r-x
^
1
ITT
111
^ 1 1

2 •
1 1 2 1

m
TTT 2 \7
V 2
r\ 2
^ 2 2 1
T
1 LJ sj
t

2 2
r r
L.H. T 0 1 2 I 12
" 7 ^ 3 8 4 7 "
2 1 2 2 7

A.P S.
 —— — — — ^

2S

N9 261. N9 262.
1 1
T
1
'

2 ^ T
I
^
y \

1 2 2

R.H.
\r
'
2
r\
VV o
1
n ^

^ r\ 2 ^ 1
ITT
lU -J
TTT
111 y y
r 1 1

1 2 2 1

L.H. I
1 4 8 0 I , 5
12 2 1 2

f. T(^ THE Major Key with the Tonic Three Chromatic Steps Higher Minor to Major.
N9 N9 264. N9 265.
pffi — e
8
HI O ^ €e- p4H 9
1

1 1 1
R.H. T -Y_W \j
V
1 --
^ 2 ^ 2 2 1 2 1

2
VV ^

^ V TTT
111
1 1

LJl. L-i ;
— 8
0
2
0 1 0
2 2
0

N9 266. N9 267 N9 268.

i-IH
— ^
pV 0
2
V 1
•
2 2

R.H. 1
T
^ ^ TTT
111 J v-.‘ L ^ 9 J ^
1
TTT
111 n U
U n 1

2 2 1 1
.j

—V 9 “ 1

2
1

2 2
T
1
1

1
)
vj O rN
u T
^
n
° 2 2 1

L.H. — 1
:t—
1 1 0
*1
4
o 9 -I -o
^ 5

g. To the Major Key with the Tonic Three Chromatic vSteps Lower. Minor to Major.

N9 269. N9 270.
_<L_,
^ 1
1

-- V^-e- ~ —9- 1
O' — O o o
J.j
0
J TTT o W
o o ““ r'l o c
ill
^ 1
"
'*

2 111
1
^ 2 2 1

2 o 2 o o
—I r-'.
j r
'J
\

2
J 1
—i T
1 -2
3 O O
2
L7 LJ r'l
kJ
2
^ 1 5 ^ ' 5 1 1 1 5
-I-
1 1
'
4" 2 > o'
..
2 1 2 1 12

A.P. S.47.'{S HZ
 — — — ——^ ——
29

h. To THE Major Key with the Tonic Four Chromatic Stefs Higher. Minor to Major.
m
N9Z7^
/I—ffl © — 2
275.
-m- v>— 1
1

/?.//. ( i 0 U I ri ^ f j >
^
C\
2 2 1 2 2 1

.. , 1
\ V u \7
V ^
W
C'\
CJ
1

1 2 2 2 2 2
LH. — I :
5 2 5 -4 ^
^
1 1 5

N9 276. m 277.
/ mo 2 8 r©
— r4H ^

/ ^ 1 1 1 2 1
//.//. \
T
1 © ^ ^ ^
2
2 1 2 1 1 2 2 1

(' V
V
1
D U °
2
° °
1
V n
u 1

2
2 1 2
L.IL -4 ^ 0 1 1 1 1
-e —©— -1-^ 0

1. To THE Major Key with the Tonic Four Chromatic Stefs Lower. Minor to Major.
N9 278. N9 279. N9 280.
V
1
^
1 TIT ^ 2^. 2^,^ 1
"
5 ,_1
""
2
1 2 2 1 8
2 n i 2
t
r\
© o ^ .. 1
H.H. ITT
111 ^ 2
T
1
^
LJ
1 r
T
1 u 1 2
VV 1
r\ TIT
ill
o
© © © -^4 ) tc*-
) U
8 2
L.H. -4 5 2 5 0 5 2
?? :i— o -4
- i- '
r O O /I

N9 281. N9 282.
2 1
-4
-e-
1
-o- r-
1
R.H. -e- -¥-
1 1 1

-m- -e- ^ -e- -tr -ffi-

2 2
L.H. J
12

k. To THE Major Key with the Tonic Five Chromatic Stefs Higher. Minor to Major.
N9 288. N9 28^l. N9 285.
r-l
8 1 2 2
1- V- e-0--0n
2 1 2 2
pi 1 1
^^1“ 2
T7 1
^ n 1 2 1 \7 r\ 1
H.H. V ^ ^
TTT
111 u ^
u U U ° ^
2 1 2 1 2 1

TTT
ill ^ i O LJ ^ TTT
111 ^
1 2 2 1 2 2 1 1 1 1 2 1

L.H. -4 5 2 5 -J-.Q-O- 1 2 0
—I 7 — —e—
A .F. S.
 — — 0 ^ r

N9 •^86. m ‘Z87.
1 1 1 ^ 1
-w-
2
Ill Q -e-
8 2 2
1

N.N. -e- -e- -©- -i ©—— 1 1

1

~zr -e- -¥ —©—©— ©- —^-©—

LJL 1
-e-
12
-e- 4 0 -
^ 8
1
-©-

1 . To THE Major Key with the Tonic Five Chromatic Steps Lower. Minor to Major.

N 9 288 . N 9 289 . N 9 ‘Z 90 .

V
-

1
I
V ^ 1
^" 1
^
Cl ^
2
Cl
^ 1
1 III
^cn 1 Ci 2 1

R.H.
TTT TTT ^
r^\ r\ ^ n T O ^
U r\
U
111
1 2 1
111
1
^ ^ ° 2 2 1 1

^ 1 1
n o
T
I ^
o
°
T^
V CJ
1 2 2 1 2 2 2 2 2 2
L.H. —4 2
4 wY
5 -4 E
7
O i
5
/I
1 1 5
-T 0- 0

N2 291. N9‘^9‘^.

m. To the Major Key with the Tonic Six Chromatic Steps Higher or Lower. Minor to

N2 293. N9 294. N9tJ95.

N9 296. N9ti97.

A. P. S. 473S-4ii
 31

CHAPTER IV.
KXPLAXATIOXS.
The following exercises, N? 298 to N‘i 3o(), shouTd serve as simple models for improvisations.
The “Transposing Clef” is used for the exercises from N2 298 to N2 323. Refer to pages of the
“Transposition Reader” and notice especially the peculiar application of the accidentals.
The N'i*^ 324 to 350 are taken from dementi’s Preludes et Exercices.

HOW TO USE THE EXERCISES.

I. Play them in various keys.

Memorize the construction of some numbers.

3. Invent well sounding extensions, contractions and variations.

4. Play the models in different order and connect them by modulations, the latter bearing either
the character of the previous or the following models.

N9 *Z98. Major mode. N9 299. Major mode.

3^

f
=rv. rr Ti

xc
= III.
-e-

XV
JDC

J j

fT
'

I'T’i''
r
I

r
-e-
PP
N9 300. Major mode.
fa C
fa TP
XV- X5 g
it jam
=m.
XX
rrr XV
V. Tf
f
fa- XX
Q 3X
XX

N9 301. Minor mode.

fa :

i--J ^ Jf 0:

f r f f
m
VI.

fa
N9 302. Minor mode.

C"~
•J' fa fa XT

Ti-
r IT T IT
vx

A.P. S. 4738 -4a

 IzIU.
Major mode.

3
ms=p=
rf frf
i :xsz

lo:
N9 805. Major mode.

^zVl
~y^

m
N9 806. Major mode.
— }- ^‘_1
J -h J— A>
e
W
—? -,-rf^
-^-s J
•
it* V*f '

r
^
,

;VIJ ’
i
!
^=11.
-15 - .1 O p ^
g=c= ^w- —o
L,
r
^£=i=d =jS=1p=
r
Trdr" y : =£=

N9 807. Minor mode. N9 808. Major mode.

15
V>1V

-_III. fiv f Ff
IV w vv 1> IV J. ^ l?::^
w 1)
to:
v> cr 33

r r-
i>

TV
W
N9 809. Major mode.

^rV.
mT T21
irrr
rr fvr T
3
fTf
3Z

i 4 J iST^ J J i
3 Hf=T f f
N9 810. Minor mode.
/ :
r» u-,- 4rq i>
fet=4=j —w - -

—
’
^zVl
--f^
w
1

1^ —^—
1

i ^o
- - ^ i

IlI 1

f-
\

-5- "
_

. o o 4'%

w
i

N9 811. Minor mode.

cv J — *- w li
f= rT w
-III.

?z: i _Q_ W J
,:pL
— th^ IV
V- 3H
A.H S.
 ^ —
88

o:
AW » AMV 4V
J=VI.
r T -r~r’ f

pi A4 =e

N9*i14. Major mode.

N? 815. Minor mode.

JrVI.
wp JL»_
rr PP
y.
|JzVI.
;5rv

4^ P'.

'dc:.L ^J_-.-:.
n
— r “11

r r -

\
/=VI. ^ jPTf —
xy

—
r 1

—L"b— :+ ;:e:
'/ •

*4r bffiiT^zr"
-

~o

N9 816. Major mode.

AV AA AV
3E J
J=V 11 .
r f
P~t--J
rp r ip AV 13

73 (5^ i’Sr-

nrA:

N9 817. Major mode.

i
iP rP
13

I.

3T=^ O rA3:

N9 818. Major mode.

^5= Z2:
1
#=i.

f p f
p A3

A.P.S. 4738-42
r
 —
:U

/
1

Lm;
X9 8*-Z().

. 1^ -
-
">
Minor mode.

.j.
'

J
tL ,
~
«
'
J T—J—r-d hf-r—jd— ^

J-
1

—
—
1 1

'
^
^

i
» r p » ^ . q

(h ir
-j
^7
’*— J .) r •>f
L 1 jgj , II

^=111.
tf+ ^
A
j !?^»
dhf'H—-i =i
tt # '
j
o A
^

A.P. S. 4738-42
 —
8(5

N9 ;v^8.

/
t
1-1
— — —
I-
=^=zzz^z=fft^. ^ -1 U-f -» »
JL-j ..

t^ffA..._._ ^^=ist=
!^»
p
P
4r - f
4-

A. P. S. 473S-42
 87

A. P. S. 4738-42
 — — 1 —
8S

N9 8;V4.

^
-> 1
— ~— • - _
*

1 i
•

^ -j-

^=zf^
144
\ y\---
:
— ,
—
IjjJ -J r-n
ff

4
-1
=^

A P. S.
 N9 :m.

y - --f f
l£^!f r -^-.n ^-...
i-

—
-

i 1 :

( dim.
" j?p_.
— ^ — :— — rrrr-— :- _
I
\
- - -- - --
*— ^ -

vy
N9 338.
,-^.\,.l,
fi^ 'r/U
?. j.
^ ^
g----Z y ^_z:
\
*4
tea
m
y -j_Z»4
^ ^
m 1
^ 1 ^fea—
1

»
^
-J 7
1
^
1 [
.

^|:ikt, 1.
—=F=^ p
^--
J
h
-J ^
=t=— e ^

A.P. S. 4738-42
40

A. P S.
 — ^

41

N9 344.
( k.
-

^^ 1
Vd
^
ft-
--=
:
:w^:^
^*T-.-zxg±iz

l^'A ^ >
t — -^yg^z-z
m
"I •zw~^r7z
L—
-zi ^::

N9 845.
Vr |l
^
-=tc=»::
_L - *.. -f-r-f^rffi^ i
•

r~
-=

—^s=?=i= —fij prf

yT
^
TT -p —
.

\
'
-

4 Bj i

-ii
4i-

A.P. S. 4738-42
 -

42

i\9 347.
L
/ M
jt (
V T. *<
I 1

?/?
1

^ •i
2 M Jo fl _
m m
/
a a
1
m
/
1
ki
\ /
/ mk
^ ^ 1

^ .. ...... .^. i m m fl

"
.

L "1/ Tza r—
1 .

u
" ^ T C7'es(x
\
\

1-^40

^ __J i

u
1 ». lb' J !2

' ^ X^T-rrz. 1©

A.F". S. 473S-42
 4 :^

A.P S. 473«-42 The End.

 ELEMENTS OF HARMONY by
Stephen H. Gmery.
A clear and concise method of teaching harmony, used for many years by
the leading Conservatories and Teachers.
Price $ 1.00.

Supplementary Exercises.
Chants and Chorals to Elements of Harmony
by
Stephen A. Emery.
Price 50 cts.

n Hey to emery’s Elements of Harmony

by
FRANK LYNES.
Price 60 cts.

Foundation Studies in Pianoforte Playing

by
Stephen A. Emei'y.
Op. 35.
Price $ 1.25.

J^dvancemenf Studies,
^equel to Emert/*s foundation studies
by
Frank Lynes.
Price $ 1.00.

HEAD AND HANDS.

Fundamental Technique for the Pianoforte
by
Stephen H. 6mery.
Op. 37.
Price $ 1.50.

/ARTHUR P. SCHMIDT §
Boston; Leipzig. New York:
14G Boylston Street. 130 Fifth Avenue,