harmonic analysis (1910)

8/3/2019 Harmonic Analysis (1910)

1/174


2/174

LIBRARYOF THE

University of California.Class


3/174


4/174


5/174

HARMONIC ANALYSISBY-

Friedrich Johann Lehmann

Professor of Theory in Obej-Iin Conservatory of Music^author of Treatise on Simple Counterpoint

and Lessons in Harmony.

Published byA. G. Comings & Son,

OBERLIN, OHIOCopyright. 1910. by A. C Comints A Son. Oberlin. O.


6/174


7/174

PREFACE.

It is hardly necessary to enter into a discussion as to the value of "Analy-sis of Harmony and Form" in gaining a clearer and more intelligent viewof music and a keener appreciation of it. That is taken for granted by allwho have made a serious study of the subject.

There are many students who have undoubted executive ability but whohave no power of invention in writing music. It is for the purpose of givingstudents of this kind a more intelligent view of the structure of music, bothas to harmony and form, that a course in the "Analysis of Harmony andForm" was inaugurated in Oberlin C.'onservatory of Music. That this waswise has been proven time and again during the eight years that it has beenin use. The student becomes more intimately acquainted with the masters,their peculiarities and mannerisms, thus enabling him to give a much more in-telligent interpretation of their works.

As an aid in memorizing music, analysis also has great value. It en-ables a student at a glance to see the harmonic and formal structure whichprovides him in a way with guide posts in the shape of harmonic progressionsand formal divisions to lead him on.

It has also been found to be an inspiration to some to continue thestudy of advanced theory and free composition.

Tt is not the plan of this book to cover the entire ground of iiarmoniranalysis; that is obviously impossible in twenty-four lessons. It is, however,its plan to present material in such a manner that after its own completiontho student may continue the work of analysis by himself, taking up entirecompositions where only excerpts have been taken and studying the peculi-arities of composers and of schools. If the work has done this its object hasbeen 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 differenceof 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.

236370


8/174

Ill the st'loction ot tlie material to be analyzed the author has endeavoredto gather it from such sources that the student may come into toucli withmany 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 studentmay have at this time.

In the lesson on Enharmonies it was necessary to touch upon modulationbefore exercises containing modulations were regularly taken up. This lessonmight have been put after modulation but since neither modulation nor Al-tered Chords can be analyzed without involving Enharmonies it was thoughtbetter to put that lesson in its present location.

Difficulty has been experienced in giving an exact limit to theprovince of the different harmonic structures, as when a chord shouldhe considered an Attendant chord, or when an Altered chord (chord of theAugmented sixth, Neapolitan sixth, etc.,) and when a change of key hastaken place. Time value, the ear, and, not least, personal opinion have somuch weight in the above that the author knows full well that no exactlimits can be set to the province of these chords. Differences of opinion willalso occur as to whether a change of the lowest part affects the ear as changeof position of the chord; whether the passing seventh and ninth are heard assuch or merely as passing tones; whether, in broken chords, several groups oftones taken together give a single chord effect or if each group represents achord in itself, and to the above may be added many other points on whichno definite instruction can be given. In these the individual must decide forhimself.

The author has endeavored to give directions that will enable the studentto make an intelligent analysis of such points as may be in dispute. It isto be hoped however that the teacher's view will be broad enough to recognizegood and reasonable solutions which have been reached without a rigidadherence to the text.

Under Modulation such material has been considered as will give thestudent an intelligent view of this field and enable him to explain any modu-lations which he may meet.

It has been thought well to dwell a little more fully than is customary,on the Greek Modes, especially since they are used so frequently in modernmusic.

In a few instances the exercises have been slightly altered or marked soas not to present material for analysis that is in advance of the lesson.

The lessons have been outlined primarily for use in Oberlin Conservatoryof Music.

June 2, 1909.


9/174

TABLE OF CONTENTS.

HARMONIC ANALYSISERRATA

Ex. 23, 2nd measure 3167, 3d measure 1st beat, natural for/.177, 1st measure 1st beat naturals for both g's.184, 2nd measure sharp for first a & natural for second a.190, 7th measure 2nd & 3d beats c not h, in alto.192, 3d measure lower stafT treble clef,232, 7th measure ^^ sharp in sop. not b.247, 7th measure 4th beat g (1st line) in bass.256, 9th measure 2nd beat natural for g in bass.257, 6th measure 3d beat, alto a natural &/ sharp not a sharp &/ natural.

Lesson XIX. Reduction 128-136LessonXX-XXIV. Review Exercises 136-156


10/174

la the selection of the material to be analyzed the author has endeavoredto gather it from such sources that the student may come into touch withmany different composers of different schools. Not many of the more com-plex of the motlern compositions have been selected since a still wider ex-perience is needed, both as an analyst and in comprehension, than a studentmay 1"5ti at thie fimpbefomigttere(bett.

provl;e cAugtakemuclimialsooffsucl:tornchoi

him

toto Igooadh

stU'lati

onmu

of Music.June 2, 1909.


11/174

TABLE OF CONTENTS.Lesson


12/174


13/174

INTRODUCTION.Harmonic analysis is the art of accounting for everything in the har-

monic and melodic structure of music.In analyzing the work in the following lessons everything in its harmonicand melodic structure should be considered and accounted for harmonically.

This involves naming the key, marking the chords and their inversions and,in later lessons, the non-harmonic devices used. Be prepared to justify theanalysis. It must be clear why the chords have been marked as they are.

The analysis is to be written into the text as illustrated in the examples.When several solutions are possible write out each with different colored

inks or pencils, stating your preference however. Write out full enough sothat no tax on the memory is necessary.Since the exercises to be analyzed are but excerpts of larger works thesignature does not always indicate the key. Always notice before marking thekey, whether accidentals have been used changing it from that of the sig-nature.

The lessons are accompanied by many analyzed examples. Examine thesecarefully. They are not only valuable as illustrating the points in question,but will no doubt also prove helpful in the general matter they contain.

Spell chords accurately. In constructive work in harmony the studentoften forms the habit when spelling chords of disregarding the sharps orflats since the signature takes care of those. In analysis it is absolutelynecessary for a correct solution, to make the spelling complete, always tomention the sharp or flat. To illustrate, in spelling the dominant seventhchord in the key of D major, spell it A, Cg. E, G, and not A, C, E, G, think-ing that the signature will take care of the sharp.

Grace notes are to be analyzed the same as any others.Ornamentations that are written out fully should also be analyzed. When

these are indicated by a sign only they are not to be recognized in the analysis.Signs used for marking will be mentioned as the occasion demands.It is often well to begin working backwards since it is sometimes neces-

sary to see the progression of a chord to tell what it is.As a further aid in the following work the author recommends that, he-

ginning with Lesson II, the student take up compositions of different kindsand find in them the particular points of the lessons and mark them. A listof references might have been added to each lesson, but it has been foundmore valuable for the student to find the points in question for himself. Thisis particularly true in constructions thtit are less frequently used since he mayliave to look over many measures before finding them, thereby gaining much insight analysis.


14/174


15/174

Harmonic Analysis.Lesson I.

Tri^vds and Chords op the Seventh.Triads.

Major keys are indicated by capital letters. Minor keys by small lettersFig. I.

In major keys the triads on the different degrees are marked as follows :I, II, III, IV, V, VI, vii.

In minor keys : i, ii. III', iv, V, VI, VII^The signs of inversion are :

First inversion (3rd in the lowest part) 6.Second inversion (5th in the lowest part) .

The sign of the inversion is placed to the right of that of the degree asfollows : ii|, IJ, etc.

Change of position of the upper voices while the lowest voice remains thesame, does not affect the harmony and need not be marked. Fig la.

^m-^^^4-

mb-iS Hi:ifc

< t f 1/ 1[m ij- ^Ê;. j /J7 J.saztfc ^^f^Bb V I ^1 1V I I, IV le Vii le

EXERCISES.CoKELLi. Gavotte.

Allegro. Aisai.

2. {feP^PI^ÎîiPS^


16/174

Brahms. Eequiem.

Chords of the Seventh.Adding a third above the 5th of a triad (7th above the root) forms a chord

of the seventh.Signs for marking these chords and their inversions are as follows :

Root position (root in the lowest part) 7.First inversion (3rd in the lowest part) * or 5 .

4. *Second inversion (5th in the lowest part) 3 or 4.J 6Third inversion (7th in the lowest part) 2, I or 4.

I

^^t:^=^-^^A \-^tzit ^0-

^^P- ^=t -M'-f==^-Ab If IV| iij V| nil VI,-^. ;^ife: TT

IS iIV y\\% 11I7 vi^ ivt


17/174

It often occurs, with harmony nwnaitiinj,' the same, tluit the lowest part"moves to different chord members, a broken chord, without affecting the ear asa real change of the position of the chord. This is particularly true in quicktempo. 'I'he first note usually marks the position of the chord.In doubtful eases mark each change of the lowest partIn Fig. 6a no change of inversion is felt, while 6^^ must be recognized as achange of inversion.Karganopp. WlHTOL.mi^M

EXERCISES. Mozart. Sonata.

s^feiiE^E^^^i^B7.

Bach. Choral.

8. (mMi Jlj ^Sj^ i ^ 4- J^-U-Jj^^^^m^Chopin. Op. 25, No. 4.

9.

it-'-^0^-i-j ^1 - i-t IItf# IiJ 1s '- --


18/174

Andantt Sos/enuio. Kiel. Mass.

:&i^ SizSz:: =1--" ^:^Siip l=q: ^:=iz-^- mBroken Chords.

Chords, instead of sounding all parts simultaneously, may be broken intodifferent forms of arpeggios, or the many different forms of accompaniments.Fig. 11. These, in all cases, are analyzed as though all the tones were soundedsimultaneously. The lowest tone, whether continuing throughout the chord ornot, marks the position of the chord. This principle is adhered to throughout,^in analysis.

Beethoven. Op. 2, No. 3.


19/174

In broken chord effects it is often well to consider more than one group ofnotes as belonging to the same chord formation, rather than to call each groupa different chord. While the latter may not be incorrect, the ear, in manyinstances, accepts more than one group as representing one harmony. This ioparticularly true of notes of short value. When doubtful mark each groupFig. 12

Bach. Prelude. Coleridge-Taylor. No. 5.

12.

Chords of the seventh when changing position often appear with differentmembers omitted, at times forming a triad on another degree as in Fig, 13. Nomarking is necessary for this.

Mendelssohx. Song.4

gzffi II13.

I

I^^ ^Eb JV^ \\% -EXERCISES. Beethoven. Op. 109.


20/174

Cramer. Study.

15.

^1\^X=:fcL=f -=^-V-,^_^ ^#-^=q=1: m

^c=t=pi -^t^ ^==1: 3==^= i

16.

# Passing tone.

Beethoven. Op. 53

^^z^^>-

^^.^

Schumann. Op. 68, No. 14.

17.

:^:az=z;=^tit:*==r-f:

:^:?& i^EE^^^


21/174

AIendelssoun.SE^ESE^^_i::z=^^ T=^- 1=?:-^=^-^'^^.f^18.

Lesson II.The Dominant Ninth, Suspension, Retardation, and Passing Tone.

The Dominant Ninth.Adding a third above the 7th of a chord of the seventh (9th above the root)

forms a chord of the ninth. The only chord of the ninth that is to be analyzedas such is the Dominant ninth. The ninths of other chords will be treated asnon-harmonic tones in later lessons Fig 19.

When the dominant ninth chord has its third omitted, the ninth resolvingupward to the third, the ninth is to be analyzed as an appoggiatura (see LessonIII). The present lesson contains none of the above.

'I he Dominant ninth often appears with the 5th omitted. Signs for markingthis chord are as follows :

Root position (root in the hnss) 9.7

First invet sion (3rd in the buss) *.6Second inversion iSth in the bass) 5 .4Third inversion {7th in the bass") ^.7Fourth inversion (9tli in the bass) 6 .

The fourth inversion is seldom used.


22/174

Schumann. Op. 15, No. 7.I

KORESTCHENKO. Op. 1, No. 1.

19.^g=^g^^^"^^^a

m^ IS US|fS:II?Vs


23/174

Brahms. Kequioni.

23.

tes^^5=ffcj:4-J-^-^-4

t=flS-*^: Sz3= pifeSfgUgg^

# Passing tone. |31^=1

The Suspension.A tone foreign to the chord with which it appears, that has been prolongedor continued from the ineceding chord, is a suspension when descending onedegree to a chord tone and a retardation when ascending one degree to a chordtone. Fig 24.

If suspensions produce chords of the seventh they should be analyzed assuch, unless they are incomplete, when they should be marked as triads withsuspensions. Exceptions to this are found in the dominant seventh and in thesuccession of chords of the seventh in root position resolving to chords a fourthhigher, in which case the fifth is omitted in alternate chords.When the suspension or any of the non-harmonic devices used in laterlessons 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. Beethoven. Op. 10.1 1 ^ K

24.

li=C:=]: ii^HB

^: 1D. He V^

# Appoggiatura.Allegro.

I V,

EXERCISES. Beethoven. Op. 2, No. 3.1^-^ I I


24/174

-.n>-==f 4=F5:r ei

--if: fi .^. I _^| I-Ih iîa

Bach. Choral.J^^ A-X

-^-1 "^1 b-l ^- ^=={=1: ^^5 - ^26. .1 I r^ I

4 - -# ^-h ^ I

:î

iBeethoven. Op. 10, No. 2-.

27.

Allegro. ^^

ISEl^g^^;|#

It I.[7S] ["Bl

:t=j:^t:

is=i28.

3^gilMozAUT. Sonata.

:S: -^-^ I^^Sl\m^4 ^--^- safP|3iîESE?^!i^ ^-r#


25/174

The Passing Tone.The Passing tone is a, non-Larinonic tone that is approached and left step.

wise in one direction. It may be accented or unaccented, diatonic or chromatic.It is accented when on the accented beat or part of a beat, and unaccented whenelsewhere. When it is the first note in triple rhythm or groups of three, it isaccented, when the second or third, unaccented. Notes of shorter values thaneighths are analyzed in groups of two beginning with the beat, the first beingaccented the second unaccented. Fig. 29.

Passing tones may succeed one another. When the passing seventh orninth of a chord is of short Value, or is one of a series of passing tones, theimpression is that of a passing tone and not that of a seventh or ninth, andshould be so marked.

Signs: Accented Passing tones. + Unaccented Passing tones.Beethoven. Op. 2, No. 2.

EXERCISES. Chopin. Op. 10, No. 2.Allegro. ^-^ p?3 p55.^J555|^JcLs_^^ ^

>fe:^- H^i=Mz :ii=^= iRubinstein. Op. 26, No. 1.


26/174

Coleridge-Taylor. Op. 59, No. 4.

32.

I I

Diatonic Passing Chords.A succession of Chords progressing degreewise over a stationary lowest partas in Fig. 33, is Diatonic passing chords. Mark the first and last chords only,indicating the intervening chords as passing chords. This principle applies tonotes of short values only, since the same thing in slow tempo would give adefinite chord impression for each chord.

33. {

Beethoven. Variation.

^~%^ 1r- ^HPassing chords.

V - :^--zXs^-

34.

EXERCISE HELLE.i. Op. 46, No. 24.M^i^mmm^mma^mmwmmem^


27/174

Lesson III.The Embellishment and the Appogglvtura.

The Embellishment.The Embellishment is a tone introduced by stepwise progression between

principle tone and its repetition. Fig. 35. Sign e.Mozart. Sonata.

- E + + ^^J) I I

35.


28/174

MozAKT. Sonata.

37.

^ -'- -0- *-r -0-s ^=^m5S:

'im -^^-i

-^ ^=1s- m-:=EB~:

38.

ffii^s4== ^ *Kjerulf. Cradle Song.^^^m^m0- -0- -0- -0- ^g- V t-F

fe^l=?^^=fel^i ^^r-Mj^-The Appoggiatura.

The Appoggiatura is an unprepared Suspension or (Retardation) approachedby a skip of an augmented second or more. Fig. 39. Sign : Ap.

Chopin. Op. 47.8va.

39.

c I


29/174

Ait.

Uj^--^

:

4r_' Ir IIr-

.^=0*

40.

EXERCISES.Mozart. Requiem.

Larghetto. .J^'jt

>=5J^-:^^=^ r 't ^ES^S -1=n-Fl==i- ^=-^1r=s^="^ -=1-^=1 ^- -m ^-^*- -^^

Lnngsam, sehr gart.^

Schumann. Op. 82, No.


30/174

Knut-Baeck. Op. 7, Xo. 7.Moieriio.

\fe^^^^ ^^^af^

Orxamexted Scale Passages.Ascending or descending scale passages (diatonic or chromatic) are oftenornamented by Embellishments or Appoggiaturas. In such cases each ornamen-tation is to be marked as an embellishment or appoggiatura whether it is achord tone or not. Fig. 4.3 and 44.While the approach to the appoggiatura in 44 is but a whole step the effect

is nevertheless that of an appoggiatura.16


31/174

J. Hoffmann. Op.

Efc-t^^^Sl

Passing thirds.

fe ^fe%**iMr^-gfe fefeijAp. Ap. Ap. Ap. Ap. Ap. Ap. Ap. Ap. Ap,

EXERCISES.iVoWo AUeqro e vetocr. _ # _

CZERNY. Op. 299.

45. ^^^^E^gjJL ^^^, J:!?:* ?:# # , , ,

P^^^^i^tE^'L :.W:^17


32/174

A llegro.ChopIxV. Op. 32, No. 1.

46.

Broken Thirds, Sixths and Octaves.Broken thirds, sixths and octaves are analyzed as though both tones were

sounded at the same time. Fig. 47..*. + CZERNY. Op. 299.^ + T- -0- -_^_-- _, + +

47. Tg!=;^=5=3==^C I IV I

EXERCISE.

48.

CZERNY. Op. 299.-0-

Iis 1^ -0-

18


33/174

SCHUBEKT. Op. 61. No. 4.

49. iîlî^^^^ f ^^r :? 5: î

Lesson IV.Attendant Chords, and Broken Chords and Suspension (eon.).

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 theform of a chord of the diminished seventh, but are occasionally found in otherforms, the tones at times, having no harmonic relation whatever to one another.When these chords appear in broken form mark as usual, and in additionindicate by letters the chord members. Sign : At. chd.

Chopin. Op. 32, No. 1.

50.


34/174

Jexsex. Op. 45.^ b. Ap.^=^1=^^^

I 1, I

g^^^^^^ -^^-^ 1^^ h I-ii*-1It V,

Beetho\'ex. Op. 22.

IV

Eb L(HOPix. Op. 34, No. 1.

At. chd. At. chd.

I \Al 1 1 1 1__^ L^ 1 s_,- * JJ

Ab VEXEECISES. Brahms. Xanie. Op. 82.fmmm

1.

f: iit It :^J I If: _^_i i - I^E^fei^^feEF^^^=Etl^i^-^ --:i--z;^* -5*--


35/174

iiiii

52.

Atidante.1 ^ 1

^=*: =C&r-^-trI ^ I:*=z*z:#x:

Spoiir. Last Judgment.

-^^mm: I ^0-.- I ^ J. ^^ -- -*- -0-_ iSchumann. Op. 23, No. 3.

53.iii^=J|Eg^=iE^=|#i

i V^ I ^

Parker. Hora Novissima.gSig: :SS-54, < 3^ S=^ ^


36/174

lif::-:ttii :p=f=t I

Ii

W. E=S^ir*^


37/174

Cramei;. ytudy.

[^^îî'^l;^^^^56.

^'s^^ -I1 \ ^--^=^^'

* g- --^^^îBb IV V, I IV

Reduction of 56a.'

EXERCISES.

57.

A. LiADOw. Op. 17.


38/174

CZKRNY. Op 5499.

58. i

# 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. , ,^^ o E s ., E

i

-0-A Vg

^HeSchumann. Op. 23, No. 4.

i_.^pjeiîîliiEî^JlIAb VI


39/174

Chopin. Op. 64, No. L'.

nt

fe^^^=-^-r^ :l bJ^

:ci=it=: Eilgi^ie^;D J

60.

fc^KXf:RCISES.

Ji^_^-^J:gJensen. Op. 4.3.

^ 0^^M^^ P ^ P -


40/174

A Series op Once Repeated Notes ascending or descending, with harmonyremaining the same, is analyzed as S's. (or R's.) and their resolutions, as inFig. 62. This, however, is done only when the first of the repeated notes isunaccented. It is quite possible to analyze such passages as anticipations(later lessons) and their resolutions. The author, however, prefers to analyzethem as suspensions and their resolutions.

Beetho\'En.

63.

Lesson V.The Anticipation and the Pedal Point.

The Anticipation.An Anticipation is a tone introduced immediately before the entry of thechord to which it belongs. It may be tied into the next chord or be repeated.

Fig. 64. Sign a. Beethoven. Op. 2, No. 2.

64.


41/174

Kamea c . Gavotte.E

:V

When the Anticipation instead of remaining stationary skips to some othertone of the chord to which it belongs it is a Free Anticipation. Sign : fa.Fig. 65.

Any or all tones of a chord may be anticipated.McFarren. Bourree.

F A.

C 1V|

66.w^^m^w^

EXERCISES.A. KORESTCHENKO. Op. 1. Xo. 1.U I ^

L^l tt


42/174

Mendelssohn. Op. 14.

67.

ij: ^: :$ m It-- -- -- -#- --J-_T: ^S^^Si^^^JmE: -=r

:3:=i 3t=f:

Adolphe Schloesser. Op. 19.^ E oma.^5 ^^-r-n-ii \- -' * *-^a68.

i^ ^ P

AllegrettoGrieg. Op. 40, No. 3.


43/174

Pi tr- ^S=5t(^ I

^1

Non-harmonic tones resolving sooner than expected should be analyzedas anticipations. Fig. 70

Beethoven. Op. 20.

70.i^ *jEt?E?L^ f-L -n I ^ bi^-rî-^J^-J-^Ê 1zfc^:

Eb

:it^=f:V^

(

Chopin. Op. 59, No. 1.Ap. At: i=#

eI

AP. ^.Backer-Groendahl. Op. 15, No. 1.^. ^ tr E

rnt=z=t=t t=t t:=rti-^rrri^-îf"-m=^^m

^-*-i=^^=^ ^f=t=s1^^ti=P^t^#it=:tcl V, VI VI: V

29


44/174

Beethoven. Op. 2, No. 2.d. S A


45/174

-li"^-


46/174

Two tones may be sustained in the above manner forming the double PedalPoint.The Pedal Point may be on any degree and in any voice.When in the lowest part it has harmonic relation only with the chords withwhich it begins and ends. In all intervening chords the part above it indicatesthe position of the chord.In marking the Pedal Point indicate also the degree, i. e. Dominant PedalPoint is marked D. P. P., the Tonic, T. P. P., etc.

EXERCISES.Fr. Liszt. Christus.

Allegro moderalo.


47/174

\^)t-:=l===|

^t^m#? ?- ? ^ -0e -

=4^-t-

4l1,|^;^._i

75.=4: z^zz^zzr"^-^^

X^-1:l^i4:lr=?=

Wagner. Tristan.

-i?'-

fekri ^3: =1^=^ :|i^- -^-4E^=i==^


48/174

te^T^Ê^BEÊÊgEK^î=a

Si^=EElChopin. Op.

77.

^^= gar,B=^p=?=P=: ?i?i=SE*EEi=^*=t

=1


49/174

Lesson VI.The Ohxa.mental Resoli'tion and the Free Tone.

The Ounamental Kesolution.Auy 111)11 luiiiiioiiic tone may have one or more tones interpolated between it

and its resolution. This is called an Ornamental resolution. Fig. 72 Doubleand Triple Appoggiaturas (Fig. 78 e. f.) are to be analyzed as Ornamentallyresolved non-harmonic tones. Signs : S orna., E. orna , Ap. orna. A. orna.'o orna., + orna.

FiBic'H. Op. 44, Xo. 2-7.+ orna.

78.

:=zt=5iiit::i=zE :*zzt:Bb

^gElgak. Caraetacus.

Chovan. Op. 6, No. 1.c.

I J I I I I I I I

-tt?-

?e==eb Vf

Vsii^F. A. orna. Ap.

.35

iiaAp.

:i:0-p:- ^3i


50/174

;feEE^

(h) nFriAXCK. Beatitudes.

D'b'l. ap.

i->--f^

i S. orna. A&. I Vlg ii vii?o VI,

TiNEL. Francis.Trip. Trip. ap.

"^ Ap.oma. ^p^^^ E(psSziqHE;:

F. VII"

EXERCISES.Allegro non troppo.

79.

;^sEE^c7E?Ea:Er=^^

:E

A. Li.\DOAV. Op. 3, Xo. 4issa- JE^P=^=^^=^i^==^e


51/174

:4=:t :r^:=^

n:?=f=

jL :

1

80. I

Allegro.Mozart. Sonata.

t r=p=f==?-^^^feil^E^^

iltt-r_

81,

KORESTCHENKO. Op. 1, No. 1.Andantino.M

^:^g--t=Qp=f: ii:e=t=:

.iL -*i J JLj^^J.:Ct^ -^m

(M Jit.i:p^fm -St.-

37


52/174

82.

L'OLEPJDGE- Taylor. Op. 59, No.Allegro.^^m^m^^^ 'M~_:^m

in^zzf: r^^^ Not a free tone.

A ndante.

1 I a^"T"Chopin. Op. 10, No. 6.

lii: :, -s--# j-^ - * ^Lg^ g=*=i^s^*-^-^ ^^^-^I I I I i I Mil \ T

I

Pr-rt=li:-i'- 3 i

i

iIThe presence of rests immediately before a Suspension, Embellishment orPassing tone does not atiect their nature, and they should be analyzed as thoughno 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 sinceno exact rule can be given as to the length of the rest. Fig. 84.

^ t t: t 'U*. Beetho\-ex. Op. 7.


53/174

EXERCISES.Tempo di Mazurka.

Rebikoff. Op. 8, No.

85. (

-^- r 7^ ^ 1 rAHV

^^JE^^gH^^î,^^fl l^S=t ^^Tempo di Minuetto.

KORESTCHENKO. Op. 22, No. 5.i^^gH^^p^!î:

I.. r^ I..1.rA. ^ 1: >_ jL >_- ?- -# ^ # fi^F^-^^

^^^= Ê^ -^ 5?1liJL ^ A- jL A #

i= :^Ê^ -=i->?"Beethoven. Op. 22.

Allegretto. Êg^î=^^^l3^m

39


54/174

i^^#=i!=i=#- 35=iiThe Free Tone.

Non-harmonic tones that are left by a skip and do not resolve ornamentallyare Free Tones. Fig. 88. The use of Free Tones is comparatively rare.Do not analyze a tone as a Free Tone except as a last resource. Sign F. T.

Chopix. Op. 11.

88.

C|L. F.T.

'41/ ^ ki^ ^ \ W ^ 1 ^- mAp.

He!c v:

Backer-Groendahl. Op. 15, No. 1.-0-ti -m-

' "* ~^ ^^^ ^^i


55/174

Chopin. Op. 10, No.


56/174

thus from the key of G flat, it goes to E double flat, involving ten flats, muchharder to read than the key of D, its enharmonic equivalent, which, therefore, isordinarily used.An exasperating use of enharmonics is their substitution, either willfully orthrough carelessness, in spelling chords, at times so distorting them as to makethem almost unrecognizable.

The exercises in the present lesson will deal only with enharmonic changefor 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 sufflcient recognition that the chords are enharmonics.

Schumann. Op. 19.

91.

i^

bi, V- 1 V, I le Ab 1| V, I

E IColeridge-Taylor. Op. 59, No. 8.-O-^^^^m. lieE^ itz: ^

-ttg?-^- 1 i^==t1-zkz^^. E, G#. B,=Fb. Ab. Cb.3Ab I visl?

42


57/174

KXKKilSKS.Poco utlagio.a^_z;*=fc

Cesek. Op, 24, No. 3.^ ^-,. &^ g- -:^-=i^-=^bt=MH

I I

I I

^^:3: -iJi^HV A-rr-A- :t= niiy -a.-it. p.

93.

Wagner. Lohengrin.

:_JI.S

J^ I

W^^-#


58/174

I

EE-^^=i=l^^^^t^^E^^^i^^S=^

zfe:

AUtgro. -f-

LlADOW. Op. 27, No. :

int- ^^^-

Beetho\'en'. Op. 13.Adagio.

95.

^jme=ie:-=i^ ^ =1: ;^^^^^ -*-#-^&^^=4=:


59/174

^S=

Altered Chords.An altered chord is one that contains one or more chromatically altered

tones, but does not modulate.The Minor 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


60/174

Gounod. Galli

96.

?^%=a#Ti:i:^=n=qJM3r:^=^.

mG le[%] T

1

^=i^=M=d?: i-:1:S*J*^H?^q:^:^:4=q:^ii::^:=:t=*Mendelssohn. Op. 5.

^- iiii^-ij*^::S^ ESte ii

D VII?

97.

EXERCISES. Perosi. Lazarus.

--jf=55^ =g*=^ =gi- i


61/174

68.

RosiNNi. Stabat Mater

u^'^n^î^^êi0.^lî^ga3z-r:-sa^N^FFr=r-'i5^S^j

P^f -I al al: feliS=l

Chopin. Op. 32, No. 1.

99.

^g^


62/174

100. t25:fi Wc^:r^i ^4m5'-:^ i^fEEti

>^-=fc5: :g--|:-Q#-ti--^>-1^=^zrt:

p# #---:&itzzzi^zitz=*zi :^:-9-0t I- fi^ - -^^^^.^f: .:r:-.f:

S:=^ ^^


82/174

Cesar Cui.

139. ^r:g ^=r=ii-^

(S 1=


92/174

Allegro.

156. /

(

fT-i( J-*'-^^

Beethoven. Op. 2-, No. 3.

m^N^f^ ^f: Ît ^.

i-^- =q^ "^ jg1H 1^-=^ t^- I if: ar -^:f=ttF:

-I 1

Hi^-d-^^- l^jr^SEE^3E5EiE5S=^êS

{m^^^=^: Tiz=H~t ^ 1 ^^^

Schumann. Op. 82.

157.

S^=i^^=^tfc2=t

* ^:3=F^;

^|5= :$^LilJl-^î ii

1f*=n-n*


93/174

Common Chord Modulations.A common chord modulation is one in which the transition to the new key

is made by means of a chord that is common to both keys. If the key is so fardistant 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 commonchords. To illustrate : in going from C major to F:^ major there is no commonchord, hence a modulation is first made to E miner or B minor, which containchords common to F:^, and then to F^. These intermediate keys are often onlytouched upon, sometimes not containing more than two chords. The final keyis made permanent only by an extended final cadence, i. e. a cadence containingmore than the progression V-, I.

In marking indicate the location of the chord that is common to both keysin either key. and continue marking in the new key. Mark all intermediatekeys. Fig. 157.

Brahms. Eequiem.

158. l N II

-#-t i:

tE^t

167.

Wagner. Lohengrin.

:BEE=^Î -I^r^j:E^-|E:î_^g::iiE^|EîE:-^SE^

.1 ::, ^V


100/174

By Means of ax Augmented Sixth Chord.A key may be entered through the 5 4+ or 4++ of the new key.3 3When an Augmented sixth chord in its conventional form is located with

its k)west note a major third below the key-note it resolves naturally to If. Thisis called its conventional position, and when so located and resolved gives a verystrong feeling for the new key, and forms a permanent modulation. Fig. 168.

Misnotations occur often with these chords when used for modulatorypurposes. When they occur note them. Liszt. Christus.

168

EXERCISES.

^:S=

-- 4=f: Chopin. Op. 59, No. 1.'^=i-r- :?=J^-^


101/174

170.

I. JM=:f=^=t=tr m=M^^^Franck. Beatitudes.-I-=^pteE|s#^^^^

-&2^-?'-T- ^=-=^=iiî^

-Sii:i==3 :Â^T;=*=^ f :3I

^MT"-' '^ 4-^*-*=fcis:3EI?Et-I n ^=5351 :t:!^l-=t

Beethoven. Op. 13.Allegro

171.

fetEtat^-^îiB(PEî F^=P&|it--

Allegro

Chopin. Op.

172.


102/174

p^-5=ii^:^ * aijJTil,

173.

Marcato. \:S5^^=

Schumann. Op. 28.II-

ri= :p=t"*~L^t~#"

^S^t^=^^ l3^3=i=Jlififi:

38! =?^ iSittti^Stt :a*, -.w^T~FI ^ z^t^l^:^"

R^S^^=^^^r=Ff#rT^'' ' T|-?1 ' T-I-Pl^r 3=


103/174

174.

R. Strauss. Op. 15, No. 5.I

5S^==P^||g^fg sLesson XIV.

^Modulating by Means of the Neapolitan Chord, Alteration opTHE Diminished Seventh, and Deceptive Resolution of V?.By Means of a Major Triad onvthe Minor Second Degree

(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 i)ermaneutclose.

Mark the modulating chord (N6 or N8 ) in the new key, and continue in newkey. Fig. 175.

For sake of simplicity in reading, this chord is often enharmonically changedwhen going into keys with many flats. In such cases give its true spelling.

Brahms. Nanie.

175.^s-^i :H^=tVt^ ^=TJ1

4,j=:_^: -^5?- -J^^- ^ m^=1:

F T Vt


104/174

EXERCISES.

176. ^ ^

Ss :fic -^r ^gt ,^1 _ I " 1:^r!t U-.

4? *-? ^?^f5^

^=-ii= =ifc. ^-- ^

S^^*-

iT- T^ ^^^$i;?^ ^-EL-A^EaEjEjEJ^r^E^^?^^-^-^W

3*ii#g I ?^5E^Wagner. Parsifal.

102


117/174

m200. -i::

S"J31

^eii^:'

I

I II !

Bfi I

103


118/174

Lesson XVI.Consecutive Diminished Seventh Chords, Chromatic Passing

Chords, and the Sequene.Passing Diminished Seventh Chords.

In passages of passing diminished seventh chords merely indicate them assuch, marking only the first and last chords. Fig. 200.

201./

Beethoven. Op. 10, No. 3.E E

m^^^^^^-^^-^~$^^-^ im^^^ifK^-^-^f^wSp^

Passing dim. 7th.- ri" T

Consecutive chords of the diminished seventh occur occasionally in whichpossibly not more than two members of the chords are present. These areharder to analyze. Examine Fig. 201, where apparently there is a progression ofbroken minor sixths and diminished sevenths alternating. If, however, the twointervals necessary to complete these chords of the seventh are added, a veryclear succession of passing diminished sevenths will result. Passages like thisreally come under the head of two point writing.

104


119/174

Beethoven. Oi>. 10, No. :?.

202.

t^P-d. I, Cons. dim. 7ths. Each group of 2 notes one chord.

'-^^-'^^^^^m^^.i ^^- . ..^---P^ : | I I -P

Ir- F'Vv

EXERCISES. Beethoven. Op. 111.2i

203.


120/174

Schumann. Op. 111.

204.

iêEs:^ ^r r r -7

M^3: gJ-^^J-i jât I&iL_î=e:^!z=


121/174

205. --:=tT^-r4-^fei^^=*=

=1:

C 1| Passing chords

^- ^- ^-?^

Gfe V,

Chopix. Op. 4.*.

108


123/174

Cadenza.

^lEÎ ^ ^ ir )L I ci JP-hU1*-1- BiJ '-f-r=E#s^rz:t:-r=t=-:^Passing chords-

207.

Chopin. Op. 33, No. 4.8t;a,

^^^ SEEE=^"^-"ErEÊÊzEÊJ^=3^-i53E=iE3E^S=&-:

--


124/174

208.

Bachman.noff. Op. 3, No. 5.

I ^^^1 H:i:^. stt:t "^^

es2*:^^^mmm^^si:g=|:JIi=d=feJr|:=;-jrg|=pg

Sequence.A Sequence is the repetition and transposition of a melodic figure- The

interval of transposition should be the same with each repetition Fig. 209.The transposition may be from one degree to another, or from one key to

another.The sequence is usually accompanied by a sequential movement of harmon-

ies. This should be borne in mind when analyzing the harmony of sequential

In modulatory sequences the dominant or leading tone chords of some of thekeys are occasionally altered. There is, nevertheless, a strong key impressionbecause of the sequence. Indicate the key in each of such cases as though noalteration had been made, and mark the altered chords as usual. Fig. 2096.

Find the extent of the figure, mark it with a bracket ii

, as in Fig. 209, andmark each repetition of this figure in a like manner. Should the figure bechanged and be carried out sequentially, proceed in the same way with the newfigure. A single repetition is usually sufficient to establish a Sequence. Invery short figures, however, those having not more than two to four notes a,second repetition may be necessary.

110


125/174

Liszt. Christus.

209.

a. -fij- -(2-t I rSfl^P^i^^^i&s^^^^'-^ ti^

:t-:F IVe vii?o Vi I iiieEb vii?o Vi m

==^===2^ :^^==S ^^-m A=Bbb> 1 ^(9-IV 1 =^^" iS: -9^--&'5'- il

ni6 Dbvii?o Vg[vhfe]

Ap. Ap. I Ap.Chopin. Op. 16.

Ap. I I Ap.I

'm&2=2:s^ :feiq=S g=3= 9S

Bb Vt EbVyAfeV, DbV,Gl7V, C V^ FV^ Bb V^ ebV,

EXERCISES. Mendelssohn. Op. 14..0. :ttt#- - ^- . -0-

210.


126/174

it,. ^. St.. ...

I#lt I 1 ,-t, I I I=p1g? c|i33=EiE*E3= 33?=:(s

"ii'

^^E3^9s^==j^=j:lit

Chopin. Op. 16.3

211.

Ml^H,at,\^ ^ -^ ^ -^ ^s:p

te^,=^^fe^t

SiSEE^r

2F- is^^,^f_^_,-(i^

(^^=iji^it^fzzf^'EE^=ti-_&p^P=^^T=iE=^

:t=zE:?z=z=t= i>?-


127/174


128/174

^=E^ÊiÊE^^^^î^=1-g^=îg^=i^JE^

Lesson XVII.Two Simultaneous Harmonies, One and Two Part Writing.

Two Harmonies Appearing 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. Markeach chord separately. In cases where the second chord is but an Attendantchord, mark as usual.

213.

E F fa LiADOW.Op. 9, No. 2.

E E FA

4 -im -0--=-\^=t1

Ab V,I Ap.

EXERCISE. Mendelssohn. Op. 14.

214.


129/174

%--^\^-

^M^~ii_-ztzif^215.

Wagner. Parsifal.w^1=t:==--==ii^=^^^^^3Egi^EV-V ^1^5E^t^^iizz=f_J4-U_J&*-

JrJ=s?W=?3='=St33a:i


130/174

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 abroken chord effect have already been analyzed. Fig. 215.

In analyzing two part writing it is sometimes necessary to supply missingintervals or to group several notes together. The tempo must, however, alwaysbe considered. In slow tempo, progressions are often heard as change ofharmony, where in quick tempo they would give the impression of but onechord. (See also Lesson I). The accented note of two notes belonging to thesame harmony decides the position of the lowest part of the chord, but in slowtempo both may have to be marked. A root with passing seventh in the lowestpart gives the impression of the third inversion only. A chord with the passingseventh in an upper voice unless one of a series of passing tones, mark as achord of the seventh.

ScHUMAXX. Op. 72, No. 2.

216.

33=3:^^:S=

I M^' I ^~ng I

t=\=^V?

Ap.

itrt ^^1m--^ -^E^^BE[>:zf=g=^=:g ^ mIdiv 116


131/174

CZERNY. Op. 335.Allegro vioderalo.

217. M. .0. ^,

iiiP^^S^i^^fel|^=^_=j^^J^^E^^=^

Mozart. Sonata.

218. .^__'>4:^:^:Chopin. Op. 28. No. 19.Ap.

^4 '*>- >* =U^t:^:f:^-=t:t:?t:t=zt:u^ -^t^-w^

Ap.Ap.

tie: 2^: 1=1:^= I?5i-?-; :g3-it=: IB

Eb V,


144/174

Beethoven. Op, 106.

c. ^ A.:p=i= ^#- 9

\m:k ^ -#-A ^ ^ 4mm^^^^^

^^1/

_:zi_

ID V, Consecutive dim. 7ths.


145/174

Franck. Beatitudes.

234.

LJ^LB If^-M L^ ^ m=&i=*=rsi-'-^-EB^i'=i=tf=*=^==f=,i^^Ff=^

131


146/174

Beethovex. Op. 106.

(235./

:5Ê2Ê^^^^^Ê^^^^s^^L^^MJMj=m^

^^=w=^^=M=Fî^~^-

132


147/174

Pakkek. Op. 30.Tempo giuslo.

236.

=^^^*3='^^=^'^^=-^^^'"^

^^?;

ii^ii^if3^Sli?i#H#BMil groetster Energie.

Schumann. Op. 26, Xo. 4.I

237. / S ^"f ^":i/l:'"Sis^fS:i8"


148/174

;gg=5^wwn^'^mfw J1^=^==i:

2.1 ^L^- :^ T^ Lit 2^ Li T T- jj Li ^-

i^=i: ^^^^^^ J

^^S^^-| -&--7-'-- = -r^rr- ^ -T r -

?.^H

- L^ -- n-a- -- ' wi -- ^- 1 ' i -- --! ' i -0-

^i^^-^ ~-0 q ^ 3


149/174


150/174

U I

^^JI^^-j^U

Lesson XX.The remaining lessons consist of exercises, which will serve as a review

of the preceding lessons.EXERCISES.

Franck. Beatitudes.Moderato.

1=t^ A ^ N Ii^ :?=1^^^^239.

e: ?:z=#

?:fc=^::g=g^E: Jl


151/174

Larghettn calmato.MacDowell. Op. 23.

240. I :^

^?^.^fc 1rC: ^'m^^^^^^ -^_s^

247.

AmlaiiCe religioso. Grieg. Op. 40, No. 4.h^^M^S^^^rW^^H-2:3=z^:

=Fq=: ;g-^;_;s^--

i^. ::;;- ^- -^ -^- -. -,- .. # ^

142


157/174


158/174

:-- ^^-^^^^

gsi^ NjL-

m^.z=L^z:=^n- P> S^^

( I :3EiÊEffiq=-Tr=73^^].^^ Jf^-Lesson XXII.

EXERCISES.Beethoven. Op. 106.

Allegro risoluio.

249.î^^^M^fi^^fiâz;^z=3S^ :tt?5^

144


159/174

^ STn ^-^ ^_^ #_i_*__


160/174

A. SCKIABINE. Op. 2, No. 1.

250. y^r^^^^ i^fi:

]=q=^=]:!^::!*4z-s;=i=iî-=^

m 1 l^B^î^^: L

W-t^^-W^=^ -S^ =^-^r*'I ! -^

p _X^^ ^ L_j-J H^ L_, I 1 1^ 1 1 1

J Â1^^ r-%0^^X=im #-tP"? ^-- i r^ , -:^ :^- i^z^:^r ^_| (^146


161/174

(:Sfe?

1 ir-rrT'l ^r~l ! ! v~-\ f} ri jL

=We

251.

Cesar Franck. Beatitudes.Ptn triinquWo. ^T^ ,

i -?|i-.{2- r_r .t:^1 J tt^^'-

at-fco:

^-^P|^^E;E||^|P^^S^^

-5f

ttz=^ tt^^-

M';


162/174


163/174

-31?^^-f'-^ci*-^--! ^=?^ =i==T17 ir f- ^ I:t^ ;s

N--^- wm--:=X

2 2 _ 2 L 2 2;^^^7":ri?v-^

See35?=JS3:^n It ' r j"f fj


164/174

^-t-^^=$^^--'-lin -- 0h-g-'-f=^^^: :^J:*^ J ! I


165/174

{^^^ Î Wagner. Tristan and Isolde.^

255.

'^^^^^ -rrlflÊE: ^1=3--=i=J^- itzii:M=î-^- :il- ::^: -m- nil

-4r-ft^-

5=^'^=

J? I'^~

5^=z::t=: i^S =^ 4^--J- i

>-Jfp- ^

J:^:J:' F=^=


166/174

Kavel. Sonatine.

256.

harmonic analysis (1910)

Documents