Professional Documents
Culture Documents
OF THE
University of California.
Class
HARMONIC ANALYSIS
BYFriedrich Johann
Lehmann
Professor
of Theory
in
Obej-Iin
Conservatory
of
Music^
author of
Treatise
on
in
Simple
Counterpoint
and Lessons
Harmony.
Published by
A. G. Comings
&
Son,
OBERLIN, OHIO
Copyright. 1910. by A.
PREFACE.
sis
hardly necessary to enter into a discussion as to the value of "Analyin gaining a clearer and more intelligent view of music and a keener appreciation of it. That is taken for granted by all
It is
of
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 Form" was inaugurated in Oberlin C.'onservatory of Music. That this was wise has been proven time and again during the eight years that it has been in use. The student becomes more intimately acquainted with the masters, their peculiarities and mannerisms, thus enabling him to give a much more intelligent interpretation of their works.
As an aid in memorizing music, analysis also has great value. It enables a student at a glance to see the harmonic and formal structure which provides him in a way with guide posts in the shape of harmonic progressions
and formal divisions
It
to lead
him
on.
to
has also been found to be an inspiration study of advanced theory and free composition.
Tt
is
some
to
continue the
analysis; that
its
not the plan of this book to cover the entire ground of iiarmonir is obviously impossible in twenty-four lessons. It is, however,
plan to present material in such a manner that after its own completion may continue the work of analysis by himself, taking up entire compositions where only excerpts have been taken and studying the peculiarities of composers and of schools. If the work has done this its object has been accomplished.
tho student
It is
primarily a work for the class room, assigning definite lessons, avoidetc., on which there is a difference
is
knowledge of harmony is presupposed, nevertheless chord constructions and a few other points have been explained to some extent.
236370
tlie material to be analyzed the author has endeavored from such sources that the student may come into toucli with many different composers of different schools. Not many of the more complex of the modern compositions have been selected since a still wider experience is needed, both as an analyst and in comprehension, than a student may have at this time.
Ill
the st'loction ot
it
to gather
In the lesson on Enharmonies it was necessary to touch upon modulation before exercises containing modulations were regularly taken up. This lesson
might have been put after modulation but since neither modulation nor Altered Chords can be analyzed without involving Enharmonies it was thought
better to put that lesson in its present location.
Difficulty has been experienced in giving an exact limit to the province of the different harmonic structures, as when a chord should he considered an Attendant chord, or when an Altered chord (chord of the Augmented sixth, Neapolitan sixth, etc.,) and when a change of key has
taken place. Time value, the ear, and, not least, personal opinion have so much weight in the above that the author knows full well that no exact limits can be set to the province of these chords. Differences of opinion will also occur as to whether a change of the lowest part affects the ear as change of position of the chord; whether the passing seventh and ninth are heard as such or merely as passing tones; whether, in broken chords, several groups of tones taken together give a single chord effect or if each group represents a chord in itself, and to the above may be added many other points on which
no definite instruction can be given.
himself.
to
The author has endeavored to give directions that will enable the student make an intelligent analysis of such points as may be in dispute. It is
hoped however that the teacher's view will be broad enough to recognize good and reasonable solutions which have been reached without a rigid adherence to the text.
to be
Under Modulation such material has been considered as will give the student an intelligent view of this field and enable him to explain any modulations 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 modern
music.
In a few instances the exercises have been slightly altered or marked so as not to present material for analysis that is in advance of the lesson.
The
June
lessons
of Music.
2,
1909.
TABLE OF CONTENTS.
HARMONIC ANALYSIS
ERRATA
Ex.
3<.l
27,
natural up to
c. c.
sharp
down
to
marked app.
Cap.
for
name
of key.
105, 6th measure 3d beat, a sharp not a natural. 141, 9th measure
in sop.
& ^.
>
measure
177, 1st measure 1st beat naturals for both g's. 184,
192,
2nd measure sharp for first a & natural for second a. 2nd & 3d beats c not h, in alto. 3d measure lower stafT treble clef, 7th measure ^^ sharp in sop. not b. 7th measure 4th beat g (1st line) in bass. 9th measure 2nd beat natural for g in bass. 6th measure 3d beat, alto a natural sharp not a sharp
&/
&/ natural.
Lesson
XIX.
Reduction
128-136
Lesson
XX-XXIV.
Review Exercises
136-156
la the selection of the material to be analyzed the author has endeavored it from such sources that the student may come into touch with many different composers of different schools. Not many of the more comto gather
plex of the motlern compositions have been selected since a still wider experience is needed, both as an analyst and in comprehension, than a student may 1"5ti at thie fimp
befo
migt
tere(
bett.
prov
l;e
c
Aug
take
muc
limi
also
off
sucl:
torn
choi
him
to
to
goo adh
stU'
lati
on
mu
of Music.
June
2,
1909.
TABLE OF CONTENTS.
Lesson
INTRODUCTION.
Harmonic analysis
is
the har-
The analysis
is
to
When
several solutions are possible write out each with different colored
Write out
full
enough so
memory
is
necessary.
Since the exercises to be analyzed are but excerpts of larger works the
signature does not always indicate the key.
nature.
sig-
carefully.
The lessons are accompanied by many analyzed examples. Examine these They are not only valuable as illustrating the points in question,
Spell chords accurately.
but will no doubt also prove helpful in the general matter they contain.
In constructive work in harmony the student of disregarding the sharps or In analysis it is absolutely flats since the signature takes care of those. necessary for a correct solution, to make the spelling complete, always to
often forms the habit
when
spelling chords
mention the sharp or flat. To illustrate, in spelling the dominant seventh chord in the key of D major, spell it A, Cg. E, G, and not A, C, E, G, thinking that the signature will take care of the sharp.
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 sary to see the progression of a chord to tell what it is.
is
sometimes neces-
As a further aid in the following work the author recommends that, heginning 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
may much in
sight analysis.
Harmonic
Tri^vds
Analysis.
I.
Lesson
letters
In major keys the triads on the different degrees are I, II, III, IV, V, VI, vii.
marked
as follows
In minor keys
i,
ii.
:
III', iv,
V, VI, VII^
The signs
of inversion are
The
follows
:
is
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.
Change
=:ifc
^m
ij-
-^^^4-
<
mb-iS
1/
1
Hi
J.
[m
saztfc
Bb
f^ V
^^E^ ^1
.;. j
1
/J7
^^
CoKELLi.
I,
IV
le Vii le
EXERCISES.
Gavotte.
Allegro. Aisai.
2. {
feP^PI^^I^iiPS^
Brahms.
Eequiem.
Chords of the Seventh. Adding a third above the 5th of a triad (7th above the
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.
*
J
in
2,
I or 4.
\-
^^
^^t:^=^^^P-
^tzit
0-
^
=t
nil
VI,
-M
'-f==^-
Ab
If
IV|
iij
V|
-^.
tfe:
TT
IV
y\\%
11I7
;^i
i
IS
vi^
ivt
It often occurs, with harmony nwnaitiinj,' the same, tluit 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. 'I'he first note usually marks the position of the chord. In doubtful eases mark each change of the lowest part In Fig. 6a no change of inversion is felt, while 6^^ must be recognized as a
change
of inversion.
Karganopp.
WlHTOL.
mi^M
EXERCISES.
Mozart.
Sonata.
s^feiiE^E^^^i^B
7.
Bach.
Choral.
8. (
mM
Jlj
^Sj^ i ^
^^^^m^
4-
J^-U-Jj
1
Chopin.
4.
9.
it-'-^0^-i-j
^1
- i-t
It f# Ii J
'-
--
Andantt
Sos/enuio.
Kiel.
Mass.
:&i^
Siz
=1--"
Sz::
^Siip l=q:
Broken Chords.
^:
^:=iz -^-
m
Op.
2,
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 This principle is adhered to throughout,^ not, marks the position of the chord.
in analysis.
Beethoven.
No.
3.
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 different chord. While the latter may not be incorrect, the ear, in many instances, accepts more than one group as representing one harmony. This io particularly true of notes of short value. When doubtful mark each group Fig. 12
Bach.
Prelude.
Coleridge-Taylor.
No.
5.
12.
Chords
of the seventh
members omitted,
marking
is
when changing position often appear with different at times forming a triad on another degree as in Fig, 13. No
Mendelssohx.
Song.
gzffi
13.
I
II
I
^^
Eb JV^
\\%
^
Beethoven.
Op. 109.
EXERCISES.
Cramer.
Study.
15.
^=q=1:
-=^-V-
^#-
m
^
3==^=
c=t=pi
#
-^
t^
^==1:
Passing tone.
Beethoven.
Op. 53
^^z^^
16.
>-
^^.^
Schumann.
:az=z;=^tit
:*==r-f:
17.
:^
:^
:?&
i^EE^^^
AIendelssoun.
^_i::z=^^
18.
SE^ESE^
T=^-
1=?:
-^=^-^'^^.f^
Lesson
II.
third above the 7th of a chord of the seventh (9th above the root)
The only chord of the ninth that is to be analyzed the Dominant ninth. The ninths of other chords will be treated as Fig 19. non-harmonic tones in later lessons
forms a chord of the ninth.
When
upward
III).
'I
the dominant ninth chord has its third omitted, the ninth resolving is to be analyzed as an appoggiatura (see Lesson The present lesson contains none of the above.
to the third, the ninth
for
this
he Dominant ninth often appears with the 5th omitted. Signs chord are as follows
:
marking
Root position
7
First in vet sion (3rd in the buss)
*.
6
Second inversion
iSth in the bass) 5
.
in
the
bass")
4 ^. 7 6
Fourth inversion
(9tli in
the bass)
The
fourth inversion
is
seldom used.
Schumann.
I
Op.
15,
No.
7.
KORESTCHENKO.
^g=^g^^^"
19.
^^^a
US
Op.
1,
No.
1.
m^
II?
IS
Vs
2|fS:
Brahms.
Kequioni.
tes =^^
5=ffcj:
23.
t=flS-*^:
4-J-^-^-4 Sz3=
pi
feSfgUgg^
|3
#
A
Passing tone.
1^=1
The Suspension.
tone foreign to the chord with which it appears, that has been prolonged or continued from the ineceding chord, is a suspension when descending one degree to a chord tone and a retardation when ascending one degree to a chord
tone.
If
Fig
24.
suspensions produce chords of the seventh they should be analyzed as such, unless they are incomplete, when they should be 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. Beethoven. Op. 10.
1 1
K
:=]:
li=C
24.
ii^HB
1
^:
D.
He
V^
V,
Appoggiatura.
EXERCISES.
Allegro.
Beethoven.
Op.
2,
I
No.
I
3.
1^-^
-.n
r
--if:
>-==f
4=F5:
ei
fi
.^.
_^|
-I
h
Bach.
^
i^ia
Choral.
J^^
-^-1
26.
"^1
b-l
^-
:^i
h
^
I
.1
r^
^-
-#
i
Op. 10, No.
2-.
Beethoven.
Allegro.
^^
27.
ISEl^g^^
;|#
It [7S]
I.
["Bl
:t=j:^t:
is=i
:S:
28.
3^gil
MozAUT.
Sonata.
-^-^
I^^Sl
^-r#
accented, when the second or third, unaccented. Notes of shorter values than eighths are analyzed in groups of two beginning with the beat, the first being accented the second unaccented. Fig. 29. When the passing seventh or Passing tones may succeed one another.
ninth of a chord is of short Value, or is one of a series of passing tones, the impression is that of a passing tone and not that of a seventh or ninth, and
should be so marked.
Signs:
Accented Passing
tones.
+ Unaccented
Passing tones.
Op.
2,
Beethoven.
No.
2.
EXERCISES.
Allegro.
Chopin.
2.
^-^ p?3
p55.^J555|^JcLs_^^
>fe:^i=Mz
H^
:ii=^=
Rubinstein.
Op. 26, No.
i
1.
Coleridge-Taylor.
4.
32.
Diatonic Passing Chords. A succession of Chords progressing degreewise over a stationary lowest part as in Fig. 33, is Diatonic passing chords. Mark the first and last chords only, indicating the intervening chords as passing chords. This principle applies to notes of short values only, since the same thing in slow tempo would give a definite chord impression for each chord. Beethoven. Variation.
^~%^
33.
{
r-
^H
zX s^Op. 46, No. 24.
Passing chords.
:^--
EXERCISE
HELLE.i.
M^i^mmm^mma
34.
^mmwmmem^
Lesson
III.
Mozart.
-
Sonata.
I
^^J)
35.
MozAKT.
Sonata.
^
37.
-'-
-0-
*-r
-0-s
=^m S: 5
'im
-^
i
^-
-^
^=1
s-
m-:=EB~:
Kjerulf.
Cradle Song.
ffii^s 4==
38.
^
^g-
^^^m^m
t-F
fe^l=?^^=fel^i
The Appoggiatura.
^^r-Mj^-
The Appoggiatura is an unprepared Suspension or (Retardation) approached by a skip of an augmented second or more. Fig. 39. Sign Ap.
:
Chopin.
8va.
Op. 47.
39.
Ait.
4r_
Uj^--^
'
r
I I I
r-
: .^=0*
EXERCISES.
Mozart.
Lar ghetto.
.J^'jt
Requiem.
40.
>=5J^:^^=^
r
-=1-^
't
^ES^S
^- -m
-1
=n-
ir=s^="^ *-^
-^^
=1
gart.
Fl==i^
^=-^1
Schumann.
Op. 82, No.
Lnngsam, sehr
Knut-Baeck.
Op.
7,
Xo.
7.
fe^^^^
\
Moieriio.
^^^af^
Orxamexted Scale Passages. Ascending or descending scale passages (diatonic or chromatic) are often ornamented by Embellishments or Appoggiaturas. In such cases each ornamentation is to be marked as an embellishment or appoggiatura whether it is a chord 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
J.
Hoffmann.
Op.
Efc-t^^^Sl
Passing thirds.
fe
^fe%**iMr^-gfe
Ap.
Ap.
fefeij
Ap. Ap. Ap,
Ap.
Ap.
Ap.
Ap.
Ap.
EXERCISES.
iVoWo AUeqro e vetocr.
CZERNY.
Op. 299.
45.
^^^^E^gj
JL
^^^,
#, , J:!?:* ?:#
P^^^^i^tE^'L :.W:^
17
ChopIxV.
1.
A llegro.
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.
.*.
+
-0-
T-
-_^_--
_,
CZERNY. +
Op.
299.
T
47.
g!=;^=5=3==^
C
I
IV
EXERCISE.
CZERNY.
-0-
Op. 299.
48.
1^
-0-
18
SCHUBEKT.
4.
49.
i^il^i^^^^^r % ^ f
:?
5:
^i
Lesson IV.
(eon.).
combination of three or more non-harmonic tones form an Attendant 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.
chord.
:
Chopin.
1.
50.
<
Jexsex.
Op. 45.
b.
Ap.
^=^1=^^^
I
1,
g^^^^^^
-^^-^
IV
^
1
It
1^
-ii*-
V,
Beetho\'ex.
Op. 22.
Eb
L
(HOPix.
At. chd. At. chd.
1.
\Al
1__^
L^
s_,-
JJ
Ab
V
EXEECISES.
Brahms.
Xanie.
Op. 82.
i
51.
fmmm
l^i^-
f:
iit
It
^E^fei^^feEF^^^=Et
:^J
If:
_^_i
--:i-z;^*
-5*--
iiiii
Atidante.
1
Spoiir.
Last Judgment.
^ I :*=z*z:#x:
I
^=*:
52.
=C&r
-^-tr
0-.
-^^mm:
53.
--
-*-
J.
^
-0-_
i
Schumann.
Op. 23, No.
3.
iii^=J|Eg^=iE^=|#i
i
V^
Parker.
Hora Novissima.
^^
54,
<
:SS-
BSig:
g
S=^
3^
lif:
:-:ttii
I
i
:p=f=t
W.
E=S^
ir*^
Cramei;.
ytudy.
[^^^i^i'^l;^^^^
56.
^'s^^
Bb
IV V,
-I
1
\
--^=^^' *
g-
--^^^^i
I
IV
Reduction of
56a.'
EXERCISES.
A. LiADOw.
Op.
17.
57.
CZKRNY.
Op
5499.
58.
E. orna.
The Suspension (con.). The suspension may not only be prepared by a chord tone
but may
also
(see
Lesson III)
No.
Fig. 59.
Henisz.
Op.
8,
1.
,^^
.,
-0-
Vg
Schumann.
^He
i_.^
pjei^i^iliiE^i^JlI
Ab
VI
Chopin.
L'.
nt
J^
:l
-^-r^
fe^^^=
D
J
:ci=it=:
Eilgi^ie^;
Jensen.
Op.
4.3.
KXf:RCISES.
fc^
60.
g
0^^M^^
^_^-^J:
P ^ P
-<&'-
ll=S^l=E^=l=^gg=E=i^^
Allegretto
CE.SAR
Cui.
Intermezzo.
61.
^^=3?=-J^
^^
:?t=^=?=gi:
3t=t
:t::tjt
1^=^
:i^'--^
-4
=:
Pl^
laizat
urnt
^^
k
(i
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 It is quite possible to analyze such passages as anticipations unaccented. The author, however, prefers to analyze (later lessons) and their resolutions.
them
as suspensions
and their
resolutions.
Beetho\'En.
63.
Lesson V.
Point.
An
Anticipation
is
a tone introduced immediately before the entry of the It may be tied into the next chord or be repeated.
Beethoven.
Op.
2,
No.
2.
64.
Kamea c
E
Gavotte.
V
Fig. 65.
When the Anticipation instead of remaining stationary skips to some other tone of the chord to which it belongs it is a Free Anticipation. Sign fa.
:
Any
or
all
tones of a chord
may
be anticipated.
McFarren.
F A.
Bourree.
1V|
EXERCISES.
A.
KORESTCHENKO.
^
Op.
1.
Xo.
1.
w^^m^w^
66.
L^l
tt
Mendelssohn.
Op.
14.
67.
ij: ^: :$ It -- -- -- -#- --
J-_T
mE:
^S^^Si^^^J
-=r
Adolphe Schloesser.
:3:=i
Op.
19.
3t=f:
-'
-ii
*-^^^-r-na
\-
^
^5
E oma.
68.
i^
Grieg.
Allegretto
3.
tr-
Pi
(^
as anticipations.
^S=5t
I
^
1
Beethoven.
Op. 20.
i^
70.
* jEt?E?L^
f-L -
n
fzfc^:
bi
^-r^i-^J^-J-^ ^E
Chopin.
Ap.
1
1.
Eb
Op. 59, No.
t:
:it
i=#
^
(
4=f:
V^
AP.
eI
^.
^
-*-i=
Backer-Groendahl. Op.
^.
15,
No.
1.
tr
rnt=z=t=t
t=t
r-^rr t:=rti
E
r
i^-^
m=^^m ^^=^
if" cl
#it=:t
^f=t=s1^^ ti=P^ t^
V
V,
VI
29
VI:
Beethoven.
d.
S
Op.
2,
No.
2.
-li"^-
Two
Point.
tones
may be
any
voice.
the lowest part it has harmonic relation only with the chords with which it begins and ends. In all intervening chords the part above it indicates the position of the chord.
in
When
In marking the Pedal Point indicate also the degree, Point is marked D. P. P., the Tonic, T. P. P., etc.
i.
e.
Dominant Pedal
EXERCISES.
Fr. Liszt.
Allegro moderalo.
Christus.
^t^m
#?
?-
-0e
\^)t-:=l===|
=4^-t-
4l1,|^;^._i
Wagner.
Tristan.
^
75.
=4:
z^zz^zzr"^-^^
SX^-1:l^i4:l r=?=
:|i^-
-i?'-
fekri
^3:
=1^=^
-^-4
E^=i==^
te^T^^E^BE^E^EgEK^
^i=a Si^=EEl
Chopin.
Op.
gar,B ^^=^
77.
=^p=^
?=P=:
=i=^*=t ?i?i=SE*EE^
=1
Lesson VI.
The Ohxa.mental
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 Double and Triple Appoggiaturas (Fig. 78 e. f.) are to be analyzed as Ornamentally Signs S orna., E. orna resolved non-harmonic tones. Ap. orna. A. orna.'
:
o orna.,
orna.
FiBic'H.
2-7.
orna.
78.
:=zt=5iiit::i=zE
:*zzt:
^g
Elgak.
Caraetacus.
Bb
Chovan.
c.
Op.
6,
No.
1.
Vsii^
-tt?-
iia
Ap.
F. A. orna.
Ap.
?e==
:i:0-p:-
^3i
eb
Vf
.35
(h)
n
FriAXCK.
Beatitudes.
D'b'l. ap.
;feEE^
i->--f^
S. orna.
i
&.
I
Vlg
ii
vii?o
VI,
TiNEL.
Francis.
Trip.
Trip. ap.
"^
(psSziq
F.
Ap.oma.
^p^^^
HE;:
VII"
:E
EXERCISES.
A. Li.\DOAV.
Allegro non troppo.
Op.
3,
Xo. 4
;^sEE^c7E?Ea:Er=^^
79.
is
sa-
JE^P=^=^^=^i^ ==^e
:4=:t
:r^:=^
:?=f=
n
Allegro.
jL
Mozart.
Sonata.
t^r=p=f==?- il
80.
I
^^^feil^E^^
tt-r_
KORESTCHENKO.
Andantino.
Op.
1,
No.
1.
M
81,
^:^g--t=Qp=f:
ii
:e=t=:
.iL
-*i
JLj^^J.
:Ct^
-^m
(M
Jit.
i:
-St.-
p^fm
37
L'OLEPJDGE- Taylor.
Allegro.
^^m^m^^^
82.
'M~_:^
m
6.
in^zzf:
^^^
r
free tone.
Not a
^"T"
Op. 10, No.
A ndante.
Chopin.
lii: :,
-s--#
j-^ - * ^
Lg^
I I I
g=*=
I
i^
I
s
\
^*-^-^
Pr-rt
=li:
^^^-^
Mil
-i'-
i
I
The presence of rests immediately before a Suspension, Embellishment or Passing tone does not atiect their nature, and they should be analyzed as though no rests were present. A rest of considerable length may. however, give the This must be decided by the ear since effect of an appoggiatura to these notes. no exact rule can be given as to the length of the rest. Fig. 84.
Beetho\-ex.
Op.
7.
^t
t:
'U*.
EXERCISES.
Rebikoff.
Tempo di Mazurka.
Op.
8,
No.
85.
(
-
7^
-A HV
r
-^
^^JE^^gH^^^i,
^^fl l^S ^=t
Tempo
di Minuetto.
^^
KORESTCHENKO.
Op. 22, No.
5.
I.
A.
^r^ .r
.
I.
i^^gH^^
-#
.1
1: >_
jL
>_
p^
!^i:
?-
fi^
F^-^^
^^^=
liJL
^E^
#
-^
5?
^ A-
i=
jL
:^^E^
Beethoven.
-=i->?"
Op. 22.
Allegretto.
^Eg^
^i=^^^l3^m
39
i^^#=i!=i=#-
35=ii
The Free Tone. Non-harmonic tones that are left by a skip and do not resolve ornamentally The use of Free Tones is comparatively rare. are Free Tones. Fig. 88. Do not analyze a tone as a Free Tone except as a last resource. Sign F. T.
Chopix.
C|L.
Op. 11.
'4
1/
ki^
^
F.T.
^-
m
Ap.
88.
He!
c
v:
Backer-Groendahl. Op.
-0-ti
-m-
15,
No.
1.
'
"*
~^ ^^^ ^^i
Chopin.
Op.
10,
No.
i
thus from the key of G flat, 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.
through carelessness,
exasperating use of enharmonics is their substitution, either willfully or 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.
An
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.
i^
91.
bi,
V-
V,
le
Ab
1|
V,
Coleridge-Taylor.
-O-
^^^^m.
1-zkz^
^.
E,
lie
E^
-ttg?-^-
itz:
:^==t
1
3
^
8.
Ab
visl?
42
KXKKilSKS.
Cesek.
Poco
utlagio.
3.
r_z;*=fc
a^
I
^
I
I
^-,.
&^
g- -
:^-=i^-=^bt=MH
I
VA -iJi^H
:t=
^^:3:
-rr-A-
niiy
it.
-a.-
p.
Wagner.
Lohengrin.
93.
:_JI.S
J^
I
^-#
W^
EE
-^^=i=l^^^^t^^E^^^i^^S=^
zfe:
LlADOW.
AUtgro.
-f-
in
t-
^^^-
Beetho\'en'.
Adagio.
Op. 13.
^jme=ie:-=i^
95.
=1:
;^^^ ^^
-*-#-^
&^^=4=:
^S=
Altered Chords.
one that contains one or more chromatically altered tones, but does not modulate.
altered chord
is
An
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 <lominant) and the diminished seventh on vii^. Fig. 96 a b. The lowering of the sixth degree in major keys which brings about the alteration of these chords
is
quite
common
45
Gounod.
Galli
?^%=a#Ti:i:^=n=qJM3r:^=^.
96.
m^
G
le
1
[%]
T
Mendelssohn.
Op.
5.
^=
q:^:^:4=q:^ii::^:=:t=*
^-
iiii^
ESte
-ij*^
S^
D
VII?
ii
Lazarus.
EXERCISES.
Perosi.
97.
--jf=55^
=g*=^
=gi-
RosiNNi.
Stabat
Mater
68.
u^'^n^^ i^^^ei
0.
^l^i^ga3z-r:-sa^N^FFr=r-'i5^S^j
P^f
-I
al
al:
feliS=l
Chopin.
1.
99.
^g^
100.
<
^-
'W-
i
II .^
I
m^ Bi^=t
r
"=J
Gounod.
Gallia.
101.
48
Lesson VIII.
Alterations of the Supertonic Seventh and of Cohrds of the
This chord is identical with the dominant seventli of a key a fifth higher, but a single appearance of chords of this kind are analyzed as altered chords since they do not induce a modulation. The Dominant seventh as modulating chord is fully treated in lesson LXII. Mark these chords as usual, and indicate the alterations in brackets, as in
Fig. 102a.
Beethoven.
Ap. orna. Ap. orna. Ap. oma.
Op.
102.
EXERCISES.
H. Parker.
Hora Norissima.
103./
ttg
-^-
M
J-
3^
J
-f^
Wz
=1^^=
7C]
>aj- >
j-
3-# n
tP=t
Fig. 102b.
EXERCISES.
Coleridge-Taylor.
Lento.
^^^
10.
f^i^^z104.
US
The Diminished Seventh on 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 super tonic 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 altered chords. 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 As was said in Lesson IV, an attendant chord usually appears in instances connection with a fundamental harmony, or is interpolated between one and its To be an altered chord then, a chord should stand by itself and repetition. resolve to a chord other than that which precedes it. When doubtful mark as altered chords. Fig 106.
:
Ap.
Thoma.
Op.
.58.
106.
107.
The Diminished Seventh on the Kaised 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 toimer 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.
EM:
108.
^3^ r
z.
* s J
Ap.
'^
I*
^
i=
U,l i
IV
i
IV, V,
I
VII'
Is
(I)
(ii)
EXERCISE
Mendelssohn.
Presto.
I
Capriccio.
0-
(cuu.).
first, fifth,
Chords
and
and on the raised third degree in minor. ii, vi, or some form of V7 and to IV.
'J'hese
EXERCISES.
Schumann.
Animalo. -0-
Op.
1.
A^.^^^^^^
-j-xi/a^-a*
I
I
^
U^
Lj
110.
r-f
r\r-^
gE^ZHgj^feif=^i^=
=^:
fe==g
pl^:^y^^^^F^^^^Ejj
V.4^.
-0-
-i^tr.
53
ChopixX.
^
I
1.
;?3t;E
111.
-t.
Ttj
j-j1
^^-^
4
i:f:
pii:i=:p=i=i=i:pi:i=q tt=t:=t:
,^=i=q
,
Cf^|
J-
.i:t*
*r-
k=i
1-^!
I F-H
^b
zzz^
Calkin.
:i=p-
Op.
112.
-^==^;
Chopin.
Moderato.
,
Op. 23.
t=4:
113.
5^
fc^ifi:
i
_^tL^-^
^p:
-#*-
i^^:fci:
'^-
fe
54
Lesson IX.
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)
(
The Augmented six four three, (marked *+J comprising a major third, fourth, and augmented sixth above the lowest part (d) The Augmented six-five (marked I"*") comprising a major third, perfect fifth, and augmented sixth above the lowest part (c) and 6+ \ The Doubly Augmented Fourth, (marked *++ comprising a major third, doubly augmented fourth, and augmented sixth above the lowest part (d).
augmented
; ; )
6-I-.
Fig. 114.
Chords
sidered, by
of the
Augmented
many
writers, to be
sixth with doubly augmented fourth are conmisnotated Augmented Six-five chords. What-
may be
it will
chords as such.
114.
in
The following exercises contain no misnotations. These will be taken up later. Mark the chord regularly, indicating also the altered intervals as directed previous lessons. Put the sign of the chord (6+, *+, etc.) directly above.
a.
^
i-^}
:ii -t=:
Beethoven.
Op.
2,
No.
3.
115.
Jj^rj
t=t:
MZ
IV,
(5)
KoPYLOw.
Etude.
^ms
^Mozart.
--^
Sonata.
r-\r^
=i=ittzzi=iitlt:tl:}^
:1=^ itzi:
m
IV,
Chopin.
Op. 47.
^=i^=
^fcS:
5
^r^=-x
:e!=sE5-
r?^^*
S
1
^1
g|=?
Ab
^ir^
-7^--^:
15
V,
EXERCISES
MozAKT.
Eequiem.
,iggl^^ ^gF^
FT
116.
\
^
-.-tt*-
:s:
>i:3.
iEf=f=^^=fEggg
"u^^
:r=: t==*^^*
56
:^1==fi!:
1^^
H=
M&T^
r^-^t^ =E
(i
-^f=3=f
m
il/ofto
^
^r^
Allcoro.
iw
iS^i
Op.
7.
I
t^
'^^
Beethoven.
^
1
1^^.* -
-^wifi
L'
117.
zfciii:
b&S:
-Jtf
-t^
:p^*-
Beethoven.
Jllegr
3.
=fl?t*-:Ct*
ft
118.
{
t:
T It
r9-rr-
wt
:t
*
>X~
:t
^-=tS^:^
t
1
,#-
--^=q=:lEEj
g0
pZrE
i_=i3t:^:
m
l^:^^
Hoffmann.
Cantata.
AVegro. Moderato.
:?'
4=i
q^=
'^j=i=*^:
119./
:^
z]=q:
_4
^.
I
-i^-I
I
1^1
rr.i
'^
fl
-|
Colekidge-Tavlok.
%r-^
120.
{
'-^-J-fHEE'^stw^:
=t^Si^
^iiz^M
^-
If:
-f:^
S5E:
tiif:
:z:ttpitit=:U=:z:
"F^rj
(Sk
ifeEE?^""^
121.^
ii^i^^^i^p
Elgar.
Light of Life.
lig&iiippiplpsp
^^1
I
^H
siSii^iiipi
^lozART.
Allegro.
Sonata.
122.
^1^2=
:^tittit^-i--
-F=^^g=^^
5f-
i|3i?=i=i=l
59
^
Jonas.
Op. 58.
123.
(pn^
*
Chopix.
Op.
23.
124.
^--T^-*
:1r
v^--
:ii=tti:
^H
Op. 23, No.
1.
!
i^i^^b==t
Moderalo.
^^^J-; :t=M==^==M.-^tt|=^:
Schumann.
4
1
-#-
*
^
-^t:^^
^
t'
^^
^
u
^T
125.
15^3^:3^*
"^
-N 1
:^^ T
q
^^^3
^3
?
60
-M:
W-
r
itt^t:
^-=^=^==^
t^^
f
Lesson X.
tional forms,
e.
with the following table: From the root the 6+ comprises a diminished 3rd and diminished 5th.
(a.)
(ft.
4+ 6+
5
(c.)
4++ comprises a minor 3rd, doubly diminished 5th and diminished 7th. 3
126.
(d.)
mm^^m
Bendl.
Gipsy Melodies.
t-?if^127.
<
fs*^
mm
ft-
w -^^
d.
II,
^_j..
"7 Vt
I
Iee^^^^I
5
lift
61
EXERCISES.
Fraxck.
Andante.
I
Beatitudes.
I
I
>
-I-
J-5^ <^4^
128.
S|jg;g
^ llegro
i=5f^:*.i*_:
m
Op. 17, No.
8.
Blumenfeld.
^^: Tl1^^=^=*--fc
129.
^s=l^ -t^
"51
^~
ms
Fi
icznf-cs^cpii:
-fe-
m
:
^=-^:^-Pi--r_^^=-
^
J
"^-;i:
,=di^:
iq-jt
W. Rebikoff.
Tempo di Mazurht.
Op.
8,
No.
130.
correctly,
spelling as
in
Fig 1316.
Beethoven.
s
Op. 57.
mLmmmm^^^m^
:iq=:
'e^
^?
^li^
^1
3
Db
?
Beethoven.
s
Op. 57
:?i
3
i
a=b|j|j
s^-i ^i^ii
:i:>
A=i
I
^-.
Vt
IV
b.
They
EXERCISES.
Eduard Schuett.
moto.
2.
gg"=3-^
4=a:
132.
<
^=\-
53 Hi
1^
m^^^^
^-
-EQk
*
:!;
-|2_=.-
1
i
1
pi
.^.^-i:
TSCHAIKOVV^SKI.
piE
=1^
133.
{
i^
(^n^
-I
'^:^=!i3^
-!
:^=^^
-I
-
I
64
J ^^-
^^iai^
s
S
J^
f;
Ji
If:
H.
W. Parker.
Op. 30.
134.
ii"
vii;^
Bb
i
The Neapolitan The Neapolitan inversion. Marked To simplify the
sixth
is
Sixth.
its first
N6. Fig. 135. u . , .i, i is often these chords ;= r,fton reading, the enharmonic equivalent of D F# A the the chord would spell Ebb Gb Bbb, used. In the key of Db ,, enharmonic equivalent, is almost always used instead. position, and occasionally The Neapolitan sixth is also often used in root
.
its
second inversion.
Mark
as directed in the
Augmented
sixth chords.
Mendelssohn.
Op. 33.
^--?y135. (
^=^-^
-U^-
>
'^
9-1^
N^
i
cp
cij:
II
,
m=^-^
m.
il
-^
v^
tp^n
VII
EXERCISES.
Brahms.
Co mo<o moderalo.
Op. 45.
136.
^^
.If^-.
Allegro.
fl^J
:ttt
t^
lafe
.-r^j^
Chopin.
Sva.
2,
Up
137.
^^^ti:^:k^ t
-^^
i"^"""
SSSSSS
^^m
W^
5^
Assai allegr
Beethoven.
Op. 57.
2^ n-^i?:
138.
:&:^s:a:
Wc^:r^
>t25:fi
i^^4m5' -:^
i^fEEti
>^=fc5:
=
p#
:g--|:-Q#-ti--^>-1^
^zrt:
#---
:^:
:&itzzzi^zitz=*zi
-9-0t
fi^
S:=^
-^^^^.^f:
^^
.:r:-.f:
Cesar Cui.
139.
<
Lesson XI.
Vj
to
I.
In cases of misnotated chords, with the skip resolution, it is often difficult It may require experimental enharmonic to find the nature of a progression. changes, and even then it may be necessary to write the chords in root position
to see their progression.
Eavel.
Sonatine.
F-A.
.^*
140.
r-,
r^r
iii'-
.^
Free
resol. I
:t=t-=:t=
EXEKCISES.
Bendl.
Gipsy Songs.
Cn poeo piu
lento.
Max Bruch.
Op. 41.
142.
=1:
q:
^n=|E^^a
^^^
Agitato,
Chopin.
dJis:^:
Op. 20.
=ez^
143.
=3fe:
r-ft-
-.fel
mititzz
-5?^-
na
K
-(2-
tep^^^
(
u^
t^
-iX r
Franck.
The Beatitudes.
144.
^^f'^f^*70
Schumann.
Op.
'20.
145.
^
^fc^ -4--^-
I I
Coleridge-Taylor.
Op.
59.
_&^
^-
fe
Ej:
m-
mm
IVe
it
m^
-^
t^--^
-0-t&-
IV
L3b]
^=1
EXEECISES.
Coleridge- Taylor.
Andante, moderato.
^iEi
147.
^=l^t
.^1
rtz:^
{
-^-
i
L/!
r-
r EColeridge-Taylor.
Op. 59, No.
17.
Larghetto
ma
non
nioto.
148.
<
m
Coleridge-Taylor.
Allegro molto.
feii
S
"'^"
mm
^*-
'^
1
-(g-
--
if
Perosi.
I.azziiro.
150.
-^#P*^=PiNisi
<
Lesson XII.
Modulation.
the art of progression from one key to another. means by which modulations are made from one key to another will be taken up with necessary explanations accompanying them. It has been the endeavor of the author to present the fundamental principles in modulation, so that when the student analyzing on his own account meets
Modulation
is
A number
of
modulations that are different from those given in the text, he will be able to explain them. Heretofore it was only necessary to compare a chord with the key of the composition to mark it, now it will be necessary to study its environment and note its tendency, since a chord may belong to any one of several keys. A few words of explanation regarding terminology may not be out of place
here.
number of sharps or flats between keys the Next related keys are those in which the difference is only one sharp or flat. Going to keys with more sharps or fewer flats is going to the dominant side; going to keys with fewer sharps or more flats is going to the sub-dominant side. The difference in the number of sharps or flats is the number of removes (the number of fifths) distant. To illustrate, the difference between Bb and Db is three flats, hence Db is three removes to the sub-dominant side.
greater the difference in the
are.
The
Enterixg the Key through Its Domin.xnt Seventh. key may be entered abruptly through its V- chord. Care, however, is necessary in deciding whether a single appearance of a dominant seventh
73
(when resolving to I of a new key is a modulation or only an altered chord. In deciding whether a modulation is real or not the student is asked to consider the following To make such a modulation permanent the new V, chord (and its resolution to I should be followed by a complete cadence in the new key. In slow tempo the mere repetition of a progression V, I in a new key at times gives a strong enough key impression to be called a modulation. After all
)
:
the ear must decide, and since ears differ in acuteness there will be differences as to what a permanent modulation is. There is and always will be a diversity of opinion as to just what constitutes a permanent modulation, since no exact
rules can be set
down
for this.
Passages progressing through many keys without periodic return to the tonic key must be analyzed differently and are taken up in later lessons. The VII" chord permits of the same treatment as the V7 but is not often used for purposes of modulation. Fig 152a modulates, while 1526 does not. CzERNY. Op. 335, No. 4.
a.
I
152.
R. orna.
:-^^^=i^ES^ 5=
_0^
'
-4J-JAp. orna.
:=1-
:=!=:=;
-^i:
'
'
Spohk.
r*i
J\
0gr
m--
-^s-
s
IV,
-1^-^I
:^
Last Judgment.
--,
IflVIe
II,
' 5
"4
[If]
=1:
:|==*-=4E;-=5^=--3=b^_U=J
I
I
EI3
*3=i:
(Y.))
i=^^
III I
:ttt
I|
(ill
::
II.1
vii%
le
"e
[3
'^"
EXERCISES.
Backer^Groendahl. Op.
Andaviino.
15,
No.
1.
:3
153.
^^=^-\2^-
mm^^^
E#
f t
f^
h:2^:z=z^g ^P^i
EXERCISES.
Mozart.
Sonata.
154.
AndarUe.
.^^
^e
T=^t
:tiiit
tei ^=^2F
^j3E Tt==ti
=it=g:
4-4
111=
:f=-i-J-z
m
P
S=B
^g^^
^^"-^^^^^jfej^
-^
----#(
^-
:t^Ltt
-y
-J:-.
Ui^-
i=t ^^"
-d
i^^ii^^iiilis r
-I
_i*
.0.
76
Wagnek.
Sim Lento
Loheugrin.
A ^
:l'
155.^
P.n^53=^^^J==E^=^=E^^ * Si3
i^^H
Hi ^; 4: i>^r:g
-
I
!
J-
(p^
(S
1=<:
^^=j=zt^^
r=ii-^
r
JL
^=
I
^^
IJI^'
J J^
S1)
f:t
t
-r^
:^
ittjzezti:
iJ
^1
pEjgE^g^Sg^
I*
l-i-
^ "-=#1
Bit*
77
Allegro.
Beethoven.
Op.
2-,
No.
3.
fT-i(
m^N^
i-^-
J-*'-
^^
f^
156.
=q ^
"^
1
jg
^It
ar
f:
^
^.
if:
^^
1^-=^
t^
:f=ttF
I
-^
:
-I
3^eS l^jr^SEE^3E5EiE5S=^^
i^-d-
m^^^=^: Tiz=H~t
^^^
1 ^
Schumann.
Op. 82.
S^=i^^ *
+=^
^
157.
LilJl-^^i
^|5=
:$^
ii
n*
tfc2=t
:3=F^;
1f*=n-
A common
keys.
Fig. 157.
Brahms.
Eequiem.
158.
<
IV
in
are used as
common
chords.
or vice versa, the altered chord be-
A major triad may be altered to minor coming a chord in the new key. Fig. 159.
"Wagxer.
Lohengrin.
i ^m
j^=t
159.
'-m^^.
^km-^-m ^
#^-p^
'bJM =^
i
I
VI
I|
Y,
Mexdelssohx.
Op. 14.
EXERCISES.
160.
P^w*^
w-
3=dt=r.
I I
^^^S^*:^-"-,
-^^^=^
i^-^^;,^ %\ t:f*ti
%-t^-^^
~*^^^^^^^sJ^
:Ct^
^^
1=:
:i=^
-4
1^iT-^^
~R*-
Wagner
Lohengrin.
m^m
'
^^J?^ -gp?
L.tt^ll:J: j| J-^^4^-
161.
i^gS
Schumann.
3.
^
^r-
^i^^Si=E^
162.
fe|liii=1^3=^J
81
^i
Lesson XIII. Modulating by Means op the Diminished Seventh on the Raised Fourth Degree, and by Me.vns of the Augmented Sixth Chords. By Means of the Diminished Seventh on the Raised Fourth Degree.
The Diminished Seventh on the
ing I| followed by V7, Fig. 163a. tion.
I
raised fourth degree of the new key resolv(sometimes to V7), makes a strong permanent modula-
In major keys this chord is sometimes notated like a diminished seventh on the raised second degree. Fig. 1637^. Beethoven. Op. 7.
'^
-^
!iE5=*^
163.
:ttt
--f=
f-tF x ^pf-nr-^
:^=t
:p=
Schubert.
Memnon.
sm^^mmm^'m^^^^^^
1
'
titt^-i^
^_j- g-^^
tr^VI?
Db
ni
Vt
le
Ab
111
I4
V,
164.
83
i^^g^
t&:
=5^
f-
f-F-
4-^
^- "^
-tts
^-
t^^E^ii^E^^^^E^^E^^t^^^Eti-,.
tit=:
S^feE^E^Efefei ==t
^:
te^a
Chopin.
Op. 42
I
165.
::
:t=t:
J -t
M2-
Schumann.
Einfach.
Op. 23,
A'o. 4.
-ft-
j>l
-#-t i:
I
tE^
166.
{
Wagner.
Lohengrin.
:BEE=^^
167.
I
-I^r
^j:E^-|E:^i_^g::iiE^|E^iE:-^SE^
::,
^V
.1
By Means
A
its
key
may be
4+
3
or
4++
3
of the
new
key.
When
is called its conventional position, and when 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.
conventional form is located with This it resolves naturally to If. so located and resolved gives a very
Liszt.
Christus.
168
EXERCISES.
Chopin.
Op. 59, No.
1.
^:
4=f:
'^=i-r-
:?=
S=
^
^-
Franck.
I.
Beatitudes.
-I-
M=:f=^=t=tr
170.
m=M^^^ =^pteE|s#^^^^
-?'-T-
-&2^
-^
^=-=^=ii^i
:^A
;=*=^ ^T
:3I
-Sii:i==3
^MT"-'
'^
-I
4-^
*-*=fcis:3EI?Et n ^=5351
:t:!^l-=t
Beethoven.
Allegro
Op.
13.
171.
fetEtat^(PE^i
Allegro
^^iiB
Chopin.
Op.
F^=P&|
it--
172.
p
^-5=ii^:^
*
ai
jJTil,
Schumann.
Marcato.
Op. 28.
:S5^^= ri=
173.
I-
:p=t
"*~L^t~#"
^S^t^=^^
^3=i=J
lififi:
l3^
WT~F
38!
=?^
itt
Sittti^S
:
a*,
^
I
'
w^
-.
z^
t^l^:^"
R^S^^=^^^r=Ff#r T^''
T|-?1
'
T-I-Pl
tr
3=
R.
Strauss.
I
5.
174.
5S^==P^||g^fg
Lesson XIV.
^Modulating by Means of the Neapolitan Chord, Alteration op THE Diminished Seventh, and Deceptive Resolution of V?.
By Means
A
close.
key
may be
(N6 orNS).
entered through the major triad on the minor second degree This chord and its regular resolution forms a strong i)ermaneut
in the
Mark
key.
new
key,
and continue
in
new
Fig. 175.
when going
many
flats.
chord is often enharmonically changed In such cases give its true spelling.
Brahms.
Nanie.
^s-^i
175.
:H^=t
^=TJ1
Vt^
4 ,j=:_^:
=1:
-^ 5?Vt
-J^ ^-
m^
EXERCISES.
176. <
^tT^
&-
tt
^^=^^^^E^
t+#-
t^
=t*-
^1
Christnacht.
WoLF.
177.
Lowering only one tone, or raising any three tones of a diminished seventh a half step, changes it to a dominant seventh. Unless such progressions and
their resolution to
I
as
At. chd.
Pass. chd.
-e-hi?=
i
178.
<
b[j
nr-f
= F$
^^m^
G1j
viiSo
viio
5
ig
^
as the
staff.
Diminished sevenths are often altered as above, and notated and resolved 5+ or 4-h- chord of the new key. They are also altered so as to become * 6+
4+ chords
3
in
Fig. 179.
Mark the diminished seventh as an altered chord in the old key (if it is not The Dominant seventh and the Augmented sixth chords are marked as vii2o).
being in the new key. Misnotations often occur
in
in
these modulations.
such cases.
Spohr.
Last
Judgment.
EXERCISES.
Chopin.
Presto.
,
Op. 54.
t^180.
{
m^
1^
^-^--^rtt^^-
-^-
^^f=
l-"^tf-^''
Sfe
:^i
E^i
if
:it
I^S
=-^=
^:
:=pt
_fs_^
i^:
:lg^_jC-[-=g
^S=^:^
181.
fetf:
i-j^se
r't^ttt^.^-,-,.
-\y
-^f^mJ^f*rffi-rii^
92
Bendl.
Andante.
Gipsy Songs.
:i^i-n-t1
182.
>
-I
iSH
ll.
A Dominant
ing.
seventh
may
and
is
valuable
as well as interesting as a
Its resolution to
means
V,
or I of the
new key
is
in
modulat-
Fig. 183.
Schubert.
Symphony
in C.
r
183./
1^17
r E
r E
J^i f-z^t
i^=it ~t=t=LT
^SS33^
Bb
I
O-
rrr
VI vn
^=^
"^
[#
,-
Beethoven.
Op. 54.
K^=-:e^
A
i
vug
Is
EXEECISES.
Allegro agitato.
ChOPIN.
Op. 66.
^
184.
<
t=.t
:titt3^=ti
.^
1
\
r^
1 \
+r r-\
I
Hr-n
r^
1
h-
m^.
p^^f^=Fg; r-r^
=:z^t:--=t=t=
94
Bendl.
Allegro con brio.
Gipsy Songs.
(tei
185.
<
:J,i==z!bj
w-
i
-tti!-
5=^
-n-
j?5^3^
-^-1
ii^;::p5
^^i
tzr.*T
(^
Allegro.
i
Op. 14, No.
i
1
Beethoven.
1.
&5 3l
186.
<
^=^
I
S
I I
f^^iL-^-^-q
^1
J*=l^
:4f*:
fr^-
n: yp-
psa
Hugo Wolf.
Christnacht.
FiG**Lebhaft bewegt.
Fil3^'
g I
187.
<
i^r^^^^
:*:
S=t:
Lgp=JgzzEE^
IE&
Elgar.
Allegretto.
Light of Life.
^'
188.
Lesson XV.
Succession of Keys without Modulating,- and Successive Tonics. There are instances 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.
Elgar.
Caractacus.
189.
EXERCISES.
Elgar.
AWgro.
=1"
Caractacus.
'M^--^ ^5190.
1 I
^^:4
^=t
=1=
q q=
S"-
:g:
:E3:_J2zi3
it
:=^
-I
I
i
p ^. * pr^fri^lfer^^J^i^^
'-T-
Haydn.
Creation.
191.
i^;s^^^ig=^y|i
Schumann.
Langsam.
192.
<
1^
t^
W^ J
lE
97
^lozART.
Quartette
Minor.
WMmm
I I
i-,'^
*^-F-j^^ r,^
\ri
J?
-f--r5^.
193.
a^' Mi
I
--t:
lle i|
-I
-^
W^^
c
V,
V,
D V.
98
V,
=^^^'-4
2^
TT
bb
t^
T-
^=lpia
-^1
I
itziitz:
.1
t/
ivt
EXERCISES.
CZERNY.
Op. 335.
l^.^A^&&:tr^^&3^l :^fe#i^^iil^ili=||^i
194.
-P
|||^aEi:t^g*gr^*t^=J^i^ip^
lli-_|=fc=fi-
-!-
^^
*.
*t
Jfe||:fejr^i^cgji^|:feg ^^^i^i=M
5-=-.-^a
99
195.
^^
--
-*-
fed;
^
*!^
-^
I.
J
i-
^^^1
1
1^
t
.-zfi
f*
-I
H-r\-^0-^-w t-r
Cramer.
Prestissimo
Study.
196.
1^?^
:i=i=r=--=i^
:^ttcitL--EE:
C^if:
^f^
&:^i
tts
^EES^
P=^^=^=feii
=^:
^-=^~u-"1*-
=1=
teiiis^i
i|^
If:
fc=^:
Consecutive Toxics.
Passages also occur in which there is a succession of triads that have no These are to be analyzed as consecutive tonics, i. e. relation one to the other. Do not, however, misuse this call each chord the tonic of a key, Fig 197. Many passages that appear like consecutive tonics may, after a closer privilege. examination or enharmonic change of some of the chords, prove to be in one key.
Wagneu.
Tristan.
197.
=tt^=
^^-
t-3^:
1-^-
E^^^"^^^^
^^^'-n*
1.
Ebiie
Ble
EXERCISE.
Wolf.
Christnacht.
198.
#-
-^
B--
101
'
t^i iU
-^
jit
^%>
"
_
/71^
Ss
:fic
^g t
,^
:^r!t
U-.
4? *-?
f5^
^?^
^=-ii=
.
=ifc
^--
S^
^*-
iT-
T^
^
^?^^-^-^
?^
^^$i
;?^
^ ^-EL-A^EaEjEjEJ^r^E^^
3*
ii#g
5E^ I
Wagner.
Parsifal.
102
WiTHOL,
Andaniino.
1.
m^^
Z^Z
200.
<
1^
j^p
.
tt^-
itikzl
^
^
ei^
^__f
^_#
1=
>i::
"J31
S
'
I
^eii^:
Bf
i
I
103
Lesson XVI.
Consecutive
Passing
them
as
first
and
last chords.
Fig. 200.
Beethoven. E E
Op.
10,
No.
3.
m^^^^^^
201./
-^^-^~$^^-^
im^^^i
ri"
fK^-^-^f^wSp^
Passing dim. 7th.T
Consecutive chords of the diminished seventh occur occasionally in which more than two members of the chords are present. These are harder to analyze. Examine Fig. 201, where apparently there is a progression of broken minor sixths and diminished sevenths alternating. If, however, the two intervals necessary to complete these chords of the seventh are added, a very Passages like this clear succession of passing diminished sevenths will result.
possibly not
really
of
Beethoven.
Oi>.
10,
No.
:?.
202.
^ Pt
d.
I,
Each group
'-^^-
'^^^^^m^^. i
^^-
..^---
P^^
:
-P
I
r-
F'
Vv
Beethoven.
Op. 111.
EXERCISES.
2i
203.
Schumann.
Op. 111.
i^eEs:
^
204.
^r
-7
M^3:
i=e:^!z=
J-^^J-i
j^at &iL_
I
TiNEL.
Allegro.
Francis.
^-ft-^^?^^
205.
<
"-fij
-Q
-^^
%r
-&-
A^
:z*E5E^;
PE^^piHii
Chromatic Passing Chords.
Introduce passing tones
result.
If in
is
the
some
IV had
is
to
such
treated.
moves
by a step or half-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.
Chopi.v.
Op. No.
4.
.^=^^^^^^^^.
206.
<
107
"^^m^^^^mm
Statkowski.
3.
m msim iT^-r4-^
=t
*
Qi*-
_tt.
-:=t
f-
tt
>-
fei^
^^=*=^
=1:
1|
Passing chords
^-
^-
^-?^
Gfe
V,
Chopix.
Op.
4.*.
108
Cadenza.
^lE^
-I
i ^
r L
)
,^rz:t:-r=t=-:^ r=E#s
ci
JP-hU1*-1-
iJ
'-f-
Passing chords-
Chopin.
8t;a,
Op.
33,
No.
4.
^^^
207.
SEEE
=&-:
=^"^-"ErE^E^EzE^EJ^
i53E=iE3E^S ^
=3^-- <^
V tr
^:
^, ^
:: _f5|^
Bachman.noff.
Op.
3,
No.
5.
I
208.
^^^1
^^^mmm^^si
es^ 2*:
:g=|:
Sequence.
Sequence
is
The
repetition
Fig. 209.
The
another.
transposition
may
The sequence
ies.
is
movement
of
harmon-
In modulatory sequences the dominant or leading tone chords of some of the keys are occasionally altered.
There
is,
Fig. 2096.
mark
it
with a bracket
as in Fig. 209,
and
mark each
figure.
the same
single repetition
is
very short figures, however, those having not more than two to four notes
second repetition
may be
necessary.
110
Liszt.
a.
-fij-
Christus.
-(2-
Sfl^P^i^^^i&s^^^
t
209.
^'
-^
F
IVe
ti^
:t-:
m
Vi
I
vii?o
iiieEb
vii?o
Vi
==^===2^
=S
1 1
:^^=
^^-
m
ni6
^(9-
-9^=^^"
iS:
Dbvii?o
[vhfe]
-&'5'-
il
Op.
16.
Vg
Chopin.
Ap.
Ap.
Ap.
Ap.
Ap.
I
'm
&2=2:
s^
Bb
:fei
q=S
g=3=
iS
C V^ FV^ Bb V^ ebV,
Vt EbVyAfeV, DbV,Gl7V,
EXERCISES.
Mendelssohn.
.0.
Op.
14.
:ttt#-
^-
-0-
210.
it,.
^.
St..
...
I#
lt
I
,-t,
=p1g?
c|i33=EiE*E3= 33?=:
"ii'
(s ^^E3^9s^==j^=j:
lit
Ml^H,at,\^
-^
Chopin.
-^
Op.
3
16.
s:p
211.
fe^t
^r
2F-
te^,=^^ SiSEE
is
(i^
(
^^,^f_^_,-
it^fzzf^'EE^=ti-_&p^P=^^T=iE=^
^^=iji
:t=zE:?z=z=t=
i>?-
g^^^^l^^gEp^^pi^^
->HdZ:
3EEEfe?=S=
iz5
p-r=^r
Cramer.
Study.
212.
^=E^^Ei^EE^^^^^i
^=1
-g^=^ig^=i^JE^
Lesson XVII.
Writing.
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.
fa
LiADOW. E FA
Op.
9,
No.
2.
213.
m
1
4
I
-i
-0--=-\^=t
Ap.
Ab
V,
EXERCISE.
Mendelssohn.
Op. 14.
214.
%--^\^-
Wagner.
Parsifal.
^M^~ ii_-ztzif^
215.
w^
1=t:==--==
ii^=^^^^^3Egi^E
V-V
^1^5
:^iizz=f_J4-U_ J &*-
E^t^
JrJ=s?W=?3='=St33a:i
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. 215.
sometimes necessary to supply missing The tempo must, however, always progressions are often heard as change of they would give the impression of but one 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.
it
is
group several notes In slow tempo, be considered. harmony, where in quick tempo chord. (See also Lesson I). The
intervals or to
together.
ScHUMAXX.
2.
33=3:^^
:S=
216.
M^'
V?
^~n
t=\=^
g
I
itrt
Ap.
^^1
^
m--^
I
^E^^BE[>:zf=g=^=:g
div
116
CZERNY.
Allegro vioderalo.
Op. 335.
217.
M.
.0.
^,
iiiP^^S^i^^fel
|^=^_=j^^J^^E^^=^
Mozart.
A'legro.
.
Sonata.
218.
<
I
ij-
i*
:=?i
1
I
fegjgi^EpE^P^^aij
1=^^
:3^
117
(^?
-;=^
Eg^Ei
f=f:&T=f .^r=f=t
F- -)
tu
I
^
-t^
P^E^iEEiP^^^^I;
^:f:
-iifi-.^
-I
W-
-K
t=
It:
i:r-^-^^f:t.-frf:
,-!?^-
--
-^"
s^*-*- -
^*
i
fcp_=El:JE?-i^=i%:=l|?E^i^^^
Allegretto.
Bach.
Prelude.
219.
118
^s-S.-
gi^Vit=^i==ri
i^^^E^g^
One Part Writing.
many
instances are
two chords.
The same
Fig. 219
is
Chopin.
Ap. orna.
Op. 23.
Ap.
^5
-^i:
I^JAJ-
^^e:
r-r
220.
r^D-
^J-
teelfe?^-5Ete rr^
(9
VIIO
[lb]
(5)
^ ^"
^2:
1(5)
:^^1
IV(3)-
119
Chopin.
Presto eon fuoco.
Op. 39.
?=--=
221.
{
t=^=^
120
P=f:lr
-^- -"P
,j>-
_1 =,^=^="-li^
:^i
iEEEt I
l::ii^FJ^^&=l=cJr-
II
{m
-*
=1-
-^=t-
t^ij:-'-^
^:
ij; z]:
ri:
:^
==
iH
f
MozAKT.
Sonata.
:f:
ifc
..-if::)!!:
-ri--t
^^^^"S3:=3
223.
^ilEiEEiEElEjt
^fEf^^3ii^^^^
i^
^ ^
^iS^E^iir^^EF^^^;^
J=W=f=^i=W=f^
ra
p sr^r
^ ^
Lesson XVIII.
In addition to our modern modes (major and minor) that have been analyzed 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
Ionian.
224,
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T^r~g?"
Lydian.
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Mixolydian.
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A. Phrygrian,
Lydian.
On anal.vzing the ab6ve 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 The starting point of each mode being its fifth, and the Aeolian on the sixth.
tonic.
modes
Since some of the modern writers are making such frequent use of these in producing many of their unique effects, it has seemed advisable to ask for an analysis of the mode as well as the harmony of the following exercises.
In order to find the mode of a composition assemble the different notes of the melody and harmony if necessary find the point of repose, put the notes in alphabetical order and compare with Fig. 224.
not rely on the signature as a clue to the mode. While e.g. the Dorian 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.
Do
This is easily recognized by Occasionally modes modulate to other modes the appearance of tones foreign to the mode, or by the cadence at the end of the Fig. 225a begins in C, Dorian, makes a digression to C Aeolian at the first line. 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
to induce a modulation.
for the
Mark
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.
tones,
In marking the mode give also the key from which the mode takes e. g., C Dorian, F Phrygian etc.
illustrations with regard to
its
Examine the
alterations, etc.
Bach.
C. Aeolian.
Choral.
C. Dorian.
225.
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EXERCISES.
Bach.
Choral.
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Cl.
Debussy.
227.
125
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Moderat'i.
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22,
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Lesson XIX.
Reduction.
the eliminating of all non-harmonic and unessential chord tones, and the retaining of only those necessary for a simple and clear harmoniIt will be seen from this that after an example has been analyzed harzation. monically, the matter of reducing it is comparatively simple. As regards the melody to be reduced, as far as possible follow it in the
Reduction
in
An absolute 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. 232 contains several examples reduced and analyzed. An examination In "6" it has been necessary to introduce of these will no doubt he suggestive. five voices in the fourth measure owing to the presence of a complete Vg chord.
reduction.
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The remaining
lessons consist of exercises,
which
will serve as
a review
EXERCISES.
Franck.
Moderato.
Beatitudes.
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EXERCISES.
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Op.
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Lesson XXII.
EXERCISES.
Beethoven.
Allegro risoluio.
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End
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XXIV.
156
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or 25^CEKTS AN INXTIALJINE
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21-100m-8,'34
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DATE DUE
Music Library
University of California at
Berkeley