A ~ Rr 14 A *ki 3 v, 43ý; W,4ATN M SAS 33 '4o. '003 M4, 4 $4 4%04 4,,43.43 -ft3 4 44;3g Zzo TA~zlxd, RJ0ls TIM, % )fl ' W 14 'A' ~4~' ýqg 'A'O1U it G..~tc p~ ~ 4e ~, 'ir ~~ ir1~7 b~yP ~ r4?~k~# ih iv - cr ~, *'A K'. T "0 VALUABLE MUSICAL WORKS PUBLISHED BY Oliver Ditson & Co., Boston, C. H. Ditson & Co., New SF'. Any Book published by Ditson & Co. will be mailed to any address, poston receipt of the Retail Price. if of RICHARDSON'S NEW METHOD FOR THE PIAN(< FORTE. Price $3.75. This excels in popularity all other instruction books; and its annual sales of 2i copies, amounting in the aggregate to about A QUARTER OF A MILLION COPIES, estý lish the fact of its appreciation by teachers and pupils. It has recently been enriched by the addition of CZERNY'S "Letters on the Art. Playing the Piano," and of SCHUM]ANN'S "Maxims." It now contains 260 large, well-filled pages. It is believed that there is hardly a hei in the cojIry, containing a piano-forte, without this celebrated book. THE ORtGAN AT HOME. Price, in Boards, $2.50; in Cloi -$3.00; in Full Gilt, $4.00. The large pages Df this admirable collection are filled with music of the most plh ing and genial charncter. As modern Reed Organs have generally a very prompt tot many of the pieces can be played with good effect on a piano-forte, while others c tain the most attractive kind of Organ music. The Table of Contents covers two whole pages, and includes Marches, Waltzes,.! dantes, Sacred and Secular Airs, Nocturnes, Short Voluntaries, Serenades, Prelun. Rondos, Reveries, Transcriptions, Overtures, and Extractsfrom Oratorios and Opera, The list of composers contains many world-famous names, and the more disi guished among our American writers are not forgotten. PAGES FULL SHEET-MUSIC SIZE. THE PIANO AT HOME. A Collection of Four-hand Pieces, the Piano-forte. Price, Boards, $2.50; Cloth, $3.00; Fine Gilt, $4.00. Teachers of the Piano-forte will, at first sight, be taken with this book. It contl a large number of pleasing duets, some very easy, and others easy, moderately easi of medium difficulty. All are within reach of players of ordinary ability, and well ca! lated to develop an ear for time, and a certainty in execution, which one who plays aA sometimes never attains. In addition, the duets are most pleasing things to hear in any homes where ther more than one piano-forte player, and afford a richness and fulness of harmony wi does not belong to solo playing. PAGES FULL SHEET-MUSIC SIZE. L1) Valuable Collections of Bound Music PUBLISHED BY 3IoVER BDTS01T &;'00C., BOSTOT. ier Either Book sent, post-paid, for the Retail Price...a IThe, Home Musical Library. Each book of the series is quite complete in itself, and twpo,three, or more, will con. ftitute a valuable Library. But should one possess the whole,the purchaser would own (iothing less than the greater part of all the good music composed during the last one hundred years. Church Music, Orchestra Music, and Madic for Schools, of course, is *1rot included.;.The accompaniments in all the books of Vocal Music may be played either upon the Piano-forte or Reed Organ. Jf All the pages in the books of this Library are large, of the ordinary Sheet Music t:size, and very compactly filled. SBEach book contains a quantity of music which, if published in Sheet Music,;dorm, would sell for from $20 to $40. In the present shape, the same quantity may be ýought for $2.50. THE BOOKS OF THE HOME MUSICAL LIBRARY. T'HfE MUSICAL TREASURE. 225 Spages. Vocal and Instrumental. A great 1 variety of popular vocal music, in conSnection with about an equal quantity of Waltzes, Polkas. Quadrilles, and other pieces for the Piano-forte. IL fVER CHORD. 200 pages. Vocal. I A large number of the most popular c, songs. VREATH OF GEMS. 200 pages. SVocal. Of the same general character as Sthe Silver Chord," but with an entirely different list of songs.;EfMS OF ENGLISH SONG. 232 ' pages. Vocal. A large number of the s best and most successful songs of recent publication. The latest-vocal collection. EMSiI OF SACRED SONG. 200 pages. Vocal. An admirable selection of sacred music for Voice and Piano. It furnishes excellent material for singing at home on the sabbath.,4EMS OF GERAMAN SONG. 216 pages. Vocal. Truly German and truly Gems. The chief favorites of Deutschland, with English and German words. tlEMlS OF SCOTT'ISH SONG. 200 Spages. Vocal. They are all sweet songs 'i of Scotland; and there are many of al them. 1~tfOR1E'S IRISHl- MELODIES. 200 pages. Vocal. By no means common Irish Songs, but sweet and classical prodr ductions, brought together by the genius: of Moore and of Stephenson. A valuable collection of graceful music. SHOWER OF PEARLS. 240 pages. The very best Vocal Duets. OPERATIC PEARLS. 200 pages. Vocal. The most sung and the most often applauded of the airs of 50 favorite operas. ORGAN AT iHOME. 200 pieces. For Reed Organs. Instrumental. All of a genial, interesting, popular nature. PIANO AT HOME. Four-hand pieces for Piano-forte. A -book of great value to teachers and pupils, as duet playing is an admirable method of acquiring "certainty"' in time and execution. Pieces requiring power sound twice as well with four hands as with two hands. GEMS OF STRAUSS., 250pages. Instrumental. The most brilliant pieces of the most brilliant composer in the world. This book has been exceptionally successful. HOMffE CIRCLE. Vol.. 216 pages. Instrumental. Contains a large number of pieces, all easy, and all universally popular. HOME: CGIRCLE. Vol. II. 250 pages. Instrumental. In addition to a fine lis of piano pieces of all kinds, this volume has about twenty-five four-hand pieces. PIANISTI' ALBUM. 220 pages. Instrumental. Sometimes called "Home Circle," Vol. II. t is filled with the best music in great variety. PIANO-FORTE GEMS. 216 pages. Instrumental. The fourth of the " Home Circle" series, and full of fresh, bright, and not difficult music. -I Price of Each Book, - Boards, 82.50; Cloth, $3.00; Fine Gilt, $4.00. (2) Valuable Music Books for Schools, PUBLISHED BY Oliver Ditson & Co., Boston, C. H. Ditson & Co., New York. Either Book mailed, post-paid, for Retail Price. AMERICAN SCHOOL MUSIC READERS. By L. O. EMERSON and W. S. TILDEN. In Three Books. These Music Readers are well fitted for use in connection with the new and improved methods of teaching music by note in schools. The theoretic part has peen prepared by Mr. W. S. TILDEN, who has had valuable experience as Music Teacher in the schbols of Boston and vicinity. In Book I, which is for Primary Schools, we have a three years' course of study very plainly laid out, with abundant directions to teachers, and a large number of sweet songs for the little ones to sing by rote and by note. Price 35 cents. In Book II, the course above indicated is continued, and becomes a little more theoretic. The book is fitted for the use of the younger scholars in Grammar-Schools. Price 50 cents. In Book III, part singing is introduced, and the ear is trained to harmonic singing. For higher classes in Grammar Schools. Price 50 cents. HOUR OF SINGING. By L. O. EMIERSON and W. S. TILDEN. For High Schools. Price $1.00. Until recently, it could not be said that there was really any music book especially adapted for fligh Schools. There were, to be sure, excellent collections of music which could, after a fashion, be used in teaching. Still the instructor in Music had no proper text-book until the appearance of the " Hour of Singing." Its adaptedness to its place and work was so apparent, that it was at once, without question, adopted in a large number of High Schools and Seminaries; and has also, to C certain extent, been used by the higher classes of Grammar Schools. THE HIGH SCHOOL CHOIR. By L. O. EMERSON and W. S. TILDEN. Price $1.00. $9.00 per dozen. The " High School Choir" is similar, in general design, to the very popular "Hour of Singing," which has been almost universally used in High Schools. The present work is in no way inferior to its predecessor, is entirely fresh and new, and is received with decided favor. CHOICE TRIOS. For Female Voices. By W. S. TILDEN. Price $1.00. The music is all of a high order, is not very difficult, and excellently selected and arranged for High Schools, Seminaries, Academies, &c. Collections of School Songs. -----.-- CHEERFUL VOICES. By L. 0. EMERSON. Price 50 cents. The book contains a well written Elemeintary Course, with abundance of agreeable exercises and tunes for practice; and also a large and varied collection of Songs, Rounds, &c., with thirty pieces of Sacred Music for opening and closing school. MERRY CHIMES. By L.O. EMERSON. Price 50 cents. Has an excellent reputation among School Song Books. THE GOLDEN WREATH. By L. O. EMERSON. Price 50 cents. The success of this fine book has been a surprise, more than a quarter qo a million copies having been sold. To that number of persons, therefore, its face is as that of a familiar friend. THE NIGHTINGALE. By W. O. & H. S. PERKINS. Price 50 cts. A very appropriate name for a favorite collection of School Songs. THE GOLDEN ROBIN. By W. 0. PERKINS. Price 50 cents. Well chosen and good songs; more than two hundred of them; and the usual elementary course, with attractive exercises. Cantatas for School Exhibitions. Musical progress, both among young and old people, depends so much upon musical enthusiasm, that there seems to be almost a necessity for introducing Concerts and Exhibitions into the music-teaching course of schools. To give brilliancy and success to these affairs, nothing can be better than such Cantatas as are mentioned below: The Flower Queen. G. F. Root. $0 75 The Culprit Fay. J. L. Ensign. 1 00 The Twin Sisters. H. G. Saroni. 50 Fairy Bridal. Hewitt. 50 The Pic Nic. J. R. Thomas. 1 00 Festival of the Rose. J. C. Johnson. 30 Flower Festival on the Banks of the Rhine. J. C. Johnson. 45 Spring Holiday. C. C. Converse. 75 Quarrel Among the Flowers. Shoeller. 35 Juvenile Oratorios. Containing "The Festival of the Rose," " The Indian Summer," and " The Children of Jerusalem." ThreeCantatas. By J. C. Johnson. 69 (4) THE THOROUGH-BASS PRIMER; CONTAINING EXPLANATIONS AND EXAMPLES OF THE RUDIMENTS OF HARMONY, COMPRISING THE FIFTY PRELIMINARY EXERCISES FROM "THE COMPANION" TO THE THOROUGH BASS PRIMER, IN ADDITION TO THE ORIGINAL FIFTY EXERCISES, APPERTAINING TO THE PRIMER. N.\^ BY J. PF BT.TRE(RlOWES. FIFTIETH EDITION. ENLARGED, REVISED AND CORRECTED, BOSTON: OLIVER DITSON & COMPANY. NEW YORK: C. H, DITSON & CO.-CHICAGO: LYON & HEALY. Entered according to Act of Congress, in the year 1874, by O. DrTsoN & Co., in the Office of the Librarian of Congress, at Washington. MUSIC L\C 6-22-33 PREFACE. THE present modified and improved edition of BumROWES'S THOROUGH-BASS PRIMER comprises, in addition to the Exercises appertaining to the driginal edition, those also contained in the companion to the THOROUGH-BASE PRInt by the same author, interspersed throughout the work in the order in which they are required to illustrate the rules introduced in the course of instruction. In its present form it is confidently believed the THOROUGH-BASS PRIMER will prove more acceptable to teachers and learners than previous editions, inasmuch as it will save both time and trouble in turning from book to book. It is, as the Title implies, an Elementary Work, not treating of Counterpoint, Rhythm, &c., and is only intended to enable the student to understand and accompany figured Bases, which is as far as many wish to proceed. The Author has -endeavored to render the explanations as simple as possible; and in order to save the time of the Teacher, as well as to impress them on the mind of the Student, has accompanied the explanation of each chord with progressive exercises; which plan, if not new, he hopes will be found useful: The Exercises are not offered as specimens of composition,,being merely calculated to introduce the chords as they are explained, while for the sake of practice, the modulations are frequently made very abrupt. Besides those which are inserted, the pupil will find it a very excellent plan at different periods of his study to accompany the scale in various keys, sometimes taking it for a melody and sometimes for a base. An exercise may also be copied without the figures, and the chords changed; or discords by suspension inserted to the chords already marked. This, however, must be done at the discretion of the Teacher, whose judgment necessarily directs a node of instruction suited to the capacity of his Pupil, and whose experience may dictate to one individual a.course which may be inexpedient for another. CONTENTS. Introduction,... 5 Diatonic Scale,.... & Relative Minor Scale,... Chromatic Scale,.... 6 Of Intervals,.. Table of Intervalsý.. 9 Of the Inversions of Intervabis,. 12 Of Thorough-Bass,... 2 CHAP. 1. The Common Chord,... 13 CHAP., II. The Tonic, and attendant Harmonies,. CHAP. 11U. The Dierivatives or hversions of the ommon Chord, -29 CHAP. I.Y The Discord of the Seventh,... CHAP. V The Derivatives or Inversions -of the Discord of the Seventh, 4 CHAP Vi.,Discords by Suspension,.62 - CHAP VILI Chord of the Diminished Seventh,.. CHAP. VIII. Chord of the Extreme Sharp Sixth,... CHAP. IX, Ciadenees,.. CHAP. X. Chord of the Seventh, Fourth, and Second, &e. 89 CHAP. XI. Sequences,.... 95 CHAP XII. Modulation, &e.,. A. KImuLr & SOWNS MVIs TYPOGRAPBHY. BURROWES' THOROUGH-BASS PRIMER. INTRODUCTION. UPIurLSs who intend to study this book should first be well acquainted with a rudimental knowledge of music, such as is contained in Barrowes' Pianoforte Primer and Catechisms in general; particularly with the Major and Minor Third, Perfect Fifth, and Leading-note of every Key; also with the formation and connection of Major and Minor scales and their respective signatures& See following illustrations, THE DIATONIC SCALE consists of a series of Tones and Half-tones (Steps and Half-steps) in the following order: Eight, Seven, VomP Five. One. Two. Three. Fee -1 ITone, - Ste, SteA 1St, Step Step, Step, St, ET4 Tone i~one, 'Toni.-f~T~~= St, step, Step Step, A St Stp, Step, 6 INTRODiUCTION. In Thorough-Bass they are generally named Tonic, Super-tonic, Mediant, Sub-dlominant, Dominant, Sub-inediant, Leading-note ahd Tonic.. Eight be4ng an acutereproduction of one, it has the same name. DIATONIC SCALE. KET OF C MAJOR. SCALE OF RELATIVE A 'fINOR. CHROMATIG SCALE, Q. How many oounJc are there in the'liatonic ScaleJ Eight, called* respectively one, two, three, four, five, six, seven, eight. Q. How many rones or steps? Five, as follows--: Betwieen one andtw two, two and three, four and five, five and six, six and seven. Q. I-low marry senitones or half steps? Two, between three and four, seven and eight. Q. In what respect does a -Minor Scale diffir frorm its relativs Major Scale? It is two degrees lower, and requires the seventh to be raised a semitone or half-step; consequently in the succession of tones and semitones (steps and half-steps) it differs materially from the Major. INTRODUCTION. Q, Why is a Minor Scale said to be relative to a Major Scale? Because it has the same signature. Give examples of scales in other Keys, with their proper signatures. i Scale of the Tonic. --::: - -l - ' i Scale of the Dominant. Scale of the Subdominant. -.Give an example in the Key of G, D, A, or any other key with flats or sharps at the signature. Name any one in the ORDER of keys with sharps or flats at the signature, not beyond C0, whichl has seven sharps or Cb, which has seven flats. The pupil no doubt is aware - (See Pianofbrte Primer, Exercises 10 and 11) - that beyond these keys, double sharps or flats would be requisite; and though frequently used in the course of modulation, they are:never placed at the signature, for this reason - all those keys which require them are called by different names; thus the key of A0, which would require ten sharps, (three double and four single,) is called BDl, and has two flats; the key of B0 would require twelve sharps - is called the key of C, which has neither flats nor sharps; and the same is to be observed of-all those keys beyond C-0 or Col. INTERVALS. THERE are two modes of reckoning Intervals. The one is to count the number of sounds; the other, to count -the number of semitones. The following explanation, it is hoped, will enable the student to understand both methods. An INTERVAL is the distance or difference between two SOUNDS. The smallest Interval upon the Pianoforte, (to which instrument all the explanations in this book relate) is a SEMITONE. Or. HALF-STEP. Each key of the piano-forte is a semitone from that which is next to it, whether it be a white key or a black one. A semitone is called chromatic when it retains its name and degree upon the Staff, as C, C', &c. $ 1 whottlYiYN. A semitone is called diatonic when it changes its inae and degree upon the staff, as C, D2, &c. All intervals are called according to the number of letter or degrees of the staff, thus:is not called a second (although C# is the second sound of the chromatic scale) because both sounds are called C, and are upon the same degree of the staff; but is called a second, because D is the second letter of the Diatonic Scale of C, and is upon the next degree of the staff from C. Those intervals which have no other designation than a number, as second, third, fifth, &c., applied to them, are to be sharp, flat, or natural, according to the scale which is under consideration; for example, in the key of C the second of the scale is D, the third of the scale is E, &c.; but in the key of E the second of the scale is F#, the third of the scale is G, &c. This rule also holds good when intervals are reckoned in other parts of the scale, as well as from the tonic: thus in the key of C the third from D is F; but in the key of G the third of D is F#. Those intervals which have accidentals prefixed to them must be raised or lowered from their original places in the scale, according as they are marked. To prove whether any interval be major or minor, it is necessary to reckon all the intermediate sounds, (viz., every sound of the chromatic scale.) If the number of sounds be counted, they will be one greater than the number of Semitones: thus in reckoning from A to C#, the number of sounds (of the chromatic scale) is five, although C# is only four semitones from A. INTRODUCTION. 9 0 ii I V V V V Cd 4a8 9: 0 They must be reckoned thus: from A to A# is one semi. tone, to B two, to C three, to C# four. Thirds, fifths and leading-notes, being the only intervals usually explained in the rudiments, the author now reconmmends the pupil to study attentively the following TABLE OF INTERVALS. Tonic. which signifies the SAME SOUND proUnison. duced by two or more instruments or voices.A unison is not an interval, for it must be remembered tlat an interval is the difference between two sounds. An augmented Prime or) The 2d Sound of Chromaticsmioe One Semitonie the Chromatic Scale from the Tonic, Key is 'note, or Root. The 2d Soun.d -is Mio ecn, M(inor Second.~ The 2d ound is MiOne Semitone from also called Tonic. *It is to be observed that, although the same Keys on the Piano. forte and other keyed Instruments are used for C and DD, &e., &c., it is not the case with instruments in general. 10 INTnODicOTION. A Tone, or Major Second. The 3d Sound oi Two Semitones the Chromatic Scale from Tonic. isSA Sharp, oi augmented The 4th Sound of Second. the Chromatic Scale Three Semitones is from the Tonic. A Minor Third. The 4th Sound is Three Semitones also called from the Tonic. AM *ar -Third, -The 5th Sound is Four Semitones S from Tonic. A Fourth, The 6th Sound _. Five Semitones is from Tonic. A Sharp, or augmented Fourth. The 7th Six Semitones from SQand is -Tonic. An Imperfect Fifth. The 7th Sound is - Six Semitones frona also. called - Tonic. A Perfect Fifth. The 8th.Seven Semitones Sound is from Tonic. The 9th Sound is A Minor Sixth. _ _ _ Eight Semitones ~.-~-jF---- f )rom Tonic. INTRODUCTION. II A Major Sixth, The 10th _______.Nine Semitones from Sixth. Th e 11th s ixth Ten Semito'nes from Sound is _Tonic. -oA sAinor Seventh. The 11th tSound Ten Semitones from is also called -- - Tonic. -0-- A Major Seventh, or The 12th Leading-note, Eleven Semitones jound is from Tonic. -0 -An Octave, The 13th li-Twelve Semitones Sound is _ from Tonic. A Flat, or Minor Ninth The 14th i9Thirteen Semitones sound is _ ___ from Tonic. 9-- The 15th A Major Ninth. Sound is Fourteen Semitones from Tonic. Write or repcat a Table of Intervals similar to the preceding, reckonincg from E, El, B, or any other note, instead of C. Intervals are not usually reckoned beyond a ninth, as the terms tenth, eleventh, twelfth, 81c., which were formerly applied to thile octave above the third, fourth, ffth, Sp., being a repetition of former sounds, they are distinguished by the name of CorPOUNsD INTERVALS: for example, any E is called the third, any F the fourth, or any G the fifth of C, however distant they may be from each other and the tonic, firom which they are counted. Intervals are counted up. wadrds (from the, lowest note to the highest) when not otherwise indicated. '12 IN TRODI)CTION. 3d. 4th. sth 43. 4th. 5th. 4. 4th. 55th. -- - -0 - -- -- -- -- -- SSimple Intervals. Compound Intervals. INVERSION OF INTERVALS. THE Inversion of an Interval signifies either putting the highest note an Octave lower, or the lowest note an Octave higher, while the other remains in its original place, The easie:t method of showing what any interval will become when inverted, is to add as many to the number by which it is called as will make up nine, -the difference will give the name of the interval wheh inverted: thus a unison (which is represented by the number one) will, being inverted, become an eighth; a second will become a seventh; a third will become a sixth, &c., &c. For example:-- SUnison. gve. 2d. 7th. 3d- 6tb. 4th. 5th. 5th. 4th. 6th. 3d. 7th. 2d. 8ve. Unison. --- --- -'- ---- THOROUGH-BASS. A MELODY is a succession of single musical sounds which can be produced by a single voice or instrument. Two or more different Sounds, heard simultaneously, arp called HARMoNY. These Sounds are derived from what is termed the ROOT, the RADICAL BASS, or FUNDAMENTAL BASS As it would be monotonous to use none but radical bases, other bases, derived from them, are frequently used. Thorough-Bass is the application of harmony to a figured bass (that is, a bass with figures annexed denoting the harmony designed to accompany. it.) The rules which govern the application of the notes, intervals, or harmony Sindicated by such figures, in their relations to the bass and to each other,-constitute what is termed Thorough-Bass. THE COMON CHORD. 3 13 CHAPTER I. THE.COMMON CHORD. Q. Othow many sounds does a Common Chord or Triad consist? Three; viz., a Bass note or Tonic with its third and fifth Name the notes which form the common chord of A, of B, C, D, E, F, G. Q. Is not the octave to the bass generally added? Yes. Q. In how many positions can the common chord he taken; Three; for exainple: - Q. What is the difference between a Major Common Chord and a MIinor Common Chord? The difference is in the Third; for example: -if the third be major, it is ar major chord; if the third be minor, it is a minor chord; the fifth in both cases must be perfect. Write out the following exercises, adding the deficient notes belonging to each chord, observing that nothing is to be written higher than the given note in each chord. When properly corrected,, play Ahe exercise as written. Afterwards play it from' the origin-al copy, sup&lyin thce defi'fi't iotcs ~Withbot referring to the manuscript-or key. The prne should be done with -all the succeeding exercises. 2 14TUE' CO-1MO-0N CI10O*DWrit(, and 1)Iaynmajor chords inl threec p~ositionvs torExe-rcise and StudyI I. Conanence wvith (ither the- thlird, fifthi, or oectave uppermost, and( put the. two other powes in the Mne'ar'St po0SitionIS Of the, Chord, either ascend~ing or descending. AMark each Intervall* wvith a figure as in the foregoing ex-ampic. Write and pl1ay minor choi-di in thec stone manner to E xercise and Study I. Preliminary Exercise I. Major Chiords i6i thiree positions. 8 3 -3 3 5_ THE COMMON OHOr.D.' 1i5 Study I. -1#;r t 4 Q. As the octave to the bass is generally added, may either of the other sounds be doubled? Yes; for instance, in the chord of C as many Cs, Es and Gs may be written as the student chooses, bearing in mind that it is better to double the octave than either of the others, and the fifth rather than the third. e a-- 9-----e~-eQ. As the common chord may be taken in three positions, is the student at liberty to take which he pleases? If a melody be given (as in Exercise II.,) nothing should be written above it; but if there be no melody given, he may take the chords in whatever position he thinks will produce the best effect. Q. What are the progressions to be avoided in writing or playing chords? - Those which produce consecutive Fifths or Octaves; that is to say, one part must not move in fifths or octaves with another; the progression, therefore, of each note, must be considered.t For example: - -a - *After writing a few chords, it will be sufficient to mark the upper note only. tA musical composition is siid to be in so InanNx parts, moving in proper progresision. WXhen speakihg of parts, voice-parts are to be understood, is the rules for their progression apply more strictly than in any other farm of writing. 1 G THE COMMON CHORD. The G in the first bar, which is a fifth from C, must not move to A, which is the fifth of D. The G in the second bar, being the fifth of C, must not move to E, which is the fifth of A. The upper and lower E, in the third bar, must not both move to F, as that makes consecutive octaves. The following example is in four parts - ~~? and must be analyzed in this way: -The first part or the melody is B, C; the second part G, A, which are consecutive octaves with the bass; and the third part, D, E, are consecutive fifths with the bass. These faults may be avoided by altering either the first or second chord, thus: 9 -9-- V-0 In the following example the faults are avoided and the melody retained. The upper part is still B, C, the second part G, E, and the third part D, C, neither of which move in fifths or octaves with the bass, or with either of the other parts. Write and play Common Chords to Exercise II. and Study II. THE COMMON CHORD. 17 Exercise IL. 4+__ -1 \ J Ai LEI - Study II; --69 -Z23 0- c--Z Q. How is the performer to decide whether a major or a minor chord is to be played? From the signature, for no accidentals must be used unless they are indicated. In all major keys the tonic, subdominant,* and dominant have major chords; the second, third, and sixth of the scale have minor chords; hut the seventh or leading-note cannot have a common chord, as it bears an imperfect fifth. t II *It has already been shown, that the fifth below by inversion becomes the fourth above; the pupil, however, is advised for the future to consider the sub-dominant as the fourth, and the dominant thile fiflth of the tonic. t This example is inserted to show that a cominon chord wlay be 1 2* 18 THIoE COIrION CHtrD. Q. When there is no melody (riven, what are the best 'eneral rules.o observe in writing or playing chords to the Exercises.? Generally to begin and end each exercise with the octave of the.bass at the top; also, to move the chords as little as possible; that is, when there are any sounds in one chord which belong to the next, they should be retained in the next chord; thus: - - --_--D---- --... j4 -.-...-------=... These rules, however, are by no means invariable. Q. Upon what progression of the bass is it-most necessary to guard against making consecutive fifths and octaves, When the bass moves only one degree, they are more likely to be made than by any other progression. The surest mode of avoiding them is to make the chords move in a contrary direction to the bass, unless the melody or some other reason prevent it. See pages 16 and 17. Q. Are there any other restrictions to be observed in the progression -of the notes of the common chord, besides the avoidance of consecutive fifths and octaves? All the notes of the common chord may move at the discretion of the player, except the major third, which, if possible, should ascend one degree. In the foregoing example, the major third of C, (E, in the first chord,) cannot ascend, because there is no F in the following chord. The major third of G,(B, in the fifth chord,)however, should and does ascend one degree, there being a C in the following chord. taken to every note of the scale, except the seventh; but the chords must not be played in succession, as above written, on account of the consecutive fifths and octaves, (which the pupil should point out by way of exercise.) Add to this, the chords follow each other inharmoniously, as there is no sound in one chord which belongs to the next. See Exercise II., in which this is avoided except in one instance. THE -COMMON CHORD. 19 Write and play chords to Exercise III. and Study III., pointing out which are majof and which are minor chords. Exercise III., -- --- - - - - ---i - - - '-~-: -S=1- - ---:::1._--: -I- --_-;I v -I--,---I - --- 0 -.- --~------. O l -L--.'.--" Study III. ___ --- _____ __ Q. It has been remarked, on page 15, that any sound belonging to a commnon chord may be doubled wi;hout altering the nature of the. chord; is the student then at liberty to accompany some bass notes with two, and others with three or more notes? This will depend greatly on the effect intended to be produced, as some passages require a fuller accompaniment than others; but, generally speaking, all the chords of a passage should consist of the same number of notes or parts, and the progression of each part ought to be as clearly defined as if the piece were written in score. (See pages 92, 93.) Q. If the same number of parts are employed throughout a passage or composition, how does it happen that some chords appear to consist of a note less than others; thus:The second chord really consists of the same number of S parts as the first, because the upper C is doubled, in order that the major third of G (i. e., B) may ascend; if sung by four voices, two persons would sing the upper C, in which case the progression would be, The highest part, D-C The second part, B-C The third part, G-E SThe Bass, G-C 20 THE COMMON CIHORD. Some' teachers make their pupils write the four parts; thus: which is a very good plan, until the student is thoroughly acquainted with the progression of each note, when it may be discontinued. Write and play Exercise IV. and Study IV. Exercise IV. 1-A-- _ Thzri -i____ --- ____ ---- E-i----l -d-- V z-3~E1 Chords of the Tonic andI Attendant Harmonies in major keys. --j-- w1 - _______ _______ Tt.--- 113C-t Ilk# ''--)-----------7 -~1~--1N THE COMMON CHORD. 21 _ ___ r-- ___ - A-: Chords of the Tonic and attendant Harmonies in minor keys. Scales. I - _--__- -- ---- --____-: _m_______--- I' _ _ __ -__ __ __iz 42 4v-__ ___ ____E 25 d ^Id^^:j=:^=:j^=g-_=-^=3.'rr~z=09 =~k;;^====^=F===fc==t:==:t:==71 22 THE TONIC, Study IV. CHAPTER II. THE TONIC AND ATTENDANT HARMONIES. Q. What is meant by the Harmony of the Tonic? It signifies the common chord of the key-note. Q. What are the attendant harmonies? They are the common chords of the sub-dominant and dominant; thus the attendant harmonies of the key of C are F and G. Ex. First make the signature, then write and play the chord of the tonic and the attendant harinonies to the following keys, as in the foregoing example. C, G, D, A, E, B, F#, C 1, C F, B*, E, Aj, DW, Gq, C6, Q. As it appea'rs that the chords of the tonic, sub-dominant, and dominant are all major chords in a major key, are they all minor chords in a minor key? No; the third in the chord of the dominant is made AND ATTE.NDAN-T HARMONIES. 23 major by an accidental, by which it is made the leadingnote of the scale; but the chords of the tonic and sub-dominant are both minor. Tonic. Sub-dom. Dom. Write the signatures to the following minor keys, then write and play the chords of the tonic and attendant harmonies. A, E, B, F#, C9, Gt, D4, A#1 A, D, G, C, F, B2, E', A. [After having written and played the chords as above directed, it is desirable that the pupil should practice playing the chords of the tonic and attendant harmonies in any major or minor key, without writing them. In doing this it will not be necessary to think of the signature, but merely remember that the chords are to be major in a major key, and minor in a minor key, excepting the dominant, which is, in all cases, to be a major chord.] The chords of the tonic, sub-dominant, and dominant include all the notes of the scale; consequently the root of each note will be found in one or other of these three chords. In the key of C, for example, the C is the root of C, E, andG; the sub-dominant F, is the root of F, A, and C; and the dominant G, is the root of G, B, and D. If the scale be taken for a melody, and accompanied by these three chords, it is best to consider the fifth to be derived from the tonic, as it prevents the harshness which arises from taking the chord of G between two chords of F. Ex. Make the signature of the key of C, F, Ab, G, B, and D. Write the scale for a melody; put the root or fundamental bass to each note, and afterwards fill up the harmony by the common chords. SShould the pupil find any difficulty in putting the roots to the scale, the following method will perhaps render it easy: --Write down the three roots, viz., the tonic, sub-dominant, and dominant, and put the letters which form their common chords above them. Write, for instance, the scale of C: -, c, d, e, a, b, The Roots are---C--- - F G, 24 4 -THE TdNIC, The smlnI: lettersfbo*&ý the capitals are their common chords. The lowest note of the column must be set down as the root. C being the tonic, must, of, course, be set, down as the root of the first and cighth,;stlthoitgh thereoisi a:C in the chord of the sub dominan t; and it (C) must also be considered as the root of the fifth of the scale (G), for the reason given above.] 77 In putting chords to -the- sixth and seven-th of the scalep care must he taken to- avoid -mahino cosecuiti-eýifths and octaves with the bass (as in the above Ex.) This may be done by making the notes which accompany the leading nobe mo e tbus-: 8 Q. As the figures 5 expfess the common chord, why ire they not 3 placed over the bass notes in the preceding exercises If every bass note were fully figured, it would be difj cult to. read quickly enough to play the chords from. them, therefore the figures which - express the common chord are only used to contradict others which may have. preceded them, or when any interval of the chord requires - an accidental. Q. Is it then to be understood that those bass notes which have no figures are to be accompanied with their respective common chords? Certainly; and it must also be observed that when only AND ATTESDA2NT -HARMONIES. 25 one of these figures is used, the others are implied, thus8 8 5 5 3, 3, 8, 5, 3, or a bass note without figures sig3, nifies that the common chord is intended. Q. What is meant by a #,, or ý placed over or under a bass note? It signifies that the third of that bass note is to be sharp, flat, or natural, as marked. Write and play Exercise V. and Study V, and observe that whenever a note which is raised or lowered by an accidental is of the same name as a note in the preceding chord, it must be found in the same part of both chords; for instance - Exercise V. _ -u--- _ Iz__ ___ study V. ~_ LOP 3 - --- ~ -U - -- 26 STI toNlt ^^E^^ --^- - ^-==^f -^--... ~--2g-.-.-^2 _________:_ _--"-- --:i And not __ Supposing the above example to be sung by three voices, the same: person who sings G in the first chord must sing Go in the next. Q. Does an Accidental tnder another figdre thus-- stil relate to the third? Yes; for example 5 signifies a fifth and sharp third; 7 signifies a seventh and flat third, &e. Q. What is meant by an accidental placed before any figure? It signifies that the interval is to be sharp, flat, or natn-. ral. Thus [,7 meansa flat seventh; -6 means a Natural Sixth, &c. Q. What is meant by a dash, ascending to the right, drawn through a figure? It is another method of indicating that the interval so marked is to be sharp. Thus 0 means a sharpfourth; z means a sharp seventh, &c. ~5-- Q. What is meant by a dash after a figure, thus, 3 -*.: '--. _.. '.......ow It is a mark of continuation, and signifies that the harmony indicated by the preceding figures is still retained; it is also occasionally used when the bass note is changed, to denote that the same chord is to be played as before, notwithstanding the change of the bass; as example: - IND ATTENPANT- HARMONIES. Write and play Exercise VI. and Study VI. Exercise VI. -H--- h------i-- H-----r--r---~~=~-F--+ i -R- - 09_ S----T 6 4-~. r 6-.. 4'':J 6 4 116 -- 4 1 I 6__ j 4J _ 6 6 6 6 4' 6 4 9 zrrz~J----- - ~ E ~iIIE+-____ - II TH E TOIw, Minor Chords and their derivatives. ------_ ---' i_~- "-- _ ---_g 6 6 6 6 4 6 4 6 ----'-_---I-- ------ ------ --- -. 6 4 ------r-- - z --....... _ Ii_.-- - -a--gStudy VI. The octave ir fifth should be doubled in preference to the third, because the proper progression of the major third is to ascend one degree; consequently, if doubled, consecutive octaves would occur, or one of the thirds must descend, which produces an unpleasant effect. Q. What interval in a common chord is it least desirable to omit? The Third, because the omission of that interval renders it uncertain whether a major or a minor chord is intended. If a bass note be accompanied with only two notes, the third and fifth are most desirable, or third and octave in preference to fifth and octave. CHAPTER III. THE DERIVATIVES OR INVERSIONS OF THE QOMMON CHORD. Q. How many chords are derived from the common chord? Two; the chord of the sixth and the chord of the sixth and fourth. Q. How is the chord of the sixth produced T By taking the third instead of the root itself in the bass, thus,: 6 The root or fundamental bass of each of these chords is C. 6 -Q. How is the chord of the - produced? By taking the fifth instead of the root for a bass, thus-. The root of each of these three chords is C. Q Isithe performer at liberty to take these and all other chords j' what position he pleases, as in the conimmon chord? Yes,; provided the rules (which will be progressively explained). are not broken. Ex. Write and play a major chord and its two inversions to each note of Exercise I.; remarkiing, that when the third is taken for a bass, the chord 6 is produced; and when the fifth is taken for a ba ss, the chord is prod*ed. 4, roucd P* -0 THEI- DER1IV'ATIVES OR INVERSIONS Ex Write and pla# a minor chord and its two inversion to each --note (if ExerciseT., --remarking; &c. as befbre. Q. When a bass note is marked with a 6, where is the fundainental bass to be found A bass note marked with a 6 is to be considered as the third of its root, consequently the root is a third below. Q. When a bass note is marked with the figures where is the root to be found?-- A bass note marked is to be considered as the fifth of its root, consequently the fundamental bass is a fifth below. The following Studies are to-be copied on the middleone of three staves; the upper staff for the chords, the next for the derived bass, (that is the bas which is to be played,) and the lowest for the fundamental bass, which is to Show from whene the chords are derived. (This is not to be played). Write and play Exercise VII. and Study VII. First put the root on the lower staff, and then the chord on the upper staff Exercise VII. C-Ap ~ g----jI - zzz t' r-dP-P~ 6.5 6 6 __-- ___.4 6 65 4 -6 -4 - 66 y 45 6 4 5 _ TO THE COMMON CHORDS Study VIL 31 (Li Chords. Derived Bass. Root, or Fund-amental Bass. _ _63 66 464 Q.When two or more, successive bass notes of the.same name ~ccur, and. the first of themn is figured, is the same chord to he played to them ally 4Certainly; the harmony indicated by the preceding ligures is to bec sontin'iued as long, as thie same bass continuesI unless contradicted by a changre of figures. Q. What is meant by two or mnore followingr figures over one bass no too They-6ignify that as many chords are to be played as there are following figw'ues;. and that-the' root- also i chanlged-each time.. Chords. ]Derived Bass. Uoots. in __I 4. ~~~YI1 STIE DERIVATIVES OR INVERSIONS Write and play Exercise VIII. and Study VIIL Exercise VIII. &6 6 3 6 5 6 5 Study VIII. -- - -- 6 -565 536 S ud VII I " --. 6 4.._ 3._3 4__-_. 65 565 65 6 43 8 343 43 --.--s- ---~T. " "l. ----g---rr~zrg'"~- gg ^ g--i-a-^ -- Q. Is it necessary that every note which belongs to a chord should appear in the treble? No; the note which is in the bass is frequently omitted in the treble, and one of the other intervals is doubled instead of it. This is to be particularly observed when the third is in the bass, (that is, in the chord of the sixth,) especially if it be a major third from the root; for examplethe chord of the sixth upon E should be written thus OF THE COMMON CHORD. 33 --- 6 6 Instead of 5:--"--., - I 6 Q. Is this rule to be observed every time a chord of the sixth occurs? Not always; when the derived bass is a minor third from the root, it may be either doubled or not; but if the derived bass be a major third from the root, it should generally be omitted in the other parts. Write and play Exercise IX- and Study IX. Exercise IX. _- -- -T ---- - - --D----- 6 5 6 5 6 5 6 4 3 6 6 6 4 6 6. 6 _6 _ -_ _ - 6 6 5 6 6 6 6 4 4 3 i,,-~' -D----:-------.=T~=_--_.,___:-6 5 6 6 6 6 4 3 34 THE DERIVATIVES OR INVERSIONS StiidyIX 6 65 6 5 65 43 6 4 6 43 6 - ----a ____________B 6 6 65 65 4 6 Q. What is the full figuring of the chord of the sixth? 8 6 but the figure 6 -only- is used unless, the other intervals require 3 accidentals, as in Exercise X. Write and play Exercise X.* and Study X. Exercise X. 6. 4 -*--- 6 6 _ 6 __ _ *A Sequence, see (Chap. XI.,) which is frequently to be met with, viz., a chord of the 6th followed by a common chord, is introduced in Ex. X. The best mode of accompanying it is to put the octave of the root for the melody, when the third is in the bass, an4 the third in the melody when the -rot is in the bass.;- thus 6 6 __ _ &e. OF*'TE C03NION CHIORD. 35 B 4; -6 6 5 4;. if- -~C 6-~-----. Jqt~s I--rr----r-~- c L Exrciese I." 'Dominant Sev-enths and their resolutions;- Major anld Minor. ~~-~-- ____ ___ 7 7 7 7 _ _ - V _ _GOV -T09 -7~~~ 1 ~F-iL -L - L - -L -- 7 7 7 1 )7 b7 Study X. 6 3 S4 3 5 09-L-e-- - ~-5 --, 36 THE DERIVATIVES OR INVERSIONS, &C. 6 5 ~ 5 6 4 6 G 65 65 6 43 6 43 Q. What is meant by Contrary Motion? It signifies that the chords ascend when the bass descends, or vice versa. IV Q. What is meant by Similar Motion I Similar motion implies that both chords and bass move in the same direction. Q. What is meant by Oblique Motion.? It signifies that the chords move while the bass renvus stationary, or vice versa, THE DISCORD OF THE SEVENTH. 37 CHAPTER IV. THE DISCORD OF THE SEYENTII. Q. What is a Discord? A discord is a sound which does not form part of the common chord, such as 9, 7, or 4; but the same term is also used to express a combination of sounds in which a discordant note is introduced. Q. What is meant by the Preparation of a Discord 1 A discord is prepared whein the discordant note has appeared in the preceding chord; an added discord, of course, implies that the discordant note has not appeared in the preceding chord. Q. What is 'meant by thl Reohingtn of a Discord? Every discordan tnote has a regular progression assigned to it, which is termed its resolution; for example, a ninth must descend to the eighth, a fourth must descend to the third, &c. Q. How is the Discord of the Seventh produced? The discord of the seventh consists of the same notes as the common chord, -(viz., the bass, its third, fifth, and seventh;*) consequently it is composed of four sounds, and may be taken in four positions. 7 7 7 7 Q. As the full figuring of the discord of the seventh is 8 7 is it necessary to use all these figures whenever this chord is intended 5 3 to be indicated? No; the 7 alone is sufficient, and the others are only * Observe the seventh is a whole'toae7 below the ocave. 4 38 TIE DISCORD OF TIE SEVENTIl used when required for the same reasons as the figures of the common chord. (See page 25.) Q. What is meant by a Dominant Seventh? It signifies the chord of the ffth of the scale, (which, it has been before remarked, is always a Major Chord,) with the seventh added. Q. Why is it called the DOXINArNT Seventh? Because it governs or decides the tonic harmony, from its combining those sounds which do not form part of any other scale. Thus G, B, D, and F cannot all be combined in any other sdale than that of C major, or C minor. The major chord of G with -the seventh, therefore, is termed the dominant seventh of C. Q. 'It appears, then, that the dominant seventh governs equally the tonic major and tonic minor. It does; bu:tit must be observed that, in the minor mode, the third of the dominant is always raised by an accidental, to form the leading-note of the scale. Give an example in the key of C minor and other keys. Q. Should the discordant note, viz., the seventh, ascend or descend? It must descend either a semitone or a tone. This is called the resolution of the seventh. For example, in the chord of G with the seventh, F must be resolved (that is, descend,) either to E or E.. See the white notes in the following example. - -. -:.. & c. -7- 7 -7 -Q. Is there any rule for the progression of either of the other sounds? Yes; the major third of the dominant (being the leadingnote) must ascend a semitone. 7 -0- 7 --V THE DISCORD OF THE SEVENTH. 33 Q What harmony most naturally follows the dominant seventh I The chord of the tonic, either major or minor; thus G with the dominant seventh will be followed by the chord of C; A with the dominant seventh will be followed by the -cbord of D, &c., &c. Write and play dominant sevenths to every note of Exercise I., and let each be properly resolved into the chord of the tonic major, and then minor. Put the requisite figtures to the bass notes, and avoid writing them all in the same position. For example: - 7 7 7. 7 55 [A clear understanding of this exercise being absolutely necessary, the following-recapitulation may not be superfluous. First write down the bass note which is to have the dominant seventh-See Exercise 1.-and then the bass note which is to follow (viz., the-tonic, of which the preceding is dominant.) Write the -chord of the dominant seventh in either of the four positions. Resolve the seventh (that is, make it descend,) into the major (or -minpr-) third of the tonic. Resolve the major third of the dominant (that is, make it ascend).into the octave of the tonic. The fifth of the dotninant may ascend or descend-(See the black notes, which may be either inserted or omitted;) and the octave of the dominant is'ro remain, to form -the fifth of 'Ie toni.-] Q. As it appears that the root either ascends a-fourth or descends a fifth after the dominant seventh, is it the same with those discords of the seventh which have minor thirds l Yes; the natural progression of all radical or fundamental bass notes, which -have been accompanied with sevenths, is to ascend a fourth or descend a fifth. -- 40 THE DISCORD OF THE SEVENTH. Write and play Exercise XI. and Study XL Exercise XI. Se - - ' "-- - - - 8 8 7 7 -71 ____ E----f sq s 8 __ ___7__ 8 7 5 6 6 7 4 3 Study XL 6 7 65 7 6 5 43 ~-=---~-i9-- ' 7 6 5 67 7 4 8 6 43 THE DISCORD OF TIE SEVENTH. 41 Q. As discords of the seventh are not always prepared, is there any rule to be observed respecting them when taken unprepared? Yes; it is generally better to descend upon the discordatn note than to ascend -to it. 7 Q. When is a discord said- to be& preparedWhen the dissonant note has been employed (in the same part) in the preceding chord. fn) ---C--TZ Q. If the octave of the root were omitted in the chord of the domi. pant seventh, would it occasion the omission of any note in' the following chord? Yes; the fifth must be omitted in the resolution, otherwise the seventh will ascend, or the third will descend, which is contrary to rule. 7 7 7 7 SQ. Is there any other case in which the fifth is to be omitted? Generally when the bass moves one degree upwards or downwards it is necessary to omit the fifth, in order to avoid -2onsecutive fifths. (See second and third chords in Exercise XIII.) 4* 42 TIIFuen DISCORD OF IO ESEf.TR Write and play Exercise XII. and Study XII. Exercise XIL. 7-7 7 6 __--- ------I 1 -~-4 -S7 7 6 _____~ __ E -- -.- I I _ Dominant Sevenths with interrupted resolutions7 thlasacning a tone., U--;--- --1 111 -- 0 _ 7 7 7 Study XII. - 6 5 6 * 46 6 THE DISCORD OF TIE.-SEVENTi. 43 77 77 7 7 65 7 67 Q. May the seventh be doubledT? No discordant notes should be doubled; for as they have a regular progression assigned to them, they would, if doubled, make consecutive octaves, thus:-- 19I The F being sevenths, must descend to Es, thereby pro. ducing consecutive octaves. Q. What is meant by the term, "Interrupted Resolution of the Discord of the Seventh? " It has been shown in the foregoing examples that the natural progression of the bass notes, which are accompanied with sevenths, is to ascend a fourth or descend a fifth. Thi is the` natuiral resolution of the harmony; but if the bass ascends only a tone, it is called an interrupted resoltion. -__ 1 z11 1 1 7 7 In this case the dominant seventh, iinstead of resolving into the harmony of the tonic, resolves into the relative minor. Q. When a discord of the seventh has an iaterripted resolution, should every sound belonging to that discord appear in the accompanying harmony 3 44 -THE DISCORD OF TiHE SEVEINXTH. No; the octave of the root must be omitted both in the discord of the seventh and following chord, otherwise consecutive octaves with the bass will be made; and the fifth, instead of being at liberty either to ascend or de&scend, as it may when the resolution is not interrupted, must in this case descend, in order to prevent consecutive fifths. Wrire and play dominant sevenths, in different positions to A, B, C, D, &c. Let the resolutions be interrupted as in the foregoing examples. Write and play Exercise XIII. and Study IXIII. Exercise XIII.;,#FI~ LA ---------- 64 5 7 ___x__ t 2{ 7 7j27 6 7 3 j: 4 Dominant Sevenths with interrupted resolutions, the Bass asceading a diatonic semitone.:~z~-CI;I -0-- 7 7 b5 b7 ~ THE DISCORD OF THE SEVENTH. 45 Study XIII. 6 7 7 6 7 6 _----^-- g- _---- 7 7 67 7 ____ - _____z - __ 7 67 6 6 43 Q. Is there any other way of interrupting the resolution of the seventh? Yes; by making the bass ascend only a diatonic semi. tone;thus:-- Write and play dominant sevenths in different positions, to A, B, C,, D, E, F, G. Interrupt the resolutions by making the bass ascend to a diatonic semitone, as above. Write and play Exercise XIV. and Study XIV. Point out all those chords of the scvcnthl which have interrupted resolutions. Exercise XIV. i r---.----r.-. 'F: F: -Z-?I__:_-:F =- ^,-,- F-: 6 7 7 7 7. 6 4 SF 6 8 8 6 B - -- -io- ~ 6 --, t----, -== ---- =-. - --- -:-,-a:-<y-6f___-ll,8_ 6 7 46 'nin tPa I vEn 's -O1,INVERS1os% Study XIV. 67 43 7 3f i"- ~--? u --- - g-- - -g 7 7 65 67 ^h-9 ~ -~ -a---- ^= = S4 3 7 6 7 I$ ^ -- -^-. CHAPTER V. THE DERIVATIVES OR INVERSIONS OF THE SEVENTH. THE DISCORD OF Q. How many chords are derived from the Discord of the Seventh? Three; the 6, the., and j, called the first, second, and third inversions. Seventh Inversions.......... Q. How is the chord of 5 produced 1 By taking the third in the bass, instead of the root; fbr example: - -- --- ~ The root of both these chords is G with the seventh. Q. How is the chord produced I OF' THE.DISCORD OFY THE S-EVENTH. 47 By taking the fifth in the bass, instead of the root; for example: - The root of each of these chords is G with the seventh. Q. How is the chord produced By taking the seventh in the bass, instead of the root; for example - -e-- -~- - e-a-~----~--P--- ---.-. ----~- o-a-------o-- 3 4 The root of each of these chords is G with the seventh. Write and play the chord of the dominant seventh and its deriva. tives to each note of Exercise I and Study I. Q. What is the full-figuring of the chord g?, but 6 only are generally used. Q. When a bass note bears the figures g, whore is the root to be found? A bass note which bears the figures is to be considered as the third of the -root, consequently the root is a third below with a seventh. Q. In speaking of the chord of the sixth, it was remarked that when the third is used for the bass, it should not appear in the other parts; is this rule to be observed in the 2-? Yes; when the bass -nte is a major third from the root;' but when it is a minor third from the root, it may or may not be doubled, as the performer chooses. Q. Is there any exception to this rule? Yes; when the third is in the bass in two following 48 THE DERIVATIVES OR INVETS1IONS chords, it must, to avoid consecutive fifths, appear in the Treble of only one of them, unless the bass notes he accompanied by harmony in two parts only, as in the sequence of Sixths in page 95. Write and play Exercises and Studies XV.* and XVI. Exercise XV. 6 6 6 7 5 5_7 6 5.5 6 6 6 6 Study XV. 6 65 6 S#7 6 5 6 7 65 7 5 6 7 4 *For an explanation of the chords of the substituted and added sixth, introduced in these and following Exercises, see chap IX. Or THE DISCORD OF- THE SEVENTH. 49 -7 7 67 6 6 4 Exercise XVI. 7 I i - AL - - 7 6 _7 5 7 -5 7- 67 S727 5~ 7 6 5 5 4f 5 767 65 S-67 6 4-9 6- 43 50 TIHE DERIVATIVES OR INVERSIONS What is the full figuring of the chord of the S, but it is generally abbreviated, or. Q. Is the figuring of this chord ever abbreviated in any othei manner? Yes; if the sixth be raised a semitone by an accidental sharp or natural, a single #6 f or 46 is considered to express the whole figures 0 or.3 Write and play Exercises and Studies XVIL andXVIII. Exercise XVII. 8 -876 6 5 4 7 5 - ~ 5 4 b 115 4 -t6 -6 5 6 4 3 6 5 6 ___I4 - - -~ 4~- 6--4=~ 6 1 4-~ 6 7 7 6 7 Study XVII. 4 3 6 5 7 5 g;_________ OF THE DISCORD OF THE SEVENTH. -51 6 6 7 6 5 6 6 5 3:55 7 6 6 6 6 5 5 56 7 6 6 6 7 -5 5 4 3 00 - Exercise XVIII. 6 6 6 4 5- 7 5 _ _X _ 9 '5 __ __ _ ______z; j: 5 5 6 6 6 7 6 6 42-.4-L 7 6 7 6 4 3 m6 6 e9,p E_ 5 THE DERIVATIVES, OR INVERWIONS Study XVIII. 6 7 7, 6 5 6 6 6 6 5 5 56 6 5 66 7 6 3 116 75 4 3 a _ - - ___ __ Q. Should every sound 6 chord of the 4 Q belonging to the harmony appear in the No; the octave of the root example: should be omitted;- for G with the seventh is- the root of D; but no G is found in the chord,* Q. In the foregoing example F, the seventh of the root (instead ofdescending according to the general rule) ascends to G. Is this correct? When the bass ascends to the note into which the seventh of the root should resolve, the seventh is, by license, allowed to ascend; consequently as the bass in the.preceding example ascends to E, -the Y may ascend to G.- - Write again Exercises and- Studies XVII. and XVIII., with 3Prticular attention to these rules. * This rule is not-invarnable; for when the octave of the Root has appeared in the preceding chord, it- is sometimes fetained in the next. OF THE DISCORD OF THE SEVENTi. 3 53 Q. As the leading-note of any scale cannot be a root on account of its having an imperfect fifth-(See p. 17)-what ought to be considered the root of the second of tilhe scale when it is marked with a 6? In the Key of"C, for example, if i) (which is the second) be. marked with a 6, is- the leading-note, B, the root? 6 No; for when a bass note, supposed to be a root, bearing a common chord, is found to have an imperfect fifth, the real root is a major third below it, bearing a seventh:Thus the root of D with a 6 according to the general rule, should be B with a common chord; but as B has an imperfect fifth, the root is G with the seventh. Consequently a, upon the second of the scale must be considered a l, and the octave of the root (viz., G,)J is omitted according to rule. Q. How is a 6 on the second of the scale of a Major Key to be distinguished firom the substituted sixth of the chord of tile subdominant of the relative minor, being the same sounds? (See Chap. IX.) This will be shown by the following chord. If D with a 6 be followed by a chord of C, it is evident that the root of the D is G with the 7th: but if it be followed byE with or with, it is the substituted Sixth upon the Subdominant, in A Minor. Write and play Exercises and Studies XIX. and XX. Exercise XIX. 7 6 6 6 #_ _ ff 0 5 5 ff6 5 ~ _Z22t5 Z~ piIj2Zz-i 54 THE DERIVATIVES OR INVERSIONS 7 7 6 6 6 6 6 6 5 ________ --' -e -[- e6 4- 7 Study XIX. 6___ 6- 6 6- 7;jjýG I 6 6 6h 6 6 6 b6 b4 6 6 4 t)7 56 L61 76 6 6 Exercise XX. 6 -6 6 5 8 7 56 6 6' OF THE DISCORD OF THE SEVENTH. Wi r - 1 -r L _= 6 6 5 4 6 4 5 6 7 f _f __--L-C- F--h___ --'-IT- r ______ ~ ~ ________ V___ _ 6 6 7 6 6 6 6 5 4 3 Study XX. 67 6 6 4 6 6 43 5 5 56 6 6 7 6 7 5 b7 5 - 6 5 67 7 6 6 7 6 43 7 5 4 3 Q. How is the full figuringrr of the chord abbreviated By the figures or with a single 2, and when the fourth is raised a seilitone by an accidental sharp or 'natural, a isingle #, or:4, suffices to express the whole figures 4 or. Write and play Exercises and Studies XXL and XXIL Exercise XXI, iIt=~- 1 --__ - ___ I-(-F---- __ ____~-t _____ TtZ= - v - -.L __ -I 4 G6a 2 3 2 6 2 6 6 2 _ -'.' jo- -_ _____ :56 -THE DERIVATIVES OR INVh{YUTOI(S ~ I r t P _- __ ___ 4 5 T 7 ti1 2 S 4 3 2 5- S 4 3 -4-- Study XXI. SE 4 45 2 5 Exercise XXII. PP-4 5 5 S * ~ - -P rM rp 5 ~75 I --j--~-- _ a 7 2 G coot6~ 81 a OF THE DISCORD OF THE SEVENTH. 57 6 7 6 _ _ 6 6 6 4 _ ---d Study XXII. 7 6 b4 6 5 6 4e "-.-^--~-^_-^--^ r-.-. 6 4 6 6 6 6 6 2 5 2 6 4 __-_---___-_ _,- ____ 6 4 7 7 6 6 67 5 2 6 5 6 6 5 4 3 Q. What is meant by passing through the seventh? When the harmony of the dominant is followed by the chord of the tonic, the seventh is frequently passed through as in the following example, in which it appears merely as a passing note. Q. Are two Fifths ever allowed to succeed one another? An imperfect may follow a perfect fifth in descending, for example: 58 TITHE DERIVATIVES OR INVERSIONS, 6 5 6 w-] Write and play Exercise and Study XXIII. Exercise XXIII. 5 65 6 6 3 -43 -2 6 6 5 __ ____ ---F--~ - -.C-- rlr7 -26 6 6 76 6 ---- ---- -6 --66 7...5 6 6 5 7 5 4 3 StudyC XXIII. atuas~~~ -v--IE--- 6 7*t 6 6 6 f~ 6 6 6 14 6 5 6 6 6 7 5 6 6 4 0 bi OF THE DISCORD OF THE SEVENTH. 6 6 6 6 5 5 7 Q. Does a single 5, b5, or h5 over a bass note always imply the common chord? Not if the fifth so implied be imperfect; for, example, if there are no flats or sharps at the signature, all the following marks imply imperfect fifths: - consequently they cannot be considered as roots. Q. Where then is the root to be found? The root is to be found as already described in relation to the root of the leading note; therefore the above marks are to be considered as abbreviations of the figures 5. Write and play Exercise and Study XXIV. Exercise XXIV. 6 6 7 5 5 __ ____ _- __-_ --r- _I... ___ 4 6 b5 2 6 b5 5 I,----.-<-=,,:---_=::...r-: 60 THE DERIVATIVES OR INVERSIONO ~ _ ii ---?f--- 6 7 6 5 2 6 6 7 6 4 3 Study XXIV. ý4 6 ~6 b5 #r-S~36 2. 6 5 7 6 7 4 5 65 -8 8 7 S 6 6 4 7 87 6 6 7 2 6 54 2 6# 7 5 43 Q. Must the Leading-note (viz., the major third of the dominant,) always ascend? Its natural progression is to ascend 4 but when the sevrenth is taken in two following chords, the leiding-note of the first is allowed to descend a chromatic semitone, which forms the seventh of the next; for example: - b7 Q. If the leading-note is in the bass, as in the chord of the 5, is it in that case allowed to descend Yes; according to the same rule; for example:-- OF THE DISCORD OF THE SEVENTII. 61 ---__r b_ 6 4 5 2 Q. In what case may the seventh be doubled? It is sometimes doubled in the chord of the 4 in prefer3 -ence to taking the octave of the root, in this case the lowerx one is made to ascend, in order to avoid the octaves; for example:Z7Z~ Write and play Exercise and Study XXV. Exercise XXV. fe. Zi 4Z zF~-1-Zi Z?4L-1- t 6 ý5 2 5 566 7 5 7 6 4 3 5 4 - --~-0----- --- - - -1 - Azz T_ 5-- 6 - 5 6 5 - _ g. 6 4 -U-----I~- -It~a;"~3:3--I- ~- ~If -C---r-----l, iF~-- --I _1_ j3d-- -iY 62 DISCORDS BY SUSPENSION. 6 6 5 6 5 6 4 3.Study XXV. 6 6 2 65 4 b6 b7 4 b 8b7 b5 b b6 5 b5 3 b7 - 67 ý4 7 2 6 6 46 2 6 9-, ~ t7 b7 6 6 7 S b7 5 6 4 CHAPTER VI. DISCORDS BY SUSPENSION. A Discord by Suspension occurs when some note or notes of one chord are retained in the next chord, instead of taking at once the harmony belonging to the r of the next chord; by which means the harmony of that root is for a time suspended. Thus the eighth is suspended by the ninth, whieh is produced by retaining the fifth of the dominant in the following (tonic) chord (Example 1.) The third is suspended by the fourth, which is produced by retainin the eighth of the tonic on the following (dominant) chord (Example 2.) DISCORDS BY SUSPENSION. 63 Example 1. Example 2. (^ -- ^----= o----- [ __ 7 9 _ 4 3 The chords, except the suspended notes, are to be considered as common chords, the ninth being used instead of the eighth; the chord is in all other respects to be treated as if it were not used. The same is to be observed when.the fourth is used instead of the third. Q. May the ninth and eighth appear in a chord at the same time? No; if there be any sound in the preceding chord which ought to be resolved by the eighth, the ninth cannot properly be played with it; for instance, in the example marked "prepared by the fifth," the B in the chord of_ G being-the major third,, should ascend to C, consequently the ninth ought not to be used. Q. May the discords of the ninth and the fourth be used without preparation? Generally speaking, they should be prepared; although instances may be met with when they are not so. Q. Must they be resolved? Yes; both ninth and fourth must be resolved, by descending either a semitone or a tone. Q. Is it necessary that the resolution of a discord should take place in the next chord? No; the resolution is frequently suspended for a time; for example: - r 1 ___5____4____3~ZE ~.| 5 4- 3, but in every discord by suspension the discordant note should ultimately resolve into the note which it suspended. 64, DISCORDS BY SUSPENSION. Write and play Exercises and Studies XXVI. and XXVII. Exercmse XXVI. -0-0 43 2 6 4 3 5 9 _ 4_3 9 8 4 3 5 6 4 -fj7 'LID-- -_ 6 7 6 5 9, 8-6 5 6 6 6 4 3 I- ____--- U-'-~-C- E_[ Study XXV1. S X 98 65 98:P6 43 5 43 -16 43 6 6 7 5 98 65 98 65 984 - 6 #G 6 4 3 E3xercise XXVII. 6 6 9 8 98 5 9 8 4 3 lp 42 _ DISCORDS BY SUSPENSION. 65 6 5 6 b5 98 5 9 8 61 __,- _ 0 T F ~ ~ 66 4 6 7 ý64 3 7 4526 543 Study XXVII. 4 6 6 44* 65 98 t6 43 2 6 44 5 6 - 6 6 5-7 9 8 4 3 43 5 - 437 5 98 6 44 Q. Is there any rule for the preparation of the discords of the fourth and the ninth? The fourth may be prepared by any interval except the second; but the ninth must not be prepared by the eighth on account of its making hidden octaves, as may be seen in the following example: - 6 6 9 8 9 8 4 9 8 Prepared by the 3d. Prepared by the 5th. Prepared by the 8th. Write and play Exercises and Stauics II., III, IV.- V., an- VT, qiSIIJ N1.1 06 DISCORDS BY SUSPENSION. and insert fourth; and ninths wherever they can be admitted, taking care to prepare and resolve them properly. Q. Are the ninth and fourth ever used at the same time instead of the eighth and third? Yes; for example:6 9 8 5 3 Write and-play Exercise and Study XXVIII. Exercise XXVIII. L4 -9 8 9 8 6 5 4 3 6 5 4 3 3 l -HE ___- _____ 7 4 3r-7 ~~--E~-' z1i~d. -~ t~4~ ~43 ~ ___ 1 3 2: 36 S 6 6 4 7 4 3 5~ 54 LI5 2 6 6 6 6 4 3 __ _ _:E DISCORDS BY SUTSPENSION. 67 Study XXVIII. 6 6 98 5 987 5 43 6 43 6 9 8 6 9 8 4 6 9 8 4 7 5 43 5 43 2 5 43 2 6 4 4 987 4 4 4 4 2 6 5 432 6 '2 6 5 2 6 b5 98 b76 9 8. b43 35 98 65 4 3 6 5 437 Write and play Exercises XV. and XVI. and insert the Discord of the 9, wherever it can be admitted. Are the discords of the ninth and fourth ever used with the discord of the seventh. Yes; the I occurs frequently, but the 4 is not often used when the root is taken in the bass, thoug(h it is frequently taken. upon one of the derivatives or inversions. Q. Is the ninth always a tone above the octave? NNo-; it is sometimes a semitone, in which case it is called. a flat ninth. It should be remarked, that the 4 resolves into the harmonyof the tonic major, and the b9 resolves (generally, but not always,) into the harmony of the tonic minor-for example: -a edl -- e-~ 99 I, 7 7 -~- P a-~--- -- a ----- ~ 68 DISQORIDS BY SUSPENSION. 9 Q. What is the natural progression of the root after the 71 It is the same as after a dominant seventh, viz., it either ascends a fourth, or descends a fifth; for is only a suspension of 8, consequently it makes no difference in the progression of the root. Write and play Exercises and Studies XXIX. and XXX. Exercise XXIX. 67 -6 3 4 3- 7 16 6 5 r 4--7 ----- - -u-.---:jF D-P -rn-I 6 9 8 9 8 5 7 6 9 8 43 2 6 5 b ~ - 5 4 6 --9 ji- ---~6 * r- __ 9 6 6 9 8 6 7 7 7 5 6 5 bf 3 6 4 4 3 -~~~ ~ ~ ---___- ZZZ-TD FdStudy XXIX. 5 4 6 4 98 6 98 4 6 98 3 2 5 2 6 7 43 5 43 2.5 43 98 7- 7 4 6:P 43 98 2 6 6 65 DISCOMDS BY 51TSPENSION.;9 6 7 437 4 6 437 6 7 Exercise XXX. 9 8 9 8 7 - 6 7 # 5 -4 32 2 F- t17 7 __~ 6. __ - 3 6 7 6 5 t 8 40 64 7 32 5 6 98 7 - 657 Study XXX. 9 9 8 6 98 6 9 8 433 6 6 5 4 3 5 7 6 6 7 7 6 6 5 43 5 98 6 44 -Q. What is the chord of the 2 It is an inversion of.; for the suspends the common 70 DIscORDS BY SUSPENSION. chord, by taking the fourth instead of the third in the treble, and 5 suspends the chord of the sixth (which, it must: be remembered, is produced by taking the third in the bass,) by taking the fourth instead of the third in the Bass; for example:0 I 4 --D- 4 3 -D- -9- ~. --- _ - -__ '_ _2..._,', _ 43 43 Q. Is a bass note when marked2 a root? No; it is the fourth of another note; and it -must -be remembered that the fourth being used instead of the third in the bass, is thereby excluded from the harmony. Write and play Exercises and Studies XXXI. and XXXII. Exercise XXXI. - - O -----P ----- -1-- 5 7 9 8 3 2 5 2 2 6 6 4 3 _ 5 4 3 5 " ' ----- - -D-9~- - 9 8 5 5 7 -3 7 7 - 43 2 2- 26 433 435 _____ t DISCORDS BY SUSPENSION. 71 9 8 7 98 7 6 7 7 - 7 4 3 5 4 3 Study XXXI. 5 45 b7- 6 5b7 5 4 555 2, 6 2 2 6 76 43 5 4 3 326 76 432 6 7:G 6 9'8 6 5 7 6 5 4398 7 06 6 5 4 3 1 437 Exercise XXXII. 9 8 7 5 5 5 ý5 -3 2 6 2 2 6 5 4 2 6 22 6 - 89 89 8 7 ý17 9 8 4 3 7 ___ __4 31 5 6 7 9 8 6 6 659 8ý4 2 6 4 4 3 72 CHORD -OF THE DIMINISHED SEVENTHL. Study XXXII. 4 6 5# 2 6 6 6 7 5 985 #45 45 7 -6 432 6 22 6 2 2 6 7 4 3 6 4 5 7 6 7 6 4 22 6 7 6 43 ^-f;F - -------^ - -- - - -- CHAPTER VII. CHORD OF THE DIMINISHED SEVENTH. Q. How is the chord of the Diminished Seventh produced? It may be produced by taking any chord of the dominant seventh, and raising the bass a chromatic semitone; for example:Q. How does it happen that the same sounds are used to accompany G with the Seventh, and Go with the Seventh? It is a rule that no accidentals should be used, unless they are expressed by the figures; consequently the third, fifth and seventh to G, or G#, will be B, D, and F, there being no flats or sharps at the signature. If the harmony of the dominant seventh were required to the GO, it would be necessary to mark it thus: iiaJ^gE^ CHORDi OF THE DIMINISHED SEVENTH. 73 Q. As the chord of the diminished seventh has an imperfect fifth -(Sec the examplet)-is the root to be found in the manner described in page 48? Yes; except that the supposed root in that case appears to bear a common chord, but having an imperfect fifth, the real root is a major third lower with the seventh; whereas in the present instance the supposed root bears a seventh, therefore the real root is -a major third lower, with the.9 Repeat both rules, When that which is supposed to be the -root, bearing a common chord, is found to have an imperfect fifth, the real root is a major third below, and bears a seventh. When that which is supposed to be the root, bearing a seventh, is found to have an imperfect fifth, the real root is a major third below, and bears a 9 Write and play Exercises and Studies XXXIII., XXXIV., and XXXV.* Exercise XXXIII. 8 W V - 7 4'3 S9 8 32 6 2 3 23 2 BL -------- p____~ __ -1-~1 7 7 6 7 26543- 8 4 2 6 5 4 3 8 # 6 4: it#3 4-*I- t----- - * The melody of GoD SAVE THE KIm may be played to this Exercise. 74- CHOIRD-OF - THE DIMINISHE~D... &EsE XTHT, Study XXXIIL 5 4 7-- 6 4 5 3 2 5 3 7 5 2 z 6 6 fy 72 Fxercise XXXIV. G- 7 65 &7 7.& 6 6 - - - ---f~~- -------~ - 6T7lris 7 265 ~T #-_ __, #_- ý_ I -r 0-_ 4 3' 2 a5 1 7 75 2. 2 6 5 4 3- 3 study XXXIY. (7 8 7. -100 7- 7 b 4 ___. 3 4~. CILORD OF THE DIMINISHEDI SEVENTH. 75 Exercise XXXV. 9 8 5 6 b5 -ý4 r3 [)79 8 7 4# 4 43 t ____- __ --4 9 8 4 4 3 2 6 6 6 5 4 3 2 -6 7 7 6 7 zirz __- _ i _ ~ I___ ________ __ Study XXXV. 6 S 6 6 6 6 4 7 67. 6 4 3 6 6 7 4 3 2- b7.4 3 - 6 - 6 7 S 4 7- 6 6 4 3 __ L~ - Q. How many chords are derived from the diminished seventh? Tihree; viz., the, and for example: --- 3 76 CHORD OF THE DIMINISHED SEVENTH. 6 6 4 7 5 3. The figures to all these chords denote them to be derived from G# with the seventh; but for the reason before given, 9 the real root is E, with the 7 Q. Are the same rules to be observed with these chords as with th. derivatives of the dominant seventh? Yes; therefore when the major third of the real root it in the bass, it must not appear in any other part, neither must the discordant notes (viz., the seventh or ninth of the real root) be doubled. Write and play Exercises and Studies XXXVI. and XXXVII. Exercise XXXVI. 8 46 4 4 5 6 4 7 6 3 2 5 3 2 2 6 - 4 3 ý2 5 7 6 98 9 8 5 5 4 3 b7 4 3 2 6 5 DISCORD OF THE DIMINISHED SEVENTH. 77 4 3 %- -b7 4 3 7 4 3 _____II- __ Study XX!VVI. 9 8 7 4- b7 7 4 3 9r8 ý- b 4 3 44 5 7 6 b7 6 6 7_- t_722 6 5I5 55 9 8 5 6 b7 4 3 L_ ___ 3-U-it _____qa 9 8 b7 ~flb7 7 7 4 3 4 3 3 6 b7 9 8 4#,S Exercise XXXVI. b 7 b 7 4 b 3 2 8 5 98.8 4 4 3 7 7 9 ~8 *4 4 3 -> _ ~f --I F----- ______ __ - rs-------- ----L KT 8 7 43 ~~ ~8 6 4 3 P - ____- 0r3'- KI 78 CHORD OF THE EXTREME SHARP SIXTH. Study XXXVII. 6 6 -54 4 6: 7 7:4 7 5 4 4 3 2 7 2 6ý5 4 3 6 7 4 3 3 2 62 7 6 6 7 -R4- 4 4 6 G 6 7 - 5 9 8 5 4 3 2 7 3 2 5 40 7 6 5:987 7 5 6 5 6 9 8 6 643 543 7 G 6 7 7 # 7 4 3 5 4 3 7 43 CHAPTER VIII. CHORD OF THE EXTREME SHARP SIXTH. Q. I-low is the chord of the Extreme Sharp Sixth produced It may be produced by taking the chord of the t6 or 6 - viz., - and lowering the bass a chromatic semitone;.3 for example:The bass in this chord must be considered as lowered by license, and the chords must be treated in all respects, and the root found, as if the bass were not lowered. In the CHORD OF THE EXTREME SHARP SIXTH. 79 foregoing example, the root of E is clearly A with; the root of the Eý must also be considered the same (viz., A,) the E being lowered by license. Q. What is the nataral resolution of this chord Its resolution is the same as the 46, viz., the root ascends a fourth; therefore the Eý in the foregoing example Will resolve into the chord of D major, and the Dý will resolve into the chord of C major. Q. Is there any rule for the progression of a bass note which bears.hc chord of the extreme sharp sixth 3 Yes; it must descend a diatonic semitone, and its most usual resolution is into a major chord; for example: Q. How is the performer to decide whether the chord of the sharp sixth, or the chord of the extremrie sharp sixth is intended ý The signature will determine it, as will be seen from the following example: - The plain c in the latter case implies the chord of the extreme sharp sixth, the C being shaarp by the signature. Write and play Exercises and Studies XXXVIII and XXXIX. Exercise XXXVIII. 3 2 2 6 2 2 6,O' ~ZTI'~__ ~ O 8@ CHORD OF THE EXTREME SHARP SIXTH. __ __ -D--- -0- __ILLt 4 4 4 3 2 5 3 _ 6 _ 4 3 25 6 -i 4 #t Ulu- -~-_-- uý7 6 7 5 i $ 6 9 8 3 5 6g4 3 Study XXXVIII. 54 45 5 4 6 94- S 32 226G616:p2 5 b2 6 46 T 2 5 2 0,6 7 7 7' 5050 6 býT I t1. bT 9 8 4 4 6 6 4 9 9 7 7 4 2 4 5 43 6 b7 43 b5 4 Exercise XXXIX. ~~B ~ P-TI{EI B 4 6 5 2 & if 5 3 & i b 6 )i-zi-zizi i7SiiEIK - te______ --r-42-= - F-~- ------ CHORD OF THE EXTREME SHARP SIXTH, 81 b7 - 7 5: 5 - 5 6if 43 9 8- 4 4 3 6 6 7 5 3 4 b7 7 4 3 Study XXXIX. 6 2 6 ý6 65 2 6 6 7 ý4 ý5 6 98 7 7 -2 5 - 3 43-6 6 b7 43 7 98 7 5- 4 6 6 5 43p6 6 p? 4 3 2 5 43 9 8 j)7 4 3 Q. May the ninth of the root be taken with the chord of the extreme sharp sixth 3 (See the white notes.) No; because BW being the ninth of the root, descends to 82 CHORD OF THE EXTREME SHARP SIXTH. A; making perfect fifths with the bass, which also must descend. Q. Is there any case in which the ninth of the root can be taken with the chord of the extreme sharp sixth? It is sometimes done when an intermediate chord is inserted between the extreme sharp sixth and its resolution; thus: 45 4 The which is here taken upon the chord of D, must be considered as a suspension of the chord of D, for the root after the Eb must be D.* Write and play Exercises and Studies XL. and XLI. Exercise XL 6 56 ý6 5 7 6 4 7 6 5 4 3 7 5 5 1V- - -=O J9 7 J96 ___ 4 5 4 6 D5 6 * This is one of many exceptions which might be given to the general rules, but the Author has avoided them as much as possible in the present little volume; conceiving that the ground-work of IHarmony should be first thoroughly understood, before the varieties of which it is susceptible are attempted to be acquired. CHORD OF THE EXTREME SHARP SIXTH. 83 _---i __Z __ F-F----- r-r a___ bG 56 5 6 9 8 6 7 (" 4 3 7 7 2 6 6 4 3 Study XL. 6 2 6 66 2 65 16 5 6 *6- 65 56 15 43 5 5 4 - 5 35 9:1? _____________________~ 7 4 6 7 6 65 -4~ ~3 2 6 7 4 3 b5- 43 -Exercise XLI. r7K -i _____ __ 7 5 7 7 i 643 6 4 3 42 -__ IziTT 24 i I7dA- ___- _ 84 CHORD OF THE EXTREME SHARP SIXTH. _- o-a- -----_ C07 -5f 5 5 6 7 4 3 7 6 5 4 4 *_____ L____ ___ Study XLI. B a II? t 6 4 6 4 5 2 6 6 5 2 6 FG P.- zI 6 7 4 #6 6 7 S 6 64 3 2 6 05 4 3 CADENCES..85 CHAPTER IX. CADENCES. Q. What is the rule for making a Cadence or Close.? A Cadence, in its most simple form, consists of the harmonies of the sub-dominant, dominant, (viz., the attendant harmonies) and tonic; for example: - i Sub. Dom. Ton. But as the progression from the chord of the subdominant to the dominant is harsh, the tonic harmony is frequently inserted upon the dominant bass, previous to its own chord; thus: - S6 5 4 3 and the seventh is generally added to the harmony of the dominant, as in the foregoing example. Make cadences, with the chords in different positions, in G, D, Eb, FO, &c. Make some with and some without inserting the 6 upon the dominant. Q. Is there any other way of varying the cadence and avoiding the harshness in the progression from the subdominant to the dominant? Yes; by means of what is called the substituted sixth. Q. What is meant by the Substituted Sixth? The chord of the substituted sixth is produced by making the subdominant bear the chord of the sixth, instead of its common chord. 8 86 CADENCES. I 6 Make cadences with the substituted sixth on the subdominant, in A, E, Bb, Db, &c. Let tle dominant in some bear the chords of the,, in others 'he, 3, the 5, or the 6.57 4,? y, 4, 3 4' 4' 3. The sixtih is Bometimes added to the chord of the subdominant, ijistead of being substituted for the fifth; thus:6 5 -Q. What is the difference between the chord of the substituted sixth and the first inversion of the MINOR common chord, and how should the root be marked A bass note marked 6, when followed by a note one tone above it, should be considered part of a cadence, as it must ultimately 'oear its major chord with or without the seventh; for instance, if F, marked 6, is followed by G with its major chord, or with 6 5 or with 5, the F is then the root and should be marked 6. This explanation applies also to the added sixth 5, and although F with 5 be set down as. 6 41. 6 the root, the chord must be treated as the first inversion of D, with the seventh; con'sequently the C should, if possible, be prepared and resolved by descending. Q. Is there any other method of varyingrr the cadence? Yes; the subdominant is sometimes raised a chromatic semitone, and the chord of the diminished seventh taken upon it; see following example: CADENCES. 87 But this, and others which are sometimes used, may be considered as variations upon the common or authentic cadence, the basis of which is the SUBDOMINANT, DomINANT, and ToNic. 6 The pupil will make cadences with the 5 on the subdominant, also with the diminished 7th on the AIUSED subdominant, as above described in B, Ab, E5, &c. Q. What is meant by an Authentic Cadence When the tonic harmony is preceded by the harmony of the dominant, it is termed an authentic cadence; the foregoing are all authentic cadences. Q. What is meant by a Plagal Cadencel A plagal cadence signifies that the tonic harmony is preceded by the harmony of the subdominant. Give examples in various keys. Q. How is a cadence to be made in a minor key? In the same manner as in a major key, viz., by the harmonies of the subdominant, dominant, and tonic; observing that the chords of the subdominant and tonic are minor, and that the chord of the dominant must be made major by an accidental; for example: 88 CADENCES. The seventh may or may not be added to the chord of the dominant, as above. Make a cadence in some other minor key. Q. Is the substituted sixth ever used in making a cadence in a minor key? Yes; for example:7 6 --_ Q. What is meant by a Half Cadence? A half cadence is made by ending a passage upon the harmony of the dominant, preceded by the harmony of the tonic. It is used for phrases which are not final; as it does not end on the tonic, it has an unfinished effect; example: 6 5 46 3 Or, ______________+ ____ - -I-I Make a half cadence in some other key. Q. How is an interrupted cadence made? It may be done in the same way that the resolution of CHORD OF THE SEVENTH, FOURTH, &C. 89 the dominant seventh is interrupted, viz., by making the bass ascend a semitone or tone, instead of going to the tonic; for example:___~ ___ __ __ 41-~ --.----r~j~4_gllJ 6 7 6 - 6 7 6 4 3 b5 6 ~4 4 There are many ways of varying, as well as interrupting the cadence, which will be seen in the Exercises. The interrupted cadence is not a close, but rather a temporary evasion of the final close, which eventually follows. CHAPTER X. CHORD OF THE SEVENTH, FOURTH, AND SECOND, &C. 7 Q. How is the chord 4 produced. 2 By taking the chord of the dominant seventh upon the tonic bass. For example, the chord of G with the seventh upon C in the bass, or D with the seventh upon G in the bass, as in the following example - 4 8 7 4 8 7 _ 2 3 2 3 7 Q. What is the resolution of the chord 4'? 2 It resolves into the harmonay of the tonic. See the alrsv examples. 8* 90 CHORD OF THE SEVENTH, FOURTH, &C. 7 Write and play the chord 4 and its resolution upon D, E, F, G, &c., taking care to put the proper accidentals to notes and figures belonging to the various keys. Write and play Exercises and Studies XLII. and XLIII. Exercise XLII. 7 7- 4 8 s 6 5 43 2 3 6 5 4 5 8 4 72 T ý6 7 4 8 4 7 4 8 6 26 65 4 2 3.2 3 L 7 fi6 5. 66 t 6 748 6 5 4 5 66 b66 5 41,74323 Study XLII. 6 6 7 5454 6 5 4 3 322 6 6 3 4 3 32 6 6 7 6 67 43 5 3 7 CHORD OF TIHE SEVENTH, FOURTH, &C. 91 6 5 #; 6b7 6 b7-' 9 8 7 9 8 6 4: b 4, 3 4 43 3- 43 05 974-1 is-~ f~-l2-~~=~ 7 7 6 98 6 98 5 84 6 67 48 5 4 3 5 433 32 t6 5. 43 23 Exercise XLIII. 7, 8 4 4 7 - 7 3 2 2 4 3 4 2 7 7 7 L4 8 4 7 4 8 4 ý6 4 3 2 3 2 2 -4n S ~ __ __ Ej~ r ~I~ 7 6 6 7 4 8 5 4 3'2 5 6 6 7 4 3 2 3 Study XLIII. #7 8 4ý7 8 7- 43 6 7 4 3 4.2 5 6 #6 4 - 6 6 2 7 8 7 8 6 43 67 53 67 43 - 5 7 2 6 6 5 9 8 6 4 325 44 2 CIO, 92 CHORD OF THE SEVENTH, FOURTH, &C, 7 Q. How is the chord of 4 produced? 2 In the same manner as the preceding chord, and differs from it only by taking the flat ninth instead of the octave of the root; for example, G with b: upon C in the bass, o0 D with the bM upon G in the bass. S9 4 5 7 4 5 | 7 2 b 2 b 7 Q. What is the resolution of the chord 4? 2 It resolves into the harmony of the tonic. See the above examples. 7 Write and play the chord of 6 and 'its resolution to D, A, F, B, 2 &c., taking care to put the requisite accidentals to the notes and figures. Write and play Exercise and Study XLIV. Exercise XLIV. -r----- -., _ _ - - -- - r- -C- C---- -:s -' - 6 7 8 48 7 4 8 3 2 3 6 2 3 " 6 -._-- -.. T: --.- ----,-. CHORD OF THE SEVENTH, FOURTH, &C. 93 777 7L 5 5 4 7 6 6 0' 4 4 3 5 4 3 7 -rd9~. 8 6 7 8 4 3 2- 5 2 6 6 4 2 3 __~~~~rr __ _ -.zL z:17iF~~I Study XLIV. -07 68 5445 6 3223 5 6 67 8 5- 43 7* 6ýý 43 ý6 2 06 43 6 7 ý6 b6 b7 7 5 4f 67-54 5 6 7 48 3.43 32 3 98 b7 98 7 6 4 4# 23 - Q. What is meant by a Pedal Bass? When one bass note is held or repeated to several different chords, it is called a pedal base; for example:~7 9e4 8 b6 791 8 6 8 5 4 5 6 4 5 3 2 3 4 2 3 8 68 V 9t4 CHO'RD OF PTHE' SEVENTH, rFOURTTH, &C. All the discords, it is to be observed, must be resolved in the same manner as if their respective roots were- played instead of the pedal bass. Write and play Exercise and Study XLV. Exercise XLV. FEE 7r876 6 6 6 48 5 4 6 6 5 4 7 4t# 23.7 23226 7 6 64 6 4 8 6 7 4 5 366 4 1 2 3 -4-~ r1Z~L-r-t42 4 r-~ Study XLV. P41)7 6485 - 06 6 5 7 4 8 b7 7-6 4 32 34232 6 5 4:P - 2 3 46 7 6 5 43 4 2 9:Z 7 7- 6 6 6 7 7 4 8 7 3 2 6 4#6 4*h5 4 3 7 6 5 4 4 3.2 3 SEQUENCES. 95 Q. What is meant by a Ground Bass? It signifies a series of bass notes repeated several times, with a different accompaniment each time. See Exercise and Study XLVI. CHAPTER XI. SEQUENCES. Q. What is a Sequence? A sequence is a succession or series of chords of the same species, consisting in some cases of single chords and in others of two chords, usually accompanied with' two-part harmony, on a uniform progression in the bass. Give an example of a sequence of sixths. k, _ _ _ 6 6 6 6 6 6 By suspending the upper notes a sequence of sevenths and sixths may be produced; thus: - &c. 6 76 7 6 76 76 This example may be considered as a variation of the former, made by suspending the upper notes; but it is more regular in a sequence of sevenths and sixths to con. 6 sider the sixths as chords of the 4, consequently the roots of the foregoing example are: - SEQUENCES. 6 7 7 7 7 7 7 7 7 This will also serve as a specimen of a sequence of sevenths. It has been remarked in the preceding pages that a bass note, which has an imperfect fifth, cannot be a root; this rule, however, is subject to some exceptions, for in sequences, es'pecially when confined to one scale, both the imperfect common chord (which' consists of the note itself, minor third, and imperfect fifth) and its inversions are admitted and treated as ordinary major and minor chords. See foregoing example. EI sequences, for the sake of symmetrical movement of the parts, strict adherence to the rules for rcsolving discords is dispensed with. In addition to the two discords of the seventh already described, there are two others to be mentioned, viz., one with a major seventh and the other with an imperfect fifth. The following sequence employs the discord of the seventh upon every note of the diatonic scale. 7 7 7 7 7 7 7 It will be seen that the dominant (G) is the only note which has a major third, perfect fifth, and minor seventh. The second (D,) third (E,) and sixth (A) have each a minor third, perfect fifth, and minor seventh. The tonic (C) and subdominant (F) have each a major SEQUENCE9. 97 third, perfect fifth, and major seventh, and the leading-note (B). has a minor third, imperfect fifth, and minor seventh. Such combinations are sub ject to the same rules as the dominant seventh, and seldom used except in sequences. Q. Is a sequence of sixths tver used in" ascending? Yes; for example: - 6 6 ' 6 5 This may be varied into a sequence of fifths and sixths thus: - 6 5 6 5 6 5 6 5 6 Write and play Exercises and Studies XLVI., XLVII., XLVIII. and XLIXM Exercise XLVL -4 6 64 66 67 4 3 ' 6 65 Z 6 7 43 6 2 6765 6 98 8EQyENGF~S. -nip- g2- _fq r-:I--~ - 6 5-98 0 % 8 57 6 4 3 8 4- 3 -- Study XLVI. 6 6 5 -8 6 7#6D5 876. 58 56 58G. S5 6 6 76 7 6; 6 6 7#r 6 6 '6&5 4_______t,5_____ 51 t 002 n 7 -6t7 8 68 5 b4 3 - 5- 6: DG D5 9.5 9.8 2 6t55 4 S 6 5_ 6 6 5 4 2 Exercise XLVII. 6 6; T 5 656 5 6 _ _42 SEQUENCES. 99 F-1 L m-- 56~ ~ 6 6 6 6 e9-~ 7 7 6 -67 77 777 7 4 3 Study XLVII. 544 6 7 6706 6 6 6 6326 5 4 -7 6 6 94 4 9 8 6748 6 6 6 6 5 2 65- 4 2 3 Exercise XLVIII. 7 7 8 4 bg6 b 4 3.2 7 2 2 2 6 5 2 6 5 10O sUENCE. 7 2 65 2 65 7 7 77 7" 26743 2 b55 5 2 6 7 4 Study XLVIII. 7 56548 7 6 34323 6 7 6 5 2 44 4 65 2 65 2 6 5 2 6 5 4 2 6b 5 56 56 56 5 6 7 7 6 7 5 7 7 7 7 b7 4 3 - ___ __ Exer cise XLIX. 6 6 5 6 4 3 4 7 4 3 4 6 b5 $SEQUENCES. 101 5 2- 61z -2 e q - 6 5 3 6 4 3 6 7 6 7 6 7 6 76: -r4:03 6 7 45 4# 2 6 46 3 2 3 322 76 76 7 6 6 6 -&2 6 6 6 864~ 2 7~ 6 6 4,5 8 56 7 6 4 - 6 44565 56 65 ~ -67 7 6 76 6.6 6 7 6 4 G 6 5~t6 8 25 62 643 102 sEQUE CEs. Sequences are sometimes figurative, or embellished with extraneous notes which are not integral portions of the harmony, but should preserve the same symmetrical form or figure throughout. Example: - &c. - --^==^^T --^f- l \ -LI----(~,--j---- ^-H~'rrr--- H~ 'i'r" Q, When clords are written to bass notes which are not figured, how is it to be-ascertained what- chords thcy are and what are their roots Reckon at what intervals the written notes are from the bass, taking no notice of those sounds which are doubled; this will give the full figuring, from which the root may be found in the usual manner. The essential figures only must be written, for the reasons already given. Q. What is the proper figuring and root of this chord? It will be seen that F is the seventh, B the third, D the imperfect fifth; the full figuring then is 5, consequently a 7 is the only figure necessary to be written. The root at first may be supposed to be 'G with the seventh, but for 9 the reason given in page 59, it is E with the 7. Q. What is the proper figuring and root of the following? OJ*> I T SEQUENCES, 103 E is the #, B the third, D the imperfect fifth; the full figuring is the essential figures # the root C# with they Q. What is the proper figurinFg and root of F is the sixth; B the second, D the fourth; the full 6 figuring is 4; the essential tfigures 4, the root G with the 2 7 -Q~. WhSlat is th~e fuP9 ~giraing and root of F is the sixth, Cb the flat third, D the fourth; the full figuring is -; the essential figures 4; the root Bb with the 4) b Add the requisite figures, and name her the hots of the chords of Exereise L. CHAPTER XIL OF' MODULATION, &C. Q. What is meant by Modulation q Modulation is a change of key produced by the introduction of harmonies which do not belong t tthe original key.,. What is a Ti-ansirion A transition also signifies a change of key. Q. Wha; t1hn is the differeic between a Modulation and a Trana sitiun? 104 MDutiAIro-,; &c. A modulation from one key to another, is made by using those chords which are common to both, or those which see nearest to them, by which the ear is gradually prepared for the new key; but a transition is made by going suddenly from one key to another, without any preparatory interven ing chords; for example, from C to Ab. &c. Q. What are the most usual modulations? The most usual are from the tonic to the dominant, subdominant, or relative minor. Q. How is it to be ascertained when a modulation is made from one key to another? The most decisive proof is the ehord of the dominant seventh (or any of its inversions); this one chord determines the tonic from its combining (as before remarked) all the sounds, which prove that it is not in either of the keys related to that which might be supposed; for example, the dominant seventh upon G proves that the tonic can be no other than C (either major or minor), for the following reasons::The F proves it is not G (the dominant.) The B1 proves it is not in F (the subdominant.) The Gt proves it is not in A minor (the relative minor.) Q. Is there any other way of knowing what key is modulated into? Yes; the chords of the snbdominant and dominant combine the sounds before mentioned, and thus determine the tonic. SIODULATION, &C, 105 ~i. -----O "Sub. Dom. Ton. Q. Is not the chord of the tonic itself a certain indication of a key? Not alone: for example, the chord of C is common to the keys of C, G, and F; therefore unless it is accompanied with some other chords, it is by no means certain that the piece is in the key of C. Q. In what manner is a modulation to be made from the tonic to the dominant? By raising the fourth of the scale a chromatic semitone; therefore a modulation from the key of C to the key of G is made by introducing Ft. The return from the dominant to the tonic must be made by lowering the seventh of the new scale a chromatic semitone; consequently the return from G to C must be made by introducing F. See following example. __-- r----- 4- _ __-~- --~--~ __ Modulate from various keys to their dominants and back again. Q. How is a modulation to be made from the tonic to the subdominant? Exactly the reverse of the former; that is to say, in order to modulate from the tonic to the subdominant, the seventh must be lowered a chromatic semitone; and to return, the fourth of the subdominant must be raised again; therefore a modulation from the key of C to the key of F must be made by introducing Bb; and the return fromn F to C by introducing B;; for example: - 106 MODULATION, &C. Tonic to subdominant and back. 1~ 0071 Modulate from various keys to their subdominants and back. again. Q. How is a modulation to be made from the tonic to the relative minor? By raisihg the fifth of the scale a chromatic semitone; therefore a ijiodulation from the key of C to the key of A minor is made by introducing G#; and the return must be made by introducing Gý. Modulate from various keys to their relative minors and back again. Q. How are other modulations to be made? The methods of modulating from one key to another are so various, that it is impossible to give any general rule. The Author thinks it necessary to remark chat the subsequent examples and observations upon modulation are not inserted as models for imitation, but are introduced for no other purpose than to give the student a habit of thinking upon the subject. A modulation may be made from any major chord to its relative minor, by taking the chord of the as upon the semitone below; thus - By this means, therefore, modulations may be made from the tonic, either to its relative minor or the relative minors of its dominant or subdominant. A modulation from any major chord to its dominant may be made by taking the chord of the -(viz., the P) upon the same bass note. XODULATION, &O. 107.1-i 6 -D-- -9-- From any minor chord a cadence may be easily made, either in its own key, into its relative major, or the domi. nant of its relative major; thus:r4 -g__#_ y-, ~--S- _-- --- j 6 7 6 4 s 67 Any major chord,as a dominant,governs equally the tonic major and the tonic minor; for example, the chord of C governs F major and F minor, 7---U..... _- _....:.---- -- --- 108 moDLtkn, &C. Sometimes an abrupt change is made from the tonic major to the tonic minor, or rica versa. By changing a dominant seventh into a diminished seventh, a modulation may be made into the relative minor, for example: 7 7 By an interrupted resolution of the dominant seventh a modulation may be made into the minor sixth of the scale; thus G with the seventh is the dominant of C, but by the interrupted resolution it goes into Ab; for example: 7 b5 The chord of the extreme sharp sixth resolves into the major chord of the semitone below; in the key of C, therefore, the #o upon the tonic will resolve into B major; upon the dominant into F# major; and upon the subdominant into E major: for example: - 6 5 ~6 __6 i--u__u MODULATION, &C. 109 T'IM~~I Exercise 50 is inserted to show how a Modulation may be made from C to every note of the diatonic scale, major and minor. From C to D. 66 7 From C to D minor. 6 From C to E. 7 - 6:1 4 ____D-T-~2 rzzj 19______ I==~I 5 - 6 117 4 4 ___ ___ __ -~-IZIEI 110 MODULATION, &C. From C to F. i-4 -26 6 6 b7 2 6 b7 6 5 4 3 Ir zI oro -ýfl-i From C to F minor. --dp---e9 -* ~ ~ ~ t __ 6 L,7 b7 4 3 From C to G. 6 7 if ý6 7 4 8 0 6 4 # b55 4 ~ 2 3 fill _ _=~ cz---~-4 -- From C to G minor. z~~2~zz ilr - - _ -- b 6 6 D6 6 - 4 4 _ '--i~-----1----I From C to A. C -IV ---4z i--#---T-~D-- t-i- -T-------4___ i--i_ ý7 6 7 43 424 i# ~ h- -ffD -~-f ~ k.4p MODULATION, &C. 111 -- ___TZZ?11 -- 7 7 7 0 5 4 8 4 2 *, From C to B. -a-__--4 0 -i_ _~ 7j------11(~7E~zzH~L+1? __r Study L. From C, to D. From C, to Dý Minor. __&__ c.I _c.-r:z11 &c. &~c. - -a- -~- I- - 112 MODULATION, &C. From C, to D. From C, to D Minor. From C, to E,. From C, to E? Minor. &c. &c. From C, to E. From C, to E Minor. _____ &c. --I &c. ac. i9: ____ From C, to F. From C, to F Minor. 11 -&c. &c. MODULATION, &C. 113 From C, to G. From C, to G Minor. From C, to Aý. &c. From C, to AA z Minor, COI r2 Výe_.&c. From C, to A. From C, to A Minor. 1 & 0&c. Frxom C, to B~l From C, to Bý Minor. From C, to'B, From C, to B3 Minor. '114 tMO6DULATION, &C. Study L; is inserted to show in what manner a modulation may be made from the key of C to every note of the chromatic scale, major and minor. Each piece should be written and played several times, and the student should add a different termination each time, in the following manner: To those which are from C to a major key, first make a cadence in the key desired; secondly, make a cadence in the relative minor; thirdly, in the dominant of the key desired; fourthly, in the subdominant of the key desired. To those which are marked from C to a minor key, first make a cadence in the key desired; secondly, in the relative major; thirdly, in the dominant of the relative major. The cadences should be varied, and occasionally interrupted; the student should also be required to modulate from C to any other key, in another and less sudden manner than that set down. When this is done with a tolerable degree of facility, exercises may be given in the following manner:Modulate from any key (major or minor) to any other key (major or minor), and back again. Q. What is meant by writing in parts? It signifies writing for several voices or instruments. Each part is generally written on a separate staff. Q. What is Counterpoint? Counterpoint is the art of arranging the sounds belonging to the harmony, so that each has its proper progression. Q. What is Simple Counterpoint? Simple counterpoint implies that the notes in each part are of equal duration. Q. What is Figurative Counterpoint? Figurative counterpoint implies that the parts consist of notes differing from each other in value. Q. What are Passing Notes? Passing notes are those which move from one harmony to another, without forming a component part of either. Q. What is meant by Music in Score? It signifies a piece composed for several voices or instruments (or both), written on several staves one over another, MODULATION, &C. 115 accoirding-to the number of parts, so that the whole which is intended to be performed by the several voices or instruments may be seen at one view. Q. What is meant by playing from Score? Playing from score signifies playing music written as above described, and giving as nearly as possible the general effect of the whole composition upon one instrument. Q. What is meant by Tasto Solo, or T. S.? It signifies that the passage which is so marked is to be played exactly as it is written; that is to say, no chords are to be added. Q. How is a passage to be played which is marked Unis, or Unison? It literally means that all the parts are in unison, and no chords are to be played; the passages so marked are generally performed in octaves. In the foregoing pages it has been the Author's chief endeavor to unite the utmost brevity with the pupil's insiruction. Should he be found to have erred in this respect, he will still flatter himself that they who have made themselves acquainted with his work will find no difficulty in understanding other works, which, from their extent, admit of much greater detail. CHOICE LIST OF BOOKS OF MUSICAL LITERATURE. Forming a valuable Library for the use of Musicians, and of all interested in the Art. LIFE OF BEETHOVEN. By SCHINDLER. Edited by Moscheles. 1.78 This most interesting work combines the labors of four authors: First, of Beethoven himself, who placed in the hands of Schindler letters and important papers. The material thus received was put in order by Schindler. Moscheles, the friend and admirer of the great master, writes an introduction; and DSring, by his " Life and Characteristics of Beethoven," adds a fourth and valuable portion to the book. BEETHOVEN'S LETTERS, 1790-1826. 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Complete. 0.. 00,)'ganist's Portfolio. 2vols. Each, bds 2 50 260 Voluntaries and Interlndes. Zwndel 2 00 (3arke's New Method for Reed Organs 2 50 'rhaiarts Melodeon Instructoi.1.50,,:oo,'s School for the Cabinet Organ.. 2 50 1tucicatl&~s for, the Cabinet Organ.... 1 50 Zenlel's Moiicdeon Instructor..2 50 twr-_assi's Method for Guitar. $3 00;~, A 0ri.d'ed Ilaý denlls New Method for Guitar....-. 3 00 "'liner's Ne~w School for the Guitar.. 75 CamipagnollsViolin Method. Complete 0 (no bisteutAn's Modern Violiti:rulhod.... 3 00 Modern School for Violin. Fessenden 2 Za W11iner's X1ew School for Violhin. 75' i3'-. bignieg's Mefilod for Fluto,..~300 '.X' iiner's New Schiool 1~r Flntp.....75 Winner's Dance Mtusle Throl'tite and Pin~.................. 75 Vý,arty Dances, Violni and Pi'Afto- Win.. n~r...................,75?,I( Lo Sild Pi9ano Dueto. Wi1nitWo1.. 75 Kiao~ii iind Piano Duets. Winner....15,.Luo tsdZltiful Melodieg for~liorhi.... o00 Ope a tic Airs for Flute.. '7 Rornberg'LXloloncello. 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Cloth, $1 75-j bds 1 6tO Harp of Judfh. L, 0. Emerson. 1 I r% Jubilee. Win. B, Bradbury...... 6Q Key Note. Bradbury......... io Modern Harp. White & Gould.....1 50) New Carmina Sacra. Lowell Mason. 1 160 Temple Choir. Bradbury, Seward, Sabbath Guest. Emerson & Morey... 1 61) Mason & ]i-oladley '3,New System....3 00 Lead~r. Church Wusic Book. Palmer & Emro........V..-......1 38 Song MNonarch. For Singing Schools. Painter & Emnerson...........5 Thomnas's Quartetts. J. R. Thomas.. 2 M( Perlidnsla.Anthem Book. W. 0. Perking..........................-,- -- -- - 1 5(1 River of L.`.o. For Sabbath Schools. I Perkins & Bentley................. 35 Clarke's Dollar Inbtructor tor Rteed Organs.................... 0 Esther. Cantata. Dramatized b Seagur................501 Belshizzar. Cantata. J. A. Butterfield.,...............125 Jabilate. Churchl Music Book. L.0. Em~erson...... &a*0a.. P-....... #.0*d... 15 -,Trial by Jury. Comic Cantatn. Saull..iva- ---.. 1 0(1 Emerson's 5Wfhoj for Ieed Organs... 2,50 Hfouý of Shigmig. For High Schools. Emerson & Tilden........1 00' Choice Trios. For High Schools. W. S` T~tien...............1 V0 An rican School Music Readers. Emerson & Thodu. Book 1, 3.5 cts; Book 2, 5tl eta; Book 3............. 50~ Cheerful Voices. Collection of School Soigs. L. 0. Emerson........50 Shining River. SPs. Schools. -Perkins *015 Living Waters. Praise Moetings. Hodges.,.........-...... -........3W N,'at. Hymn & Tune Book............. 40 11igh School Choir. Emerson & Tilden 1, 01)