TONE THINKING
EAR JESTING
CAROLYN ALDEN ALCHIN
U
TONE THINKING
AND
EAR TESTING
A work that directs the student in helping himself
to develop discriminative hearing from the
simplest beginning to difficult modu-
lations and chromatic harmonies
by
CAROLYN ALDEN ALCHIN
Author of
"APPLIED HARMONY"
PRICE $2.00
Published by
C. A. ALCHIN
1227 SOUTH HOOVER STREET
LOS ANGELES :: CALIFORNIA
Copyright, 1919,
by Carolyn A. Alchin.
Music
PREFACE.
Music is the union of tone and rhythm, so it naturally follows
that the study of music should begin with the training of the
Ear and Feeling.
Thinking in terms of sound is a pre-requisite for sight-sing-
ing and all truly creative work, and as the study of Harmony
and Counterpoint should be the study of tonal and rhythmic
relations, Tone-Thinking and Ear-Training should precede or
accompany the study of those subjects.
Every advance in music education renders more clear the
advantage and the necessity of understanding the NATURE OF
Music, hence the need and demand for ear training of a high
order, work which includes something more than mere pitch
of sounds.
Another advantage of value is the habit of observation that
is cultivated. In time, one finds his power of attention always
on the alert; not by conscious effort, but by habit. The per-
ceptive faculties are always on duty.
As rhythm is the most elementary factor of music, and as
there is no music without rhythm, the first command should be,
feel and hear rhythm, and the second and third are like unto it.
Rhythm includes the grouping of tones in a beat: beats in a
measure or bar: the grouping of measures or bars into sections
and phrases, followed by the longer phrases that are equivalent
to line or verse in poetry; and the grouping of lines or verses
into stanzas. The increased lengths are introduced as the ability
to think and hear increases. Much of the spirit of a composition
depends upon the rhythm.
The expression of ideas is impossible except through form.
Thinking and hearing in phrases is as necessary for appreciation,
interpretation and composition, as form is to a picture, or the
grouping of words together for the expression of ideas.
Since melody is intoned rhythm, it merits the next con-
sideration. Absolute pitch is unnecessary, but relative pitch is
(iii)
most important if one expects to feel and hear the quality of
toue resulting from key-relationship.
If the real beauty of the tone world is not a sealed book,
one should hear the nature of the material of music, not only that
arising from key-relationship, but the harmonic relations and the
relation of both to rhythmic accents. As every ray of light
includes all color, so every tone includes the harmonic prism. A
study of overtones as illustrated in modern music will illuminate
this fact.
Much is being said and written about self-expression. How
is one to express himself if he has no feeling for, or under-
standing of the material that he is using? We cannot express
ourselves in a language that we do not understand, so why
expect to do it in music? Do the color blind attempt to paint?
It is really pathetic to see students of harmony toil over
their work which they neither hear or think, trying to write
acceptably with no idea of tonal or rhythmic relations, trying to
create with what to them, is lifeless material.
Those deficient in the power to think music resort to ar-
bitrary rules, and as rules apply to specific cases only, they are
valueless as a means for development of the music sense, ex-
cepting as the pupil deduces them from his own experience. In
the examinations of so-called advanced students, only a small
proportion show any signs of real musicianship. Why?
There are teachers of technic and teachers of music. The
latter should so direct the work of the pupil that hearing and
feeling are unavoidable. To listen well and profitably in the
way of appreciation, one's knowledge of and feeling for tonal
and rhythmic relations should be so complete that it is a part of
one's self. One should unconsciously hear as the discriminating
artist sees shades and effects of color. Training should be
continued until the beauty of a great work can be appreciated
without being marred by any detail or factor.
In this work the author has provided self-help with every
lesson. First, because effort means life. One never assimilates
until he makes independent effort and application. Second,
because no teacher has the time for all that should be done.
For the average student, the cultivation of discriminative hearing
(iv)
is a matter of years, requiring persistent, well-directed effort.
The necessity of dictation makes the teacher's help indispensable,
but a pupil should be required to study and prepare lessons as in
other branches of music education.
The material has been introduced progressively, and in each
case related to all of the preceding material in various ways, the
requirements increasing in difficulty as the. power and under-
standing of the student increases. Harmonies are introduced
before the melodies upon which they are based, because it is
easier and better pedagogy to first perceive synthetically, then
follow with the analytical hearing of the parts. Much emphasis
has been placed on the various relationships, because upon that
depends the power to anticipate and think in larger units.
Small children may not be able to do all of the home work,
but if properly presented and with but one new fact in a lesson,
they will do everything but play some of the more difficult
examples. Because a thing never has been done, is no reason
why it could not or should not be tried. Successful teachers
continually set higher standards for themselves.
CAROLYN ALDEN ALCHIN.
Los Angeles, California.
CHAPTER I.
1. Music is the union of tone and rhythm.
As it appeals to the ear and feeling, the first step in studying
it should be training the ear to discriminate between sounds and
rhythms.
2. Since there is no music without rhythm, begin by first
observing the regularity of beat or pulse, then the regularity of
strong and weak beats. Some students feel the former only.
In that case, they should listen to music with strongly defined
and marked rhythms until they not only feel the beat, but the
measure; that is, strong, weak, strong, weak (two-pulse measure);
or strong, weak, weak (three-pulse measure). The harmonies
accentuate the rhythm, so it is easier for the student to hear
the accents than in a single part. Use only two or three-pulse
measure in the beginning:
Ex. l.<
/• hi^z,
P
1 e
_
1 "
iC\v i 1
•
-^
<
9
\>) 3E3
•
Jp
•
L .,
<
9
I s
J
eJ
-<
t- -9-
-»- -•
-«
_
-1
h -p-
• •
T
3-
SX« o g
>a
i
»
i W_
[
p «
^
L L
"r
L i
L
?*
szfc ..i
• 1
2
P !•
• I
Ex. 2.<
*^»1
^
«.
1 I I I I I
i i i
3. When the student can distinguish the measure of simple
compositions, follow with dictation from one tone:
^J.J ji^j <j uj j jujj j j jy. 11
JIJ J^JI^JIJI!JI^JJIJ JI^JJIJ II
JJUJJ JJJ JJJIJIIJJIJJIJJIJJJUII
Direct attention to and exaggerate the feeling of progress
from the weak pulse to the strong, letting the voice connect "two-
one," or "three-one" as though the weak and following strong
were inseparable.
4. Clap the hands or make any movement that will help
to acquire a physical sense of rhythmic accents. The writer
uses the following movements, suggested by the Dalcroze system:
For the strong pulse, drop the hands at the sides, letting the
weight fall from the shoulder. This is valuable for any one
who needs practice in relaxation, and especially so for pianists.
a. For the weak pulse, raise the hands above the head.
As one should feel that the weak pulse progresses to the strong,
this movement is very significant.
b. For a three-pulse measure, the arms may IDC raised to a
horizontal position on the second pulse, then to the perpendicu-
lar position, a position always used for the weakest pulse of a
measure, or bar, as some prefer to call it.
5. When one can hear and feel the measure and make the
arm movements with precision, the following may be used for
ear tests, the student naming the measure, two or three-pulse:
Ex.4.
• 0 -0-0-
U4J JIJJ4
-0-0-
a. These should be expressed by physical movements, also
written on the blackboard by the students. As they should
be written in perfect time, there should be no attempt to make
round note-heads. A small stroke is sufficient, and for the half
notes a second stroke above the first which will be complete
when the stems are added, this too being done in perfect time.
Hearing these without a change of pitch directs the attention to
the one purpose of the lesson, the rhythm.
6. When the student writes what has been heard, he may
be told that the bars are placed to locate the accented notes.
Be sure that the grouping within the bars is felt, also their
relation to the following accent. Isolated measures should never
be considered.
7. The sense of rhythm is more rapidly developed by the
use of the divided beat. For the very young, or those lacking
in rhythmic feeling, the divided beat may be illustrated by words
of two or more syllables, also by playing or singing two or me/re
notes while the student sings one. For example:
Ex.6.
J J
r cr
j j
r cr
j j
rccrr
j j
j
J
r
j j
r r
r
j j j
r r r
r
8. Employing syllabic accentuation corresponding to the
rhythmical, care should be taken that one does not depend upon
that indefinitely, and so fail to develop a keen sense of rhythm
from the music itself.
a. The writer has a strong objection to the use of the
word "and" in counting, as it takes too much time and stress.
Tu'o notes in one pulse should be heard and felt as a unit, or a two
syllable word, not two distinct words.
TRY THIS: To the count, add a light, unaccented syllable
such as "ly"; counting, one-ly, two-ly, etc.; and for the triplets,
one-a-ly, two-a-ly, etc. Whatever is used should be something
that groups itself easily and rapidly.
CHAPTER II.
OVERTONES, TONE RELATIONS, KEY,
BIRD NOTES AND OTHER DICTATION EXERCISES.
9. In rhythm we have time relation. Nature gives us
space relation in the overtones, some of which are here given :
Ex.6.
3rd- 7th-
9th.
Root.
. As seen in the foregoing, after the octave occurs the fifth,
which is followed by the harmonic root or generator above. After
years of teaching and observation, the writer is convinced that
the order of presenting material according to Nature's Plan is
not only the most scientific and logical, but it is by far the
easiest way and brings infinitely better results.
10. Sight-singing and tone-thinking are factors of ear train-
ing. Sight-singing associates the sound with the symbol, and if
one can think the sound of a tone or interval, he is quite likely
to recognize it when given in dictation.
1 1 . THE FIRST STEP IN TONE-THINKING is TO ESTABLISH
THE MEASURE, PREFERABLY THREE- PULSE, AS THAT is
EASIER THAN TwO-PULSE.
12. Next, play and count two measures as at Ex. 7,
exaggerating the accents, then sing some tone higher on the
next accented pulse. No pitch should be taken on the piano,
but the student should sing just what seems to "go itself."
Ex.7.
Sing.
a. One who feels the rhythm will sing either the fifth or
the octave above. Should it be the octave, sing an octave both
above and below any pitch that is possible for the voice, and
after singing, test the accuracy by playing it. For example,
play the notes of the bass staff and sing those on the treble:
y^«
x^
1
f ~\
I
Stz
J
-J-
-•-
01
fiiV
S2s
^5
*^*^
£S
1
Ex.8.
£. One is more likely to sing the fifth than the octave,
and it is the next tone desired, because it is the next one of the
harmonic series.
c. Under no circumstances should the desired tone be played
first. With strongly marked accent, play the first two measures
of .Ex. 9, hold with the pedal and sing a tone higher. If one
feels the rhythm, he rarely fails to sing a fifth higher, as
at b. Some keys are easier than others, but eventually one
should be able to think a given interval from any given tone.
b
Ex.9.
The tone that generates zs called the ROOT.
13. Play the pattern at Ex. 10, excepting the last tone,
sing the fifth and another tone higher, taking it on the accent
as in the example. Because it is the next tone in the harmonic
series, the root, which is a fourth above the chord-fifth is the
tone one naturally sings.
>r '!Uf>
f x
n\ tT4
( ^" * /
Vs|y :+
\ /
a 9
>^A«<* fj
*-/ •** j. t J
— j
^r
cSn ,.i
1
1
XT
/ 1
E\
r(A )
V-J
9
(m\'
22
S3
Has
w
1
Ex. 10.
14. Having sung the tones required in the foregoing ex-
amples, find them on the keyboard and observe the distance
between each, counting both the first and last tone of the in-
terval. The name of the interval ?'s determined by the number of
staff degrees represented, and the specific type by the kind of seconds
or steps included.
6
15. Seconds are said to be large, when, as they appear on
the keyboard, there is a tone between them. For example, F|
lies between F and G, so the interval from F to G is a large
second, and from either to F$ is a small second.
1 6. The octave that includes two small seconds as in the
foregoing examples is said to be PURE. The term PERFECT
is also applied. Fifths and fourths including one small second
are said to be PURE or PERFECT. For eye training, write the
pattern at Ex. n in several keys, singing and naming while
writing:
Ex.11.
If 2 )
EJS
jjj
•^ 9
533*
a.
es.
p
[&•*
\
SS5
\
17. Play with strongly marked accent, the first three meas-
ures of Ex. 12 and sing another tone on the following accent.
If one feels the rhythm, the tone in the parenthesis will be
taken. If one fails to think it, play again, exaggerating the
accent:
Ex. 12.
1 8. For self -testing, sing a tone on the strong beat of the
measure, and while holding it, play the same on the third beat.
For example:
Ex. 13.<
19. A KEY is a group of tones that are related to a tone
center which is always a harmonic point of rest. In key rela-
tion, this tone is called THE TONIC, the syllable name, Do.
Everything else in key is named and numbered according to its
relation to, or distance from the TONIC.
The technical name for the fifth above the Tonic is DOMI-
NANT, the syllable name, SOL.
7L
g)
cs
£ 1
Sgz
«. & 9
Sing play sing play sing
n*)I 1 ' —
\^^s
d
^!
Play
2o. Beginning with any pitch that is easy, take a tone as
Tonic, «nd sing the Dominant below, returning to the Tonic on
the accent as in Ex. 14:
b
One can use scale numbers or syllables, according to
preference.
21. Beginning with the weak pulse, take a given tone as
Sol — the scale-fifth — and sing the Tonic above, as at Ex. 14, b.
EMPLOY AT LEAST Two ACCENTS, NEVER LESS. MORE
ARE BETTER.
An inexperienced student should be shown how to find the
intervals on the keyboard so that they can be played correctly
from the first.
22. The syllable name of the tone located a third above the
root is Mi, and as both of the steps from Tonic are large, it is
said to be a large third.
Sing and write Ex. 15 in several keys, doing it in perfect
time:
Ex. 15.
P m
23. Sing Ex. 16 and supply two tones for the vacant
measure, one higher and one lower:
i
fi\\ i
J J
* m
9
^*± —
J Solution:
Ex. 16.
As the fifth is the next overtone, few if any will fail to
take it.
24. In classes, let the students sing the three tones in
chord relation, beginning with one and adding the others as at
Ex. 17:
Ex. 17.
4
r=
^
g
-&-
-^
8
For individual work or self-help, sing the tones consecutively,
taking with the piano afterwards and holding until one hears the
voice part as a component of the whole.
25. A THREE-TONED CHORD is CALLED A TRIAD. Com-
prised of a large third and pure fifth, it is said to be a MAJOR
TRIAD.
Observing the structure of a major triad, what are the steps
or seconds from third to fifth? With one small second, the in-
terval is said to be a small third*
26. With the different positions of a triad, as at Ex. 17, one
sees that it is either a combination of thirds, or a third and a
fourth. Since two of the three positions include a fourth, by all
means learn to think and hear them, beginning with the different
chord degrees and not always the root.
A fact to remember is, that in a triad, the interval of a fourth
is always from chord-fifth up to root.
27. In taking the intervals from dictation, one means of
identifying or distinguishing the fourth from the fifth is the
effort to place a chord degree within the two notes forming the
interval. It is easy to sing a chord degree within a fifth, much
less so within a fourth, especially at this stage of the work.
28. What is the interval from fifth up to third? Sixths
that include but one small second are said to be large.
29. What is the interval from third up to root? A sixth
including two small seconds is said to be small.
30. With either piano or voices, hold two tones of a chord
and sing the third one. For example, a third should be added
to the fifth in the first measure of Ex. 18, and both above and
below the fourth in the second measure:
Ex. 18.
31. Beginning with chord-third and finding the fifth and
root above is much more difficult than beginning with other
chord degrees. It is made more easy by establishing rhythmic
progress like the following:
*The writer uses the term large and small in preference to major and
minor because they convey a better idea of distance or size, just as
diminished is used to distinguish something smaller, and augmented some-
thing larger. Theorists who use these terms have a very good reason for
doing so.
Ex. 19.
Do this, beginning on different degrees of pitch.
32. Although they are incomplete, as we understand mel-
odies, the following bird notes are well worth using. If,
incidentally, one is led to a larger interest in birds, the little
songs will serve a double purpose.
When the exercises are given for dictation, the student
should
First, tell the rhythm.
Second, sing with a neutral syllable to show that the
melody has been correctly retained.
Third, name it by scale numbers or Sol-fege syllables.
Fourth, write it in perfect time.
Having made the note-heads in time, put on the stems in the
same way, and lastly, the bars, just as the accent occurs. Dots,
flags, etc. , may be added afterwards. Summarizing the order of
work: FEEL, SING, NAME, WRITE, and a child should
play them if he is doing work at the keyboard.
Ex. 20.
1
BIRD SONGS.
2 3
^=S=:^^: =s=f :=*=:^j=*=;
F=f=-n p irrr^ ri ~HLJ| ^
g--r
^^^
s=t
10
11
12
10
The next number includes a dotted-eighth and sixteenth, the
latter almost seeming to slip in between the beats. If one cares
to apply a syllable to it, use the vowel a, saying "two-acne";
and in No. 17, "one-a two-ly", etc.
13
8va.
14
15
J"1 HI* IIJx
• J * J ' I J- ' •
16
17
8va.
18
,., •H'sf— .
,,,, i iEa"£*
S
^:
19
20
22
23
24
33
CHAPTER III.
TONAL RELATIONS CONTINUED: MINOR MODE OF KEY.
CADENCE. SCALE-SECOND IN MELODIC
AND HARMONIC RELATIONS.
33. As a result of relation to the tone-center, every tone in
key possesses either the quality of progression or repose. Sing-
ing the patterns at Ex. 21 and noting the character of each scale
degree, one hears and feels that Do and Mi, scale i and 3, are
tones of repose, and the remaining ones, tones of action pro-
gressing to the repose tones, such movement being called the
resolution.
Ex. 21.
IPS!
t-0-
Notice that Re, scale-second, moves both ways. Which is
the stronger tone of repose, Do or Mi?
a. Sol, scale-fifth has a synthetic quality, combining with
both progression and repose tones in harmonic relation. Melodic-
ally, it is a tone of action resolving on the Tonic. Occurring at
the close of a melody, or in contrast to preceding tones of action,
Sol has the quality of repose, Ex. 21, b.
34. Before doing detail work with all of the key material,
it is well to use Sol, the Dominant, as a distinct progression tone
in melody, as in Ex. 24.
The law of contrast compels one to hear a change of quality
in successive measures, especially between the last two, or the
last two pulses of a melody.
35. A change of melodic quality (progression or repose)
means a change of harmony.
EVERY MELODY SHOULD HAVE AT LEAST Two MEASURE
ACCENTS AND AT LEAST Two DIFFERENT HARMONIES.
36. SECTION is a term applied to the rhythmic group next
larger than a bar or measure.* A section may be two bars
or three, not more. At Ex. 22 each pattern consists of two
*As there is no universally accepted terminology for much of theoretical
work, the writer has employed that which seems the most significant and
comprehensive.
11
12
sections. Number i of Ex. 24 is a three-bar section. In groups
of four or more bars, rhythmic balance or proportion is maintained
by having an equal number of accents in each section.
a. In learning to hear in sections, the ear must have
distinguishing points or places to rest, so it is well to change the
rhythm, or repeat a distinct pattern, as at Ex. 22:
Ex. 22.
b. In the beginning, the harmonic contrast should be
associated with rhythmic accents, then one learns to anticipate
the changes of harmony on the accented beats of the measure
and section.
c. In a three-measure phrase, the contrast must necessarily
fall on the second measure. In a four-measure melody, the
contrasting quality may fall on the second or third measure, but
the beginning of the third measure which is also the section
accent, should be progression quality, in contrast to the close,
which would naturally be the tonic quality. See Ex. 24 and
others.
37. PHRASE is a term applied to a group of two or more
bars or measures marked by a pause that is equivalent to a
punctuation mark in literature. As a phrase refers to the con-
tent, it may be indicated by a comma, interrogation point, period,
etc. Like sentences in language, a phrase may be long or short,
the length depending upon the harmony, while the section is
only a rhymthmic grouping of twos or threes, like pulses in a
measure. Ex. 23 contains two sections, but one phrase.
38. The close of a phrase is called a CADENCE. When the
Tonic falls on the last of a rhythmic group, the close is in
the nature of a period or completion of a sentence.
a. When a progression tone falls on the last of a rhythmic
group, as it frequently does in melodies of more than four bars,
the close is in the nature of an interrogation, so it may properly
be called a "Rising Cadence."
39. In Ex. 23, the repose tones falling on the weak pulses
and the weak measure of the phrase give no sense of pause, so
there is no cadence until the last measure, when the Tonic and
the strong rhythmic accent occur together:
Ex. 23.
13
Rhythmically, the weak pulses demand the strong: Harmonically,
the progression tones seek equilibrium. When the two occur simul-
taneously, there is a cadence, and the phrase is complete.
a. FORM is outlined or given shape by the cadences, so
hear everything as leading to some kind of cadence.
The teacher will observe that in the first tone-thinking
required, and the first dictation work, the stronger tones fall on
the accented pulses.
The patterns of Ex. 24 are so written that the progression
tone, Sol, falls on both progression beats and measures.
40. Using the material of Ex. 24, first tap the measure and
time values, one hand marking the former, and the other hand
the latter. For example, No. 2 should be tapped as indicated
in the following:
Right hand: j
Left hand: f
J
r r
J J
r r r
j
r r
Reverse the operation, letting the right hand tap the pulses
and the left the time values.
a. Sing the melodies, and if the Tonic and Dominant
harmonies can be played with them, so much the better, as that
accentuates the harmonic quality of each measure. The melody
should not be played, but only the harmonies on which they are
based. Sight-singing means tone-thinking, and tone-thinking
precedes or greatly assists discriminative hearing.
b. The better one feels the harmonic regulation of a
melody, the more sure one is of pitch. With the simple melodies
taken at a lively tempo, many have but one harmony to a
measure. Many of them have been so written, because that
enables a student to think the measure as a unit, and not note
by note which is fatal to sight-singing, ear-training, or the
harmonization of melodies at sight.
41. Taking the melodies from dictation, the student should
first name the measure (two or three-pulse): second, state the
harmonic quality of each measure, progression or repose or Tonic,
Dominant, etc., if one happens to be familiar with the technical
names of the harmonies employed: third, sing the melody with a
neutral syllable to prove that the tune has been retained; then
name by syllable or scale number and write in perfect time as
directed in paragraph 32.
14
Ex.24.
1
£f=T
&^
^^i
f ru
f^-c i fe
J ii j ig
42. Introducing the dotted-quarter note, compare the length
with quarter notes by tapping the beat of the measure with one
hand and the time values with the other, as in the preceding
lessons. If one is weak in rhythm, this should be done with
each example before it is sung.
Ex. 25.
1 2
m
v^—r
^j.^iJ-J-jir;iJ.ii^''jir-^jijpa
i
^*
la
10
11 12
0 h 1 ' '
i L P J r-
K-f^~
-1 1
-3
,^>
— 1 K *"1
\-P — <» r
Tjj
•ig . — 1-
^_ L
-!& '
— fc
J .P J J
13
14
jM'jiJ««n
43. After i, 3 and 5 of scale, there is a reason why the
scale-2nd should be the next tone introduced. Employing the
Dominant as root and harmonic-generator, its fifth, the next
overtone, is the scale- 2nd. Experience with both children and
adults has proven that this is the next easiest tone to consider.
Teachers who have sung the scale for years and are ac-
customed to teaching it, naturally think the scale order of
presenting material is the easier. As a matter of act, the dis-
crimination between seconds is much more difficult than between
harmonic intervals. Incidentally, one gets the necessary chord
training when it is most needed.
44. Sing the following and supply a tone for the third
measure:
Ex. 26.
Solution
[ I jr i^E J
Should one fail to sing Re, the fifth above the Dominant, test
the feeling for rhythm. Without that, even the very talented
often fail. If with well-established rhythm one fails, play the
Dominant chord for that measure.
When untrained singers (old or young) are asked to do what
has been required here and in the preceding lessons, with no
idea of what is expected, they invariably sing the tones as they
occur in the overtone series. The teacher should not play it
first, but let the student find the tone with only the suggestion
to sing something higher.
16
45- ANACRUSIS is the technical name applied to the frac-
tional part of bar or measure at the beginning of a phrase.
The anacrusis throws more weight on the first accent than it
would otherwise have, so a tone may be emphasized by beginning
a phrase with an anacrusis:
IJ
As shown in Ex. 21, when moving directly to resolution,
Re, scale- 2nd may resolve on the Tonic or the scale- 3rd.
46. Taking the following exercises from dictation, observe
the closing tone and how it is approached — from above or 'below.
If one is very slow in retaining the melodies, follow the direction
of the melodic movement with chalk or pencil, then, remem-
bering what is above or below the cadence tones, one must surely
recognize definitely.
Observe especially the harmonic character of the second
measures, which, in a four-bar melody may be either Tonic or
Dominant. By listening for the measure and section quality,
one acquires the habit of thinking and hearing in larger units,
an absolute necessity for correct phrasing, breathing, and in-
telligent work in harmony.
Ex. 28.
123 4
m
a tt
FT^?
10
L "5 .
j *
1 4
i (• f5 i i \\
1) * g*
3 — — ^'
& 1 -g. — L.-^L^L
11
f)*,tt
12
l—Lj 1 U
,-*•,
f '"JF
m \
I
•
•5
9
m \
m I
• «
\ tt &
f ! &•
t f
17
13
14
m
JIJ. II J JUU
15
16
ru
17
18
19
±rfc
20
P |~ f2 P m <3 ^
21
22
• - r»^
^r=Ff
23
24
Jir
25
26
e
27
28
29
30
'V *
— — •-
18
31
32
.
-0-
V^ — 4-
33
34
E! ESS =*=L
47. Returning to the triplet again, tap the rhythm, and
proceed as before:
g?J|J JT>|J J^T^~r^=H?^ri lrr!^~l^ fl"
10
19
48. Drilling on the dotted-eighth and sixteenth, observe
the imitation or repetition of either melodic or rhythmic figures.
Mark the groups as A, B, etc. For example, Nos. 2 and 3 are
A + A, rhythmically, and No. 4 is A + B. Do this before
trying to write the melodies from dictation:
-* — K^ — ^ J ! i * 0~ 0 \ — — -I — h-^ — p-<* i — 0 j— 3 0- —
)T».[.il; • I'-* ^ b^fr^r^Tr-^i?^^
m
&•"• ;or*"A
TT
s:
P-«
s
20
49- In the minor mode of a scale or chord, the third is
small. The scale syllable is Me, pronounced "May". Sing Do,
Re, Me, npt La, Ti, Do, or 1-2-3, n°t 6-7-8.
Ex.
' «
0 _
\ * , •
w
&
At a slow tempo like the foregoing, the minor mode suggests
a darker shade of color, or a more serious idea. At a rapid
tempo, minors are very playful, so one should not get the im-
pression that the minor mode is sad.
50. What kind of a second is the interval from Do to Re?
From Re to small third? What kind of a fifth from Re down to
Sol? What is the interval from Re up to Sol?
If one has difficulty in thinking the minor mode, sing a
given pattern in the major mode first, then in the tonic minor,
not the relative. Sing all of them in the minor mode:
Ex. 32.
1 2
m
§d-
Hh ,
i
n — h
-\ — 1
i
? 1
-J Tr
—4—
^
H—
—
5— fr
-j — i —
-1—
e
5
•\
i
6
) —
i—
m f
A •
*
— i — ;
-
--*: p
•» — *n-
U
rj-
7h
>
— u
f-
i
i
- -! P~f-
~i~
i
a
7
9 —
— t-
i
l^
— i 1 — r
hr
-4
— 1-
1 —
—-
H-
-r
H — 3EE
t- v — r
— i — •
21
Si
10
r
c/
11
12
g Tl ' b
\j
^
13
14
15
fcrft
»
f:
16
fUJjU-uJfir J
22
17
I y
1= J ^ J
f:
18
19
i
£=:±r=M:
2
t3-
a:
20
0 u
^
ZZ23S «
I m
• n
1
b *» i
m r
r J
0
J N
Sr_2 D
•» •
J f J
-• •
»
«
51. The six-eight measure seen in the following is a com-
pound of three-pulse taken at a rapid tempo. This measure is
often counted two instead of six, counting the accents only,
giving the effect of a two-pulse measure with triplets:
BIRD SONGS.
23
52. Sing the degrees of a minor triad, holding each with
the piano, or if in class, with other voices until the entire chord
is heard. The tones should not be played for the student, who
should be able to think them without aid. If one is studying alone,
the pitch may be tested by the instrument.
It is well to alternate the major and minor mode, changing
Me to Mi if the syllables are used.
Ex.34.
A &. ,£>. ,£>
^>' "^y *^^
*- ». j— i
^2 /^
n. > ]
ten "xB'-'rfaM.,
, — .
r*"l' " <**~
j^j' 'j^' ' 'X3
fj <* — I
Students have more or less trouble with the minor mode.
The principal reasons are: first, the use of major syllables which
destroys the feeling for the Tonic. The so-called relative minor
is only relative in the matter of signature. The Tonic and
Dominant are the elements that define or establish key, and
these are lost when one thinks of a minor Tonic as the sixth of
the scale. Dealing with melody only, this might be done, but it
is very confusing to have one system for melody and another
for harmony.
Another reason for not doing the minor keys well is the
lack of practice. If one thought in one mode as often as the
other, there would be no lack of understanding and facility.
CHAPTER IV.
SCALE-SEVENTH IN MELODIC AND HARMONIC RELATION.
AUTHENTIC CADENCE. CHORD INVERSIONS.
53. Every tone generates a pure fifth and large third, so
the next tone to be considered after the Dominant-fifth is its
third, the scale-seventh. This tone should not be given to the
student, but let him find it if possible, by singing the following
pattern or something similar, supplying a tone for the pulse
between D and A:
Ex. 36.
-0-r
Solution.
If one should not sing Ti, scale-yth, play it as given in the
solution. When it is found, observe its scale relation to the
Tonic, also its chord relation to the Dominant.
54. They who use the syllable names are less likely to be
confused with the scale and chord numbers which are not the
same, excepting in the Tonic harmony. Whatever the names or
means employed to keep the scale and chord numbers distinct, it
must be done. The lack of this knowledge is a great handicap in
the study of harmony. If necessary to drill on it, sing both
relations. For example, Ti, chord-three to Do will go; Re,
chord-five to Do and Mi. Using the scale numbers, scale-yth —
chord-third: scale-2nd — chord-fifth. Playing the harmonies,
Tonic and Dominant, with the various degrees, helps vastly in
acquiring the feeling for harmonic quality.
55. What is the interval from Do down to Ti? Moving
directly to resolution, what does Ti demand? What other tones
demand Do?
56. Employing the three tones in chord relation, we have
the Dominant harmony which the teacher and more experienced
student has used in the preceding lessons.
57. In class work, all sing a given Tonic, and different
ones the three tones of the Dominant triad, closing with the
Tonic as at Ex. 36, a; then with the various resolutions as given
in this example:
24
58. This relation of the Dominant harmony followed by
the Tonic is called the AUTHENTIC CADENCE.
Play the different positions of the cadence in both modes,
both open and close position.
In doing individual work> play two tones of the chord and sing
the other.
59. The chords of a key are designated by Roman nu-
merals that correspond to the scale degree of the root. In the
minor mode they are smaller and with dots above:
Ex. 37.
r\
1
1
dJ
J>J
1 ,
1
°j y>
5i
sta
-^
I
n &
'/
& V
r? £2
> ,
j& a<
K^ .
_ ^
K - K^
K_r
1_ ,
23
k5i- .
\v &
r-
^
'^ ^
)'
s
'*" &
V&L .
7^-/o
ITS: 9i
" ^3
BE
BE
_^..
?^
J K*
?
1
^ &
-5^ -;
'<& g
(S'l!
S-^
^ y
&
I
V
^
I
i v
1
i
I
J
1
1
J
J-
J
r 1
2
^
2
1 £i
23
^,
^9 — <
—TZ
- -&—
- — i-^
'-
- • -&-
S*_ca.
4<
60. After playing the foregoing patterns in many keys,
modes, the student should name them from dictation, stating the
chord degrees that occur in the outside parts. For example,
No. i: Tonic, root and fifth; Dominant, third and root. In this
illustration, the lowest part has been mentioned first. As it is
usually more difficult to hear, give it the first attention.
Written, the example would appear like this:
585
1 V I
838
Attention is called to the fact that the Arabic numerals in-
dicate the chord degree, not the scale numbers.
For home work, these patterns taken from dictation should
be expressed in music notation and the full triad written as in
Ex. 37. The work should be brought to class for correction.
61. Sing the following exercises in both modes, after which
they should be written from dictation:
Ex.38.
*t
3.
fe
3
" U
'f J i* J IJ J J |J
==g=*=1- * |J '-^— F^
~
•^|. j , [p^z
10
ii
ftftt J J J
- 1 r I- ^ i'J-
^
12
*fi
^
-!-•-
14
-frr
15
' I J r J
16
17
18
19
27
20
21
« — M-« . ••
22
23
24
25
26
27
a:
28
29
30
31
32
33
dt
34
35
±^s
36
37
38
28
40
^
47
3 3
45 46
, u,
' L*
W-T-
•*-*-f-
^y r
-^Trf^r-
{-*-
*•??'•
48
49
fgg
50
Ji^
To vary the work, more harmonic study is placed here,
after which the melodic dictation will be resumed.
62. In four-part music, necessarily one degree of a triad
must be doubled. Referring to Ex. 6, one sees that Nature's
plan has more roots than fifths, and more fifths than thirds.
Knowing that, listen for two roots or fifths, but not two thirds.
The latter may occur later, but not at this stage of the work.
63. A chord is said to be inverted when other than the root
occurs in the bass. It is said to be in the first inversion when the
chord-3rd occurs in the bass, as at a, ~Ex. 39.
Ex. 39. 1
For self-help, play the chords and mark the degrees of both
the outside parts. By all means, transpose every pattern into
several keys. This is one of the very best means of ear training
as well as hand training, and should be done persistently. This
should be one of the important tests required by the teacher.
64. In taking from dictation, the student may only be able
to recognize the harmonies and write the Roman numerals at the
first hearing; and it may be necessary to have the pattern re-
peated when taking the outside parts. Eventually, all should be
recognized at one hearing.
Reversing the process of the preceding lesson, write the
Roman numerals that indicate the harmonies played, then the
two outside parts in staff notation. Nos. i and 2 of Ex. 39
would appear like this:
nil i 1 !
v
i w
^y
/L * m
22
frn
\^\)
k7
IV I
I V I
i^l*
*-/•
*^-S A
^2
tf _
22
P
I- r— r r
Ex. 40.
65. When there are inversions, one oftcner hears the chord-
root or fifth in the upper part if the chord- third or seventh is in tlie
bass, and vice versa. This is not always so, but the most frequent.
30
For home work, the chords should be completed, the in-
versions indicated, also the chord degree of the upper parts.
66. When the chord-5th occurs in the bass, the chord is
said to be in the second inversion, which is indicated by the figure
5 below the Roman numeral.
In this inversion of a triad, the bass note is usually doubled.
I and V are of similar quality, the former possessing more
5
of the Dominant quality than of the Tonic. If one has difficulty
in distinguishing them, remember that I is followed by a Domi-
5
nant, almost invariably, while V demands the Tonic only.
67. When the Authentic Cadence closes with the root posi-
tion of both V and I, it is said to be "Perfect." Otherwise, it
is "Imperfect" and less final in effect. Because of the pro-
gression quality, the second inversion of the Tonic (I) is not
used for the last chord of a cadence.
68. Play the following in both modes and mark the in-
versions before they are written from dictation:
Ex. 41.
1
J Jij || j ji'j II j JJ
4 — 4- d • =i=*- <c) - -9 — 4- -*•
^
J^
^tfif-^tHffr
V
5
V
5
i
31
fcfc
m
i
10
Ji
eji
1 1
• i
q
j
\
' J
3 n
w
J>.
J l
;
0
r r + + +-
•P- -0- 1
Wj — 1 U —
i t
-P
S2
-f P—
H b—
a •
22
£> — n — r-
-* — r—
-1
yz
-•—
-» — EE
—
I~p3 '
69. When the Dominant chord falls on the rhythmic ca-
dence as in the middle of Nos. n and 12, it is sometimes termed
a " half -cadence " also "rising cadence." As the effect is similar
or equivalent to the interrogation point of literature, the term
"rising cadence" is appropriate.
11
/i 0
h 1 1
J
J
I i
:
1
1 i
H — 4
J—
-*
-J — *-
--» 5-
|
m r i
M — 3~
— *j —
*
*
- -^3 — •
•
j •
^y
f
3
P
*^/
s^
f3
i
m
— P— ,
p
•
-*-
m m
~T* — P~~
l Czt
' -
-»
i L
— p-
V
P P
I P
™ !
J2H
12
r, A 1
1
J 1
J -
1
J J
j»s^
J J
J- J
r
j j
i
i
fl-3
* +
• J
S2
J •
* 9
X-
ft ^
1
^~
-G
•^ •
5
1
^
»-
—
J.
1
s
f ^
t f-
P7"-f
— A —
—
—•—
l>
• h- —
T 1
7*5 '
V^'
f —
•
-f. — U-
1
w
ta p
— L—
H —
H
-f
1
1
32
13
j^d^Ud
f T T
J
,. « j • » ^^-6
r r
14
J. ,J
r;;Jr^ 1.^=1^
r,i i [ v 'I
. j j.
^
~^—
' i
r
70. Sing the following and mark the sections or phrases,
A, B, C, etc., after which they may be written from dictation:
Ex. 42.
1
i
m
m
i
»«.j i.
R:
5
^
33
&
e:
8
10
ftdt
11
?fe
HJ«»IJ J
P*
12
-a j-ffjt f . f?f-4- J ^ y I ^ , I I ^-^-h^~ |p T^H
f>- -?-ii44j x x I J bj I =fg=*M =^=H J I ^ • h J
-tr- »~^ ^.m &
I
13
^
14
S
f-X-X-
>>
£?
15
i* Jif rnrr ru
34
16
17
g-
18
19
g:
20
21
V.0 f -g — i— P f ^
IP I I M-l-^Rr
c:
22
23
9 *
w
^ '
. ,
^ •
» . -
_! P i
, J
^l/ 9
r^
»
•
3 • J
Cs 0
d:
24
25
35
26
n h
r-tP- — »-
— f — i — i — -f—
kfr • 1 — JT »—
y= =fc= J n
~9
-
=ff^=
i — i-
^
X | Tl
27
oft , i
i — i — qp — i — i — i
~i rl — i i J
-fl1 — '
— -
Rff f r FJ^
-9— -&-*- *
id
-U
•^
i^-
28
29
f
/'Tt J
71. What is the interval from Ti, scale-7th, to Mi? What
kind of a fourth?
72. Unless it moves chord-wise, after an interval of a
fourth or more, the melodic direction is usually contrary to that
of the leap:
Ex. 43.
) — +-*-
^-^-
-^ —
q=
_^ — .
-*
-J-=-r-
-^
-*-
r» —
not
not
73. Consider the following intervals as indicated and com-
plete the melody by adding one or more measures:
Ex.44.
1 7
3 2
3 2
1 7
36
74- What is the interval from Sol, scale- 5th up to scale-
7th? What other large third has been sung? What is the
interval from Sol down to Ti? What other small sixth has been
sung? Add to these as in the preceding example, thinking the
tones as indicated:
p 1
r
M
ZB2I
i r 4-
1 Jk
—&- *—*r-j " • -hr—
13 57 38 75
Ex. 45.
75. For the following exercises, the teacher should play
the first two notes for the student to name the interval, then
the whole melody for the student to find the Tonic. For ex-
ample, at No. i the reply would be "a pure fourth." What
pure fourths have been heard and sung? From Sol up to Do,
scale-fifth to Tonic, and from Re up to Sol, scale-second to
Dominant. Listen for the Tonic and tell which of these fourths
it is, then name the complete melody:
Ex. 46.
1 2
^F^
W
-73-
JL - m
1* • N
« •*»
.
r • n
- ' 1
w \—
£- — P-
9 • p
s
m w
•v .p . i
L) 0 1 0 1 LI
9 10
A i
B m
m
K,
m
m
A f »
. r
Et
r - -&~ •
m T »
^2. • .
13
14
76. What is the distance from the scale-seventh up to the
small third? How many small seconds are included? An interval
that is smaller than pure or small is said to be DIMINISHED, so this
is a diminished fourth. It occurs in the minor scale only, and in this
one place, unless made so by chromatic alteration.
FOR SELF- HELP, SING THE INTERVAL IN DIFFERENT
KEYS, testing the pitch with an instrument.
77. What is the distance from the small scale-3rd, Me, up
to large scale-7th? How many large seconds are included? An
interval larger than pure or large is said to be AUGMENTED, so
this is an augmented fifth.
Diatonically, it occurs nowhere else in scale. The tendency
of an augmented interval is to diverge, so there are two reasons
why this particular seventh should resolve on the Tonic and
move contrary to the principal given in paragraph 72. Both the
nature of Ti, scale-7th and the augmented interval demand this
resolution.
Singing consecutive large thirds is difficult for most people,
but it is much easier if one thinks it in key where it actually
occurs.
Ex. 47.
fe^iMf^^^a^teSEH
Sp=g
78. The triad built on the small scale-3rd is known as an
augmented triad because of the augmented fifth which it con-
tains; a, Ex. 48. Name the different types of triads from
dictation, or indicate in writing by the signs, +, — , /, for
major, minor and augmented, respectively:
38
Ex.48.
a
&
-g— -
*SL_.j*^_n
^§=
3^
79. From dictation, name the types of sixths of Ex. 49,
then sing a tone which will complete the triad, making three
distinct types as at a:
Ex. 49.
A>
One can do this without the aid of a teacher by testing at
the piano.
Write the root letter under each, using capitals for the
major chords, small letters for the minor, and the acute sign for
the augmented.
80. In the following examples, G is used as root, third
and fifth of both major and minor triads. For home work,
do this in many keys, keeping the given tone in each of the
three parts as shown in the copy. For training in tone •- thinking ,
sing the tones that are to be added before playing them. For
an ear test, this should be played in class.
x. 60.
i U-
n '
N ; U~\ I^-N i U"
^ * 4 m e> •
,j J^J J^J
)
k b 1
) — £—
g» — jrf?? — y-\-* —
2
o -
4 4 ^
rz* ^ — r^j ^»~ps? 5~i
t" . p r
j^q 2^. g|
^-^ Jf — (^ — — 5? —
) P —
— & 0 9 0 9 —
1 — K
3
A \ ^~s\ \ ^^4 1 v^.
J' X f - bJ -
A \ x_xl >%_,/l
L 1 ~ ! ^ I
a f., ^ +> v*zi E
?« * /a «^ : <d i
i 1 i 3 I
1 ! 1
is m si m—C3
r *
.^ * ,& * * .& \
^*
r>» -35- V "~'-^u >» "~
x •» x f x
\ ~ ! 1
39
8i. Taking two-part work from dictation is more difficult
than three or four-part. Knowing that the low part must close
with the root or third, listen for the direction of the approach.
Knowing what resolves on the Tonic from either side, listen for
what must be; also the same way for the approach to the third.
For self-help, sing one part while playing the other, testing
as usual:
Ex. 61.
1
2 3
J J J
4
J j J
5
J j J
Jgft J
•— -J
— j — i — '
J
-s> * — « s*
- -» —
z
— a —
0
* r f
nr i *
1 f '
1 r
-f~
10
\ ~ F 1
fv
<
.
5?
i
1
i /^
«
s?
* i • "^"
2 , f
*
i f i
1 1
11
o J
J
f
>-
1
2
J
»
I
f
13JJ
14
J
i Lj i
i J
/ , •
J
^^
**~
i i
»
-j^—
)i7 *
»-
- -75-
(
•
^
•-
-^
* *'
1 ^
~^s
•
• * • i ^
i C
15
A ,
.
16
1
17
! ~
18
\
i
]
£aT
9
J
I
T •
u
•
F
*
•\ " f ^
/^-
*
-tf
£
»
-^ L«-
+
^
f , <^
22
23
24
30
31
32
33
34
{- -
35
I r
J
36
37
38
39
I
40
^f
41 3
42
i
43 3
^p
_0^
44
45
JT1
46
1
47
IT
i:
T
CHAPTER V.
SCALE-FOURTH: DOMINANT SEVENTH.
82. Play the harmonic series of Ex. 52 and sing a tone
higher:
Ex. 62.
&
Few there are who will not sing F, a small seventh above
root, and when placed in scale relation, the fourth of the scale.
83. From Ex. 21, one hears that Fa, scale-4th, demands or
resolves on the scale-3rd. What kind of a second is it? What
other small seconds have you heard?
The small seconds are the intervals that determine a scale,
and they may be recognized by the melodic direction in which
they move to cadence.
84. What type of fourth is the interval from Tonic to scale-
4th? Sing and resolve the fourths that have been considered in
the preceding lessons.
85. Place the scale-4th in melodic relation with the preceding
scale degrees something like the following, and transpose tc
different keys and modes:
Some successful teachers think it an excellent practice to
sing from the scale numbers instead of the notes on the staff, at
least a part of the time.
It is good practice in tone-thinking, because one has no aid
from the staff positions. It is sometimes convenient, especially
at a concert, when a passage might not be remembered.
41
42
86. Writing the scale numbers, place a dash over or under
the figure to indicate the melodic direction, if the interval ex-
ceeds a third. For example, in the fifth group, the mark below
5 indicates the fifth higher than the preceding tone. In the
eighth group, the mark above 7 indicates that Ti, scale-yth is to
be taken below the preceding tone. In other words, sing above
or below the dash.
Ex. 64.
1—4 | 3. r| 2—4 | 3. 1—3 | 4—2 | 1—7 | 1.
1—3 | 2—4 | 3. 1—3 |_5— 4 | 3. 1—3 | 5—3 | 4—2 | 1.
1—3 | 4—2 |j>-5~ | 1. 1—3 | 2—4 |~7— 2 | 1.
1—3 | 4—2 |_5— 7~| 1. 5—3—1 | 2— 4— ~7~| i.
5— 1— 3~| 4-^7— 2 | 1. 5— 1— F| 4— 2— 5_| 1.
5—3—1 14—2—7 | 5—3—2 | 1. 5—3—1 | 7— 2— ~5 |J— "2— 3 | 1.
Melodies taken this way from dictation should be written on
the staff at home and sung by letter names at the class recitation.
It is unnecessary to include more examples of this work, as
all of the melodies can be so written if one chooses.
87. As seen in Ex. 52, Fa, scale-4th is a small seventh above
Sol, the root and generator of the Dominant harmony. This
four-tone chord is called the Dominant- seventh chord.
88. Play the following exercises and mark the chord degrees
of the outside parts as in the preceding lessons. As it is very
important that one should think and hear the material in both
scale and chord relation, sing each part, naming both relations.
This work should be done at home, as the teacher's time is
needed for what a student cannot do for himself.
Ex. 55.
1 2
A
3 4
V o
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zumzg % ^
'S' ^ £>
^y _^, (^
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lm X-- _xs xi
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43
:
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89. What is the distance from scale-yth w/> to scale-4th?
How many small seconds does the interval include? What is the
name applied to an interval that is smaller than pure?
What is the interval from scale-yth down to Fa, the scale-
4th? What is the name applied to an interval larger than pure
or large?
What type of third occurs between scale- 2nd and 4th?
90. For individual work, sing the following and find the
key-note of each. In class, write the same from dictation:
x. 6(
1
2
3
1
4
7
i ,
1
1
im
]
r
1 lu
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10
Follow the same plan with these:
Ex. 67.
12 3
&-
*
=w
•"
^ip
m90-*-m-
* w 9
44
gi. What is the interval from Fa, scale-4th up to scale-2nd?
What other large sixths have you heard? Resolve these in the
keys indicated:
Ex. 68.
J
) •
•-
— [
1
1
1
f — p
f-t
4 2
5 3
1 3
7 2
92. What is the interval between Fa, scale-4th and Me, the
small 3rd? Sing 1-4-3 i° both modes.
93. Play and mark the chords in the following, indicating
the inversions, also the chord degree of the upper part:
Ex. 59.
1
1 5 1
3 4
1 3 1
3
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94. When doing the individual work which prepares one for
the class dictation, observe the things that usually occur. For
example, that the Dominant harmony is major in both modes of
the key.
If third or seventh occurs in the upper part, the root or fifth is
likely to be found in the bass.
46
If there are leaps in the upper part, the bass is likely to move by
step or remain stationary.
This is especially true when the harmony changes. With
different positions of the same harmony, all of the parts may
move by leap.
With only two harmonies, it is difficult to retain two or
more phrases. Listen for repetiton or general direction to rhythmic
accents.
There are advantages in taking the dictation by writing as
one plays. It means quick recognition and quick movements of
the hand. In doing this, anticipate as much as possible.
Ex.60.
rtn
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48
10
Beethoven: Op. 10.
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95. Dictation including Fa, the scale-4th in relation to all of
the preceding scale material:
Ex. 61.
1
P?3
=pc=^
10
f r *a
a:
11
12
13
14
g— 0
15
16
v r J Ir JH^J-IJ^Hr J7T^
17
rtfc
49
18
19
-P3-
20
21
22
23
24
25
.s.
26
27
±±
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28
* J I I - s S
• i * J > ^ ^
30
BEE:
32
33
:-
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34
35
40
g^
*-^ — *-
41
Old English.
J J i |J J J
£E£
42
Russian Dance.
j-u
96. When scale-4th occurs as fifth of the Subtonic harmony,
on the large scale-yth it forms a diminished triad. As a result of
the diminished-fifth, there is an augmented-fourth in both of the
inversions of the chord. Hearing that, one is sometimes con-
fused in the aural recognition.
51
a. The diminished mode of a chord is indicated by the sign,
o, as at Ex. 62. In four-part work, the third of a diminished triad
is usually doubled.
97. What is the mode of the Subtonic chord built on the
small scale-yth? In this case it is not heard as a part of the
Dominant. Why?
98. Before taking them from dictation, play and mark the
chords of Ex. 62, indicating both the root and the mode:
Ex. 62.
~ L ,? tt-^, ^»^ >? \?y^v<'<rrLU*, v_ u_
99. First sing, then write the note that will complete the
various triads of which these sixths could be a component, as
at b:
b
Ez. 63.
±7-7^^
(.0) L -
C/ "'•' &* C/ ^ °^
m
TOO. As one takes the longer and more difficult melodies
from dictation, listen for repetition, imitation, sequence or strik-
ing rhythmic figures. One should always hear and feel the
grouping.
Tap the rhythms which include the sixteenth notes before
singing or writing them from dictation:
52
X • • J •
Beethoven: Symphony.
^Trf? MT*-+
•*-=-
etc.
*
I
2=ri2
9=+
•0 ^
-&-
(*5 T . ^__|
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1 •—
1 * ^~
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1 — «
10
Welsh Song.
^a:
.•ft t ••:
^
11
12
m
53
13
fc&i
-f-r
14
15
H — j— j— H*a p*
t*=^-&
i^f^t
*
*
17
18
a:
19
•»• *
CHAPTER VI.
DOMINANT-NINTH. SCALE-SIXTH, LA. SUBDOMINANT
HARMONY. TETRACHORDS.
101. Continuing the harmonic series, after the sixth over-
tone which was considered in the previous chapter, the intervals
are in seconds, the root and octave of the harmonic-generator
following the seventh, and after that, another large second, which
is a ninth above the generator. Placed in scale relation, it is La,
the scale-6th:
Ex. 65.
102. In its harmonic relations, the ninth of the Dominant is
more likely to be heard in the upper parts, especially in the
lower registers. The distinguishing characteristic of the Domi-
nant-ninth is its demand for resolution on the root before the
chord as a whole resolves, an effect that is not true of the Domi-
nant-seventh. The demand is felt very emphatically when the
ninth falls below the third, as at b. Sometimes the ninth resolves
with the chord, as at c, and sometimes it ascends to the third,
as at d:
Ex. 66. a
-&-
103. Play and mark the chords in the following before
taking them from dictation:
Ex. 67.
1 2
i-
J
-LMU
1
104. The syllable name of the small sixth is Le, pronounced
"Lay". It is used in two forms of the ascending minor scales
and in all three of the descending forms.
105. There are also two sevenths employed in the minor
scales, large and small; the syllable name for the latter being Te.
While there are many different modes of scales, only the major
and the three forms of the minor are considered in this work.
The study of other modes is recommended when these are fully
mastered.
106. With the sixth, the diatonic scales are now complete.
With the natural tendencies of the scale material as shown in
Ex. 21, it groups itself around a tone-center, the Tonic, falling
into the two tetrachords of the scale:
Ex. 68.
Observe the tendency of the tetrachord as a whole: one down
and the other up to the tone-center.
107. Considering the scales by tetrachord (i to 4 and 5 to 8),
one sees and hears that the two tetrachords of a major scale are
identical.
a. The small third of the minor mode makes a tetrachord
that is distinctive and peculiar to that one location in scale (i to
4), so it may be given the distinctive name of minor tetrachord.
56
108. The small 6th and yth of the original form of the
minor scale locates the small 2nd between 5 and 6 of the
scale. As this type of tetrachord is found in the original form
only, it may be designated as the original tetrachord.
109. The small 6th and large yth is peculiar to the har-
monic form of the minor scale, so that tetrachord (5 to 8) may
be designated as the harmonic tetracJwrd.
x. 69.
1
y B"~
j— '—?p — C&< — £Z — — -
-\
1 " 45 8
Major Scale. Original
n
z> ^ ° ^
5 8
Minor.
\
^ CS U^-j L
—\
)— — h- — £2 — <s> *& — '• — <& — se-
V& V& .y
— |
5 8
Harmonic Minor. Melodic Minor.
1 10. The best melodies are above and below a tone-center,
rather than all above, and one will find it advantageous to
practice singing that way, as well as from Tonic to Tonic in
another octave.
Ex. 70
-» — 0-
a. Practice beginning on different degrees of the scale:
Ex. 71.
1
I J J J-J
fe«J J J J
57
a:
£. Considering the following as i to 4 or 5 to 8 of scale,
name and write them from dictation:
Ex. 72.
in. Keeping the Tonic as a tone-center, sing both above
and below, alternating the various* forms of the upper tetrachord,
5 to 8:
Ex.73.
1
r<s»-—
J I J i,J J
ii2. What is the interval froni the Tonic down to the small
sixth, Le? What other large thirds have you heard? Name them
in the following:
Ex.74.
123
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-i — P-
fe=
58
\ V9
21 J
I J
:: u*
EE
W v° \
I
J • • J
es
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9
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10
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1
11
K
f l
U. ,^j
1 i I
i
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n
L
3* £
-
tt*
El
J — ..4— i m -
113. What is the interval from large scale-3rd up to large
6th? From the small 3rd to small 6th? What other pure fourths
have you heard?
Sing and resolve them, after which write from dictation:
x. 75.
1 2
ri i i .
3
i
4
f i i
i i
i ,
i i
Ee 1
T £65E
~*-\
SE
-J-
d
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5E
i
^
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114. What is the interval from scale-3rd down to scale-6th?
What other fifths have you heard?
What is the interval from scale-4th up to large 6th? To
small 6th?
115. Write from dictation, indicating key:
x. 76.
1
9
2
3
S — ' — "~
M=
•
-jf
~%&
td
n — r
i
•
J
9
•
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j
i
59
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n
_
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r —
JE
h
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I
*-
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S
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10
p — ^
— fc
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2
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LI
12
— i—
i
— i — j
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1^. II
5-jJfc-l
— 9
—
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^
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13
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14
15
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t — * —
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19
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20
21
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23
24
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ii 6. What is the interval from scale-4th down to the large
6th? The small 6th? Proceed as before, and in finding the keys,
remember that the only tones of repose are one and three of the
scale. Listen for those tones at the close. Songs occasionally
close with the fifth, but not when a key is to be established.
Ex. 77.
1
-
='
,Q_i
60
^«
-fir
10
11
r
12
13
117. What is the interval from scale- 2nd up to the small
6th? What other diminished fifth have you heard?
Sing and resolve these as indicated:
Ex.78.
±
26
47
62
1 1 8. What is the interval from the large yth up to the large
6th? Resolve these as indicated:
x. 79.
w — i —
— 1 — ^~
v
r
~f — r~
* \~
i-f — i
) •
5 7
7 6
•
1
7>
1 2
^— 1-1 H
67 45
119. What is the interval from large yth down to small 6th?
As this is found only in the harmonic minor scale., diatonically,
it may always be recognized as such. It might occur by means
of chromatic alteration, but it is less usual.
1 20. What is the interval from the large scale-yth up to the
small 6th? As this is peculiar to this one place in a minor scale,
it is easy to locate. However, with chromatic alteration it is
frequently used.
61
Thinking or recognizing the foregoing examples without
first knowing the key is excellent practice, and very practical in
connection with the study of modern music where the tonality
is so often obscure.
The greatest benefit derived is that of hearing and feeling
the difference in the nature of an interval which arises from key
relation. As an interval only, there is no difference aside from
pitch, but in its key relation, also harmonic relation, there is a
vast difference in the nature of intervals. Going back to Ex. 76,
observe the difference in the feeling or nature of the first third
in No. i as compared with that of No. 3 and others following.
121. The tones falling at the extremes of the tetrachord — i,
4, 5 of scale — are called the "primary tones" of a scale, and the
harmonies of which they are root, are the "primary harmonies."
As the trend of the Subdominant tetrachord is down to the
tone-center, so is the trend of the harmony built on the Subdominant.
122. Employing scale-4th as chord-root and the scale-6th
as chord-3rd, one hears a new harmony, the SUBDOMINANT,
resolving down to Tonic. What scale degree is the chord-5th?
a. As root, the scale-4th is free in its resolution, falling a
fourth to Tonic or moving up a step to the Dominant, as seen in
the following example.
b. We now have three harmonies which demand the Tonic
harmony, — V, vii and IV:
Ex.80.
«l
1 1
1
1
1 1
I I
u 421 1
I.
^j 1
^i
^
IF
gi
^i jA
^j j
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n> J
1
f\
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1 '
r
c. As vii° is identical with 3-5-7 of the Dominant-seventh
chord, and as the scale-5th is the harmonic generator of vn° ,
one hears it as V7 without the root.
d. Built on the small scale-7th, the Subtonic harmony has a
quality that is quite distinct from the Dominant-seventh.
THE CADENCE IV-I, is CALLED THE "PLAGAL CADENCE."
123. In class, all sing the Tonic, and different members the
various degrees of IV and its resolution, as at Ex. 81:
J J - J J
t* • || j f^ •
Ex. 81.
62
a. As the harmonic form of the minor scale is generally
used in chord relations, both the Tonic and Subdominant har-
monies are in the minor mode. Play the following chord groups
in both modes, and sing and name both the scale and chord
degrees of each part, as in the first lessons with the Dominant
harmony.
Writing from dictation, after the Roman numerals have
been recorded, sometimes write the outside parts on the staff,
completing the chords and indicating the harmonic degrees at
home; sometimes write the harmonic degrees of the outside parts
from dictation, and express it all by staff notation at home.
r.82.
12 3
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124. Sing these in both modes and write from dictation:
Ex.83.
1
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fft ^ J
r
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Mendelssohn. 9
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De Beriot.
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Serbian Folk-Tune.
CHAPTER VII.
BYTONES.
125. In this work, all non-chordal tones are termed "By-
tones." A tone generated by the harmonic root is a harmon^
tone; any other is a by tone, and always dissonant. Sevenths and
ninths are dissonant, but when they are generated by the har-
monic root, as they are in the Dominant harmony, they are not
considered bytones. So it follows that while all bytones are
dissonant, all dissonances are not bytones.
There are specific names for the different kinds of bytones,
but theorists disagree upon the terminology of all excepting
Suspensions and Anticipations, so the author has omitted all
names excepting these two, leaving it for the teacher to supply
those preferred. A detailed discussion of the various bytones
and their specific names appears in the author's text, "Applied
Harmony. ' '
126, A SUSPENSION is a by tone that occurred as a harmony
tone in tne preceding pulse. The rhythmic necessity of changing
the harmony on the accent results in a suspension of any tone
that does not move with the remainder of the chord. Ex. 84, a:
Ex.84.
Y*
X |
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a. The tone that becomes a suspension is called the ' 'prepa-
ration," and it is not considered a suspension unless the suspension
and the preparation both occiir in the same part.
b. The suspension may resolve up or down, usually the
latter. The term "ritardation" is sometimes applied to the up-
ward resolution, b.
72
73
127. When one or more of the parts resolves prematurely,
the effect is known as "Anticipation." In this excerpt F$ of the
anacrusis anticipates the chord-3rd of the next measure; and G
of that measure anticipates the root of the next chord:
Ex. 85.
ftfa
128. As wijl be seen in the analysis, by tones may occur in
any part, and in two or more parts simultaneously. They are
all of a decorative nature, and it is not always easy to hear the
harmonic substructure.
They have been freely employed in the preceding melodies,
and from this time they will be included in the harmonies.
They should be marked before coming to class and may be
indicated as one finds convenient. The writer places a little
mark through the note-head:
Ex.86.
129 One must acquire the ability to hear harmonies in
phrases. In so doing, anticipate the natural relations, the con-
trasts that are likely to occur on rhythmic accents, and con-
trasting cadences. In selections of length, and sometimes with no
more than four measures, there will be repetition or imitation.
The repetition of a phrase is not always exact, especially
when leading to a different cadence. The rhythm may be the
same, but the harmony must necessarily be different.
Sometimes there is melodic and rhythmic imitation, but
harmonic contrast.
74
130. Before taking the following from dictation, mark the
phrases with the punctuation marks of literature, indicate the
harmonies and their inversions, also the bytones:
Ex. 87.
1
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131.' One frequently finds the Tonic harmony with a small
seventh, which creates a demand for the Subdominant harmony.
1&-X.. 88, «.
The construction of this is identical with the Dominant-
seventh, but as it is not built on the Dominant root, it may be
termed a chord of the "first species." The French schools
classify the various forms of the seventh chords by species.
Ex. 88.
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known as the "third species" of a seventh chord, a, Ex. 89.
What is the order of thirds in the construction of this chord?
Ex. 89.
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133. In the minor mode of the key, Z>, the small 6th is a
diminished seventh above the root of the Subtonic chord, b, the
only place in a key where the diminished-seventh chord occurs
diatonically .
This form of the chord is indicated by the second degree
mark. With one degree mark (vu° ), the diminished fifth is
indicated: two degree marks (vii°0) indicates the diminished-
seventh also. What is the order of thirds in this chord?
134. Because the Dominant is the harmonic generator,
either species of the Subtonic harmony appeals to the ear as a
Dominant-ninth without the root, and it is so classified by some
theorists.
86
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135- For self-help in this two-part work, sing one part and
play the other.
Ex. 91.
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CHAPTER VIII.
THE SUPERTONIC HARMONY. MELODIES
REQUIRING ITS USE.
136. THE SUPERTONIC HARMONY, built on the scale-second,
is very similar to the Subdominant, and sometimes difficult to
distinguish, especially in the first inversion.
a. What scale degree does it include? What is the mode of
the Supertonic harmony in the major key? In the minor key?
Ex.92,
J
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£. Although the individual tones of the Supertonic chord
demand repose, on account of the root relations, it demands the
Dominant harmony. It is often followed by I, because that is
5
practically a progression chord, possessing more of the Dominant
quality than of the Tonic, especially when it falls where the
rhythm demands a progression harmony.
The distinguishing characteristic of a chord is what it demands,
and by that it may be recognized, aurally.
137. With the use of the Supertonic harmony the cadences
may be extended to three, four and five chords:
Ex.93.
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138. The seventh and ninth are often heard in the Super-
tonic harmony, especially the former. What scale degrees are
they?
139. When the first inversion is employed, it is sometimes
difficult to distinguish between that and the Subdominant-added-
sixth. With the latter, the Tonic is present in the chord. As a
component of the Supertonic, the Tonic would be a chord-yth,
and most likely to progress downward, as in No. 2, Ex. 94. At
No. i, the Tonic does not progress or resolve as a seventh usually
does, neither does the harmony resolve as the Supertonic usually
does, — to another progression chord, so this would be considered
the Subdominant-added-sixth. (IV+6.)
140. Because the nature of the Tonic is what it is, — a free
tone, occurring as the seventh of the Supertonic harmony, it
is sometimes left by leap, as seen in Nos. 3 and 4, Ex. 94.
The individual character of the Tonic is stronger than the chord
relation. One also sees the same freedom with the scale-3rd as
seventh of the Subdominant harmony.
90
For individual work, play the following examples and name
the harmonies from sound first, then verify by the notation and
mark them.
When taking them from dictation, proceed as in the pre-
ceding lesson.
Ex. 94.
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141. Whether one is conscious of it or not, the fact remains
that they who have the strongest feeling for harmony experience
the greatest degree of success in ear training. The systems of
harmony based on mechanical principles are of no musical value
whatever, but when the student hears and feels what is written,
also the harmonic substructure of a melody, he has a true basis
for musical development.
97
a. If one is sufficiently advanced to do so, the author re-
commends playing a simple chord accompaniment with the sight-
singing. If the teacher can play a good accompaniment that does
not include the melody, it should be done for the less experienced
student. This "if" is said advisedly, because there are few who
can improvise even a simple accompaniment, well.
b. Only a very few of the melodies following the harmony
work require more harmonies than those that have been pre-
viously given. This classification of the melodies is valuable
only to those who can hear and feel the harmonic regulation.
c. Because so much depends upon the feeling for the har-
monic regulation of a melody, much emphasis should be placed
upon the harmony work.
142. In taking the following melodies from dictation, after
naming the phrases, A, B, etc., state those in which the Super-
tonic quality is heard:
F^1
5
J IJ. IJ »IJ
f-f
98
If- gjtj r fcu=j
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Couperin.
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completing the following melodies.
Ex.96.
1
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Ex.97.
1
144. Two-part work including the Supertonic harmony:
2 3 . 4 .
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CHAPTER IX.
THE SUBMEDIANT HARMONY.
145. What is the mode of the chord built on the sixth
degree of the major scale? On the small sixth of the minor
scales?
146. The Submediant harmony demands the Supertonic, but
progresses to the Subdominant equally well.
In contrast to the preceding harmonies, the Submediant
leads from cadence; in other words, it delays the close:
Ex.98. 3^
o
-raj or
147. The three major harmonies of a major key are termed
the primary chords of a key. The three minor harmonies of a
major key are often termed the " substitutional harmonies," being
used in the place of the primary harmonies when the harmonic
relations would naturally demand the latter. As such, the
Supertonic is a substitute for the Subdominant, and the Sub-
mediant is a substitute for the Tonic. For example, the Dom-
inant demands the Tonic. If a full cadence is undesirable, the
Submediant is employed instead of the Tonic, which delays the
cadence, as seen in the foregoing Example.
148. There are so many good hymns in which this harmony
may be found, the author considered it unnecessary to include
more excerpts for analysis.
The teacher will find it profitable to play as the students
dictate, their choice being what is naturally demanded by the
chord relations. For example, No. i. After V, the second
chord, the Tonic will be expected. When vi is played, the
fact that V did not resolve will make it easy to recognize vi, the
substitute for I:
104
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CHAPTER X.
THE MEDIANT HARMONY.
149. What is the mode of the chord built on the third de-
gree of the major scale? Of the harmonic minor scale?
150. The Mediant harmony demands the Submediant, but in
the minor mode the demand is less strong than that of the other
harmonies that have been considered in the preceding lessons.
The Mediant harmony progresses smoothly to both the
Supertonic and the Subdominant. Employed near a cadence,
one is more likely to hear the latter than the Submediant.
151. The Mediant harmony may be followed by the Dom-
inant, and when employed as a substitute for the latter, it may
be followed by the Tonic.
When the Mediant is employed as a substitute for the Dom-
inant, it is usually (but not always) expressed in the major -mode,
and preceded by the Supertonic, as a Dominant might be:
Ex. 100.
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152. When the bright effect of a Dominant harmony
undesirable, the minor Mediant is a very effective substitute:
is
Ex. 101.
n K
Dupont: Poems of Autumn.
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153- Very frequently one hears a passage of primary har-
monies followed by a similar melodic pattern harmonized with
the substitutional harmonies, — 11, vi, in:
Melody by Reinecke.
IV V
VI II III
154. In taking the dictation, listen for the connection of vi
and in, the two substitutes having the same relation as I and V.
Ex. 103.
1
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These melodies do not all require the Submediant or Med-
iant harmony in the harmonization, but they are placed here
because the rhythms and melodic line are more difficult than
those of the preceding lessons:
Flotow: Overture.
lEi
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a
i
Donizetti: L/ucrezia Borgia.
s
^
— t
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Gounod: Faust.
g^g
119
L/alo: Violin Air.
? I • tt/s I ^ g I • J I Mil tt • ? 1 1 ? »
ctf*=^^-a
De Beriot.
g
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120
Mendelssohn: Organ Sonata.
K ! P
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Gounod: Faust.
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121
Scarlatti: Toccata.
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Scarlatti: Minuetto.
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a
Scarlatti: Gigue.
it
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Mozart: Sonata in
CL * tz — D
122
Scarlatti: Bouree.
n
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17
Donizetti: I/ucrezia Borgia.
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18
123
Bellini: La Sonnambula.
19
Bellini: L/a Sonnambula.
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— 43-
Bellini: l& Sonnambula.
Scarlatti: Siciliano.
r fr .
22
Scarlatti: Courante.
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23
Scarlatti: Bouree.
Old Austrian Air.
25
Traditional.
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27
Styrian Song.
ift ^
p,. r*1 r* '» r*« P** ,
/ f*T
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j ^ • ,
i — • j 1 —
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.
Styrian Song.
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^^
29
Tyrolese Air.
f J
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A^r^
* ' f La J
• ^
CHAPTER XI.
CHROMATIC MATERIAL.
155. Every tone within the octave belongs to the key, but
only certain ones to a given scale. Inasmuch as it is all key
material, the writer suggests that each tone be given a definite
name in preference to the oft-used term, "lowered" or "raised"
this or that. Consider each tone as an independent factor of key,
employed for certain definite, desired effects. With the possible
pitches for each degree of the staff, various modes of a chord are
heard. For example, in the key of C, the following modes of
the Subdominant harmony are frequently found.
Ex. 105.
IV iv
That which does not belong to the scale in which a com-
position is written may be considered as chromatic material of
the key, in distinction to the diatonic material of the scale.
156. Chromatic material is employed for the embellishment
of harmonies; to create melodic direction of a part; to create a
demand for other than the logical harmony, and to create a
certain character or color for the harmonies.
Tones chromatically sharped are up-leaders; flats, down-leaders.
This direction has nothing to do with flats or sharps that happen
to be diatonic degrees, but only those that are foreign to the
scale.
157. Ex. 106 shows the Dominant harmony with the aug-
mented root demanding the Submediant instead of the Tonic;
the Tonic harmony with the augmented root demanding the
Supertonic; also the Tonic with a small seventh, the latter
creating a demand for the Subdominant harmony:
Ex. 106.
-t— £
158. One of the most commonly used chromatic tones is the
augmented scale-4th. The pure 4th is a down-leader. To create
a demand for resolution in the other direction, the augmented
4th is employed, and incidentally, the quality of the chord in
which it occurs is brightened.
126
Wagner: Siegfried.
127
4 B
« • ••
„
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Ex. 107.
r
159. Chromatic material may be associated with a mod-
ulation, but if it finally becomes a member of the new scale and
key, it is no longer chromatic, but diatonic in the new key.
A complete modulation is not effected unless there is a well-
defined cadence in the new key which establishes a new tone-center.
a. At Ex. 108, the D chord is followed by V?-I of the
original key, C, so there is no change of key and Fj is a chro-
matic tone in the Supertonic harmony. At b of the same
example, the D chord is followed by a well-defined cadence in
the key of G, and the D chord is heard as the Dominant of that
key:
Ex. 108.
A
a
b
; 1 1 I
v
j
j
, n
_x_ i
•
_ i
2
Z3
* f
f J
rS - t
-.1 *r*
« 1
i.1 2
rf~lil
-xa —
111 V; LJ
^. So it follows that in the use of chromatic material, one
may hear a modulation, but not necessarily so. Key is the result
of relationship, and no single chord can establish it excepting the
second inversion of a triad which falls on the strong accent of a
measure, said triad asserting itself as a new Tonic.
1 60. A chromatic tone may occur as a by tone, as root, third,
fifth of a triad, and sometimes as seventh or ninth.
161. Chromatic chords may be employed consecutively with-
out obscuring the tonality if the chromatic tones are borrowed
from both the flatter and sharper sides of a key:
Schumann.
Ex. 109.
128
i62. In listening and thinking, keep the Tonic in mind, and
if there is no change of tone-center, consider the chromatic
material as such, and name the harmonies according to the
altered modes. The following examples include some of the
chromatic material of key employed as mentioned in the fore-
going paragraphs;
Ex.110.
1
i
\
i i ill i
J
\
j
/•d i
sz J
^T
^
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a BtlZ?±iBt3 sj ^, ci
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ix
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129
,
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54
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to
Wesley.
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130
31
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Arr. from Mendelssohn.
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Chopin: Op. 15, No. 3.
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131
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132
11
Chopin: Mazurka.
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163. The augmented scale-4th and 2nd are often found
embellishing the Tonic harmony:
Ex. 111.
1
von Weber.
A
1
II.
V i O
1
a J
I 1
X^{?^ —
d
-1 —
9 d -
^ 1 — J—
rd z^ —
i — •
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^ -jS>- -&--<?--{*-
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4= — F—
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2?
1±_
133
=
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164. The augmented scale-6th and ist embellish or lead to
the Dominant in the same way:
134
Ex. 112.
Beethoven: Op. 18.
1=5=
165. The employment of chords on the small 6th and yth of
the major key is very interesting:
Ex. 113.
166. One sometimes hears the substitutional harmonies in
the modes of the minor keys:
Ex. 114.
fcfed
S3*
S
J ^I^^UJ
With the wealth of material available, it is needless to
include more here.
CHAPTER XII.
AUGMENTED-SIXTH CHORD. NEAPOUTAN-SlXTH.
167. Another type of triad is formed of a diminished third
and fifth. In the first inversion, this is what is known as an
augmented-sixth chord, — a large third and superposed augmented
fourth:
Ex. 115
• m
"C7
The chord sometimes appears with the added-sixth, a, also
the small seventh, b.
1 68. With the small scale-2nd, the augmented-sixth is heard
in the second inversion of the Dominant-seventh chord:
>r " A i
3
i
fn\ *% ,
-«* •
\±\) & m
•-^ •
r *
J \ r &
,r * ^ ^-
/•w yy vr
•
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r
Ex. 116.
169. The distinguishing characteristic of this chord is the
strong demand of the augmented interval for resolution in con-
trary direction. Sometimes only one of the tones resolves, but
the demand is the same. Although it is possible to build the
augmented-sixth on various degrees of the scale, one seldom
finds it on any but the augmented-scale-2nd and 4th.
170. The augmented-sixth mode of the Subdominant har-
mony includes the small scale-6th and augmented scale-4th.
The resolution is the same as any other mode of the harmony,
excepting the root which naturally moves up to the scale-5th.
The £4 makes the chord brighter, and with the seventh present,
it is frequently used for commanding, heroic effects. One of the
distinguishing characteristics of this interval is the tendency of
the two tones to diverge, the flatter tone falling below the sharper.
135
136
171. As will be observed, the use of the small scale- 2nd
creates a plaintive and sometimes pathetic element, quite unlike
the Subdominant. Listen for the same resolution that the diatonic
harmonies would have:
Ex. 117.
1
1 .
— i i
2
T — 1 1 — i 1 n — I—
J J J I-J H
1 ~%L *t J —
~a i"
— r~
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137
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10
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140
172. One may hear the augmented-sixth mode of the Super-
tonic triad, the root being the augmented scale-2nd.
Ex.
118.
1
1 IL
m
2
j
3 Grieg.
i-bu JM
/ * TM
i* C
• •
*.*-i A '^ t 1
>
\ rr
l
||
-
"i m & -
|l* if U — n i o
c
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-,
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te ^ * - -
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s
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L
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1
4
i ! ,i
I
.
1
FT
5
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1 1
/
/ P tTi
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J
n IT
5
tffl U.H ^
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1 i
\ j
J J
J • tU
JAJ L •
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f
j*U *
1 TT » '
jw D» ^
f-
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/ /•— .
v
tw F
2 ^2
r i-
S L '
•
P i
With the seventh (No. 2) or the added-sixth (scale-yth) as in
Nos. 3 and 5, the effect is especially pleasing. Some very
interesting excerpts which include the augmented-sixth chord on
various degrees of the scale may be found in the author's text,
"Applied Harmony."
173. When Ra, the small second of the scale occurs as root,
with the pure fifth the first inversion is known as the "Neapoli-
tan-sixth." While it oftener occurs in the minor mode, it is not
necessarily so:
Ex. 119.
1
T 1 1
2
1 i
V J i J
— —
\
-td F
H 1 rH — i
n^ — ^ ^
— • fe
— Z3
•^1 — H <•
:*—
V-J ^ •
za
1 1 5^
J J 1 2
f f ^ -
1
"P" 1
g- t»« -F- • ^, n ^
51
]r
I U
B* 1
t> — — 1» —
,->
E
^ r r
f3 IT 1
141
Brahms: Requiem.
IP
, g C L^
z
-V — s^ — ^~
— & — N
•a — |
— P — r — r~~
"f — — T —
— | ^
— ^,
•.
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A
i i
• tez.
r '
OL
^
b^t
i to
' ' r
_ i x i~
^
9
^2 — : — .
Schumann; Op. 68.
_ _ w — tp- — • — ±
MELODIES FOR DICTATION.
— n
-|
142
Styrian Song.
y ff ^ i 1 1 . K
0. + •»* m. — t-
— 1^*?-
^^
,-^_
i PW-
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1
—
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^ 9 m
5_
r±»
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* • ^.» & -+• +
*
Hungarian Air.
f X
i
»
r/
CHAPTER XIII.
MODULATIONS CONTINUED.
174. A change of key means a new tone-center, a new Tonic.
The change of key is affirmed and confirmed by decisive chords of
the new key which fall on important rhythmic accents.
a. Confirmation implies a cadence, and as Vj includes the
two scale degrees which have a fixed resolution, — 2 and 4, it is
the essential chord of the new key, and the one for which to
listen, with its resolution on Tonic. 7 to 8 fixes key, and 4. to j
fixes mode.
b. Vy is sometimes preceded by I falling on the accent, the
latter affirming the new Tonic. Observe this in the following
excerpt from "Lohengrin", by Wagner:
Ex. 121.
xC b h y*
352 i ] *| 30*5*
in i h ' w* '
-ofeaJ y u*.^* i
KB" " — *^ —
t? g • — lt^f~^~
fe*i — ~~* — *Ca^t?
-^-^^ — i
f ^ i
ft 1 1
(E£U i ' i? r
s — s— ta
u«
y^r *^- r
F:
a=«s:
5
175. As the minor chords of a key are more or less obscure,
it naturally follows that the primary chords, — I, V and IV are
employed for the confirmation of a new key. In the minor mode
of a key, the Tonic chord is used more persistently, repetition
making the change more positive.
176. One of the simplest transitions is effected by the ad-
dition of a small seventh to a major triad, converting it into a
seventh chord of the first species which is taken as a Vj, re-
solving on a triad whose root is a pure fourth above that of the
Vy, affirming and confirming a new key:
143
144
c. 122.
1
j£ — a£
— ^ —
— te^ /^ f-i
® — 3-
i
* 1 1 I/C'
J *J
T^^r
aJ — Gf b* ^r—
I i etc.
r3
l/w U^^ I/— ^
I^y •
E
1 r"^
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4
h^? I u
2
n 1 — 1
3
i 1 'li 1 '
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A. ^H ^
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v* Q n V* V( V* W | ^
\s\) g • bfl
5S h5
/r» b «
i*j j J
»J bJ J J
*^- ^^ t^? .^ L|_ ^u^
etc. 1 etc.
b«
(<•)* *
h*
I* « • K S
i BS
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b<?- 1-
ht :
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i
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9
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-g y»
^S
In taking these from dictation, locate the chord-sevenths and
thirds.
177. Another common change is from V7 to Vy. Observe
the root relations:
Ex. 123.
1
^
4=fc-
±3t
a*r ^
V
etc.
etc.
121:
i
For home work, these sequences should be played, following
the circle of keys back to the starting point.
145
178. In the following, a tone of the Tonic is taken as a
certain degree of Vj. Play them, completing the circle as in
the preceding examples. Taking from dictation, locate the com-
mon tone and state its relation in each chord:
Ex. 124.
1
A
i
!
2
!
y
-i
^~
^r~
17^^
Hw L,
i 2J1
s
',
1 1
i (i
Z h
tv-S-vS
i
rm
mft\
ffid
p
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p
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i
<
i '
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,/•
^^
'
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JJ
h.
b
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•
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1
etc
<
F
i
F
etc.
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i
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-
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I P U
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<
I—
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1
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a
u !
p'
Bfid
rK n
3
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2 r
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v-LJ J UJ
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etc. etc.
• L J
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r
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t^L' * r
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la
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179. The following, which were suggested by Durand in his
text for harmony, includes the Subdomiuant harmony:
Ex. 126.
1 2
^fc^Eri
^
etc.
f
.
~
?1
146
i8o. One degree of Vj taken for one of I is interesting and
effective. Before taking them from dictation, play them, ob-
serving the various transitions:
Ex. 126.
1
n 1
i
1
2
i
3
i
1
1 1
i
/ V 0
Z&-&
i :
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r^l
h -afl
44
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181. A tone common to Vy and Vg of another key is
interesting:
Ex. 127.
1 23
j-fiJ-iLjiJ JbJn^^
klft&J Ilib^i J P%— FKI I ^ uj
I ^ T* • ff^ u^—pp
•=:
147
182. Vg to Vg is not difficult to recognize:
Ex. 128.
12 3
^
.
3
*i i
.
•5 M r
\
(r\ i
^>
f i
p* m
'^
* ^
E2
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• i
[72 fl
hii-M
r '
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f
*
y
• :.
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71 -ij
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r
&
hj
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f
^^
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i r
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i i
um\
n^
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52
E
, u.
• ^
3 L, I
^Ei
I
-j- —T-^-^
9 * -P — • ^g
^
a
r
t
fcas
^
^
f
183. vii70 to Vy and VQ is another common means of
modulating:
Ex. 129.
1 2
nil1' i— — '
V
W
i
;
n
j/ J J
J UJ
'->
k_r
u :
rh
^
^j
u. !
• yq
P*
ti2^ •-
^E:
sz • J
f-^ , ,
ffizS
• Bi
h
C • <? * i^. TI r * ww ^ , ^
I I If 1 1 1 J
2Z^ ^^\~~
^^
k*'
P^"
•
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*
1*3
^5
l^^s
r
1 !
.
^^
-^
^
etc.
ig=
m
i
fe
t
148
184. Modulating by means of a common chord is one of the
simplest, therefore much used devices. One diatonic chord may
be taken for another:
One chromatic chord may be taken for diatonic of another key:
One diatonic chord may be taken for a chromatic of another key .
One chromatic chord may be taken for another chromatic.
185. Ex. 130 includes modulations where one diatonic chord
is taken for the diatonic of another key. For example, in No. i,
the second inversion of the G chord (V) affirms a new Tonic of
G, and the change of key is confirmed by the following Vy of the
key of G.
At No. 2, vi of C is taken as n of G, the key being
affirmed and confirmed by the second inversion of the G chord on
the accent and Vy following.
Ex. 130.
1
n 1
,
•
2
r
s
V
j
^^ «^
I
JL ^
2
sa <^
«
3
Ifl5
i 4
i
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J 3
\
1
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ix
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p
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149
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150
11
Teschner.
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151
1 86. Modulating to the Subdominant key is less easy than
to the Dominant. Listen for the darker effect that is given by
the flatter tones. At No. i of the following example, vi is taken
as in of the new key:
Ex. 181.
1
ntt 1 1
I .
I i
J/ rit & <q
In I
, 1
1
j
r<sJ J
J
j
• j
i
f(\\ 'i J J
22Z Z^
J-^g J-*.
^' J
-J — ^-*-
jU|
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r r
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j i
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to
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187. Example 132 includes modulations where the pivotal
chord is chromatic in the old key, but diatonic in the new. In
No. i. vn of C is taken for in of G. In No. 2, the C chord of
the fifth bar is chromatic in Bb, but the diatonic Vj in the key
of F which follows:
152
Ex. 132.
1
\
> *
2
l
— -•
If^ m
•i*'^ *
X", «
.^
&;
23
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3
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* 4 -i- -g- -f- ^. ^ - !
|
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<5> •
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i
B
\^--'
t
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ATT. horn Beethoven.
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5 . Handel; Messiah.
n 11..
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525
,
r
— k_
1 88. In the larger forms, one is more likely to hear the
changes of key occurring with the phrases. This is not nec-
essarily so, but oftener, excepting in the repetition of small
figures in sequence. In four bar phrases, the material peculiar
to the new key seldom appears until the last section or very near
to it. Observe the form of this number:
Ex. 133.
Mendelssohn.
^H=^— fR=t
j^^3±S3
*=!
r
1 pi I
^JJ,
J
J A1 J
t -~^^~f
i u; i
155
Cir? «4*J •
=£=?
: D| i
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«
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FT
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189. Another familiar change is to a small third above
or below:
Ex. 134.
1
Chant.
/ "ft ^
'-4 — i
-n <:^~
"^i* 1
•^ ^
^
•^ y
2
^) " — -d — ^ — —
-%> -f~
-z* !— ^-
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1 ' 1
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es ^zs
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J ^5,.^. ^ J2. ^..
r
^*5 f*i^^
|
t-^" •
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JS •
f^ •
^ •
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156
Kirby: Hymn.
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L b
i a
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sz ^
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P J J U un
1 s
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if
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that is chromatic in both keys:
Ex. 136.
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taking them from dictation.
Ex. 137.
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193. Interesting changes of key are easily made by means
of enharmonic changes. This is done to establish different chord
relations for one or more tones. For example, C sharp of the
third chord in No. I is expressed as D flat in the fourth chord,
becoming a Dominant seventh of the new key:
Ex 138.
1
Beethoven.
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>.
— r-^
6
^
— j .n=pi]_p|idi=ii
S^ffiE^
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— — ntt-X5 ^ «^-.«?) ^ 1*^^^— n
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170
Dvorak: Requiem.
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Franck.
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X
x
x
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Ex. 139.
1
Beethoven: Symphony.
S
Hungarian Air.
* 4L.
Sarasate.
! » • y | , v — .
r t".r*-f
I ^ t-B i»-
^Efl
171
Russian Folksong.
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A" * J J
Schumann.
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fe^
3.
*- • ' 0 0
•-«. *
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Old Welsh Song.
-f
*=
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»/
172
Japanese National Hymn.
Tvrolean Air.
^
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s
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10
173
Polish Song.
2Eq SB-
m
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S:
Hungarian Air.
12
Swiss Song.
3
• 9
.
174
13
-?uN-f?
±=t
s
Swiss Song.
^r^?
As there is such an abundance of good material that can be
used from this grade on, it would be unnecessary to include
more in this volume.
The author recommends Schumann Op. 68 and 15: The
Bach Album of selections from the Suites: The small forms of
Grieg and other modern composers. Following these, no really
good composition will be amiss.
If one makes an analytic and synthetic study before taking
from dictation, much will be gained, especially if the harmonies
are decided by sound, and not the notation only.
For the average person, proficiency in this work requires
years of persistent effort. Only the observing eyes and ears are
rewarded with success.
175
INDEX TO COMPOSERS.
(The numbers refer to the page.)
ALDRICH 112
BACH 80, 84, 93
BACON. 112
BELLINI 1 20, 123
BEETHOVEN 48,52,69,70, 134, 153, 164, 169, 170
BIRD NOTES 9, 10, 22
BOSNIAN AIR 141
BRAHMS 141
CHANT 78, 155
CHOPIN 70, 80, 81, 130-133
COUPERIN 98
DEBERIOT 71, 119
DONIZETTI 118, 119, 122
DUPONT in
DVORAK 1 70
DYKES 149
FINNISH SONGS 94, 95
FLOTOW 99, too, 1 1 8
FOLK SONGS 7 1 , 94, 98, 99, 125
FRANCK 170
GOUNOD 118, 120, 163
GREEK AIR 142
GRIEG 140
HANDEL 78, 109, 153
HAUBER 161
HAYDN 96
176
HUNGARIAN AIRS 142, 170, 173
JONES 159, 162
KIRBY 156
LALO 119, 172
MENDELSSOHN 65,68,71,90, 120, 122, 130, 154, 165
MOZART 83, 105, no, 121
NORWEGIAN AIR 95
NOVELLO 113
OLD ENGLISH SONGS 50, 70
OLD AUSTRIAN AIR 1 24
OUSELEY 113
POLISH AIRS 71, 98, 173, 174
PROPERT 112
REINECKE 93, 94, 112
RUSSIAN DANCE 50
RUSSIAN FOLK SONGS 78, 171
SARASATE 170
SCARLATTI 121, 122, 124
SCHUMANN 91-93, 107, 127, 141, 164, 171
SERBIAN FOLK SONGS 71, 141
STYRIAN AIRS 125, 142
Swiss AIRS 173, 174
TESCHNER 50
TRADITIONAL 124
TYROLESE AIRS 125, 172
WAGNER 127, 143, 149, 163
WEBER 132
WELSH AIRS 52, 171
WESLEY 129
177
GENERAL INDEX.
(The numbers refer to the page.)
Accent: 1-7, n, 12, 16
Added-sixth: 89, 135, 140, 143
Anacrusis: 16
Anticipation: 73
Arabic numerals: 25
Augmented intervals: 37, 43, 60. Scale-ist, 133; scale-2nd, 135
140; scale-4th, 126, 127, 132, 135; scale-5th, 38; scale-6th,
133
Augmented-sixth chord: 135, 140
Authentic cadence: 25, 30
Bird Notes: 9, 10, 22
Bytones: 72, 73, 74, 126, 127
Cadence: n, 12, 25, 30, 31, 127. Authentic, 25, 30. Plagal,
61. Rising, 12, 31. Perfect, 30. Imperfect, 30.
Chord relations: 7, 24, 29
Chord dictation: 23, 25, 38
Common tone: 38
Chromatic tones: 126, 127, 148, 151, 161
Counting: 3, 10
Diminished intervals: 37, 43, 50, 60
Diminished-7th chord: 60, 85, 147
Do (syllable name): 6, 11, 24
Dominant, scale-5th: 6, 7, u, 13, 15, 16, 23-25, 30, 31, 36, 44,
51, in, 126, 127
178
Dominant harmony: 13, 15, 16, 23-25, 30
Dominant- jth chord: 41, 42, 60, 61, 85, 126, 135, 143-145
Dominant-gth chord: 54, 85, 146, 147
Enharmonic change: 169
Fa, scale-4th: 41, 42, 50, 61
Form: 13, 154
Harmonic dictation including I and V only: 25, 29-32, 42-47,
54, 55-
Including IV: 61-65, 74~86. Including bytones: 74-84
and on. Including ii: 88-96. vii: 50, 51, 61. Including
vi: 103-110. Including iii: 111-117, etc.
Including chromatic tones: 126-134. Augmented-sixth:-
r36, 139, 141- Modulations: 148 to close.
Harmonic generator: 4, 5, 15
Harmonic regulation: 13
Intervals: Octave, 4-6. Pure 5th, 4-6, 8, 20, 58, etc.
Pure 4th, 5, 6, 8, 20, 35-37, 41, 58. Large 3rd, 7, 8, etc.
Small 3rd, 8, 20, etc. Large 2nd, 6, 20, etc. Small 2nd
20, 24, 41, etc. Large 6th, 8, 44, etc. Small 6th, 8, 36,
etc. Large 7th, 24, etc. Diminished 4th, 37, etc. Dimin-
ished 5th, 60. Augmented 5th, 37.
Inversions: 28, 29. Second, 30, 127, etc.
Key: 6, 61
La, scale-6th: 54. Le, small scale-6th: 55, 57
Me, small scale-3rd: 20, 23
Mediant harmony: in and on.
Melodic dictation including i, 3, 5 of scale only: 14, 15. In-
cluding 2: 16-19. Including small 3rd: 20-22. Including
7: 26-28, 32-37. Including 4: 41-50, 52, 53. Including
both large and small scale-6th: 56-60, 65-71. Including
chromatic tones and modulations: 141, 142, 170, 171.
Melodic or key quality: u
Melodies to complete: 100
Minor scale: 3, 7, n, 16, 20, 23, 24, 55, 56, 62
Modulations: 127, 143, 148, 151 to close.
Nature of material: 61
179
Neapolitan-6th: 135, 140
Overtones: 4-7, 15, 28, 41, 54, 85
Phrase: 12, 16, 32
Primary harmonies: 61, 112, 143
Progression tones: 11-13
Proportion: 12
Ra, small- 2nd of key: 135, 136, 140
Re, large 2nd: u, 15, 16, 24
Relative minor: 23
Repose tones: n
Resolution: n
Rhythm: 1-6, 9, 12-15, 19
Rhythmic dictation: 1-3, 13, 18, 19, 51
Rhythmic motions: 2
Roman numerals: 25, 29
•
Root: 5, 15
Scale numbers: 42
Section: n, 12, 32
Sequences: 144, 145
Sight-singing: 13
Signs for triads: 37
Sol, scale-5th: 6, 7, n, 13
Species of seventh-chords: 84, 85, 143
Substitutional harmonies: 103, 112, 134
Suspensions: 72
Ti, scale-7th: 24. Te, small scale-7th: 55
Tetrachords: 54, 57, 61
Tonal relations: 4, n, 39, 127
Tone-thinking: 13, 38, 41
Tonic: 6, 7, 11-13, 16, 23, 57
Tonic harmony: 16, 23, 24 and on.
Transpose: 29, 41
Triads: 8, 23, 37 and on. Diminished: 38, 51. Augmented: 38
Two-part dictation: 39, 87, 101, 102
Writing: 9, 51
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