Treatise On Harmony

lOSTON MUSIC COMPANY EDITIOH
00
ID
;co
=:^f
J,
Humfrey Anger
A KEY
to the Exercises in Part I
of
Treatise
on Harmony
BOSTON MUSIC
NEW YOKK:
G.
SCHIRMLR
CO.
Digitized by
in
2010
tine
witii
Internet Arciiive
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littp://www.arcliive.org/details/treatiseonliarmoOOange
A KEY
TO THE EXERCISES IN
PART
OF
A TREATISE ON
HARMONY
J:-HUMFREY ANGER
Harmony, etc., at the Toronto Conservatory
Hon. Mus. Doc, Trinity University, Toronto;
Mus. Bac, Oxon; F.R.C.O.
Professor of
of
Music;
'â^
-^
^"4'"
BOSTON, MASS.
'%
THK HDSTOX MUSIC COMPANY

(G. SCUIRMER, I.NC.)
Copyright, igog, by
J.
Humfrey Anger
Copyright assigned, igio, to G. Schirmer, Boston
50
B. M. CO. 2108
PREFACE
This Key has been prepared with a double purpose in view in
place as an aid to the teacher, especially one whose energies
are chiefly directed to practical music, and who, consequently, is
unable to devote any great amount of time to theory and secondly,
as an aid to the student, but more particularly one who, through the
force of circumstances, is unable to place himself under the immediate direction of a fully qualified teacher. Many such teachers and
students are scattered here and there throughout the length and
breadth of the land, and it is hoped that the solutions to the exercises (284 in number) may lead to removing some of those difficulties
which beset the paths of all who desire to be proficient in this important branch of music.
;
the
first
Although the great majority of the exercises may be harmonized

more ways than one, especially in the case of melodies and blank rhythms, etc., where the choice of chords is left to
satisfactorily in
the discretion of the student, yet the solution given, in every case, is
regarded by the author as being the most desirable one under the
circumstances, and tlie one considered as being in the best interests
of the conscientious seeker after knowledge.
The student
is
earnestly advised to refer to the solution of an
work the same. If he is

studying harmony with a view to being successful at an examination,
it cannot be too seriously impressed upon him that to regard and
treat the Key as a "crib" is little short of hopeless folly, and to do
so would probably result in disaster when the critical moment
arrived.
Let him first work an exercise as carefully as possible and
to the best of his ability, and then let him compare the result with
the solution given in the Key, thoroughly examining every note and
every chord by this plan he will obtain a valuable lesson, his interest will be awakened, his ambition aroused, and with steady perseverence he will be enabled to conquer every difficulty.
exercise only after having endeavored to
J.
Toronto, Canada
December, igo8
HuMFKEv Anger
CHAPTER
THE MAJOR DIATONIC SCALE

(Pages 15-16)
1.
Pitch, force
and quality
a
Chromatic a
Enharmonic a
2. Diatonic
scale in
scale
a semitone apart
it
is,
(1).
which tones and semitones occur.

in which semitones only, occur.
which the sounds are
scale in
therefore, not used in
The term 'enharmonic',
indicating change of
change of pitch, is employed for a

found on page 37.
3.
The
principal use of the tetrachord
the formation of
Any
scale, reference to
new
major scale
is in
than
less
Harmony
(2).
name without
which
will
be
connection with
scales.
may be formed from
its
attendant scales
by taking the upper tetrachord of the preceding, and the lower

For example, the scale of A
tetrachord of the succeeding scale.
may be formed by
taking the upper tetrachord of the scale of D,
and the lower tetrachord of the

scale of
flat
the scale of
(4,
flat,
In like manner the
scale of E.
may be formed by
taking the upper tetrachord of
and the lower tetrachord
of the scale of
flat
5. ^)-
4.
(a)
{[>)
--^3
g
6.
^ -!zre>-
sr^- -z?-^-
- glg
g^
_..
rr^
-zg-g-
7Sr-^
Tonic
the tone-note of the key.
Mediant
the middle
note,
/g
being midway between tonic
and dominant.
Dominant
portance to the
the ruling
tonic.
note,
being the note next
in
im-
The submediant is so called because it is a third below the

and hence midway between the tonic and the lower or
tonic
sub-dominant (9).
F sharp
8.
is its
is
the tonic of this scale
and the
scale of
flat
enharmonic equivalent.
te
f=
XT
leading-note, subdominant, dominant, medi-
Supertonic,
7.
and submediant.
ant,
->--,
-s?-^îS^^sfeS
:^^z;^=^:^
-Zgr-g--
-s^'-
(a)
0)
^5^^^^;g!=pg :|eM^
r-^
^b^"^
0)
(a)
10.
{d)
(c)
{e)
{h)
(^)
11.
^
W^^mA
stepjî
f
12.
(a)
flat
(/)
(/^)
:r=.
(r)
flat
(^/)
sharp
(e)
flat
(/) C sharp.
13.
Subdominants
{a)
(/')
14.
G,
III
A,
B, C
flat,
VI
The
VI
IV
P=i= -P
J:
^4z=i
15.
flat.
flat.
Leading-notes C sharp, A, D sharp, G, E sharp,
II
-^
!-
(S'-r-
:f:=l
passage
III
is
written in the key of
VI
fe-^^H
IV
II
III
d:
flat.
VI
F.
i^^
r=tiF
5t
-6>-^
(.b)
dJc
S^feE^^S^
-kT4-M4
d:
Si^^
jcili
=f=tif:
Many
of the exercises in this
are of a suggestive character
may be
natures of other scales
able for students to write out
in
and the succeeding chapters

No.
example, the sig-
4, for
given, in fact,
all
it
is
often desir-
the major scales with their
correct signatures.
In order to avoid confusion which
may
possibly arise be-
tween symbols and Roman numerals when employed for other

purposes, the former
may be w ritten
TH
IT
thus
7T
Further tests on this and the succeedinp; chapters, especially

designed for the use of students who jiossess the Key, will be found
in the
author's
'
Additional Exercises to Part
I.'
CHAPTER
II
INTERVALS
(Pages 28-30)
1.
The terms
major
'
'
and
tonic scales, refer to the interval
and the
note or tonic
it is
a minor third
Name
2.
minor
'
10
In a
).
of Interval
Symbol
Major third
3+
(p)
Perfect fourth
(c)
Major second
2+
{d) Minor third
3-
Perfect fifth
6-
(/) Minor sixth

{g) Major sixth
(//)
between the key-
a major third, and in the minor
is
{a)
{e)
as applied to the dia-
exists
third degree or mediant of the scale.
major scale this interval

scale
'
which
6+
2-
Minor second
(/) Perfect fourth
(y) Major ninth
9+
3.
^
-^5 ^
^
{b)
{c)
{d)
{e)
{s)
(/)
(0
(.h)
e>
~G>
6-
7-6+4
Name
4.
'5'^
of Interval
(a)
Minor sixth
{b)
Augmented
{c)
-^-
a
z?
3-
3+
zL^^z:
fy
7+
Symbol
Semitones
6-
5x
Minor seventh
7-
lO
{d) Perfect fourth
4
6+
(<?)
fifth
Major sixth
(y) Diminished third

{g) Augmented sixth
(K)
Diminis>hed oc tave
(y)
~G>
30
6x
10
80
I I
--
or
7-
INTERVALS
5.
(a)
Consonant;
sonant;
(//)
6.
(^)
Dissonant;
is
Dissonant; (d) Con-
(c)
(/j Dissonant
Dissonant;
(^)
In a diatonic semitone the letter names are different, as
and the
chromatic semitone the letter

val
Dissonant.
a diatonic scale,
in
(/')
Consonant
interval
semitones
in
names are the same, and the inter-
an augmented prime or unison
Diatonic
a minor second
is
? 3, 15).
sharp
to
to
flat
double
flat
flat.
Chromatic semitones
F sharp
to
double sharp
to
natural.
7.
When two
between them
sounds are heard in succession, the interval
said to be melodic
is
and when heard
in combi-
nation, harmonic.
8.
{^)
3-
2+
9.
-i^
=iN=R
:iN=:
5o
4x
B sharp, the leading-note in C sharp.

The following are also impracticable
2x on III
in
C sharp.
6x on
in
sharp.
30 on
in
flat.
70 on
IV
in
flat.
9-
7+
intervals
10.
.OL.
-^9-
Vffit*^ft
-
-|<fr-?-5-e-^fl>--
^-^ -^
<2-
in
-<9
-^
-9
-49
*t-
2+
3+
frf
7+
INTERVALS
"CC"
2+
Tonic
down
"
"
11.
"
6+
3+
"
"
"
"
a minor second.
a perfect fourth.
to leading-note
" submediant
"
"
dominant
"
"
"
minor
third.
" subdominant
" mediant ...
a minor sixth.
" supertonic
" tonic
a perfect octave.
"
7+
a perfect fifth.
a minor seventh.
12.
7? ^-
i^l
L^.
4x
^<9
2-
3+
5o
\L-
-&.
'S>
3+
13.
{a)
E
G
to
E
G
to
to
to
to
G
C
6-
5o
4x
to
fiat to
E
G
to
to
6-
flat
to
6+
to
to
{b)
3+
3-
flat
3-
3+
to
C to C
4
5
6+
6-
flat
.
14.
,-^-:
Ix
2x
The above
matic scale.
4x
scale
is
5x
known
6x
6-
as the instrumental
5o
3-
2-
form of the chro-
INTERVALS
âl*|^ i^
3-
3x
Con.
-F^
3x
Con.
Dis.
6+
'^_^^j
Dis.
Con.
Con.
j?g-I^j|ffi=j||g
6+
6o
3xx
3o
Dis.
Dis.
bg=z4?g=^
fl
6x
6o
17.
(*)
:#^
:l2s=:
Hx
4o
18.
Cr/)
C, G,
F and B
sharp and C sharp;
and C
19.
Uic
is
(/')
A and E;
D flat;
D,
B,
(i)
flat
examples the upper note of the
sec-
flat,
flat
and
(e)
flat.
In each of these
ond interval
first
tonic,
(r/)
flat;
is
the enharmonic equivalent of the upper note of
The
interval.
because
it
is
found
first
in
interval in
each example
some one or other major
scale,
is
dia-
which
not the case with the second interval.
The
first
interval in
each example
is
f)ne of the imperfect
INTERVALS
consonants,
and as such
a dissonant interval.
it
may be
enharmonically changed into
may
Perfect intervals
not be so
changed
(20).
20.
Interval
Name
(a)
Con.
(^)
Ix
Dis.
80
(0
2x
Dis.
7o
('^)
2-
Dis.
7+
(^)
3o
Dis.
6x
(/)
3+
Con.
6-
(^)
4o
Dis.
5x
(A)
4x
Dis.
5o
(')
5x
Dis.
40
(>)
5o
Dis.
4x
(^)
6x
10
Dis.
3o
(0
Con.
3+
(')
7+
11
Dis.
2_
()
7-
10
Dis.
2+
Semitone
Additional exercises on
naming
Inversion
Effect
intervals
may be
obtained
by employing the bass clef (instead of the treble) in exercises

Nos. 2, 4 and 20 or by employing the C clef on the third line,
Excepor the fourth line, or indeed on any of the other lines.
;
tional intervals
may
as at (/) in No.
4,
occasionally arise by the use of other
where the bass
clef
interval into a doubly diminished third
name
intervals
interval
is
is
clefs,
would change the given

;
but, as the ability to
of such importance, the fact that such
an
not used in music need not be taken into consider-
ation.
In order to thoroughly appreciate the significance of exercise
No. 19, the student should possess
the minor scale and the
may be
common
some knowledge
of
chord; this exercise, therefore,
reserved until the student has mastered Chapter IV.
CHAPTER
III
THE MINOR DIATONIC SCALE

(Pages 39-40)
The
1.
nor scales are

1.
The
tween the
scale
between the
intervals
2.
The minor
and mediant, and be-
3.
Minor
the major
in
the true minor scale (21).
in
scale exists in a variety of
scales are constructed
from the
relative or the affinitive
the minor
is
an
tonic
and submediant, are both major
tonic
and both minor
scale
between the major and mi-
chief points of difference
artificial
forms (21).
from major
(or tonic)
whereas the major
scale,
scales, either
major.
is
Hence
a natural
(25;.
4.
The major
scale
diatonic in
is
every particular, but
the minor scale possesses a chromatic element, the leading-note
always requiring an accidental.

2.
Harmonic
Melodic
u^^â-
os-C/^
Harmonic
1^^.
m
3.
i^:^:
1aic_^4|^|5fc=,.
-&-
Harmonic
" ^ ^
-^ ^kjn
/\ \}
{^^^
V/
^
^
^^.
^
-^
'^
'^
-'.^
'^
'
r3
s*"
S'
1
II
'-'II
'
u*'
\}
1-2
<r>
ii
^
a
Melodic
f:>
Vj a
-a-m^^
5^-^-ff^^
^
~n
^
\
IT}
<^
^
^
fi,-U
10
True or Harmonic
4.
tt
^.2
-^-^^
Melodic
-4^=^
?iife^'
'-25'
-^-^-
-(2.
(-as-
Normal
Handelian*
Sr-g'-
^î=8?ii:
^JU'.
r&^-
h9-^-
-zr^-'
-'S'-s?
'g-g-
Mel-Harmonic*
_<5>_a
:l=
J?E#^^fe|i:
-*s?
'-25-
Har-Melodic*
S*i
.^_i2-
A name
5.
K~^"
:^
sharp,
t;g-"
-SiZ5-
-^-ggsuggested as an aid to the memory.
natural,
sharp,
sharp, C double sharp,
natural.
{a)
6.
sharp;
(Jy)
C;
(r)
G sharp;
{d)
flat;
(^)
F; (/)
C sharp.
7.
(^)
^&-^
^=5^^:^-^
-^x??:fc
:|î?^M^
8.
9.
The two
sharp, D,
flat,
sharp, E, G.
scales are said to
with one another, that
minor of C sharp major
is
to say,
be in affinitive relationship
C sharp minor is the tonic
and C sharp major the
tonic major of
C sharp minor.
^
10.
{a)
{b)
-Z?
:tj^
O.
G>
E, C sharp, and F sharp (melodic).

G,
flat,
and C
(melodic).
D+ and B(/^) E
and
B
flat-;
D
flat+
sharp(//)
and
flat-.
flat+
A
C
(/)
11. (a)
'5>-
flat+
{e)
and C-
(r)
E+ and C
F sharp+ and D sharp-;

12.
(a)
the scale of
F minor the
G sharp major
C minor
{l>)
13.
V ,^h
/L b^\)\,
K^r*
fA\
'
VU> "
s>
_]
s
'
III
tonic
VI IV
III
is
+VI L
sharp
II
sharp
;iot
is
A flat major,
being recognized.
III
J
*
IV
1
U*
passage
the scale of
The
not being recognized.
'
14.
major of
11
II
1
1
r^
âM
1*
'
written in the key of C sharp minor.
VI
S:
VII V
-I
III
IV L
i-
15.
Harmonic
^^^^^^^^^^^^fe^
^,^,3
It will
be seen that the
and V remain unchanged, while the
other notes each occur in two forms.
^_^gafegM^._,^^___l
in
It will be seen that III and VI remain unchanged

descending this scale is the same as the harmonic.
16.
E,
The leading-notes of
D sharp and C
ascending;
the attendant keys of C are
sharp,
sharp, all of which occur in the
sharp,
scale of C
F sharp as n perfect chromatic, E
and G sharp, D sharp and C sharp, as imperfect
modern enharmonic
as diatonic,
in
chromatics.
It is
minor
generally advisable for students to write out
scales
with their correct signatures,
and melodic forms.
in both their
all
the
harmonic
12
CHAPTER
IV
THE COMMON CHORD

(Pages 52-55)
1.
triad is a chord consisting of three notes, or in other
words, a note with
its
third
and
Chords are formed in the
fifth only.
first
successively above a given note
instance by adding thirds
this note is called the root of
the chord.
In a concord there
is
no dissonant
interval
notes of the chord, while in a discord there
sonant interval (32),

2.
is
between any two

at least one dis-
THE COMMON CHORD
13
5.
i'i)
(^)
(^)
^=Â
^PI^^
gggJIiPEEg
-fT-?
E+
n-
D-
()
Submediant
G
F
minor
sharp minor
C sharp minor
i^n
C minor
flat
(/;
F sharp
F minor
(a)
In
*'
{/>)
G
D
major as
C major " V, "
minor " V,
"
B minor
G minor
"
"
"
as
a primary triad
I,
''
"'
secondary "
III. a "
minor as IV, a primary

flat
"
"
"
" VI, " secondary "
II,
F major
E flat major as
D
B
sharp minor
flat
a primary triad
"
"
I,
"
"
major " IV, "
"
In
Bb-
B+
Abn
Subdominant
i^)
"
'
major as VI, a secondary triad
Minor Keys
{<^)
Augmented
(^)
Diminished
C sharp and E
(0
Augmented
C sharp
(0
Diminished
F sharp and D sharp
Augmented
(/)
Diminished
D
A
sharp
flat
and F
THE COMMON CHORD
10.
(a)
C sharp minor
F minor
v+
11.
V1+
IV-
The primary
Lo
IIIx
IIo
triads constitute the harmonic basis of
is formed upon
added two other major triads, one of
which has for its fifth the root of the triad of G, and the other
has for its root the fifth of the triad of G, it will be found that
the notes which form the scale of G, are contained in these three
the diatonic scales.

G,
and
If,
to this triad
therefore, a major triad
is
triads (34)12.
The
scale of
minor may be formed by chromatically
lowering the mediant and submediant of
primary triads of
will
major.
If
the three
major are converted into minor triads,
be found that they comprise the notes of the scale of
minor, normal form, (34).
it
THE COMMON CHORD
15.
Soprano
16
Tenor
Alto
Bass
rî;
16.
'Ihc
different
ways
common
;
chord
in close
may be arranged
for voices in five
form, (2) in open form,
in
each case
the root l)eing doubled, (3) with the third doubled, (4) with the
fifth doubled, and (5) with the fifth omitted; (i) and (2) are
known
as the regular positions, (3), (4)
and
(5), as the irregu-
lar positions.
17.
18.
-i-^>-^
/ \iW
{(Y'D
(
T5^
-^
'
r^
n
/ti
>
-&-4S-
ibfei^î
1/
-^ 6-h
"B
rj
^
ez
/*
-<*
THE COMMON CHORD
16
19.
(a)
(^)
(-)
mwî^.
a.
1=2
f5>-
JS..
'G>
^-^
=^::|^r=t
<
(^)
(^)
>-ri?
Jfe
â.-
:d2
--^-
-6'-
m
-<5'-
JO-.
-<9-
r'5>
n-
P|t-pL(2
9i^
if-b-s*-
11(2
jS2
^b:
20.
(.b)
(')
ft,
^*t=;
-!2
''
(^)
G>
in ^
-rrii
ii
r'
:#
(^)
.(2-
-(5'-
:||
-iS'-
m^
21.
(<?)
hi-
IA"_2
--^^w% l2
Bad
Ciffi
Ld:^
::zfe:
BiEifc
the interval of an octave
is
exceeded between
is
exceeded between
the alto and tenor.

(/^)
Good
(c)
Bad
the treble and
the interval of an octave
alto.
(d) Good
(e)
open form.
Good
close form.
irregular position, incomplete form, the fifth
being omitted.
(/) Bad
chord)
is
omitted.
the
third
the characteristic note
of
the
THE COMMON CHORD

Regular
22.
Open
Close
17
Irregular
Complete
i
p
Incomplete
qp"
23.
F minor
C sharp minor
s
9#:
P:
-(S*-
sharp minor
flat
minor
?^
=ii
3SI
M^
fc|=
fer
HM
V+
v+
v+
24.
(a)
t2:|:
-g
^M
^
p
Eb+
VI
III-
it
>
mm
'^
IV+
\/9^ZZZZIl
II
V+
1+
VI+ IV-
m=\
I
V+
I-
THE COMMON CHORD
18
Open
28.
Close
T-~.
i
ill
-z?
m
G+
v+
V+
1+
III-
Ill-
Open
29.
Close
m
\lî:^_z
r+
v+
30. 'The
major
triad.
common
It is
stretched string,
the fourth,
root, third
fifth
and
natural triad
say,
it
v+
1+
III-
chord of nature',
so called because
III-
the name given to the

may be obtained from a
is
it
by dividing the same into its aliquot parts

and sixth sections vibrate respectively as the
fifth,
of a
common
whereas the minor
has been adopted by
man
Hence
chord.
is
an
the major
artificial triad,
for the
purpose of
that
art.
is
is
a
to
19
CHAPTER V
HARMONIC PROGRESSIONS
(Pages 72-77)
I
(*)
(rf)
(^)
^^^
:t:=4
liS-^
t:
P-/2_:
in
1+
IV+
v+
ni-
VI-
V+
IV+
VI
2. (a)
v+
VI-
(0
I
-J^
-<2
,-
m^
1+
IV+
J-
-(S*-
v+
IV
VI
-i
1+
20
h2
T-i
=E:
U-s.
-^-
a)
u)
(/)
^-
ifi
I
V+
II-
3.
VI-
1+
The term 'movement'
two notes
plied to
of a
v+
III-
IV+
1+
applied to the interval between
is
melodic progression, while the term 'motion'
two parts moving
is
ap-
in relation to one another (40, 41).
()
11
Movement
%
Conjunct Disjunct
Oblique
Movement
Motion
disjunct
contrary
disjunct
contrary
open
conjunct
similar
close
conjunct
oblique
close
conjunct
oblique
open
(/) conjunct
similar
open
4.
5.
close
(g)
disjunct
contrary
close
(A)
conjunct
contrary
close
Hidden consecutive
fect fifth or octave
except alone
fifths
between the
When
by similar motion.
fifth,
Position
in
and octaves occur when a pertreble
the roots
and
bass), is
move
approached
a perfect fourth or
the progression II to V, provided
the
moves conjunctly, hidden consecutives rarely produce a

bad effect, and especially is this the case when both chords
treble
are primary triads.
junct
to
II
Hidden consecutives are bad
movement in the
V, when hidden
((?)
junctly,
(fi)
The
if
there
is
dis-
treble,
except alone in the progression
fifths,
with
disjunct
movement
in
the
In this progression (II to V), hidden octaves,
treble, are good.
even though the
21
treble
moves conjunctly, are not good (^42).
hidden octaves are good, as the treble moves con-
and the
roots
move
a perfect fourth.
The
hidden fifths are
The
hidden fifths are bad, on account of
bad, as the treble moves dis-
junctly.
(c)
moving
(^ ) The hidden
to
the treble
disjunctly.
fifths
are good; the progression being II
(42).
6.
Crossing of parts occurs
when one
example, takes a higher note than the

Overlapping of parts occurs
voice, the tenor, for
alto, in
when one
the same chord.
voice, the tenor, for ex-
ample, takes a higher note than that which the alto took
preceding chord.
bass,
when
Overlapping
is
in the
allowed between the tenor and
the tenor, taking L, rises a semitone, while the bass
rises a perfect fourth,
to
It
I.
may
also be freely
employed,
especially between the inner parts, should the purpose be to
avoid the infringement of a more important rule (36, 43).

7.
between the
(a) Consecutive octaves
alto
and the
bass.
(^) Consecutive fifths between the treble and the bass.

(()
in
Hidden consecutive octaves, with disjunct movement
the treble.
((/ )
Hidden consecutive
fifths,
with disjunct movement
in
the treble.
An augmented second in the alto.

(/) An augmented fourth in the tenor.
(j^) The treble and alto of the second chord,
(f)
alto
and tenor
(A)
overlap the
of the first chord.
The
leading-note
omitted before the tenor note.
is
doubled
and
the
sharp
is
22
8.
Close position
(a)
(0
(^)
mm^
=i
f-
H (2
-f2^.
^t(:
n^
-J-
(2
=F-
v+
III-
t=^
leii^l
D+
IV+
1+
II-
1+
(/)
^#=:1
F==1I
tS>
:=
" >
v+
IV+
(A)
:=1=
;pii
I
mm--
-^:t:
=F=
I
I
V+
VI-
II-
VI-
III-
IV+
1+
Open position
id)
(0
I
t_-J- .-J-
a)
-751-
-s?
-(2
-f2-
^F-t r-
-|2
- f2-t:=:
PI
-(2-
-(2-
iS>-
P-
t-
IV+
II-
V+
III-
1+
IV+
V+
(/)
-J-25*
-J-
S(
1IhS2_D_,2
^*-^
VI
fi?-
<5>-
:l^gi|ii^
:t=:
v+
VI
1+
III-
IVh
9.
23
Close position
{d\
:=
-zg-
^^m^^m,^^^^\^.
-'9_
Bb+
l~"
v+
1+
,
IV+
II-
VI-
^r
:=t
v+
(0
VI(>4)
:t=i=
3=
i^
-(2-
it:
;^l
VI-
II-
III-
g) h-;
IV+
V+
V+
II-
1+
Open position
-4-
-4-
-St
-i.
-Z5'
P=
-(-
9^
_J_ J
J-
nei
'-"I
-'-
t1+
v+
IV+
II
^^
-I-
III
IZ^
t5-
C..tf2.
-r
ir:ir--5l=rrJ-
i^^^^î^:^
IV-
VI-
{g)
(/)
d=rB -J-
v+
VI-
VI
<
11
^
v+

24
10.
11.
()
When
doubled, but
The most
the leading-note occurs in V,
when
it
occurs
in III,
it
must never be
not so stringent.
is
frequently employed and, therefore, the most impor-
tant progressions from
are to I
progressions the part which takes

especially
the rule
when L
occurs in
and
to
VI
in
each of these
should, as a rule, rise to
The
*^he treble.
I,
leading-note should
never be approached from below by an interval greater than a third;
but from above
it
may be
preceded
b}-
any degree
(38, 40, 45).
=1:^:
T
9i=e=
1=
^M
H-^f2
1
--=F=
v+
I-
v+
VI+
of the scale
Open
25

26
Open
Close
==i
l=F=^=
-4
E|=iEiEliEfe
"T
j^
-^
^B=l?i:===
H=F^
DI
IV
Open
Close
(/)
-251li?
J
9^ |=-(S?
1^
-^
_J_..^_
P
I
t:F==B=p
J
=t=f=--
T"
VI
Close
Open
iîiiiiiililpi
^feEt?=i=^=:
II
13.
(a)
27
28
17.
i<n
()
f^^^^mmw.
^^^
^
gili
=i==
f:=
1A[,+
18.
VI
IV
VI
IV
()
iHig
:1:
ilîî
9^^ê^!EE
IV
19.
VI
IV
()
q=r:în:=j=rz]:n=:j=
-<5?-
A.J.
HiSiii|iiiii5igpaiill
A+
I
IV
VI
II
VI IV
VI
II
VI
{d)
(c)
ii#yag#i r"-T-"t 4gisi

-' '-iS' "->
J.
I
I
^gillîlliil
r
III
VI
III
^^
f-^r=
VI
III
VI
III
29
20.()
-<^
?|^^
-(
-U-
J
p3Ei
:1:
HS2
:t=r:^
:|=:=:-3
"=F^
IV
Î^PH
\i
4
HARMONIC PROCRESSIONS
30
22. ()
r^
:^=
rl
Efep-
_^
:=1:
feIM
3 H-'5'-3-e
-;5i
:t=:
:h=--:=t:
9i^:
:t=H
-(2-
:=^===i
:F=-^:
:t::
B|7+
I
IV
VI
23.
IIÊq^lÊ^
-(2-
-:={-
:=1:
zs<-
~25l-
E+
I
IV
-'
-(2
^^
IV
VI
II
n=ti
(S>-
^(Z-
=F=
VI
IV
;^=i
I
:i
31
f(2-
:=t=:
'i='
IV
VI
<9
32
CHAPTER
VI
CADENCES AND SEQUENCES

(Pages 95-101)
SSî^SlS^
:4
^^
"mr-
^-
g-L-Si
>-!
r
J J J J-
t=r
1=i~d=
g'-g
L|
,^-^,(:2__j
(C
tf)
12_
-^ J
'^^^k^^^^
V+ III-VI V+I+ IV+V+
1+
V+ VI- III-
1+
/VI-A+/I+
VI- v+ i+(ii-v+(
V+VV+
VI- II-
1+
VI- IV+
If
11-
V+
1+
33
4.
^-
:=t=q:
-(21=-
335.
(^(=2-
-^-J-AA.J.
p
/VI- F+
V+ III-UI- v+
IV+
B7+
B7+
GV+
/II-
IV+ Viv
1+
/I +
vv+
V+ VI- IV+ V+
1+
1+
'm^^^mpEi^^î
gi
g<
g)
azgEe
-^9-
v+
-gg-
VlflV-
V4-
-(5'
E- #
I_
g^
-(=
-iS-
^
I
(S--
V+VI+IV- v+
,--4^
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7^'
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^-=F
f
yî
J^-?i^
giS ^
iJ.
U^-^^^
19-
r^-^
g>^y
\-^
..r
I
V.
IV
I
grr
^-lF
C+
,
,,
/VI V+I+
34
^ ^-'
-^ ^
III
I
I
I
I
tp;
F+
(^^^ IV+ V+ III- VI-
(J
v_'^+
I-
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VI+ V+
I-
% )=ir
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-& f^-
if!:
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v+
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^^
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J.
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^^|=g:
:2=b=^b=t=?-=^-^
1+
IV+
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1+
:p:t
1+
V+ VI- IV+
II-
V+
1+
8.
=#
i--=i=i
-:^=:t
..p=::
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III-
VI- IV+
i^#
S:
F+
1+
v+ VI-
V+
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-E=
Ej--=:1
\
si-
^,
I
v+
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I
I
9^
VI-
4=
V+
1+
IV+
V+
III-
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1+
^
35
^^
9.
SSEr
-^^
i^ntl
-g-
(>
1=
J
^sa
IM
af;
f-
D+
IV+ V+
1+
&
n-
VI-
IV+
1+
V+
1+
-g-
(^
*:
-&
VI-
"OD"
a J-
-!:
1+
V+
II-
III-
(s-
-f2-
IV+ V+
V+
VI-
1+
10.
iEE=3i=i5i
^^ Hg-^^T^
g^
Î=S
f r'
T r
'
I
I
J
^ (2 ^_
f-zrzttzTzt
^^^
l-^-?gBb+
1+
III-IV+
II-
IV+V+
III-
V+ VI-V+IV+V+
11.
-i5>-
x=^
"->
-'
=&
-'-
=PF^
I
I
J-J-
5i^Pî^
U
VI
IV+
T
U
IV+
III
VI
(),'
II
Vt
V*
/!+
(I.^
v+
1+
36
-4
:t=:
g- -^
-<5>-
-<S-
m^
^SÎf
-^y-z
-(&-
=^.Ê^^ê^^
-t==t:=
A+ /VI-
Fif-
1+
V+ VVI-
<,
zg*
I-
/I-
A+
V+
III-
VI- IV+
V+
1+
12.
--^ZJ^-Â
'^1
i
I
<2
1+
IV+
9^
:t:
1+
\^\
-G-
li
IV^
1+
V+
p-^l
-fS)-
-ig-
1+
1+
1+
II-
V+
1+
^^-^^^-^->^-^^~^^-
J _^
-^
t
Et>+
1+
/II- CIV+II-III-I+llV- V+
t--NS' f2-^ e'-t-

Et> +
1+
V+ VI-IV+V+
1+
37
14.
-^=^
1^
(5'S-^-
5-^-
f^^^
^^^m
--j-j.
t5>-r^-
(S*
ia:
D-
I-
V+
f^-r
it
I-
-(S(2-
?f
IV- V+ VI+ V+
+t
VI+ V+
IV- V+
15.
L*g^^'^
:d==;
-=i--
-2?-
d=:
9
S
-f2
=l==t
X---
B-
/VI+
V+
I-
VI+
v+
IV-
=1=pd=:i:
\
3E=sî^
z;i
i*
I)+
UV+ V+
I-
^^
-U
'
ELteEE:
_î!_
:t=|:=:t
B-
/II-
VI-
II
If
IV+
MV
V+
IV
I-
v+
16.
-le
=Hfz=i^Zg3EEit::
-

A.
/I-
:fEp:
J*.
B>+
v+ Wl- v+
^f^
P.^
'
-J-
-J-
Vf VI IV + II
38
33;^
i
#
i
-i
^2-
-f=F
V+
IV+
III-I+
Gv+
(J^
F+
^Mll-
V+
i
S=^=f^'=S=4t^=^=?f=#J
I
^^t>=^
'=1'
1+
^+(v+
1+
(vi+IV-IIo V+ IIIxI- IV- V+ IG minor (^) Imperfect cadence

;
Deceptive cadence in B flat

minor, with Tierce de Picardie (47).
D;
17. (a) Perfect cadence in

in
J-
(c)
(^/) Plagal cadence in
18.
()
<b)
^
^ ^
(.)
39
19.
()
:^==^-(2-
tJ
etc.
I 9t^#i
!t2:
(22-
A+
IV+
1+
V+
II-
III-
VI-
{b)
ss=i=
m.
etc.
^^n
S:
tF=t=
Bb+
V+
1+
VI-
IV
III-
M)
^qEE^
a=q:
^2=^
-75*-
-^s*-
=t
-Z5*-
J-
etc.
-i
i^rz:::
'^-^J
l2:
=F
F+
1+
III-
VI
II-
Lo
IV.
III
V+
(d)
r
i 4_^Jl 4_J_j
Ê3
T It;
G+
VI- IV+
Lo
III
VI
etc.
J.
J.
-^"
IV
11-
4-
40
-sif-^
-G>^93*azp=EE^r:E
-I
>
p g/
;)
--
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> ^
>
I
Bb+
1+
V+
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IV+
VI- IV+ V+
II-
Lo V+ VI-
III-
Vl^f^
!M=-JEg=-J=-J=E:j=^^==:
d=:i=^=^=
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:2zi--^-
f:^'
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I'll
-(2
z32:
BI-
W^^^
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I
I
IV-VII+V- VI+
V-
IIo
IV-VII+III+I-
III+
20.
^5d::Fd=^-ted=:1q=4
b_^:
-.J-
:^:
t=i=J=F
C+ F+ Bb+
=1:^^:
:g:
Ab+ Db+ Gb+F#+ B+ E+ A+ D+ G+ C+
El7+
II
21.
=F=i
-t-g
=z=cs=r
s>\VI- V+
1^-
-G>-
v+
1+
> t
p.
^^
:t:
G+
1+
::^=
(2-
1+
V+
III-
VI-
II
41
22.
A\
-7^
-(-
-(S>-
9i,
J=J:
F+
V+
1+
1+
::]--
;=H=^^=^
-&
VI-
^--rzg-n
t:p=F:
-f=z-
V+ VI- IV+ V+
II
1+
23.
'
(S*
'
^5*
/=<
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g*
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-<2-
VI- IV+ 1+
II-
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D+
1+
"
'
IV+ V+
\'+ 1+
'
VI II-
III-
V+
1+
24.
:=1=F:i
liz
->9
-r-T
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IS'
m^
3 V
m=^^^^s^
-.5.
F+
B'7 +
1+
<a
V+
VI
III-
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IVi
II
V4
1+
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B>+
1+
IV+
III
III
^â
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\I
I\'
V+
1+
CADEN'CES AND SEQUENCES
42
I
I_
v+
I-
I-
V+
I-
(Jj_
V+
1+
IV+
(J^"
V+
I-
^=1=1
I
i
,
4^4
-^
-*-
r
--
-^-
^M^
li
1.1
=F=
D
I-
F4-
VI+ V+
I-
(JJ_~
V+
1+
1+
II-
IV+ V+ VI- (jy_V+
43
('')
28.
,-i=^=
mE:
--^-?=*-
-2^-
s
j.
Eb+
1+
IV+
Lo
^sr
III-
VI-
II-
V+
IV+
1+
-J-
9iil?
t4=
VI-
1+
II
v+
.w
'm
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f=p--
^ ^
9#2
11;
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r-
I-
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^^
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v+
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f^
VI+
v+
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Xh2-
T
VI+
J.
IV
r-

44
29.
t=i
*î
-s^-
-r-^r
"^m
4:
G+
1+
=F=
v+
-<5>-r-
:t:
IV+
1+
V+
v+
VI-
94f
L_|S2_
III
VI-
II-
v+
VI-
II-
V+ VI+ V+
v+
I-
1+
46
CHAPTER
VII
THE CHORD OF THE SIXTH

(Pages 110-113)
A, minor;
{a)
1.
minor;
{e)
flat,
D, major;
{b)
major;
(/)
{c)
G, minor;
major
flat,
(d)
B,
C sharp,
{g)
minor.
E+
Ab+
c#-
F-
VI
I-
3.
(a)
{b)
(SL.
T-r
J_^_j^
-<5-
-9-
f^
-19-
-t5>-
_gg._u
:zt=:
1"
4=:
F+
IV
(^)
(^)
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:^=f=
a
(SZ
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s>
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G+
r-
VI
IV
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i
W-
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2=^
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47
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8.
hq
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11
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If
it is
III'
deemed advisable
harmonize melodies, those
found suitable.
in
VI
at this stage for the
f)f
The student may be
vr)ices for
interested to
know
that
irrespective of the
which thev arc written,
upon identically the same harmonic basis as those

chapter.
student to
Chapter VI (Nos. 21 to 26) will be
exercises in the first species of counterpoint,
number
III
are constructed
in the present
52
CHAPTER
VIII
THE CHORD OF THE SIX-FOUR

(Pages 126-133)
I
1.
{a) F, major
sharp, minor
(e)
{i>)
B, major
A, minor
(<r)
B flat,
(/)
minor
flat,
major
(^)
D sharp,
(d)
mm^W^^-^fii^^^^^^
6
4
A+
n12
Eb+
12
12
3.
6
4
(a) Pedal six-four;
6
4
6
4
6
4
C-
E+
Ab
12
V2
V2
six-four; (d) Cadential six-four; (e)

4.
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(c)
its
Arpeggio six-four (68, 69).
^-
#6
Passing six-four;
(If)
minor.
IV
6
4
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5
3
I
VI
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has
-c
THE CHORD OF THE
SIX
FOUR
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8.
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65
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recte et retro
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.(5)
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4-
11
(3)
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5-
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P
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r
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(7)
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67
(8)
-f^z
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p>
II
(7)
??
IV P
II'
Arpeggio
Cadential
Arpeggio
(8)
Valuable additional exercises on the harmonization of melodies
may be
obtained from any of the Hymn-books
Choosing
use.
for preference at
only,
hymn-tune
first,
at
random, but S.M.,
ordinary
in
CM.
or L.M.
the student should write out the melody
and then harmonize the same in accordance with the table

after which he should compare the result
J
on page 121. Part
with the tune in the hymn-book, playing them both over on the
piano, but not wasting time over the analysis of any chords
with which he
After a
may
little
not be familiar.
practice along these lines, the student
be prompted to compose hymn-tunes

be encouraged as much as possible
of his
The
in this direction.
portance of the present chapter cannot be overestimated.

the student
who has mastered
sions, the subject

ties in store.
directly,
of
common
chord and
its
harmony has no unsurmountable
im-
To
inver-
difficul-
All compositions are constructed, directly or in-
upon these chords the student, therefore, will be well

tinie and trouble spent on this particular
all tiic
;
repaid for
branch
the
may
own, and he should
of
harmony.
68
CHAPTER
IX
THE DOMINANT SEVENTH

(Pages 142-147)
I
1.
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r
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flift
L,
Xb7
D+
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A+
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V7
(/)
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}
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#
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b7
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2.
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t-4^
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gi=E
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b7
tt
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b7
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VI
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VI
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A[,+
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70
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71
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74
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and
(i)
Consecutive
(2)
Unresolved seventh.
(3)
Consecutive
(4)
Unresolved seventh.
(5)
Hidden octaves, tenor and treble
second
fifths,
and the other a
(6)
Consecutive
tenor
fifths,
alto.
bass and alto.
third.
fifths,
bass and treble.
one part moving a

(7)
Consecutive
(8)
Indirect fifths, alto
(9)
Consecutive
fifths,
fifths,
75
bass and treble, by contrary motion.
and
bass.
tenor
and
alto.
(10) Unresolved seventh.
14.
15.
25)-!-
te"*i=B#=Efe
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81
CHAPTER X
TH E INVERSIONS OF
V.
(Pages 157-165)
I
1.
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rJ~
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B
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4
3
6
5
(=2_
Roots
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II
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/>
f^
w
J.
T
:&=^
9i^5=
-(SZ-
mr
-fS2-
4
3
II
II
6
5
THE INVERSIONS OF
82
V^
s*-
w^m^m?^mfm^
m~t--
#4
2
2.
By
#6
4
3
the dominant seventh on B,
is
understood a chord of
the dominant seventh formed upon the note B, while a dominant

seventh in B,
dominant
is
in the
a chord of the dominant seventh on
key of B.
sharp, the

THE INVERSIONS OF
83
V'
yiE=i=E=J
:5f
U_(2-
-(2-
J
I
-(2-
B/i
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I
6
5
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V72
V73
B+
3.
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j^
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2
G+
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ra::zB=i:
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J
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THE INVERSIONS OF
6
4
IV2
if6
V7
#6
4
3
4
3
V72
6
4
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yi'y-i
5
3
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V73
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THE INVERSIONS OF
i
m
85
V-
L*^
6
4
12
IV
6
4
5
3
1=
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IV-
5
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I
THE INVERSIONS OF V7
86
Bb+
IV
ll
By +
fi-
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(ill
[V
(V.
II
6
4
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3
12
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V87
10.
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THE INVERSIONS OF
V7
87
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6
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V; Vv
E+
(')
Vt-
Eb+
I'
4
i
\f'
V;:''
6
I
IIP V7
UI^
I\''
6
5
V7I
6
4
I
5
.3
P V
4
2
Yii
i-^-^-
fe
P^=5=,^^^^^_l|
^%|g=
4
IV
\'
/-'
\ 7
THE INVERSIONS OF
88
12.
V;
.J
I J-
:d=:d:
-
:B:
gîi^Ê^t
6
5
V7'
Ab+
I
^^m
6-5
4-3
6
4
5
3
4
2
12
V73
V2

-.
P-
â/
'
IV2
f-^
r^. w
""
^h^-?
f'l7
IV
^^
IVi
^1
A.
1
1
^^^
^ -r_
5
3
"/
1
1
tl6
V-s
'
12
Vt
^"
II
^
V IV V
i^^
ViV
IV+1
II'
Li
V+
V73
J.
_
=1
THE INVERSIONS OF V7
i-
-i
mr=
5
-0-
t^f-^ni-S
!U^
..
VVI
V;
-90
r-
'
0-
r-
:-.
VVI
L'
-1
rH=:i^-
0_
7
5
^^
^^ -1
^W^
-'
89
II'
--.
--
y^
^.
F-S
7
3
1=
Vt
13.
Vi
-I
B=
:i^
^se
>=
s6
4
3
V7=
?PS
-
il
..j^
i
6
%^
:^
ri?6
3
I'
Vt'
Vt-
:p==|:
V73
LI
^
THE INVERSIONS OF
90
Vy
6
4
5
#
12
V73
T-
-S--i
:=1-
r
n
91bJ
=t:=z:Ezi:
6
5
6
4
C-
G-
V7I
II
7
#
V7
Viv
15.^
^_J
\-
\-'
r#
:d=^=i
-J-
1^7
^^=
îS;
î^?=
-(2-
rtt6
6+^4
F?f-3
I
V-2
II
IV
12
V-3
II
6
4
S6
4
3
V-2
V7I
THE INVERSIONS OF
V7
91
xz^
/I
E+
UI
VI
'
V;
/IV D+
(I
F#-
VV
\VI
III
V;
V7
16.
*=^:
i:I
JL
-iS>-
6
4
CI
S!3
V
V73
\1V
II
7^
4
6
4
^2
i^
^
i
t?4
12
I>
I*
5
b
12
f
U7
1(5
V;
V-
VI Ui
V>
V;
THE INVERSIONS OF
92
\lVi
V7
V7I
III
I!
VI
V7
17. (a) L', with the bass doubled, resolves
garded as an incomplete form of V^-.

(d) Vy resolves on III, and L
may
is
on
IV
I,
and
1+
is re-
regarded as the root
it
therefore be doubled, for the chord does not possess a dom-
inant character.
{{)
chord,
and
LS with
is
the third doubled, resolves on the tonic minor
regarded as an incomplete form of YJ, 90.
18.
^f^mi=p-^n^gî
b5
-ST
^1
- b6 se
tfs
f=^r^r
6- #- 6-
Db+ Gb+
Fii+
B+
E+
i?7
^5
i|5
A+
D+
C+
^
THE INVERSIONS OF
93
V:
19.
g?-
-25^
4=:
=t==F^
=#^
-<s>-
p;
4
3
4
3
6
4
7
>
4
3
G+
I)^
Vt'
20.
IV
V7*
V7
V7'
()
-(S.
^- "V'
t^
etc.
:&^
42-
ît:
-t^gg-
:12^
il^
6
5
D+
^6
i?6
l|.5
b5
b6
b5
Bb+
C+
b6
b5
ll
Ab+
Gb+
(i'jpsei^.^.pp
tJ-^'
5^^:^
^
4
2
d:
-5--
4
2
b6
b6
4
i'2
Bb+
Ab+
fib+
b6
it6
i:6
I'fi
ii4
i;
^
Fii+
1;2
E^
1J6
ii4
THE INVERSIONS OF V
6
5
S6
#4
^2
Vt'
Vt^
6
b4
6
5
6
4
2
6
5
Bb
Db
Vr*
V7I
V7-
THE INVERSIONS OF
V7
95
II
-z?
i^^
'-z^z.
J
î>2:
-<9-
(5(-
rG+
I
fci=--
6
5
V7'
6
I
11
IV
V73
THE INVERSIONS OF
96
25.
V^
:=1:
'
^p
I(-
&
b-j
-(2-
1 i5
J.
^
6
3
yi
I
(9
V II'
V72
::^:
9îsgE
Y^
4
3
V7=
.^
-<2-
6
I'
Bl?+
6
4
I'
r V
C+
<^-
-s*
Si
/VIi
V7'
5
3
V7
(Jj
VI
V7'(^
IV
I'
2
V7^
v2
IV'
IV
1=
IV
11
V7
THE INVERSIONS OF V^
97
27.
t=
25*-
-s*-
W^
-i-HH:
=P='
/C?
9ii:'^
lffi_
-^-
-W^
6
S6
4
3
I'
V7=
5
Vt'
d=^:
:=i
z2
5#-
:i
(2-
-r
=^
t=t=:
6
5
I'
V7
VI
IV
V87
f=T=*?=F=^
6
:^n
4
:i
V7'
IV'
r
THE INVERSIONS OF
:^?^=
=l=j:
iEi :1=
t/-
=f^=F=
6
V7
#6
4
3
V72
IV'
6
4
;:
V IV
IV'
V7 VI
V7
II'
-75*-
r
j2.
m^
=F=t=
G+
I
6
5
V7'
6
I
I'
4
3
V72
6
4
7
3
V7
30.
-(2-
J-
f=t=^
7
F+
V7
VI
t:
V7'
II'
r=^:
-tt:)-
I'
^ ^
I
6
5
J-
-25*-
fî
6
4
V2
V87
THE INVERSIONS OF
V;
THE INVERSIONS OF
100
V7
F=Fr=F 6'i^4
^6
6 ^6
B-
V2
11
4
3
4
1
V;
6S6'
II
V73
II
67'
#
4
3
II
V72
IP V7
:i^^^|^îii|i
i^ll
-WÊ=|i
^
IVi
VI
IVi
6
4
12
THE INVERSIONS OF
V7
101
35.
r
?af
15:
a=^
--n&
-Sif-
iSSI
12^:
^2-
4
D[,+ 3
I
V-2
4
2
V73
VI
II
6
5
V7I
o
V7I
J?^
ii|-^
f
'
6
4
7
3
1=
\'
9t^:
4
3
V72
IV
I'
I'
II
36.,
}%*
-<9
3p:
XjT
~J
"^
I
>
#
^m
V7 VI IV IV
II
-^
;=M:=g=S:
jt
^^
^^"=^r7
6-.5-6X6
V V7MI
3
7'
4
2
6 x6
4
II
Vt^
N-f-
i^:
# 6
6
5
I
V;'
667X
4
I'
-<!'
^j:::ufe
IV IV'P V7
THE INVERSIONS OF
IV
V87
VI
IV
VI
V7
III
8 7
6
4
3-
12
V87

THE INVERSIONS OF
V7
103
39.
gi
f&fyl
-^>î -%ur^-
<s>-
~^^
"g-
-7St
-<5-
iS.
=t=F
>
hS-HS-
<2-
i*ii
m
-<S>-
T="-
6
I
M^ti:
J.
in
V;
-i
VI
zr-
III
12
V-
r=^=ir
l^.
bgggÊfe
5
3
6.
(2-
t:=t:
6
><
<S.
:i=q
t=P=P:
?f
12
il
FiiI
IV2
VI
V7I
IV
--
V- VI
r>
111+
IV
IV^
D+
VI
V7I
IV'
/I
Uii
VI
V;l
THE INVERSIONS OF
104
V IIIX
As
the
III 12
the ability to harmonize a melody
student
is
advised to take,
present chapter, the melodies

of
VI
in
in
casionally employed.
he
of primary importance,
addition
to those in the
its
in all
may be ocmay also take
inversions
For further practice, he
He
is
moreover, to analyse the chords employed
in
hymn- tunes, as suggested on page
strongly advised
hymn-tunes
is
V7
chapters VI, VIII and IX,
which the dominant seventh and
the melodies of
V7
will, of
62.
course, sometimes meet with a chord
with which, at this stage, he
is
not familiar, but he will find that
the great majority of the chords are
among
those which he has
already studied.
Furthermore, the student should be encouraged, as
much
as
possible, to compose chants, hymn-tunes and other musical sentences,
such as clothing blank rhythms with melody
first
and then
may be an incentive to com-
harmony work along these lines

pose something of a more advanced character, and thus, as time
goes on, he may be prompted to aspire to the highest types of
;
composition.
105
CHAPTER
XI
NATURAL MODULATION
fi
K+
I
["
IV
il
Ks
IV
V8
NATURAL MODULATION
106
2.
{a)
(^)
dt
=^:
^Miiia=sii=B
r
r
J-
-12=:
dJ^
^=F=
t=p:
#6
4
3
#6
4
3
F+
D-
Vt^
D+
E-
V72
Bb+
IV
F+
V7
Or thus
'
7
#
D+
A+
D+
'VI
V7
/I
I
(
II
IV
A+
V7
D+
I
Ct+
/II
I
VI

NATURAL MODULATION
107
Or thus
{l>)
^^~
r-^
A A
v^-
-iS>
-J-
itg:
ta
D+
I
E-
IV
d'
,i2=:t
:3s^
-g*
g^î^g
6
7
i
G-
(!"
Vt
GI
(!v
CD
o.
J.
.m^
BV+
(;j
r
j^
.J.
t|5
I)
i^
Vt
NATURAL MODULATION
108
Or thus
6
1^5
b5
i?
G-
D-
G-
Vv
/I
&
[iv
d2:
::1:
F+
V7
Eb+
I
/VI
ll
=]=
:=^:
ll?^
:=^:
-fa-
J
-751-
^^r=^-
6
5
6
b5
E^+
Bb+
I
\^
V7I
Bl,+
I
CV7
V7I
NATURAL MODULATION
=?=i?;1(2
5i
^.
!?:
109
g-
-^2-
-a-
if
A+
BI
IV
Vt
G+
BI
II'
F^
V;i
4
3
A+
(':
V:
vvi
II'
V87
E+
I
/IV
B+
Vll
V7
^^1
ilP
I-
V7
NATURAL MODULATION
111
i=
r
Jî^fce:
si
1
7
u
\U}
V7
Viv
V7
IS^^
r
4-
te
-
^4
6
VI V7
^4
2
V73
?^
-iS
8 7
IV
Vt7
NATURAL MODULATION
112
^-
:feE^
s)-
-ê-
i-^tei^
l!*fc=t::
:p:
:t=:
6"
5
3
Ab+
Eb-
Bb-
V7I
V72
mP"=
3
Gb+
V7
F-
V7
11.
Db+
.VI
^11
V7
(^)
()
i^#l|i=:lil|i^
Jw-i
:;
t'j
^^^^^Ê^MS:
b5
b
/VI
I
Vn
b7
b5
Db+
V7
S5 #7
# #5
#
Ctt+
Gl>+ /VI
Vll
V7
I
113
NATURAL MODULATION
12.
(^)
()
=l=i=^:
r^=
-S-
:g
iz;
^^
-G1^ ^
-(S'-
-<s>-
-f2-
9^
-^H =^=P-^
:t:
4
?i6
4
3
V7
D+
G+
F+
c+
V7
V7
('0
(0
^^s=
t lg-^g=E'
bs*-
4
3
b7
6
5
it
F+
Vt'
4
3
s4
2
Fif
D+
I
V72
Vt"
6
5
V7'
V7
F+
B?+
I
Ab4
V7
V7J
V7
NATURAL MODULATION
114
6
5
G+
/Vi
D+
VII
Vt'
6
5
i?5
Vt'
V7'
(\
IV
V7
4
2
C+
I
G+
c+
I
Vt'
/I'
Vt'Vvi
F+
I
V7
NATURAL MODULATION
115
15.
';?^
:^-
4=3t
^ V
^m4 rr
#6
6
5
4
3
D+
A+
VI
l=t:
Df
E-
Vji
Vv
V7I
V87
(1:
16.
ii
2?
^J
=1=:=*
iw=~
^=:4
tfsi-
r
J
:#-^-g
1^
9isfe2
f
Bl>+
I
i^
S6
4
3
GV72
V72
l?4
4
3
F+
C-
Eb+
I
i>6
V7'
:^
J.
,i*
r
7
Ha
54
2
II
V7
IV
Vt
V7'
NATURAL MODULATION
116
17.
::1"
:itit=i:i=
fei
iii
-lr
ipeE'^^=J^S6
4
:#4
6
5
V7I
^f
V73
E+
A+
B-
Ftt-
\IVi
(u.
I.I
I
I
^#-=f:
r--5^F
r-
#4
2
#6
4
3
CiVt''
lîii'
r
G
Fii^
V73
III
11
12
18.
:=1:
:^=F
-g^-
F-fs
G>-^
-1^
9iifci
te
t:
'-t>-f-
:ci|=;
6
5
CI
(r
F-
Eb+
V7I
(IV
b5
AI7+
V7I
NATURAL MODULATION
l?=d=;;=t
iW^
s*
-\l
F=1=:1=
125*L(2
117
fZ.
iE
9^.
aa:^
fa
6
5
c-
Eb+
P (IV
In
IV
VI
VtI
1^
-25*-
r
I
<5>-
^P
.iii
7
i57
Si4
G+
I)+
I
V-
V7
V-
(\
-^1
Tii
III
A+
V7'
I)+
/I.
IV'
NATURAL MODULATION
118
:=!=
-/s*
sU'\<5i-
-te>
r
J
--^^
\-
--^.A
-(9-
iÊe
-(2-
l=:
?-'
=h-|=t:=
^'
Bb+
/I
Vv
IP
\II
*=
;^
-%-
=*i:
î=i.
iil^
117
D+I
6
4
3
E+
BV^7
fv
l^^^^îilpiiiiP
^ .rri ^
;=&:
IV
V^
I'
V,
NATURAL MODULATION
119
22.
m.
-fi^
*~-s>-
r
-J-
g^^
e^ -x^
^%
-a-
Eb+
Ab+
Vr'
"=--^-
iS
fc5>-
Eb+
b7
Bb+
V7
V-
J^-J
12=^
L-^-
r-
El,+
VI
(V
IV
IV
VI
23.
rf"
z=.-;s=ti-J=zueEE=g"B=:
-25^
:fcpj-.^-4-
111!
-J-
g^^^PJî
VI
r-
II'
:t
6
(;,.,
1::
6
4
V7
s?-
r
NATURAL MODULATION
120
:=t
I
^.
a.
9a
nil
-(22-
4
2
G+
VI
IV
Vv
24.
PiiBEE
.4
-J
*?B^-
1^
::t:
Lip
:r:=
6
#6
4
3
DV7
F+
I
Vt^
I^
VI
(11
j
^^:
:it:
=F=
4
3
III
V87
(r'
F+
IV
II
V72
NATURAL MODULATION
Kt
121
*
I---
J-
9^
A(IV
V7
^VI+
(tt;:
^111+
Dvii^.
IV
MT
50
A587
1906
Key
Anger, Joseph Humfrey

A treatise on harmony
A key to the exercises
in
Part 1 of A treatise on
iiarmony
133709
MT
50
A587
1906
Key
Anger, Joseph Humfrey

A treatise on harmony
A key to the exercises in
Part 1 of A treatise on
harmony

Treatise On Harmony

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Treatise On Harmony

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lOSTON MUSIC COMPANY EDITIOH

THK HDSTOX MUSIC COMPANY

Copyright assigned, igio, to G. Schirmer, Boston

Although the great majority of the exercises may be harmonized

earnestly advised to refer to the solution of an

work the same. If he is

THE MAJOR DIATONIC SCALE

which tones and semitones occur.

therefore, not used in

The term 'enharmonic',

change of pitch, is employed for a

principal use of the tetrachord

may be formed from

by taking the upper tetrachord of the preceding, and the lower

taking the upper tetrachord of the scale of D,

and the lower tetrachord of the

In like manner the

taking the upper tetrachord of

and the lower tetrachord

the tone-note of the key.

being midway between tonic

being the note next

THE MAJOR DIATONIC SCALE

The submediant is so called because it is a third below the

the tonic of this scale

leading-note, subdominant, dominant, medi-

Leading-notes C sharp, A, D sharp, G, E sharp,

written in the key of

THE MAJOR DIATONIC SCALE

of the exercises in this

are of a suggestive character

natures of other scales

able for students to write out

and the succeeding chapters

example, the sig-

the major scales with their

In order to avoid confusion which

possibly arise be-

tween symbols and Roman numerals when employed for other

Further tests on this and the succeedinp; chapters, especially

Additional Exercises to Part

tonic scales, refer to the interval

{d) Minor third

(/) Minor sixth

between the key-

a major third, and in the minor

as applied to the dia-

third degree or mediant of the scale.

major scale this interval

(/) Perfect fourth

(y) Major ninth

{d) Perfect fourth

(y) Diminished third

Dissonant; (d) Con-

In a diatonic semitone the letter names are different, as

chromatic semitone the letter

names are the same, and the inter-

an augmented prime or unison

sounds are heard in succession, the interval

and when heard

B sharp, the leading-note in C sharp.

form of the chro-

sharp and C sharp;