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HARMONIC ANALYSIS
— BY—

Friedrich Johann Lehmann

Psoffst<ir of Theory in Oberlin Conservatory of Music,

uuthor of Treatise on Simple Counterpoint

and Lessons in Harmony,

Published by

A. G. Comings & Son,

OBERLIN, OHIO

Copyright. 191Q. by A. C,. Comingi A Son. Obcrlin. O

rs
 PREFACE,

hardly necessary to enter into a fliseussion as to the value of "Analy-

It is
sis of Harmony and Form in gaining a clearer and more intelligent view
'
'

of music and a keener appreciation of it. That is taken for granted by all
who have made a serious study of the subject.
There are many students who have undoubted executive ability but who
have no power of invention in writing music. It is for the purpose of giving
students of this kind a more intelligent view of the structure of music, both
as to harmony and form, that a course in the '
Analysis of Harmony and
'

Form" was inaugurated in Oberlin Conservatory of Music. That this was

wise has been proven time and again during the eight years that it has been
in use. The student becomes more intimately acquainted with the masters,
their peculiarities and mannerisms, thus enabling him to give a much more in-
telligent interpretation of their works.

As an aid in memorizing music, analysis also has great value. It en-

ables a student at a glance to see the harmonic and formal structure which
provides him in a way with guide posts in the shape of harmonic progressions
and formal divisions to lead him on.
It has also been found to be an inspiration to some to continue the
study of advanced theory and free composition.
It is not theplan of this book to cover the entire ground of harmonic
analysis; that obviously impossible in twenty-four lessons. It is, however,
is

its plan to present material in such a manner that after its own completion

tho student may continue the work of analysis by himself, taking up entire
compositions where only excerpts have been taken and studying the peculi-
arities of composers and of schools. If the work has done this its object has
been accomplished.
It is primarily a work for the class room, assigning definite lessons, avoid-
ing any discussion of points in notation, etc., on which there is a difference
of opinion, and couched in language that is not too technical.
A knowledge of harmony is presupposed, nevertheless chord construc-
tions and a few other points have been explained to some extent.
 In the selection of the material to be analyzed the author has endeavored
to gather it from such sources that the student may come into touch with

many different composers of different schools. Not many of the more com-
plex of the modern compositions have been selected since a still wider ex-
perience is needed, both as an analyst and in comprehension, than a student
may have at this time.

In the lesson on Enharmonics it was necessary to touch upon modulation

before exercises containing modulations were regularly taken up. This lesson
might have been put after modulation but since neither modulation nor Al-
tered Chords can be analyzed without involving Enharmonics it was thought
better to put that lesson in its present location.
Difficulty has been experienced in giving an exact limit to the
province of the different harmonic structures, as when a chord should
be considered an Attendant chord, or when an Altered chord (chord of the
Augmented sixth, Neapolitan sixth, etc.,) and when a change of key ha3
taken place. Time value, the ear, and, not least, personal opinion have so
much weight in the above that the author knows full well that no exact
limits can be set to the province of these chords. Differences of opinion will
also occur as to whether a change of the lowest part affects the ear as change
of position of the chord; whether the passing seventh and ninth are heard as
such or merely as passing tones; whether, in broken chords, several groups of
tones taken together give a single chord effect or if each group represents a
chord in itself, and to the above may be added many other points on whic/h
no definite instruction can be given. In these the individual must decide for
himself.
The author has endeavored to give directions that will enable the student
to make an may be in dispute. It is
intelligent analysis of such points as
however that the teacher's view will be broad enough to recognize
to be hoped
good and reasonable solutions which have been reached without a rigid
adherence to the text.
Lender Modulation such material has been considered as will give the
student an intelligent ^•iew of this fielil and enable him to explain any modu-
lations which he may meet.
It has been thought well to dwell a little more fully than is customary,
on the Greek Modes, especially since they are used so frequently in modern
music.
In a few instances the exercises have been slightly altered or marked so
as not to present material for analysis that is in advance of the lesson.

The lessons have bees outlined primarily for use in Oberlin Conservatory
of Music.
June 2, 1909.

VI
 2

TABLE OF CONTENTS.

PAGE.
Lesson T. Triads and Chords of the Seventh 1-7
Lesson IL The Dominant Ninth, Suspension. Retardation and
Passing-Tone 7-1
Lesson TIT. The Embellishment and the Appoggiatura 13-10
Lesson IV. Attendant Chords, and Broken Chords and Suspen-
sion (con.) 19-26
Lesson V. The Anticipation, and the Pedal Point 26-34
Lesson VJ. The Ornamental Resolution, and the Free Tone 3.5-41

Lesson VTF. Enharmonics 41-49

Lesson VII 1. Alterations of the Supertonic Seventh and of Chords
of the Seventh on Other Degrees 49-54
Lesson IX. Chords of the Augmented Sixth 55-61
Lesson X. Chords of the Augmented Sixth in Other than Their
Conventional Form, and the Neapolitan Sixth 61-68
Lesson XF. The Skip Resolution 68-73
Lesson XII. Modulation. Entering the New Key through the Dom-
inant Seventh Chord. Common Chord Modulations. 73-82
Lesson XIII. Modulation. Entering the New Key through the
Diminished Seventh on the Raised Fourth Degree,
and through the Augmented Sixth Chords 82-89
Lesson XIV. Modulation. Entering the New Key
through the Nea-
politan Chord, by Alterations of the Diminished
Seventh, and by the Deceptive Resolution of the
Dominant Seventh 89-96
Lesson XV. Succession of Keys without Mo<lulating, and Consecu-
tive Tonics 96-103
Lesson XVI. Consecutive Diminished Seventh Chords, Chromatic
Passing Chords, and the Sequence 104-114
Lesson XVII. Two Simultaneous Harmonies. One and Two Part
Writing - 1 14-1 22

Lesson XVIII. The Church Modes 122-128

Lesson XIX. Reduction 128-136
Lesson
XX-XXIV. Review Exercises 136-156
 I NTRODUCTION.

Harmonic analysis is the art of accounting for everything in the har-

monic and melodic structure of music.
In analyzing the work in the following lessons everything in its harmonic
and melodic structure should be considered and accounted for harmonically.
This involves naming the key, marking the chords and their inversions and,
in later lessons, the non-harmonic devices used. Be prepared to justify the
analysis. It must be clear why the chords have been marked as they are.

The analysis is to be written into the text as illustrated in the examples.

"When several solutions are possible write out each with different colored
inks or pencils, stating your preference however. Write out full enough so
that no tax on the memory is necessary.
Since the exercises to be analyzed are but excerpts of larger works the
signature does not always indicate the key. Always notice before marking the
key, whether accidentals have been used changing it from that of the sig-
nature.
The lessons are accompanied by many analyzed examples. Examine these
carefully. They are not only valuable as illustrating the points in question,
but will no doubt also prove helpful in the general matter they contain.
Spell chords accurately.In constructive work in harmony the student
often forms the habit when spelling chords
of disregarding the sharps or
flats since the signature takes care of those. In analysis it is absolutely
necessary for a correct solution, to make the spelling complete, always to
mention the sharp or flat. To illustrate, in spelling the dominant seventh
chord in the key of D major, spell it A, CJJ. E, G, and not A, C, E, G, think-
ing that the signature will take care of the sharp.
Grace notes are to be analyzed the same as any others.
Ornamentations that are written out fully should also be analyzed. When
these are indicated by a sign only they are not to be recognized in the analysis.
Signs used for marking will be mentioned as the occasion demands.
It is often well to begin working backwards since it is sometimes neces-
sary to see the progression of a chord to tell what it is.

As a further aid in the following work the author recommends that, be-
ginning with Lesson II. the student take up compositions of different kinds
and find in them the particular points of the lessons and mark them. A list

of references might have been added to each lesson, but it has been found
more valuable for the student to find the points in question for himself. This
is particularly true in constructions that are less frequently used since he may
have to look over many measures before finding them, thereby gaining much in
sight analysis.
IX
 :

Harmonic Analysis.
Lesson I.

Triads and Chord.s of the Se\t:nth.

Triads.
Major keys are indicated by capital letters. Minor keys by small letters
Fig. I.

In major keys the triads on the different degrees are marked as follows
I, II, in, IV, V, VI, vn°.
In minor keys : i, ii°, III', iv, V, VI, vii'.

The signs of inversion are :

First inversion (3rd in the lowest part) 6.

Second inversion (5th in the lowest part) ®.
The sign of the inversion is placed to the right of that of the degree as
follows : 11^, 1$, etc.

Change of position of the upper voices while the lowest voice remains the
same, does not affect the harmony and need not be marked, Fig. la.

5^fi^^ fct
ii=^
-•- p
I
a ^
1.

i_J
^5d ^—#-
ffc %-- Pe^
Bb Ve I lis— V I I, IV I, viioifille I^ V
EXERCISES.
CoRELLi. Gavotte.
Alleoro. Atsai
 ; I

Brahms. Requiem.
Moderato. gj

C'HORDS OF THE SE^'E^TH.

Adding a third above the 5th of a triad (7th above the root) forms a chord
of the seventh.
Signs for marking these chords and their inversions are as follows
Root position (root in the lowest part) 7.
First inversion (3rd in the lowest part) 5 or a .

o
. e
Second inversion (5th in the lowest part) 3 or 4.

Third inversion (7th in the lowest part) 2, 3 or 4.

:^
-75^
^^ i —
^2Z-

l=t
Ab Is lYI II, VI in* vi, IV, 1X5 VII« Ig V« I

^ i
r
-s>-

^ i
IV xwl 11I7 V1I I. ni V—
 It often occurs, with harmony remaining the same, that the lowest part
moves to different chord members, a broken chord, without affecting the ear as
a real change of the position of the chord. This is particularly true in quick
tempo. The first note usually marks the position of the chord.
In doubtful cases mark each change of the lowest part
In Fig. 6a no change of inversion is felt, while 66 must be recognized as a
change of inversion.
WlHTOL.
b.
, ^^

6.
6Kz
±=± ^^ia * I

^ ^ J ^ ^

Db '
Bb I IV ir, 1

EXERCISE.s. Mozart. Sonata.

AVegro

-•-r
\
W^. i 1
C'HOPix. Op. 2.5, No. 4.

Agitato
 Andante. Soxtenuio. Kiel. Mass.
^
s^
I

~m • 1^-

a=q=
"» i5*-
1
Brokex Chords.
Chords, instead of sounding all parts simultaneously, may be broken into
different forms of arpeggios, or the many different forms of accompaniments.
Fig. 11. These, in all cases, are analyzed as though all the tones were sounded
simultaneously. The lowest tone, whether continuing throughout the chord or
not, marks the position of the chord. This principle is adhered to throughout,
in analysis.

Beethovex. Op. 2, No. .3.

11.

c 1

l! I
•m- -m- -»- -m- m-
- - w-
N-
-+ ——
:p^t=l=l=«: I I
 In broken chord effects it is often well to consider more than one group of
notes as belonging to the same chord formation, rather than to call each group
a diflferent chord. While the latter may not be incorrect, the ear, in many
instances, accepts more than one group as representing one harmony. This is
particularly true of notes of short value. When doubtful mark each group.
Fig. 12
Bach. Prelude. Colef;idge-Taylor. Op. ."9, No. 5.

12.

y viivo

Chords of the seventh when changing position often appear with different
memVjers omitted, at times forming a triad on another degree as in Fig. 13. No
marking is necessary for this.
Mexdelssohx. Song.

Eb IV, ui

EXERCISES. Beetho\'Ex. Op. 109.

Virace.

14.
 —
Allegro. Cramer. Study.
B
-fri i
-,
N^
H ^—SL
IJI H-l-

•^:_^Sj^ %V' *^^' '^•^ T^-i^ ^* *-^ -±^

15.

^2^--Rh • — h — V- =1: -d ——
::4
j ^-

—55—E5—w^ S3-

-0-»- -•-•- -•-•- #-•- -#-•- -•-•- • • 9^9^

—^— i—^•*-
•-
-^ i^-
t=W-
f
'
*—i i
^t Passing tone.

Beethoven. Op. 53.

Allegro.

L_*f| — -i —^ 1-^ ^ ^ 1 ^P J

Schumann. Op. 68, No. 14.

 Mendelssohn.

18.

r-rga^-w=g=ij-#^-^

F^f->- rrim fl

Lesson II.

The Dominant Ninth, Suspension, Retardation, and Passing Tone.

The Domixaxt Ninth.
Adding a third above the 7th of a chord of the seventh (9th above the root)
forms a chord of the ninth. The only chord of the ninth that is to be analyzed
AS such is the Dominant ninth, and it should only be considered as such
when it resolves to another chord (Fig. 19a), or when the ninth is left by a
skip to another chord tone (Fig. 196). The ninth when resolving otherwise, as
well as the ninths of other chords are treated as non-harmonic tones in later
lessons.
The Dominant ninth often appears with the 5th omitted. Signs for marking
this chord are as follows :

Root position (root in the bass) 9.

7
First inversion (3rd in the bass) 6.

Second inversion (5th in the bass) 5 .

4
4
Third inversion (7th in the bass) *.

7
Fourth inversion (9tb in the bass) 6 .

The fourth inversion is seldom used.

 Grieg. Op. 43, No. 1.
C. Cui.
« b.
i i 'Il jL
^ f^
-*^^. i

AVg I 5 EbV. ^^P^1

^

EXERCISES.
Bargiel. Nocturne.
Tempo di Menutito.

^ Appoggiatura.
* Embellishments.

Andantino.

^ife^lS
-(5'-

Embellishment.

22.

^<f Appoggi at u ra,

 Grieg. Op. 68, No. 3.

# Passing tone.

The Suspexsion.
A
tone foreign to the chord with which it appears, that has been prolonged
or continued from the preceding chord, is a suspension when descending one
degree to a chord tone and a retardation when ascending one degree to a chord
tone. Fig. 24.
suspensions produce chords of the seventh they should be analyzed as
If
such, unless they are incomplete, when they should he marked as triads with
suspensions. Exceptions to this are found in the dominant seventh and in the
succession of chords of the seventh in root position resolving to chords a fourth
higher, in which case the fifth is omitted in alternate chords.
When the suspension or any of the non-harmonic devices used in later
lessons appear in octaves it is necessary to mark only one of the tones.
Suspensions and retardations may occur simultaneously in several voices.
Signs Suspensions, s Retardation, r.
: ;

Beethovex. Op. 10.

*

24.

^ Appoggiatura.

EXERCISES. Beethovex. Op. 2, No. 3.

Allegro
26.

Beethoven. Op. 10, No. 2.

Allegro.

27.

J4 J^

10
 —

The Passing Tone.

The Passing tone a non-barmonic tone that is approached and left step,
is

wise in one direction. may be accented or unaccented, diatonic or chromatic.

It
It is accented when on the accented beat or part of a beat, and unaccented when
elsewhere. When it is the first note in triple rhythm or groups of three, it is
accented, when the second or third, unaccented. Notes of shorter values than
eighths are analyzed in groups of two beginning with the beat, the first being
accented the second unaccented. Fig. 29.
Passing tones may succeed one another. When the passing seventh or
ninth of a chord is of short value, or is one of a series of passing tones, the
impression is that of a passing tone and not that of a seventh or ninth, and
should be so marked.
Signs: Accented Passing tones. + Unaccented Passing tones.
Beetho\-en. Op. 2, No. 2.

- V,

EXERCISES. Chopin. Op. 10, No. 2.

Allegro.
^^^^ HSH H^"^ ^ ' ! '
^^W^

^t- -"kSr.
-P ^- ^1^1 ^ — ;^
q:

Rubinstein. Op. 26, No. 1.

-*=!
#
^_ 1 . .

31.
-^ V jl V
 > *

Diatonic Passing Chords.

Chords progressing degreewise over a stationary lowest part as in Fig. 3^,
are Diatonic passing chords. Mark the first and last chords only, indicating
the intervening chords as passing chords. This principle applies to notes of
short values only, since the same thing in slow tempo would give a definite
chord impression for each chord.
Beethovex. Variation,

34.
 Lesson III.

The Embellishment and the Appogglvtura.

The Embellishment.
The Embellishment is a tone introduced by stepwise progression between
a principal tone and its repetition. Fig. 35. Sign E.

Mozart. Sonata,
+ f)

36.

1 -0-
-0-

B;^i^r-rjg^^g!=r^r,>=^ :$*:
0—^ 0—m gis
^==1^
;i
13
 —

Assai Allegro. MozAKT. Sonata.

:*±M-

m^^m
37. <

-fcl*
'±tiz
^ ^ — 1-
'-^

-•5-1

t-"5»-'— I
-

tr
eI '^i
-^ — ^— ^ifeiB
KjERCLF. Cradle Song.

i^ls
38. {

The Appoggiatura.
The Appoggiatura an unprepared Suspension or (Retardation) approached
is

by a skip of an augmented second or more. Fig. 39. Sign Ap. :

Chopin. Op. 47.

St'o
fira Ap.
Ap.
^ 4:§:»:^Ap.

39o E
ftf_ : \ ^-,
t::

C 1

14
 —

8va
Ap.

m tr.

I I I ! I
I I
i

^^^ i

EXERCISES.
Mozart. Eequiem.
Larghftto. ^-
^ »
i^isis
^-Li^"! "^ 1-

40.
i
t=
^=^^=^=1 ^ -^S*,:
SsS
Efc

^^+-it* = —— I (-53 ,
r x gg a^
——
^ ^i:
iStt ^M^ I^-^
-=r-# ^r-0-
1
H ^ _l_
-?!_• H -s-*- -=1-^
|_ n-

:^ ^

Schumann. Op. 82, Xo.

Langsam, Sfhr gart.
^

41.

15
 Kxut-Baeck. Op. 7, Xo. 7.

Moderito.

^^^^^
I

| J |

-w ^—m-
-t^
^- w-
m-4^-
42.

m
'-(^

tegi=i^
-^—

(^j^^^
-# —3 -
^x

• s^^ i

Ornamented Scale Passages.

Ascending or descending scale passages (diatonic or chromatic) are often
ornamented by Embellishments or Appoggiaturas. In such cases each ornamen-
tation is to be marked as an embellishment or appoggiatura whether it is a
chord tone or not. Fig. 43 and 44.
While the approach to the appoggiatura in 44 is but a whole step the effect
is nevertheless that of an appoggiatura.
16
 J. Hoffmann-. Op. .5.5.

Chopin. Op. 9, No. 3.

Ap. + Sva.

44. Ap.

.-glfi-
'^-

Passing thirds.

Ap. Ap. Ap. Ap. Ap. Ap. Ap. Ap. Ap. Ap,

1
(ZERNY. Op. 299.
 — —

Chopix. op. ^2, No. 1.

Allegro.

—^ tT Ad. Ad. etc

-ss=
^m
(Oma. scale.)
^ Ap. E
-.—n^^^0^^

Broken Thirds, Sixths and Octaves.

were
Broken thirds, sixths and octaves are analyzed as though both tones
sounded at the same time. Fig. 47.
+ CZERNY. Op. 299.
+ f^ -^ • - •

47.

-0-
-• P^l^i
C I IV I

EXERCISE.
CzERNY. Op. 299.
Prcslo.

--^^m^ammii^m^m'^^'m 1 — —— — — —
i i i i i
'
i

'i r
t:
t>

48.
--, — N-

P=i=

^=^*feS3=nEzfiii^EiiifzE=f=g=i5^^f|

m^^i^^^^M^^^^^^^^m
18
 Schubert. Op. 61, No. 4.

49.

-z»i:^:^:B:^^

Lesson IV.
Attendant Chords, and Broken Chords and Suspension (con.).

Attendant Chords.
A combination of three or more non-harmonic tones form an Attendant
chord. Fig 50.
These chords usually appear in connection with some fundamental harmony,
or are introduced between a chord and its repetition, and most often take the
form of a chord of the diminished seventh, but are occasionally found in other
forms, the tones at times, having no harmonic relation whatever to one another.
When these chords appear in broken form mark as usual, and in addition
indicate by letters the chord members. Sign At. chd.
:

Chopin. Op. 32, No. 1.

At. chd.

50.

B V
19
 —

Jensen, Op. 45.

At, chd.

Beethoven. Op. 22.

I I

Eb L

Chopin. Op. 34, No. 1.

At. chd. At. chd.

[;g:;tea=r-rg
1

' »

-ct*-
I

^ z?!-

^4-
5#f- :tf=fc
^^
1 [-- I
Ab V lie

EXERCISES.
Brahms. Nanie. Op. 82.
Espressivo.
iz -(2- i \
-0-
-^-i- -•-.

:ti:
^£A :t=t:
51.

.fi.i
M=^ -I&-.
m —-«(
I

Xi
2«
 _L iT^A Schumann. Op. 23, No. 3.

21
 g-#

I
Broken Chords (con.).

It is often the case that non-harmonic tones in broken chord effects, which
are approached and left by skip, should be analyzed as Susp's.. App's., Passing
or Embellishing tones. Thia may easily be determined by playing all the notes
of the broken chord simultaneously. Fig. 56.
 C'RAilEK. Studv.

56.

m
^S^^EES -^— 0-

Bb IV V, U IV

^S
1
Reduction of 56a.

EXERCISES.

Con moto
 CZERNY. Op. 5J99.

^^^^^3

# E. orna.
~^
The Suspension (con.).

The suspension may not only be prepared by a chord tone (see Lesson III),
but may also be prepared by any non-harmonic tone. Fig. 59.
Henisz. Op. 8, No. 1.
a. _^. ^^mm O E K 3 E

59.
— ^-tiS —T p — 1^
^

Schumann. Op. 23, Xo. 4.

Ap. s
^ E

Ab VI
 T ,

Chopin-. Op. 64, No. 2.

^
^4=^^ 1
±5±
Db I

EXERCISES. Jlp^^fl^-_; '1C^! 4.5.

C(W» lenereszn.

tJ
=r^a:
:±zlz ^^^ -
'^^^m •\
•
60.

^
0. ,5^
#»~^-

V: ' r -c
Allegrei' Ce-Sae Cui. Intermezzo.

—— ^ ~
 A Series of Oxce Repeated Xotes ascending or descending, with harmony
remaining the same, is analyzed as S"s. (or R's.) and their resolutions, as in
Fig. 62. This, however, is done only when the first of the repeated notes is
unaccented. It is quite possible to analyze such passages as anticipations
(later lessons) and their resolutions. The author, however, prefers to analyze
them as suspensions and their resolutions.

Beethovex. Op. 13.

-5-^
I

.EXERCISE.
Chopix. Op. 64, No. 2.
Tempo aiutto.
• •
Szii
1^=^
^ • xiLzat
1
63.

^^m ^=1

Lesson V.
The Anticipation .vnd the Ped-vl Point.
The AxTicrPATiox.
An Anticipation j4 a tone introduced immediately before the entry of the
chord to which it belongs. It may be tied into the next chord or be repeated.
Fig. 64. Sign a.
Beetho\'ex. Op. 2, Xo. 2.

A A + o

26
 Ra.meau. Gavotte.
E

When the Anticipation instead of remaining stationary skips to some other

tone of the chord to which it belongs it is a Free Anticipation. Sign f.a. :

Fig. 65.
Any or all tones of a chord may be anticipated.

McFarren. Bourree.
F A.
,i i I

:?—i-ft- IS
+ s
65.

m 0—p-
s^
=•=*=
i
IV| V,

exercises;^.
A. KORESTCHEXKO. Op. 1, Xo. 1.
('.,

66. (

:fc^S==|g -\/
—
.'i^>
J-

:fz=*—=Si
I

\ S|5:
\^^n. 1
i
 A&NDELSSOHN. Op.
Andante.
H-

^1^^

IJ^ "
 r r

oy^- tr^ ,1.

if—«—i
-S^ ^ -•-
t--^

s 5t —•— 1
=t
-1^

Non-harmonic tones resolvinsr sooner than expected should be analyzed

as anticipations. Fig. 70
Beethovex. Op. 20.

-^-
4 — -• —^t
»-
-^^
n ^S
5^—
^^=2: H-
n
£ A E A
70.
*

lz2-4:
Eb V!
—#-
P V
H
Chopix. Op. .59, No. 1.

Ap. A

^=*=Jtt ^ J--?:

^1=1
ga4— I
a V5
Backer-Groendahl. Op. No.
Ap. — -^ ^ tr E
1.5, 1.
 — f 1

Beethovex. Op. 2, No. 2.

d. s

— »-•; —^ . m —m-
I I I
L

^
i^E??=r=if:=P=ij=:==:^!
if —— ?
I

EXEKCISES.
Chopix. Op. 59, No. 1.

Moderate.

O^y^ ^*^
«^--*
:;:t
•5^- tjii^-^ •

71. I

--ts-- :^-
^'S "^ti >f 0-
-I 1

>-
•
•

>iA I

H
-J^- J^
^-F :t==l==3
-^i :Qcit*^*^ *= £g^=^=fl
I I 1
;
i
1=^
—^— f-
~(S- if
1
Rebikoff. Op. 8, No. 16.
Andante. 11/ aMll^Mip

L-^
:4:tf H—El I
^ ^ 1 1
H— »

^*J
72.
J^^-
P^4=!
^^-£4i:e=:: i
ji
30
 — —

^ ^ JJ-^-JU^';;,.-^
I

»
r
I

^;?i«^
^ ^
i?
-4-
f -^^ IS
I/T
Pedal ^oixt. (Organ Point.)
A Pedal Point a tone continuing through a succession of harmonies to
is
which it may or may not belong. This tone may be sustained (a), repeated (6),
intermittent (c), or accompanied by some ornamentation {d). Fig. 73.

Elgar. Caractacus.

G I V| TI V
Aleneff. Op. 7, No. 1.

^ —^0 '^ ^— '

9 ^^- — « '
I J — i^"s^ "
A IV
31
 Beethoven'. Op. 101.

d.

m ES^
-x^

D. P. P. oma.
0^:

tri
w ^S^-
• ^
/ Vr E A

fc^
-7 — ^- 15)-
iQ^-
I

^ . 2^:^:
^t^==^:^^
^1^^:^:
^ -&
VL
L'tt]

Two tones may be sustained in the above manner forming the double Pedal
Point.
The Pedal Point may be on any degree and in any voice.

When the lowest part it has harmonic relation only with the chords with
in
which it begins and ends. In all intervening chords the part above it indicates
the position of the chord.
In marking the Pedal Point indicate also the degree, i. e. Dominant Pedal
Point is marked D.P. P., the Tonic, T. P. P etc. ,

EXERCISES.
Fr. Liszt. Christus.

Allegro tnoderato. >ai^'

fl
"V<*->
±^L :^
74. *• ••

-^ -m- -^ ^ _.
 — ^ - ^ —

iva. .^:.U......,.4-^
-S-r^
^.-1 f
«=pb:
f==t
1
y-.

(^ -^f

m
-fit-^ '

» s- -
=:tz=zl:=t t
\-

"^Z TT

8«i. J,
<5-T-
-s ——
• s-

* w-
* —
M' +A« (^'i^p* -5^
Wagxer. Tristan.

Moderalo.

a T^
^—^=^=m 3=5^
fe
75. j^

(^
^ —
-f^
— r I *-^-
5^^^^=

Andantino rubato. A. LiADOW. Op. 2o.

76.
;*--=£ ^==^SiE===
^ggg^ -:^^iEBil

i^ q = i^±J iJL >. A

J

^
 f

Lesson VI.
The Ornamental Resolution and the Free Tone.
The Obxamextal Resolution.
Anynon-hartuoQic tone may have one or more tones interpolated between it
and its This is called an Ornamental resolution. Fig. 78 Double
resolution.
and Triple Appoggiaturas 'Fig. 78 t. f.) are to be analyzed as Ornamentally
resolved non-harmonic tones. Signs S. orna., E. orna
: Ap. orna. A. orna.- ,

o orna., + orna.
FiBiCH. Op. 44. Xo. 27.

Bb 11^ n II,

Elgar. Caractacus.

Chov.xn. Op. 6. Xo. 1.

E

^^ -
,^^-=^ ———
I

d y-
-*—
I

I
I

I
! I

-C5-
E. oma.
i
F. A. orna. Ap.
Ap.

Sfe-
eb Vt
33
 —

Mozart. Sonata.
S. orna. S, orna. S. orna. S. orna.

ffi:
Ap Ap.
^ J

^tJ_D. I

C V IV 111(16)

Franck. Beatitudes.
D bl. ap.

s^ g — (&
:=f
^^t:
-25l-
^
R. orna.

6. 1 vie 11° vn?o VI,

TiNEL. Francis.
Trip. ap. Trip. ap.

\ Ap. orna.
Ap. orna.

S|3 -5? ,

F. vii"

EXEECISES.
A. LiADOW. Op. 3, No. 4.

Allegro non troppo.

j1 a
^p=ti,=-tif=F=^:EEE-:E?^EE^:
:t

79.

^ifc^E^EE =[:==: :t=:

P
36 m
 Mozart. Sonata.
Allegro.

I i

6> cL
-i=- -O-
ii4:iM=5=zi5 ;g i
cr^_

KORESTCHENKO. Op. 1, No. 1.

Andaniino.

:Q#:^ giS
81,

&%^^ ~'f=^=f=^ ±r.

-•- J^- 4
-^ h.4.
'
^-^-
-51 -^1—«h
-'I P-
1

S|^
_5^_

37
:Ct*:
m
 Colkeidgk-Taylor. Op. 59. Xo.
AUtfT*.
m^

^=s=^- *i=ir 1
82.

m=w -S mz
1
» X"ot a free tone.

Chopix. Op. 10, Xo. 6.

83.

V-^ ^ " Q
rt

i~55^ I
*-*- -^ ^ir •- -»
"»"ZI T' ^T^ ^^ •

1
The presence of rests immediately before a Suspension, Embellishment or
Passing tone does not affect their nature, and they should be analyzed as though
no rests were present. A rest of considerable length may. however, give the
effect of an appoggiatura to these notes. This must be decided by the ear since
no exact rule can be given as to the length of the rest. Fig. 84.

^m^^^h
84.

2±:

3S
 —
EXEBCISES.
Reblkdff. Op. S, Xo. 9.
Tempo iH Jficrxriw.

Am * _^ • "i a

8S.

^»—w»~

• ' # " " li^r^zg • Z»

ii
^ *

(i •^ -"

^ ^
1^3 -* ^~ m
 I

Cizifi*: H*-iS-
^=1&• ^- B-^
^°j^a-r=3:kL-k
1

::^=^=i=! 1
CT*- • T- '-
a •^ ^ S^*^ '

#^»^-*-#-#- — 2 1 1 1
— 1
— —— —I
1-»
H-g ^^^
IjSL-

The Free Tone.

Non-harmonic tones that are left by a skip and do not resolve ornamentally
are Free Tones. Fig. 88. The use of Free Tones is comparatively rare.
Do not analyze a tone as a Free Tone except as a last resource. Sign f. t.

88.

C \l I

EXEKCTSES.
Backer-Groexdahl. Op. 15, No. 1.

/s-^
 Chopix. op. 10, No. 8.
AVegro.

-x* -^ ^

90.

m&

Lesson VII.
ExiLVRMONICS.
Tones which have different names but have the same pitch are enharmonic-
ally related and are called enharmonics.
Enharmonics are used in notating chords, which, if notated logically as the
key relationship demanded, would involve the use of double sharps or double
flats, adding unnecessary difficulties in reading. To illustrate: —
a major triad
on the minor second degree is much used. The notation of this chord in the
key of Gb is Abbi Cb, Ebb- For simplicity the notation G, B, D, its enhar-
monic equivalent, is often used instead.
Entire passages are often changed enharmonically for the sake of simplicity
in reading. A common modulation is to a key a major third lower. A modulatioD
41
thus from the key of G fiat, it goes to E double flat, involving ten flats, much
harder to read than the key of D, its enharmonic equivalent, which, therefore, is
ordinarily used.
An exasperating use of enharmonics is their substitution, either willfully or
through carelessness, in spelling chords, at times so distorting them as to make
them almost unrecognizable.
The exercises in the present lesson will deal only with enharmonic change
for the sake of simplicity in reading.
Misnotations will be taken up in later lessons.
Analyze the passages as written, only indicating the actual key. In cases
of single chords give their correct spelling, and analyze in the corrected form.
This will be sufficient recognition that the chords are enharmonics.
o SCHUMAXX. Op. 19.

E I II V
Coleridge-Taylor. Op. .59, No. 8.
 EXERCI8ES.
Cesek. Op. 24, Xo. 3.

Poco adagio.
^^^ £ Sg «-^-

sr-B ^-=i?|K
^_.,
:^: =t:=t=t==:

92.

senior- »Ki r- V >,

t 4=-
&'
fer :
t% i
^ ^T^
^^ g_^: ^0 t*
m: 4=:

&.
fe

"Wagner. Lohengrin.

Steis^lP^
 — —

^125:

±=

1/ ", V
-r 1 r*^.
Beethoven. Op. 13.
Adagio.
WY^
3-
^ » •-# 0-0-0 —0-0-0—•-•-#-L-#^-#0-0-0—0-0-0 — 0-0-0—^
"*» '^''"'^ try "^~^
a s
i,
t^
^r>-r T-r^- -rrr tTT'
95. =d sd Bs :» :aa.
 ^g

-.*-•-•-•-•-•_ »J»-P_«_p_p y 1
i
1 1 1 1 1 , 1
—
; I
1 1
^|»-|»-P

f^
'^^^^^^S=^
Altered Chords.
An altered chord is one that contains one or more chromatically altered
tones, but does not modulate.

The Mixor Sub-dominant and the Diminished Seventh on the Leading Tone
IN Major Key.
There are two chords which, though regularly found in minor keys, are
frequently used in major keys. They are the minor triad on IV (minor sub
dominant) and the diminished seventh on vii". Fig. 96 a. h. The lowering of
the sixth degree in major keys which brings about the alteration of these chords
is quite common as will be seen in further analysis.

4.5
 y^^

GouxoD. Gallia.

96.

4=^
:!Zs:
t=:
-<s-
iiM
G I< IV
m V7 I

Mendelssohn. Op. 5.

pi^^Sipgi^^ga
*2i^

:5*=F tf
f^:^=t: Pi
D vii? Yt I

EXERCISES.
Perosi. Lazarus.

97.

:s=i=?
«-•- «?±
* ^- ^ g=J:
1
=§i= =SS.

._,Si^__ 1
V 46'
r«'
 '^
Chopix. Op. 32, Xo. 1.
Antlanie.

ib
99.
 — — — —

TiNEL. Francis.

100.

g^
'§^-
—e- t^ 3
^ r-si

"i^
i
-tE . A -'5'

M . ^ ^22-

I
HS>- -i5>-

Gounod. Gallia.
AndanU
-t ——— 1 I *r-i

"^ M !
'
^ ^^ 1 ! I
^^— — l~r >•*-; i
j
i f -f-F-*-i—^t— h— >mmmm—
i

101.

113 ''

HI)
4^
— !—#-•-•-•—1=^^ — I
—^^L. — I

^^••^a •-*-

{\

es:^
£
48
 3?^
fi-— -J^
i
^ -H--
i

Lesson VIII.

Alterations of the Supertonic Seventh and of Chords of the

Seventh on Other Degrees.
The Supertonic Seventh aa'ith Eaised Third.

This chord is identical with the dominant seventh

of a key a fifth higher,
but u single appearance of chords of this kind are analyzed as altered chords
since they do not induce a modulation. The Dominant seventh as modulating
chord is fully treated in Lesson XII.
Mark these chords as usual, and indicate the alterations in brackets, as in
Fig. 102a.

, Beetho\-en. Op. 7.

Ap. oma. Ap. orna. Ap. oma.

102.

EXEECISES.
H. Parker. Hora Novissima.
Moderate

C'
103.

49
 )?
fp^\
-S rfl^ ,_J_r^_j
1=^ =t— Jf- 1^ il^S
'.>•

^
*
^ I

^ 1

H
I

1^- -f—^-
-\— =§^^ £^

The Supertoxic Seventh with Lowered Fifth. Fig. 102b.

EXERCISES.
Coleridge-Taylor. Op. 59, No. 10.
Ltnto.

104.

?iJ^^ii

The Supertoxic Seventh with Raised Third and Fifth in Minor Keys.
EXERCISE.
Benedict. Gavotte.

^ ^ ^ Sfo

105.

ili?iiSili^i^^
50
 ^^^ii^^^

I
:t

\
J

-9-
— s-

^
-0-
-jr
-+
m
The Diminished Se^-exth ox the Raised Second Degree.
This chord is the enharmonic equivalent of the diminished seventh on raised
fourth, but is used in major keys only.
As in the case of the supertonic seventh chord, a single appearance of this
chord as well as of other chords of the diminished seventh, does not induce a
modulation, and should be analyzed as an altered chord.
It is sometimes difficult to tell whether chord formations of this kind and
those following in this lesson are really altered chords or merely Attendant
chords such as are described in Lesson IV. It is in fact difficult to give exact
limits to these chords, as tempo, mode of introduction and resolution play so
important a part. The following directions will on the whole serve in most
instances: As was said in Lesson IV, an attendant chord usually appears in
connection with a fundamental harmony, or is interpolated between one and its
repetition. To be an altered chord then, a chord should stand by itself and
resolve to a chord other than that which precedes it. When doubtful mark as
altered chords. Fig 106.
Ap. Thoma. Op. .58.

106.

EXERCISE.
Con brio.
SOKALSKI. Op. 1, Xo. 6.

107.

51
 The Diminished Seventh on the Eaised Fourth Degree.
This chord, although the enharmonic equivalent of the preceding chord is,
however, found in both major and minor keys. Some writers hold that the
former chord is but a misspelt diminished seventh chord on the raised fourth
degree. A discussion of this is not necessary here. Fig. 108.
Calkin. Op. 89.
I
F.A.

p^f^f^jg^^p^^gpjgpi
r Ap
108.
'
1* ' « I Jf >- 5^ -•-

tft=£
m :t==: 1
C IV I, IV,, IV, V, I

EXERCISE
Mendelssohn. Capriccio.
Presto,

1=^
:^^gggjg|-|^ l^
109.

t ii If; t^^ t -•--•-

._A—
-p--t
-^a-^^=:^^ ir-t
i

pa
iv'-'

[ID]
 Chords of the Diminished Seventh (eon.).

Chords of the diminished seventh are also found on the raised first, fifth,
and sixth degrees in major keys, and on the raised third degree in minor. These
usually resolve respectively, to ii, vi, or some form of V, and to IV.

EXERCISES.
Schumann. Op. 1.

110.

-0 — ir
t

53
 ^ ^

Chopin. Op. 32, No. 1.

-*-* ± —•-
— 3^tz — (a

111.

«?^ a:
S:
t:
-#iC-u
-^'- ^-1 i:^-

t=:
S^-
-«^

S
4 -I—
zf-zi-J: :xi!:
z^izl: 1
^ -#-

Pg :rr|= E^fe
H I
I

I
-i
^
•
I
»-
1-

;gii
Calkin. Op. 89.

-•- n^-
-•- ^5--y-*->#
^ W ^ F -0-

112.
' "i^ I

( >=z4=itii: :!—r-t
r—
-• —
1
»-
i

113.

- "y — • ^'^^ ' -

-i ——
I t-^^^^^
m ''^^ 1 1 —
1
'

i^.|
§^ r^zizz: .(a

54
 :

Lesson IX.
Chords of the Augmented Slxth.
Probably the most frequently used of the A Itered chords are those of the
Augmented Sixth, so called because of the interval of an augmented sixth above
their lowest part.
As far as the spelling of these chords is concerned they are chords of the
seventh, but are seldom thought of as such. They are so often used in the
inversions, which give them their names, that these are looked upon as their
conventional forms, and they are usually thought of as built, not on a root, but
on the note that is in the lowest part.
There are four kinds of these chords
The Augmented Sixth marked 6+ ( ) comprising a major third and an
augmented sixth above the lowest part (a) ;

The Augmented six— four— three, (marked *+ ) comprising a major third,

augmented fourth, and augmented sixth above the lowest part (d) :

The Augmented six-five (marked I"*") comprising a major third, perfect

fifth, and augmented sixth above the lowest part (c) and :

6+ \
The Doubly Augmented Fourth, (marked *++ comprising a major I

third, doubly augmented fourth, and augmented sixth above the lowest part (d).
Fig. 114.
Chords of the Augmented sixth with doubly augmented fourth are con-
sidered, by many writers, to be misnotated Augmented Six-five chords. What-
ever one's opinion may be it will help the clearness of the solution to analyze the
44-1- chords as such.

114.

The following exercises contain no misnotations. These will be taken up later.

Mark the chord regularly, indicating also the altered intervals as directed
in previous lessons. Put tb» sign of the chord (6+, 5+, etc.) directly above.
Beetho\-ex. Op. 2, No. 3.

115.

^^ga
IV,
 I I

KoPYLOw. Etude.

Ap. Chopin. Op. 47.

?SfcS
t»=K

^i^%-r^fr
(^^Ei==^^ ft

EXERCISES.
MozAjiT. Requiem.

— —av-'
7s ^ '
I
» ~1 1
— PR*
1 [-*- ' * a
'
——
' I
1
h^*-* — I "• — —
'-*

116.

4^-
^
Fv3==Zlfc
"^^^
-f— ^f "^^'^ i=l=:t
56
:^*:
•—f-
 T

Beetho\'en. Op. 7.

JlfoUo AUyiro

m^^^^mw^^^
117

Allegro.

^ —
:8==: f3^1S» t=it P
118.
 r

dZ:

^ i :{; :}: ij: T •* ••ni* •• •• >-

*•
""^: --^

^-^
!z2:
=3^^ ^:^=i It
=1:

-T' HoFFMANX. CaBtata.

Moderato

m^
Allegro.
:i2
^-<.-
^i£|HTi^= 3^^:

119.

:=!:
MzA-^ :2^ 1
=3
:!2:^ -=1:-
>.

ji s_
—

X V>--
• f «
^fz^:z^frrp=ir=f=^=^5
:i5:

?:
i
—•— — —f— —
i !
1
_i±:
:at Se:!

58
 — d

Lolekidoe-Taylor. op. 59, No. 16.

-^ ~^^-^

120.

^_^_ ^^P
Elgar. Light of Life.
Adaqio.

121.
1
^
;\rozART. Sonata.
^ negro.
-^, — —I— —i+^-ftj-#-
^=t: I
:«*='
i
^ ^
-eitzt
t7
122.

talps:-'
_« -Lgg=± 1= 1± —i=i—
if?zf?^e^3=^,^
-? -7 — t
I

^
1 ^ 5g^;ge^^g!g=gl
:^:=»ft
(

=t
5?-^-±— *=
—0—— ^
m
r;9
 — ^

Jonas. Op. 58.

123

Zr -0-
-0-
-0- -0-
-0-
-g- -m-
-0- S 5

Chopin. Op. 23.

124.

^: m—^—0
^— •-h-a— •— :i=P=QP=--
:5# _^_^ 1
^—$«5
^^ii =Sg Jg ^- feQJ=gij:
-h-
m^
Schumann. Op. 23, No. 1.
Modfrati
;=— —— I ^iii^

u u 1/
t>-i^
:S:
125. r r

— A 1 1 1 1 *-0 — *--# z -^ a-; '

GO

6^
 — € ) )

Lesson X.

Chords of the Augmented Sixth in Other than Their Conven-

tional Form, and the Neapolitan Chord.
Chords Augmented sixth .are often used in other than their conven-
of the
tional forms, with some other interval of the chord in the lowest part than
i. e.

that given in the preceding exercises. Fig. 127.

In order to recognize them in these forms it is necessary to know their
structure from the root. Fig. 126. In chords that do not agree with those in
preceding lessons, it is necessary to find the spelling from the root and compare
with the following table :

From the root the

6+ comprises a diminished 3rd and diminished 5th. [a )

«+
comprises a major 3rd, diminished 5th and minor 7th.
^ {h.

6+ comprises a diminished 3rd, diminished 5th and diminished 7th. (c.

5
«+
comprises a minor 3rd, doubly diminished 5th and diminished 7th. (d.)

126
il^isii^^^l?J=l
Bendl. Gipsy Melodies.

127.

I -^ *~rz^ - -n—

61
 EXERCISES.
Franck. Beatitudes.

128.

m^m -(^ 4^ H
AUegrn. Blumenfeld. Op. 17, No. 8.

fcl
• 1- —- '^^»i"("
:«^:
=i*
'
h =ii=
M^B^Hta
129.

-if--
^:iS5 --1 n-
53=
d^
#j^-

A
-«==:: — =j
-q -q 1
q q ^-i-
1^1

Si =1:
1
62
 W. Eebikoff. Op. 8, No. 9.

u Tempo di Mazurka.
.. ,
.,4. ..^''

130.

i -
y~i> ^^4— n-
^^^t*'^^^
fcit^-=«;

^=g= ^ ^P 5=! P =1-

^^-Z^El=z^ ^
Chords of the Augmexted Sixth Misnotateu.
There are many instances of misnotation in chords of the Augmented Sixth.
It occurs most often with the |+ chord in which the upper note of the interval
of the augmented sixth is made a minor seventh, giving the chord the appear-
ance of a dominant seventh. The resolution of the chord, however, shows im-
mediately that it is a misnotated augmented sixth chord.
In cases where the spelling is still more distorted, the ear and eye must
combine to detect the chord. It may be necessary to change different intervals
of the chord enharmonically, until a result is secured that agrees with some
chord construction. It may also be necessary to add the test of resolution to
make the result sure.
this to
Mark the chord as if spelled correctly, and indicate the correct spelling as
in Fig. L316.

Beethoven. Op. .57.

131.

63
 ^

Beethoven. Op. 57.

S

9-1 ^— —^- 1^^^:^

t-;
^—=^-|«-
~m
ll
6+
4-H-
3 a=b|jb

£:2:^2z::
-Ti
-#-
Vy

PS 1

Figs. 131a. and h. are passages from the variations in Beethoven's Op. 57.
They are parallel passages in succeeding variations.
Note the carelessness in spelling the Doubly Augmented 4th chord.
EXERCISES.
Eduard Schuett. Op. 17, No. 2.

Poco moto.

&^^
132.

^'§=-
^^5=^ ir^ ^^

.^^^ S

?^ ^^ =^ 1
yz'uzizzzzz^-: :Ji

Moderato
> TSCHAIKOWSKI. Op. 40, No. 12.

Sa^ 11
-'&-
133.
^- :=i:
'^S^te^ :^^
^_gl^^— EEl?E=ii
I

, 64

^:
 4 - /
^

fe^=^ =H-Hl? — Jf-

Si^^
:jj—:^=Ite
^:^i=5 iiS^^S 5^~5^=
J? i? :f: if :?

—
-^ •-

iiS -;5^
i
si^S=?J ^— -s
-
(

H. W. Parker. Op. 30.

134.

h x^X y\\% lib

^^
The Neapolitan Sixth.
The Neay)olitan sixth is a major triad on the minor second degree in its first

inversion. Marked N6. Fig. 135.

To simplify the reading, the enharmonic equivalent of these chords is often
used. In the key of Db the chord would spell Ebb Gb Bbb. D F# A the
enharmonic equivalent, is almost always used instead.
The Neapolitan sixth is also often used in root position, and occasionally in
its second inversion.

Mark as directed in the Augmented sixth chords.

65
 h —
Mendelssohn. Op. 33.
p^

135.

EXERCISES.
Brahms. Op. 45.
Con moto moderato.
-#
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-Ka=e:
4^ rtis:
=^
F
I
i

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136.
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Chopin. Op. 10, No. 2.

Allegro

^s_^*_-*^±_

137.
 .L.

^^t^^^^-r-gs'-^-4-j-j-^'-4-

'
Beethoven. Op. 57.
 Cesar <_'ui.

Allegro

139.

^¥

Lesson XI.
The Skip Resolution.
In the resolution of dissonant chords, the approach to the note or chord of
resolution is, in many instances, made freely, no regard being paid to the
melodic tendency of the voices. Fig. 140.
The chord of resolution in many instances is incomplete, nothing more than
the root being present at times. This occurs most often in the resolution
of V, to I.

In cases of misnotated chords, with the skip resolution, it is often difficult

to find the nature of a progression. It may require experimental enharmonic
changes, and even then it may be necessary to write the chords in root position
to see their progression.
Ravel. Sonatine.

E^r""
140.
 •

EXEEXIISES.
Bendl. Gipsy Songs.

A'lulanivrw

y»A^<jL-
r^

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Chopin. Op. 20.
K-r-«'-"

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143. K -(«-

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Franck. The Beatitudes.

Poro mnesloio

144.

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Schumann. Op. 20.

Allegretto.

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=§i^=^
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145.
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I
Cadences.
Cadences are not only Authentic and Plaofal as usually presented, but are
found in various forms. Fig. Ii6 illustrates some of these.
Coleridge-Taylor. Op. 59.

^a_ ^
146.
^''
-a*-^
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1
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Coleridge-Taylor. Op. 59.

T.P.P.
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6.
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71
 Coleridge-Taylor. Op. 59,

33

EXERCISES.
Coleridge-Taylor. Op. 59, No. 14.

Andante, nwdernto.

147.

Coleridge-Taylou. Op. 59, No. 18.

,' Allegro molto.

149
 —

Pekosi. Laazaro.

1*1=^^^
« — — —•—•—•—
m d ^ m '
i,

150.

:=S=q= :q:;
S
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>
/I ndnnlino
 modulation or only an ^i^^J^ ^^^^^ Jn
when resolving to I) of a new key is a
or not the student is asked ^^^ns^^^
•

modulation is real
deeding whether a
modulation permanent the new V, chord (and its
the following To make such a
•

resolution to I should
) be followed by a complete cadence in the new key.
repetition of a progression V,-I in a new
key at
In slow tempo the mere
impression to be called a modulation. After all
times gives a strong enough key
acuteness there wil be differences
th^^ar must decide, and since ears differ in diversity
modulation There is and always will be a
as to what a permanent
is.

a permanent modulation, since no exact

constitutes
of opinion as to just what
rules can be set down for this. • -,• 4-
+^ +1.0
without periodic return to the
Passages progressing through many keys
analyzed differently and are taken up in later lessons.
tonic kev must be
same treatment as the V, but is not often
The vii^ chord permits of the
used for purposes of modulation.
Fig. 152a modulates, while 1526
does not.
_^^^^^ ^^ ^^.^ ^.^^ ^
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I

152
 R. oma.

Spohk. Last Judgment,

r"ita 111 1^, v:,/\ \ "A

>'">-''
^EXERCISES.
'^
15, ^'o.
Backek^.boendahl. Op. .

Andanti'M.

,.f V
^ >. / ^. -"^
75
 MoZAiiT. Sonata.

Andante.

- ^ ^ > i ' —> ' '

-

154.

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76
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Wagner. Lohengrin.

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Common Chord Modulations.
Y
A common chord modulation is one in which the transition to the new key
Is made by meansof a chord that is common to both keys. If the key is so far
distant that there is no common chord, then a modulation is made to an inter-
mediate key and from it to the final key, always, however, by the use of common
chords. To illustrate: in going from C major to Fis major there is no common
chord, hence a modulation is first made to E minor or B minor, which contain
chords common to F^^, and then to Fa^. These intermediate keys are often only
touched upon, sometimes not containing more than two chords. The final key
is made permanent only by an extended final cadence, i. e. a cadence containing

more than the progression V-, I.

In marking indicate the location of the chord that is common to both keys
in either key, and continue marking in the new key. Mark all intermediate
keys. Fig. 158.

Brahms. Requiem.
(

-(22-.

^ ^ ^ehv-
rS- -(2-

158.

^ 4^^^ r-f-=f:
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Eb V7 VI V

79 iXv^'-"
 i^'M
D IV [3W
The minor sub-dominant in major keys and enharmonics are used as
common chords.
A major triad may be altered to minor or vice versa, the altered chord be-
coming a chord in the new key. Fig. 1.39.
Wagn'Ei:. Lohengrin.

.^if^Jtll -t^—ttr^^
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159. 3

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ERCISES.
Mendelssohn. Op. 14.
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:t

160.

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SCHUMANiS. Op. 23, J^, 3
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81 ^
 1 — I

Lesson XIII.
Modulating by ^Means of the Diminished Seventh on the Raised
Fourth Degree, and by ^NIe.vns of the Augmented
Sixth Chords.
By Meaxs of the Diminished Seventh on the Eaised Fourth Degree.
The Diminished Seventh on the raised fourth degree of the new key resolv-
ing 1^ followed by V7, I (sometimes to V^), makes a strong permanent modula-
tion. Fig. 163a-
In major keys this chord is sometimes notated like a diminished seventh on
the raised ^econd degree. Fig. 163/>.
Beethoven. Op. 7.

-«• —•-
itzt
:il^ -^r~p''^0
——
ij

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163.

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Schubert, ilemnon.

Gt-

Db III vi« V* Ig Ab 11? 15 V

^Sl^:==i

Mozart. Sonata.

164.

e^ ^ 83
 A!^^

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SCHUMAXN. Op. 23, No. 4.

Einjach.

166.
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JUoderato. -•-*(—
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i^
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167.

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85
^3Y^-^'
 By Means of ax Augmented Sixth Chord.

A key may be entered througli the4+ or 4+4- of the new key.

5
3 3
When an Augmented sixth chord in its conventional form is located with
•p- its lowest note a major third below the key-note it resolves naturally to If. This
is called its conventional position, and when so located and resolved gives a very

strong feeling for the new key, and forms a permanent modulation. Fig. 168
Misnotations occur often with these chords when used for modulatory
purposes. When they occur note them.
Liszt. Christus.

168.

EXEECISES.
Chopin. Op. 59, No. 1.

169.
 ^ — *

^
Fkaxck. Beatitudes.

^ ^^ H *1 ^
8 I _L-X-=^ S^JJifcSi±^ES:7
170.
M
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—
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Beethoven. Op. 13.
Allegro

u ^
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Schumann. Op. 28.

P \ P
173.

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88
 R. Strauss. Op. 15, No. 5.
AndantaS

174.

Vfy '-

Lesson XIV.
Modulating by Means of the Neapolitan Chord, Alteration of
THE Diminished Seventh, and Deceptive Resolution of Vt.
By Means of a Majoi; Triad ox the Minor Second De(;ree
(Neapolitan Sixth).

A key may be entered through the major triad on the minor second degree
(N6 orNS). This chord and its regular resolution forms a strong permaneat
close.
Mark the modulating chord (X6 or N8 ) in the new key, and continue in new
key. Fig. 175.
For sake of simplicity in reading, this chord is of ten enharmonically changed
when going into keys with many flats. In such cases give its true spelling.

Brahms. Nanie.
At. c hord.

175.

-sf— s-
^-=M--
^
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 EXERCISES.
R. Strauss. Op. 15, No. 5.

Andante.

90
 — $

Alterations of the Diminished Seventh to a Dominant Seventh.

Lowering only one tone, or raising any three tones of a diminished seventh
a half step, changes it to a dominant seventh. Unless such progressions and
their resolution to I are followed by a final cadence, mark these chords as
directed in previous lessons. Fig. 178.
Schumann. Op. 12.
At. chd. Pass. chd.

-~t^1? I
——r\ 1
— '^
s 1»--^
1
S-' m aj-" 1-
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1 i
Flf = Gb F« = Gb
178.

i^rmitev, I
5 3 "LsoJ
y Reduction of the lower staff.

Diminished sevenths are often altered as above, and notated and resolved
as the g"*" or 4-1-1- chord of the new key. They are also altered so as to become
«+ ^
4+ chords in the new key. Fig. 179.
3
Mark the diminished seventh as an altered chord in the old key (if it is not
vii%). The Dominant seventh and the Augmented sixth chords are marked as
being in the new key.
Misnotations often occur in these modulations. Indicate correct notation
'

in such cases. .

Spohr. Last Judgment.

E E
T f' ^ 7" . fey ~ -,-)^

179.
EXEKfiyE8
Chopin. Op. 54.

z: :ziz:ji
— -rir-trfl tfn
..
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Bendl. Gipsy Songa.

h A njanle.

182.

-4-=l r I
—
n
C^S\^
The Deceptive Resolution of thes Dominant Seventh.
^^, ^'

A Dominant seventh may resolve to any chord in any key, and is valuable
as well as interesting as a means of modulation.
Its resolution to V7 or I of the new key is most frequently used in modulat-
ing. Fig. 183.

Schubert. Symphony in C.

^3-
—
183.
H ?•-
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[10]

The resolution of Augmented sixth chords when in minor to major, or

vice versa, is quite common.

93
 Beethovex. Op. 54.

^=^=^^^^^=^^^fW=^2'=^=?W ^-^ i^r^

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Ap. orna.
Ap. orna.

£^^^=1
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EXEKCTSES.
Allegro agitato. Chopin. Op. 66.

T=ri—H=F
94
 -77^ /l
r^
Bendl. Gipsy Songs.

Allegro con brio.

185.
3=^ ijc

^a
13:

Beethoven. Op. 14, No. 1.

W-^ f^j Allegro.

-u
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186.

t^ J =:l*=ilt
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Hugo Wolf. Christnacht.

,4^ Lebhoft beweijt.

 I — — : I —

Elgar. Light of Life

Allegretto.
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Lesson XV.
Succession of Keys without ^Iodulating, and Successive Tonics.
There are inst?«Dces when the transition to the new key is made abruptly,
there being no apparent connection between the two keys. Transition of this
kind are strongest when the material on entering the new key is an imitation of
the preceding phrase. This, however, is not necessary. Fig. 189
ELGAth Gaia^lacua; ~,

189.
 EXERCISES.
Elgar. Caractacus.

190.

Schumann. Op. 82, No. 7.

Langsam.

s #. -^ -^
192. <
 Passages Modulating through Many Keys.

In passages modulating through many

different keys in which the feeling
for the old key is entirely lost, mark
chords in their apparent keys. Place,
all

however, as many chords as possible in one key before changing. Moving

through different keys in this manner destroys all feeling for the tonic key, and
since no one key has been clearly established, marking in the above manner is
the most satisfactory.
Care must be taken when apparent modulations occur within modulations.
A clear modulation may have been made to a key, and in this new key altered
chords may have been introduced that touch upon still other keys, but immedi-
ately return to the new key without having made a definite key impression-
These must of course be marked as altered or attendant chords in the new key.
It is only when the modulations follow in quick succession that each change of
key is to be noted. This is at times necessary with every chord.

Consecutive Dominant Sevenths.

Passages of successive dominant seventiis of different keys often occur. The

most common progression of this kind is to the sub-dominant key. Other suc-
cessions of dominant sevenths are not uncommon.
When three or more of these chords succeed one another mark each
dominant seventh in its apparent key, otherwise mark as altered chords.
Fig. 193.

Mozart. Quartette D Minor.

193.
—^— —
r; I I

1|2 , 1
, ^ ,

a iig ii V7 D V7 G V7 C V,

96
 izidZ^itcii:
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f •_ii^ F=?Fi=* 1
2>" i? -p-.-pr i^ T—"-f- I
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-#3^:
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F V7 Bb V, d ivi

EXERCISES.
CZERNY. Op. 3.3.5.

Allegri

194.

d^ S x
:2=|=l|:lzz^:^;z|z^rfe=
S ^4.
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195.

^
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Cramer. Study.
Prestissimo.

felS
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196. ^
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 Consecutive Tonics.
Passages also occur in which there is a succession of triads that have no
relation one to the other. These are to be analyzed as consecutive tonics, i. e.
call each chord the tonic of a key, Fig 197. Do not, however, misuse this
privilege. Many passages that appear like consecutive tonics may, after a closer
examination or enharmonic change of some of the chords, prove to be in one key.

Ap. An.
Wagner. Tristan.

197.

— 4S--

EXERCISE.

^'

198.

SS5E-E^^EEiE5=^: -m
±^ '^
"iOl
 —

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4
bi:
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r

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Wagner. Parsifal.
/"
Moderato.
i
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199.
— 11/5'-

te
102
 .-^
WiTHOL. Op. 10, No. 1.

200.
:5te
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Aninrt'ino.

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103
 Lesson XVI.

Consecutive Diminished Seventh Chords, Chromatic Passing

Chords, and the Sequence.

Passing Diminished Sev-enth Chords.

In passages of passing diminished seventh chords merely indicate them as

such, marking only the first and last chords. Fig. 201.

Beethoven. Op. 10, No. 3.

E E E

201. /

Passing dim. 7th.

Consecutive chords of the diminished seventh occur occasionally in which

possibly not more than two members of the chords are present. These are
harder to analyze. Examine Fig. 202, where apparently there is a progression of
broken minor sixths and diminished sevenths alternating If, however, the two

intervals necessary to complete these chords of the seventh are added, a very
clear succession of passing diminished sevenths will result. Passages like this
really coine under the head of two point writing.
104
 —

Beethoven. Op. 10, No. 3.

=SfzltHzi=t.
202.
#-#- Ql^ -0-
A"_.^^if^ =ttc
i 1- 50£^ :t:

d. L Cons. dim. 7ths. Each group of 2 notes one chord.

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EXERCISES.
Allegro, Beethoven. Op. 111.

203

10.5
 :^= ^^ 9

^=EE3E^=i^
^
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^
^
Schumann.
^
Op. 111.

.',
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fi'

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lOti
 TiNEL. Francis.

205.

Chromatic Passing Chords.

Introduce passing tones in more than two voices and a passing chord is the
result. If some of these tones are chromatic passing tones, then the chords are
chromatic passing chords.
Progressions of this kind in Lesson IV had to do only with a single chord.
In the present lesson a succession of such is treated. The upper voice usually
moves by a step or haif-step. Fig. 206.
Mark the principal chord as usual, and the chromatic passing chords as
such, taking up the usual marking of the principal chords when they reappear.

Chopin. Op. No. 4.

-I 1 1 — ^=--f- 1 F-

206.

107
 Statkowski. Op. 23, No. 3.
Ap.

^ ^ 't

Ap. oma.

im^^iM
Gb V,

Chopix. Op. 4?
^9-

108
 Cadenza.

Passing chords

EXERCISES.
CHOPIN'. Op. 33, Xo. 4.

8vn.

207

109
 Rachmaninoff. Op. 3, No. 5.

Sostenuto.

—N-
-I '— I
^
j-
L mi^m I
^~ F~[~

208.

Sequence.

A Sequence is the repetition and transposition of a melodic figure- The

interval of transposition should be the same with each repetition. Fig. 209.
The transposition may be from one degree to another, or from one key to
another.
The sequence is usually accompanied by a sequential movement of harmon-
ies. This should be borne in mind when analyzing the harmony of sequential
passages.
In modulatory sequences the dominant or leading tone chords of some of the
keys are occasionally altered. There is, nevertheless, a strong key impression
because of the sequence. Indicate the key in each of such cases as though no
alteration had been made, and mark the altered chords as usual. Fig. 2096.
Find the extent of the figure, marl? it with a bracket i —i
, as in Fig. 209, and
mark each repetition of this figure in a like manner. Should the figure be
changed and be carried out sequentially, proceed in the same way with the new
figure. A single repetition is usually sufficient to establish a Sequence. In
very short figures, however, those having not more than two to four notes a
second repetition may be necessary.

110
 ^
Liszt. Christus.

209.

Vlli!o
iiieEb vii% Vt
g-

-K-;*'-
4^A^
ii==t^^^=^t=^S
^^^^ 1
V, EbV^AbV, DbV,GbV, C V, FV, Bb V, ebV,

EXERCISES.
Mendelssohn. Op. 14.

210.
-^^^
S^- ' '
'
'

'a
'

^
-3»-
 #-&-^

i^:=^A=^= s=:^EEE^^sfeE==fl
Cramer. Study.

212.

113
 I I

-• \-0- -^ -0- -*- -•-

-!1 '
H
Lesson XVII.
Two Simultaneous Harmonies, One and Two Part Writing.
Two Harmonies Appearixg Simultaneously.
It sometimes occurs that there is a definite impression of two simultaneous
harmonies, one of which is other than an Attendant chord. Fig. 213. Mark
each chord separately. In cases where the second chord is but an Attendant
chord, mark as usual.

LiADOw. Op. 9, Xo. 2.

E F. FA Ap. E E FA

213.

#
I
———
Ap.
33

Ab V, VI

EXERCISE.
Mendelssohn. Op. 14.

:ttc

214.

S :tl«-

^ -I
#-^
! 1-

114
 ^=§^^ tesS^(
J 1
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——
^P^:^^J1»=H=?
f^^-^ F-| 1 I F -MB^ \mm

ler

•^r—±i

Wagner. Parsifal.

215.

,=e=g,.=,:^=fec=t=t=-£=^^^s^^
^4=F-r^^ r^r^^^g=^ ^^p P^ -
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- =t*-
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8it

115
 Two Part Writing.

Under two part writing only such compositions are considered, both parts of
which have equal melodic individuality. Those in which one part is clearly a
broken chord effect have already been analyzed. Fig. 216.
In analyzing two part writing it is sometimes necessary to supply missing
intervals or togroup several notes together. The tempo must, however, always
be considered. In slow tempo, progressions are often heard as change of
harmony, where in quick tempo they would give the impression of but one
chord. (See also Lesson I). The accented note of two notes belonging to the
same harmony decides the position of the lowest part of the chord, but in slow
tempo both may have to be marked. A root with passing seventh in the lowest
part gives the impression of the third inversion only. A chord with the passing
seventh in an upper voice unless one of a series of passing tones, mark as a
chord of the seventh.

Schumann. Op. 72, No. 2.

216

116
 CZERNY. Op. 335.
Allegro modrrato

217.

V f
'.

•- [ 1 4 « —— —
!
ffF !
^-^ —f — t—

Mozart. Sonata.
AUegro.

218.

estiis:
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219.

—\
?Sii^^^^^E:^v=^^ H h

llg
 OxE Paut ^Vritixg.

In analyzing unaccompanied melodies, the harmonies in many instances are

conjectural, since possibly only two tones of the chord appear, and they may be
either one of two chords. The same general plan given for analyzing two part

writing holds good here. Fig. 220 is an interesting example of one part writing.

Chopix. Op. 23.

Ap. Ap. orna.

Ap. I !

:J-«W-
z^
:E
220.
T;^. ^4
^ f=^:p2»:
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t^l *4:--
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[117]

Ap. A- E. orna. A.

i
I(6> iv{,)-

11>)
 Chopix. Op. 39.

Presto confuoco.

221.
~^m^^^

222.

120
 •

:t=i=2p^

?-•
iciafzi^-^^
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Mozart. Sonata.

Ett -0

V— a _^ a^MHi, 1
i \-
—
223.

ST

-•—

'^=^=^M^^^^^^=^^
121
 Lesson XVIII.
The Church Modes.
In addition to our modern modes (major and minor) that have been analyzed
so far,much music is written in the "Church Modes." There are six of these :

the Ionian (our major mode), the Dorian. Phrygian, Lydian, Mixolydian and the
Aeolian. The last being the original form of our minor mode. These modes
are written as in Fig. 224

Ionian. (Our major mode.) Dorian.

224.
-7S—^ ^ -25— «& -o~^
-<^—s:

Phrygian. Lydian.

<9 ^
-<& <2-
-G>-

Mixolydian. Aeolian. (Our original minor mode.)

-«.— <2-
i* — } <&—«^-
-6*—a.-
1
The. following are a few of the above with other signatures.
«?-^-' fSC^-
:tJ=: rS^-^- G^a.
?zl?z^ G>-^
Vm^G-^-
Eb Lydian. F. Dorian.

122
 On analyzing the above it will be found that the Dorian mode begins on
the second degree of a major scale and progresses upward an octave, the
Phrygian on the third degree, the Lydian on the fourth, the Mixolydian on the
fifth, and the Aeolian on the sixth. The starting point of each mode being its
tonic.

Since some of the modern writers are making such frequent use of these
modes in producing many of their unique effects, it ha^ seemed advisable to ask
for an analysis of the mode as well as the harmony of the following exercises.

In order to find the mode of a composition assemble the different notes of

— —
the melody and harmony if necessary find the jjoint of repose, put the notes
in alphabetical order and compare with Fig. 224.

Do
not rely on the signature as a clue to the mode. While e. g. the Dorian
mode beginning with d, usually found with the signature of C major, it may also

be found with the signature of F major, the b, however, always being natural.
Occasionally modes modulate to other modes This is easily recognized by
the appearance of tones foreign to the mode, or by the cadence at the end of the
line. Fig. 225a begins in C, Dorian, makes a digression to C Aeolian at the first
hold and returns to C Dorian in the next line.
The seventh degree is raised freely in final cadences, particularly in the
Dorian, Mixolydian and Aeolian modes. Always indicate it in the analysis.
Tones are sometimes altered for the sake of color, but are not used enough
to induce a modulation. Mark these as indicated in previous lessons.
Passing embellishing tones etc. are also often used in altered forms in the
harmonization. This does not affect the mode.
The final chord was usually written major, no matter what the mode. This
does not affect the analysis of the mode. In analyzing give the name of the
mode and analyze the harmonies in this mode.
In marking the mode give also the key from which the mode takes its
tones, e. g., C Dorian, F Phrygian etc.

Examine the illustrations with regard to marking keys, chords, modulations,

alterations, etc.

Bach. Choral.
o. C. Dorian. C. Aeolian. C. Dorian.

-I-

225.

123
 ^—— ^ •-
:t^
-9f- I

'
^^ /
:p=t:
:t=f: i
VII, IV* V1I« III I IV I, II, V I
[3»] vm

Chopix. Op. 41, No. 1.

A. Phrygian.
6. Ap.

-0-
-•-
^
-•-
-Is •-

:t=^l
n« I

Arkhaxgelsky. Russian Song.

C. Aeolian. E E
c. ^ r^ •-,
:3^
t±='=^i^zt -TS)^-
^i^
—
-I
I-
m
w-^^—r-
-0 ———
F i r-«

VII III VI VII

Ap.

-0—k
n
-,_•-

IV,;» I«

124
 ^

EXERCISES.
Bach. Choral.

H— J-

226. -*^#- ^^_

Cl. Debussy. Ballade.

Andante con molo

227.

J- - _J -^— r—
^1

12.5
 — — —

Maukice Ravel. Sonatinc.

228.

KORESTCHEXKO. Op. 22, Xo. 2.

AUegrettn.

229.

~
H— 1 1^ f^~ I »-J^-7ri 1 i !
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1
1— I
Tl

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1
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p B

126
 Chopix. Op. i'4, No.

230.

HOBRECHT. 1430-1506.
Salve Regina.

=^
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231.

-^-•^
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 B. Ducis. 1480—?
Vater Unser.

232.

-9-
5^ 1
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m ':f=-^ i

Lesson XIX.
Reduction.
Reduction the eliminating of all non-harmonic and unessential chord
is

tones, and the retaining of only those necessary for a simple and clear harmoni-
zation. It will be seen from this that after an example has been analyzed har-
monicall}', the matter of reducing it is comparatively simple.
As regards the melody to be reduced, as far as possible follow it in the
reduction. Anabsolute adherence to this is, however, not necessary.
Melodies which transgress the limits of four part writing should be raised
or lowered so as to come within the limits.
The reduction should be made in four part writing, even though the example
to be reduced is only in one, two or more parts.
Fig. 2.3.3 contains several examples reduced and analyzed. An examination
of these will no doubt be suggestive. In '"6" it has been necessary to introduce
five voices in the fourth measure owing to the presence of a complete V9 chord.

128
 *

CzEKXY. Op. 335.

E E Ap. Ap. Ap. Ap. Ap. Ap.

^-4-
^*=
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t^^-- "-^ — 1»-

233./
4 ^-ft'^g>5<-.

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C. IVf n| IVg I! Vv
rvhi [3« r^iji

Chopin. Op. 28. Xo. 19.

Ap. Ap.

=jiy"1-i^-1:^ :=J:f=^-j^ 3Bi=3S3c =3 ^^^ 1^43]

Ap. Ap.

^
Ap. Ap.
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ss^t ; 1 I
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Bb. V, Eb V,
-i5^ —
m
129
 Beethoven. Op. 106.

D V-

Ap. orna.

^•^
S?i
1

130
 Franck. Beatitudes.

Andante.

234.

t^^-
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131
 I

Beethoven. Op. 106.

Adagio sostejnto.

W^m^mm ^

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132
 I — —— h I —— 3I I h I

<^ i>
Parker. Op. 30.
Tempo giusto.

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236.

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jVi^ groesster Energie.

5l^E^
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237.

h-

133
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Dolce kI tspr'i

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238.

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Lesson XX.
The remaining lessons consist of exercises, which will serve as a review
of the preceding lessons.

EXERCISES.
Franck. Beatitudes.
Moderato.
— ——
X ^~^~^
•• 1
»-; H
1
I
1 I
1 1
1

I
S^'
239.

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l?::?!'^.-. -*-

m^^mmm^m^^m
I

(Z (S., (ff
tntr:

<^-
=-#-=

-FJ^S ^1 ^\

136
 MacDowell. Op. 23.

240

137
 — ^

SCHUMAXX. Op. 72..

Nichi schuell.

241.

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4*; :as=g#^=f=gi

338
 — — — I

liPI
Perosi. Lazarus.

242.
Adngw.

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EixJAR. Caractac'us.

Allegro.

243.

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139
 >.
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Chopin". Op. 14.

Allegro.

244.

:Jf^
3^

ff^

140
 — ^

Lesson XXI,
EXERCISES.
TranquiUo. Richard Strauss. Op. 10, No. 8.

> Jr
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I

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245

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246.

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Andante moderato. R. "Wagxeh. Lohengrin.

248.
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343
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Lesson XXII.

EXERCISES.

249.

144
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 I 1 I

A. SCRIABINE. Op. 2, No. 1.

Andante.

250.

—
|-Oh —
1 1 1 —
u
146
 ^

J^/^ ^ i^lJ ^V _<*_«'>

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Cesar Fran'ck. Beatitudes.

e Ptn trnnquiUo.
-^-*^ ^

251.

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Chopix. op. 25, No. 6.

252.

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Lesson XXIII.
EXERCISES.
Elgar. Op. 29.

Lento.
-h —! N
:;?=*— fzrzfzzft — I

»— I 1

253.
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1 -^—^-
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156
MT Lehmann, i-riedrich Johann
50 Harmonic analysis
L58

1
UNIVERSITY OF TORONTO

EDWARO JOHNSON
MUSIC L;EirtARY ]