Supplement

to the

ieory of

Modulation

ifolger

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RT

'-

rvrr

SUPPLEMENT

&^y

TO THE

THEORY OF MODULATION
MAX REGER
TRANSLATED BY
JOHN BERNHOFF.

ALL RIGHTS RESERVED

Albert Stahl

PUBLISHED BY

F.

KAHNT NACHFOLGER,
1904

LEIPZIG

BRIGHAM YOUNG

UNIVERSITY

LIBRARY

PROVO, UTAH

Date Due

&> -'w.

">

<

PRINTED

--'

-A

IN U. S. A.

Preliminary Remarks.

This "Supplement
lation"

cian

those

(for

organists,

teur

the

to

theory of Modu-

intended both for the professional musi-

is

whom

to

learning

singers

and

harmony,

and

others),

for

pianists,

ama-

for the

rudiments of the theory of

the

music are not a sealed book.

would draw

that

e.

i.

the

to

fact

'Supplement to the theory of modu-

this

in

lation',

attention

special

the examples of modulation,

in

have

purposely avoided anything pertaining to enharmonics, with a view of drawing the student's special
attention

son,

musical

to

have

logic;

given almost

for
all

the

same

rea-

examples of

the

modulation by translating tonic, sub- and super-

dominant

into

the

new

dominant, as the case

them

in

so-called

sub-

tonic,

may

be,

i.

e.

cadence -like form,

or

super-

have given
in

order to

thus lay before the pupil the fundamental principle

of modulation
the

analyses

in

the

clearest

possible

manner;

of the examples of modulation

will

make

at once

any
all

fundamental principles clear to

the

student, even to less gifted ones!

Of

course,

the examples of modulation will allow of other

but

solutions;

doubt whether such other solu-

point"

be shorter

tions will always

and more

i.

"more

e.

logical than those

to the

given in this

"Supplement".

The

musician, studying the examples of

lation with

an experienced

teacher

modu-

under the guidance of

their analyses,

"mind open

with

to

improvement or progress", should transpose the

examples

into

as

many

keys

as

possible,

and

should himself try to invent similar modulations,

and even perhaps analyse

modulation

in the

me, whereby

own examples

his

manner of

analysis adopted

the understanding

of

by

of the principles

of modulation briefly developed in this "Supple-

ment"
he

will

certainly

be

facilitated

for

him, and

gain a considerable amount of additional

will

insight

the subject and absolute clearness in

into

grasping and understanding even the most complicated

modulation,

In conclusion,

amples

of

harmony, and counterpoint.

would request that

my

ex-

be looked upon

not

as

modulation

compositions,

but that they be merely taken for

what they are intended

"dry" examples ex-

plaining the simplest principles of the theory of

modulation, one of the most important chapters

in the

whole of musical theory

sidering the

modern

especially con-

style of composition.

Should
in clearing

my

little

up the

book be destined

difficulties

to assist

of so manifold and

varied a nature which students encounter in dealing with

my

this

efforts will

special

subject ,

the chief object of

have been attained.

Munich, October

1903.

Max

Reger.

Analysis of the Examples

Modulation.

in

a)
i)

From C- major

G-major,

to:

2)

D-major,

piJzz^rrgJ^njt^Lif
r

s^^a^pi^
1)

G-major.
Tonic C- major; use

C- major which is
same time the sub-dominant of G-major.
(Cadence !)
[CI (= GIV), GH*), GVJ, GV
GI]
this

at the

2)

D-major.
Tonic C-major;
nant

(G-major)

(1st inversion)

relative (e-minor) to the

C-major;

of

which

use

also

is

this

relative

sub-dominant (G-major) of D-major.

Cm

[Ci,

*")

"

(=

" this

Dii),

DV

dvj,

mark under

Roman

the

domi-

e-minor
to

the

(Cadence!)

Di]

cipher means:

1st in-

version (chord of the sixth),

"="

this

mark

under

the

2nd inversion (chord

Roman

cipher

of the six-four).

means:

7
3)

A-major,

4)

E-major,

'm^smm
3)

A-major.
Tonic C-major;

relative (d-minor) to the sub-

dominant (F-major) of C-major; use this d-minor,

is at the same time the minor sub-dominant

which

of A-major.
[CI, CII
4)

(=

(Cadence!)
AlVij),

E-major.
Tonic C-major;
of C-major;

use

AV, AV,

AI]

relative (a-minor) to the tonic

this

which

a-minor,

is

at the

same time the minor sub-dominant of E-major.

(Cadence !)
EI]
[CI, CVI (= EIV|,), EV, EV
|

5)

^W^^P

B-major,

6)

F^-major,

ij^ii^ ii_l^i

^m^mw

5)

X*

B-major.
Tonic C-major; relative (e-minor) to the
dominant (G-major) of C-major; use this e-minor,
which is also the minor sub-dominant in B-major.
(Cadence!)
[CI,

CHI (= BI\% BVJ, BV,

Blj

6) FJf-major.

Tonic C-major; dominant G-major; the ist inis used (the chord of the sixth,
b d g), which is at the same time the chord of
version of which

the Neapolitan sixth*)

[CI,

CV (=

in F#-major.

f#v,

F#IV|Jt), f#v<;,

(Cadence!)
FflH

i^P^a
CJj-major,

7)

8)

G^-major,

J.

7)

CJJ-major.

Tonic C-major;

relative

(e-minor)

dominant (G-major) of C-major; use

to

the

e-minor,

this

*) By "Chord of the Neapolitan sixth", I mean the minor

sub-dominant of a major or minor key, with unprepared suspension of the minor sixth before the fifth, which suspension

need not necessarily be resolved upon the

sub-dominant.
latti

in

Naples

adopt, as the
uses.

I call

fifth

of the minor

chord "Neapolitan", because A. Scar-

treated the sub-dominant in this

first

name

For instance

this

manner;

of this chord, that which Dr. H.

in

Riemann

A-major or a-minor the cadence with

the chord of the Neapolitan sixth:

faij

1n.

- -(S)ff

i-(i)-f-*t
*-?*

NB. To obtain a smooth and

parts,

the pupil

is

strongly

faultless

recommended

root of this chord of the sixth

to

progression of the

always double the

which

also the

is

minor sub-dominant of B-major;

dominant (F$-major) of B-major; use

major, which

is

cm

F$-

this

same time sub-dominant

(Cadence!)

in C$-major.

[CI,

at the

(=

BIVJ}),

BV (=

C#IV),

c#v

Cft]
I

8)

G$-major.
Tonic C-major;

relative (d-minor) to the sub-

dominant (F-major) of C-major; dominant (Amajor) of d-minor; use the ist inversion of this

A-major
is

(=

CII

dl*),

dVu
*

G#I]
9)

sixth,

djf

a),

chord of the Neapolitan

which

sixth

in

(Cadence!)

GJJ-major.

[CI,

chord of the

(the

the

also

G$V$) G#V*
j

D#-major,

|=8elgiP=pl

^dm

Tonic C-major;

*l

relative (d-minor) to the sub-

dominant (F-major) of C-major; use this d-minor,

which is at the same time sub-dominant of
a-minor;

dominant (E-major) of a-minor; use

the ist inversion of this E-major (the chord of

the sixth, g$ b

chord

of

the

e),

which

is

Neapolitan

at the

sixth

same time the

in D$- major.

(Cadence!)

*)

triad.

Small

letters

always indicate the minor key,

or minor

Capital letters always indicate the major key, or major triad.

10

o)

[CI,

CH (=

DtV

x
.

(= DJfJVft),

alV), aV|, aVj,

D#VJ,

D#I]

A$-major,

i
r

p 3

f=i"

^=&

?=*=*=*=

Tonic C-mayor;

relative

-Is:

(a-minor)

tonic C-major; use this a-minor, which

same time sub-dominant

(B-major) of e-minor;
this

ist

B-major (the chord of the

which

is

also the

at the

dominant

in e-minor;

use the

the

to

is

inversion of

d$ f$

sixth,

chord of the Neapolitan

b),

sixth

(Cadence!)

in A$-major.

[CI/CVI (=

elV),

eV

eV

(=

A#Vjfc),

A#V, Ajfvx, A#I]

n) E$-major,

^^m

r=*

-tf
i:

r-m
*Efe=E|

Tonic

#=

\=

=*==

C-major;

relative

(e-minor)

to

the

dominant (G-major) of C-major; use this e-minor,

which is also sub-dominant in b-minor; dominant
(F#-major) of b-minor; use the ist inversion of
this

F#-major (the chord of the

which

is

at

the

sixth,

same time the

Neapolitan sixth in E$-major.

a# c#

f#),

chord of the

(Cadence!)

cm

[Ci,

12

(=

EM,

bVp bv (=
#

biV),

B#-major,

4=3=333d=B3

<?

ixils:

^L

^f=fe

*t

Tonic C-major; relative (e-minor) to the

dominant (G-major) of C-major; use this e-minor,
which is also sub-dominant in b-minor dominant
;

(F$-major) of b-minor; use this Fff-major, which

is at

the

same time the tonic of F$-major; domin-

ant (CJf-major) (ist inversion) of F$-major;

use

chord of the sixth (e$ g$ c$), which is also

the chord of the Neapolitan sixth in B$-major.

this

(Cadence !)
[ci,

cm

B#IVjjft)

BftV,

13)

(=

bv^
B#V* B#I]

biv),

(-= Fii),

ws^m

F-major,

14)

B^-major,

ttr

W
13)

Ffv (==

-9&-

J-U

^EEjiEE

:=zpz

F-major.
Tonic C-major;

relative (d-minor) to the sub-

dominant (F-major) of C-major; use

which

is

(Cadence !)
[CI, CII

this

d-minor,

also relative to the tonic of F-major.

FVI), FH7,

FV

FI]
I

12

4)

B?-major.
Tonic C-major; use this C-major, which is
at the same time the 2nd super-dominant*) of
BP-major; dominant (F-major) of BP-major; tonic
BP-major.

[CI (== Bi?VV)

15)

7
,

Bk]
16) At?-major,

*>

JU

j^a

rrf Uli

?
5)

bK

EP-major,

Iw

h=jj

fc^

ppi

Sac

E'f-major.

Tonic C-major; minor sub-dominant (f-minor,

1st inversion)
is

of C-major; use this f-minor, which

also relative to the

[CI,

sub-dominant (AP-major)

(Cadence!)

of EP-major.

CIjK (= EPH) E>V,

EPl]

E\>Vl,
I

16)

AP-major.
Tonic C-major; chord of the Neapolitan
(f

av dP) in C-major

which

is at

the

use

chord of the

this

same time the

1st

sixth
sixth,

inversion of the

sub-dominant (DP-major) of AP-major. (Cadence!)

[CI,

CIV^ (=

AblV), AbVJ,

API]

At-V:],
I

The 2nd super-dominant

is in major and minor keys always

and generally takes the place of the sub-dominant;
hence the cadence in C-major with 2nd super-dominant.

*)

a major triad

[CW =

D-major,

C^

= G-major,

i IV
Tonic

i.

e.

D.

is

CI

= C-major.]

5>-

IV

Dom. to Tonic G
2nd sup. -dom. to Tonic
2nd super-dominant to tonic C.
D0111.

Tonic

C.


7)

13

DP-major,

GP-major,

18)

lI

sgiie^
I

ifzJ2^I

W=J^

-i

17)

DP-major.
Tonic C-major,
sixth

(f

aP dP)

the sixth

(f

chord

of the

C-major;

in

aP dP), which

CIVb

18)

(=

(Cadence

DPj_) ? dpiv,

GP-major.
Tonic C-major;
sixth (f aP dP)

the sixth
the

st

(f

chord

dpV,

of

which

!)

Dbij
I

C-major;

aP dP),

chord of

use
is

Neapolitan

the

this

chord of

same time

at the

inversion of the dominant (DP-major) of

GP-major.
[CI,

in

Neapolitan

this

also the 1st inversion

is

of the tonic of DP-major.

[CI,

use

(Cadence!)

CIV^p (== GpV), Gbiv, GpV,

Gbl]
I

19)

CP-major.

iSEg:

4-

i225

m
19)

FP-major.

20)

VZT

ik

TUL

w.^

w
^^E&EBEEa

^F*?^

CP-major.

Tonic C-major;
sixth (f aP dP)

the sixth
the

(f

in

chord

C-major;

aP dP), which

1st inversion

of the

of the

Neapolitan

use this chord of

is at the same time,

2nd super -dominant

14

(DP-major) of CP-major;
J
..

20)

dominant (GKmajor,

f CP-major; tonic CP-major.

5)

(=

[Ci, Civjjl?

cbvi), c\>v, cbvj>,

ci>i]
|

FP-major.
C- major; chord of the Neapolitan

Tonic
sixth

(f at?

the sixth

(f

dt7)

by

C-major;

in

dt7

),

which

is

use

of the dominant (DP-major)

gP-minor,

this

which

chord of

of gP-minor;

use

same

the

at

is

this

also the 1st inversion

time

sub-dominant (BPP-major) of FP-

relative to the

major; dominant CP-major; tonic FP-major.

[CI, CIVg> (= obV^i), ot^I (== p>n),
FbV, F^I]

21)

BPP-major

22) a-minor.

tt=t
m^r

TTr P

f-jS^f-h^
I

Mih
m ^^
11m

i~,i

21)

N
p&

ii

m
.

Bt^-major.
Tonic C-major;
sixth (f by dP)

the sixth
the

1st

(f

dt7),

inversion

of the

C-major;

in

at7

chord
which

(chord

is

Neapolitan

use this chord of

at the

of the

same

dominant (DP-major) of GP-major; use

major, which

is

at the

time,

of the

sixth)

this

GP-

same time the dominant

of cP-minor;

use this cP-minor

relative to the

sub-dominant (EPP-major) of BPP-

major;

dominant

which

is

also

of BPP-major;

(FP-major)
jj

tonic BPP major.

[a,

(=

civ* (= gK),

g>i

(= cK),

Bl*II), Bl^VJ, bW>VJ, bW>I]

cki

22) a-minor.

Tonic C-major;

relative

(d -minor)

sub-dominant (F-major) of C-major;

d-minor,

which

same time the sub-

at the

is

dominant of a-minor.

to the

use this

(Cadence

[CI, CII (== a IV), a Y<>, a V

!)

al]
|

fr

24) b-minor,

*3) e-minor,

iw

3;

j-j-

=P

i JbL

=:=
f

23) e-minor.

Tonic C-major;

is

sub-dominant

!)

[CI,

24)

relative (a-minor) to the tonic

of C-major; use this a-minor, which

(Cadence
eV, eVj, e I]

in e-minor.

CVI (= eiv )(

also the

'

b-minor.
Tonic C-major; use the
C-major (the chord of the
is

at the

sixth in

[Ci,

1st

inversion of this

e g c), which
same time chord of the Neapolitan
b-minor.
(Cadence !)

CI (=

biv*!,

sixth,

b v, bV|,

25) f#-minor,

b i]

26) c#-minor,


2 5)

16

fit-minor.

Tonic C-major;
(b

which

g),

is

same time the Nea :

(Cadence !)

the

at

26)

f$V%

C V (=

chord of the sixth

this

politan sixth in f $-minor.

[Ci,

of the dominant

1st inversion

(G-major) of C-major; use

f#V f#V|
;

f #ij

clj-minor.

Tonic C-major; dominant (G-major) of Cthis G-major, which is also the sub-

major; use

dominant of D-major use

;

as

chord of the

the chord

c$-minor.
[CI,

CV

sixth),

is

it

at the

of the Neapolitan sixth

(Cadence !)
(= DIV), DL

27) g#-minor,

27)

as

D-major (arranged

this

same time
a d) in

(fjf

(= c$V%, c#V

cJfT]

fr

28) d#-minor,

gjf-minor.

Tonic C-major;

relative (d- minor)

sub-dominant of C-major; use

is

also tonic in d-minor; then

of d-minor

this

dominant (A-major)

used, as

it

is

as

chord of

at the

same

the chord of the Neapolitan sixth in

minor.
[CI,

is

to the

d-minor, which

A-major (arranged

the sixth, c$ e a)

time

this

gjf-

(Cadence!)

CII

(=

dl),

dVfc

(=

gftlY^),

gftVx,

28)

dif-minor.

Tonic C-major;

relative (a-minor) to

use this a-minor, which

is

dominant (E-major) of a-minor,

chord of

the Neapolitan

CVI (=

[CI,

(as

which chord of the sixth (g$ b e) is

as it is at the same time the chord of

the sixth)

used

C-major;

also tonic in a-minor;

sixth

al),

in d$-minor.

(Cadence!)

aV (= d#IV^), d#Vx
s

djfij

a$-minor,

2Q)

~<s>-

rfcc

=1=1

=$

f4=^H
p=z5==3:

t
I

Tonic C-major;
tonic (C-major);

the

relative (a-minor)

use this a-minor,

same time sub-dominant

in e-minor;

nant (B-major) of e-minor; use the

ist

the

to

which

is

at

domi-

inversion

of this B-major (the chord of the sixth, d$ i\ b),

which

is

at

the

same time the chord of the

(Cadence !)

Neapolitan sixth in a^-minor.

CVI (= elVj/eVj, eVu

'
a#V;,a#Vxl a#I]
[CI,

3o) efr minor,

1
W

= 4lV%

31 )b#- minor,

^^^^

p^g^^pe
l

-l4=^

^J


30)

i8

eft-minor.

Tonic C-major; take the

of the sixth) of this
(e

which

c),

politan

also the chord

is

sixth in

1st inversion

B-major;

of the Nea-

dominant

(Fft-major)

of B-major; take this Fft-major in

its 1st

(chord of the sixth

i.

of the sixth

is

(chord

use this chord of the sixth

aft

fft),

eft

used, as

it

e.

at the

is

inversion,

this

chord

same time

the chord of the Neapolitan sixth in eft-minor.

(Cadence !)
[CI,

CI (=

WY%, BV (=

e jfiv4,

e|Vx,

'

e#I]

31)

bft-minor.

Tonic C-major;
major;

this

dominant (G-major) of C-

G-major arranged

d g) is used, which
the chord of the Neapolitan
sixth (b

dominant
is,

(eft gft eft),

(eft gft eft)

which

is

1st
;

CV (=

32) d-minor,

chord of the

same time

sixth in Fft-major;

inversion, the chord of

use

this

chord of the sixth

same time the chord

bft-minor. (Cadence !)

at the

of the Neapolitan sixth in

[Ci,

as

at the

(Cft-major) of Fft-major, which Cft-major

arranged in the

the sixth

is

EftivgH),

F#V (=

bjpvjj), b|Vx,

33) g-minor,

19

d-minor.

32)

Tonic C-major

= the

relative (g-minor) to the

use this g-minor, which

sub-dominant

(=

[CI

(=

dl]

!)

A-major

Tonic C-major, which

is

chord of the Dorian*)

the

same time the

the

(Cadence!)

dlV), dV^, dVi,

(Phrygian

=ft
33)

is at

in d-minor.

FV), FII

C
g
g-minor.

dominant of F-major;

sub-dominant of F-major

used, as

it

in

sixth

is

also

g-minor;

dominant (D-major) with 7th (2nd inversion) of

(=

[Ci

gnr.li),

1
bZ} s ]

34) c-minor,

35) f-minor,

ppSfigliiE^s
j-tJ-

34)

r
c-minor.

Kli
~zL

^^^

'

Tonic C-major; minor sub-dominant (f-minor)

.

C-major;

in

the

use

this

f-minor,

which

is

at

same time the sub-dominant of c-minor.

(Cadence!)
[CI,
*)

CIV^ (=

The Dorian

cIV), cVJ, cV^,

sixth

is

must always be led upwards

fit

in a-minor; this ftt can

and

C I]
I

the major sixth

(to the

in

minor, which

leading tone); for instance,

be taken as the "Third"

also as the "Fifth" in the

b-minor triad!

in

D-major

(Hence D-major and

b-minor: Chords of the Dorian sixth in a-minor!)

20
35)

f-minor.

Tonic C-major

dominant

(=

[CI

is

used,

fVj,),

fll,

fl,

as

is

it

also

the

Cadence.

in f-minor; then

fl]

fVj,,
I

36)

bP-minor,

37) eP-minor,

HH^

=*3

$=&

J-4-M

*
^fcr^ri^

36)

11
teE

= F=
2

bt'-minor.

Tonic C-major

is

used, which

at the

is

same

time the 2nd super-dominant in br-minor; domi-

nant

3j)

(f

a c

[el?])

(= bbw

[Ci

);

in bP-minor.

bbvj, bbi]

eP-minor.

Tonic C-major; minor sub-dominant (f-minor)

in C-major; use this f-minor (f aP c),
also the

chord of the Dorian sixth

dominant

(B- major)

of

which

is

in eP-minor;

and

eP- minor

tonic

eP-minor.
[CI,

CIV^ (= ePH 5 l}), ePV ^,

(

e frl]

39) dP-minor,

38) aP-minor,

^ggm^mmm
1

>*

*^

38)

aP-minor.

Tonic

C-major;

chord

of

the

Neapolitan

sixth

same time

the

at

is

(DP-major as

sixth

chord

of the

dominant (EP-major) and

aP-minor;

in

sixth)

which

(f a!? dP),

Dorian

the

use this chord of

aP dP) in C-major;

(f

the sixth

tonic of aP-minor.

ClV^b

[CI,

39)

(=

daVfr),

al^,

at*]

dP-minor.

Tonic C-major;

chord

of

sixth

(f

aP dP)

is

Neapolitan

the

which chord of the

sixth (f aP dP) in C-major,

used, as

at the

is

it

(EP-major)

AP-major;

of

minor

with

seventh (aP c eP gP)

AP- chord of the

used, as

is

AP-major

of

tonic

which

seventh,

it

is

also the

dominant of dP-minor.
[CI, CIVjj| (-:

Abv 7

APIV),

same

dominant

time the sub-dominant of AP-major;

A\>V\>

(=

M%

dpi]
I

40) gP-minor,

41) cP-minor,

T
?
40)

^_r-==t-

-S
r

i*

-u-P^fl

?> T
dfc^f
II

gP-minor.

Tonic C-major;

chord of the

sixth (f aP dP) in C-major,

sixth
1

st

is

seventh
[CI,

used,

inversion
cP,

CIVeJ

i.

as

it

of the
e.

(=

j?)

is

Neapolitan

which chord of the

at

the

same time the

dominant DP-major (with

of gP-minor; tonic gP-minor.

g K),

glq,

g|rt]
I

22
41)

cP-minor.

Tonic G-major;

chord

of

the

Neapolitan

sixth (f aP dP) in C-major,

which chord of the

sixth is used, as

dominant (DP-major

it is

with seventh cP,

i.

GP-major again

is

also the
e.

J)

of GP-major, and this

used, as

it

is

same

at the

time the dominant of cP-minor; tonic cP-minor.

[CI,

CIV> (=, GPV( 7 P)), Gpl'(=

cPV),

cPl]

P
b)

42)

From C#- major

to:

E|?-major (eP-minor).

m^^^^d
Tonic CJf-major;

chord of the Neapolitan

sixth (f $ a d) in Cfl-major

which

sixth,

is

of D-major, the

use this chord of the

same time the

at the

1st inversion

2nd super-dominant of c-minor;

dominant (G-major) of c-minor; sub-dominant

(f-minor) of c-minor; use this f-minor, which
also

relative

of EP-major.

the

to

(Cadence!)

NB. To modulate
(f

aP

c),

which

eP-minor

minor.

(Cadence

EPV,

EPl]
I

ePlj

ePVt),
J

to eP-minor, use the f-minor

also the

is

sixth in

[C#,.^

is

sub-dominant (AP- major)

chord of the Dorian

dominant (BP-major) of eP-

!)

(=cv^)>cyJ^(

=eg^


43)

Akmajor

?3

(aP-minor).

iteMia^
bt

uffg:

>J
j^ y s
^y
:t=t

Sis

Tonic Cf|-major;
a d)

sixth (f$

fe^M

chord of the Neapolitan

in Cft-major;

use

this

chord of

same time the ist inversion of D-major, the 2nd super-dominant of

c-minor; dominant (G-major), tonic (c-minor)
the sixth, which

of

c-minor;

use

is

at the

this

c-minor,

as

it

is

also

dominant (E/-major) of AP-major

(or aP-minor)
tonic AP-major (or aP-minor).
[C|i, c#nr4 (= cwp), cv^, c i (= AHii),

relative to the
;

/a?v,
44)

a!i]

D^-major (dP-minor),

mm^m.
Tonic C$-major;
sixth (f$ a d)

in

chord

C$-major;

of the

\x

Neapolitan

use this chord of

sixth (fff a d), which is at the same time

2nd super-dominant in c-minor (ist inversion of
this 2nd super-dominant)
dominant (G-major),

the

tonic (c-minor) of c-minor

sub-dominant (f-minor)

24
of c-minor, which f-minor

major

CftlVBj,

it

is

also

of

DP-

(AP- major)

of

tonic DP-major (dkminor).

cVY|j),

cV

CIT

C I,

fe;

r Dbni) /*.
45)

used, as

(AP-major)

dominant

(dP- minor);

DP-major (dkminor)
[C|I,

is

dominant

the

to

relative

D ?]

Gl'-major fgb-minor).

3i
Tonic C$-major;

chord

sixth (f$ a d) in CJ^-major;

sixth,

which

minant

at the

is

of the

Neapolitan

use this chord of the

same time the 2nd super-do-

(1st inversion of this

2nd super-dominant)

of c-minor; dominant (G-major), sub-dominant

(f-minor) of c-minor; use this f-minor, which
also

the

to

relative

dominant (AP-major)

is

of

DP-major; sub-dominant (GP-major) of DP-major;

use
at

the

the

tonic

with

same

time

7P

(DP-major), which

dominant

in

is

GP- major

(gP-minor).

[C#I,

(=

Cifiv^
.

cYLjJl), cV^,

civ

((= gpv^p), Gbi]

V

(=

DbUI),

%1V
46)

m sciooi of msic
mt
"''^ & AR
**

Ct>-major (cl>-minor).

1=E

=P^~Y

Tonic C$-major; chord of the Neapolitan

sixth

(f| a d)

C^-major;

in

a d), which

use this chord of

the sixth

(fjf

dominant

(1st inversion) of c-minor;

(f-minor) of c-minor
at

the

same

time

is

2nd super-

also the

sub-dominant

use this f-minor, which

relative

to

the

is

dominant

(AP-major) ofDP-major; sub-dominant (Gkmajor)

of DP-major;

use this GP-major, which

is

also

the dominant of CP-major (cb-minor).

IC|1,

C|IV^ (=

NB. The modulations

to aP-,

dP-,

mendable,
finally

gP-

(= D^I|,

in Nr. 43, 44, 45,

and cP-minor are

for in these, the

less

46
recom-

major third of the

reached tonic, seems more natural.

(In Nr. 42,

eP-minor,

used

cV, cIV

cVTjjfOj

is

however, the Dorian sixth

quite

natural

for the modulation.)

and

also

c,

in

correctly

'

26

From a-minor

c)

47) e-minor,

i-

47)

48) b-minor,

ff
n

to:

1-

=P

e-minor.
Tonic a-minor, which can be immediately
used, as

it is

[al

48)

(=

at the

same time

the sub-dominant

(Cadence!)

of e-minor.

elV), ell', eVJ, eV'g,

b-minor.
Tonic a-minor,
which e-minor

is

minor -dominant e-minor,

used,

(=

as

it

is

also

the sub-

(Cadence!)

dominant of b-minor.
[al, aVti

el]
|

blV), bVJ, bV|,

blj
I

50) c#-minor,

49) f|-minor,

i^r^p^i^^
iM=^49)

f$-minor.

Tonic
the

sixth)

(aVH)
(b

a-minor;
of the

translate

d g$),

to

f$II

ist

inversion

(chord

of

d)

diminished triad
this

chord

of

(gjf

the

(diminished triad

sixth

g# b d

27

[ist inversion] [in fft-minor]

on the 2nd degree).

(Cadence!)
[at,

50)

(=

aVII

fflg),

f#VJ, f#V#>

f|l]
i

c#-minor.

Tonic a-minor;
use

ist inversion

(chord of the

of the diminished triad (g| b d) (a^TI);

sixth)

chord of the

this

which

sixth,

also f$II

is

(ist inversion!);, tonic fft-minor; use this f$-minor,

which

at the

is

aVII (==

f#I

f#II),

C #IV),

c#Vjj,

<#]

52) d#-minor,

51) g#-minor,

51)

the sub-dominant of

(Cadence!)

c$-minor.
[al,

same time

g#-minor.

Tonic
the

a-minor;

translate

(a VII)

(b

sixth

g$)

the
fftll;

chord

of

dominant

(C$-major) of ffl-minor; use this C$-major, which

is

at

same time the chord of the Dorian

e$ gfl) in gfl-minor; dominant (D^-major)

the

sixth (C$

of gjf-minor; tonic gft-minor.

Dorian
[al,

sixth

aVII

(=

must always go
fflll),

fflv

#
52)

(=

(Notice that the

to the leading tone!)

g^/g^,

gI]
I

dj^-minor.

Tonic a-minor; dominant E-major;

version);

use this chord of the sixth

(ist in-

(gft

e),

28

which

same time the chord of the

the

at

is

Neapolitan sixth in d$-minor.

aV

[al,

(=

dflTVjJj),'

53) a#-minor,

(Cadence!)

d#V, d#Vx

d |l]

54) eft-minor,

^Pra^^l^E^felp

k^M m

SE

a#-minor.

53)

Tonic a-minor; dominant E-major; 2nd super-

dominant B-major
of the sixth

(dff

(ist inversion); use this

flff

b),

which

also the

is

of the Neapolitan sixth in a$-minor.

aV

[al,

a vv

ff

(= a #iv4,

chord
chord

(Cadence!)

a #V, aftvx,

a #lj

e#-minor.

54)

Tonic a-minor; dominant E-major

(ist in-

version); use this chord of the sixth (g$b e), which

is

at the

in

sixth

same time the chord of the Neapolitan

d^-minor; dominant (A$-major) of

d$-minor; use
the

chord

dominant

of

this triad (a$

the

Dorian

(B$-major)

of

x
ejf),

sixth

which
in

e$-minor;

is

also

eft-minor;

the chord

of the seventh (diminished) on the 7th degree

in elf-minor

(in

is

used; tonic

eff-

minor.

NB. The diminished chord of the seventh

minor on the seventh degree) always takes

the place of the dominant!

[al,

aVu (=
"*

*j

d$V%
"

d#IV*

(=

e#IV*), eflVIP,

56) g-minor, 57) c-minor,

55) d-minor,

55)

d-minor.

Tonic a-minor; sub-dominant d-minor; use

this

d-minor, as the tonic in d-minor. (Cadence!)

(=

alV

[al,

dV

dU,

dl),

dIJ

,
I

ff

56)

g-minor.
Tonic a-minor;
which

at

is

Dorian

the

use

a-minor

this

(a c e),

same time the chord of the

dominant of g-minor

sixth in g-minor; the

(replaced by the 1st inversion of the diminished

triad

on the

degree

7th

in

g-minor,

i.

e.

a c f$); tonic g-minor.

[ai
57)

(=

n%

gvn,
1

g i]

c-minor.
Tonic a-minor; sub-dominant d-minor; use
this

d-minor (d

f a),

which

is

at the

same time

the chord of the Dorian Sixth in c-minor; domi-

nant (G-major), tonic c-minor.

[al,

alV (==

n%

V 7 d]
,

4,
59) bP-minor,

58) f-minor,

mf
1

m-

+
-T-

f=ffi

i^
S

il^i

-#-


5$)

3Q

f-minor.

Tonic a -minor;
sixth (d f bP),

chord

of

Neapolitan

the

a-minor; use this chord of the

sixth (d f bt?) in

which

chord of the Dorian

f-minor

is

same time the

at the

sixth

f-minor;

in

domi-

nant

of

ished

chord of the seventh on the 7th degree

by

(replaced

g bP dP) of f-minor).
[al, alVeb (= flVu), fVIp,

the

dimin-

(e

59)

fl]

bP-minor.

Tonic a-minor; sub-dominant d-minor;

rela-

tive to the tonic

(C-major) of a-minor; use this

C-major, which

also the

is

2nd super-dominant of

bP-minor; dominant (F-major) (with seventh eP)

of bP-minor.
[al,

alV, aHI(^) (==

bpvv }j h \,yi\>

b (,ij

61) aP-minor,

60) eP-minor,

fp^^ii^^^
60)

eP-minor.

Tonic a-minor;

chord

of

the

sixth (d f bP) in a-minor; use this

sixth (d

bP),

1st inversion

which

is

at the

same time the

of the dominant (BP-major) of eP-

minor (with seventh; chord of the

[al,

61)

aIV6>

Neapolitan

chord of the

(=

ebVjj), e pV 7 K,

six-five),

e>I]

aP-minor.

Tonic a-minor;

chord

sixth (d f bP) in a-minor;

of

the

Neapolitan

use this chord of the

3i

is at the same time the

2nd super-dominant (BP-major)
of ab-minor; dominant (with 7I7) (Ekmajor) of

(d

sixth,
i

which

bP),

inversion of the

st

ay- minor.
[a

alV^ (= a^Vv

I,

a ^H(t>), a \>I]

})

62)

dk minor,

-#

63)

!.

gt-

-^4

in
I

1-

minor,

I,

I
I

kifeU
2^:

dkminor.

62)

Tonic a-minor;

W)

sixth (d f

chord

of

Neapolitan

the

in a-minor; use this

chord of the

which

is at the same time the

2nd super-dominant (B^-major)
of AP-major; dominant (Ekmajor with 7b) of

(d

sixth

f bV),

1st inversion

AP-major;

which

is

of the

AP-major;

tonic

at the

use

A^-major,

this

same time the dominant

(with 7 b)

of dP-minor.
[al,

63)

aIVci>(= AVVI), AbV'(b), Abl

(=

dt>V('t>)),

gkminor.
As in Nr. 62 use this A^-major, which is at
same time the dominant of Db-major; use
;

the
this

DP-major (with

7P),

which

is

at the

same

time the dominant of gP-minor.

[al alVeb
(

Dbl
I

= AbVI), A\>VC\>), AH (= Dl>V(

(= gW),
1

gbl]

b)),

32
64)

cb-

minor.

dM

P=

Tonic

a -minor;

relative

(F- major)

the sub-dominant (d-minor) of a-minor;

to

chord

of the Neapolitan sixth (bP dP g?) in F- major;

use this chord of the sixth (bP dP gP), which

same time the

at the

1st

is

inversion of the domi-

nant (GP-maj or) ofcP-minor; dominant (G^-major

with

cP-minor; tonic

of

j?)

cP-minor.

(See

Nr. 65.)

[al a VI

(=

FI), FIVPb

(= M), &^>,

65) fb-minor,

cH]

66) C-major,

^m^Md-^M,
65)

fkminor.
Tonic

minor

the

sub -dominant

this

F- major as
same place)

the
sixth

of

dP g?)

(bP

the

sixth

same time the

(GP-major)

of

relative

(Also

tonic.
;

in

(bt>

chord

(F

in

the

of

F- major; use
db

gb)

1st inversion

CP-major;

major)

of a-minor;

(d-minor)

which
of the

tonic

Nr.

64

to

use
at

Neapolitan
this
is

chord
at

the

dominant

CP-major (with

00

7W7 ), which Ct?-major

same time the

the

at

is

dominant (with 7M7) of fkminor.

aVI (== Fi), FIVt7

[al,

(=
66)

^h

(= cK),

Cl*( 7 M>),

^\

C-major.
Tonic a-minor; sub-dominant (d-minor); use
this

d-minor, which

relative

is

67)

G-major,

67)

G-major.

68)

Tonic a-minor;
relative

G-major.
[al,

the

to

sub-

(Cadence!)

D-major,

use

sub

the

to

dominant (F-major) of C-major.

[al, alV (=: CII), CV, CI]

this

a-minor, which

dominant

(C-major)

is

of

(Cadence!)

al (= GH), GV%

GV(#),
|

G l]

68) D-major.

Tonic a-minor; minor dominant (e-minor) of

a-minor
to the

[al, aVjj

69)

use

this

minor, which

sub-dominant of D-major.

(=

DII),

DV%

A-major,

is

relative

(Cadence!)

DV(|),
|

D I]

70) E-major,

f
4'


6g)

34

A-major.
Tonic a-minor; sub-dominant (d-minor) of
a-minor; use

this

d-minor, which

same

at the

is

time minor sub-dominant in A-major. (Cadence!)

[al, alV (= AlVq), AVJf, AV|,
Al]
|

70)

E-major.
Tonic a-minor; use this a-minor, which is
at the same time minor sub-dominant in E-major.
(Cadence!)
[al

71)

(=

ElViO, EVjj| EI]

B-major,

72) F#-major,

^M^f%^N^P

wM^^M^
71)

B-major.
Tonic a-minor; minor dominant (e-minor)
of a-minor;

same

time

use

this

e-minor, which

minor sub-dominant

(Cadence !)
[al, aV^ (= BlVtf, BV*), BVJ,
72)

is

at the

B-major.

in

BI]
|

F$-major.
Tonic a-minor;
of a-minor;

same

time

use

minor dominant (e-minor)

this

e-minor, which

minor sub-dominant

is

tonic B-major; use this B-major, which

same time sub-dominant

[al, aVS (= BlVq), BI
*)

Do

major-tonic,

not
its

forget

scale

is

that

at the

B-major;

in

is

at the

(Cadence !)
F#I]
F#IV), F#V,

in F$-major.

(=

upon the

understood.

entrance

of the

new

IS

73) Cfr major,

74)

G#-major,

g^-ai
73)

C#-major.
Tonic a-minor;
a d)

(fjf

sixth

(f \

chord

a-minor;

in

a d), which

use

is

of the Dorian sixth

chord

this

i\

to

(Cadence!)

Notice the leading of the bass

(The Dorian

gift!

the

same time chord

at the

of the Neapolitan sixth in GJf-major.

NB.

of

from

requires to be

sixth

led upwards!)
[al,

74)

m# (=

c|iv^), c%v\

c#i]

G$-major.
Tonic a-minor; dominant E-major; use the
1st inversion of this E-major (the chord of the
g$ b

sixth

chord

dominant
is

e),

the

of

which

is

at

Neapolitan

the
sixth

same time the

in

same time dominant in G^-major.

aV# (= Djfivrt), D#V, D#Ix (= G#V),

at the

[al,

G|I]

75)

D$-major;

(AJj-major) of DJj-major; tonic D^f-maj or,

D#-major,

76) AJ|-major,

75)

36

D#-majoi\
Tonic a-minor; dominant E-major; use the
i st inversion
of this E-major (chord of the
sixth g$ b e), which is at the same time the chord
of the Neapolitan sixth in D$-major; dominant

(A#-major) of D$-major; tonic D$-major.

aV# (= D#IV^),

[al,

76)

A#-major.
Tonic a-minor;
of a-minor;

use

D #V X

D#IJ

minor dominant (e-minor)

this

e-minor, which

at the

is

same time the minor sub-dominant of B-major;

B-major;

tonic

B-major
is

(the

at the

use

the

chord of the

same time

aV^

(=

d$

sixth

which

(Cadence!)

BlVb),

BI (=

AM),
*

A#I]
77) E#-major,

78)

i f=ri

of this

b),

fjjj

the chord of the Neapolitan

sixth in A$-major.
[al,

1st inversion

y?r)-*s>-

A#Vy

F-major,

T-p

r-

m^^m^m
7)

E$-major.
Tonic a-minor; minor dominant (e-minor) of
a-minor; use this e-minor, which

is

at the

time minor sub-dominant in B-major;

1st inversion

sixth

chord

of

d$ f$ b),
of

the

same

use

the

B-major (chord 'of the

which is at the same time the
this

Neapolitan

dominant (E$- major)

of

sixth

in

Aff- major;

A$-major;
use

this


E$-major

dominant

tonic,

as

37

(B$-major)

of

E$-major; tonic Efl-major.

[al,

(=

aV^ (=

BIVJj),

E#]

E#V,

E#I),
|

78) F-major.
Tonic a -minor;

a -minor;

use

alV

(=

79) B^-major,
4-

sub-dominant (d-minor) of

d-minor, which

this

relative

is

(Cadence!)

to F-major.
[al,

BI (= AfcTfo, A#V

FVI), FTP, FV,

80)

E^-major,

w-

A^-major,

s^3

fdat

crr
i-i

FI]
|

81)

J2St-

rr^f

79) BP-major.
Tonic

minor

1=

:r:

relative (F

sub-dominant (d-minor)

F-major (with

7P),

r
-

major)

of a-minor;

which

at the

is

to the

use

this

same time

the dominant of BP-major.

aVI

[al,
So)

(= Bk(^)),

Bbl]

Eb-major.
Tonic a-minor;
sixth (d f bv) in

(d

sixth

f bP),

1st inversion

chord

of the

a-minor; use

which

is

this

at the

Neapolitan

chord of the

same time the

of the dominant (BP-major) of EP-

major.
[al,

a.IV6(7
(

81)

E^V), El*]

AP-major.
Tonic a-minor; chord of the Neapolitan

sixth

(d f b?) in a-minor; use this chord of the sixth

33
is at the same time the 1st in2nd super-dominant (BP-major) of
AP-major; dominant (E^-major [with 7 1?]) of Ak

(d

bP),

which

version of the

major; tonic AP-major.

[al, aIV6|?

A(

82)

AKl), AK( 7

Dkmajor,

83) Gb-

82)

major,

isi
ff
^plp

wm

rf=f
ji kJklj

VjSL

9t

Abl]

l>),

jit:

?JO.

m.

$5 I

Dkmajor.
Tonic a-minor; chord of the Neapolitan
a-minor

(d f bv) in

(d f bP), which

is

sixth

use this chord of the sixth

at the

same time the

1st in-

version of the dominant (BP-major) of eb-minor;

use this eP-minor, which

dominant (GP-major)
alVet? (== ebVjj),

[al

83)

is

relative to the sub-

of DP-major.

M (=

(Cadence!)

D^I), Dl>V

D^I]
|

Gkmajor.
Tonic a-minor; chord of the Neapolitan

sixth

(d f'b/) in a-minor; use this chord of the sixth,

which
the

is

at the

same time the

eP- minor,

which

GP-major.

(Cadence

[al,

alV^b

G\>V, Gbl]
I

1st inversion

dominant (BP-major) of eP-minor; use

relative

is
!)

(~ ^Vl),

to

(==

the

tonic

of

this

of

GpVI), Gt>H

39

85) FP-major,

84) CP-major,

84)

CP-major.

Tonic

a-minor;

relative

(F-major)

sub-dominant (d-minor) of a-minor;

to

the

use

this

F-major as tonic; chord of the Neapolitan

sixth

(bP dP gP)
sixth (bP

dP

use this chord of the

F-major;

in

which

g?),

of the ^dominant

1st inversion

same time the

at the

is

(GP- major) of

CP-major; tonic CP-major.

aVI

[al

85)

(=

FI), FIVi?

(=

CPV), Cpl]

FP- major.

Tonic a-minor;

relative

(F-major)

sub-dominant (d-minor) of a-minor;

Neapolitan

the

taken
sixth
1

st

as

the

sixth

tonic;

(bP dP gP),

inversion

(bP

which

of the

dP gP)

in

this

chord

use
is

at

to

the

chord of

F-major,
of

the

same time

the

2nd super-dominant (GP-

major) of FP-major; dominant (CP-major); tonic

FP-major.
[al, a VI

(=

FI),

FlV^p

(=

FP\I),

FPV, Fpl]


d)

86)

4o

From C-major

to

FJj-major (f^-minor).

Ss
^^mm

fefegj
ip
v
r=*F

nn

Tonic Cr-major; dominant (GP-major) of

Ckmajor; use

the ist inversion of this GP-major

dv g?)
which is
the same time chord of the Neapolitan sixth
of

(chord

the

sixth

bi7

inversion

the

ist

the

sixth

c),

which

chord of the Neapolitan

sub-dominant
f$-minor,

f|-minor.

is

sixth in
is

F$-major,

chord

of

at

the

at

or

the

in

(chord

of

same time

B-major; tonic
the

same time

if

modulating

Dorian

sixth

in

(Cadence!)

CbV (= FIVty, FV (=

l{= FtlV)

87)

in

C-major,

of this

B-major, which B-major

[Cl*,

at

dominant (C-major) of F-major; use

F-major;

to

F#

Jny

C$-major (c^-minor).

Pjfl]

BlVgit),

BI


Tonic

41

dominant (GP-major) of

Cb-major;

Cb-major; use the

(chord of the sixth bb db gb), as

same time chord

inversion

st

Neapolitan

of the

the

at

is

it

sixth

in

dominant (C-major) of F-major; use

F-major;
the

Gb-major

ist inversion of this

the sixth e g

c),

of

this

which

is

chord of the Neapolitan

C-major

(chord

of

at the

same time the

sixth in

B-major; tonic

B-major; dominant (Fff-major) of B-major; use

which

this Flf-major,

(or

sub-dominant

is

chord of the Dorian

sixth

in Cff-major

in

cjf-

minor).

(Cadence!)
[Cbl,

Cbv (=

FV (=

FIVfr),

BIV^), BI,
|

c#rv),

/(=

C#i]

Cftv,

c#I]

c#IVj), cftV

|(=

fr

G$-major (g$-minor).

^?

a5^ Pf
Tonic

\&-

(chord

Ct?- major;

of the

chord

ist

sixth

use

A-major

which

is

bb db

gb),

which

also

is

at

(d-minor) to the tonic

relative
this

d-minor

(A-major) of d-minor;
this

dominant (Gb- major) of

inversion of this Gb-major

of the Neapolitan sixth in F-major;

tonic F-major;

d-minor;

ffi MjmqA

=g^^^^p

Cb-major; use the

the

M^

H^
f=^r=^

(chord
the

as tonic;

dominant

use the

ist inversion

of

the

sixth

time

the

same

of

a),

chord

of

cf


the Neapolitan

42

G$- major

in

sixth

(gff-minor).

(Cadence!)

f(=

GM),

IV6 ^).

l(= S

e)

89)

(=

C\>V

[Cbl,

FVI (=

FIV8>), FI,

gjf ]

From cb-minor

to:

E-major (e-minor).

nrTf
1

dV#

dl),

G#V, G#I]
yx
1

^p

rJr

(chord

of

the

dominant (A^- major)

Tonic db- minor;

dkminor; use the

fer

idp

1st inversion of this

sixth

e?

at>),

of

AP-major

which

is

at

chord of the Neapolitan

sixth in G-major; dominant (D-major) of G-major;
the

same

time

the

which is relative to the

this D-major,
minor dominant (b-minor) of E-major (e-minor);

use

minor sub -dominant

(e-minor).

d^

[dK
EV,

EI]
I

eVfc

el]
I

(a

-minor)

of

E-major

(Cadence!)
b

GIVp,

GV

((= EhVII), EIV$,

J

[(=

eljVII),

e IV,


go)

43

B-major (b-minor)

IiKSnFllpTf

W7

&
qJ
^

SI

Tonic

ft

db-minor; use the

(chord

dominant (AP-major)

dP-minor;

of

the

ist inversion

c eP ay),

sixth

the chord of the Neapolitan

which

relative

is

to

the

tonic

is

also

G-major;

sixth in

dominant (D-major) of G-major; use

which

of

of this AP-major

this

D-major,

of

b-minor;

dominant (F$-major) of B-major (b-minor); tonic

B-major (b-minor).

dK

[dK

(=

(= ovft. gv ((=
|(=

JJJJO.
bni|])
(

*
b v|,

BV), Bl]
bl]

gi)

F$-major (f$-minor).

ji

jj

^5
i

'

j;

=^^

- i*
f

Tonic dP- minor;

dP-minor; use the

U^-Uta)^

fc

dominant (AP-major) of

ist inversion of this

(chord of the sixth c

el?

ay),

which

AP-major
is

at

the

same time the chord of the Neapolitan sixth

in G-major; dominant (D-major) of G-major;
relative

(b-minor) to

this

D-major; use

this

'

44
which

b-minor,

dbv.

[df*.

minor sub-dominant of

also

is

(Cadence!)

Fsf-major (fij-minor).

(= GIV0, GV, Gin

^J'

c#Y #]
i

92)

C$-major (c$-minor).

PTOr^N

i^Mta

BKE

!ite

Tonic

dP-minor;

dP-minor; use the

(chord

of

J.

the

dominant (AP-major) of

1st inversion

sixth

eP

of this AP-major

which

aP),

is

at

same time the chord of the Neapolitan sixth

G-major; dominant (D-major) of G-major; use

the
in

inversion

the

1st

the

sixth

the

Neapolitan

f if

a d),

of

D-major

this

which

sixth

in

is

(chord

also the

C$-major

of

chord of

(cj^-minor).

(Cadence!)

[dn, d>v,

Cp]

(= givs), gv

=
|!

*3SS'

>f

45
93)

Gjf-major (g#-minor).

Tonic

dP- minor,

dP-minor; use the

(chord

dominant (AP-major) of

ist inversion of this

of the sixth c eP aP),

which

AP-major
is

at

the

same time the chord of the Neapolitan sixth in

G-major; dominant (D-major) of G-major; use
this D-major as tonic; dominant (A-major) of
D-major;
(chord

use the ist inversion of this A-major

of

the

sixth

c$ e a),

which

is

also

the chord of the Neapolitan sixth in Gft-major

(gjf-minor).

[dpi,

(=
94)

dt^Vjj

(= GIV^j

G#IVSJ),

GV (=

DI),

DV

GJfV, G#I]

D$-major (d#-minor).

p^^fpif^ppl

^e^ ^

is^

Tonic dP- minor; dominant (AP-major) of

dP-minor; use the
(chord of the

ist inversion

sixth c eP aP),

of this AP-major

which

is

at

the

same time the chord of the Neapolitan sixth

in G-major; dominant (D-major) of G-major;

46
change the D-major into d-minor and use
d-minor, which

is

dominant E-major
E-major
is

(chord

use the ist inversion of this

g$ b

sixth

D$-major (d$-minor).

which

e),

((=

DJtlVjj),

](=

d$V%

= a IV), aV#

D#V, D#I]

d#vx,

ditl]

From a#-minor

f)

(Cadence!)

(= GIV^), GV, (GV^

[dbl, dt>V

95)

of the

same time the chord of the Neapolitan

at the

sixth in

this

also sub-dominant in a-minor;

to

Bb-major (bkminor).

1=3
#

It
*-

^=fr?=F=t

^M^T^r

J#=^
ate
p

Tonic a-minor; chord of the Neapolitan

(d$ f$ b) in a$-minor; use

sixth

the sixth (d$ f$ b),

the

st

which

is

chord of

this

at the

same time

inversion of the dominant (B-major) of

e-minor; tonic e-minor; chord of the Neapolitan

sixth (a c

f),

in e-minor; use this

sixth (a c

f),

which

the

chord of the

also the ist inversion of

dominant (F-major) of B^-major (b/-minor).

[a#I,
((

is

a$m

(=

BbV), Bbl]

{(= bbv fl)

bbl]

eVj(),

el,

dV<*

elV'lj,
,

47
g 6)

E^-major (eP-minor).

Tonic a^-minor; chord of the Neapolitan

sixth
sixth,

(d$ f$ b) in a$-minor; use

which

of the

is

at the

this

same time the

chord of the
inversion

ist

dominant (B-major) of e-minor; tonic

e-minor; chord of the Neapolitan sixth (a c

is

also theist inversion of the

(F-major)

f),

use this chord of the sixth, which

in e-minor;

of EP-major

2nd super-dominant
dominant

(eP-minor);

(B^-major) of EP-major (e^-minor).

atilV^

[ajfl,

Et>v

Ek]

e^Vjj,

e ^I]

(=

ej), el, elVei,

Jj=

^Jg

97)

Akmajor (akminor).

m w&& ^B^ri
fT
i

'i

j^*M A

p P

Tonic a^-minor; chord of the Neapolitan

sixth

(d$ f$

the sixth

b),

(d| f|

in a^-minor;
b),

which

is

use

this

at the

chord of

same time

the

st

48

inversion of the dominant (B-major) of

e-minor; tonic e-minor; chord of the Neapolitan

sixth (a c

f)

(a c

sixth

f)

in e-minor; use this

which
of

inversion

st

the

BP-major; tonic BP-major use

;

is

also

chord of the

same time the

dominant (F- major) in
the

at

is

2nd super-dominant

this

BP-major, which

in AP-major(al? -minor);

dominant (EP-major); tonic AP-major

[alft

a#rra (=

((=

aK

[(==

98)

eVjj), e l,

aK

Abi]

a^ v a^,

abl]

v
),
),

elV^

(ab-minor).

bH

Bt>V),
|

Db-major (db-minor).

fr?^
L^f ya
111
I

Tonic a$-minor;
sixth

(d$ f$ b)

which

sixth (djf f$ b),

1st

inversion

E -major;

of

tonic

chord

of the Neapolitan

a$-minor; use

in

at the

is

dominant

the

this

chord of

same time the

(B-major)

of

E- major; minor sub-dominant

(a-minor) of E-major; use this a-minor as tonic;

sixth (d f bb) in a-minor;

chord of the Neapolitan

use

this

chord of the

sixth

also the 1st inversion of the

(B^-major)
tonic
also

of AP-major;

AP-major;
the

use

dominant

this

of

(d

f bb),

as

it

is

2nd supef-dominant

dominant EP-major;
AP-major, which

is

DP-major (dP-minor);

49

(Ab- major

dominant

[with

D^-major

of

7b])

(db-minor), tonic D^-major (dkminor).

a#IV|^

[a#I,

(=
99)

A\>VL),

(=

E^

EV), EI,

Abv

(== a I),

aIV*t>
|

DbV, Dbl]

AN

dKtj, dbi]

G^-major (g^-minor).

i^^i
.h-^3===h^==j2^=B^
1
#

Tonic a$-minor;
sixth,

chord

the sixth (d$ f$ b), which

the

1st inversion

E- major;

tonic

which

also

is

of the Neapolitan

in ab-minor; use this

(dj( f$ b),

is

the

at

chord of

same time

of the dominant (B-major) of

E- major;
dominant

use
in

this

E- major,

a -minor;

a-minor; chord of the Neapolitan sixth (d

in a-minor; use this

which

is

chord of the

(EP-major)

(BP- major)
of

of AP- major;

At7 - major;

use

this

2nd superdominant
AP-major,

is at the same time the 2nd super-dominant

GP- major (gP- minor); dominant DP -major;

which
in

sixth (d f bP),

also the 1st inversion of the

dominant

tonic
f bP),

tonic GP-major (gP-minor).

AbW AbV

oo)

(=

a#lV|:

[aftl,

(=

EV), EI

Abl

alVeb

aVu), a I

(= GbVV) G ^'
'

G ^I]
I

Cb-major (cb-minor).

1^^

-^

'i

^-

Tonic a$-minor; chord of the Neapolitan

sixth (dft

fft

b) in atf-minor; use this

the sixth (dft f$ b), which

the

st

is

at the

chord of

same time

inversion of the dominant (B-major) of

E-major;

tonic

which

also

is

E- major;
dominant

use
in

this

E- major,

a -minor;

tonic

a-minor; chord of the Neapolitan sixth (d

in a-minor; use this

which

also

is

BP-major

(in

gP

st

gP

bP)

of the tonic

ist inversion
;

cP) in

sixth (eP

sixth (d f bP)

BP-major) sub-dominant (EP-major)

of BP-major;
(eP

the

chord of the

chord

of the Neapolitan

BP-major; use

cP),

as

it

is

this

at the

sixth

chord of the

same time

the

inversion of the tonic CP-major (in CP-major);

dominant GP-major; tonic CP-major (cP-minor).

aIVb
[ajfl, aijlVjji: (= EV), EI (= aV|), a I,
|

(= BH),
|

BbiV, BblV^b

(=

Cbl),

j[=
v.

Cbl]
cbi]

Printed by G. Kreysing, Leipzig.

G V
;

[
Vh

C. F.

-^

KAHNT NACHFOLGER,
7

Franz

LEIPZIG, PUBLISHER.

CAART

Liszt.

Trois Chansons for Pianoforte.

No. 1. La consolation
No. 2. Avant la bataille
No. 3. L'esperance
Elegie, (En Memoire de Madame Marie Moukhanoff
nee Comtesse Nesselrode).
Editions:
Score: Violoncello, Pianoforte,
Violoncello and Pianoforte
Pianoforte for 2 hands

1.25

1.25

3.

4 hands

Harp and Harmonium

M. 1.25

Violin and Pianoforte

2.

1.50

2.

2.

The Legend of Saint Elisabeth.

Ouverture

hands

4 hands

for Pianoforte for 2

March of theCrusaders

forPianofortefor2hands
4 hands

8 hands

*
,
t
Interludium for Pianoforte for 2 hands
..
.
4 hands
.
.
Harmonium and Pianoforte

,
Isten veled. Adieu. Hungarian Romauce for Violin

>

Are Maria.

5.
1.80.

2.50
2.50

1.

2.

3.

and Pianoforte
Transcription for Violoncello and
Misrnon's Song.
Pianoforte; by Friedrich Grlitzmacher
Trois Morceaux suisses for Pianoforte for 2 hands.
No. 1. Ranz de V aches (Variations)
No. 2. Un soir dans la Montagne (Nocturne)
No. 3. Ranz de Chevres (Rondeau)
TheThree Gypsies. Paraphrase forViolin and Pianoforte
.

1.50
1.80
2.50
2.50

2.

2.50

2.

Harmonies poe'tiques et religieuses"

for Violin and Pianoforte by R. Pflughaupt
for Violoncello aud Pianoforte by R. Pflughaupt
('antique d'amour. Harmonies poetiques etreligieuses"
for Violin and Pianoforte by R. Pflughaupt
for Violoncello and Pianoforte by It. Pflughaupt

1.50
1.50

2.50

2.

Christ us, Oratorio.

Pastorale

for Pianoforte for 2

March

of the

Three Magi

hands

4 hands
for Pianoforte
.

2.50

4.

hands

2.50

4 hands

4.

4.50

for 2

Fantasy and Fugue on the thema BACH" Transcription for two Pianofortes for 4 hands by
Charles Thern
C.

F.

KAHNT NACHFOLGER,

LEIPZIG, PUBLISHER.

KAHNT NACHFOLGER,

C. F.

LEIPZIG, PUBLISHER.

DATE DUE

(PA

Ash
Cho

DEMCO

38-297

Rubinstein, A.
No.
No.
No.

1.

up.

*<.

x^

Romance D-major

Preghiera
3. Nocturne
Voss, Charles. Op.

1.80.

2..
20.

Grand Duo sur

de Bellini
C. F.

1.50.

2.

KAHNT NACHFOLGER,

Norma'
5.50.

LEIPZIG, PUBLISHER.
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jblisher.

-^-L3H97 12237 8364

Daily Exercises
for the

Violoncello

lb
Friedrich

Griltzmacher.

Revised Edition
iJ

^gp>^

work

with explanatory notes.

specially

written

for

Introduced

instruction

Wk

lition.

at

most

of

the

or

Conservatories

of Music.
Price

M. 5..

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LEIPZIG, PUBLISHER.