, fft, b: of half-steps. of half-steps in each case. of his of liberty." of music of notes of sharps or flats in of sound. of the of the chord. of the class correct of the first year, of the following of the pianoforte. of the preceding of the relative of these of these differ of these is of these pairs of of the text, in its proper place. of the tonic ognize ohem's ohkm's harmony' book okem's old folks at home" omitting purely theoretical ones. on a separate on a separate piece one half- one of the chords. one of the most, one, white or black, only in the bass. only one on melody making or by an additional motive. or efr) and the ear orem's or em's harmony book or em's iiakmony book organist, or lowest part or perfect chords other. other names others, out, out, just as one outline, thus: out note by note, out slowly and carefully, outstanding out the book continual stress out without any over the over this exercise and panist and the aspiring paob paper or music writing tablet. parallel motion parts. peated analyses. perfect cadence. perfect fifth perfect fifth, is a major perfect fifth over perfect fourth perfect fourth over period philadelphia' phila., pa. phrase pianists pitch ? pitch. places be avoided. place them plagal cadence plagal cadence. play play and analyze. play and compare play and sing play and sing this example. play and sing this exercise. play both the play each of the preceding chords play each of these many times play them play, then play these also play these over play this form, and contrast point portions. pos. position position. position.. position and position or inversion: positions positions: positions. positions, thus: position, there practical practical side practical, working practice. practice, major practice this. pre- preceded by others. precede or follow an inversion. preceding principles, precepts. preferably, preliminary preparation for presented in such presented to the preston ware orem priate price, price, $1.25 principle: principles principles, based principles in full force. printed printed in u.s.a. private proclose profitable progressing progression of the prove provided for writing proving satisfactory in put c in the bass and double a. put them put the root, d, in the bass. questions questions. questions and tests quired. quiring a smooth and fluent style. "quiz" at the raised raising chromatically the read be discussed freely and readily whenever heard ready real constructive rection, regarded as relative major. remain unaltered, descending. resolves. respective scale. retained in the upper voice. rhyme : rising con- roman roman numeral roman numeral, roman numerals roman numerals and roman numeral under root ascending root descending root doubled root doubled. root (g) in the bass, thus root* in bass root in the bass root in the bass. root in the bass, we root, major third root, of course, roots in bass roots in buss rules. said to be an in- same chord, no matter how same manner, according same pleasing manner scale scale ? scale, scale. scale); scale in which scale is scale of scale of (?) scale of a. scale of a minor scale of b!>. scale of b. scale of c scale of c: scale of c. scale of d: scale of d. scale of e. scale of f: scale of f. scale of g: scale of g. scales ? scales specified. scales specified below. scale, thus: schumann has second second inversion second inversion: second inversion. second inversion, having seconds, thirds, section section, see what self self instruction sented simply, yet sequences.. 134 seventh degree of the scale. seventh descending sevenths seventh triad several inversions of the sharp sho2 ^ should be done at once. should be doubled. should not be used side, (sidewise or collateral), while -,-si-fltththirdroot signatures. signatures are omitted purposely. similarly in the scale of f: similarly, let us take simple simultaneously, or since since a triad since the signature sing sion. sions, cadences. six-four. sixth sixth degree sixtn six triads all slip of slowly and see so far at his disposal so far attained. so far, so good. so far we have had root, soft some some- some examples: some figured some melodies sometimes used sound sounds best when prethe dominant specially arranged for use in splendid practice. standing by starting from middle starting from middle c, let us staves are provided, right in staves, using treble step step, step. step, but step, or strictly speaking, it is not strike strive for good motion struction. student, students subject matter subject of intervals. submcdiant submediant chord. substantial sound. succeeding ones, in four-part succeeding work. succession of a such sufficient material for the sug- sung, or both. supply the supposed "sweet land tained ? take this taking taking it the other way tedious, tendency: terval test of this tetrachord tetrachord, beginning on a. tetrachords in a major scale than b, d, that has that is to say, that is unity. there (the the above the above examples the art of the author's harmony book the basb, the bass the bass: the beginning the best the book, "for writing out all the chord the c major scale the combination of tones. the dominant, & the dominant chord the dominant chord, the dominant chord. the dominant seventh chord the dominant seventh chord, the dominant seventh chord, with the effects. the equivalent of two half-steps. the fifth of a chord the fifth of a chord. the fifth of any common the fifth position, thus: the figured bass the figured bass continued the figures the figures. the final chord the first the first inversion the following exercise the following melodies the foregoing the form the half cadence the harmonic minor scale. the harmonic minor scales. the harmonizing of melodies the individual. the inversions are their their effects. their looks, without their relative the kind the knowledge gained the language of this book the leading note chord, with the lines are said to them them. the majoii scale continued the major the major scale continued the major scale, or any portion of it. the major third from c would be e them also. them and endeavor them anyway. the melodic minor scale the melody note the melody to be harmonized. the minoe scale the minor the minor, the minor continued the minor scale the minor scale. the mi^or scale the mlnok scale the most painstaking study and re- them when heard. then, then, all together. the next note the next note f may be then, from the normal then play and then right heside it then, the melodic the number of half-steps in each. theodore pkesser co. theodore presser theodore presser co. theories, theory and the plagal cadence the position being left to the practical working out: the preceding work has been well done. the prohibition found in all the reason the relative major of cjj the relative minor of efr? the remainder the remaining degrees the remaining parts or voices. the root the root. the root position of the same the same. the same, both for the the scaie. the scale the scale. these are not at these are simply used the second the second chord the second inversioa the second inversion the self-help student. these principles apply the seventh may be added the small figure the student may already be the student must the student should the student try a few. the student write the the study of this book. the sub-dominant, the sub-dominant chord. the sub-dominant chord, root the sub-mediant chord. the submediant chord, the taste and judgment of the term major ? the term perfect ? the term tone the third the third of the third of the the three inversions the tonic chord the tonic chord. the tonic chord, followed by the sub- the tonic chord, root the tonic chord, third the tonic of the tonic upward. the triads the upper part: c-g and d-a. the very foundation of the vibrations. the voice, in spoken language. the wnite keys the word cadence the work done. the writer or player. they are then called they have been worked out satisfactorily. they must they occur constantly thing thing needed thing to follow. think and third third, third at top third (d) doubled. third doubled third inversion third inversion: third inversion. third of the chord. third pos. third position third position. thirds thirds, fifths, this this. this book this book, designed to follow this case) tells this chord this exercise this is a this leading this matter. this must sound this paves the this point the student this principle clear: this process in the this skip both in the this stage the student this we discover to be this will repay thorough, thoroughly, this through- thus: thus: [~vs- thus, we tical ties times, times. times, both triads time, scale times over. times over and listen carefully. tinuous forms. tion of a melody, or upper voice part. tious 'tis of to answer these correctly to begin to be obtained. to both chords. to ctr, half-step; to deal at present to deal chiefly in this to descend: to distinguish one to double. to f, ffl to to gb, half-step, thus: to give the impression of to indicate the to lead to tones are used tonic tonic. tonic chord tonic chord. tonic of to overlap. top. to prepare to rec- to recognize to remain unaltered descending. to sing to sum total difference to the foregoing to the handling of to the number of letters included. to the principle motive. to this point to train both the eye to use this book to use, write the train the trations. trations in many familiar objects. trfijn triad. triads try another try these intervals and try this chord, with its tures, twice. (two measures) is two we already have, unaltered understood and mastered. unity university of toronto until upon upon each chord. upon present approved upon the number upon what does up sixths and sevenths. up, the triads in usages, are given to use. use a double flat used in the bass, used in the bass, the chord use the same signature us gain more variety by changes in using us try usually named ? val from variety variety would suggest, going on, verify all that has been done. version; notes marked version of the chord. very easy to harmonize. very effective following very well what harmony is. vibration. vides a voices. way ? way). we already know we also know, from our study of the we could employ. we have used f we have withheld from the student well to avoid well to recapitulate. we make an we make a phrase we may we must go from the known to we now want a we reach our we take next the degree aoove c: what what chord what happens. whatie what is what is a degree ? what is an enharmonic change ? what is a triad ? what is a unison ? what is meant by the signature ? what is the best manner of procedure ? what may what other name has it? what position when whenever possible, we end when it when the when we have to refer when you which are major, which does not sound satisfactory. which follows (chords 8 and 9^). which sequences which triad which triads which we had whole whole step. whole tone will afford practice in the will be avoided. will be easy will be followed will give contrary will not include will require will write out the with with, with many with seventh added. with, sound with the major. with the natural minor; with the perfect cadence. work work. work accomplished for future worked out working working. work lays a strong foundation work proceeds by easy work them would be would be avoided. would be thus: would be well would be written out: writ- write write c, dt^, thus: write here the scale write here the scale of c b major. write in both the write octaves in the scales write out in write out signatures of write out the scale write out the scale of b major. write out the scale of gt>. write out the scales write out the signatures of write scales in write the proper writing exercise writing exercisk written. xiv. xvi. xxx. on melody making. year. year, allowing for repetition year's year's work, young composers, your own language, at' />