exercises in harmony

EXERCISESmHARMONY

Simp l e and A dv anced

SUPPLEMENTARY TO THE TREAT IS E ON HARMONY

B CHA.

IC !

DES I G N ED ,M A TE R I A L

FOR A NY F I GUR ED BA ss M ETH OD

BENJAM IN CUTTERTE A CH E R 09 H A R M O NY N EW E N G L A N D CU E S E RVA TO R Y O F M US I C

V A

NEW EN CONSERVATORY.OF M USI C

1910

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BOSTON :BOSTON MUSIC CO.

TH E Obj ec t Of this w o r k i s s ta ted by i t s tit l e . A few wo r d s of

exp l a nat i o n see m,howeve r

,to be nece ssa r y . The b r ev i ty of m any

O f the ex e r c i se s , a nd t h e i r co m pa r a t ive fewnes s i n so m e i n s ta nces ,

a s,for e xa m p le

,i n t h e a l te r ed c h o r ds , on ly t h r ee o r fou r u n d e r a

head i ng— a r e due to t h e fo l low i ng r ea son s . E xpe r i en ce tea c h e s

t h a t i n ca ses w h e r e a spec ia l p r og r ess i o n i s i n quest io n , t h e l ea r ne r

O ften m a ste r s h i s ta sk m ost sa t i s fa c to r i ly , w h en a few s h o r t e x e r c i se s

po i n t i ng d i r e c t ly a n d spec i fi ca l ly to t h e p r og r e ss i o n i n quest i on a r e

t r a n sposed a goo d ly n u m be r O f t i m es . If t h o se w h o h ave won t h e

m aste r y i n t h e se m a tte r s w i l l con s i d e r t h e i r Ownexpe r i en ce , t h ey

w i l l fi n d t h a t fa m i l ia r i ty w i t h a p r og r e ss ion — due to r epeated

w r i t i ng,o r d ue

,o f tent i m es , to t h e co r r ec t i on Of m any exe r c i se s

i s the'

roa d over w h i ch they h ave passe d to t h i s m aste ry . I n the

st ud y O f ha r m ony the l ea r n e r i s m ade acqua i nted w i t h ea c h c h o r d a n d

i t s pos s ib i l i t i es , a f te r a ce r ta i n o r d e r,a nd w i th m o r e or l e ss de ta i l :

qu i te a s a n app r en t i ce l ea r n s t h e pu r pose a nd h an d l i ng of t h e too l s

i n h i s too l c h e s t . And i t i s o n ly w h e n con s i d e r a b l e m ate r i a l— in

ot h e r wo r d s , con s i de r ab l e sk i l l— h a s bee n got toget h er t h a t t h e

l ea r ne r i s a l lowed to m ake a ny t h i ng , to con s t r u ct . T h e w o r k Of t h e

l ea r ne r m ay be ca l l ed , then , a p r oce ss o f co m p r e h en d i ng and o f

a ss i m i l a t i ng,fo r r eady use , t h e tec h n i ca l i t i es w h i c h u n d e r l i e the

co nven t i o na l con nect ion of cho r ds . A s has j u s t been s a i d , t h e se

convent i ona l i t i e s— w e ca l l t h e m p r og r e ss ion s°

” a r e m o s t rea dil v

m ade one ’

s p r ope r ty t h r oug h t h a t fa m i l i a r i ty w h ich co m e s f r o m t h e i r

f r equent us e . I t i s h oped , then , t h a t the co m pa r a t ive pauc i ty of

m a te r i a l i n ce r ta i n pa r t s O f th i s wo r k w i l l be u n d e r s too d a r ig h t .

Inthe fl o r id s op r a no s , o n the other hand , m ay be fou nd s eve r a l

exe r c i se s of a k i nd . E xpe r i e n ce s h ows t h a t i n advan ced ha r m ony th e

l ea r n e r fa i l s to g r a sp h i s t a sk qu i te a s Oftena s i n t h e ea r l i e r l es so ns ;t h a t h e st u m b les qu i te a s m uch and i s a s eas i ly d i scou r age d . I f

,

h oweve r, one exe r c i se of a k i nd be wr i t te n two or t h ree t i m es

,u nt i l

t h e i dea be g r a sped , the fo l low i ng pa r a l l e l or‘s i m i l a r exe r c i ses m ay

then be a ssayed w i th t h e p r ospe ct Of w r i t i ng t h e m co r r ect ly a t t h e

fi r st a tte m pt . T h e encou r age m en t and t h e a ssu r an ce wh i ch co m e

f r o m success,i n ot h e r wo r ds fro m the po sse ss i on of m o r e tec h n ique

,

wi l l p r ov e of w h o l e so m e effect, i n t h e m a ste ry of t h i s i n te r est i ng an d

va luab l e pa r t O f t h e h a r m ony cou r se . I t i s s ugge sted t h a t i n a d

v anced wo r k two or t h r ee subj ec t s be un d e r ta ken s i m u l ta neou s ly ;fo r t h e e le m en t of

“ g r adu a l g r owth , d epen d e n t o n r efl ect i on andobse r vat ion

,not on ly du ring t h e t i m es Of actua l w r i t i ng

,bu t a l so

between t h e m , en te r s v i ta l ly i nto t h i s p r ob le m , a nd s h ou l d be bo r n e

i n m i nd .

Spec i a l h i nts a n d suggest ions h ave been a ttac h ed,w h en necessa ry

,

to t h e sect i on s r equ i r i ng t h e m .

I .

11.

I l l .

I V .

V .

V I ;

V I I .

V I I I .

I X .

X .

X l .

X I I .

X I I I .

X I V .

X V .

XV I .

XV I I .

XV I I I .

X I X .

X X .

XX I .

XX I I .

XX I I I .

XX I V .

CONTE NTS .

CHO R D S ! I P M ELOD I ES

R EPEATED TON E M ELOD I ES

SC ALE S TEP M ELOD IE S

CHO R D S O F TH E S I x TH

THE S I x FO U R CHORD

DOM IN ANT SEVENTH I N VERS ION S

TH E S ECON DA R Y TR I A D S I N M AJO R

I N VE R S ION S OF S ECON D A R Y TR I A D S I N M AJO R

THE LE A D l NG—TONE T R I A D

CON SEC U T I VE CHORD S OF THE S I x TH

S EQ U EN CE S .

E A S Y E x E R C I SE S I N O PEN H ARMON Y

M O RE D I F F IC U L T E NE RC I SE S I N O PEN AN D C LO SE H A R

AIONY

S ECON DA R Y TRI AD S IN M INO R

I N VE R S ION S O F S U BO R D IN ATE TR I A D S I N M I NO R

TH E UN I N VERTED N INTH I N M AJOR A N D I N M INO R

THE I N VERTED N I NTH IN M AJOR AN D I N M I NO R

D IM I N I SH ED S EVENTH I N VERS IO N S

M ODU LAT ION I N G EN ERAL

M O DULAT ION B Y M EA N S O F A M ED I ANT C HO R D

M OD U LAT ION DY M EAN S O F A SUPE RTO N I c S EVENTH

G RA DU A I . M O DU LAT ION To A ! E Y , M O RE O R LE S S R EMOTE ,

THE SU PERTON I C S EVENTH I N M AJOR AND IN M INO R

TH E I N VE RTED SUPE RTONH' S EVENTH I N M AJO R A N D I N

M I NOR

CONTENTS .

SECONDAR Y SEVENTH CHORD S I N GENERAL

SECONDAR Y SEVEN TH CHORD S I N VERTED

CHORALE S, WI THOU T M ODULAT ION S,U S ING THE I I

,

THE R A I SED AN D LOWERED SCALE STEP S

AUGMENTED S IXTH CHORD

ALTERED CHORD S WITH A D IM IN I SHED TH IRD

DECEPT I VE R E SOLUT ION S OF DOM IN ANT OR D IM IN I SHEDSEVENTH

THE E N HARMON I C CH ANGE OF A SEVENTH CHORD

THE E NH ARMON I C CH ANGE OF A TR IAD

CHROMAT IC APPROACH TO CADEN CE

THE S INGLE SU SPEN S ION

THE RETARDAT ION

DOUB LE AN D T R IPLE SU SPEN S ION S

THE APPOGG I ATURA,AN D APPOGG IATURA CHORD S

THE DELA Y ED AN D THE E MB ELL I SHED RE SOLU T ION OF

THE SU SPEN S ION

THE ANT IC IPAT ION

PA SS ING TONE S

E MB ELL I SHMENTS

CHORALE S, CONTA IN ING M ODULAT ION S , SU SPEN S ION S , ETC . ,

O B L IG ATO M ELOD Y

RUNN ING B A S SE S

VOL ! SL IEDE R

FLOR ID SOPRANO S

E X E RC I SE S I N H A R M ONY .

I .

C H O R D S ! I P M E LO D I E S .

A l l th e e l e m en ta ry exe r c i ses s h ou l d be w r i t ten or p l ayed i n c los eha r m ony : sop r a no

,a l to

,a n d te no r i n r ig h t han d . Ont h e a d opt ion

ofope n h a r m on y , t h e i n ne r vo i ces w i l l l o se t h e i r sub s e r v i en cy to t h esop r a no

,wi l l cea se to fo l l ow i t b l i n d ly

,a nd the p r i nc i p l e s o f pu r e

pa r t w r i t i ng m ay be e m p loyed .

" 1 .

M OD E L .

EX ERC I S E S I N H A RMONY .

EX ERC I S ES I N H A R M ONY .

I I .

R E PE AT ED TO N E M E LODI E S .

MODE L .

EX ERC I SES I N H A RMONY .

I I I .

S CA L E ST E P M E LO D I E S .

M ODE L .

EX ERC I SES I N HA RMONY .

I V .

C H O RDS OF THE S IXT H .

SUGGEST IONS .

One cho r d , i f poss ib l e , for a Sk i p .

E ndeavor to m ake occa s i o na l s ca l e p r og r es s i o n s i n ba ss , i f on lytwo note s l ong . T h i s i s t h e begi n n i ng of m e l o d i c ba s s w r i t ing .

Such p r og r e s s io n s w i l l o ccu r i n the success i on s : 16 I V , I V 6 V “, V 6 I .

P lay a t fi r s t w i t h o u t a l to a nd teno r , t h e m i n d fi xed O I I i n v en t i nga good fiowing bass .

R oot or fi ft h i n sop r a no , t h i r d poss i b l e Inba ss ; t h i r d i n s op r a no,

r oot i n ba s s .

‘ I . 6

MOD E L .

EXERC I SES I N H A RMONY .

https://www.forgottenbooks.com/join

E XERC I SES I N H ARMONY .

EX ERC I S ES IN H A RMONY .

V I .

DO M I N A N T S EVE N T H I NVE R S I O N S .

Domi na n t s even th a t ea chM OD E L .

In EX ERC I SES I N H A RMONY .

I V I V

V I I .

T H E S ECO N DA RY T R I ADS I N M AJO R .

GENERAL USE OF ROOT CHORDS.

Connect i ng pr i nc ipa l tr i ads . Preferab ly in c l o se harmonyt h r oug h out .

EX ERC I SES I N HA RMONY . 1 !

S PECIAL US E S .

The I I inthe p r og r e ss i on,I I V I . Sca l e steps insop r a no : 2 , 2 ,

V 7

6. 5 . 5 ; c tC

1 2EXERC I SES I N HA R M ONY .

T h e I I i n t h e p r og r e ss ion , I I I2V I . Sca le s tep s i n SOprano : 4,V7

Th e I I I i n t h e p r og r e ss ion , I I I I V . S ca l e step s i n SOp rano z 6 .

T h e V I i n t h e decep t ive r eso l u t i o n ( decept i ve caden ce ) , V 7 ,V I .

Sca le steps i n sop r a no : I, 7, 6 ; I

, 7 , I ; 3 , 2 , I ; 5 , 4 , 3 .

E N E RC I S E S I N H A R M ONY . ,3

V I I I .

I NVE R S IO N S OF S ECO N D A RY T R I A D S IN M AJO R .

The 116Int h e p rog re SS Ions : I I

6

i n sop r a no : 4 , 3 , 2 , I ; 2 , I , 7 , I .

V7I o r I I

6lgV, I . S c a le s teps

Th e I I I6i n t h e cadence a s a s ub st i tu te for t h e lg; I I I I I .

Sca l e s tep s i n sop r a no : 5 , 5 , 4 , 3 ; I , 7 , 7 , I ; 3 , 3 , 2 . I .

I I I V

Th e V I I a nd V I I P r og r e ss i o n : V I I , I , o r V I I I . Sca l e step s6

i n sop r a no : 7 , I ; 4 , 3 .

6‘

EXERC I SES I N H A R M ONY .

T H E L E A D I NG-TO N E TR I A D .

Used p r i n c i pa l ly a s a c h o r d Of the S i x t h .

X .

CO N S ECUT IVE C H O R D S OF T H E S IXT H .

66 6 6 6 6 5

EXERC I S ES I N H A RMONY .

X I I .

EA SY EXE RC I S E S IN OPE N H A R M O NY.

TR IADS AND v7INVERS IONS .

EX ERC I S ES I N H A RMONY . 1 7

X I I I .

M O R E D I FF I CULT EXE RC I S E S IN O PE N AND C LO S E

H A R M O NY.

IVI a y be h a r m on i z e d i n g r ea te r pa r t by p r i nc ipa l c h o r d s .

SUGGE STIONS .

One c h o r d ( r oo t ) fo r a sk i p ,i f poss ib l e .

I f t h e m e lody sk i ps , en d eavo r to ca r r y a n i n ne r vo i ce , or both i n ne rvo i ces

,up o r down , acco r d i ng to t h e d i r e ct ion oft h e sk ip

,befo r e t h e

sk i p i ts e l f . T h i s w i l l g ive a t l ea st one h e l d tone d u r i ng t h e sk i p .

A V7i nve r s ion m ay so m et i m e s be u sed i n t h e ca d e nce .

O m i t fi f t h fo r sake Ofa s m oot h l ead .

Ana ngu la r sop r a no r equ i r e s a s m oot h bass ; h e n ce , u s e V7i nv e r

s i on s f r ee ly .

T h r ee vo i ce s m ay m ove i n pa r a l l e l m ot i o n i f one vo ice be h e l dst i l l ; O fte n t h e ca se w h e n a c h o r d i s r epea te d .

M OD E L .

N O . 2 .

1 8 EXERC I SES

4 . Open ha rmon y throughou t .

I 0 . Open ha rmon y throug hou t .

I I . D i t to.

I 2 . D i t to.

I N H A RMONY .

EX ERC I S ES I N H A R M ONY . 19

X I V .

S ECO N D A RY T R I A D S , I N M I N O R .

Open or c lose h a r m ony ; p r e fe r ab ly , f ro m t h i s po i n t on, open andc lo s e , acco r d i ng to lo ca t ion of sop r a no no te s , h ig h or low .

V I 110

V I I I0

V I I I° V I I I0

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20 EXERC I SES I N H ARMONY .

XV .

I NVE R S I O N S OF SUBO R D I N AT E TR I ADS , I N M I N O R .

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EX ERC I S ES I N H A R M ONY .

XV I .

T H E UN I NVE RT E D N I N T H , I N M AJO R A N D I N M I N O R .

2 2 EXERC I SES I N H A RMONY .

XV I I .

T H E I NVE RT E D N I N T H , I N M AJO R A N D I N M I N O R .

24EX E RC ISE S I N H A R M ONY .

X IX .

M O DULAT IO N I N G E N E R A L .

! EYBOARD EXERCIS ES DES IGNED ESPEC IALLY FOR THE

ACQUIR EMENT OF DEXTER ITY.

a . Mo d u l a t i on s i nd i ca ted by the l ead i ng tone ; p l a ce the seventhinthe ot h e r oute r vo i ce ; l i kew i se the fi ft h .

Toma !or, and tomi nor keys

EX ERC I SES I N H A RMONY . 25

To be p l ayed as p r e ce d i ng exe r c i ses ; a l so , p lay , h o l d i ng co m m ontone s .

6 . IVI Odul a tions i n d i ca ted by t h e seven t h ; p l a ce t h e l ea d i ng tonei n t h e o t h e r o u te r vo i ce ; l i kew i se t h e fi ft h .

To ma !or keys .

Ca dence

Ca dence

To mi nor keys .

Ca dence

26 EX ER C I SES I N H ARMONY .

4 . To minor keys .

C a dence

Toma!or keys .

Ca dence

Cadence

EX ERC I S ES

7 . To mi nor keys .

9 . Toma !or and minor keys .

I N H ARMONY . 27

28 E X E RC I SE S I N HA RMONY .

XX .

MO D U LAT I O N BY M EA N S OF A M E D I A N T CHORD.

To keys,m o r e or l e s s re m ote ; m odu l a t i ng do m i nan t m ade acces

sib l e by t h e u se of t h e u ppe r o r l owe r m e d i a n t of t h e p r i m a ry k ey .

T h e m e d i an t shou l d conta i n a s h a r p i f m o d u la t ion be to a s h a r p key,

a fl a t i f to a fl a t key ; t h e m e d i a n t m ay a l so be m ade a ccess ib le,i f

n eces sa ry,by c h a ng i ng t h e m ode oft h e p r i m a r y ton i c c h o r d .

EXAMPLES .

c to E . c to Db.

C to bl7. C to C l) . C to B .

Modu l a te a t keyboa r d f r o m any g i ven ton i c to a l l m ajo r a nd m i no rkeys . T h e s m oot h ness of t h e m o d u la t io n m ay be i nc r eased by theu se of t h e n ea r est do m i nan t seven th i nve r s i on , or d i m i n i sh ed seventhi nve r s i on

,ta k e n after t h e m ed i an t . A m p l i fy by t h e ad d i t io n of a ca

d e n t i a l p r og r ess ion .

XX I .

MOD U LAT I O N BY M E A N S O F , A S U P E RTO N I C S EVE NT H .

T h i s m ode o f m odu l a t i on— to so m e keys ve r y ha r sh— m ay ofte nbe m a d e ve ry effect i ve and b l a nd by l owe r i ng t h e fi ft h of t h e m edia ting supe r ton i c sevent h c h or d i f the m o d u la t ion be to a m ajo r key .

I nve r s ions a r e r e co m m ended .

C to e . C to A l) . C to G . C to B .

EXERC I SES H A RMONY . 39

XX I I .

G R A D U A L MODULATlON TO A ! EY, M O R E OR L E S SR E M OT E .

Made be s t i n t h e fo r m of a pe r i o d — tw o ba la nc i ng p h r a s e s . Moveth r o ugh two or m o r e i nte r m e d ia te or 1 e la te d k ey s i n t h e fi r s t p h r a se

,

a nd o ne or tw o k ey s i n t h e secon d , t h e la s t key be i ng r e la te d to t h ep rospecth e to n i c— a m i no r ke x i f t h i s ton i c be m ajo r a n d vice ver s a .

C l o se t h e pe r io d , and tak e t' e d o m i na n t seve n t h o f t h e p r ospec t i v e

key , p 1 efe 1 a b l y 111 so m e i11 1 e 1 sion.

'

1 his do m i na n t m ay be 1 e so l ved

a t o nce , o r , i n t h e ca se o f a pub l i c pe r fo r m ance , t h e r eso l u tion , theton i c c h o r d , m ay be u sed fi r s t i n beg i n n i ng the n ew p i ec e towa r dN hich t h e m o d u la t ion h a s te n d e d . A pause on th e fi na l d o m i nan tmake s the ton i c f r e s h a n d e ffec t i ve .

Th i s m o d e of m o d u l a t ion m ay be u se d , h oweve r , i n t h e fo r m of asingl e ph r a se , a s show n be l ow .

May be stud i ed w i th m ost p r o fi t a fte r ch r o m at i c c h o r d s an d decept i ve re so l u t i on s .

C 10 Ab, via (1. B l) , f .

30EXERC I SES I N HA RM ONY .

c to Ab, via Eb, f . C asE , via a , fg.

C to b, via a , G ,D

,A .

XXI I I .

THE SUP E RTO N IC S EVE NT H , IN M AJO R AND IN M I N O R .

3 2EXERC I SES IN H A RMONY .

XXV .

S ECO N DA RY S EVE NT H CHORDS ; iN G E N E R A L .

7 ( 7 ) 7 ( 7 ) 7 (7 ) 7 ( 7 ) 7 (7 ) 7 ( 7 ) 7 ( 7 )

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C H O R A L E S. WI T H O UT M O D U LAT I O N S , U S I NG T H E ” 7 .

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EXERC I S ES IN HA RMONY .

XXV I I I .

T H E R A I S E D A N D LOWE R E D S C A L E ST E P S .

THE RAIS ED FI RST ST E P , IN MAJOR .

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T H E R A I S E D S ECO N D A N D FO U RT H . A N D T H E R A I S E D

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THE LOWE R E D SEVENTH ' STEP, IN M I N O R .

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(THE FLAT S ECOND ST E P . )

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A U G M E N T E D S IXT H C H O R D .

Th r e e reso l u t ion s : by expa n s i on , by s k i p ,by pa r a l l e l m ot ion .

I n m ajo r .Der iv a t ion . Re sq tions .

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N o modu Ia tions . T ra n s pose i n d u s t r iou s l y .

42EXERC I SES IN H A RMONY .

T H E A U G M E N T E D S IX-F IVE .

R esol u t ion s .

C .

‘

I I7

I I6 116+

5 5 4

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EXERC I SES IN H ARMONY .

T H E C H O R D O F T H E DO U B LY A U G M E NT E D FO U RT H .

Inm ajo r .Der iva t ion .

R esol u t ion s

W4 WET

o o oc . v il

7v u

4v i1 15 1

3 3

43

44EXERC I SE S IN HA RMONY .

T H E C H O RD O F T H E A UG M E NT E D S IX—FO U R—T H R E E .

Inm ajo r .Der iva t ion R esol u t ion s

11 11 n6 6+ 1

6 I 1v 2 2+ I V

6I V

4 4+ 4 6

3 3

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V V1

616+ V

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87 mburs a


46 E XERC I SES I N H ARMONY.

XXX .

A LT E R E D C H O R D S WI T H A D I M I N I S H E D T H I R D .

A l so wit h C h r o m at i c i n te r va l—aug m en ted s i xt h—inany two uppe rvo ices .

I V 7 ; ra i se d r oo t ; m i no r m ode .


XXX I .

D EC E PT IVE R E SO L UT I O N S OF DOM I N A N T OR

D I M I N I S H E D S EVE NT H .

Modu l a te f r o m t h e fo l l ow i ng seven th C h o r d s , u si ng each m e m be r ofeac h seve n t h c h o r d a s a r oot

,a t h i r d

,a fifth , a seve nt h , o f a d o m i nan t

seven t h c h o r d,an d of a d i m i n i s h e d seven t h c h o r d ; r e so lve ea c h n ew

d i ssona n ce a nd a d d ca d e nce . Use en h a r m on i e s i f neces sa r y .

Cha nge pos i t ion of V 7 i f nece s s a rv to a vo i d pa r a l l e l s , o r sk ip s .

EXAMP L E .

bet ter

3d . sth . 7th . R oot . 3d . 71h .

EX E RC IS ES I N H A RMONY .

49

XXX I I .

THE E N H A R M O N I C C H A N G E OF A S EVE N T H C H O R D .

enha ruunfi c chang e s c fi t h e fi na l c h o r d h1ea c h p r og r e s s ion int h e fo l l ow i ng m a nne r s : 1

, w i t h ou t c h a ng i ng t h e

p i t c h ( s ou n d ) o f any m e m be r o f t h e c h o r d ; 2,c h a nging the p i t c h

of one m e m be r ; 3 , c h a ng ing t h e p i tc h e s o f tw o m e m be r s ; 4 . c h a ngi ng t h e p i tc h e s of t h r ee m e m be r s . E x h au s t t h e po s s ib i l i t i e s i n e a c hc a se , a n d to ea c h en h a r m on ic c h ange— mo d u l a t ion—a d d the p rope rc a d ence .

50 E XERC I SES I N H A RMONY.

XXX I I I .

THE E N H A R M O N I C C H A NG E OF A TR I A D .

E xhau st poss ib i l i t i e s ofkeyboa r d . Cha nge pos i t i o n i f n ecessary .

XXX I V .

C H RO M AT IC AP P ROAC H TO CA D E NC E .

The ba ss note p r e ced i ng t h e 2chord m ay be ha r m on i z ed i n eachcase by va r i ou s Chroma t i c cho r ds ; as expe r i m e nt w i l l show .

Inminor .

EXERC I SES 1x H A RMONY .

5 ,

XXXV .

S U S P E N S I O N S .

THE SING L E SUS P ENSION.

Poss ib l e w h eneve r a vo i ce m oves d ownwa r d a m ajo r or a m i nors econ d .

M odel for i n ser t ion ofsu spen s ion s i n sopra no .

MODEL . S

5 2 EXERC I SES

5

I nse r t suspen s ion s i n ba s s .

I N H A RMONY .

EX E RC I S E S I N

XXXV I .

THE R ET A R D AT I O N—R I S I N G S U S P E N S I O N .

l’o s sib l e w h en a c h o r d m e m be r r i s e s a SCCU IN I , ma jo r o r m i no r .

I n s e r t r e ta r d a t io n s a n d s u s pen s i o n s .

flQ Q i

sa I

f—I—T—T—i

.

i

i

||I

I

I

I

I

F'I'T'TT

l2 1—_

i-

E|2 I

ba s s u I

54 EXERC ISES I N H ARMONY .

XXXV I I .

DO U B L E AND TR I P L E S U S P E N S I O N S .

B ased on t h e desce nd i ng sca l e steps i nvo lved i n the progress ion sI 11, V 7 I , V 7 V I , V I I

O

I or V I , v ugo I or V I , etc . Modu la te free ly,to

a vo i d m o notony .

I n se r t Su spen s i o ns .

87 mba sm

56 EXER C I SES I N H A RMONY .

XXXV I I I .

THE A P POGG I AT U R A , AND A P POGG I AT U R A C H O R D S .

T h e appoggia tu r a Cho r d , so ca l l e d , m ay be m a d e up w h o l ly o f a ppoggia tura s ; o r t h e appoggi atu r a i n t h e sop r a no m ay be acco m pan i e d bya pa ss ing note or pass i ng no te s , or by an appoggi atu r a a n d a pa s s i ngnote . In m ost ca se s t h e appoggia tu r a c h o r d wi l l l oo k l i k e a d i m i nished seve n t h m i nus one of i ts m e m be r s . T h e d i stan ce of ea c h unessen t i a l tone f r om i ts to ne of r e so l u t ion—_ e i t h e r a m ajo r o r a m i no rse con d— m ust be d ec i d e d by t h e ea r .I n se r t appogg ia tu r a s an d appogg i a tu r a C h o r d s so ca l led .

MODEL . A ppog g ia tu ra chords .

EX E RC I SES IN I I A RMO NY .

38 EXERC I SES IN H A RMONY.

XXX IX .

T H E D E LAYE D A N D T H E E M B E L L I S H E D R E SO L UT I O NO F T H E S U S P E N S I O N .

I nse r t inSop r a no .

Ine i t h er vo ice ; co m pl ete the harm ony .

Inl i ke m a nner .

Inba s s .

E m be l l i s h .

EXERC I SES IN HARMON Y .

E m be l l i s h .

S9

ba s s a

87mburs a

EXERC I SES IN H ARMONY.

XL .

TH E A NT I C I PAT I O N .

X L I .

PA S S I NG TO N E S .

EX E RC I SES IN H ARMONY .

X L I I .

E M B E L L I S H M E N T S .

6 1

62 EXERC I SE S IN H A RMONY.

XL I I I .

C H O R A L ES , CO NTA I N I NG M O D U LAT I O N S , S U S P E N S I O N S .

S U BO R D I N AT E S EVE N T H S , ETC .

04 EXERC I SES I N HA RMONY.

XL IV .

O B L I G ATO MELODY.

FIGURED BASS ES FOR THE INVENT ION OF ME LODI ES IN THEVARIOUS SMAL L ER FORMS .

!M a ter ia l ta ken fromthe c la s s i cs !

Th ese ba sse s m ay be u sed , as i s part ly shown i n th e Mode l , fo r t h ed eve l op m en t of pa r t w r i t i ng , or ofp i anofo r te w r i t i ng ,

w i t h o r w i t h ou ta n ac co m pa n i m en ta l pa r t ; or, two i nstru m ent s m ay be e m p loye d . A s

the objec t of th ese e xe r c i se s i s to deve lop t h e powe r to con st r u ct am e lody , a nd as a good m el ody i s a l way s m ade up of pa r t i c l es

,va ry

i ng i n l e ngth,and often i n Cha r ac ter , the l ea r ner s h ou l d r ega r d ca r e

fu l ly the b r acket s ove r th e va r i o u s ex erc i ses . F r o m t h e m he w i l lsee how l o ng to m ake these pa r t i c le s

,o r m e lo d i c c l au ses ; w i l l be

ta ugh t , when they a r e ofequ a l l e ngt h , wh ere h e m ay u se pa r a l l e l construc t i o n , i n o t h e r wo r ds

,u se t h e t r a n spos i t io n of t h e sa m e m e l o d i c

m ot i ve , w i t h or wi thou t s l igh t a l te r a t i on . T h i s wo r k m ay be tak e nup w i th m ost p r ofi t du r i ng adva nced h a r m ony . I t m ay be wel l tosay t h a t seve r a l se t t i ngs of one bass are mo r e va luab le than one se tt i ng eac h of seve r a l d i ffe r e nt bas ses .

B EETHOVEN .

M odel .

EXERC I SES IN HA RMONY .

M E N D E LSSOHN (a l tered ) .

B EETHOVEN .

B EETHOV E N .

65

66 EXERC I SES

5

S cherz o. Vz'

v a ce.

5 6 6 55

b9 b9 b9

—I F

T M T

i

F—T

i I_—I h I

—_

I I

JIfi z rcz'

a sol enne.

g u a at. .

2

II6 6 7 fl 6

IN H A RMONY .

B EETHOVEN . ( a l tered) .

£6

r

4 II

M O ! AR T .

F“

7 I

6 7

EXERC I SES IN I I A RMONY . 6 77

A l l eg r a/l o ( onmo/o.M HN DE LbSOHN (a l lmd l

SCHUM AN N ( a l tered) .


9 . H AYDN .

Andante.

M O ! A R T .

E XERC I S ES I N HA RMONY. 69

XLV .

R U N N I NG B A S S E S .

Th ese ba sses , con ta i n ing pass i ng tones , a ppoggia t u r a s , etc . ,m ay

be t r e a ted i n va r i ou s ways ; tha t i s , th e r igh t ha nd pa r t m ay be w r i tt en w i th one cho r d for fou r bass to nes , two cho r ds for fou r ba ss ton es ,a nd so fo r th

,acco r d i ng to the j udg m en t of the teach e r a nd th e sk i l l

ofthe scho la r . L a bor and t i m e m ay be saved by w r i t i ng t h e bass ont h e u n der m ost of fou r s tave s , and p lac i ng t h e d i ffe r en t r igh t han dpa r t s onth e t h r e e upper s taves . E xa m inat i on ofN os . 2 an d 3 w i l l

Show so m e ofthe poss ib i l i t i es . D i l igent p r ac t ice i s reco m m ended .

70 EXERC I SES I N H ARMON Y .

H I LLB R .

R hy thms ofr ig h t ha nd pa rt .1 .

Pa ra l lel phra s e , s ame rhy thm.

—i —i —i —i

5 . Andantz’

no.

EXERC I SES IN H A RMONY .

EXERC I SES IN HA RMONY . 73

Conmoto.


EXERC I SES I N H ARMONY .

X LV I .

VO L ! S L I E D E R .

For a solo i n stru m en t w i t h acco m pa n i m en t . A grea t var i e ty of

a cco m pan i m enta l form s i s po ss i b le h ere , and i s reco m m en d e d . Tw o

or th r ee set t i ngs of the s a m e song W l l l e n la r ge the sc liol a rs’

p rofi

ciency .

GERM AN .

Andant z'

no. RUSS IAN .

E X ERC I SES IN H A RMONY.

R USS IAN .

BOHEM IA N .

6 .

L ento e dol oroso. mG ERM A N .

RUSS IAN .

EXERC I SES IN H ARMONY . 77

ITA L IAN .

ITA L IAN .

RUSS I AN .

78 EXERC I SES I N HA RMONY .

F R ENCH .

F R ENCH .

BOHEM IA N .

so EXERC I SES I

'

N H A RMONY .

X LV I I .

F LO R I D SO P R A N OS .

The se fl or i d sopra nos m ay be t r ea ted pa r t ly a s p i a no p ie ces,pa r t ly

a s p i eces for a v io l inw i t h p i a no a cco m pa n i m ent . Or,to a cqu i r e

sk i l l , t h e sa m e exerc i se m ay be se t i n both w ay s— t h e ta sk of co m

pr e ss i ng a piece for two i n st r u m en t s i n to the bounds of te n fi nge r s,

or t h e oppo si te p r ocedu r e , be i ng a lways a va l u ab l e sc h oo l i ng . A

g r ea t va r i ety of acco m pan i m enta l fo r m s m ay be e m p loyed,a nd t h e i r

p r ac t i ce wil l t r a ina nd m ake r ea dy for l a te r o r i g i na l wo r k .

ACC ENT ED PASSING NOT ES .

1 . A nda fl tz'

no.

0 A ccen ted pa ss ing note .

EXERC ISES I N I I A RMONY .

4 . Andante .

UNACC ENT ED PASS ING NOTES .

5 . Anda a t z'

no,

+ = Una ccen ted pa s s i ng note.

82 EXERC I SES IN H ARMONY.

PASSING TONE AND AP POGG IATURAS .

8 Ana ’ant z'no.

10 . 15o A z'

ta /o.

A

H ILLER .

l 2 A l l eg retto.

1 3 . Andante .

EXERC I SES I N H ARMONY .

AP POGG IATURAS .

83

84

ALTO .

EXERC I SES IN HA RMON Y .

UNESS ENTIAL TONES IN G ENERAL.

EXERC I SES IN I I A RMONY .

L ANGHA N S’ V iol i n E tude .

85

86 EXERC I SES IN H ARMONY .

19 . A l l eg roma nontroppo.L A NCHA NS , V iol i n E tude.

2 0 . a l l a Pol ka .


! R EUT ! ER,V iol in E tude.


2 4 . A udantz'

no anz aoz'

l e.

F IN E .

EXERC I S ES IN H ARMONY .

92

3 0 . P res to.

EXERC I SES IN HARMONY .

RODE , V iol in Ca pri ce.


93

exercises in harmony

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