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No.
109
MADE
IN
ENGLAND
The Modern
SIGHT-READER
BOOK IJUNIOR CLASSES
BOOK 2SENIOR CLASSES
BEING
Excerpts fro?n
Graded and divided into " steps," to test the pupil's knowledge of the Staff and of musical signs in general, and to
encourage facility and fluency in sight-reading.
PRICE
Jhe Modern
VOICE-TRAINING
READER
Edited and A.rranged by
MAY SARSON
BOOK (JUNIOR)
I
CONTAINING
Unison Exercises taken from Classical and Modern Songs.
PRICE
BOOK
FOURPENCE
2
(SENIOR)
CONTAINING
Exercises in two, three, and four-parts taken from
London:
Classical
ONE
Songs
and Modern Composers.
SHILLING
Limited
novello's
ELEMENTARY HARMONY
WITH TEST PAPERS
BY
ALBERT HAM
London:
<^
L^
IN
ENGLAND
Limited.
^
Presented to the
LIBRARY of the
UNIVERSITY OF TORONTO
from the
ARTHUR PLETTNER
ISA
McILWRATTH
COLLECTION
PREFACE.
THERE
of
are
many
Rudiments
it
will
with
the Rudiments.
In this
little
in
For mstance,
eftbrt
connected
years of teachmg,
of
noir
to
meet them
great
hete
to deal particularly
many
has
with
in
Part
been
I.,
made
Time and
the
elucidate
to
Intervals;
subjects
and
contain
difficulties
chapters
the
many
some
helpful
consider-
able length.
In Part
II.,
which
treats
of
Harmony,
a very
not attempt to do more than touch the fringe of
treat
which
pages
those
of
study
A careful
wide subject.
cadences,
of
progression,
chord
elementary principles of
of the
of natural
to
develop
and
expand
what
is
will,
often
however, do much
termed
" INIusical
Instinct."
Albert Ham.
Toronto, Canada.
CONTENTS.
PART
I. RUDIMENTS.
Chapter.
Page,
I-
II.
III-
IV.
V.
Syncopation
VII.
VIII.
.
...
...
...
IX.
...
Signatures,
...
...
21
...
...
28
...
...
-ja
...
...
37
...
...
41
Intervals
X.
43
Transposition
XI.
16
18
-
VI.
10
...
...
...
...
...
...
...
XII.
...
...
...
...
5,8
XIII.
...
...
...
...
66
...
...
...
...
73
XIV.
53
ADDENDA:
I.
How
II.
PART
XV.
XVI.
XVII.
XVIIl.
II. ELEMENTARY
a
...
78
...
82
HARMONY.
84
...
...
Figured
XIX. Cadences
XX. The Dominant Seventh, Passing-Notes, Etc. ...
XXI. Modulation
...
...
...
...
...
...
XXII. Hints on the Harmonization yjv a simple Melody
Eight Test Papers on the Rudiments of Music
Test Papers on Harmony
...
...
...
Six
...
8g
Bass.
95
...
102
106
...
iii
..
120
...
123
...
131
...
139
http://www.archive.org/details/rudimentsofmusicOOhama
PART
I. RUDIMENTS.
CHAPTER
I.
By
Musical sounds
differ
whether
it is
is
meant whether
it
is
low.
high,
To
2.
distinguish
sounds
of
letters of the
different
pitch,
the
first
seven
A, B, C, D, E, F, G.
1234567
3.
pitch,
in ascending
order of
of the
The
These
spaces.
Fig.
Lines.
5.
_1
To
lines
and
5/0^^5 are
counted upwards
I. (a.)
(b).
=Z
Spaces.
from which
Each
all
name
to
The two
Fig.
and the
Note.
F clef or Bass
These and
all
2.
clef
(a.)
6.
the
that
Treble Stave.
5
-<S>
Tl
Fig- 3-
B
7.
The Bass
(or
F)
clef is placed
on the fourth
line,
so the
names
9-
with
and
EDCBA
Fig.
6.
i^^
^
"^
in
alphabetical order,
spaces alternately:
' "^
-H
"~b c
-F-
"*"
5~
w-
F G
-
T"
Fig.
A B C
.^-*-
\
I
T'
7.
^-^
G F
J--J-
j:
E D C
CHAPTER
II.
we
If
place the
treble stave
C CLEFS.
above the
bass stave
we
get the
i
w
Fig. 8.
I
II.
By
inserting a line
is
Fig. 9.
12.
Middle
The
C.
C,
note
It
on the middle
about the middle of
written
stands
(6th)
the
line,
is
called
keyboard of
pianoforte or organ.
13. For practical purposes it would be very confusing to read
from so extended a stave as the one of eleven lines so it is broken
by the omission of the centre line, as in Fig. 10:
;
^Fig. 10.
'Middle C.
:E
14. It will readily be seen that the treble and bass staves are
merely sections of the Great Stave. The five tipper lines form a
separate stave for the Treble or right-hand part, and the five lower
lines form a separate stave for the Bass or left-hand part, a leger
line being used for the middle line, C.
15. To avoid the use of a number of leger lines, other sets of
five lines drawn from the Great Stave are used in vocal and in
For this purpose another clef the C clef is
orchestral music.
clef
is placed on the thiyd line, Fig. 11 (a), it is
this
When
used.
and when
Tenor stave
called the
1 6.
The
it is
(b)
(b)
Tenor.
placed,
is
(a),
equivalent in pitch to
would be
Middle
Besides
(b),
Fig. 12.
17.
is
Alto.
(a)
line
it
those
already
other
considered,
staves
may
be
Fig. 13.
Treble,
Clef.
11
i
Soprano,
Clef.
10
"t Mezzo
Soprano,
Clef.
Alto or Contralto, C
Tenor, C
Clef.
Clef.
74y6
S-
Baritone,
Bass,
'M
'
The
clef
Clef.
Clef.
-<5>-
first line
i8. Fig,
14
how
illustrates
to
Fig. 14.
Treble.
i
p^
Soprano.
Mezzo-Soprano.
H^Alto or Contralto.
(S>
4fe=#
13
2o.
parts
Formerly in writing
were indicated by the
customary
to use the
for
alto,
tenor,
and tenor parts, and the usual clef for the bass.
written an octave higher than it is sung, and
the
The
this is indicated
direction "
Fig. i6
{a)
).
alto,
tenor part
8''^
lower " being inserted against the stave
This direction is now, however, often omitted
is
by
{see
Fig. 16.
Soprano.
Ml
XA
God
Alto
(a)
Tenor.
{Sve louver.)
Bass.
21.
'A3^
m
w
^=P
1=1=
9.
save
our
gra
ciousKing,
ciousKing,
B:
God
sa\-e
our
gra
God
save
our
gra
cious King,
God
save
our
gra
cious King,
fefes:
:*;
6*5
^gJS*
'm
The
(alto
i6,
using the
Fig. 17.
Soprano.
God
Alto.
our
gra
si^
s^*
God
Tenor.
save
J^9^
cious King,
--p=^
save
our
gra
J=3E
ciousKing
azi^p:
:
Bass.
God
save
our
gra
cious Kins
God
save
our
gra
cious King.
ii*i
i=iE
^-
ti
M
22.
The term
*'
octave
" is
eight notes,
is
it
of
to its octave.*
the bass
is
the
Fig. i8.
Great
Small
8ve,
8ve,
Four-foot octave.
Eight-foot octave.
Once-mapked
Twice-marked
8ve,
Two-foot octave.
8ve,
One-foot octave.
^&^
P
W-
^.rj
^^-
-.<s^=^
^^
'-
CDEFGAB
cdefgab
cdefgab
cdefgab
_C2
Sixteen-foot
this,
C (=CCC),
beginning with
is
^
^
Tenor C
^P^
treble G,
is
is
called
altissimo
'^-^
8va.
in
Diapason.
IS
*,*
Italian,
English.
of
the
notes in
English
i6
CHAPTER
III.
FLATS,
AND
NATURALS.
23.
The
semitone
smallest
or
half-tone
recognised
(
112,
difference
113).
in
pitch
The musical
is
called
difference
a
or
Fig. 19.
III
II
F
24.
The
Natural Notes.
{see
D,
is
Fig. 20)
17
26.
Natural
(Jj)
restores to
27.
Note.
28.
is
If
a note
a note
When
to
M,
or sometimes
be raised to one
flat
it
is
is
it
it
a semitone
a semitone only.
by ^ only.
When a double-flat
indicated by
tf7,
it
note
or sometimes by
double-sharp raises
the
already sharp,
flat,
and a
a tone.
a double-sharp note
only.
29.
is
already
is
indicated by
is
I?
If
it
by
flat.
only.
its
contradicted
^
Fig. 21.
in
it
is
()
(b)
g^^-pE^^^^^^Mf-j^^^^^r^p-^ p-^^fl
.
At (a) the E7 in the first group affects the E in the second group,
making that note also a flat, and the CjJ in the first group aff"ects the
signs
other C's in the second group. At (b) in group No. 2 the
contradict the sharp C and the flat E, lowering the C^ to C, and
tj
E.
a bar
is
next bar begins with the same note, the influence of the accidental
extends to that second bar
but
it is
repeated.
line or
the
same space
as the
i8
CHAPTER
IV.
shape.
music
Fig. 22.
English.
19
In vocal music the joining together or grouping depends on the syllables,
thus
^^^P
Fig. 24.
so
in Christ shall
all
be made
half-note in the
And a
|0
*^: or^##f:
or
00^^0000:
etc.
p = p
ox
etc.
this,
32. The stems of notes may be turned up or down
however, does not affect their time-value.
33, If single notes are written high up on the stave the stems
should be turned down, and if written low the stems should be
;
turned up
Fig. 27.
Note. The stems of notes written above the third line should be turned down; and the
stems of those below the third line should be turned up. Those on the third line may be turned
up or down. This plan is not always followed when notes are grouped. See Fig. 27,
bar I Fig. 54 and Fig. 115.
either
34.
Thus
A second
makes
'
ct
\
half
as
long again.
or
it
first dot.
Thus
20
equal respectively
<3
flat to
tied.
sharp.
silence in music.
35. Rests are signs used to denote periods of
Each note has its corresponding rest.
36. The rests in the following are of the same time-value as the
notes written over them
:
Fig. 28.
Whole.
The
Eighth.
Quarter.
Half.
Thirty-second.
Si.xteenth.
E^l^
which
is
coming
less easily
into
more general
rest.
frequently
less
advantage of being
used
notes
and
their
Fig, 29.
Breve.
^=
or Double-whole.
Half sixty-fourth.
Sixty-fourth.
sign
''^
Fig. 30.
{see
Fig. 30)
Note. The terms Lunga Pausa and G.P. (Gran Pausa) imply that the pause
must be of unusual length.
31
CHAPTER
V.
SYNCOPATION.
In music, Accent
38.
is
notes.
39.
or secondary.
The
40.
line, called
strong accent
bar-line,
Fig. 31-
^r~ ^^
(a)
(a)
(a)
"y
-^.
Bar.
Bar.
IT
^ -
Bar.
Bar.
Note. The word " bar " is used in two distinct ways one, meaning the line
drawn through the score, and the other as meaning all the notes, or rests, contained
between two of these
Every bar
42.
lines.
is
A single note may contain more than one beat, and a beat
be subdivided into notes or rests of lesser value. In Fig. 31
43.
may
are
made up
eighth-notes,
of equal time-value.
into
four
32
44-
first
be incomplete.
also
example, the
beats
and
{h),
first
two
these
If
di
incomplete
bar or measure.
full
bars
added
are
In the following
(a),
all
Fig- 32(c)
<.b)
()
m^
45.
double-bar
made
is
as at
(c),
is
used to mark
double-bar
The
Time-signature or Time-sign
is
The upper
reckoned.
For example,
= three eighth-notes, ^^ = nine sixteenth-
= two quarter-notes,
The
in
a bar
in
a bar.
49.
three
These may be
beats in a bar
Quadruple *
2, 3,
In key-signatures of
and
three,
:]
|.
In time-signatures of
4, e.g., |
four beats
Simple time means that there are two, three, or four notes of
50.
simple or compound.
6, 9,
^, ['^,
Duple and Quadruple, the even times, are often called Common times,
t It
should be remembered that a group of three notes of the same value equals
in value,
g.,
J J ^ J
and J J J ~
23
51. In
Compound time
there are as
many
tlie
in
Ordinary Use.
Fig. 33-
Duple.
8 >
3
8
4:
'
6 r
Quadruple.
Triple.
8
9
i
16^
f=>
f=>
24
clearly
is
The ^
56.
Alia Breve
an
is
The term
2 is a Duple time with one accent.
sometimes applied to this kind of time, but to do so
error.
Modern
composers Elgar,
Tchaikovsky,
Chopin, and
amongst others have used |, \, and | time.
Such
combinations are sometimes expressed by two time-signatures, as
57.
Brahms,
5 5
I or
Quintuple time.
58.
is
one
on
accent,
the
first
beat,
Fig- 34-
()
is
first
beat,
(b)
Fig. 34.
In Quadruple time there are two accents, one (the strong) on the
first beat,
and the
other, a secondary or
beat only
in
the pace
6o.*In slow
medium
is slow, (d)
Compound
kinds of time.
Fig. 34.
time, when the beats are subdivided, a
first
all
59.
when
first
{b%
(c^),
in
the
first
beat,
simple time,
Fig. 34.
Fig- 34S.
(")
accent, weak.
=^=^
(2)
in
accent, weak.
()
ic)
P^
(b^)
m
M.
:i
In
{d)
M.
'
S.
M.
i^zcz:
it
-y~-"~y -
sloti'
(c^
time.
S. accent,
weak, M. accent.
(^)
M.
^
:&
3
M.
3E
4
" Outlines of
Musical Form."
25
(^)
M.
s.
^31
M.
M.
^^^
^-
-I
ig
(a)
34
doubled
be
(see
time
counting
In
{see -Fig.
Fig. 34
simple
in
The whole-note
61.
to
the pace
If
time
and
count one
each
for
heat
number may
compound time
slow the
is
trebled
in
(e)
bar, Fig. 35
usual
is
it
(c)).
(b)
12
II
Fig. 35-
^
ik:
62.
When
this as at (a)
and
{b),
Fig. 36
Fig. 36.
The Breve
rest
or 2-bar rest.
>
20
4-
IEEI=
When
63.
following are
all
incorrectly written
24
(b)
lEl:
(a)
Compound
heat with a
new
time, care
Thus
rest.
the
Fig. 37
-M
;
and
(d)
{c)
(6)
ipc
K T^
fi:
&
3.)
Fig. 38.
{h)
{a)
fcp
{d)
Kc)
r r~P
n r ^ r
EBBq
?h^
^-ng
may
Fig. 39.
Correct.
Correct.
4=prp
3bE:
^==
M:
Incorrect.
Incorrect.
V^-'ff^^
iizi
4=:
be
26
65. In Compound Time a sound equalling a whole bar in value may
be written as one note, Fig. 40 {a). Sounds of lesser value must be
arranged so as to show the beats (h) (c) (d)
:
Fig. 40.
(b)
?3-r-r?-
Hnr^tZIl
The
{d)
E^3^^=
1=21
bar at
(c)
-<-7-r-f7^
^ ^
^n
because that does not show where the second beat begins.
66. The notes in the following examples are correctly grouped
according to the value of the beat
Fig. 41.
123
12
1234
1234
Note. Sometimes in |-time the eighth notes are grouped in sixes, and in
J-time they are sometimes grouped in fours, as in 2-time.
27
6j. Syncopation involves
This
is
brought
m
Fig. 42.
[a)
{b)
()
f)
(c)
22:
When
68.
an
producing
acceyited beat,
syncopation,
Fig.
42
is
(a).
is
(c).
When
6g.
is
beat,
there
is
(5^^
and
beat,
Fig. 43
(a)
is
3Ei:
Fig. 43.
syncopation
Fig. 42
(b)
Fig. 44.
i ^
"r
P"
tr
Note.
71. Slurs
may
This
is
Fig. 45-
emphasised.
28
CHAPTER
VI.
UNEQUAL DIVISIONS OF
72.
two notes of
the same
Fig. 46.
kind.
Thus
sung
TIME.
to the strict time of
29
The
duplet
is
Fig. 4..
77.
When
time, they
ii^^^
is
three, in
compound
Sextolet or Sextnplet is a
Fig. 52-
group of
5lv notes
played in the
zizi
irregidar
florid
=i p-
called a Quadruplet
79.
form what
Fig- Sc
78.
e.g.
Fig. 53-
=P=^
(i)
fi=jtp:p:5t:p:iL7i:t:pac|
-^-1
!
'
!
[-
-t
Fig. 53 (a).
Here are examples of the Quintuplet, a group of
notes played or sung to the time of four notes of the same kind*
80.
five
30
8i, Irregular groups of nine, ten, eleven, up to fifteen notes are
played in the time of eight of the same kind
:
process
is
Fig- 55-
(a^)
d-
=100.
:p:
(*)
;=ioo.
31
85.
The passage
Quadruple time at
at
(b)
Fig.
56
(a)
is
re-written
in
Compound
Fig. 56.
>-4^
=if=4^
^
u-
y * a
f>
r~pi
"
(&)
^^E^^^^Eg
:^cz=p
^^^zrr
Time-transcription.
32
CHAPTER
VII.
scale
is
number
of
in
8g.
Diatonic scale
consists
of
chiefly
tones.
scales
the Minor.
gi. In
these
which has
its
scales
own
there
are
eight
Octave, or 8th
7th
Tonic
Leading-note
Sub-mediant
Dominant
Sub-dominant
Mediant
Supertonic
Tonic, or
92. In
Key
note.
five tones
and two
semitones, the semitones falling between the 3rd and 4th and the
7th and 8th degrees of the scale
The above
scale
so-called because
93.
which
94.
Each
it
(Fig.
57)
is
the Scale of
scale takes
its
name from
is
Lower Tetrachord.
(
Fig. 58.
Natural
or
scale,
is
II
the note on
which
called a Tetrachord
Upper Tetrachord.
1
it
begins,
34
This process
gS.
may
be rarried on through
all
a piece
100.
written.
is
The name
of a note
may
its
pitch.
Note.
three
[see
different
Fig. 61)
Fig. 61.
Bx
names.
The
exception
:
; :
:
35
Key
I
Key
of G.
sharp
Key
Flat Keys
Sharp Keys.
Fig. 62 (contd.).
F.
of D.
I flat
P1=
Key
2 sharps: F, C.
Key
of A.
3 sharps
F, C. G.
B.
B?.
B, E.
of E?.
3 fiats
:
^fe
B, E, A.
imznz
of Ai.
4 fiats
:
B, E. A. D.
F, C, G, D.
(")
^=
of B.
5 sharps
^ffi
Key
Key
m
1
Key
Key of E.
4 sharps
F. C. G. D. A.
Enharmonic of C7.
of
2 fiats
of F.
Key
of
:2:^
D7.
5 fiats.
B, E, A, D, G.
Enharmonic
^ti*;
of
Ci,
lElf^
24^?--
t*-J
Key
of
Key
F*
6 sharps
F, C, G, D, A, E.
Enharmonic
Key
of Gj?.
B, E, A, D. G, C.
iij*^
of FJ,
Key
of C?.
7 flats
of C^.
^
^-[T-
F. C, G, D, A, E,
of D;?.
G?.
Enharmonic
7 sharps.
Enharmonic
of
flats.
zz
B, E, A, D, G. C, F.
Enharmonic of B.
^ir^-H
:tl 9-Q-
36
loi. In the foregoing table
it
is
is
a perfect
is
is
a perfect
it,
one preceding
helow the
fifth
a perfect
fifth helow
fifth above
it.
Jiat
02.
definite order.
of
the last
The
is
key
in
right
above
Fi^
[a)
flats,
the key of
is
more
Scale of
Fig. 63.
major
Scale of
C7
major.
^w^^^^mmr^^^^b.
(b)
D7
having
fi\'e
flats, is
Cjt
which has
seven sharps.
(c)
and
G7
(six
flats)
are
often
interchanged for
convenience' sake.
* The only two sharps or flats ever written off the stave are the Gjt in the
Treble (the third sharp used) and the F^ in the Bass (the seventh flat used). All
37
CHAPTER
VIII.
103.
Two
Semitones.
104. In
different
and an Augmented
2nd,
/:
P**'& "4.
Semitone. Tone.
Tone.
i.e.
a 2nd that
is
one
is
^=^^=^=^^
Note.
acci-
is
contains three
It
i<^
:^
is
not
purely diatonic.
ist
The
107. In the Melodic or Arbitrary Minor Scale the 6th and 7th
sounds are accidentally raised ascending, but in the descending scale
only the normal notes of the scale are used, that is, only the sharps
38
flats, if any, that are placed in the signature are to be used.
The
Melodic Minor Scale has five tones and two semitones. In the
above scale, Fig. 65, the semitones fall between the 2nd and 3rd and
or
fall
between
Every Major Scale has its Relative Minor, and both scales have
same key-signature. Every key-signature therefore stands for
two keys one a major and the other a minor.
log. The Relative Minor of a given Major Scale is the 6th sound
108.
the
major, therefore
minor
i.e.,
G
no. The minor
major
is
called
its
major.
minor.
scale
Tonic Minor
(a).
The
(6).
-^9
minor.
major.
its
E major has
G major,
Fig. 67
one sharp
of
is
-|^=pz
(a).
-^-t-=:^zz^=zl
E
is
signature, therefore
four sharps in
its
its
e.g.,
Tonic
C major
flats or
three
has no sharps or
signature, therefore
one sharp; G major has one sharp in its signature, therefore its
Tonic Minor has two flats in its signature, one omitted sharp being
equivalent to one added flat.
39
The
following
is
its
Fig. 68
{a).
Ip^ESE^ES^I
5
^
,r-
^-m
r
T^
Fig. 68 (0.
The
major.
gp^-^^^^^
D
III.
{b).
third note in a
Mz'wr scale
is
Major.
Fig. 69.
C major
minor
minor
major
B minor
major
is
minor
major
Cjt minor
major
GA
major
Fjt
minor
*D* minor
is
major
'4--
ij|
m m
"(^EMfc^iE^j'
D* mmor.
40
Fig. 70.
F major
minor
minor
B? major
'^
minor
E? major
'rTT'* [Trz
minor
aI?
major
fe ^JT
B7 minor
D?
major
lEKXTll:^"
G>
major
:(S'-fa?:^^=
C\f
major
fefcfc
i^ o:
-^ igrlT^
is
tz^--
:d? -k
El7
minor
,,
A? minor
..
~
|l
Fig. 71.
l''),
4Q^r-^n^fe4^ :^=a:
:z3:
|J#:
.li^Q^^-^^^^I^
55;&fe=^;
i^hq:
r^:^^^
^tl:
single sharp
above, and cf.
KoTE. The
sharp
{see (a)
G|
is
now
28).
is
A? minor :
41
CHAPTER
IX.
112.
semitones only.
When
the
115.
Scale
is
as follows
and every other note of the scale twice (51?^ Fig. 72 (a) ). Then
add the necessary accidentals to make the scale one entirely of
semitones
Fig. 72
{see
TD
CJ'
22
Fig. 72
(b)
{a).
116.
Fig. 72
'-G&^:2^-
33
44
-t>o-i?c?^^
^Q
Fig. 73
()
Fig- 73 (*)
of C.
^1^
ascending
(6).
Scale
-prv-t^o
is
the
^^^g^=gzi|
same descending as
42
The
variety of
ways
ascending, and
Fig- 74-
the
common
flats or
practice
is
is
written in a
naturals descending
43
CHAPTER
X.
INTERVALS.
An
119.
Interval
is
number
number
Thus
the
first
Fig.
interval in
C D,
76,
because
it
C G
a 5th, and so on
^'^g-7^-
is
2nd.
a 2nd, because
is
is
C E is a third,
alphabet.
C F is a 4th,
Similarly
3rd.
4th.
5th.
:qi
120.
Intervals.
121. Accidentals do not alter the numerical
thus
name
of
an
interval,
()
3rd.
{/>)
Fig- 77-
the intervals
{a)
and
3rd.
ifcoi
[h) in
Accidentals do
is
customary
being always
named
affect
(b) is
(a)
The
intervals at
{a)
of
an
interval,
thus the
{a).
(P)
3:
Fig. 78.
lov/er note.
q-aality
to
first
the
and
{b),
G E,
as
is
the
44
Scale
is
C D
is
C E
a Major
2nd because
3rd
in the scale of C.
45
131.
Intervals.
f-
Diminished
Perfect
Augmented
Minor
Major
Augmented
Unison.
Unison.
Unison.
2nd.
2nd.
2nd.
-%^'
-t^o-
C.
c.
C.
Diminished
Minor
Major
Diminished
Perfect
Augmented
3rd.
3rd.
3rd.
4th.
4th.
4th.
=i
ICEZ.
:tS2;
C.
Diminished
Perfect
Augmented
5th.
5th.
5tli
-^Q-
31^8
C.
Minor
Major
Augmented
Diminished
Minor
Major
6th.
6th.
6th.
7th.
7th.
7th.
Ulcz:
Diminished
8ve.
Augmented
Perfect
8ve.
8ve.
:ia2:
7th,
Fig. 80
and
Theoretically
all
intervals
The
unison,
although
not
strictly
therefore
it is
speaking
an
Interval,
is
sometimes
46
132.
To
invert
an interval
upper, or vice-versa
(a)
(c^
(b)
Major
Perfect
Fig. 81.
to place the
is
id)
6th.
5th.
{.)
Augmented
Major
Minor
3rd.
5th.
3rd.
Intervals.
-?S-
Perfect
Minor
Minor
Diminished
Major
4th.
3rd.
6th.
4th.
6th.
Inversions.
Note.
'-^-
An interval
is
made
greater
and similarly
it
made
is
133.
An
nine, thus
interval
and
Fig. 81
(a)
its
the interval
= 9. At (b)
a 3rd, and 6 + 3 = 9. At
is a 6th, and 3 + 6=9.
4th,
and
when
inverted
(Fig. 81.)
make up
inversion together
is
the interval
{c)
a 5th, and
is
the interval
its
a 6th, and
is
the
a 3rd, and
become
their Opposites
(b)
Major
intervals
become Minor.
{e)
Minor
Major.
[d)
Augmented
Diminished.
Diminished
Augmented.
is
inversion
its
its
and
number
inversion
inversion
except
a
is
e.g.,
in
when
(a)
a Major 7th
the inversion of an
is
Perfect 5th.
135.
An
mterval and
an interval
its
its
inversion together
inversion = twelve
make an
octave,
semitones.
it
follows that
47
The
in
Fig. 82.
Interval.
in the inversion of
of semitones contained
each interval
48
The
140.
intervals (a)
(b)
are
Fig. 83
in
{c)
5ths because
all
irrespective of accidentals
B, C, D, E, F.
It should be remembered that the standard of measurement of an
In dealing with the
interval as to quality is the Major or Perfect.
intervals of the 2nd, 3rd, 6th, and 7th, the Major should first be found
and
in dealing
should
is
The
B.
in the scale of
B Ff
interval at
interval at
cancelling
Perfect
be found.
first
sound
5th,
Fig.
(b)
a diminished
is
it
By
is
double-sharps or
is
the fifth
smaller than
is
The
5th.
a process of
when
is
it
83
Fig. 83,
(a)
single- or
flats
141. If the same kind of accidental is taken away from both notes
forming an interval, the quality of that interval remains unchanged.
F at
Thus if the double-sharps are taken away from the notes
The interval at {c) Fig. 83, is a
(5) Fig. 83, the interval is the same.
is
Fig. 83,
is
at (d)
in the scale of
The
A.
interval
at
Fig. 83,
(e)
is
The
flat.
sound
a Minor 6th,
containing as
sharp,
first
it
it
is
interval at
discovering
below,
(a)
its
inversion
its
inversion
double-flat to C,
(b)
Fig- 84.
is
Interval.
Augmented
6th.
(b)
G- A
sharp
is
readily found by
Q
^=|q:=iz=;
_a
Fig. 85.
first
Diminished 3rd.
3rd, therefore
A sharp G is a Diminished
an Augmented 2nd :
by
Inversion.
of the interval
^^^^^
(a)
e.g.,
Diminished
7th.
double-
=^=|^
Augmented 2nd.
49
143-
To
first
the required interval above, and then place the note thus found an
For example,
octave lower.
flat,
it
Major
n^i
Fig. 86.
to write a
(Fig. 86
(a) ).
flat is
flat
Minor
6th.
n-=~
M)
!?r3
(Fig. 86
{b)
3rd.
(^
-^<^-
-?s-
The
also
is
student should
sharp.
now be
Major or Minor.
Major Scale there are seven ands, five of which
The Major 2nds fall between the i 2,
are Major and two Minor.
6
2
degrees,
and the Mmor 2nds fall between
and
5
7
4
6,
5,
3,
the 3
4 and 7 8 degrees. Similarly of the seven 3rds in a scale,
The Major 3rds fall between
three are Major and four are Minor.
7 degrees, and the Minor 3rds between the
the I
6, and 5
3, 4
2
5, 6
8, and 72 degrees.
4, 3
145.
Thus
in a
Of the seven
and
,,
^ihs, six
7ths, two
Note.
146. In the
,,
,,
,,
Major and
one
Augmented
of
three
five
(or Tritone).
Minor.
"
three
Augmented, and
a scale
fall
fall
in
Of
Diminished.
one (7
3)
50
Of
the seven 5ths, four are Perfect, two Diminished, and one (3
7)
Augmented.
Of
Of
the seven
6t\is,
the seven yths, three are Major, three Minor, and one Diminished.
The Diminished
3rd,
and
its
Perfect.
Augmented
inversion, the
6th,
An
might belong
interval
EG
to several scales.
EG
as an
interval
is
a.re
Thus the interval E G may be the
in
Major, or
3 in
Major, or
S in
Major,
in
IMajor.
Harmonic Minor
degrees of a scale,
That the
it
3,
150.
interval
In this
way
4,
6,
and 7
follows
E G may
be the
4
46
2
i
3 in
IMinor, or
in
IMinor, or
in
Minor,
in
Minor,
Minor 3rd
or
it
is
E G, may
or
four
^lajor and
four IMinor.
151.
In Fig. 87
The
The
interval at
(a) is
intervals at
an Augmented 5th
(i) {c)
The
interval at {d)
F
Fig. 8;.
is
in
jMinor.
and
an Augmented 2nd
in
iZ^|=|^^^^=|fg^E|:
flat,
sug-
respectively.
G sharp minor,
:
5t
How
152.
first
place,
to
In the
quality contain
contain
Number
find the
it
like
nine semitones
six semitones.
but
it is
evident that
the example at
{c)
it is
Augmented
number
than in those at
{a)
and
{b)
Fig. 8S.
The
interval
Fig. 89.
The
semitones
()*
Fig. 90.
:*^
3450
^fi^^^^^
^-i
interval at
of semitones in
{c)
:JSc2i
CF
[h)
or Tritone 4ths,
[a)
(a),
and
{b)
Fig. 90,
52
1^5- Where the wider intervals are concerned, it is better first to
determine the number of semitones in the inversion of the given
For example
interval.
Interval.
[a]
Fig. 92.
-f^G-
-9-Gh-
2 semitones.
10 semitones.
shows an Interval;
interval.
the inversion
{h)
Inversion.
(b)
the
number
itself
of semitones in
(a).
The
inversion
semitones (135).
A compound
157.
an octave
interval
is
one
beyond
the
compass
of
Compound
interval.
Fig. 93-
A Compound
A Compound
2nd
158.
same
When
3rd
5th
When
is a Harmonic interval (Fig. 94 {a) ).
sounds are heard one after the other, the result is a
the two
A Compound
or I2th.
or loth.
or gth.
{b)
Intervals,
(a)
Fig- 94-
Harmonic.
fs
(&)
Melodic.
53
CHAPTER XL
TRANSPOSITION.
159. Transposition
key or
160.
clef to another
The
of
1.
new
clef.
when
key-signature
another key.
transposing
to
When
3.
Example I. Transpose
this
melody
key of
into the
Key F.
Fig- 95-
3
S>^E'^a^
I
:
^'tj--.
'
(i.)
will
higher or a
(F)
^^
7th
But as it is usual
lower with equal correctness.
otherwise
stated, we
unless
distance
smaller
the
choose
to
will write this example a 2nd higher.
7th
(ii.)
thus
M
Fig. 96.
Write
all
Key G. Without
accidentals.
aS5^^^i=i^=S=g^=^S
EEE
'
54
Insert the necessary accidentals
(c)
Fig 97
With
fe
accidentals.
5^
4^
The sharp in bar one of the original piece raises the note
a semitone, so the corresponding note in the transposition
must be raised a semitone by a sharp.
(ii.) In bar two of the original the natural raises the note
B flat (note the signature flat) a semitone, so the note C in
bar tiuo of the transposition is also raised a semitone by
(i.)
means
of a sharp.
(iii.)
note
transposition
Example
II.
is
Fig- 98.
by means
2iid
lower
of a flat.
F.
^F^
asked
for)
Example
III.
3:
32::^:
-<S>--5
-LI
Key E.
Fig. 100.
%m%^
^"
sn
-G>-
flat.
'
55
the
Key
Fig. 102.
3i
sharp
minor.*
liz^.";^
^n
^:
tp2Z
sharp minor.
'-=\-
tig. 103.
'4^^
161. In transposing
Middle
rx.
Middle
Treble.
to another,
the position of
be clearly understood
C.
Tenor.
Alto.
Bass.
-o-
Tf
>
NoTE. All
Chapter
{set
I.
ri-fcr
on Staves and
Example V.
(i.)
r:;r-&
Transpose
the
(3.)
Into the
(2.)
Key B
Fig. 105.
following fragment of
same pitch;
at a 3rd lower
"
flat.
The Maple
Leaf.
pitch
j^^Key B
melody:
Tenor Clef
'
a"i:
Alto,
same sound or
Clefs).
etc.
flat.
V=W^
Tenor, Key G.
^-^-
fe84^=i
Bass,
Fig. 108.
Key B
etc.
flat.
m^^.
^^^==z
It
==g^^^
-)
etc.
vtrt
is
56
Canada."
ty-
SI
Fig. 109.
The
than
transposition, Fig.
and
is
Fig.
162.
Some
placed
-X=:=-1r\
no,
in the
chants,
chorals,
in
is
key of
the
Treble Clef
etc.
^=L
^is
&c.,
will
F a
4th higher
etc.
admit of two
versions
of the other.
The
one version
is an interesting specimen,
major and the other in E minor its Tonic minor
following chant
being in
Major.
J
^Mi
*^fe
-^=W'
^cL
%^^^
E.\RL OF MORNINGTON.
L
^Pi
'P"
J_Q_
-1=3: J.
"C3"
3^:
P:
-O?2-
&
&~
57
Fig. 112
Key
Earl of Mornington
r-
i^
p-r^
^m
:?=:
^^1^
-J^-
:z2:
-*g--
^=--^==^5
r-r
Note.
the scale
is
3^
is
^S^B
?=:
J=i
_0_
=L=d:
in the
18
CHAPTER
XII.
ABBREVIATIONS, PHRASING,
163.
The
or
^S, r",
Etc.
word
to
are
Siinili
condense orchestral
shown by
writing^ii
Fig. 113.
Written.
m^^^
F^
Played.
zm
J-_J
j*i<z::3
Fig. 114.
Written.
Played.
^^
4^r^
4.-^-'-=^-'
Fig. 115.
Written.
Played.
-3.
simili.
^M
^s^M^
^^
Mz^=M:
59
(a)
Written.
(b)
lib^I
yig. ii6.^
(<;)
Flayed.
Written.
4z^
Played.
Written.
(i)
:4=^
^=P-
b^EM^
:M:
Played.
?^
-4=
<>
* * g g
Fig. 117.
(a)
Written
(6)
Written.
(f)
(ft)
Written
trem.
4^^
lii
:
Played
etc.
i^^^
>
Fig. 119.
Tremolando.
Written
Played
Written.
Trem.
(or)
Tremolo.
'
<.
6o
Fig. I20.
Written.
Pianoforte.
Played.
165.
may
1
the
When
it
is
be expressed as at
(a)
66.
In such cases,
sum
it
(b)
will
number
of times,
it
Fig. 116.
(d),
(c)
repeated notes
is
written.
The number
of
is
= the Z
The groups
at
{b)
{a)
Fig.
{c),
117,
though
each case
Thus
The
168.
abbreviation
(a)
[b)
[c)
= one whole-note.
= one half-note.
= one half-note.
that as
171. Repeats.
possible
piece, or
and Fig.
When
to
show
e.g.,
"^
their sub'=
Trein.)
signifies
(a)
{b)
).
of
or Treniolando (abbrev.
for Pianoforte, is
120.
to
they
be repeated from the beginning of the
or
Fig. 121.
172.
When
"~=
-^^^^
Fig. 122.
is
to be repeated
6i
173. In repeating, a different
and 2da
ending
The
The
first
marked 2da
174.
ima
volta.
volta.
--^^r'-*-^^r-#
Us (= twice)
zda
volta
When
for
the bar
repetition,
'
sometimes necessary
Fig. 123.
is
is
used
it is
Da
Fig. 124.
The
175.
sign, D.C., or
to be repeated
from
the beginning,
to
5^^
disregarded
Allegretto
from
When
piece, a sign,
repeat marks.
177.
The Use of
(abbrev.
pressed
The
down
the
Pedals
of the
Pianoforte.
The
word Pedal
Ped.)
indicates
that
the
Loud
pedal, is to
remove the
strings, thus
62
(= Without
and the words
178.
release
of the right-foot
pedal.
179.
or soft
instead
Con Sordino, as applied to the " string " orchestra, means playing
with the tnute, which is a simple attachment placed on the bridge of
a violin, viola, or other stringed instrument to
damp
or muffle the
tone.
pianoforte, the
purpose
Italian
/ Mano Divitta
\
f
{
Mano
Sinistra
Main Droite
Main Gauche
=
=
(M.D.)
(M.S.)
=
=
R.H.
L.H.
=
=
Right hand.
Left hand.
=
=
(M.D.)
(M.G.)
=
=
R.H.
L.H.
=
=
Right hand.
Left hand.
182. When the notes of a chord are marked as at {a) {h). Fig. 125,
they should be played in Arpeggio (in a harp-like manner), as at [c),
each note being held as it is played
:
or
()
Fig. 125.
183.
note
is
The
;g
sign - or
be held
to
{c)
{:,)
B3SB:
its full
gentle pressure.
184. ^va (ottava alta)
The continuance
When
word
^va
loco
is to
of ^iva
is
shown by
it
is
means
that
each
written.
dots, or
by a wavy
line.
= in the place
[i.e.,
as written)
is
used.
63
Fig. 126.
loco.
^-l^^f^
b^
Written.
Played.
32:
=t2=E
i=:
is
to be played
i.e.,
in
octaves
Fig. 127.
It
the
64
the description
1 88. The term Phrasing may be summed up in
Musical Punctuation, as applied to the symmetrical grouping and
arrangements of musical sounds. The singer or the player who
brings into due prominence the grouping of motives, figures, or
phrases, and
is said to "
who
189. Phrasing
f Staccato
or under
is
^,
Legato,
etc.
curved
line ^
is
placed over
word
Legato,
indicated by
Ficr. 128.
is
marked by dashes
^=M=f^
Fig. 129.
very
or
short,
staccatissivio.
sign,
implies
that
Staccato
notes
the
is
This
should
is
called
be
the
Mezzo-Staccato,
performed
slightly,
or
and
half,
^^
Fig. 130.
tf-
When
the Staccato
simile
is
long-continued, the
first
bar only
is
marked,
made
When
slightly staccato,
Fig- I3I'
Written.
Played.
^:^-
is
65
iy2.
stress
By
may
be displaced.
placed on the
the
Fig
first
first note
132.
Accent.
194.
The
natural accent
Accent.
may
6&
CHAPTER
XIII.
sounds
may
be ornamented
by the addition of
which are the Appoggiatiira, the
the Gruppetto or Turn, the Trill or Shake, and the
Mordent or Passing-Shake.
The
196.
Appoggiatnra
{It.
Appoggiare
to
lean upon)
value
it
is
takes
a
its
Written.
Played.
It
1
chiefly found
is
8th century.
its
own
value
(see
note, thus leaving the principal note only one-third of its original
value
(see
receives
When
Fig.
more
134
stress
(c)).
In
than the
all
cases the
principal
note
Appoggiatura itself
which follows it.
67
"exactly
embellishes
{see
Fig. 134
[d) {e)
it
Fig- 134-
[b)
(rf)
f'-)
Written.
Played.
Si-^
^^iiSii^^i
(/)
:fiz^:z=ii
^zii^t:
_-^..
:^_::
197.
An
note
In
(5^^
is
The Double
The
first
of these
is
may
be at any distance
Written.
Playe_
199.
The
its
stem.
= to
It
crush)
is
a small note
68
AS quickly
{sec
Fig. 136
but
(a)
it
Fig. 136.
(f)
(0)
:
fe
w
Written.
Y^
"
,A
Played.
200.
When
principal note,
2or. In
the
Acciaccatura
it is
sometimes termed a
is
136
ic) ).
generally played as an
Acciaccatura.
202.
The
The speed
of the
music.
204.
When
written thus
When
Fig. 137,
the
I
Turn
is
it
an
is
written thus
inverted
'^,
it is
a direct turn
an unprepared turn
when
Turn.
[a}),
{or),
Fig. 137[d^).
;:z=i1:
Written.
Allegro.
Andante.
Played.
but
^.
when placed
after
(o), (h),
Written.
:q:
Played.
ir^zz::
d^z::.
Fig. 138,
it is
69
A Turn
205.
is
Fig. 139
{see
and the
triplet,
note of the
last
its
Turn
{a), (b)
Fig. 139(a)
(b)
^=ii=g^=i
Written.
Played.
206.
(5^^
The
St^
Inverted Turn
is
:t=:
the
reverse
of
the
Direct
Turn
:
Fig. 140.
(b)
Written.
Played.
Fig. 141.
^1
Written.
Played.
m''^"
The
207.
notes of the
Turn
note:
Fig. 142-
Ja)
Written.
Played.
^
I
^
(b)
.
,
70
When
2o8.
an unprepared turn
is
preceded by a
rest, it
should begin
Fig- 143-
^.
Written.
Played.
2og.
word
The
Shake,
written
-frhzX
tr.
(an
abbreviation
of
the
Italian
in the time.
2IO.
The Shake
the
principal note
{see
Fig. 144.
W
Written.
Played.
tr
tr
fe
P^
-
I'll -^I
211.
l^ss
Fig- 145tr
Written.
Played.
is
sometimes
71
212.
notes
(see
Prepared Shake
(b)
is
one that
is
(a)
^^
Written.
Played.
Fig. 146.
(6)
Written.
eIe
Played.
213.
accidental,
214.
time.
which
is
This
is
a double, or a
triple,
tv sisrn,
thus
,*
or
or on three notes
shake
at the
same
tr
Si
HrFig. 147.
215.
at the
end of the
last
one
Fig. 14S.
tr
Written.
Played.
1^^^
tr
is
only added
72
2 1 6.
The
of a given note
given note.
The
first
principal note
accent
final
the
Fig. 149.
Written.
i
w
Played.
F^F=:ttz!^
Written.
Played.
or
Schleifev,
151, 152):
is
somewhat akin
to
the
Fig. 151-
Written.
Played.
(6)
q5^
^H^-
Ei^Si:
Fig. 152.
i^s
Written.
Played.
i^i^
Note. For further information regarding Musical Graces, etc., see the author's
"Musical Ornaments and Graces," and their interpretation, as used by Bach,
Handel, and other composers of the 17th and i8th centuries.
73
CHAPTER
XIV.
MUSICAL TERMS.
2ig.
Many
style, etc.
I-
Terms
upwards
Grave
to the quickest)
Adagio"^
slowly, leisurely.
Largo
slow, broad.
(Larghettoj-
rather slow.
Lento
slow.
A ndante
Andantino\
Moderato
moderate.
A llegro
merry,
Allegretto j-
Tempo comodo
Tempo giusto
I Tempo ordinario
Vivace
fast, lively.
at a convenient pace.
in exact time.
in ordinary time.
with
life,
quick.
Con moto
Presto
fast.
[PrestissimoX
verv
fast.
is
74
II.
Accelerando or
Ad libitum
A piacere
A
or ad
lib.
i""
Calando
Rallentando or
Ritardando or
Slentando
vail.
rit.
Stringendo
('gradually slower.
-*
same
pace:
tempo
Tempo prima or
in
accel.
="
in value
i.e.,
That is to
same as a J
itself is altered.
say, in changing
from 4
in the former.
Tempo rubato =
221.
''
to
heighten the
expression.
III.
Terms relating
{Piano, p.
Mezzo -piano, mp
moderately
Pianissimo,
very
/Forte,
\
pp
soft,
soft,
loud.
Mezzo-forte,
[Fortissimo,
.
fp
force:
moderately loud,
mf
very loud.
(gradually louder,
Crescendo,
cres.,
or -=^
iincreasmg
Decrescendo, decres..
Diminuendo, dim.
Morendo
Smorzando
in loudness.
gradually softer.
decreasing in loudness.
-dying
away
in
Pevdendosi
softly, sweetly.
Dolce
ISfovzando,
Forzato, fz
Sfor sat 0,
sf,
or A
sf.
The combination
known
as the
Mezza
di voce.
of these
two signs
is
75
A
A
a.t;
for
with.
church
cappella, in the
by
style.
httle.
Affetuoso, affectionately.
Agitato, in
an agitated manner.
Amabile, amiably.
Amorevole, Con amove, or Amoroso, lovingly.
Animato, animated.
Appassionata, impassioned.
Arioso, in the style of
an
air or song.
Assai, very.
Attacca,
go on immediately.
Ben
marked.
marcato, well
Brillante, brilliantly.
Brioso or
Con
brio,
with vigour
with brightness.
accompanist
to
voice or instrument.
Con, with.
ments).
Con
Con
spivito,
with
tenerezza,
spirit.
with tenderness.
instru-
76
Deciso,
Con
Dolente, Dolorosa,
dolore,
tenderly.
E, and.
Energico or Con energia, with energy or force.
Con
Espressivo or
Fieramente, with
espressione,
with expression.
vehement energy
with
fire.
Furioso, impetuously
with fury.
Tempo
Giusto, exact.
giusto
in
gaily.
exact or
strict time.
playing.
Playing a rapid passage on a Pianoforte or Organ
by sliding the tips of the fingers over the keys instead of by
striking them with separate fingers.
Grandioso, grandly.
Grazioso, gracefully.
// or
La, the.
Legato, smoothly.
Leggiero, lightly.
Lusingando, soothingly
Ma,
enticingly.
but.
marked
hammered
or emphasised.
Marcato, well
Mavtellato,
Meno,
Meno
less.
Mesto, sad
mournful.
Mezzo or Mezza,
Molto,
or forced out.
much;
Mezza-voce
half.
half- voice.
very.
Meno
i.e.,
Non, not.
Ossia, or.
a quiet, pastoral
Pesante, heavily
style.
weightily.
Ptacevole, pleasantly
agreeably.
slower.
77
Piangevoh, sadly
Piu, more.
plaintively.
more motion,
Piii tnosso,
Poco,
Poco a poco,
little.
Quasi, as
if
like
little
i.e.,
quicker.
almost.
Replica, repeat.
Risoluto, boldly.
Sempre, always.
Senza, without.
Simile, like
in the
Soave, delicately
same
style.
gently.
Solo, alone.
Sostenuto, sustained.
Strepitoso, in
Sul
Tanto, so
ponticello,
much.
or note.
Tosto,
quick
In
modern compositions
i.e.,
it
chord
rapid.
Troppo, too
Tntti, full.
Un
too much,
(Full
or Una, a
much.
band or chorus.)
one.
Veloce, rapidly.
Viooyo%o, vigorously.
For a
Terms.
complete
'
list
(Messrs.
life.
manner.
of Musical
Novello.l
quickly.
Terms,
see
78
ADDENDUM
HOW
The
NO.
I.
from
i.e.,
right to
left,
The
The
and
following
tisually
sometimes be incomplete.
Double-dotted notes
(i.)
Fig.
first
I.
(ii.)
Fig 2
^-
ZZ5=it
:z2i
Groups
of
?^
:4:
1^=^
IPZIZE
|.
2:
notes'''
^m
(b)
r2Z
'SJr^:.
B2E
(iii.)
Two
Four notes
Fig.
4-
or
more half-notes
when preceded by a
Compound time
of equal value
found
in
in succession
rest,
etc
79
The
(i.)
^'^' ^'
Dotted notes
_____
^">
Compound time
zM^^^dz
^-
^-n
(6)
ES
li
P^
(ii.)
*"
-1
s>
1-
etc.
(a)
Fig.
6.
-m
I^H
i^
K^)
S^
-jct.
time, but
they
(i.)
Groups
Fig. 7.
-=^
^W=i
Fig.
S.
z2l
SE :p=p:
r-
H-
3^
qzTL- etc.
8o
(ii.)
Groups
Fig. 9.
()
?i-iF^>=<^
:*= T-ZT
-9q
(b)
11
ee:3
8i
members
drawn through a
tie,
of a group of notes
(a)
Fig. 14-
(b)
^s^M=*=*a5
W=^
Correct.
(0
:?^E
Incorrect.
Incorrect.
83
ADDENDUM
NO.
II.
flats that
The
example
Of
three only,
Of
number
has
the notes
the scale of
of flats,
flat,
five sharps,
flat,
number
For
is
is
is
has
none.
flat,
note,
Fx and
Cx.
it
will
is
two notes
Similarly, of the
be found that C
sharper than Fx.
Fl7t>
and
is
Ct?t>,
the sharper
is Ct>>.
or dominant
frequently,
the dominant.
The
The
sharpest note will most probably be the leading-note.
is the same in both major and minor keys, and is
leading-note
tonic.
Fig.
4
z:
,
f
<2
m^=:^=i
4th,
and
^_ ^
K*-,
Q-
their
83
F, C, G,
be
in
are the
first
these are
a sharp key
Now B
In Fig.
major or minor.
natural
is
it
In Fig.
2,
sharpest note,
between
the
G^ and F
the
first
Fig. 2.
^^
to
note
A
A
key of
^i"^
:G^
it
is
the
flat
key.
The
and the
minor
not in a sharp
is
not in a
last
note
are, taken
E^
Fig. 3.
^i=^^^^=p^
=p=^
^^
"
84
PART
II. HARMONY.
CHAPTER
XV.
Melody
is
Harmony
is
sounds,
sounds.
226.
A Part is
Harmony
in
{a), (b),
Two
(c)):
Harmony
Parts.
(a)
in
(b)
" Scots,
Three Parts.
" Vive la Canadienne.
wha hae."
Harmony
in Four Parts.
" A la claire fontaine."
etc.
227.
Chord
(Fig. 154(a),
is
a combination of at least
three different
(&)):*
{b}
_(^^)
Fig- 154-
One
of these notes
is
sometimes omitted.
sounds
228.
and
Common
Chord-''
a note with
is
(a), (b)
Major
its
Minor 3rd
or
(b)
()
Fig. 155-
Major. Minor.
229.
Triad
is
a note with
its
of Triads
_^g
J^
^\^
The Major
and
Common
are
(b)
Fig- 157(a)
(b))
:8=i
Fig. 156.
230.
(a),
(dh
9.B-orzz^
Chords.
An
{b) ).
{c) ).
Note From
the above
all
231.
Common
Concord
is
it
is
evident that
all
Common Chords
Chords.
chord
consisting
entirely
of
consonant
intervals (136).
Common
Chords
{i.e.,
all
The
Root of a Chord
is
Some
four notes,
Common Chord
of
is
named.
is built,
(a) is
F or F Major.
"Common Chord"
and octave.
only to a chord of
86
234' Since a
only,
Common Chord
chord
{see
Chord
of
Fig. 158
with
(a)
its
three notes
three notes
This
is made up of
Harmony one of these
or a Triad
it is
is
root doubled)
Fig. 158.
(c)
(b)
-Jdr
fczi^izz
As a rule, the best note to double in a Common Chord is the
and the next best is the 5th. The 3rd of a Minor Common
Chord {i.e., one with a Minor 3rd from the Root) may be doubled
{see Fig. 158 (c)), but the Major 3rd of a chord, except under
235.
root,
certain
doubled.
The
5th of a chord
may be
omitted
Fig. 159-
i
Se^
237.
extended harmony.
part
harmony
harmony, or
in
lie
When
either
in
close
harmony
or
in
close together,
a close position
{see
the chord
Fig. 160
said to be in close
is
{a)
Extended Harmony.
Close Harmony.
SZT-
Fig. 160.
other,
87
The
238.
so
as
far
equal
at
possible,
is
to place
from each
distances
them,
other
{see
(b)
I
Fig. 161.
m
If this is not practicable,
s^;
ICZL
P
Fig. 162,
j^.
Note.
In Fig.
161
(a)
Common Chord
the
of
(No.
i) is
written with
C m
5th in the
23456
Major Scale of C.
Fig. 163.
Triad
Tonic
Quality
Major.
Supertonic.
Minor.
Minor.
Major.
Major.
Minor.
Diminished.
Of the first six, three are Major and three Minor Common Chords.
The one on the seventh degree is a diminished Triad.
The Triads on the Mediant and Leading -note are rarely used in their
direct position.
Similarly a Triad
Scale
may
Minor Scale of
C.
Fig. 164.
Tonic.
Supertonic.
xlt
Quality
Minor.
S;
Diminished. Augmented.
Minor.
^
Major.
-O
Major.
Tl
<^
Diminished
Tl
Of these, two are Major and two are Minor Common Chords.
The Triads on the Supertonic and Leading-note are Diminished,
that on the
Common
89
CHAPTER
XVI.
TRIADS IN SUCCESSION.
Two
242.
three
more notes
or
of a chord
may
in
ways :
Fig. 165.
Similar motion.
(a)
(6)
Contrary motion,
{c)
Oblique motion.
3^i
CT
(a)
When
(b)
When
in the
same
direction, they
in opposite directions,
they
When
{c)
one or
stationary, the
Note. In part-writing too much Similar motion is not good. It should rather
be used as a contrast to Contrary and Oblique motion. In arranging successions of
chords, the student should vary the kind of motion as much as possible.
When
it is
said to
move by
The former
movement
is
called
Conjunct
latter Disjunct
Conjunct movement.
Fig. 166.
^r
Disjunct movement.
22:
3=S
244. Those chords follow each other best and easiest that have
one or more notes in common. For example, the note G belongs
both to the chord of C and to that of G {see Fig. 167 {a) )
:
^^W^^^^
Fig. 167.
j^
90
effect.
common
in
are termed
Conjunct chords.
a note
not
common
in
termed
are
ih) ).
When
245.
it is
Fig. 167
{see
same
part,
(a)
{c)
=P
Fig. 168.
-^-
:gr
--g:
m:
:?2:
(a)
The chord
note
of
is
kept
is
same part
the
the
common
The
of both chords.
The chord
notes
of
A minor
is
E, which are
common
to
The
Conjunctly.
[c]
The chord
kept
of
is
Alto part.
in the
parts
move
Conjunctly.
Two
parts
must not
overlap
()
i
Fig. 169.
:::rzt=:
91
(a)
The
Tenor
chord.
(b)
in
No two
;247.
parts
consecutive chords.
or Parallel 5ths'^
2 is
{)
{c)
(*)
-r-^-
"C?=~
Fig. 170.
=^
(a)
The Consecutive
(b)
=gg=:=S
{i.e.,
the
The
(c)
quite allowable.
is
when one
is
These,
however, should only be used between the inner [i.e., Alto and
Tenor) parts, or between the upper and one of the inner parts
the other
a.
(see
Good.
(a)
(b)
Bad.
=S=^
--^'
Fig. 171-
=r
3Zt.
1
The
extreme
student
parts
is
recommended
and
between
to
the
Bass
and an
mner
part
{see
92
No
or Parallel Octaves
(o)
{see
Fig. 170
{b)
forbidden.
{h)
equally forbidden.
250. Consecutive unisons are to be avoided {see Fig. 172 (a)), Treble
is
also to
ib)
()
3^E^=|=
Fig. 172.
Fig. 173, the 5th between the Bass and Tenor of the first chord,
and the 5th between the Bass and Alto of the second chord, are
quite correct because they do not occur between the same two
parts
Correct.
^^^^
Fig. 173-
zct
m:
Note. ^Accidentals should be approached and left with the greatest possible
i.e., by Step of a Major or Minor 2nd when possible.
The parts should not
move by awkward Leaps such as the Major 7th or 9th, or by Augmented intervals.
If not used too frequently, the Leap of a Diminished 5th, 4th, or 7th is quite
care,
allowable.
by returning
In
all
in the
(see
Fig. 174
(ii.).
itself
93
252.
of the Dotninant
and
difficult
Stibmediant
of a Minor Scale.
it
is
When
these
Bass
parts)
{b)
()
I
Fig. 174.
^:
(d)
:^
ri
A
^
BEp
(ii.)
P=
Fig. 174.
(i.)
St
Fig. 174.
-o
{c)
(iii.)
=P2I
94
sharp or
in the
to
flat
is
in the
same
To
(Alto) part.
Bad.
()
i
Fig- 175-
Note.
Alto part.
There
are
and the
flat
should be
W^^
is
Good.
jC^I
-ct.
confuse his mind with exceptions. When the rules are thoroughly learnt
a comparatively easy matter to deal with exceptions.
it
will
be
95
CHAPTER
TRIADS IN SUCCESSION
XVII.
FIGURED
{continued).
BASS,
SEQUENCES.
A
254.
chord
is
said to be in
its Original,
i.e.,
Fig. 174
(i.)
position.
Note.
The nature of
upper notes
[see
Fig. 174
each chord
(i.)
{a),
{b),
to
A
is
Fig. 176,
the
[d),
(/).
the Root
is
in the bass,
a chord
is
said
Inverted.
255.
chord
is
(c),
3rd,
in the bass,
is
is
it is
bass-note.
When
The
common
The chord
at {a)
chord of C, because E,
remaining notes of the chord are
96
Inversion of the
common
The remaining
note.
parts
Fig. 177.
chord of C, because G,
(i.)
(b)
M)
=*F
Fig. 177.
{d)
^^-
~p=^-
(iii.)
n^cJ:
1=^-
5^
|5
b'7
is
a system of expressing
It
The
Any of the
It is
259.
there
is
after
it
{see
Fig. 177
(ii.)),
because
3, |, |, 8, g,
its direct
its
g,
*,
3_
form unless
octave, before or
altered.
Note.
When an accidental
is
semitone
{see
Fig. 177
(iii.),
(a)
[bj
{6,
4.)
97
260. Although the highest figure
is
it
does not follow that the note represented by that figure should occupy
the highest place in the chord.
Note.
is
superfluous.
a chord
duplicated,
is
first
is is
is
show
not necessary to
|,
(ii.) is
figured
and not
e,
the
although
261.
of the
(255)
notes
Fig. 178.
-J
0-
2i:
W=^
A
and
First Inversion
it is
is
--i^-
commonly "known
Fig. 179.
22;
-o
6
Second Inversion
263.
The
is
figured or |.
(235),
still
chord
is
minor
it
may
be doubled.
if
common
chord
the chord
is
major, but
if
the
98
264.
The
may
be doubled freely.
265. In
266.
The
exceptional
treatment.
when
Inversion,
it is
It
is
rarely
used
except in
Fig. 180.
its
First
{b)
(a)
i^^^^
1=^-=:^
:?2:ii4=
A.
-^=1.
Major Key.
Fig. 181.
4=^
First
Inversions.
-&.
^t^-
Triad on
The Triads
Triad
in
Subdominant, Dominant,
may be used :^
a Minor Scale
Minor Key.
on^C
Note. -The treatment of the Mediant chord is best deferred until the student
has gained more experience in Harmonic construction.
268.
Sequence
Harmony on
is
Melody
or
99
26g.
Melodic Sequence
Fig. 183.
^m
Harmonic Sequence
Fig. 184.
is
repetitions are in
etc.
Model
W
An
of
272.
etc.
-^
-^
^=fl
-jpr-
is
sometimes termed
Rosalia.
positions
Note.
-d.
271.
make
^a^S^^
A
(see
3t=t:
Fig. 185.
or
^m
m-
the Sequence
one
is
When
270.
is
chords that
otherwise
might
be
objectionable
).
The original model should be quite free from blemish of any kind.
When
in
Sequence
it is
generally advisable to
273.
The
extreme parts
may
not
move
to
an octave, 5th, or
is termed Hidden
Such a progression
By
filling in
octave
discovered
is
Hidden
Hidden
5ths.
8ves.
Fig. 186.
Tonic
Tonic
to
between
same chord
{see
Fig. 187.
(a)
(^)
(')
jH"^-iG'-
(^
a^EE
()
:J^n
:r^
-^=i=i
275.
When
bass, the
6ths
another part
3rd
:22:i^
two or more
22^;
remaining part
5th, or root
and
(a)
J:
r-F
-ih^~
m=it^
?^3^
gj
J^
m-
The
allowed.
to
The
than
in
alternate
descending passages.
is
more
often
found
in
102
CHAPTER
XVIII.
Common Chord
a Triad or
I
(256) the
in the
Second Inversion
bass and
is
of
figured
or 6 ( 262).
Tonic.
Dominant.
Subdominant.
()
Fig. li
Other Second Inversions are but rarely used, while they are often
would do well to give attention
solely to the above-named.
277. The Second Inversions of the Tonic (a) and Subdominant {h)
Chords may be followed by dived chords on the same bass-note or
its
octave
{c)
Subdominant.
Tonic.
M)
_,
d=fl
^=-
^I
Tonic.
fo_j_
-I ft
Fig. 190.
zcr_
'-^'-
The bass note of a f i.e., the 5th of the root, should be doubled
The I should always be on a stronger beat of the bar than the ^
,
I03
that follows
should go to
it,*
^
in
the 6
both
chords.
278.
286)
(see
cadential
one that
^s
precedes
cadence
perfect
:
;-^-^-
:=qr
--^
Fig. 192.
:g:
^=F-
279.
5>
termed a Passing
of a bar
^.
It
is
34-
i 2^=2:
etc.
Fig- 193-
^S
280.
//o?/
(i.)
(ii.)
When
apply
By
By
^(3
-g:
^_
:p:
approach a 2 chord.
It
may
(see
[see
be approached
(see
Fig. 194)
another chord precedes the ^ on the same bass, this rule does not
:
Good.
-:=\-
3
W^0=i
Fig. 191.
-J-
m-
^
5
I04
(iii.)
By Leap from
another chord
in
form
direct
its
{see
same chord
i:=i^
Fig. 195-
Fig. 194.
.c^.
-^-?2:
{b)
5i
Fig. 196.
^ 4 i
Fig. 197.
..
:?2:
281.
(i
How to leave a
By a chord
,)
(o), {c)
(iii
.)
By
.)
The
32:
..^P2_
^ Chord.
It
may
be
left
its
or
more notes
of the
when
same chord
in
may move
{a), {b).
to
one or
Fig. 198.
105
.
282.
The
only case
when
when two
succession
is
that of the
Subdominant
Dominant precedes
in
or follows
Fig. 199.
to
move
in
bass.
When
or
its
a f chord
octave,
it is
Fig. 200.
(( );
Q ^: ^^pr-
io6
CHAPTER
XIX.
CADENCES.
A
Being
Cadence is the last two chords of a musical phrase.
284.
the last progression of a melody, it is sometimes termed a Close,
\-arious
marks
of punctuation, as
used in reading.
285.
Plagal.
286.
The
position
{see
(g)
Perfect
Cadence.
Interrupted
Fig. 201.
I
Cadence.
'
J^2:
22:
M:
ia)
ib)
Perfect
Inverted
Fig. 202.
Cadence.
Cadence.
|
w-
-G>
Gh-
j:2.
^
m.
This Cadence
is
known
-^
ro7
287. In a progression from Dominant to Tonic, the leading-note
must always ascend one degree to the tonic {see Figs. 201 {b), 202 {b)).
288. The Plagal Cadence is a progression from the chord of the
Subdominant to that of the Tonic, both chords being in their direct
position
Plagal Cadences.
In
In
or
major.
C major
C minor.
In
minor.
'Si
Fig. 203.
it
is
it
Its
frequent
section or
movement
of a composition.
is
a progression from
the chord of the Tonic to that of the Dominant, being the exact
(see
{b)
()
Fig. 204.
Imperfect.
I
ic*-
JZti
m:
*
'M
122:
made Major.
t The word
'
'
Cadenza
'
'
is
Key
is
"
io8
291. The Interrupted, False, or Deceptive Cadence is a progression
from the Dominant chord to some chord other than the Tonic
chord generally to the Submedient {see Figs. 201 {a), 205 (a) )
minor.
(b)
ia]
Fig. 205.
j
Interrupted.
^^^
231
m--
ipz:
i^
Fig. 206.
1^)
,
minor.
=e
^Sg
zi:
=^*-U^
-ci
-d
@:
:?2=^
293. If
An
{see
Fig. 207
{a)
(a)
Fig. 207.
Inverted
(b)
j
Cadence,
:^
4=
form.
"
Form
a Middle
I09
That
in
move
(ii.)
conjunctly,
Cadence
at Fig. 205
move one
necessary to
by Skip (245),
to
(a),
and
as the Bass
[a],
in the Interrupted
moves by Step
it is
chord.
The
final
highest part
when
conclusive in effect as
Tonic
{see
Fig. 208
{b)
the
and
ia)
(b)
1
Inverted
Fig. 208.
Mixed Cadence
2izzt
I
(iv.)
minor,
is
chord, with
here
its
of
the
{see
its
i?:^
32;
23Z
Fig. 209
had
Z^
made Major
"Tiferce de Picardie," or
is
"Picardy 3rd,"
it
Cadences No.
2.
as the
being alleged
Fig. 209.
This
(b) ).*
known
:
(v.)
The
Fig.
satisfactory
is
of
paramount
position
for
The most
importance.
leading-note
the
in
a Perfect
may
be used
chords
may
be
in
any position
(1)
Perfect Cadence.l
3^3^
3:^:
Plagal.
:=1:
-(S-
Fig. 210.
_Q
:f2:
or
{b)
Plagal.
P=
_Q
Ill
CHAPTER
XX.
Etc.
or
omitted)
Fig. 211.
Dominant
Root
7th.
Key C
its
is
The
interval existing
root and the 7th, and the interval between the 3rd
between the
and the 7th,
key
The Dominant
7th
is
the
same
in the
Major as
in the
Minor
Fig.
(a)
Root G,
Key C.
jOl.
Root G,
Key C minor.
l^==l
#
-JZt~
Fundamental Discord.
is
known
as a
112
{see
is
it
The Dominant
7th in
^m
22:
:ci:
Tonic.
ES
=ci:
Fig. 213.
-^-
its
--g--
_ci-
*6
*4
298.
discord
is
not satisfactory in
Chord of Resolution
itself,
The chord
it.
that follows
it is
termed the
Fig. 214.
Tonic.
(a)
Tonic.
(b)
3t
'^
no:
i
-s>-
C major and
C minor.
.Q-
^^H
gig
7
299.
The most
the chord of
its
natural
tonic
{see
Fig. 214).
termed
7th,
These two
The
which
is
is
is
the flattest
and the
3rd, are
move
in the
Chord of Resolution
[see
Fig. 215.
113
'
The
301.
full figuring of
the
3,
Dominant
7th
is 5,
considered sufficient.
302.
(rt)
Direct
form.
(M
{d)
(c)
^^=S"
-0-7
Fig. 216.
6
4
3
Roots
(o)
(h)
7th above,
figured
figure
(the
usually
is
omitted),
The Second
(c)
3rd,
(the figure
usually
is
omitted).
{d)
The Third
root, 3rd
omitted).
that the
As
Chord
Chord
of Resolution
may
of Resolution
must be
the Inversions of a
be
made complete
[see
(6)
P^=Q^
E^ ^=:g=:
"cr
Fig. 217.
-Q.
(i?h.)
Roots
in
is
usually
it
follows
4 (the figure
an inverted
position.
=S^
and
217)
114
303.
chord.
the 3rd
must ascend one degree and the 7th must descend one
degree.
To
Fig. 218.
n ^
Fig. 219.
{see
lis
progression
in this
avoid an
to
oblique-
unison*
One
305.
position
of
the
properly resolved
(a)
(b)
d:
--gr
^_
dzz
is
when
must not
moves up one degree
bass
the
{see
Note.
note
The
root of a
Dominant 7th
is
Sharpest note
v\g. 222.
a_ij.
The
7th
Sharpest note E.
(o
=^
x:fti
--%^
Root
306.
Sharpest note C.
sharp.
()
-^Q-
Root
may move
Root
flat
to
Not good.
-
:?2:
'ig. 221.
The
ff
its
Chord
of Resolution.
This
^^
-0-
Fig. 223.
To
oblique unison.
is
bad.
This progression
is
termed an
ii6
307.
as used in
It
or lines extend
first
{see
The
Fig. 198).
same
^:
Fig. 224.
or diflferent parts
may
be
i 3:
J-
^h
308. Passing-notes are passing or transient discords, being foreign
to the
harmony
{i.e.,
essential notes,
harmony note C
chord of F.
the passing-note
i^
They
The
is
in the
Fig. 225.^
Chromatic passing-notes.
chord of
The harmony
unessential
treble note
in
to the
notes are
Accented passing-notes
(= appoggiaturas).
*
*
may
117
311. Passing-notes do not save consecutives.
Fig. 227.
The
A-A
passing-note
^^=^=^
-j^
!Bad.
ZSr/rzU
When
312.
is placed under the bass that
descends by Step from the Dominant to the Subdominant, the last
inversion of
resolved
a line of continuation
Dominant 7th
results,
and
this discord
must be
d:
5:
Fig. 228.
j^
:y^ Q
The corresponding
passing note
-:
is
merely a
i
w^
Fig. 229
j=L
E
313.
notes
The two lines of continuation in Fig. 230 imply that the two
and C (= ^) of the common chord must be sustained while
the 8 goes to
its
('0
Fig. 230.
i
m^
^^
JCL
8
5
3
ii8
The Dominant
314.
common
in
cadence, provided
315. Fig.
resolution of the
chapter.
of this
inversion
stationary
of
it
has a satisfactory
gives an
231
resolution.
of
illustration
the
chord,
Fig, 231.
with
the
7th
remaining
-Igl-S--
316.
mental
Formerly
it
discords.
was considered necessary to Prepare all fundapreparation is meant the hearing of the
By
note
F m
first
e.g.,
in
Bz
Fig. 232.
jzL
^m--
:?2:
where funda-
is
very
desirable in part-writing.
318.
The
Triad,
when prepared.
119
319its
Fig- 233,
320.
When
consecutive
objectionable
the
4ths
to the note
or
i^
3:
Fig- 234-
K=(S=(i
4th,
not
CHAPTER
XXI.
MODULATION.
321.
Changes
of
fiat.
C major
(i.)
to
to
(ii.),
with one
flat.
When
chord which
is
sudden
is
Dominant Harmony.
of
the
Modulating
immediately
chord
follows
Sudden Modulation.
Fig. 235.
to
ya)
major.
{b)
;=t:
v^
T-
to
minor.
some
Modulation
(c)
to
minor.
{d)
i =e^w^
^^
to
minor.
(e)
JSI
Fig. 235.
(o)
of
of
of
of
gradual
is
the
Dominant
When
of the key
is
the
Dominant 7th
of the
key
is
the
Dominant 7th
of the
key
minor.
of the key of
common
Dominant 7th
minor.
(e)
327.
the
minor.
(d)
are
is
(c)
major.
major.
(b)
-A
P2;
to
W^
Ei^
JZl.
:j2:
is
the
major.
new
Gradual Modulation.
(a)
to
i^
major.
(b)
^
C
to
major.
^*
Fig. 236.
-PZ
6
4,
P3-
3^
is
(c)
to
Fig. 236.
minor.
(a)
(b)
(c)
{d}
Note.
minor.
chord.
The chords
The chords
of
common
both
(/)
are
(e)
to
The chord
common
(d)
of
C and
and
to both
C and E
major and
to
minor.
Gradual Modulation
The chord
of the
is
preferable to Sudden.
Dominant 7th
328.
123
CHAPTER
XXII.
MELODY.
330. In Figs. 163, 164
formed
show
the
it
was seen
The
accompanied by
three
Dominant
of the
different
5th
or
3rd,
root,
may
be either
7th, certain
harmonies
key were
however
notes
may
be accompanied by four
Fig. 237.
ra
:Sz=rzS:
22:
Roots:
G>
124
It is desirable,
33 1-
when adding
may
may
be used in their
may
triad.
root position,
The available
triad
may
Not good.
it^r^
Fig. 238.
Not good.
125
A melody usually ends upon its Tonic the last note, however,
might be the Mediant or Dominant {su Figs. 201, 208, 210 (c)).
The first note of a melody that begins on an accented beat,
336.
will generally be harmonized by a tonic chord.
337. Melodies that begin on a weak beat will often commence
with a dominant chord, especially if that melody note is repeated
;
Fig. 240.
338. It
is
good
for a
melody note
to leap
up or down,
to another
The
Fig. 241.
(P)
w^
{c)
SH^^
i^sEB
'^--
JQZT-
is
-=^-
I
Fig. 242
^3^a=
!
etc.
i
I
I
^1:
/^
r-"^
126
339- It
is
good
also
for a
The
The
first
340.
melody
to
move from
may
be
5 6
When
a melody note
is
repeated,
it
or ^
{see
5 to 6 or 6 to 5
^, or vice-versa.
Fig. 241
(b) (c) ).
^
Fig- 243-
341. It
disposition
and
ZZiL
S^PS
in
the
mode
of
the
is
when
the
and back
Tonic
{see
Fig. 244
(&)
to the
{a)
or
leading-note,
(b)
* ^=^
i
Fig. 244.
343.
When
the
moves upwards
to
melody leaps
it
to a Perfect cadence, or
when
it
127
&
P- J
effect
Fig- 245-
r-
~p:
EEE
8
nni
v
-I
-Ci
:j2z:=::
-h8
The chords of
the
the
Dominant harmony*.
-^
'
the near
Good,
Bad.
in
1^
:4
nrpr
m-^-
Fig. 246.
-J-
^iif3:
345.
Two
full closes,
-i-
J
231
i.e..
the Perfect cadence, the chords should be inverted [see Fig. 247
{b) ),
128
but
it
more desirable
infinitely
is
harmonies
to substitute a
new harmocy
or
(b)
(a)
Fig. 247.
Good.
Better.
Bad.
(c
'^
r-iS--
J."^
ElEES
^EE^
=T"
etc,
etc.
I
g;
346.
care,
correctly
Fig. 248.
The melody
(a)
note
flat is
it
resolves correctly
on A.
The melody
ih)
note
is
it
it
the
resolves correctly on F,
The melody
(c)
{d)
note
flat
The melody
This
is
bears a
note
is
flat,
and
it
129
{e)
resolution.
The example at /
B flat. The E
(/")
deferred
flat
is
final
the
7th,
chord
is
It
the
until
{see
will not
reached.
This
is
deferred resolution.
In the harmonization
347. Passing-notes and syncopation in melody.
more florid character, it is not desirable
of melodic passages of a
that every note should
beats to a measure.
The
makes
it
less formal.
At
In Fig. 249 (a), (b), the passing-notes are marked with an asterisk.
[b) the lower parts move, and so mark the beginning of the second
Fig. 249.
going
in the Alto,
of the Triplet
is
an auxiliary note
in-j^^j
Fig. 250.
ISO
Fig. 251, bar No.
i,
The rhythm
melody.
3^
i
W^Fig. 251.
-^
Si*:
1^
Note.
(a)
cadential
B,
is
a passing-note, joining
the melody leaps from the 3rd of the scale to the Tonic.
melody
in this case,
is
generally accompanied by a
^
a 6, the 7th
B to
This
D.
less
At
used
in the usual
manner*;
(a)
Fig. 252.
349.
When
that note
is
two
the value of the Note, and the second takes the value of the
When
dot.
When
below
it,
g^
Also
3>
'"'
known
as a
43*
Dominant
13th.
Ui
OF MUSIC.
PAPER
1.
No.
I.
Write the Treble and Bass Clefs. Give their respective names
and name the lines on which they are written.
2.
3.
4.
Name
5.
Why are
6.
Name
7.
'
'
Notes made of
different shapes
Time
of
of
Notes used in
Notes ? Give
illustrations.
8.
Why
9.
What Note
?
Ledger Line below the Treble Stave ?
first
is
written on the
of C,
10.
11.
12.
What
is
Crescendo,
a Tetrachord
their use:
and of Diminuendo.
(a),
a Flat;
13?
PAPER
1.
Name
Note which
the
that
2.
What
3.
4.
What
and
What
6.
Are
all
What
sl
Rest
(b)
an Interval
of a scale
8.
What
effect
9.
Name
the
belong
a Time-Signature
State the
What
Accent
is
number
of beats in ^, ^,
is
flat,
meant by a Diatonic
7.
(b)
time respectively.
is (a)
E tlat.
a Pulse or Beat?
each case
5.
is
II.
a semitone above
a Key-Signature
is (a)
is
is
a semitone below
is
No.
same
size
Explain what
Scale.
What
first
is
To which
scale
ID.
11.
How many
12.
Why
of the Scale
flat.
does
it
PAPER
1.
What
2.
When
Simple Time
is (a)
number
33
No.
(b)
III.
Compound Time?
and thirty-second notes
of eighth, sixteenth,
better
to group
them
On what
principle
would
is
it
by taking
Illustrate
|,
j^q,
|,
and
I time.
3.
4.
How many
fall
5.
What
is
an Interval
6.
by an X.
Comment on
Interval
fall
Major
scale
Where do
they
Simple Interval
Compound
flat,
above A.
7.
The
notes A, B,
sharp, D, form
a Tetrachord
8.
g.
11.
What
a Triplet?
Name
eighth notes.
\2.
What
is
to
which
of Rallentando.
10.
is
bars.
of
134
PAPER
1.
What
2.
Write an example
is
above B,
3.
What
" Inverting
No. IV.
Minor
6th,
an interval
Major
"
7th,
Give a
list
of
these.
4.
What
is
a Chromatic Scale
Scales of
5.
What
6.
Name
C and
E.
and
first line
Clefs
is
used
and
How many
many
8.
What
is
are there in
its
Inversion
might be given
10.
What
is
a Duplet
How many
1^2
How
g.
a Major 3rd
in
to that sound
?
what
other
in |
and ^q time.
11.
What
12.
^q, and
a Tie or Bind
names
on a pianoforte.
Give examples
time respectively
is (a)
state
of Allegro
ih)
Slur
and Largo.
to the following:
135
PAPER
r.
2.
What
is
4th
3.
What
and
4.
No. V,
(a)
Transposition
(d)
an Arpeggio
(b)
Middle
an Imperfect
(c)
is
Write a
list
of
Chromatic Intervals.
tones in each.
5.
6.
What
is
meant by
(h)
a Tonic Minor
Scale
and
flat
{a)
flat.
minor
7.
8.
9.
Harmonic form.
flat,
What
is
meant by
and
10.
11.
Write
a Direct Turn,
Unprepared Turn,
12.
8''*
higher "
when
sf.
"
(d)
{b)
of
two
a Passing Shake,
an Appoggiatura,
M.G.; Ped.
{e)
Italian
{c)
words.
an Inverted
an Acciaccatura.
V.S.;
and Con
sordini,
Senza Sordini.
13.
Name
the
Key and
the
Time
in
^j^r=#^
is
written
136
PAPER
1.
What
is
Syncopation
No. VI.
Write an example
pitch,
(a)
the
into
(b)
into the
in I time
same
of Syncopation in
:-
--=t
:?2:
122:
-\
3.
4.
5.
How many
What
6.
What
7.
is
a Breve
kinds of Staccato
mean
of the Scale of E,
of
C Minor
Name
(Harmonic).
g.
10.
of Fine
"
D.C.
Rhythm
"
;
Coda
"
Duple Time."
Name
(-)^
-t^
^f^^EEE
--^
4-=
XOL
^^m^^
^-
W:
(0
Open
the Keys in which the following are written, adding TimeSignatures where necessary
:
{i>)
"
ip *
-JiML
:fct
SEfe
137
PAPER
Where do
1.
^ time
the Accents
What
is
No. VII.
in the following ^, |, *, C, },
fall
2.
key of
flat
it
melody
the
flat
of the
6.
in
-^^^^
been used
Bass a
^^^^B2 ^^m^^^5.
the
into
in ^ time.
4.
3.
and
of
^q,
|,
\,
rests of
various kinds and not more than four notes in each case.
7.
flat,
and a Melodic
What
9.
In what
is
a Metronome
f-l
*^fe
l
I
Explain
its
use.
138
PAPER
the
Insert
proper
following
No. VIII.
Sir
the
-tJf2-
js-*
Si^^^^^fEE-^
h
i?y= j
l?#^
Hubert Parry.
^t=^
:IJri
?e:-^
^Elr^^EE^^^
^<S>-ii
lld
i^
bir
-J^-
Charles V. Stanford.
^ ==r=?=^^^=i^^^^^fe^T^3;M
Sir
:1^=
^=^^
^- p*
j^^z
'^
Arthur Sullivan.
Coleridge-Taylor.
.
^IztZi
IT
fr^f,
.'
.
* r
-fc?
>^
g=r"^'g?''^'*P=^ -*
^-^
-<9-
::p^3czz^
:t=:
Sir Frederic
^gf:^r^^;_^=^^
Cowen.
139
TESTS ON HARMONY.
PAPER
Comment on
the following
No.
I.
Chord,
its
direct
What
is
a direct Minor
4-
5-
7-
What
What
is
a Melody
is
What
is
in their
movement
Modulation
Explain.
Complete
Add
Basses
^m
2*r
()
5
3
(259-)
:?z:
-Q-
122:
-^
m
O
(347-
I-
#
{a
in
a different
position.
(b)
When
the Bass
otherwise
moves by
is
necessary
Parts thus:
Treble - Bass,
Tenor-Bass.
(i)
(4)
Treble- Alto,
Alto
Tenor,
(2)
Treble-Tenor,
(5)
Alto - Bass,
I4<^
PAPER
I,
No.
II.
Add
(349)
E3^
^3:
:^
^E
6
m ^H 5654
6
3432
(350-;
^=P=S^
:^=p:
- =
izit.
z^=P
t;4
565
343
t>5
2.
Complete Chants
3.
Which
a Primary Triad
4.
Minor
a suitable chord
before
may
6.
Write the
last
Major and
8.
Harmonize
this
of the
Modulate from
Major.
Write
chord of G.
it,
In which Cadences
7.
common
it.
5.
Is that
key of
Submediant
is its
Inversion
Minor.
melody.
of
the
Dominant Seventh
to
Dominant Seventh
Resolve them
in
in the
Minor.
in
two ways.
:
Slowly.
^3=E
:p::^
-1=
4=
t--
To E
To B fiat.
flat.
iti^^rpis:
SE
9.
Write the
:!2*:
-h-
last
Use open
ID.
From
flat.
score.
octave.
Write
these correctly.
in
Group
141
PAPER
I.
making
it
sequential in
justify
3.
Give rules
4.
Add
Modulate from
its
to
vocal score
minor
in
Major.
Dominant Seventh.
Write
Give roots
flat.
of every
in
Write
Minor.
in
open
"1-
^^
^
6.
7.
What
8.
Add
are
some
sharp.
of the features of a
good melody
in bars
te
in the scale of
Minor
chord used
a Dominant Seventh in
Figured Bass,
following
otherwise be questionable
5.
III.
up the
fill
all
No.
^ZTLZ
i, 2,
and
:=t
Use
three
chords
14-
PAPER
Do
the notes
Write
this
E,
sharp,
chord
No. IV.
sharp, form a
Common Chord
a good position,
(b)
in a
bad position.
2.
Comment on "Tierce
de
key of
3.
Harmonize
this
melody
in four parts
To
3EE
Relative Maior.
:z2i
:g==ei:
-^-
3J-f--
zip-
:[=::
4.
5.
Make
the
Triad.
6.
7.
note
the 7th of a
(b)
Write
flat,
the
(a)
in four-part
(c)
the 3rd of a
its
Inversions contain
li
:i=p:
I*:
66
6 5
4 3
-4,
1^
3i==
*6
i:6
^m-.
fc?
:t=:
if2-
:B
6 5
4 3
Minor
Explain.
(a)
^E^-
Triad,
harmony.
Triads
all
3rd of a Diminished
Dominant Seventh,
Common Chords ?
Prove that a Common Chord and
Consonant Intervals. What is
Are
in the
Minor.
=?2:
all
the
143
PAPER
1.
Write an example
2.
No. V.
Add
key of
flat
Major.
Bass.
mm
im^
of every chord
^~-
t{5
rpzzii
5666
1-
:*=t
6766|6 66
5
Fig. 252
1^5
f;zz:
3.
i S^^
ii
4.
6.
7.
5.
C Major and
B
8.
Add
in
C Minor ?
Minor.
Modulate from
Bass
to
jgEE^r^^fSfi^^
666'
666
6
3656
4
2
?=E
6665
4
9.
in
minor.
one
in
^1
C?6
144
PAPER
No. VI.
1.
2.
3.
4.
minor, to
5.
May
Add
flat,
to
of the
Chord
D, and <o
of
flat.
parts
6.
of False Relation.
Explain
fully.
W^
itp:
**^
-^
ii^
876
i
!^7
*-
3^Z=1
*
*
7.
Add
u
i
^'^>
Cadence.
"
.t?
^-*-
3E
I
^
4
On
5
3
the Dominant.
Add
Plagal Cadence.
Perfect
I
Cadence.
I
(b)
i
Major.
zzt-
123:
D
32:
minor.
fe
izaii: