7- 
 
 THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 OF CALIFORNIA 
 
 LOS ANGELES 
 
 GIFT 
 MEREDITH WILLSON
 
 \ 
 
 AUGENER'S EDITION, No. 9Utb. 
 
 HARMONY: 
 
 ITS THEORY AND PRACTICE. 
 
 BY 
 
 EBENEZER PROUT, B.A. Lond., 
 
 Professor of Harmony and Composition at the Royal Academy of Music, &c., 
 Author of " Counterpoint : Strict and Free." 
 
 ADDITIONAL EXERCISES. 
 
 LONDON : 
 
 AUGENER & CO. 
 
 ENTERED AT STATIONERS HALL.] 
 COPYRIGHT FOR ALL COUNTRIES.] RIGHTS OF TRANSLATION RESERVED.
 
 Mueic 
 Library 
 
 MT 
 SO 
 
 PREFACE. 
 
 THE present collection of exercises is intended to supplement 
 those given at the end of the different chapters in the author's 
 Harmony : Its Theory and Practice, as experience has proved the 
 utility of a large number of exercises on each separate branch of 
 the subject. In its general plan, the present series resembles the 
 earlier exercises, but with this difference, that as the student is 
 presumed to have already worked the exercises given in the 
 volume, the average difficulty of the additional pieces especially 
 of the later ones is slightly greater than in those which he has 
 previously met with. 
 
 No satisfactory reason can possibly be given why harmony 
 exercises should necessarily be (as they certainly are in most 
 books) a mere series of dry chords, mostly in notes of uniform 
 length. An attempt has, therefore, been made in the present 
 work to do for harmony what the late Stephen Heller did so 
 admirably for pianoforte studies to invest them with musical 
 interest, thus cultivating the student's feeling for melody and 
 rhythm, while at the same time giving him an insight into the 
 harmonic relations of the various chords employed. For this 
 purpose, all the exercises, excepting a few of the earlier ones, are 
 the basses of little pieces, varying in length from eight to thirty- 
 two bars, and containing considerable diversity, both of rhythm 
 and of cadence. In dealing with the various discords, such as the 
 ninths, elevenths, and thirteenths, it has not been thought needful, 
 or even desirable, to insert them in every bar. The author's aim 
 has been to show how they could be introduced easily and 
 naturally, as a composer might use them in the course of a piece. 
 The rarer discords will, therefore, be much seldomer met with in 
 these exercises than those which in actual practice are more 
 commonly employed. 
 
 Considerable attention has been paid in writing these little 
 
 1860883
 
 iv PREFACE. 
 
 pieces to variety of rhythm and style. With the view of assisting 
 the student in understanding the character of the music required, 
 time indications are added to all except the simplest little pieces. 
 It has been thought desirable to put all the chants and hymn- 
 tunes together at the end of each chapter, instead of mixing them 
 with the other pieces. The remaining exercises are arranged, as 
 far as possible, in the order of difficulty. A few of the hymn- 
 tunes given are familiar melodies ; but by far the greater number 
 of them, and the whole of the chants, have been written specially 
 for the work. 
 
 As some of the later exercises will unquestionably be found 
 difficult by the student, he may be inclined, after one or two 
 failures, to conclude that it is impossible to obtain a satisfactory 
 melody. It is, therefore, advisable to say that every exercise in 
 the book, without exception, has been written out in full before 
 the bass has been set ; there is, therefore, not one which is 
 absolutely unworkable. In cases of difficulty it will often be 
 found expedient to change the position of a chord. If, for 
 instance, a minim is given in the bass, two crotchets may be 
 freely written above it, with the chord in two positions. The use 
 of passing and auxiliary notes, both accented and unaccented, 
 will frequently be of service in securing a more flowing melody. 
 As an additional aid to the student, the best position for the first 
 chord is marked in each exercise, the figures 8, 3, and 5 in- 
 dicating that the octave, third, or fifth of the bass note is to be in 
 the upper part. 
 
 A key has been prepared, and is in the press, to the whole of 
 these exercises, as well as to those given in the Harmony. This 
 has been done partly in compliance with numerous requests, partly 
 also in consequence of the author's experience that in many cases 
 pupils (perhaps, occasionally, teachers also) fail to see the melodic 
 possibilities of the basses set. To those who are studying without 
 the aid of a master, it is hoped that the key will be found of 
 service. Two cautions must, however, be given to those who 
 propose to use it. First and chiefly, it should in no case be used 
 as a " crib " ; the student who attempts to save himself trouble 
 by referring to the key whenever he finds himself in difficulty will 
 never make satisfactory progress it is like learning to swim with 
 corks. The proper use of the key is for comparison after the 
 exercises have been worked, and not while in course of working. 
 Such comparison will be profitable, not only as showing actual 
 mistakes, but as letting the learner see what chances of a good
 
 PREFACE. v 
 
 melody he may ha /e missed. The second caution is, that the 
 student is not to suppose that his exercise is necessarily wrong 
 merely because the position he has chosen differs from that in the 
 key. There are often many good ways of working the same 
 exercises, and the author has himself written several of them in 
 more than one position. There will generally be one best ; but 
 this need not exclude others from being good. 
 
 LONDON, November, 1890.
 
 ADDITIONAL EXERCISES 
 
 TO 
 
 HARMONY : 
 
 ITS THEORY AND PRACTICE. 
 
 CHAPTER V. 
 
 THE DIATONIC TRIADS OF THE MAJOR KEY. 
 
 (Pages 5264.) 
 (I.) 
 
 (II.) 
 
 (III.) 
 
 I f 
 
 (IV.) 
 
 (V.) 
 
 (VI.) 
 
 
 I 1 . -, 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 =1 
 
 (VII.) 
 
 r =^ 
 
 (VIII.) 
 
 (IX.) Double Chant. 
 
 S^: 
 
 3::^= 
 
 (X.) Double Chant.
 
 HARMONY : 
 
 [Chap. VI. 
 
 (i.) 
 
 CHAPTER VI. 
 
 THE INVERSIONS OF THE TRIADS OF A MAJOR KEY. 
 (Pages 6573.) 
 
 I I I 
 
 6 6 
 
 6666 
 4 
 
 (II.) 
 
 6 5 
 4 3 
 
 (III.) 
 
 665 
 4 3 
 
 
 r\* 
 
 8 6 
 
 6 6 ' 6 6 6 6 
 
 (IV.) 
 
 6 65 
 4 3 
 
 3 6 
 
 (V.) 
 
 (VII.) 
 
 
 3 6 
 (VIII.) Double Chant. 
 
 6 65 
 4 3 
 
 4 3 
 
 
 
 I^J & 
 
 
 
 ~ = [|<? 
 
 J 1 
 
 || 
 
 
 
 
 =jj 
 
 8 
 
 1 1 
 6 
 
 6 
 
 6 6 
 
 6 
 
 
 6 6 
 
 6 
 
 6 
 
 6 
 4 
 
 5 
 8 
 
 
 (IX.) Double Chant (/Vr recte et retro). 
 
 1 
 
 36 6 
 
 6 6 
 
 [7V0/fe. A Double Chant per recte et retro (" forwards and 
 backwards") is one in which the third strain is the first read back- 
 wards, and the fourth is the reverse of the second. It will be 
 seen that this is the case with the bass here given, and the other 
 parts must be similarly treated. This will be found less difficult 
 than the student may perhaps imagine.] 
 
 (X.) Hymn Tune. 
 
 p. * . 1 
 
 |J J | J 
 
 
 
 1 J J J-^H 
 
 f^l 
 
 e 
 
 6 
 
 
 
 J " ' J 
 
 6 6 
 
 4 

 
 Chap, vin.] ADDITIONAL EXERCISES. 
 
 (XI.) Hymn Tune. 
 
 iS 
 
 
 
 
 
 
 
 
 
 1 !="- 
 
 
 
 
 
 
 6 
 
 6 
 
 4 
 
 6 
 
 
 
 6 
 
 
 
 6 
 
 6 5 
 4 3 
 
 
 (XII.) Hymn Tune. 
 
 6 6 
 4 
 
 6 6 
 
 (XIII.) Hymn Tune. 
 
 I ' r 
 
 6 5 
 4 3 
 
 (XIV.) Hymn Tune. 
 
 
 i I 
 
 6 66 
 
 ^ 
 
 6 6 
 
 CHAPTER VIII. 
 
 THE DIATONIC TRIADS OF A MINOR KEY, AND THEIR INVERSIONS. 
 
 (Pages 7986.) 
 (I.) 
 
 8 J6 6 
 
 S 6 g 
 
 (II.) 
 
 1 6 
 
 6 J6 6 
 
 (in.) 
 
 6 6 6 
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 56 6 $ OJ 
 
 
 (IV.) 
 
 366 
 
 6 5 
 
 4 II 
 
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 HARMONY : 
 
 [Chap. VIII. 
 
 (V.) 
 
 i J r l f" f\ r 
 i m i 1 1 \ \"j 
 
 (VI.) 
 
 3 6 8 85 6 
 
 4 
 
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 (X.) Double Chant. 
 
 6 6 
 4 
 
 36 6 
 
 (XI.) Hymn Tune. 
 
 6 6 J6 
 
 86 
 
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 6 6 
 
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 (XII.) Hymn Tune. 
 
 665 
 
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 4
 
 Chap. IX.] 
 
 ADDITIONAL EXERCISES. 
 
 CHAPTER IX. 
 
 THE CHORD OF THE DOMINANT SEVENTH. 
 (Pages 87 100.) 
 
 (i.) 
 
 (II.) 
 
 60V 
 4 
 
 (III.) 
 
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 8 7 
 
 (IV.) 
 
 66656 4' 6' 46 687 
 543 35 2 
 
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 (IX.) Double Chant. 
 
 i ' i 
 
 6 fi(5 
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 4 
 8 
 
 (a) A line placed under a bass note indicates that the harmony of the preceding bass note 
 is to be retained.
 
 HARMONY : 
 
 [Chap. X. 
 
 (X.) Hymn Tune. 
 
 66 
 4 
 
 6 5 
 4 3 
 
 6 6 
 (XI.) Hymn Tune. 
 
 7 
 
 -^r. 
 i i 
 
 4 5 
 
 (XII.) Hymn Tune. 
 
 6 7 
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 $6 6 
 
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 6 7 
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 CHAPTER X. 
 
 MODULATION TO NEARLY RELATED KEYS. 
 (Pages 101 in.) 
 
 (I.) Moderate. 
 
 6 5 
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 Chap. X.] 
 
 ADDITIONAL EXERCISES. 
 
 (IV.) Un poco Allegro. 
 
 3 86 6 
 
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 6 5 J4 5 54 6 
 4 jf 2 3 2 
 
 (V.) Pastorale. 
 
 06 
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 (IX.) Double Chant. 
 
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 HARMONY . 
 
 [Chap. XII. 
 
 (XI.) Hymn Tune. 
 
 6 87 
 4 S- 
 
 687 
 4 
 
 ' '. 
 
 (XII.) Hymn Tune. Allegro. 
 
 
 6 7 
 
 4 t 
 
 -I U 
 
 6 J6 5 6 J6 6 7 
 4 4 J5 
 
 3 x 
 
 J J|J 
 
 67 
 
 n s 
 
 J 4 
 
 6 6 
 
 D 
 
 687 
 4 
 
 CHAPTER XII. 
 
 CHROMATIC TRIADS IN A KEY. 
 (/>a 121133.) 
 
 [./V[^?. In the following exercises, auxiliary and passing notes 
 may be introduced where practicable.] 
 
 (1.) Allegro. 
 
 
 
 if r r T 
 
 P f Mi 
 
 
 
 H 63 p_ 
 
 1 1 1 j 1 1 j F 
 
 66466 JJ5 N 1 
 
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 (III.) M oder at o. 
 
 fl5 $6 ff 
 
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 Chap, xii.] ADDITIONAL EXERCISES. 
 
 (IV.) Un poco Andante. 
 
 
 364 
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 5 6 
 
 1,5 6 q 6 5 
 5 I 4 3 
 
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 ( VI . ) Un POCO A llegro. 
 
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 5 6 
 
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 (IX.) Double Chant. 
 
 be e gee e 4 (_ 
 
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 io HARMONY: 
 
 (XI.) Hymn Tune. Andante. 
 
 Chap. XIII. 
 
 R-;^-a K. fg &-. 1 
 
 
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 CHAPTER XIII. 
 
 THE FUNDAMENTAL CHORDS OF THE SEVENTH ON THE 
 SUPERTONIC AND TONIC. 
 
 (Pages 134146. 
 <I.) Andante. 
 
 I I 
 
 365 7 !>7 
 43 Q 
 
 6 5 
 4 3 
 
 eg e 
 
 5 b5 
 
 e gees 
 
 5443 
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 6646 
 452 
 
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 Chap. XIII.] 
 V IV.) Andante. 
 
 ADDITIONAL EXERCISES. 
 
 -a, j 
 
 1 1 
 
 3 6 
 5 
 
 [4 86 8 6 65 
 
 2 4 5 48 
 
 3 - 8 - 
 
 6 86 
 4 
 3 
 
 ij^bbsi 
 
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 675 
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 (V.) Vivace. 
 
 6 6 84 6 86 6 C7 
 
 452 448 
 
 8 3 
 
 6 6 J6 Q7 
 
 6 C6 
 
 5 4 
 
 3 
 
 J4 6 J6 
 2 
 
 I I 
 
 I I I 
 
 6 ' 86 6 
 
 (VI.) Siciliana. Andante. 
 
 4 6 b7 Q6 6 6 6 86 fl7 
 2 4 44 
 
 3 3 
 
 6 6 7 6 J4 6 6 6 J4 
 4- Q5 42 25 542 
 
 3 - g D 
 
 6 86 
 4 
 
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 6 6- 
 5. 
 
 (VII.) 
 
 8 84 
 
 2 
 
 454 g5 
 
 8 8 
 
 6 ;;;; Q7 
 
 5 5 244g 
 
 8 3 
 
 (VIII.) Double Chant. 
 
 -1=2- 
 
 656" 6 6 7 
 4 4 fl5 548' 
 3 8 
 
 8 7 
 
 (IX.) Double Chant. 
 
 4 6 
 2 
 
 86 6 5 6 74 o 86 
 
 6 8J7 
 5 
 
 5 6 
 5 
 
 6 Q6 6 t>7 t]6 
 
 4 4 4 
 
 3 3 
 
 86 
 
 7657 
 
 ---'.".
 
 1 2 HARMONY : 
 
 (X.) Hymn Tune. Moderate. 
 
 [Chap. XIV. 
 
 
 
 
 366 6646 
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 4 <6 6 
 244 
 3 
 
 **H 
 
 6 
 5 
 
 r^fl 
 
 6 J4 6 fi5 646 
 42 942 
 
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 (XI.) Hymn Tune. Andante. 
 
 3 56 J4 6 (6 
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 3 3 
 
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 7 6 6 H7 
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 4 767 --- $ 
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 (XII.) Hymn Tune. Andante. 
 
 86 6 D6 5 84 8*> 6 87 86 6 ; 
 
 84 32448 48 
 
 3 
 
 
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 366 
 
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 CHAPTER XIV. 
 
 CHORDS OF THE NINTH. ENHARMONIC MODULATION. 
 (Pages 147167.) 
 
 (I.) Tempo di Ga-uotta.
 
 Chap. XIV.] 
 
 (IU Allegretto. 
 
 ADDITIONAL EXERCISES. 
 
 -h r , 
 
 -L I 
 
 46 4 
 3 52 
 
 ' 6 J7 
 
 4 J4 4 J5 
 
 
 86 *4 - 56 fi6 6 
 J5 2 b 45 
 
 (III.) Andante. 
 
 b7 
 
 6 7 
 
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 b7 
 
 6 5 
 
 4 8 
 
 86 6 56 
 5 
 
 7 
 
 4 8 
 
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 14 
 (VIII.) Double Chant. 
 
 3666 46 
 5 $24 
 
 (IX.) Double Chant. 
 
 HARMONY . 
 
 6 96 
 
 7 6 J4 
 S 3 
 
 [Chap. XV. 
 
 C 7 
 4 
 
 
 ^R l : T 
 
 
 M 
 
 
 376 D4 fl6 6 6 5 06 6 B4 6 7698 
 
 5 P 1)5 45 44B g 4 _ fl 7 
 
 fl - 82 fl 
 (X.) Hymn Tune. Andante. 
 
 i i iii ii .1 ! ' 
 
 6 6 
 4 
 
 7 987 
 
 f - 87 
 
 fa-~ ~ 
 
 7 6 J ; 
 5 
 
 (XI.) Hymn Tune. Moderate. 
 
 m 
 
 1 
 
 8 6 
 
 }4 7 
 t> G 
 
 6 *S 6 7 
 5 4 I 
 
 &, i i J ,.j=| 
 
 
 
 
 i ;_ 
 
 r^ ' J- 
 
 TS. f , i~n 
 
 6 97 $4 
 
 6 6 
 5 
 
 6 
 
 4 
 
 5 
 
 6 &7 
 
 Li i *^_u 
 
 (27 a 
 
 (XII.) Hymn Tune. Lento. 
 
 '^_ 
 
 & 
 
 
 ^:TZ^: 
 
 66 7 
 
 Q4 
 9 
 
 6 fl4 6 
 
 r i 
 
 6 5 
 4 3 
 
 
 tie 
 a* - 
 
 t>!>7 6 
 
 Q4 6 
 2 
 
 4 
 
 02 - 
 
 CHAPTER XV. 
 
 CHORDS OF THE ELEVENTH. 
 (Pages 168177.) 
 
 grgi -%'] J J i i 
 
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 JJ |F ^ j t j 1 1 
 
 5674(- 
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 C7 6 
 
 4 J6 64 
 
 6 3 Q7 
 
 
 3 9 
 
 5
 
 Chap. XV.] 
 
 ADDITIONAL EXERCISES. 
 
 1 5 
 
 
 
 
 3~ C 7 - 6 5 
 4 8 
 
 fl9 8 676 
 7 - 5 $ 4 
 
 5 ' ^ 
 
 it 
 
 
 4 1 
 
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 E*ta-. j * * ^ 
 
 656 
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 Q 7 B6 4 - 
 434J 
 
 [ 
 
 (III.) Allegro. 
 
 (&:. n A. I I N '^ 
 
 67 98 
 
 4 3 7 
 
 4 3 
 
 67646 
 5 42 
 
 4 6967 
 
 3 4 7 4 fl 
 4 
 
 (g;j7 r r i* 
 
 
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 966 
 
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 (IV.) Andante. 
 
 4 
 
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 6 6 
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 66 4 
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 b 
 
 ff [ffr ! Fg r : 
 
 7 
 
 I* r i 
 
 9 3 
 
 7 
 
 45 
 
 ^94" || 1 
 5 
 
 6 
 5 
 
 6 7 g6 6 5 
 
 44J 
 3 
 
 176 6 &6 
 
 G4 5 4 
 2 2 
 
 6 6 
 5 
 
 687 
 5 
 3 173 
 
 464 Jf J4 6 J6 t]6 fl4 J6 6 7 
 2 3 t> 44 2 55 
 
 3 tj 
 
 (V.) Larghetto. , , 
 
 > ^'? , I I I 
 
 5 4 J 
 
 ^ 
 
 7 
 
 
 5 666 6 {4 6 $6 06 & 6666 6 
 
 54 3 4J4 5G 44 
 
 3 33 
 
 -V 
 
 66 
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 476 54 6667 C4 J66 6 6 79 
 
 3(342 545217545 7 
 
 D 74 
 
 (VI.) Andante. 
 
 8 7 
 
 g): a,. 4 
 
 '^ gj. gL 
 
 46 j{6 6 6 6 6 J6 6 4 '. 4 
 
 25 54542 3 
 
 h i -i 1 1 
 
 6 86 6 46 6 87 
 
 J4 5 4 *5 - 
 
 3 5- 
 
 !?6 6 
 4 5 
 2 
 
 ttviL 
 
 56 6 6 
 (VII.) Pastorale. 
 
 434 
 3 
 
 666 
 5 4
 
 i6 
 
 HARMONY . 
 
 Chap. XV. 
 
 JIJ 
 
 j* r C E=g=d 
 
 B7 6 9 8 
 
 Q4Q7 6 
 
 4 
 
 6 
 
 85 
 
 9 3 ' 6 6 5 
 
 57 86 5 4 J 
 
 4 5 5 
 
 9 J.3- 
 
 z \** c* 
 
 (VIII.) Andante con moto. 
 
 4 46 646 7 67 
 3 8 2 5 $4 t 5 B 85 4 
 
 fl 
 
 *S 
 
 4 6 
 3 3 
 
 J{2 3 
 
 6 7 
 5 
 
 7 8 D7 6 9 3 
 
 5J6 43478 
 
 4 5 
 
 r g 
 
 T 6 
 
 86 6 7 6 fi7 
 Q5 4 8 
 
 6 x6 
 5 6 
 
 6 9 
 
 4 7 
 
 4 
 
 J fr- 
 
 I I 
 
 9 8 
 4 3 
 
 D6 6 9 8 57 
 4 4 Q7 6 4 3 
 3 4 
 
 4 4 
 
 
 C5 6 
 
 C 5 
 
 (JX.) Double Chant. 
 
 *--:i s*?2 = 4 7 i 
 
 3D 4 - - 
 
 3 64 6 6Q46V 7 
 52 52 '3 
 
 46 687 
 346 
 
 (X.) Hymn Tune. 
 
 
 i I I 
 
 7 7 
 
 66667 
 54 8 
 
 I I 
 
 d 6 J6 D7 6 
 443 5 
 
 (XI.) Hymn Tune. Unpoco Lento,
 
 Chap. XVI.] 
 
 ADDITIONAL EXERCISES. 
 
 (XII.) Hymn Tune. Andante. 
 
 
 
 
 
 
 
 P P i ip ii ^. 
 
 
 574 
 
 2 
 
 6 
 
 \ 
 
 I 
 
 
 7 6 
 
 1 
 
 6 5 L 6 ' L 77 6 
 43 6 5 a 
 
 r 7 1 *> r 
 
 a 
 
 2 ; 
 
 6- 
 
 
 , 
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 ' 66 6^- fi ^ 
 1 344 5 ' 
 3 
 
 6 7 
 
 4 
 
 CHAPTER XVI. 
 
 CHORDS OF THE THIRTEENTH. 
 (Pages 178196.) 
 
 (I.) Moderate. 
 
 B 
 
 6 J 5 54 85 7 
 
 6 Q 8 fis 
 
 86 6 
 
 gy3 !} 
 
 ^ s^~ 
 
 fj^T p~| 
 
 1 1~ 
 
 
 1 1 
 
 
 
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 1 " H 
 
 
 4 6 
 2 
 
 6 
 4 
 
 6 
 
 6 
 4 5 
 
 
 6 
 
 
 ^ I 1 
 7 
 
 4 
 3 
 
 7 7 
 
 (I I.) Allegretto. 
 
 =3 _J f J "T 7 "' 1* ~^~ \ 
 
 ^ r - hj 
 
 J J | 
 
 86 56 fi 3 U 
 4 _ 
 3 
 
 -1 1 [==! 
 7 
 5 55 
 4 3 
 
 * ! E3 
 
 7 6 
 
 54 - 
 
 2 
 
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 6 J6 69ff 6 4<L, 
 4 4 7 82 % 
 365 
 
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 87 - 7 - 
 6 
 3 3 
 
 7 6 
 
 54 - 
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 P;= 
 
 1 
 
 
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 _. II 
 
 ssgfz? ^~ 
 
 7 6 
 
 B5 - 
 
 5) 1 1 = ' ' ' " 1 
 6 4 6 6 67 
 4 2 65 
 
 
 
 3 
 
 
 (III.) Andante. 
 
 
 ' *' 1 f 5 * i 
 
 
 
 ^"'4 * , J;" 1 i "M:H 
 
 867 6 
 85 4 
 
 a 
 
 frv ^ * r^ r r i r f 
 
 " r " I 1 1 ---F J bd=! 1 i 
 
 6 6 C46B7 66657 
 5 j(25fi 454884 
 
 a 2 
 
 637P7 6 6B47 fi 7t4 
 
 a 2 as 6 3 
 
 (IV.) Andante. 
 
 6666 7 
 456 
 
 a 
 
 P* P* gj g^-J -1 <s 
 
 ^ ' H 
 
 365 6 
 
 6 6 
 4 5 
 
 56676 
 4 4 
 
 07 
 
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 l I i' 
 
 6 6 b6 t>5 B4 1)5 fl4 
 4 3 }2 3 J2
 
 i8 
 
 (V.) Moderate. 
 
 HARMONY : 
 
 [Chap. XVI. 
 
 
 :-~ 
 
 3 J6 6 6 6 7 J6 
 4 4- 6 
 
 2 43* 
 
 765 Q7 6 
 43 5 
 
 6 65 
 
 4 J 
 
 6J6 7 97 
 
 5 765 
 
 4 8 
 
 (VI.) Larghttto. 
 
 (VII.) Andante con ntoto. 
 
 IS 
 
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 374 
 2 
 
 6545 *I 
 4393 s 
 
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 76 b J4 6 6 6 J4 7 b7 Q6 Q7 9 3 
 
 4 Co 2 Q 4 2 J5'~ 54 7 
 
 I 4 43 65 
 
 (VIII.) Allegretto. 
 
 B'A. ; J J 3^-J-l !-^ 
 ^ t>4 ^ *-^ 1 ji ^ 
 
 :=? : 
 
 J ' J: 
 
 0tf* 
 
 65 Q7 G6 4 
 5 443 5 - - 4 3 
 32 43 
 
 Q7 6 9 89 
 5 437 
 
 7 6 
 5 
 
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 6 Q6 C5fi4 D6 6 : 5 9676 6 6 - fl7 
 
 35 - fl D U4 U |6 J4 5 4 J 
 
 B5 2 C 
 
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 (IX.) Con mote. 
 
 Su' 1 ?' * i I ^ 
 
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 6 23 g5 J4 
 
 9 4 3 
 
 . . -^" &/^3 ff.^3 
 
 6 5 
 4 9 
 
 ^ 1 
 
 ]> 
 
 B* 
 
 95 
 
 _ f _ go- 6 
 
 5 64 
 43 32
 
 Chap. XVII.] 
 
 ADDITIONAL EXERCISES. 
 
 7 J 76 666 
 5* 54 
 
 P 
 
 6 76 
 
 $4 
 2 
 
 (X.) Double Chant. 
 
 6 
 C5 
 
 G6 
 4 
 
 7 87 
 I- 
 
 f*~P 
 1 h 
 
 5 
 4 3 
 
 C6 6 77 
 b5 !> B 
 
 7 6 
 
 b - 
 
 56 6 93 
 
 547 
 
 6 & 
 
 (XI.) Hymn Tune. Andante. 
 
 975 
 7 3 
 
 6 7 
 4 5 
 
 6 6 
 
 4 5 
 
 f 
 
 
 fl6 6 
 4(45 
 2 
 
 54 
 2 
 
 T 5 
 
 z=35= 
 
 G6 6 9 
 
 5 G5 7 
 
 (XII.) Hymn Tune. Lcn'fl. 
 
 6 7 
 
 7 7 
 
 1 
 
 6 6 
 
 G 5 
 
 -I U 
 
 6 6 
 
 6 5 
 
 s 
 
 6 7 
 
 G7 9 7 
 
 G b7 D7 G 
 C 3 
 
 74 6 76 7-6 66 7 t6 
 
 3 4 - J4 - }5 6 4 J?4 
 
 2 3 
 
 fifet 
 
 798 
 b6 5 7t 
 
 9 - 
 
 be 
 
 CHAPTER XVII. 
 
 (I.) C^ w/<'^.. 
 
 THE CHORD OF THE AUGMENTED SIXTH. 
 (Pages 197213.) 
 
 ! I i 
 
 8 6 
 
 8 6 86 4 
 
 4 6S66t>7J7 
 2 4565 
 
 f 5- 
 
 5" 
 
 6 86 
 
 5 4 
 
 3 
 
 b7 C6 6 6 
 4 
 3 
 
 6 
 
 >4 35 
 2
 
 20 
 
 ( II.) Andante. 
 
 HARMONY. 
 
 [Chap. XVII. 
 
 J I {' If* I J 
 
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 s 
 
 6 
 4 
 
 $6 6 
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 52 $ 
 
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 6 Q6 J6 - 6 
 
 4 44 
 
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 (III.) Moderate. 
 
 67 f6 6 5 
 
 4 3443 
 
 3 
 
 (IV.) Andantino. 
 
 ^ g ^^CAJ^'T3 
 
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 3 J2 3 J 
 
 
 
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 4 3 
 
 "ST. 6 615606 7 
 
 >* 44 4-66 
 
 3 3 3
 
 \DDITIONAL EXERCISES. 
 
 21 
 
 (VII.) Allegretto. 
 
 &3m 
 
 =*==s 
 
 J J I * 
 
 ft* -~r 
 
 8 466 6967 
 
 3 47443 
 
 4 
 
 C6 6 4 6 6 
 442 
 3 
 
 V b 
 
 _-* 
 
 ce eee ge 
 
 " 5 ' 4 3 
 
 (VIII.) Larghetto. 
 
 g 6 fl6 
 
 6 D6 - CS 7- 
 495 465 
 3 3 
 
 1 
 
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 ^ 
 
 ,6 6 5 J- 06 6 6 6 
 4 a C 344 
 
 3 
 
 C6 - 
 4 
 3 
 
 6 7 
 5 
 3 
 
 3 6 
 
 B 
 
 C6 P5 b7 6 b7 6 
 6 
 
 (IX.) Double Chant. 
 
 3 E2 
 
 6 - 
 
 6 D6 
 4 5 
 
 j{6 6 J4 6 JJ6 
 4 4 2 J4 
 3 3 
 
 (X.) Hymn Tune. Moderato. 
 
 J6 6 4 
 442 
 3 
 
 J6 6 
 
 '1 
 
 (XI.) Hymn Tune.. Andante. 
 
 m 
 
 >bf> I 
 
 ^p^ P|" 
 
 6 6 
 
 4 
 
 65 Q6 
 
 43 4 
 
 3 
 
 ^zfes: 
 
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 (XII.) Hymn Tune. Lento. 
 
 C* 6 5 
 
 b fl 
 
 - 7 f6 
 
 Q5 4 
 
 $ 8 
 
 6 7 3 
 
 7 6 
 5 14 
 
 -i r 
 
 g J6 6 6 77 
 54 4 b J 
 
 3 
 
 J 1_ 6 6 7 B7 
 G5 $ 
 
 97 b6 6 7
 
 22 
 
 HARMONY : 
 
 [Chap. XVIII. 
 
 CHAPTER XVIII. 
 
 THE SO-CALLED " DIATONIC DISCORDS.' 
 (Pages 214 220.) 
 
 (I.) Modtrato. 
 
 
 
 
 8 7 7 
 1 
 
 7 7 6 B 
 
 7 fl 5 
 
 
 464.46 
 2 2 6 2 
 
 6 6 77 
 5 5 
 
 
 & L $ < \ * * f r i r r i* P 
 
 
 $66 6 $46 4 [J6 
 2 2 
 
 if 1 f 
 4 4 
 2 3 
 
 
 * J J d_J :: 9 
 " | * 
 
 (III.) Allegretto. 
 
 
 : ^ r 
 
 
 ~p r r~~ 
 
 
 8 6 6 7 ( 
 5 
 
 1 6 
 
 I i |l| 
 
 4 
 2 
 
 6 6 
 5 
 
 6 5 
 4 S 
 
 r u r j i 
 
 4.46 4 66 
 2 6 j 2 
 
 6 7 
 4 J 
 
 
 6777 
 
 J ^ 1 J-l 
 
 7777 
 
 F? IP i ri 
 
 F^=^= 
 
 
 R-^ 
 
 
 
 IJ. J J 
 
 F=FI1 
 
 7 87 6 5 6J46 
 4 5 2 
 
 86 C 667 
 4 54 
 
 (IV.) Andante. 
 
 ^ 
 
 T. S. (a) 
 
 f 
 
 T.S. 
 (V.) Larghtttf. 
 
 4 &6 6 
 2 i 94 5 
 1 
 
 P6 
 
 4 
 
 
 
 
 
 
 
 
 
 
 
 3 6777 
 
 LJl 
 7 7 
 
 J 7 7 
 
 1 
 
 6 
 
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 j 
 
 - 
 
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 4 
 2 
 
 ^ 
 
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 6 J5 
 
 6 fl 6 4 6 
 5 52 
 
 _M~^ 
 
 4 6 
 
 2 5 
 
 7 
 
 7 4 
 
 6 9 
 
 
 
 6 7 
 
 
 6 7 
 
 4 - 
 
 - S 
 
 (a) T. S., the abbreviation for the Italian Tasto Solo, indicates that there is to be no 
 harmony above the bass, the other voices being in unison and octaves with it till the figured 
 bast is found again in the present case on the first note of the third bar.
 
 Chap. XIX.] ADDITIONAL EXERCISES. 
 
 (VI.) Double Chant. 
 
 2 3 
 
 8 4 6 
 2 
 
 646 54 
 2 3 
 
 6 4^T 
 3 * 
 
 D7 9 7 IT 7 
 
 7 
 
 (VII.) Hymn Tune. Moderate. 
 
 
 4 6 
 
 a 
 
 
 
 4646464 
 2222 
 
 4 6 
 2 5 
 
 667 
 4 
 
 (VIII.) Andante. 
 
 fe 
 
 {4 6 jf6 6 57 
 2 4 g 
 
 CHAPTER XIX. 
 
 SUSPENSIONS. 
 (Pages 221 236.) 
 
 (I.) Moderate 
 
 if; 
 
 434 76 
 2 
 
 76 56666 jf 
 5 54 
 
 :.?- 
 
 ^- ^? 
 
 987 6 5 J4 5 Jfti 4 Q6 987 3 J6 6 t;7 
 76 4322 2 765 44 
 
 3 3 
 (II.) Andante. 
 
 
 5 743J676 4J 434 6 J6J78Q7 3 
 2 jf 343465 
 
 3 4 3 - 
 
 98 fl4 5 7 98 J4 5 J6 7 6 43Jf6 65 
 
 7622 D5 76 22 4 44 J 
 
 4 4 2 3 
 
 (III.) Andante. 
 
 1 
 
 8 7667 4393439856 5 76 6 5 
 
 7 6 tJ2 54-3 
 
 
 4 5 57 
 
 2 24 
 
 2 
 
 7676 7876 766 
 4 4 56 
 
 98 7657 
 7 4
 
 24 
 
 (IV.) Moderate. 
 
 HARMONY 
 
 [Chap. XIX. 
 
 4890 4 
 
 6 7 6 7 DO IJ7 8 00 
 
 
 e4 
 
 fl5 4 2 
 
 59 
 
 76 7 598 
 46J5 
 
 J5 J2 36 234 6 
 23 2 
 
 76 76 5 
 
 4 4 2 
 
 2 
 
 8 767 6 
 _4 65 4 
 
 (V.) Andante. 
 
 I i 
 
 6 8 86 J 5 3 6 J6 7 - 5 
 
 5 _3_s 8 7 f 4 2 
 
 3 897 5 2 
 
 [5 7 7 06 6 B5 3 ' 6 9 6 4 67676 
 34 48 5 
 
 2 2 - 
 
 53= 
 
 r^ | 
 
 
 
 
 F==T|| 
 
 4523 
 
 i ^=^ ^/ _ i j 
 
 2 3 5 46 3 
 
 1 
 6 
 
 6 5 
 
 54-8 
 
 1 H 
 
 (VI.) Kra 
 
 t=^~>^ 
 
 =^EE i* 1 ^ 
 
 e e 
 
 5 98 9 7 
 
 43675 
 
 4 3 
 
 6 2 3 | 6 
 
 ^f^T^f 
 
 66 
 
 07864 5 
 4352 1' 
 
 JtS 
 
 $7864 5 
 
 43 24 
 
 2 
 
 4 70 57 D'i 7 
 2 4 43 
 
 (VII.) Andantino. 
 
 
 69643 5 -- 6 
 2 - 2 
 
 7 67 6 5 05 6 
 4 J 4J 
 
 7 6 
 
 4 -J6 
 
 2 4 
 
 3
 
 chap, xix.] ADDITIONAL EXERCISES. 
 
 (VIII.) Allegro scherzando. 
 
 4 3 8*> 56 5 
 
 <g; b r 
 
 
 
 
 
 w ^ > -i 
 
 
 7 
 
 * ", 
 3 
 
 6 
 
 k7 437 9" 
 
 4 
 
 86 98 
 3 76 
 
 7 
 
 (IX.) Double Chant. 
 
 3 6643 6 76 76 D fl t]676 7 4 fl 
 
 5 4 D 
 
 (X.) Hymn Tune. Moderato. 
 
 5676 
 (XI.) Hymn Tune. Andante. 
 
 98777 
 
 47 
 3 
 
 -+ H r 
 
 3 6 
 
 643J 
 
 9 8 4 3 
 
 b7 9848 
 
 763 
 4 
 
 (XII.) Hymn Tune. Moderato. 
 
 4 Jf 6 986 5 
 
 J2 4 - * 
 
 4 676 
 2 4 
 
 6 4436 7Jf6 5 6 7 
 3 44 4-8 
 
 3 - 
 
 1 r 
 
 48 54 7 
 
 556 7 676 47 
 2 4 2 
 
 657 
 43
 
 26 
 
 HARMONY : 
 
 [Chap. XX. 
 
 CHAPTER XX. 
 
 (I.) Allegretto. 
 
 PEDALS. 
 
 (Pages 237244.) 
 
 937636 9567 Q7 
 7 44 6 t]7b7 4 5 4 
 
 5 27 4 B 4 5 
 
 3 fl4 6Qd 6 Q7b7 6 
 2 4 b 6(76 5 4 
 43 
 
 57 
 
 (II.) Larghetto. 
 
 
 
 
 
 
 3 5 
 
 4 
 2 
 
 5 6 7 6 Jf6 
 'I 3 1 
 
 ~J J J| 1 j T 
 
 65 05 6 7 
 4 C 5 D 6 
 84 
 
 897 
 665 
 
 Q4 2 
 
 765 
 543 
 
 
 * qJ 1 * bJ - 
 
 6 5 7 fl6 &6 5 b5 4 fl3 
 4 D 9 8 g7 07 fl6 !> 6 5 
 4 b Q9 79 8 J7 07 
 
 J J . " J > 
 6 7 
 
 B 
 
 5 
 
 5 Q5 5 
 
 (III.) Andante. 
 
 ^- : *t g # i 1 r 
 
 1 1 1 1 
 
 "I 1 =^ If* * !* 
 
 
 06 4 
 4 2 
 
 7~JFf^3 6734 
 54 44 3 
 32 2 
 
 -v 
 
 1 "* ^ 1 : I L 
 6986 76 
 4 5 
 
 I i 
 
 J6 6 5 
 343 43 
 2 
 
 iqz^ i i H 
 
 323- 
 67>' 
 
 4 J4 5 |j 
 
 - 4 f 4 5 J5 6 
 898 4 
 673 
 
 >l =!== 
 6 J5 6 7 - 
 B3 (3 - 
 
 - 8 7~l5 5 
 543 
 
 (IV.) Un poco Lento. 
 
 &H 
 
 <i z; 
 
 8 6 5 |7 5 9 3 J6 6 
 543 4 3 Jf7 8 4 
 82 3 
 
 87 6 5 05 6 5 7 3 f8 9 7 
 
 Jf5 4 J 84345666 
 
 8 - 2 3 -8404 
 
 @;^j , 1 1 i ' * i n r 
 
 
 
 5 {6 6578 6 C 
 344343 5 ft 
 3 2 
 
 _! ! 1 II 1 1 
 6 63636 
 554 
 82 
 
 1 i ! 
 557 5 J4 
 6 2 
 4 
 
 
 -rs 
 
 
 (a) The unusual order of the figures in this and the following chords shows the progression 
 of the different voices. Compare Hannony, p. 177, Ex. 6, and p. 235, Ex. 5.
 
 Chap. XX.J 
 
 ADDITIONAL EXER CISES. 
 
 27 
 
 (V.) Poco Vivace. 
 
 6 6 6 $7 :7 
 5443 
 
 (VI.) 
 
 f^-rM 
 
 tnoto. 
 
 36 6 
 
 6 7 
 
 6 5 
 4 3 
 2 
 
 656 
 
 6 5 
 4 8 
 
 8CV8 
 5 45 
 3 2:5 
 
 \ x 
 
 6 6 |]7 
 445 
 2 3 
 
 C7 3- 
 
 4 
 2 
 
 5 9' 
 
 34 
 
 4 a 
 
 6 C7 
 
 4 5 
 
 2 
 
 C7 
 4 
 2 
 
 96 98 
 07 4 7 
 5 43 
 
 67987 6 98986 
 4 654 4&76T65 
 4 3 2 4 
 
 5l 
 
 ^ pp 
 
 * 
 
 =t=S 
 
 5 6b7 4 6 6 8 
 424 36 
 
 2 
 
 G66D 
 
 6 7 
 3 
 
 (VII.) Double Chant. 
 
 7 6 5 6 J7 3 
 434 
 2 
 
 8 br 6 6 f4 7 B 
 
 4 3 P3 D4 
 2 
 
 (VIII.) Hymn Tune. Andante. 
 
 765 
 5 4 
 
 6 J7 3 6 87 G7 
 
 44 15 
 
 2 2 Jf 
 
 
 D7 7 6 6 7 84 6 
 
 5 4 5 2 
 
 67 S fl (5 J7 5 
 g 5 3 4 36 3
 
 28 
 
 HARMONY: 
 
 [Chap. XX. 
 
 (IX.) Hymn Tune. Largfictto. 
 
 e-i.1- i*-r r ^^ 
 
 
 
 845 9 
 237 
 5 
 
 3 5 fl6 -57 3 
 53 4 
 1 3 
 
 65 765 
 4 3 04 3 
 
 82 
 
 C-b f 1* ; | ^ 
 
 06 9 8 
 5 76 
 
 s - 
 
 1 1* 1 1 =Ct 1 ' =* 
 7 87 8 - 8 - 
 
 8 s 
 
 43 
 
 J J | j r J ' -^ r 
 
 , p i 1 J --W-gM 
 
 - 6 b7 78 
 5 
 b4 3 
 
 6 
 
 n d 
 
 ^t=2 2 S 
 
 98 6 736 
 
 b7 =" 
 
 3 2 
 
 87 3 
 
 
 [The following Exercise, containing several chords of five 
 notes (including the pedal note), had better be written in five- 
 part harmony throughout. The student is advised to take a 
 second alto for the additional voice, as this will give the easiest 
 positions of the harmony.] 
 
 (X.) Hymn Tune. (5 voices ) Lento. 
 
 
 
 
 
 5 
 
 6 87 3 
 
 $6 9? 
 
 366 6 
 
 
 84 5 
 
 8* 5 
 
 4 5 
 
 
 3 Q4 
 
 2 D4 
 
 
 ffiil | 
 
 2 
 
 82 
 
 1 1 1 
 
 11 
 
 fl7 
 
 6 87 3 
 4 5 
 
 568 
 
 87 D7 86 0.6 6 7 
 58 4 - - 8 
 
 
 4 
 
 
 4 
 
 
 2 
 
 
 82
 
 L VAN BEETHOVEN'S 
 
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 In AUGENER'S EDITION. 
 
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 COMPLETE 38 SONATAS. 
 
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 part, the publishers have provided amateurs of taste with a veritable edition de luxe in three 
 volumes, gorgeously, but, at the same time, artistically bound, and fit to be on the table in the 
 stateliest home. This is a form of "hommagea Beethoven " which has our cordial sympathy." 
 The Daily Telegraph, January 4th, 1890. 
 
 QUARTO EDITION. 
 
 SONATEN FUR KLAWER NACH G. NOTTEBOHMS 
 AUFZEICHNUNGEN. Kritische Revision von Eusebius 
 Mandyczewski. (Edition compared and kept strictly after 
 Beethoven's original text, without any additions, fingering, 
 &c., not contained in the original.) 
 
 3 Vols each 3 6 
 
 3 Vols., in plain binding ..... each 5 o 
 
 "The readings of Nottebohm, which present after all no very important divergences 
 from the text usually received of the Sonatas, are adopted ; the page is not encumbered with 
 fingering or remarks of any kind, and the whole is by far the most readable of the many 
 cheap editions of the Sonatas that have appeared." The Times, December 26th, 1890. 
 
 " It consists of 612 pages, divided into three volumes, and is clearly and beautifully 
 printed on good paper. The English preface may tell the rest : ' Of editions of Beethoven's 
 pianoforte Sonatas with fingering and other editorial additions there is no lack ; and such is 
 the variety among them, that no one, be he learner or accomplished artist, can have any 
 difficulty in finding what he stands in need of. But useful as these instructive and exegetical 
 editions are, they leave, and even call forth, in the hearts of earnest students and sincere 
 lovers of the great master, a desire for the pure, unadulterated text of his works for the truth, 
 and nothing but the truth. Eusebius Mandyczewski, the editor of the present edition, in 
 taking Gustav Nottebohm, the peerless Beethoven inquirer, for his guide, has followed a path 
 that promises the attainment of the desideratum. Nottebohm (who died in 1882) left a copy 
 of Beethoven's pianoforte Sonatas in which he had entered "numerous notes the outcome of 
 a comparison of the oldest editions relative to the musical text and the rendering of these 
 works." This annotated copy Mandyczewski made the basis of his edition, and thereby was 
 enabled to give to the musical world what may be confidently regarded as a trustworthy 
 presentation of these masterpieces of the foremost instrumental composer.' " The Monthly 
 Musical Record, July, 1890.
 
 BEETHOVEN S PIANOFORTE WORKS (continited)- 
 
 QUARTO EDITIONS FOR PIANOFORTE SOLO. 
 SUNDRIES. 
 
 Aiigener s 
 
 Edition Ao. Net. 
 
 8037 TRADITIONS CLASS IQUES. 14 Morceaux arranges et s. d. 
 
 revus par E. PAUER i o 
 
 8041 MUSIK ZU EINEM RITTERBALLET (Music for a Ballet 
 
 of Knights). Arranged by E. PAUER . . . .10 
 
 COMPLETE SYMPHONIES. Arranged by E. PAUER : 
 
 80360 No. I, in c, Op. 21 ....... 
 
 8036^ ,, 2, in D, Op. 36 .'...., 
 
 8036^- ,, 3, in E flat (Eroica), Op. 55 
 
 8036^ ,, 4, in B flat, Op. 60 . . . . . . 
 
 8036^ ,, 5, in c minor, Op. 67 
 
 80367 ,, 6, in F (Pastorale), Op. 68 
 
 8036^ 7, in A, Op. 92 
 
 8036;* ,, 8, in F, Op. 93 
 
 80362 ,, 9, in D minor, Op. 125, (Choral) . . . .20 
 
 8039 SEPTET, arrange par F. Hermann I o 
 
 8040 6 SACRED SONGS, transcribed by F. LISZT. (E. PAUEK.) i o 
 
 8042 COMPLETE MARCHES. Edited, revised, and partly ar- 
 
 ranged by E. PAUER . . 26 
 
 8043 COMPLETE DANCES. Edited, revised, and partly arranged 
 
 by E. PAUER . . 26 
 
 8034 THE CHILDREN'S BEETHOVEN. Short Pieces (30 Solos, 
 
 6 Duets). Selected, arranged (without Octaves), fingered, 
 and revised by E. PAUER. With Illustrated Biography, &c. 
 (English Fingering) . . . . '-. . Bd., 4/- 3 o 
 
 OCTAVO EDIT/ ON. 
 
 COMPLETE PIANOFORTE WORKS. Edited by E. PAUER. 
 (English Fingering) : 
 
 8030 Vol. I. 38 Piano Sonatas. With Portrait, Illustrated Bio- 
 
 graphy, Metronome, and Historical Notes to each Sonata. 
 
 Bd., 7/6 5 o 
 
 8031 The same singly. 38 Numbers. Nos. i to 38 . . each o 6 
 
 8032 Vol. II. 21 Books of Variations, 16 Books of smaller Pieces, 
 
 and 4 Piano Duets Bd., 7/6 5 o 
 
 8033 EASY PIECES : Sonatinas, Variations, Rondos, &c. 
 
 (PAUER.) i o 
 
 8035 BAGATELLES. (PAUER.) i o 
 
 LONDON: AUGENER & CO., 
 
 86, NEWGATE STREET, E.G., and i, FOUBERT'S PLACE (opposite 
 Conduit Street), W.
 
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 Los Angeles 
 
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