Keyboard Harmony Vol 1&2 [PDF]

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. KEYBOARD HARMONY +§ANDi+ TRANSFUSITIUN Preliminary Studies in Keyboard Harmony and Transposition A Preliminary Volume for the earliest grades.

‘ Keyboard Harmony and Transposition, Volume I. The Principal Triads; the Principal Dissonant Chords; the Secondary Triads; Passing Notes.

Keyboard Harmony and Transposition, Volume II. Suspensions; Anticipations: Modulation; Altered Chords; Organ Point.

BY

ANNA HEUERMANN- HAMILTON MT

Price 40 Cents

CHICAGO. CLAYTON F. SUMMY 00., 429 So.Wabash Ave. Weekes 8: Co. London. Copyright 1916 by Clayton F. Summy Co. International Copyright.

KEYBOARD HARMONY emine TRANSFUSITIUN A Practical course of keyboard work for eVery Piano and Organ Student. PRE LIMINARY STUDIES IN KEYBOARD HARMONY AND TRANSPOSITION offers an easy means of acquiring anlempirical knowledge of Simple Harmony. Volumes I and [I may be used in connection with or to follow any Textbook on Harmony.

PreliminaryStudies in Keyboard Harmony and Transposition A Preliminary Volume for the earliest grades.

Keyboard Harmony and Transposition, Volume I . The Principal Triads; the Principal Dissonant Chords; the Secondary Triads; Passing Notes.

Keyboard Harmony and Transposition, Volume II.' Suspensions; Anticipations: Modulation; Altered Chords; Organ Point.

BY

ANNA HEUERMANN—HAMILTON ' ‘Price 40 Cents . . . w

J

CHICAGO. CLAYTON F. SUMMY CO'., 429 So.Wabash Ave. Weekes & Co. London. Copyright 1916 by Clayton F. Summy Co. International Copyright.

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Keyboard Harmony and Transposition. FOREWORD. In spite of the fact that the study of Harmony is pursued very generally at the

present time by the more serious piano students,comparatively few arrive at the point where harmony becomes a factor in their musical experience- where theory and practice occupy the proper relation to each other. Pupils are frequently advised to test their harmonic knowledge at the keyboard; but, lacking systematic

material,

such practice is necesSarily spasmodic and the progress made is unsatisfactory. Even organists seeking church engagements are generally deficient in the ability to transpQSe .

Transposition may be accomplished by various routes, but it goes without say ing that the plan that is based on key conciousness and harmonic knowledge is the most musicianly and of greatest influence on general development. The present work presupposes a knowledge of the Major and Minor Scales, and the technical ability to play the exercises and illustrations. Aknowledge of harmony

is not a prerequisite, as it is quite feasible to study Harmony and “Transposition” at the same time. Beginning with the Tonic Triad, every chord is illustrated first by a simple ex ercise and then by one or more excerpts from piano literature, showing how the chord is used in actual composition. Every exercise and illustration is to be trans posed into every other key. The more difficult illustrations may be left, if desired, until the book is revieWed, using only the easier ones for the first reading. From the first a short task is to be assigned for daily practice in connection with the piano lesson and to be played as a part of the regular lesson. New work must not be taken up until this task can be played fluently in every key.When the course has been completed in this manner, the student will have a practical knowledge of foundational harmony at fingers’ ends, and be expert in ordinary transposition and modulation; he will be prepared to take up Modern Harmony, Composition, and Ex~ temporization . Incidentally, musical memory will be strengthened. After any extract has been played in a number of keys, it will be found that it has been memorized unconcious ly, and playing in the remainder\ of the keys can be done with very little reference to the notes. This discovery contains a valuable hint: In any piece, any passage that is troublesome to memorize can be learned readily after the harmonic structure is understood well enough to play it in several keys. May this effort be of assistance in making harmony avital part of music-con ciousness. Anna Hwermann

C.F.8.Co. 1701

Hamilton.

Keyboard Harmony and Transposition.

5

VOL. I. PRINCIPAL TRIADS, PRINCIPAL DISSONANT CHORDS, SECONDARY TRIADS, PASSING NOTES.

PRINCIPAL TRIADS. TONIC TRIADS, MAJOR AND MINOR. A Key-Circle is a succession of all the keys in some regular order. the Circle 9f Fifths is so called because in it the Fifth of one key becomes the Tonic of the next key. The expressions: Circle of Fifths, By Fifths, Elevation, On the Right, On the Sharp Side, By Sharps, used by various authors, all mean the same thing. Exercise 1. Play the Tonic Triad in every Major Key through the Circle of Fifths, thus: Key ofC u D A E B = cb EX.l.

G?

C“

Db

Bl?

F

C

V Name the signature of every key as you play its Tonic Triad. Notice thatthe fifth of one triad is the root of the next. Play this without referring to the notes. First eight exercises are to be played with each hand alone; left hand one octave lower than the right.

The Circle of Fourths is so called because in it the Fourth of one key becomes the Tonic of the next key. The expressions: Circle of Fourths, By Fourths, Depres sion, On the Left, On the Flat Side, By Flats,used by various authors, all mean. the same thing.

Ex. 2. Play the Tonic Triad in every Major Key through the Circle of Fourths, thus: Key ofC

r

Bl»

Rb

Ab

EX.2.

Notice that the root of one triad is the fifth of the next. Ex. 3. Play the Tonic Triad in its direct form and inversions in every Major Key through the Circle of Fifths, thus:

Copyright, 1916 by Clayton F. Summy 00. C. F. S. 00.1701-27

6 Ex.4. Play the Tonic Triad in its direct form and inversions an every Major Key

through the Circle of Fourths, thus:

F

C “

EX.4.

Ex.5. The Tonic Triad in every Minor Key through Circle of Fourths:

a

d

g

c

f

bb

=

a#

EX.5. \—-/

el:

-'

ab "

git

cit

fti

b

e

a

\__/ Ex.6.

The Tonic Triad in every Minor Key through Circle of Fiftns:

a

e

b

fit

cit

-bb

f

git

-_-

ab

Ex.6.

dti

=

eb

all

=

c

g

d

a

Ex.7. The Tonic Triad in its direct form and inversions in every Minor Key

Ex. 8. The Tonic Triad in its direct form and inversions in every Minor Key

through Circle of Fourths:

through Circle of Fifths:

a

Ex'. 7.

d

etc.

a

8

etc.

EX . s .

Ex.9. Tonic Triad in Major through Circle of Fifths. Right hand takes a full chord, doubling first the Root, then the Third, then the Fifth. Left hand takes the root each time, in octaves: c ‘ 8'

etc.

EX.lO.

Tonic Triad in Major through Circle of Fourths. Right hand takes

a

full chord, doubling as in the last example. Left hand takes a descending arpeggio, beginning first on the Root then the Fifth, then the Third,and again the Root,an octave C

lower.

EX.lO.

C. F. 8.00. 1701- 27

F

7 Illustration I. Transpose into every Major Key through both Circles.Notice that Right Hand takes root above and Third below, and then takes the Fifth. Left Hand takes the root as octave. The distance of an octave and a third is between thehigh er note in Left Hand, and lower note in Right Hand. Analyse all exercises and illustrations in this way before beginning to transpose.

Mozart Rondo, No.20,(Cotta)

Ill.l.

EX.ll. Tonic Triad in Minor through Circle of Fourths:

EX.ll.

Ex.12. Tonic Triad in Minor through Circle of Fifths: a

e

Illustration II.

Transpose into every Minor Key in both circles: A .

Ill. I.

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Schubert Andante anaam, _

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die.

a

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Illustration III. Without further remark every Major illustration is to be trans posed intc every Major Key; and every Minor illustration into every Minor Key. Ill.III.

I

C.F. S. 00.1701-27

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Beethoven,0p.31,No.1.

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DOMINANT TRIAD. Ex.13. Major Keys. Name the key while strik- Ex.14. Minor Keys. Name the key while strik ingthe

Keyomead.

Keyomeag.

Triad;thus:g

ing the

etc

nKeyofAmin. “KeyofEmin.

Triad; thus :

Etc

1

TI-IE AUTHENTIC CADENCE. Ex.15. Tonic, Dominant, Tonic Triads,connected. Three notes in Right Hand,root of triad in Left Hand. Keep the common tone in the same voice. Play in all three po sitions of the chord, in Major thus:

EXJS.

I - v- I

Ill.XVI.

I- v- I

I- v- I

etc.

Transpose

weber 0p'24“

Ex.16. Authentic Cadence in Minor.

a.

EX.16.

I-V-I

Ill. XVII. ' Transpose '

I C.F. 8.60, 1701-27

I-V-I

I-V-I

I-V-I

I-V-I

I-V-I

etc

Beethoven, Op_2, No.1. v

11 SUB - DOMINANT TRIAD. Ex.17. Major Keys. Name the key while strik- Ex.18. Minor Keys. Name the key while ing the Triad, strikin g the triad-thus: 0 ,0thus: Mai . Fina} a. Min). e Min.

EX.17. 3% etc.

Ex.18. 3

etc.

THE PLAGAL, AMEN, or CHURCH CADENCE. Ex.19- Tonic,Sub Dominant, Tonic Triads;connected. Three notes in Right Hand, root of triad in Left Hand. Keep the common tone in the same voice. Play in all three pcésitions of the chord, in Major, thus: G Maj.

EX.19.

Ex.20. Plagal Cadence in Minor. a. Min.

THE ALTERNATING MAJOR AND MINOR CIRCLE. Take the Circle of Fourths in Major as a foundation; use the relative minor key

after each major, thus: C maj. a min. Fmaj. d min. Bb maj, g min. Eb maj. c min.Abmaj. fmin. Db maj. bbmin. Gl’ maj. eb min. B maj .gfi min-Emaj. cit min. A maj.“ min.‘D maj. b min. Gmaj. e min. and back to C maj. This gives us the Alternating Major and Minor Circle. It is more interesting than the circles we have been using. It affords the ear a relief from the monotony of on ly Major or only Minor keys. From this point on, take the exercises through the Ma jor and Minor Circle, unless otherwise noted. Illustrations in Major are to be played only in Major, and illustrations in Minor, only in Minor. Ex. 21.

Authentic Cadence. Open Harmony.

C maj.

a. min-

F maj

EX.21.

Ex.22. Plagal Cadence. C

EX.22

C.F.S.C0.1701-27

.

Open Harmony. a. min-

Fmaj.

‘2

'

PERFECT CADENCES.

Ex.23. Cadence with Sub Dominant and Dominant Triads.

Ex.25.

'

Ex.24. Same cadence in Open Har m ny.

Cadence with Tonic, Sub -Dominant, Second Inversion of Tonic Dom

inantand Toni

EX_25_

I-IV

Ig-V

I

I-Iv Ig-V

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Principal Dissonant Chords. DOMINANT SEVENTH CHORD. Ex.26. Play and resolve the Dominant Seventh Chord in its direct form and all inversions. a. min. C

V71

Vgl

VI 7

V31

VI g

V4I 3

Ill. XVIII.

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Ex.27. The Dominant-Seventh Chord makes all cadences more satisfactory.

EX. 27.

(LES. (301701-27 I

13 Ill. XX.

Czerny, Op. 599.

2 l 1‘

Ill. XXI. 8

4

4

C.F. 8.00. 1701-27

3

’1

Czerny, Op. 599.

Ex. 29. Transpose into every Major and Relative Minor Key. C mad-0n

5 4

a. minor.

14 Ill.XXII.

Czerny, Op. 599.

6% 2»

A4 a

1 i

‘5

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Ill . XXIII.

Czerny, Op.599.

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C.F.S.Co.1701-27

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15

'AMBOY Ill. XXIV.

Hymn -Tune

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Lowell Mason. .

D.O'.

Beethoven, Op. 2, No. 2. 3’1

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9k Haydn.

Ill. XXVI.

\ Ill. XXVII.

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Beethoven, Op.18. I

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16 Beethoven,Op. 31, No.1. Ill. XXVIII.

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Ill- XXIX -

Beethoven, 0p.19.

Ill. XXX. Beethoven, Op. 79.

THE DOMINANT NINTH CHORD. Ex.30. Remember that the Ninth in this chord is major in the Major Key, and minor in the Minor Key. Still,the Major Key often uses the Minor Ninth. This exer cise contains the V9 in its various positions. C

a Minor

EX .3

v3

V9

2 Ex. 31. The Descending Scale, with the sixth harmonized with the V9. a. Minor

C

EX.31.

C.F.S.Co.1'701~2'7

v9

17 Ill.XXXI. Minor and Major Ninth alternating in the Major Key. Beethoven , Op. 142.

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Ill.XXXII.

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Ill.XXXIII. Hymn-Tune.

9

Ill.XXXIV.

C. I". s. 00.1701—24

I. Pleyel.

9

.

Beethoven, Op. 27, No.1.

18

Ill. XXXV. Dominant Seventh and Minor Ninth in the Major Key. Beethoven, O .31, No.1. 51A ’\ 8 51A I

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Beethoven,Op.lO,No.1. ’

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19 MINOR AND DIMINISHED SEVENTH-CHORDS. Ex.32. Remember that the Seventh of the VH7 is minor in the Major Key,

and

diminished in the Minor Key. C Major

a Minor

F EX. 32.

J

’I 1'7

65

J

'1143

VII'7

3

Ex. 33. Scale employing Minor Seventh-Chord in Major, and Diminished Sev enth-Chord in Minor. C

Minor

F

EX.33.

Ill.XXXVII. The Diminished Seventh-Chord as it is frequently used in a Major Key. ' I ' Beethoven, Op.2,No. 2. I Y

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62a.

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Ex. 34. The Diminished Seventh-Chord in all forms and positions. Play in ev ery Minor Key.

EX.34.

6 5

'7

2 8

THE DIMINISHED TRIAD. EX.35. The Diminished Triad in all forms and positions. Play in all Major and Minor Keys.

EX.35.

C.F.§.Co.1'701-24

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J

l

20 Ill. XXXVIII. This extract contains the Dominant- Seventh, the Diminished - Sev enth and the Diminished Triad. Play in all Minor Keys. Beethoven, Op. 10, No. 1 Allegro molto 8 con brio ‘

5

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SECONDARY TRIADS. Except when otherwise directed, all Major Exercises and Illustrations must be transposed into every Major Key through the CIRCLE OF FIFTHS and the CIRCLE OF FOURTHS; and all Minor Exercises and Illustrations must be transposed into all Minor Keys through the CIRCLE OF FIFTHS and the CIRCLE OF FOURTHS.

In EX.36 (Major) the Tonic Triad is followed by its Substitute: the triad on the Sub Mediant (or sixth of the key).

Notice: (1) Two of the tones of these two chords are identical: (2) The root descents a third: (3) The two chords stand to each other in the relation of Major and Relative Minor.

EX.36.

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1

VI

R

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A

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Ill Name every triad- as you strike it. In the same exercise the Sub-Dominant Triad is followed by its substitute: the

Super-Tonic Triad (or second of the key). All three points noticed in connection with the Tonic and Sub-Mediant Triads also apply to these chords. In the same exercise the Dominant Triad is followed by its substitute the Med iant Triad,(or third of the key). The three points also apply to these chords.

C.F. 8.00.1701-27

21 In Exercise 37 (Minor) the Tonic Triad is followed by its substitute: the Sub Mediant Triad: and the Sub-Dominant Triad by its substitute: the Super-Tonic Tri ad.

Notice that only two of the three points mentioned before, apply in Minor.

Which two are they? HI

“A

EX.37. W 'J

I

VI

IV 30

Why does this exercise in Minor not contain the Dominant Triad followed by the Med iant Triad, as in Major? If you do not know, play the Triad of V followed ,by the Triad of III in minor,- and your ear will quickly decide. Ex. 38. The Primary Triads with their Substitutes,keeping the two common tones in the same voices. In major, in all three positions of the triad.

Ex.39. The Primary Triads with their Substitutes, keeping the two common

tones in the same voices. In minor, in all three positions of the triad.

etc.

Ex.40. Notice: (1) (2)

Every tone of the Major Scale harmonized in three different ways. With the exception of the chord immediately before the last, the bass descends by thirds throughout. On account of the Sequence thus formed, the Diminished Triad

with

root doubled and in direct form, is not objectionable as usual. Diminished Triads are marked with an asterisk. EX.40.

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This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible.

https://books.google.com

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(EYBOARD HARMONY - -

---

AND

--

-

TRANSPOSITION reliminary Studies in Keyboard Harmony and Transposition A Preliminary Volume for the earliest grades.

Keyboard Harmony and Transposition, Volume I. The Principal Triads; the Principal Dissonant Chords; the Secondary Triads; Passing Notes.

* Keyboard Harmony and Transposition, Volume II. Suspensions; Anticipations: Modulation; Altered Chords; Organ Point.

BY

ANNA HEUERMANN-HAMILTON . º

-

3. º

-

º

Prºce 40 Geºffs

s

º CHICAGO. º cLayton FWeekes summy co,429 sowabash Aveº & Co. London. 5. * 6 Copyright 1916 by Clayton F. Summy Co. International Copyright.

º

º

º

r *: * ~* * *

* * *

*-

- - - - - tº - , - . .. . . . ; ſº *

-

|-

KEYBOARD HARMONY *

-

a

- AND +

TRANSPOSITION A Practical course of keyboard work for every Piano and Organ Student. PRE

LIMINARY STUDIES IN KEYBOARD HARMONY AND TRANSPOSITION offers an easy means of acquiring an empirical knowledge of Simple Harmony. Volumes I and II may be used in connection with or to follow any Textbook on Harmony.

Preliminary Studies in Keyboard Harmony and Transposition A Preliminary Volume for the earliest grades.

Keyboard Harmony and Transposition, Volume I. The Principal Triads; the Principal Dissonant Chords; the Secondary Triads; Passing Notes.

* Keyboard Harmony and Transposition, Volume II. Suspensions; Anticipations: Modulation; Altered Chords; Organ Point.

BY

ANNA HEUERMANN-HAMILTON

Price 40 Cents

CHICAGO.

CLAYTON F. SUMMY CO., 429 So.Wabash Ave. Weekes & Co. London. Copyright 1916 by Clayton F. Summy Co. International Copyright.

-

Keyboard Harmony and Transposition. VOL. II. Mr SUSPENSIONS, ANTICIPATIONS, MODULATION, ALTERED CHORDS, ORGAN-POINT

SJ

SUSPENSIONS.

+ H25 -

Unless otherwise indicated, every Major Exercise and Illustration must be transposed Major Key through the CIRCLE OF FIFTHS and the CIRCLE OF FOURTHS

tº every 3

(see Volume I;) and every Minor

Exercise and Illustration must be transposed into eve

ry Minor Key through the CIRCLE OF FIFTHS and the CIRCLE OF FOURTHS. Exercise 61. A plain Cadence with suspensions in Soprano. Transpose into all keys through the ALTERNATING MAJOR and MINOR CIRCLE, (see Volume I): …-->

EX. 61.

Ex.62.

The same Cadence as above with Suspensions in three parts.

Through

the ALTERNATING CIRCLE.

-EX. 62.

Ex 63. Melodic Minor Scale, descending:

Ex

63.

#4 Suspension in

Bass.

-

Ex. 65. Suspensions in Middle parts

Ex.66. Delayed Resolutions of Suspensions. Through ALTERNATING CIRCLE.

and Bass.

EX. 65.

EX. 66. 2.--

-º-

ty I Uſ

Ex. 67. Same as Ex 66, with Suspensions and Delayed Resolutions in more than one part. Through ALTERNATING CI

EX. 67.

c.rs, co. 1702-28.

4.

Copyright, 1916 by Clayton F. Summy Co.

Ex. 68.

Suspensions from below.

f

EX. 68.

Ill. LVI. Pick out the Suspensions and Resolutions, and name them while playing. Mozart. Andantino. 5--

P4

I11. LVI.

Ill. LVII. Pick out the Suspension and Resolution, and name them while playing. Ill. LVII.

Handel.

THA

A

Ex. 69. Point out the difference between SUSPENSION and ANTICIPATION, and take Ex. 69 through the ALTERNATING CIRCLE. ANTICIPATION.

EX. 69.

Ill. LVIII. Point out the Anticipation and

Ill. LIX. What is the nature of this Ca

the Resolution, and name them while playing.

dence? In what respect does it differ from the last?

Beethoven, Op. 28.

Jºãº Ill. LVIII.

==N

Mozart No.9. (Cotta).

I11. LIX.

poco rif. /*N

:

J-J

* * -

C. F. S. Co. 1702-23.

Ill. LX.

º

A characteristic Bach Close. Bach. Bouree.

fr

I11. LX.

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-

4 3

21 V

ANTICIPATION AND SUSPENSION

Ex.70. Anticipation ascending and Suspension descending.

J-J44-4 42-14

EX. 70.

a le 2 || 4 Ill. LXI. II1. LXI.

Analyze every chord and progression in this excerpt before transposing. f f f •ºf Beethoven queero coºl prio 2 Op.2. No.8. w

>

>

2 -

-

>

f

w

-

r

2

2

2 w

-

*

*

MODULATION

As a preparation not only for Transposition of passages containing MODULATIONS, *

but for the practice of MODULATION itself, there is nothing better than playing many simple chord-progressions through all the keys. A number of such follow. These pro

gressions should not be memorized, but should be thought out anew every time they are played. C. F. S. Co. 1702:23.

Ex. 71. The Tonic Triads of all the Major Keys through the CIRCLE OF FIFTHS, keeping the COMMON TONE in the same voice, and beginning with the Triad of C in

Octave Position, open harmony. In same manner play the Tonic Triads of all Minor Keys

EX. T1.

Ex.72. Same Triads as in Ex. 71, but beginning with Position of the Third. same manner

In

Triads of all Minor Keys.

EX. 72.

Ex. 73. Same Triads again, but beginning with Position of the Fifth.

Also in Minor.

EX. 73.

Ex. 74. The Tonic Triads of all Major Keys, keeping the Common-Tone in the same voice, and proceeding through the CIRCLE OF FOURTHS. Begin with the Triad of C in Octave Position, Open Harmony. Keys.

In same manner play the Tonic Triads of all Minor -e-’

EX. 74.

Ex. 75. Same Triads as in Ex. 74, but beginning with position of the Third. in Minor. ->

EX. 75.

C. F. S. Co. 1702-23.

Also

7

Ex. 76. Same Triads again, but beginning with the Position of the Fifth.

Also in

Minor.

EX. 76.

: By using the above progressions, very smooth and simple, tho sometimes very round

about, modulations may be made. To go from any key to any desired key, begin with the Tonic Triad of the key to be left, and proceed through the Circle to the Dominant or

Sub-Dominant of the key to be entered; and finish with a Cadence in the new key. three Exercises following are useful in the same way. In

The

Ex. 77. The Tonic Triads of all Major and Minor keys through the Alternating Circle. with the Triad of C in Octave Position.

cº; #mory beginning

Ex.78. Same Triads as in Ex. 77, but beginning with Position of the Third. EX. 78.

Éx}. E

3.

Same Triads again, but in Position of the Fifth. -

-

Ex. 80. A Modulatory Passage may be built of a succession of Chords of the Seventh. It may be begun anywhere, and terminated with a Cadence when the Dominant - Seventh of the required key has been reached. Analyze every chord when playing this lesson. EX. 80.

C. F. S. Co. 1702-23.

Ex. 81. Or of a succession of Dominant-Sevenths and Tonic Triads.

Analyze every

chord when playing this exercise. EX. 81.

->

Ex. 82. An exercise showing the easy transition through Major, Minor, Diminished, etc. triads. This must be played through all the triads until C Major is again reached. EX.82. /3

Maior

*

Minor

Diminished

Diminished

Minor

Diminished

Diminished etc.

-

TRANSPOSITION OF MODULATIONS In transposing Modulations it is necessary to notice the relation the old key and the

new key bear to each other, and also the chord through which the modulation is made. Ex. 83. From the Major Key to the Minor on its ll. Notice that the Second-Inversion

of the New Tonic follows the old Tonic (after a passing-note in the bass).

It is then fol

lowed by the Dominant-Seventh, and the Tonic of the new key in Direct Form. Transpose,

beginning the Modulation with every Major Triad (through the Circles) in succession.

EX. 83.

Ex. 84. From the Major Key to the Minor on its Ill . into all keys.

C. F. S. Co. 1702-23

Analyze as above and transpose

9

Ex. 85.

From the Major Key to the

Major of its IV.

As above.

Ex. 86. From the Major Key Major of its V.

to the

As above.

3: EX. 86.

EX. 85.

Ex. 87.

From the Major Key to the

Minor of its Wl.

As above.

Ex. 88.

From the Major Key to the

Minor of its Wll.

As above.

EX. 87.

Ex. 89. A few Modulations in which the Dominant-Seventh or Ninth of the new key is used directly after the old Tonic. Proceed with analyzing and transposing as above. EX, 89.

Fº

r|s

Ex. 90. A few Modulations in which the Super-Tonic or the Super-Tonic Seventh of the new key is used directly after the old Tonic. . As above.

al F. The following examples are taken from the Supplement to Max Reger's Theory of Modulation.

Every one must be analyzed before transposing. Notice that only in one

instance a passing-note is used — in No.6. With the exception of this note (b; second note in tenor) every note is a chord-tone. Also notice that in every modulation the last four chords are: Major or Minor Sub-Dominant or its substitute; the Super-Tonic; Second Inversion of the Tonic; Dominant or Dominant-Seventh; Tonic. C. F. S. Co. 1702-28.

10

Transpose; beginning the Modulation with every Major Triad in succession, through the Circles.

No. 1.- From the Major Key to the Major of its II.

No. 2.- From the Major Key

No. 3.- From the Major Key to the Major of its Ill'.

No.4.

to the Minor of its Il .

From the Major Key

to the Minor of its lll .

No. 4.

No. 3.

No. 6.- From the Major Key to the Major of its VI.

No.5. — From the Major Key

to the Major of its V. .

4.

No. 5.

No. 6.

*

No.7 — From the Major Key

No. 8. – From the Major Key

to the Minor of its WI.

to the Major of its VII.

No. 7.

No. 9.

-

r

-

-

--

From the Minor Key to the Minor of its V.

2

Transpose; beginning the

Modulation with every Minor Triad in succession, through the Circles.

No. 9

C. F. S. Co. 1702-23.

11

No. 10.- From the Minor Key to the Minor of its II.

r

No. 10.

Analyze every Illustration and Exercise and transpose into all keys through the Circles. Ill.

II.

O GENTILE SAVIOUR

Arthur Sullivan

r|*|F Fr Ir

~->

Ill. LXIII.

Ill. LXIV.

Allegretto all'Ungherese 3 3.

czerny op. 599.

4.

1 - 4.

1.

: -

Beethoven Op. 31- No.1.

-

-

2

Ill. LXV.

;

Gurlilt

J’

*** C. F. S. Co. 1702.-28.

-

A.

op. 326.

12 -

Ill. LXVI.

p

8

3

5 4

Streabbog Op. 63.

-

I11. LXVII.

1.

III. LXVIII.

A

23

Gurlitt Op. 326.

NBURY

Arr. fr. Schumann.

Ill. LXIX.

ELIJAH

J. Stainer.

Refrain

C. r. s. Co. 1.0°.-::i5.

13

The student who has carefully worked through the preceding material for TRANS will find it an easy mat POSITION including the exercises in MODULATION

ter to play original Modulations. Especially useful to the Church Organist is the abili ty to play smooth modulatory passages. A number of such follow. They should be transposed into all keys. In each case the final triad may be Major or Minor. The stu dent must then draw on his practical key-board knowledge and play many original pas

sages, from Major to Major; Major to Minor; Minor to Minor; Minor to Major.

r

EX. 91.

Fr Ir

EX. 92.

EX. 93.

EX. 94.

EX.95.

Ill. LXX. In what way is the modulation made 2 Ill. LXX. 5-S

; C. F. S. Co. 1702-23.

3.

2

_-

5-S

3

Berens, Op.7.0.

14 Ill. LXXI.

Notice that this modulation is not to the Dominant,but to the Minor Dominant. Beethoven, 2,No.2.

Ill. LXXI. 4

Ill. LXXII. Notice that the theme in this illustration is first given in Minor; and then note for note in the Relative Major. Ill. LXXII.

MINUETTO

3 *

Bºgº

§ 4 3

5

3 # #

2

-

i

Op.2, No.1.

1

~

A few old German Chorales for transposing. Notice the many secondary chords and IN AL LEN MEINEN THATEN modulations. Ill. LXXIII ^

Johann Adam Huº (?)

/*N

V

I11. LXXIV.

C. F. S. Co. 1702.-23.

HERR, ICH HABE MISSGEHANDELT

Johann

crººr.

15 O TRAURIGKEIT,y

Ill. LXXV. ^

O

HERZELEID.

1628

^

RESOLUTIONS of the DOMINANT SEVENTH-CHORD

Those resolutions of the Dominant-Seventh Chord in which this chord progresses to some other chord than the Tonic, are closely related to the subject of Modulation, because they are so often used as a means of modulation. In the following example the Dominant-Seventh Chord progresses in turn to every

other chord of the key.

Transpose the example into every Major Key.

EX.96.

WII* -

v; – III

V, V V

v Will V- Vl

v; –

In the following Illustration from Schumann this chord progresses into the various chords marked. Transpose the Major Illustrations into Major; and the Minor into Minor. Traeumerei

/TNTraeumerei

Steckenpferd

I11. LXXVI:

J V|| º

v; – ill

-Tº-S P

vi-V. C. F. S. Co. 1702-23.

V.“ — IV

16

ALTERED THE

Ex. 97.

CHORDS

NEAPOLITAN SIXTH CHORD

Origin of the NEAPOLITAN SIXTH CHORD.

() EX. 97. Fº

Play in every Minor Key.

I

E;

#:

_

Fºr-B

*5-8

II* T ~ *

Q

ll in c minor.

Root lowered.

1st Inversion: Neapolitan Sixth.

Exs. 98, (a & b). Cadence in Minor and also in Major, employing the NEAPOLITAN SIXTH CHORD. Transpose these and all following exercises and illustrations into all keys through the Circles.

EX. 98.

N6

EX. 98.

(a)

(b)

III. LXXVII.

Same chord with root below. Chopin Prelude, Op. 28. No.20.

I11. LXXVII.

,

h

b

The following examples of Modulations employing the Neapolitan Sixth Chord are

from the Supplement to Max Reger's Theory of Modulation. lyzed before

the old key.

transposing.

Every one must be ana

Notice that in all but No. 17 the Neapolitan Sixth belongs to

Also notice the particular form of cadence in each. Transpose; beginning

the Modulation with every Major Triad in succession, through the Circles. No.11—From the Major Key to the Major of its Minor Sixth.

No. 11.

No. 13.- From the Major Key to the Major of its Diminished Fifth.

No. 13.

(: F. S. Co. 1702-23.

No.12.-From the Major Key to the

Major of its Minor Second.

No. 12.

No. 14.— From the

Major

Key to the

Major of its Diminished Octave.

No. 14.

17

No. 15. – From the Minor Key to the Major of its Diminished Fifth. Traspose; begin ning the Modulation with every Minor Triad in succession, through the Circles.

No. 15.

No. 16.

J

No. 17.

From the Minor Key to the

From the Major Key to the

Major of its Diminished Octave.

Minor of its Seventh.

No. 17"

A ba J.

No. 16.

A Jºlla.

AUGMENTED SIXTH CHORDS.

Ex.99. () 7. /

Orign of the ITALIAN AUGMENTED SIXTH CHORD.

EX.99.

*~ º º'I Q

A.

C

T

IV in c minor.

R

=;

+LZ-AM-

Root rāised.

1st Inversion.

Augmented 6th between ab &

f;.

Exs 100 & 101. The ITALIAN AUGMENTED SIXTH CHORD in Cadences, Major and Minor.

EX. 100.

EX. 101:

Beethoven, Op. 18. No.2.

I11. LXXVIII:

Mendelssohn, S.W. W. No. 22.

I11. LXXIX.

dim. =:

—

MacDowell, Op. 55. No.8.

Ill. LXXX.

C. F. S. Co. 1702.-28.

~:

18

Ex. 102.

Orign of the FRENCH AUGMENTED

(, EX. 102. #5 -

WY " Y.

HEße ul.

IT ITTRI ~ : II**AI C . Twº

o

sixth CHORB. EH

tº

wº

III T II

it

TTU,

ll. 7 in c minor

Exs. 103 & 104.

3rd raised -

2nd Inversion. Augmented 6th between ab & re. g

The FRENCH AUGMENTED SIXTH CHORD in Cadences, Major

and Minor.

EX. 103.

Mgart

D Major Sonata.

Ill. LXXXI.

de, Op. 28.

No.20.

Ill. LXXXII.

Ex. 105. Origin of the GERMAN AUGMENTED SIXTH CHORD. LEX. 105. L4 -> Jºãº bºtt ## Q -

TV UN

#

T

IV,

in c minor

Root raised

1st Inversion.

Augmented 6th between

ab & fff.

Exs. 106 & 107. Cadences employing the GERMAN AUGMENTED SIXTH CHORD.

.67

4d

EX. 107.

Schubert Op. 142/5 w 7

I11. LXXXIII.

C. F. S. Co. 1702-23.

V

No.2.

Ill. LXXXIV.

.

.

;

19

Mendelssohn, s.w w. No.34.

-

Mendelssohn, S.W. W. No.48.

I11. LXXXV.

Ex. 108. Origin of the AMERICAN AUGMENTED Sixth CHORD. EX. 108. ºn º Cº. vo

#sº

ITT T. II* TD. Tº tº ºn

ITTLſ

H

Q

at

TTu

I

#

lly in

c minor

Root & 3rd raised

2nd Inversion. Augmented 6th between ab & ſº.

EX. 109.

EX. 110.

Ex. 111.

A comparison of the ITALIAN, FRENCH, GERMAN,

AUGMENTED SIXTH CHORDS.

and

AMERICAN

Notice that the German and American are the same

by enharmonic change. Some authorities claim that the German Sixth is often written for the American Sixth: for instance, that Ill. LXXXV is incorrectly notated — that eb should be dº.

Ill. LXXXVI.

Czerny, Op. 823.

-

& 2 º' --

* -

3

F.6'

I G.46-

F43-

I.6-

-

-

-

º

º --

-

C. F. S. Co. 1702. 23.

**

f*

20

Ill. LXXXVIII.-A modulation to the Sub-Mediant, employing the Aug. 6th Chord. Dodge

Ill. LXXXVII.

Ill. LXXXVIII. - A modulation to Mediant, employing the Aug. 6th Chord. Dodge

Ill. LXXXVIII.

Ill. LXXXIX-A modulation to Leading-Tone, employing the Aug. 6th Chord. Dodge

I11. LXXXIX.

THE

DORIAN SIXTH.

In the Harmonic Minor Scale, as we know, the sixth scale-step is minor; in the Melodic Minor Scale, on the contrary, it is Major. This Major sixth in the Minor Scale is called the DORIAN SIXTH.

This sixth is found in the Sub-Dominant Triad and in its Substitute, the Super-Tonic; hence these two, chords are called the CHORDS of the DORIAN SIXTH.

In the scale

of c minor, harmonic, the Sub-Dominant triad is: fab c. the Dorian Sixth Chord is: f a

c. The Super-Tonic Triad is: d f ab; the Dorian Sixth Chord is: d fa. As in the Mel odic Minor Scale, this Major Sixth must always be led up into the seventh of the Scale. Notice that is this chord, or these chords, the word “Sixth” does not refer to an interval

of the chord (as is the case in the “Neapolitan Sixth" the “Augmented Sixth"etc.) but to the sixth scale-step.

The following examples of Modulations employing the DORIAN SIXTH CHORDS are taken from the Supplement to Max Reger's Theory of Modulation. Every one must be analyzed before transposing. Notice that in all of them the Dorian Sixth is in the new

key. Transpose; beginning the Modulation with every Major Triad in succession, through the Circles.

Notice that in Nos. 18 and 19, the Dorian Sixth Chord is the Sub-Dominant;

while in No. 20 it is the Super-Tonic. In these Modulations the upward progression of

the Dorian Sixth is marked, so as to be easily recognized. -

No. 18– From the Major Key to the Minor of its Fifth.

C. F. S. Co. 1702. 28.

21

No. 19.- From the Major Key to the Minor of its Minor Sixth.

Notice in this example

the Neapolitan Sixth Chord of the old key, is the Dorian Sixth Chord of the New Key.

No. 19.

No. 20.-From the Major Key to the Minor of its Minor Third.

No. 20.

Nos. 21, 22 and 23 are from Minor to Minor. Transpose; tion with every Minor Triad in succession, through the Circles.

beginning the Modula Notice that No. 21 uses

the Dorian Sixth Chord on the Sub-Dominant; Nos 22 and 23 on the Super-Tonic. No. 21.- From the Minor Key to the Minor of its Minor Sixth.

Aba J

No. 21.

No. 22.-From the Minor Key to the

No. 23.

Minor of its Minor Third.

No. 22.

From the Minor Key to the

Minor of its Minor Seventh.

l

No. 23.

ORGAN - POINT

Transposition of passages containing ORGAN-POINT is greatly simplified if the note

or notes to be repeated or sustained are first fixed in the mind. Remember, it is almost invariably the Tonic or Dominant, or both. For the remainder, proceed as in any other Transposition.

Ill. XC.

C. F. S. Co. 1702 -28.

SICILY

Sicilian Melody

22

Ill. XCI.

What is the name of the chord that contains the bºb 7

Ill. XCI.

_4

—

kJ·T-5

Bºnº.

* ºf ºffs. GOD SPEED THE -

Ill. XCII.

From the

Ill. XCIII.

III. XCIV.

C. F. S. Co. 1702.-28.

RIGHT

Op. 82.

LYONS

Haydn

23

Il1. XCV. Beethoven, Op. 13.

Allegro di molto e con brio. M.T. ten.

5

3

i

5

3

p

Beethoven, Op. 31. No.1.

Il1. XCVII. 5 8

– 4

-

5

a 2 - 2- 3 º 4.4 .

itri Ill..

XCVIII –s

C. F. S. Co. 1702.-23.

Scarlatti, Courante.

I11. XCIX.

Thalberg

Beethoven, Op. 14. No.1. Ill. C.

-

5

|

4

i.-l...º...l...-* decresc

Ill. CI.

pp

--

a

à

à

rit un pochetti

Haendel, Sonata.

>-

C F S Co 1702 : 28.

3.

25

III. CII.

Beethoven, Op. 22. Coda

p cresc.

#

mf

#

This closes the work of Transposition as founded on the harmony of the Classic School. f

The transposition of Modern Music, in which the chords and keys are not so mani

fest as in the Classic, presents new problems.

Though frequently a passage might be

susceptible of various interpretations, it is generally possible to find fundamental chords and to consider all the tones that do not fall in with these, in the relation of Passing

Notes, Changing Notes, Suspensions, Anticipations, Substitutions, etc. Bearing these points in mind, the student who has faithfully completed the foregoing pages will have no special difficulty in transposing anything necessary in the further pursuance of his studies.

C.F. S. Co. 1702-23.

EDUCATIONAL WORKS Published by CLAYTON F. SUMMY CO., 429 S. Wabash Ave., Chicago

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Hamilton, Anna (Heuermann) Keyboard Harmony and Transposition

Clayton F. Summy

JAN 15 1974 +++++

--

H

-—

|Denico 38-297

50 +H:215 3

Date Due

ºf 1778

MT

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