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no. 'J
HARMONIC ANALYSIS
— BY—
Published by
of music and a keener appreciation of it. That is taken for granted by all
who have made a serious study of the subject.
There are many students who have undoubted executive ability but who
have no power of invention in writing music. It is for the purpose of giving
students of this kind a more intelligent view of the structure of music, both
as to harmony and form, that a course in the '
Analysis of Harmony and
'
its plan to present material in such a manner that after its own completion
tho student may continue the work of analysis by himself, taking up entire
compositions where only excerpts have been taken and studying the peculi-
arities of composers and of schools. If the work has done this its object has
been accomplished.
It is primarily a work for the class room, assigning definite lessons, avoid-
ing any discussion of points in notation, etc., on which there is a difference
of opinion, and couched in language that is not too technical.
A knowledge of harmony is presupposed, nevertheless chord construc-
tions and a few other points have been explained to some extent.
In the selection of the material to be analyzed the author has endeavored
to gather it from such sources that the student may come into touch with
many different composers of different schools. Not many of the more com-
plex of the modern compositions have been selected since a still wider ex-
perience is needed, both as an analyst and in comprehension, than a student
may have at this time.
The lessons have bees outlined primarily for use in Oberlin Conservatory
of Music.
June 2, 1909.
VI
2
TABLE OF CONTENTS.
PAGE.
Lesson T. Triads and Chords of the Seventh 1-7
Lesson IL The Dominant Ninth, Suspension. Retardation and
Passing-Tone 7-1
Lesson TIT. The Embellishment and the Appoggiatura 13-10
Lesson IV. Attendant Chords, and Broken Chords and Suspen-
sion (con.) 19-26
Lesson V. The Anticipation, and the Pedal Point 26-34
Lesson VJ. The Ornamental Resolution, and the Free Tone 3.5-41
As a further aid in the following work the author recommends that, be-
ginning with Lesson II. the student take up compositions of different kinds
and find in them the particular points of the lessons and mark them. A list
of references might have been added to each lesson, but it has been found
more valuable for the student to find the points in question for himself. This
is particularly true in constructions that are less frequently used since he may
have to look over many measures before finding them, thereby gaining much in
sight analysis.
IX
:
Harmonic Analysis.
Lesson I.
In major keys the triads on the different degrees are marked as follows
I, II, in, IV, V, VI, vn°.
In minor keys : i, ii°, III', iv, V, VI, vii'.
Change of position of the upper voices while the lowest voice remains the
same, does not affect the harmony and need not be marked, Fig. la.
5^fi^^ fct
ii=^
-•- p
I
a ^
1.
i_J
^5d ^—#-
ffc %-- Pe^
Bb Ve I lis— V I I, IV I, viioifille I^ V
EXERCISES.
CoRELLi. Gavotte.
Alleoro. Atsai
; I
Brahms. Requiem.
Moderato. gj
o
. e
Second inversion (5th in the lowest part) 3 or 4.
:^
-75^
^^ i —
^2Z-
l=t
Ab Is lYI II, VI in* vi, IV, 1X5 VII« Ig V« I
^ i
r
-s>-
^ i
IV xwl 11I7 V1I I. ni V—
It often occurs, with harmony remaining the same, that the lowest part
moves to different chord members, a broken chord, without affecting the ear as
a real change of the position of the chord. This is particularly true in quick
tempo. The first note usually marks the position of the chord.
In doubtful cases mark each change of the lowest part
In Fig. 6a no change of inversion is felt, while 66 must be recognized as a
change of inversion.
WlHTOL.
b.
, ^^
6.
6Kz
±=± ^^ia * I
^ ^ J ^ ^
Db '
Bb I IV ir, 1
AVegro
-•-r
\
W^. i 1
C'HOPix. Op. 2.5, No. 4.
Agitato
Andante. Soxtenuio. Kiel. Mass.
^
s^
I
~m • 1^-
a=q=
"» i5*-
1
Brokex Chords.
Chords, instead of sounding all parts simultaneously, may be broken into
different forms of arpeggios, or the many different forms of accompaniments.
Fig. 11. These, in all cases, are analyzed as though all the tones were sounded
simultaneously. The lowest tone, whether continuing throughout the chord or
not, marks the position of the chord. This principle is adhered to throughout,
in analysis.
11.
c 1
l! I
•m- -m- -»- -m- m-
- - w-
N-
-+ ——
:p^t=l=l=«: I I
In broken chord effects it is often well to consider more than one group of
notes as belonging to the same chord formation, rather than to call each group
a diflferent chord. While the latter may not be incorrect, the ear, in many
instances, accepts more than one group as representing one harmony. This is
particularly true of notes of short value. When doubtful mark each group.
Fig. 12
Bach. Prelude. Colef;idge-Taylor. Op. ."9, No. 5.
12.
y viivo
Chords of the seventh when changing position often appear with different
memVjers omitted, at times forming a triad on another degree as in Fig. 13. No
marking is necessary for this.
Mexdelssohx. Song.
Eb IV, ui
14.
—
Allegro. Cramer. Study.
B
-fri i
-,
N^
H ^—SL
IJI H-l-
^2^--Rh • — h — V- =1: -d ——
::4
j ^-
—55—E5—w^ S3-
—^— i—^•*-
•-
-^ i^-
t=W-
f
'
*—i i
^t Passing tone.
L_*f| — -i —^ 1-^ ^ ^ 1 ^P J
18.
r-rga^-w=g=ij-#^-^
F^f->- rrim fl
Lesson II.
7
Fourth inversion (9tb in the bass) 6 .
EXERCISES.
Bargiel. Nocturne.
Tempo di Menutito.
^ Appoggiatura.
* Embellishments.
Andantino.
^ife^lS
-(5'-
Embellishment.
22.
# Passing tone.
The Suspexsion.
A
tone foreign to the chord with which it appears, that has been prolonged
or continued from the preceding chord, is a suspension when descending one
degree to a chord tone and a retardation when ascending one degree to a chord
tone. Fig. 24.
suspensions produce chords of the seventh they should be analyzed as
If
such, unless they are incomplete, when they should he marked as triads with
suspensions. Exceptions to this are found in the dominant seventh and in the
succession of chords of the seventh in root position resolving to chords a fourth
higher, in which case the fifth is omitted in alternate chords.
When the suspension or any of the non-harmonic devices used in later
lessons appear in octaves it is necessary to mark only one of the tones.
Suspensions and retardations may occur simultaneously in several voices.
Signs Suspensions, s Retardation, r.
: ;
24.
^ Appoggiatura.
27.
J4 J^
10
—
- V,
Allegro.
^^^^ HSH H^"^ ^ ' ! '
^^W^
^t- -"kSr.
-P ^- ^1^1 ^ — ;^
q:
-*=!
#
^_ 1 . .
31.
-^ V jl V
> *
34.
Lesson III.
Mozart. Sonata,
+ f)
36.
1 -0-
-0-
B;^i^r-rjg^^g!=r^r,>=^ :$*:
0—^ 0—m gis
^==1^
;i
13
—
m^^m
37. <
-fcl*
'±tiz
^ ^ — 1-
'-^
-•5-1
t-"5»-'— I
-
tr
eI '^i
-^ — ^— ^ifeiB
KjERCLF. Cradle Song.
i^ls
38. {
The Appoggiatura.
The Appoggiatura an unprepared Suspension or (Retardation) approached
is
39o E
ftf_ : \ ^-,
t::
C 1
14
—
8va
Ap.
m tr.
I I I ! I
I I
i
^^^ i
EXERCISES.
Mozart. Eequiem.
Larghftto. ^-
^ »
i^isis
^-Li^"! "^ 1-
40.
i
t=
^=^^=^=1 ^ -^S*,:
SsS
Efc
^^+-it* = —— I (-53 ,
r x gg a^
——
^ ^i:
iStt ^M^ I^-^
-=r-# ^r-0-
1
H ^ _l_
-?!_• H -s-*- -=1-^
|_ n-
:^ ^
41.
15
Kxut-Baeck. Op. 7, Xo. 7.
Moderito.
^^^^^
I
| J |
-w ^—m-
-t^
^- w-
m-4^-
42.
m
'-(^
tegi=i^
-^—
(^j^^^
-# —3 -
^x
• s^^ i
44. Ap.
.-glfi-
'^-
Passing thirds.
Ap. Ap. Ap. Ap. Ap. Ap. Ap. Ap. Ap. Ap,
1
(ZERNY. Op. 299.
— —
Allegro.
-ss=
^m
(Oma. scale.)
^ Ap. E
-.—n^^^0^^
47.
-0-
-• P^l^i
C I IV I
EXERCISE.
CzERNY. Op. 299.
Prcslo.
--^^m^ammii^m^m'^^'m 1 — —— — — —
i i i i i
'
i
'i r
t:
t>
48.
--, — N-
P=i=
^=^*feS3=nEzfiii^EiiifzE=f=g=i5^^f|
m^^i^^^^M^^^^^^^^m
18
Schubert. Op. 61, No. 4.
49.
-z»i:^:^:B:^^
Lesson IV.
Attendant Chords, and Broken Chords and Suspension (con.).
Attendant Chords.
A combination of three or more non-harmonic tones form an Attendant
chord. Fig 50.
These chords usually appear in connection with some fundamental harmony,
or are introduced between a chord and its repetition, and most often take the
form of a chord of the diminished seventh, but are occasionally found in other
forms, the tones at times, having no harmonic relation whatever to one another.
When these chords appear in broken form mark as usual, and in addition
indicate by letters the chord members. Sign At. chd.
:
At. chd.
50.
B V
19
—
Eb L
[;g:;tea=r-rg
1
' »
-ct*-
I
^ z?!-
^4-
5#f- :tf=fc
^^
1 [-- I
Ab V lie
EXERCISES.
Brahms. Nanie. Op. 82.
Espressivo.
iz -(2- i \
-0-
-^-i- -•-.
:ti:
^£A :t=t:
51.
.fi.i
M=^ -I&-.
m —-«(
I
Xi
2«
_L iT^A Schumann. Op. 23, No. 3.
21
g-#
I
Broken Chords (con.).
It is often the case that non-harmonic tones in broken chord effects, which
are approached and left by skip, should be analyzed as Susp's.. App's., Passing
or Embellishing tones. Thia may easily be determined by playing all the notes
of the broken chord simultaneously. Fig. 56.
C'RAilEK. Studv.
56.
m
^S^^EES -^— 0-
Bb IV V, U IV
^S
1
Reduction of 56a.
EXERCISES.
Con moto
CZERNY. Op. 5J99.
^^^^^3
# E. orna.
~^
The Suspension (con.).
The suspension may not only be prepared by a chord tone (see Lesson III),
but may also be prepared by any non-harmonic tone. Fig. 59.
Henisz. Op. 8, No. 1.
a. _^. ^^mm O E K 3 E
59.
— ^-tiS —T p — 1^
^
Ab VI
T ,
^
^4=^^ 1
±5±
Db I
C(W» lenereszn.
tJ
=r^a:
:±zlz ^^^ -
'^^^m •\
•
60.
^
0. ,5^
#»~^-
V: ' r -c
Allegrei' Ce-Sae Cui. Intermezzo.
—— ^ ~
A Series of Oxce Repeated Xotes ascending or descending, with harmony
remaining the same, is analyzed as S"s. (or R's.) and their resolutions, as in
Fig. 62. This, however, is done only when the first of the repeated notes is
unaccented. It is quite possible to analyze such passages as anticipations
(later lessons) and their resolutions. The author, however, prefers to analyze
them as suspensions and their resolutions.
-5-^
I
.EXERCISE.
Chopix. Op. 64, No. 2.
Tempo aiutto.
• •
Szii
1^=^
^ • xiLzat
1
63.
^^m ^=1
Lesson V.
The Anticipation .vnd the Ped-vl Point.
The AxTicrPATiox.
An Anticipation j4 a tone introduced immediately before the entry of the
chord to which it belongs. It may be tied into the next chord or be repeated.
Fig. 64. Sign a.
Beetho\'ex. Op. 2, Xo. 2.
A A + o
26
Ra.meau. Gavotte.
E
Fig. 65.
Any or all tones of a chord may be anticipated.
McFarren. Bourree.
F A.
,i i I
:?—i-ft- IS
+ s
65.
m 0—p-
s^
=•=*=
i
IV| V,
exercises;^.
A. KORESTCHEXKO. Op. 1, Xo. 1.
('.,
66. (
:fc^S==|g -\/
—
.'i^>
J-
:fz=*—=Si
I
\ S|5:
\^^n. 1
i
A&NDELSSOHN. Op.
Andante.
H-
^1^^
IJ^ "
r r
if—«—i
-S^ ^ -•-
t--^
s 5t —•— 1
=t
-1^
-^-
4 — -• —^t
»-
-^^
n ^S
5^—
^^=2: H-
n
£ A E A
70.
*
lz2-4:
Eb V!
—#-
P V
H
Chopix. Op. .59, No. 1.
Ap. A
^=*=Jtt ^ J--?:
^1=1
ga4— I
a V5
Backer-Groendahl. Op. No.
Ap. — -^ ^ tr E
1.5, 1.
— f 1
d. s
— »-•; —^ . m —m-
I I I
L
^
i^E??=r=if:=P=ij=:==:^!
if —— ?
I
EXEKCISES.
Chopix. Op. 59, No. 1.
Moderate.
O^y^ ^*^
«^--*
:;:t
•5^- tjii^-^ •
71. I
--ts-- :^-
^'S "^ti >f 0-
-I 1
>-
•
•
>iA I
H
-J^- J^
^-F :t==l==3
-^i :Qcit*^*^ *= £g^=^=fl
I I 1
;
i
1=^
—^— f-
~(S- if
1
Rebikoff. Op. 8, No. 16.
Andante. 11/ aMll^Mip
L-^
:4:tf H—El I
^ ^ 1 1
H— »
^*J
72.
J^^-
P^4=!
^^-£4i:e=:: i
ji
30
— —
^ ^ JJ-^-JU^';;,.-^
I
»
r
I
^;?i«^
^ ^
i?
-4-
f -^^ IS
I/T
Pedal ^oixt. (Organ Point.)
A Pedal Point a tone continuing through a succession of harmonies to
is
which it may or may not belong. This tone may be sustained (a), repeated (6),
intermittent (c), or accompanied by some ornamentation {d). Fig. 73.
Elgar. Caractacus.
G I V| TI V
Aleneff. Op. 7, No. 1.
d.
m ES^
-x^
D. P. P. oma.
0^:
tri
w ^S^-
• ^
/ Vr E A
fc^
-7 — ^- 15)-
iQ^-
I
^ . 2^:^:
^t^==^:^^
^1^^:^:
^ -&
VL
L'tt]
Two tones may be sustained in the above manner forming the double Pedal
Point.
The Pedal Point may be on any degree and in any voice.
When the lowest part it has harmonic relation only with the chords with
in
which it begins and ends. In all intervening chords the part above it indicates
the position of the chord.
In marking the Pedal Point indicate also the degree, i. e. Dominant Pedal
Point is marked D.P. P., the Tonic, T. P. P etc. ,
EXERCISES.
Fr. Liszt. Christus.
-^ -m- -^ ^ _.
— ^ - ^ —
iva. .^:.U......,.4-^
-S-r^
^.-1 f
«=pb:
f==t
1
y-.
(^ -^f
m
-fit-^ '
» s- -
=:tz=zl:=t t
\-
"^Z TT
8«i. J,
<5-T-
-s ——
• s-
* w-
* —
M' +A« (^'i^p* -5^
Wagxer. Tristan.
Moderalo.
a T^
^—^=^=m 3=5^
fe
75. j^
(^
^ —
-f^
— r I *-^-
5^^^^=
76.
;*--=£ ^==^SiE===
^ggg^ -:^^iEBil
^
f
Lesson VI.
The Ornamental Resolution and the Free Tone.
The Obxamextal Resolution.
Anynon-hartuoQic tone may have one or more tones interpolated between it
and its This is called an Ornamental resolution. Fig. 78 Double
resolution.
and Triple Appoggiaturas 'Fig. 78 t. f.) are to be analyzed as Ornamentally
resolved non-harmonic tones. Signs S. orna., E. orna
: Ap. orna. A. orna.- ,
o orna., + orna.
FiBiCH. Op. 44. Xo. 27.
Bb 11^ n II,
Elgar. Caractacus.
^^ -
,^^-=^ ———
I
d y-
-*—
I
I
I
I
! I
-C5-
E. oma.
i
F. A. orna. Ap.
Ap.
Sfe-
eb Vt
33
—
Mozart. Sonata.
S. orna. S, orna. S. orna. S. orna.
ffi:
Ap Ap.
^ J
^tJ_D. I
C V IV 111(16)
Franck. Beatitudes.
D bl. ap.
s^ g — (&
:=f
^^t:
-25l-
^
R. orna.
TiNEL. Francis.
Trip. ap. Trip. ap.
\ Ap. orna.
Ap. orna.
S|3 -5? ,
F. vii"
EXEECISES.
A. LiADOW. Op. 3, No. 4.
j1 a
^p=ti,=-tif=F=^:EEE-:E?^EE^:
:t
79.
P
36 m
Mozart. Sonata.
Allegro.
I i
6> cL
-i=- -O-
ii4:iM=5=zi5 ;g i
cr^_
Andaniino.
:Q#:^ giS
81,
-•- J^- 4
-^ h.4.
'
^-^-
-51 -^1—«h
-'I P-
1
S|^
_5^_
37
:Ct*:
m
Colkeidgk-Taylor. Op. 59. Xo.
AUtfT*.
m^
^=s=^- *i=ir 1
82.
m=w -S mz
1
» X"ot a free tone.
83.
V-^ ^ " Q
rt
i~55^ I
*-*- -^ ^ir •- -»
"»"ZI T' ^T^ ^^ •
1
The presence of rests immediately before a Suspension, Embellishment or
Passing tone does not affect their nature, and they should be analyzed as though
no rests were present. A rest of considerable length may. however, give the
effect of an appoggiatura to these notes. This must be decided by the ear since
no exact rule can be given as to the length of the rest. Fig. 84.
^m^^^h
84.
2±:
3S
—
EXEBCISES.
Reblkdff. Op. S, Xo. 9.
Tempo iH Jficrxriw.
Am * _^ • "i a
8S.
^»—w»~
(i •^ -"
^ ^
1^3 -* ^~ m
I
Cizifi*: H*-iS-
^=1&• ^- B-^
^°j^a-r=3:kL-k
1
::^=^=i=! 1
CT*- • T- '-
a •^ ^ S^*^ '
#^»^-*-#-#- — 2 1 1 1
— 1
— —— —I
1-»
H-g ^^^
IjSL-
88.
C \l I
EXEKCTSES.
Backer-Groexdahl. Op. 15, No. 1.
/s-^
Chopix. op. 10, No. 8.
AVegro.
-x* -^ ^
90.
m&
Lesson VII.
ExiLVRMONICS.
Tones which have different names but have the same pitch are enharmonic-
ally related and are called enharmonics.
Enharmonics are used in notating chords, which, if notated logically as the
key relationship demanded, would involve the use of double sharps or double
flats, adding unnecessary difficulties in reading. To illustrate: —
a major triad
on the minor second degree is much used. The notation of this chord in the
key of Gb is Abbi Cb, Ebb- For simplicity the notation G, B, D, its enhar-
monic equivalent, is often used instead.
Entire passages are often changed enharmonically for the sake of simplicity
in reading. A common modulation is to a key a major third lower. A modulatioD
41
thus from the key of G fiat, it goes to E double flat, involving ten flats, much
harder to read than the key of D, its enharmonic equivalent, which, therefore, is
ordinarily used.
An exasperating use of enharmonics is their substitution, either willfully or
through carelessness, in spelling chords, at times so distorting them as to make
them almost unrecognizable.
The exercises in the present lesson will deal only with enharmonic change
for the sake of simplicity in reading.
Misnotations will be taken up in later lessons.
Analyze the passages as written, only indicating the actual key. In cases
of single chords give their correct spelling, and analyze in the corrected form.
This will be sufficient recognition that the chords are enharmonics.
o SCHUMAXX. Op. 19.
E I II V
Coleridge-Taylor. Op. .59, No. 8.
EXERCI8ES.
Cesek. Op. 24, Xo. 3.
Poco adagio.
^^^ £ Sg «-^-
sr-B ^-=i?|K
^_.,
:^: =t:=t=t==:
92.
t 4=-
&'
fer :
t% i
^ ^T^
^^ g_^: ^0 t*
m: 4=:
&.
fe
"Wagner. Lohengrin.
Steis^lP^
— —
^125:
±=
1/ ", V
-r 1 r*^.
Beethoven. Op. 13.
Adagio.
WY^
3-
^ » •-# 0-0-0 —0-0-0—•-•-#-L-#^-#0-0-0—0-0-0 — 0-0-0—^
"*» '^''"'^ try "^~^
a s
i,
t^
^r>-r T-r^- -rrr tTT'
95. =d sd Bs :» :aa.
^g
-.*-•-•-•-•-•_ »J»-P_«_p_p y 1
i
1 1 1 1 1 , 1
—
; I
1 1
^|»-|»-P
f^
'^^^^^^S=^
Altered Chords.
An altered chord is one that contains one or more chromatically altered
tones, but does not modulate.
The Mixor Sub-dominant and the Diminished Seventh on the Leading Tone
IN Major Key.
There are two chords which, though regularly found in minor keys, are
frequently used in major keys. They are the minor triad on IV (minor sub
dominant) and the diminished seventh on vii". Fig. 96 a. h. The lowering of
the sixth degree in major keys which brings about the alteration of these chords
is quite common as will be seen in further analysis.
4.5
y^^
GouxoD. Gallia.
96.
4=^
:!Zs:
t=:
-<s-
iiM
G I< IV
m V7 I
Mendelssohn. Op. 5.
pi^^Sipgi^^ga
*2i^
:5*=F tf
f^:^=t: Pi
D vii? Yt I
EXERCISES.
Perosi. Lazarus.
97.
:s=i=?
«-•- «?±
* ^- ^ g=J:
1
=§i= =SS.
._,Si^__ 1
V 46'
r«'
'^
Chopix. Op. 32, Xo. 1.
Antlanie.
ib
99.
— — — —
TiNEL. Francis.
100.
g^
'§^-
—e- t^ 3
^ r-si
"i^
i
-tE . A -'5'
M . ^ ^22-
I
HS>- -i5>-
Gounod. Gallia.
AndanU
-t ——— 1 I *r-i
"^ M !
'
^ ^^ 1 ! I
^^— — l~r >•*-; i
j
i f -f-F-*-i—^t— h— >mmmm—
i
101.
113 ''
HI)
4^
— !—#-•-•-•—1=^^ — I
—^^L. — I
^^••^a •-*-
{\
es:^
£
48
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Lesson VIII.
, Beetho\-en. Op. 7.
102.
EXEECISES.
H. Parker. Hora Novissima.
Moderate
C'
103.
49
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EXERCISES.
Coleridge-Taylor. Op. 59, No. 10.
Ltnto.
104.
?iJ^^ii
The Supertoxic Seventh with Raised Third and Fifth in Minor Keys.
EXERCISE.
Benedict. Gavotte.
^ ^ ^ Sfo
105.
ili?iiSili^i^^
50
^^^ii^^^
I
:t
\
J
-9-
— s-
^
-0-
-jr
-+
m
The Diminished Se^-exth ox the Raised Second Degree.
This chord is the enharmonic equivalent of the diminished seventh on raised
fourth, but is used in major keys only.
As in the case of the supertonic seventh chord, a single appearance of this
chord as well as of other chords of the diminished seventh, does not induce a
modulation, and should be analyzed as an altered chord.
It is sometimes difficult to tell whether chord formations of this kind and
those following in this lesson are really altered chords or merely Attendant
chords such as are described in Lesson IV. It is in fact difficult to give exact
limits to these chords, as tempo, mode of introduction and resolution play so
important a part. The following directions will on the whole serve in most
instances: As was said in Lesson IV, an attendant chord usually appears in
connection with a fundamental harmony, or is interpolated between one and its
repetition. To be an altered chord then, a chord should stand by itself and
resolve to a chord other than that which precedes it. When doubtful mark as
altered chords. Fig 106.
Ap. Thoma. Op. .58.
106.
EXERCISE.
Con brio.
SOKALSKI. Op. 1, Xo. 6.
107.
51
The Diminished Seventh on the Eaised Fourth Degree.
This chord, although the enharmonic equivalent of the preceding chord is,
however, found in both major and minor keys. Some writers hold that the
former chord is but a misspelt diminished seventh chord on the raised fourth
degree. A discussion of this is not necessary here. Fig. 108.
Calkin. Op. 89.
I
F.A.
p^f^f^jg^^p^^gpjgpi
r Ap
108.
'
1* ' « I Jf >- 5^ -•-
tft=£
m :t==: 1
C IV I, IV,, IV, V, I
EXERCISE
Mendelssohn. Capriccio.
Presto,
1=^
:^^gggjg|-|^ l^
109.
pa
iv'-'
[ID]
Chords of the Diminished Seventh (eon.).
Chords of the diminished seventh are also found on the raised first, fifth,
and sixth degrees in major keys, and on the raised third degree in minor. These
usually resolve respectively, to ii, vi, or some form of V, and to IV.
EXERCISES.
Schumann. Op. 1.
110.
-0 — ir
t
53
^ ^
-*-* ± —•-
— 3^tz — (a
111.
«?^ a:
S:
t:
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Calkin. Op. 89.
-•- n^-
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^ W ^ F -0-
112.
' "i^ I
( >=z4=itii: :!—r-t
r—
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113.
i^.|
§^ r^zizz: .(a
54
:
Lesson IX.
Chords of the Augmented Slxth.
Probably the most frequently used of the A Itered chords are those of the
Augmented Sixth, so called because of the interval of an augmented sixth above
their lowest part.
As far as the spelling of these chords is concerned they are chords of the
seventh, but are seldom thought of as such. They are so often used in the
inversions, which give them their names, that these are looked upon as their
conventional forms, and they are usually thought of as built, not on a root, but
on the note that is in the lowest part.
There are four kinds of these chords
The Augmented Sixth marked 6+ ( ) comprising a major third and an
augmented sixth above the lowest part (a) ;
6+ \
The Doubly Augmented Fourth, (marked *++ comprising a major I
third, doubly augmented fourth, and augmented sixth above the lowest part (d).
Fig. 114.
Chords of the Augmented sixth with doubly augmented fourth are con-
sidered, by many writers, to be misnotated Augmented Six-five chords. What-
ever one's opinion may be it will help the clearness of the solution to analyze the
44-1- chords as such.
114.
115.
^^ga
IV,
I I
KoPYLOw. Etude.
?SfcS
t»=K
^i^%-r^fr
(^^Ei==^^ ft
EXERCISES.
MozAjiT. Requiem.
— —av-'
7s ^ '
I
» ~1 1
— PR*
1 [-*- ' * a
'
——
' I
1
h^*-* — I "• — —
'-*
116.
4^-
^
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56
:^*:
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T
Beetho\'en. Op. 7.
JlfoUo AUyiro
m^^^^mw^^^
117
Allegro.
^ —
:8==: f3^1S» t=it P
118.
r
dZ:
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Allegro.
:i2
^-<.-
^i£|HTi^= 3^^:
119.
:=!:
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ji s_
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58
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120.
^_^_ ^^P
Elgar. Light of Life.
Adaqio.
121.
1
^
;\rozART. Sonata.
^ negro.
-^, — —I— —i+^-ftj-#-
^=t: I
:«*='
i
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122.
talps:-'
_« -Lgg=± 1= 1± —i=i—
if?zf?^e^3=^,^
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1 ^ 5g^;ge^^g!g=gl
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124.
^: m—^—0
^— •-h-a— •— :i=P=QP=--
:5# _^_^ 1
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Schumann. Op. 23, No. 1.
Modfrati
;=— —— I ^iii^
u u 1/
t>-i^
:S:
125. r r
GO
6^
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Lesson X.
«+
comprises a major 3rd, diminished 5th and minor 7th.
^ {h.
126
il^isii^^^l?J=l
Bendl. Gipsy Melodies.
127.
I -^ *~rz^ - -n—
61
EXERCISES.
Franck. Beatitudes.
128.
m^m -(^ 4^ H
AUegrn. Blumenfeld. Op. 17, No. 8.
fcl
• 1- —- '^^»i"("
:«^:
=i*
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M^B^Hta
129.
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53=
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A
-«==:: — =j
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q q ^-i-
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62
W. Eebikoff. Op. 8, No. 9.
u Tempo di Mazurka.
.. ,
.,4. ..^''
130.
i -
y~i> ^^4— n-
^^^t*'^^^
fcit^-=«;
^^-Z^El=z^ ^
Chords of the Augmexted Sixth Misnotateu.
There are many instances of misnotation in chords of the Augmented Sixth.
It occurs most often with the |+ chord in which the upper note of the interval
of the augmented sixth is made a minor seventh, giving the chord the appear-
ance of a dominant seventh. The resolution of the chord, however, shows im-
mediately that it is a misnotated augmented sixth chord.
In cases where the spelling is still more distorted, the ear and eye must
combine to detect the chord. It may be necessary to change different intervals
of the chord enharmonically, until a result is secured that agrees with some
chord construction. It may also be necessary to add the test of resolution to
make the result sure.
this to
Mark the chord as if spelled correctly, and indicate the correct spelling as
in Fig. L316.
131.
63
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Figs. 131a. and h. are passages from the variations in Beethoven's Op. 57.
They are parallel passages in succeeding variations.
Note the carelessness in spelling the Doubly Augmented 4th chord.
EXERCISES.
Eduard Schuett. Op. 17, No. 2.
Poco moto.
&^^
132.
^'§=-
^^5=^ ir^ ^^
.^^^ S
?^ ^^ =^ 1
yz'uzizzzzz^-: :Ji
Moderato
> TSCHAIKOWSKI. Op. 40, No. 12.
Sa^ 11
-'&-
133.
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, 64
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134.
^^
The Neapolitan Sixth.
The Neay)olitan sixth is a major triad on the minor second degree in its first
135.
EXERCISES.
Brahms. Op. 45.
Con moto moderato.
-#
—• s ~s~n
-Ka=e:
4^ rtis:
=^
F
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136.
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Chopin. Op. 10, No. 2.
Allegro
^s_^*_-*^±_
137.
.L.
^^t^^^^-r-gs'-^-4-j-j-^'-4-
'
Beethoven. Op. 57.
Cesar <_'ui.
Allegro
139.
^¥
Lesson XI.
The Skip Resolution.
In the resolution of dissonant chords, the approach to the note or chord of
resolution is, in many instances, made freely, no regard being paid to the
melodic tendency of the voices. Fig. 140.
The chord of resolution in many instances is incomplete, nothing more than
the root being present at times. This occurs most often in the resolution
of V, to I.
E^r""
140.
•
EXEEXIISES.
Bendl. Gipsy Songs.
A'lulanivrw
y»A^<jL-
r^
?^^ k£
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Chopin. Op. 20.
K-r-«'-"
^y.
143. K -(«-
Iv.
y
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i^
(
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IS
144.
^^^
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145.
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I
Cadences.
Cadences are not only Authentic and Plaofal as usually presented, but are
found in various forms. Fig. Ii6 illustrates some of these.
Coleridge-Taylor. Op. 59.
^a_ ^
146.
^''
-a*-^
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1
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6.
-=t-
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71
Coleridge-Taylor. Op. 59,
33
EXERCISES.
Coleridge-Taylor. Op. 59, No. 14.
Andante, nwdernto.
147.
149
—
Pekosi. Laazaro.
1*1=^^^
« — — —•—•—•—
m d ^ m '
i,
150.
:=S=q= :q:;
S
^^
>
/I ndnnlino
modulation or only an ^i^^J^ ^^^^^ Jn
when resolving to I) of a new key is a
or not the student is asked ^^^ns^^^
•
modulation is real
deeding whether a
modulation permanent the new V, chord (and its
the following To make such a
•
resolution to I should
) be followed by a complete cadence in the new key.
repetition of a progression V,-I in a new
key at
In slow tempo the mere
impression to be called a modulation. After all
times gives a strong enough key
acuteness there wil be differences
th^^ar must decide, and since ears differ in diversity
modulation There is and always will be a
as to what a permanent
is.
!
I
152
R. oma.
Andanti'M.
,.f V
^ >. / ^. -"^
75
MoZAiiT. Sonata.
Andante.
154.
3 »- —3- ' • ? 3
? ^ . ^iq
^i^l^^fe^^^Si ^$^
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76
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Wagner. Lohengrin.
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Common Chord Modulations.
Y
A common chord modulation is one in which the transition to the new key
Is made by meansof a chord that is common to both keys. If the key is so far
distant that there is no common chord, then a modulation is made to an inter-
mediate key and from it to the final key, always, however, by the use of common
chords. To illustrate: in going from C major to Fis major there is no common
chord, hence a modulation is first made to E minor or B minor, which contain
chords common to F^^, and then to Fa^. These intermediate keys are often only
touched upon, sometimes not containing more than two chords. The final key
is made permanent only by an extended final cadence, i. e. a cadence containing
Brahms. Requiem.
(
-(22-.
^ ^ ^ehv-
rS- -(2-
158.
^ 4^^^ r-f-=f:
M:
^ ^ I I
Eb V7 VI V
79 iXv^'-"
i^'M
D IV [3W
The minor sub-dominant in major keys and enharmonics are used as
common chords.
A major triad may be altered to minor or vice versa, the altered chord be-
coming a chord in the new key. Fig. 1.39.
Wagn'Ei:. Lohengrin.
.^if^Jtll -t^—ttr^^
^=g^^ff=f=
W^z4z± :rtM :ti==t:
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Mhw. ai^ ^> X ^^3 ^^
159. 3
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^'Ur-
ERCISES.
Mendelssohn. Op. 14.
-#-
:t
160.
^^^-:,^^:^mr^^^^nt^
:I
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— — — '^g#==^S=S
"*"
-^
§
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fi^—^tt»-»
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Wagxer- Lolienjirin.
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Moderato
-fe*_-fe ^Mf*
^feo z:^W2J=^ li^
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161.
tt^
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SCHUMANiS. Op. 23, J^, 3
23j^.
t ff^
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162.
i*=i
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81 ^
1 — I
Lesson XIII.
Modulating by ^Means of the Diminished Seventh on the Raised
Fourth Degree, and by ^NIe.vns of the Augmented
Sixth Chords.
By Meaxs of the Diminished Seventh on the Eaised Fourth Degree.
The Diminished Seventh on the raised fourth degree of the new key resolv-
ing 1^ followed by V7, I (sometimes to V^), makes a strong permanent modula-
tion. Fig. 163a-
In major keys this chord is sometimes notated like a diminished seventh on
the raised ^econd degree. Fig. 163/>.
Beethoven. Op. 7.
-«• —•-
itzt
:il^ -^r~p''^0
——
ij
^
163.
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— i
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82
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y-*-&fL-
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— —— —— —
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JJ<tJt*3i
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Schubert, ilemnon.
Gt-
^Sl^:==i
Mozart. Sonata.
164.
e^ ^ 83
A!^^
'nlA'
.<. ^,A
•y KYV
V^
*
Einjach.
166.
I < I i ^' I
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g^te--^=gg
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Wagner. Lohengrin.
\
JUoderato. -•-*(—
-0- -I—
i^
=2?=i^
H '•^ *~^_^—
167.
S i=:T
^ I
^— j— h -J= m
i^^=f=^^^i=^^^
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:i:-
^E^=5zz^ ^^^^^i^f^^^ u
85
^3Y^-^'
By Means of ax Augmented Sixth Chord.
strong feeling for the new key, and forms a permanent modulation. Fig. 168
Misnotations occur often with these chords when used for modulatory
purposes. When they occur note them.
Liszt. Christus.
168.
EXEECISES.
Chopin. Op. 59, No. 1.
169.
^ — *
^
Fkaxck. Beatitudes.
^ ^^ H *1 ^
8 I _L-X-=^ S^JJifcSi±^ES:7
170.
M
i^fcp^
1/ '
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:IB
—
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Beethoven. Op. 13.
Allegro
u ^
>
I ^
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i=4: I
>
Schumann. Op. 28.
P \ P
173.
WB^^^
m^^ :t^=
"g*
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P
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1 ^
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*"T P I
c
Ff=
I
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tti^^:^:
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tts-#-s
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F— F-Li # — #-JJ
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tr
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i
88
R. Strauss. Op. 15, No. 5.
AndantaS
174.
Vfy '-
Lesson XIV.
Modulating by Means of the Neapolitan Chord, Alteration of
THE Diminished Seventh, and Deceptive Resolution of Vt.
By Means of a Majoi; Triad ox the Minor Second De(;ree
(Neapolitan Sixth).
A key may be entered through the major triad on the minor second degree
(N6 orNS). This chord and its regular resolution forms a strong permaneat
close.
Mark the modulating chord (X6 or N8 ) in the new key, and continue in new
key. Fig. 175.
For sake of simplicity in reading, this chord is of ten enharmonically changed
when going into keys with many flats. In such cases give its true spelling.
Brahms. Nanie.
At. c hord.
175.
-sf— s-
^-=M--
^
-0-
I
m
EXERCISES.
R. Strauss. Op. 15, No. 5.
Andante.
90
— $
-~t^1? I
——r\ 1
— '^
s 1»--^
1
S-' m aj-" 1-
^^
1 i
Flf = Gb F« = Gb
178.
i^rmitev, I
5 3 "LsoJ
y Reduction of the lower staff.
Diminished sevenths are often altered as above, and notated and resolved
as the g"*" or 4-1-1- chord of the new key. They are also altered so as to become
«+ ^
4+ chords in the new key. Fig. 179.
3
Mark the diminished seventh as an altered chord in the old key (if it is not
vii%). The Dominant seventh and the Augmented sixth chords are marked as
being in the new key.
Misnotations often occur in these modulations. Indicate correct notation
'
in such cases. .
179.
EXEKfiyE8
Chopin. Op. 54.
z: :ziz:ji
— -rir-trfl tfn
..
— ^ r
.J-
182.
-4-=l r I
—
n
C^S\^
The Deceptive Resolution of thes Dominant Seventh.
^^, ^'
A Dominant seventh may resolve to any chord in any key, and is valuable
as well as interesting as a means of modulation.
Its resolution to V7 or I of the new key is most frequently used in modulat-
ing. Fig. 183.
Schubert. Symphony in C.
^3-
—
183.
H ?•-
-i
E
— -s^i: %-i »-
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\^ Mil I Ml m 1
1— "—J ^
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I
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-^ S-
,Jlt-
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1
-f ^- J?
ill -J?—-
i^B
Wk Illfi iv« G I^
[10]
93
Beethovex. Op. 54.
Ap. orna.
Ap. orna.
£^^^=1
A 1 vii« L
EXEKCTSES.
Allegro agitato. Chopin. Op. 66.
T=ri—H=F
94
-77^ /l
r^
Bendl. Gipsy Songs.
185.
3=^ ijc
^a
13:
-u
—i5> -i
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186.
t^ J =:l*=ilt
:«^ 1 ^
:tt^-
=t#:
^1
^^^-
Hugo Wolf. Christnacht.
i #
^-i 1
^— r
Lesson XV.
Succession of Keys without ^Iodulating, and Successive Tonics.
There are inst?«Dces when the transition to the new key is made abruptly,
there being no apparent connection between the two keys. Transition of this
kind are strongest when the material on entering the new key is an imitation of
the preceding phrase. This, however, is not necessary. Fig. 189
ELGAth Gaia^lacua; ~,
189.
EXERCISES.
Elgar. Caractacus.
190.
s #. -^ -^
192. <
Passages Modulating through Many Keys.
193.
—^— —
r; I I
1|2 , 1
, ^ ,
a iig ii V7 D V7 G V7 C V,
96
izidZ^itcii:
n
f •_ii^ F=?Fi=* 1
2>" i? -p-.-pr i^ T—"-f- I
!
. — I-
-#3^:
:t=!z::
.«^=^ :^i^
F V7 Bb V, d ivi
EXERCISES.
CZERNY. Op. 3.3.5.
Allegri
194.
d^ S x
:2=|=l|:lzz^:^;z|z^rfe=
S ^4.
=|-tf^^g^J=g
|. ^|^^^^|g^^.z^E|=tJgS^
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99
— r — I —
Vivo.
^- -0-
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^
tt
— I
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1 3 -#
195.
^
^ r2 I I
A—^
S?5M?=i^ —
1 r-
— m <-rJ2|»^U^g •_ :^i=t^
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-p — :|=t m
Cramer. Study.
Prestissimo.
felS
:^-n^
^•=zz?5t ±^
^ :|=^
3E:^(h
196. ^
§e!L±
:|=^ — ^ ^5*-!?=:
I 0.
ttA
-if:-f:
iit
=^=?:^
ft*^'-:J:
iit
^i^
iro
^^^1
Consecutive Tonics.
Passages also occur in which there is a succession of triads that have no
relation one to the other. These are to be analyzed as consecutive tonics, i. e.
call each chord the tonic of a key, Fig 197. Do not, however, misuse this
privilege. Many passages that appear like consecutive tonics may, after a closer
examination or enharmonic change of some of the chords, prove to be in one key.
Ap. An.
Wagner. Tristan.
197.
— 4S--
EXERCISE.
^'
198.
SS5E-E^^EEiE5=^: -m
±^ '^
"iOl
—
/«-
IS* I
-*-
4
bi:
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1^ m
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5?S
i^ =§5^
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r
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rM~
rfrS:
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s
Wagner. Parsifal.
/"
Moderato.
i
i^
%*g^^-Ff^^p=^:#:^ifc|^^5-:i^.ig
199.
— 11/5'-
te
102
.-^
WiTHOL. Op. 10, No. 1.
200.
:5te
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Aninrt'ino.
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^
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I
103
Lesson XVI.
E E E
201. /
intervals necessary to complete these chords of the seventh are added, a very
clear succession of passing diminished sevenths will result. Passages like this
really coine under the head of two point writing.
104
—
=SfzltHzi=t.
202.
#-#- Ql^ -0-
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EXERCISES.
Allegro, Beethoven. Op. 111.
203
10.5
:^= ^^ 9
^=EE3E^=i^
^
-^
^
^
Schumann.
^
Op. 111.
.',
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/^-i" -' '^
|:^>C5^ (r> j^-^
fi'
^-^ij ^^ ^rjj
-ghr
lOti
TiNEL. Francis.
205.
Introduce passing tones in more than two voices and a passing chord is the
result. If some of these tones are chromatic passing tones, then the chords are
chromatic passing chords.
Progressions of this kind in Lesson IV had to do only with a single chord.
In the present lesson a succession of such is treated. The upper voice usually
moves by a step or haif-step. Fig. 206.
Mark the principal chord as usual, and the chromatic passing chords as
such, taking up the usual marking of the principal chords when they reappear.
-I 1 1 — ^=--f- 1 F-
206.
107
Statkowski. Op. 23, No. 3.
Ap.
^ ^ 't
Ap. oma.
im^^iM
Gb V,
Chopix. Op. 4?
^9-
108
Cadenza.
Passing chords
EXERCISES.
CHOPIN'. Op. 33, Xo. 4.
8vn.
207
109
Rachmaninoff. Op. 3, No. 5.
Sostenuto.
—N-
-I '— I
^
j-
L mi^m I
^~ F~[~
208.
Sequence.
110
^
Liszt. Christus.
209.
Vlli!o
iiieEb vii% Vt
g-
-K-;*'-
4^A^
ii==t^^^=^t=^S
^^^^ 1
V, EbV^AbV, DbV,GbV, C V, FV, Bb V, ebV,
EXERCISES.
Mendelssohn. Op. 14.
210.
-^^^
S^- ' '
'
'
'a
'
^
-3»-
#-&-^
i^:=^A=^= s=:^EEE^^sfeE==fl
Cramer. Study.
212.
113
I I
-!1 '
H
Lesson XVII.
Two Simultaneous Harmonies, One and Two Part Writing.
Two Harmonies Appearixg Simultaneously.
It sometimes occurs that there is a definite impression of two simultaneous
harmonies, one of which is other than an Attendant chord. Fig. 213. Mark
each chord separately. In cases where the second chord is but an Attendant
chord, mark as usual.
E F. FA Ap. E E FA
213.
#
I
———
Ap.
33
Ab V, VI
EXERCISE.
Mendelssohn. Op. 14.
:ttc
214.
S :tl«-
^ -I
#-^
! 1-
114
^=§^^ tesS^(
J 1
^^\
——
^P^:^^J1»=H=?
f^^-^ F-| 1 I F -MB^ \mm
ler
•^r—±i
Wagner. Parsifal.
215.
,=e=g,.=,:^=fec=t=t=-£=^^^s^^
^4=F-r^^ r^r^^^g=^ ^^p P^ -
j c*
i
;i:fei^
—ffg=
*^r
i6=S?!:
3^^
5*-
^^ii3S=S=&
^s^ lit
- =t*-
i^
tt^
8it
115
Two Part Writing.
Under two part writing only such compositions are considered, both parts of
which have equal melodic individuality. Those in which one part is clearly a
broken chord effect have already been analyzed. Fig. 216.
In analyzing two part writing it is sometimes necessary to supply missing
intervals or togroup several notes together. The tempo must, however, always
be considered. In slow tempo, progressions are often heard as change of
harmony, where in quick tempo they would give the impression of but one
chord. (See also Lesson I). The accented note of two notes belonging to the
same harmony decides the position of the lowest part of the chord, but in slow
tempo both may have to be marked. A root with passing seventh in the lowest
part gives the impression of the third inversion only. A chord with the passing
seventh in an upper voice unless one of a series of passing tones, mark as a
chord of the seventh.
216
116
CZERNY. Op. 335.
Allegro modrrato
217.
V f
'.
•- [ 1 4 « —— —
!
ffF !
^-^ —f — t—
Mozart. Sonata.
AUegro.
218.
estiis:
-^^^=^^=^-
m - ' *
m,-.
'^^^^^^r^^t^r-'-
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r —
421
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219.
—\
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llg
OxE Paut ^Vritixg.
writing holds good here. Fig. 220 is an interesting example of one part writing.
Ap. I !
:J-«W-
z^
:E
220.
T;^. ^4
^ f=^:p2»:
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[117]
Ap. A- E. orna. A.
i
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11>)
Chopix. Op. 39.
Presto confuoco.
221.
~^m^^^
222.
120
•
:t=i=2p^
?-•
iciafzi^-^^
r:=t:
Mozart. Sonata.
Ett -0
V— a _^ a^MHi, 1
i \-
—
223.
ST
-•—
'^=^=^M^^^^^^=^^
121
Lesson XVIII.
The Church Modes.
In addition to our modern modes (major and minor) that have been analyzed
so far,much music is written in the "Church Modes." There are six of these :
the Ionian (our major mode), the Dorian. Phrygian, Lydian, Mixolydian and the
Aeolian. The last being the original form of our minor mode. These modes
are written as in Fig. 224
224.
-7S—^ ^ -25— «& -o~^
-<^—s:
Phrygian. Lydian.
<9 ^
-<& <2-
-G>-
-«.— <2-
i* — } <&—«^-
-6*—a.-
1
The. following are a few of the above with other signatures.
«?-^-' fSC^-
:tJ=: rS^-^- G^a.
?zl?z^ G>-^
Vm^G-^-
Eb Lydian. F. Dorian.
122
On analyzing the above it will be found that the Dorian mode begins on
the second degree of a major scale and progresses upward an octave, the
Phrygian on the third degree, the Lydian on the fourth, the Mixolydian on the
fifth, and the Aeolian on the sixth. The starting point of each mode being its
tonic.
Since some of the modern writers are making such frequent use of these
modes in producing many of their unique effects, it ha^ seemed advisable to ask
for an analysis of the mode as well as the harmony of the following exercises.
Do
not rely on the signature as a clue to the mode. While e. g. the Dorian
mode beginning with d, usually found with the signature of C major, it may also
be found with the signature of F major, the b, however, always being natural.
Occasionally modes modulate to other modes This is easily recognized by
the appearance of tones foreign to the mode, or by the cadence at the end of the
line. Fig. 225a begins in C, Dorian, makes a digression to C Aeolian at the first
hold and returns to C Dorian in the next line.
The seventh degree is raised freely in final cadences, particularly in the
Dorian, Mixolydian and Aeolian modes. Always indicate it in the analysis.
Tones are sometimes altered for the sake of color, but are not used enough
to induce a modulation. Mark these as indicated in previous lessons.
Passing embellishing tones etc. are also often used in altered forms in the
harmonization. This does not affect the mode.
The final chord was usually written major, no matter what the mode. This
does not affect the analysis of the mode. In analyzing give the name of the
mode and analyze the harmonies in this mode.
In marking the mode give also the key from which the mode takes its
tones, e. g., C Dorian, F Phrygian etc.
Bach. Choral.
o. C. Dorian. C. Aeolian. C. Dorian.
-I-
225.
123
^—— ^ •-
:t^
-9f- I
'
^^ /
:p=t:
:t=f: i
VII, IV* V1I« III I IV I, II, V I
[3»] vm
A. Phrygian.
6. Ap.
-0-
-•-
^
-•-
-Is •-
:t=^l
n« I
Ap.
-0—k
n
-,_•-
IV,;» I«
124
^
EXERCISES.
Bach. Choral.
H— J-
227.
J- - _J -^— r—
^1
12.5
— — —
228.
AUegrettn.
229.
~
H— 1 1^ f^~ I »-J^-7ri 1 i !
^. "! ]^ ^i^^ *
1
1— I
Tl
^ '; I ^1
--1-
1
^ I
I '
,.
I
!
I ^
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p B
126
Chopix. Op. i'4, No.
230.
HOBRECHT. 1430-1506.
Salve Regina.
=^
*-m-'^-
231.
-^-•^
->-g-g---L^l
^E4: ^e^.
r-r-t- -h=^ v-^
B. Ducis. 1480—?
Vater Unser.
232.
-9-
5^ 1
-m- -B- -S>-
m ':f=-^ i
Lesson XIX.
Reduction.
Reduction the eliminating of all non-harmonic and unessential chord
is
tones, and the retaining of only those necessary for a simple and clear harmoni-
zation. It will be seen from this that after an example has been analyzed har-
monicall}', the matter of reducing it is comparatively simple.
As regards the melody to be reduced, as far as possible follow it in the
reduction. Anabsolute adherence to this is, however, not necessary.
Melodies which transgress the limits of four part writing should be raised
or lowered so as to come within the limits.
The reduction should be made in four part writing, even though the example
to be reduced is only in one, two or more parts.
Fig. 2.3.3 contains several examples reduced and analyzed. An examination
of these will no doubt be suggestive. In '"6" it has been necessary to introduce
five voices in the fourth measure owing to the presence of a complete V9 chord.
128
*
^-4-
^*=
:fc=V
t^^-- "-^ — 1»-
233./
4 ^-ft'^g>5<-.
W^ t: i
:ait
^±$^
^ — «'— ^-j-
i
(
-1=^
( t ii
C. IVf n| IVg I! Vv
rvhi [3« r^iji
^
Ap. Ap.
-•-
ss^t ; 1 I
^ 1 i
:tf
:rttii
£S=^^^.
1
i>f- £S»-;
;^ 'i^^^
^:a=^
:^W
^^ "=(2-
as: :2S:
Bb. V, Eb V,
-i5^ —
m
129
Beethoven. Op. 106.
D V-
Ap. orna.
^•^
S?i
1
130
Franck. Beatitudes.
Andante.
234.
t^^-
:^1
i^Ti^ifz^-zizi^^^S^
>-^>^^i^=^
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I
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^
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131
I
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235.
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132
I — —— h I —— 3I I h I
<^ i>
Parker. Op. 30.
Tempo giusto.
^^ —
1 ^— —^-^-•-1
I
1 — 1-;-* — HT— ^— — I
I d ' •—
236.
p^-x i — I
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237.
h-
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Chopix. op. 11.
Dolce kI tspr'i
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238.
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— ^ H ,
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Lesson XX.
The remaining lessons consist of exercises, which will serve as a review
of the preceding lessons.
EXERCISES.
Franck. Beatitudes.
Moderato.
— ——
X ^~^~^
•• 1
»-; H
1
I
1 I
1 1
1
I
S^'
239.
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+^
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It
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l?::?!'^.-. -*-
m^^mmm^m^^m
I
(Z (S., (ff
tntr:
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136
MacDowell. Op. 23.
240
137
— ^
Nichi schuell.
241.
§E^^^s*^=^^^f8S3'=i
^^^'^T^rf^iTi
m '^:m
.^=i^
h^^g^ • £*i
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f=«ff=^
=^^t^EE?i|
-^- —
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tt^i-
(g fl» ^ :M= r
4*; :as=g#^=f=gi
338
— — — I
liPI
Perosi. Lazarus.
242.
Adngw.
4=riz^S=z=ii=L=
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'Ti*
1 — —^ Jflf^-^
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5•
53
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1
I ^ •*- Lj ^ ^1 I M
EixJAR. Caractac'us.
Allegro.
243.
>:r-|
^«#1^-•- — 5--'
F:iiM
p — ^r"x—-r ^— ^ — =^- :ttt
139
>.
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244.
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140
— ^
Lesson XXI,
EXERCISES.
TranquiUo. Richard Strauss. Op. 10, No. 8.
> Jr
• i-
'i^x'Xm^-
** ^#-»K ^ —^ ^---^^-f
I
=—
•
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245
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lf±z!!^tt=:
2-
lit g^. -r
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246.
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--^ m-9-S-^d- :
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•
247.
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248.
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Lesson XXII.
EXERCISES.
249.
144
# —
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I 1 I
Andante.
250.
—
|-Oh —
1 1 1 —
u
146
^
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-;5?-
l^i
Cesar Fran'ck. Beatitudes.
e Ptn trnnquiUo.
-^-*^ ^
251.
3
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it=tl^=
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MT Lehmann, i-riedrich Johann
50 Harmonic analysis
L58
1
UNIVERSITY OF TORONTO
EDWARO JOHNSON
MUSIC L;EirtARY ]