Embed Size (px)
Citation preview
A COURSE IN KEYBOAIO AIMOBy BASED ON THE
RECITATIVE STYLE AND THE FIGURFD BASS
THESIS
Presented to the Graduate Council of the North
Texas State Teachers College in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
By
George S. Thompson, B. M.158610
Garland, Texas
August, 1948
/O i0
158610
TABLE OF CONTENTS
LIST OF ILLUSTFAJTIO.S.,
ChapterI. INTRODUCTION . . . . * ,
Statement of the ProblemNeed for the StudySources and Validity of DataMethod of Presentation
II. YIGUREDBASS .
III. RECITATIVE . .
IV. TRIADS . . . . . . . .
Root Position of TriadsFirst Inversion of TriadsSecond Inversion of TriadsModulation
V. NON-IARMONIC TONES * * ,
The Passing ToneThe SuspensionThe Neighboring ToneThe AnticipationThe Escape ToneThe AppoggiaturaThe Pedal Point
. . 9 , 9 0
" 4 4 . ,
* 0 g , * ."
* 0 0* * , I *
9 a 9 , 0 , .
VI. SEVENTH CHORDS . . * . . . * * * . ,
The Dominant Seventh ChordThe Supertonic Seventh ChordThe Leading Tone Seventh Chord in MinorThe Subdominant Seventh ChordThe Tonic Seventh Chord in Major
VII* ALTERED CHORDS. . . . . . . ..
Altered ChordsAltered Chords
in Minorin Major
6ii
Page
v
4
13
43
Chapter Page
VIII. THE CHORD OF TIE AUGEEIN SIXTH . . . . . 58
IX. MODULATIONTO FOREIGNaYS . . . . . . . . 61
x. REVIEW . . . . . . . . . . . . . . . . . 64
BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . 67
iv
LIST OF ILLUSTRATIONS
Figure
1. Example of the Figurations for theTriad in Root Position . .
2. Example of the Figurations for theFirst Inversion of Triads .
3. Example of the Figurations for theSecond Inversion of Triads . .
4. Example of the Figurations for thePassing Tone . . . . . . .
5. Example of the Figurations for theSuspension . . . , . . . .
6. Example of the Figurations for theNeighboring Tone . . . . . . .
7. Example of the Figurations for theAnticipation . . . . . . ,. .#.*
8. Example of the Figurations for theEscape Tone . . . . . . .
9. Example of the Figurations ffor theAppoggiatura . . . . . . .
10. Example of the Figurations for thePedal Point . . * . . . .
I1. Example of the Figurations for theDominant Seventh Chord . .. .
12. Example of the Figurations for theSupertonic Seventh Chord . .
Page
. . . . 14
. . . . 21
. . . . 24
. . . . 29
. . . . 32
. . . . 35
, , . . 37
. . . .
. 0 . ,
. . . .
38
39
40
44
. . . 0 47
13. Example of the Figurations for the LeadingTone Seventh Chord in Minor . . . . .
14. example of the Figurations for theSubdominant Seventh Chord . . . . . .
Figure Page
15. Example of the Figuration for anAltered Chord iniMinor. ........ 52
16. Example of the Figurations for theAltered Chords in Major ........ 54
17. Example of the Figurations for theAugmented Sixth Chord . . . . . . . . . 58
18. Example of the Figurations forModulation to a Foreign Key . . . . . . 61
19. Piano Realization of Figure 18 . . . . . . 61
vi
CHAPTER I
INTRO]UCTION
Statement of the Problem
The problem of ,this study is to present a course in
keyboard harmony based on the recitative style and figured
bass of great works of music which can be used in the teach.
ing of beginning and advanced college music theory, and may
be correlated with the text The Contrapuntal Harmonic Tech-
nioue of the;Eighteenth Century by A. I. McHose,
Purpose of the Study
The reason for making the present study is to establish
a course in keyboard harmony, organized on a progressive
plan, that may be included in the curriculum of music theory
at college level. Through the use of this study with the
regular theory course, the student should gain an insight
into the harmonic principles of music by actual performance
at the keyboard. In working out the contents of this prob-
lem, the figured bass-.recitative combination was selected
because the exercises could be musical as well as theoret-.
ical. Also there is an abundance of material to choose
from in this field.
1
Need for the Study
This study is especially needed in connection with
theory training at North Texas State Teachers College as
there is no accepted text used for the teaching of key-
board harmony based on the principles of chord progres-
sions. Through the principle of chord progression the
student establishes the concept of key feeling or key
center.
Sources and Validity of Data
The data for this study were obtained from standard
editions of great works of music, standard music encyclo-
pedias and reference books, monumental sets of music, mi-
crofilm of historical collections, and microfilm of monu-
mental sets of music. The music used is considered by
the investigator to be standard and authoritative because
of its wide acceptance and use by college music schools
and libraries in the United States.
method of Presentation
The organization of the keyboard harmony exercises is
based upon the theory that a melody constantly implies and
needs a vertical harmonic background. The melody is given
in this course by means of the recitative with the figured
bass giving the harmonic content. The recitatives used are
taken largely from operas, cantatas, and oratorios of
eighteenth century composers. As a result of these exercises
it is thought that the student will gain a feeling for avertical harmonic background against a given melody.
The various sections of this text proceed chord bychord much in the same manner as the text with the rules
presented in the text carrying over into the performance
of the exercises.
CHAPTER II
PIGURID BASS
"Figured bass is a method of indicating an accompany-
ing part by the bass notes only, together with figures
designating the chief intervals and chords to be played
above the bass notes."1 This system of notation is known
as "Generalbass" in Germany, "Thorough-Bass" in England,
"Basso Continuo" in Italy, and "Basse chiffre" in France.
This musical shorthand was used about 1600 by the
early writers of opera in Italy - Peri, Caccini, and Cav
alieri - to indicate the harmonic background for the
recitative. 2
This type of bass was not invented by the earlyoperatic composers but was adapted by them from adevice which had been used by organists to simplify /the accompaniment of polyphonic choral works. Masses,motets and madrigals were seldom written or printedin score, and it was a practical impossibility for or-ganists to construct an accompaniment by trying toread from four or five separately printed parts. Thefirst alternative was to make a tablature. The secondwas furnished by the general bass, or basso general.It indicated two things; the bottom limit of the music,and the basic harmony.3
1D. . Grout and W. Apel, "Thorough-bass, " Harvarddictionary of edited by Willi Apel, (1947iJ
2"Figured Bass," The International Cllojedia of Musicand Musicians, edited EfOscar Thompson, (1946).
3Theodore N. Finney, A jjisr of. is, p. 235-236.
4
5
At the outset of figured bass the basso continue was
usually performed by at least two instruments - a string
bass or wind instrument and a keyboard instrument. The
bass melody was played as written by a string bass or a
group of string basses while a keyboard instrumentusually
an organ or harpsichord, played the same melody with the
left hand and with the right hand filled in the implied
harmonies. The playing or realization of the given bass
melody was left to the improvisation of the keyboard artist
with the result being a chordal accompaniment.4 According
to Agazzari, one of the early users of the figured bass,
the realization called for diminutions of the ornamental
instruments. He said that the main reason that the continue
was adopted was that it was very suitable for the recitative
in modern style. The predominant use of this device was to
simplify the accompanist's reading at the keyboard and not
as a theoretical device. 5
The figures used ranged from 2 up to 9 and occasionally
up to 12 and 13. These numbers refer to the intervals above
the given bass note in the key indicated by the signature.
Later the figures above 9 were dropped and indicated as
3rds, 4ths, etc. The 9th remained in because of the common
use of the 9-8 suspension.
4F. T. Arnold, The Art of Accompaniment from A Thorough.-Bass, p. 236-2399
5M. F. Bukofzer, Music in the Baroque Bra, p. 26-27.
6
The figured bass was chosen to further the study of
vertical harmony because it in itself works in a vertical
manner and is one of the best sources for this theoretical
problem.
Since the figured bass was first used the means of
notation has changed many times; however, the present
accepted figurations and notations vary only slightly from
the original markings. The present day accepted notations
are presented in the remaining paragraphs of this chapter.
The common triad in root position does not necessarily
8need figuration. "A triad may be figured 5, 5, 8, 8, 5, 3,
3 3 3
or not at all, Every unfigured bass note, other than a
passing note, is understood to bear a triad."6 The figures
are written in numerical order with the largest number on
8 3the top such as 5, not 5. Some exceptions where a triad in
3 8
root position would need figurations are: (1) when the 3rd
of the chord is altered not in accordance with the key sig-
nature; (2) where the 5th of the chord is altered not in
accordance with the key signature; and (3) when the bass
note begins in an inversion and proceeds to root position
before the duration of the given note. 7
6Arnold, . it., p. 500.
7 Oid.,p. 500-501.
7
When there is an alteration, it is notated by a sharp,
flat, or natural sign placed in front of the figure. An
alteration without a figure refers to the third above the
bass note. When a note is to be sharped, it is often in-
dicated by a diagonal stroke through the figure. The hori-
zontal dash following a figure indicates that the note or
notes of the previous chord are held over. If there is a
small diagonal stroke following a figure, this indicates
repetition of that particular figure which may be a single
voice or a chord according to the notation.8 Quite often
two successive figures will not signify chords but will
refer to only one chord with. non-harmonic tones such as the
passing tone, appogiatura, anticipation, organ point, sus-
pension, etc. Suspensions are marked 9-8, 6-5, 4-3, 9-8,4-3
and 7-6.
The most used figurings today are; for the common triad
8in root position, 5 or 5 or no figures; common chord in
first inversion, 6 or 6; common chord in second inversion, 6;3 4
7chord of the seventh, 5, 7, or 7; chord of the seventh in
3 3
6first inversion, 5,or 6; chord of the seventh in second
3 5
8lbid., p. 780-795.
8
6inversion, 4 or 4; and chord of the seventh in second
3 3
6inversion, 4, 4, or 2.
2 2
CHAPTER III
RECITATIVE
"Recitative is a vocal style designed to imitate and
to emphasize the natural inflections of speech." 1 This
style is quite often used in connection with prose texts
of a more or less narrative character, particularly in
operas and oratorios, where it serves to continue the action
from one number to the other. In keeping with its declama.
tory character, the use of a strict rbythm, phrase endings,
and a flowing melody are largely ignored. The melodic line
and accompaniment are of secondary importance. The recita-
tive is sung either to a figured-bass accompaniment. or to
a fuller and more developed orchestral accompaniment. The
figured-bass accompanied recitative is known as recitativo
secco with the more fully developed accompanied recitative
being known as recitativo accompagnato or stromentato.
The recitative arose in the revolt against polyphony
in the early seventeenth century as probably the most out..
standing innovation of the new music period. One of the
first writers to use this vocal style in musical composition
was Peri in his opera Euridice which was written in 1600,
1D. J'. Grout and W. Apel, "Recitative," iarvardDictionarX of Music, edited by Willi Apel, (1947).
9
10
It began with distinct phrases, definite melodic content
and form; however, it assumed a less melodic role with the
rise of the aria in the latter part of the seventeenth
century. The recitative had its beginning and growth in
serious opera but it had been effectively used in other
mediums with only slight alterations. "Recitative in the
oratorio was, with only such changes as would be dictated
by the religious character of the text, similar to their
operatic prototypes."2
"Recitativo secco (literally, dry recitative) was so
called because it was accompanied only by the continuo in-
struments."3 It is this type of recitative where the
rhythm is free to follow the verbal accentuation, the in-
treat thus lying in the vocal part, and the accompaniment
being reduced to the smallest amount of chordal figures.4
Its primary purpose was to continue the action by means of
syllable treatment of the text. This form of recitative
was well adapted for rapid speech. Usually there was little
organization as to form in the recitativo secco which would
show the unimportance placed on it by the composer. Regard-
less of the fact that this was a very uninteresting form of
musical expression, it remained in use throughout the
2Theodore M. Finney, A History of Music, p. 358.
J. Grout, A Short Histor of Opera, p. 199.
4Sir George Grove, "Recitative," Grove's Dictionary ofMusic and Musicians, edited by H. C. Colles, (1938).
11
Ieapolitan opera period.
The recitative accomagnato or stromentato (accompanied
recitative) is that form of recitative which is accompanied
by the regular continuo keyboard instrument plus either the
string section or full orchestra. "Monteverdi was one of
the first to use this method in the closing measures of the
famous 'Possenti spirit' in his grfeo (1607) and Schutz
used it consistently for the part of the Evangelist in his
Auferstehungs Historie (1623)."5
These recitatives were reserved for two or threeof the most dramatic points in the opera, for monologuesexpressing strong emotion at the climaxes of the action.The voice, declaiming in flexible, varied, and expres-sive phrases, alternated with orchestral outbursts ofchords, tremolando figures, or rhythmic motifs. Suddenchanges of mood, abrupt modulations were featured. Theessential function of the orchestra, indeed, was not somuch to accompany the singer as to express, during thepauses of his song, the emotions which words were in-sufficient to convey - to suggest, in combination withthe attitudes and gestures of the actor, tiose furtherdepths of feeling which only music and movement, tran-scending the too definite ideas'and images of a text,could adequately render.
This type of recitative reached its height in the opera of
the eighteenth century where it was used to precede the
tuneful arias in a work. Bach, Handel and Mozart were
outstanding in their use of recitative accompagnato in
their cantatas, oratorios and operas.
The recitative secco is used predominately in the
% Grout and Apel, ..cit., p. 630.
)Grout, a,. cit., p. 199.
12
compilation of this study because it better illustrates the
purpose, and there is an abundance of material to choose
from in this field. 'The accompaniment is so sparsely placed
that even the weakest student in piano can perform the ex*
ercises with a certain degree of accuracy. Also rhythm de-
viation from the designated signature is permitted and does
not affect the musical continuity for the recitativo secco
is not bound by strict markings.
CHAPTER IV
TRIADS
The exercises presented in this chapter may be corre-
lated with Chapters I through IX of the specified text. In
performing the figured bass of these exercises at the key-
board, the student will find that playing three tones in the
right hand and one tone in the left will make the playing
much easier. For the present it is recommended that the
exercises be plqed in closed position. Parallel octaves
and fifths may be avoided by changing the position of the'
upper voices.' The recitative may be realized with the
figured bass in several different ways - depending upon the
need of the student. It may be followed mentally or sung
by the person playing the figured bass; it may be played on
the same piano one octave higher than written by another
person; it may be played on another instrument or sung; or
it may be played as written on a second piano. The recita-
tive is the top staff in each exercise with the figured
bass applying only to the bottom staff.
Root Position of Triads
These exercises require no figures as they are all in
root position except when a member of the triad is to be
altered. When a note is to be altered, the interval above
13
14
the bass note is given prefixed by the proper sign - flat,
sharp, or natural. When an alteration appears with no
figures suffixed, it applies to the third above the given
bass note. For a triaa in root position, double the root
of the chord.
IIV In
a, C -1-
~li 8~V DA I
'S 5b k3
Fig. 1.--Example of thethe triad in root position.
Tonic triads.--
Exercise I, "Cantata I"1
figurations for
Zachow
r
ow-
AI saw$= % Alk
id id It Ask I Moe
iL
al16
lw4OW
0111 11111 l ow I
0
F- r r
{s 5 btl f3
15
Exercise 2, "Magnificant" Kri eger
AmM oot
Exercise 3, Alceste Luck
**F
Exercise 4, Il Trovatore
I
4. ~ +
4-
v erdi
I V K I',
0
16
Tonic, dominant and subdominant triads.--
Exercise 5, "Cantata 1"
-4 : 4
*
4.
Exercise 6, Le Nozze Diigaro
w -W
0
Zachow
i rt
-AIL-
1" A,F; 'AA
FI
17
Exercise 7, "Zwingt, die Saiten in Cithara"
Exercise 8, "Cantata 1"
ime--7-0 -
f - - -~ 1-77 '- -- -~"'r~ ~-" ~ ~ -
Aw4
IP,
ap-...o ssnou -- A - -, A
Ahle
Zacbow
An" W, let,4pp,
AIM
dw qww
110 a:
ol
18
Exercise 9, "Zwingt, die Saiten in Cithara"-
4 A AOL -A& T BFAV~ A A
Triads with roots a second .
Exercise 10$ Le Nozze Di Figaro Mozart
. . - . -j-- - --
Exercise 11, "Gegrusset sexist Du, Holdselige" Weckmann
- 1 7 1 A - 0,r--- --e.e
Ahle
##,,.d&l A a da
19
.xerciSe 12, "Iisericordias Domini"
AA
Triads w h roots a third apart.--
Exercise 13, "Magnificant"
jt-7AIl
LS4 *r~7. -
7-V [V
On==
Ahle
w#
Krieger
APAIM Am 'ift
JL
-F
Alk
AWN
, , !!;p , W.!,
20
Exercise 14, Le Nozze Di Figaro Mozart
Exercise 15, "Xxulet a casto pectore vanus Amor'"1
a p 10
Albert
Airst Inversion of Triads
In notating othe figured bass of a chord in first inver-
sion 6 or 6 is used with the proper accidental if the inter-3
al is to be altered. The soprano note is doubled in the
tonic, dominant and iubdominant triade, and the third is
doubled in the leading tone, mediant, supertonic and sub-
mediant triads.
I' '' I I m v ALA A
PF
RIM
r ..............................
4w
Mir A& Ak WF Ah
ALu
AR ilW-
ItMI
lite
21
6
Io
Ii k:4 _____
Mr92 _41
4 43r V b U
! '7
aSb3
Fig. 2.--KExample of the figurations forthe first inversion of triads
Tonic, dominant and subdominant triads.--
Exercise 16, St. John's Passion Bach
A-77"7
ExerciLse 17t The Messiah Handel
lof
I
44
22
Exercise 18, tMirella
r ~" ~pr
Gounod
Exercise 19, St. atthew's Passion Bach
liftJ ~*- ur I esesI tme - -
-l-
__
23
Other triads.--
Exercise 20, Don Pasquale
Exercise 21, Dinorah
Af
Donizetti
b
Meyerbeer
lh k
r""" 3 """" -
A& .
['I
24
Exercise 22, St. John's Passion
&
A
~ 1 1 1 1rAft
4w l&
lite,
on Ib
Second Inversion of Triads
The second inversion of a triad is notated, 6, plus the4
prefixed accidental if the interval is to be altered. The
fifth of the chord is the best note to double.
4
ji~
pg. + 4'~
Fig. 3.--Example of the figurations forthe second inversion of triads.
Bach
___________ ___________ _________ I __________
______ ______
I 4 ,
E
1
P
_______ _______
(L ______ _______
______
a
f
25
Exercise 23, S. hn Passion Bach
ai
Exercise 24, St. Matthew aPsso Bc
P.a--i-n-B--c-h
-led
_Ee--s e 25- - -T--.. - V er -
L
t -- -T-Lab -- --
34
26
Modulation
Iodulation is the process of progressing from one key
to another. There are three types of modulation: (1) mod*
ulation by phrase, (2) chromatic modulation, and (3) modula-
tion by means of a common chord.
Exercise 26, Cantata 95
a~
Bach
_ _ _ _ _ _ _ _ _ _ _ _ _ ~ i~ Jfl6
IL
Exercise 27, Don Giovanni
-- -1-1
i I
4.*- T -- r -- ,. 1 I_
su~~oa oil' ir- -
IC - I I
- C
-- t 4 ,I -- a sh Ft r L I p
27
Mozart
-1s
.L
Dp
'C
..............
lei
iI
d-
-t-k 4iol
'WIN!
-f-Ir
Alk-- 1: -, ',- , I I - -- ",
OVA 0 1
k-, r*
- -A-,
28
Exercise 28, Cantata 95
- _ _ _ - -aeu .e
Bach
CHAPTER V
NON-HARMONIC TOES
A non-harmonic tone is a tone which is outside the ver-
tical harmony of the momentary chord and which appears as an
ornament to the melodic content of one of the voice parts.
Therefore, a non-harmonic tone may be defined as a tone com-
bined with a harmony to which it does not belong. A non-
harmonic tone is classified according to the manner in which
it is approached and resolved. This chapter may be corre-
lated with Chapters X through XIV of the specified text.
The Passing Tone
A passing tone is that non-harmonic tone inserted step-
wise between two harmonic tones of different pitch. The
passing tone may be accented, unaccented, single, double,
triple or quadruple.
A a t I
Fig. 4.--Example of the figurationsfor the passing tone,
29
30
Exercise 29, L'orfeo Monteverdi
3* 3
91 3
Exercise 30, 'Orfeo Monteverdi
I Exercise 31, L'Orfeo Month everdi
b
-
f
-WMWIML
-A-
F-T-
31
Exercise 32, Orheus Gluck
- 2wA,_ _ _ _ _ _A, F
The Suspension
A suspension is a tone which is held over from one
chord into the next in such a manner that it becomes non-
harmonic with the second chord then it resolves to a har-
monic interval of the second chord. It is a result there-
fore of delaying downward progression of any voice during
a change of chords. The suspension may be single or double;
however, the greater majority are single. This non-har-
monic tone may occur in any part, but it is most common in
the soprano, It requires a preparation note, the suspension
note and the resolution note. The preparation note and the
suspension note are the same tones with the preparation be-
ing harmonic and the latter dissonant. The resolution tone
is harmonic. The suspension note moves either a half-step
or a whole step to its resolution note. The suspension is
figured from the bass note and named according to the inter-
val formed between the bass and suspension note.
a
32
III 9 V4i
I-
I 4
F'-.
' - m A-,
qs
igo 5.--*a le of the f igurat ions-for the suspension.
Exercise 33, "Salve uoelestis Peter"
~Ak
(v
Under
a
V q. 3
1: a
F-T -
I I
I
Im
I
33
'Exercise 34, "Consiglijo (Schering Collection) Cavalieri
exercise 35, "Dafne" (Schering Colection)
Exercise 36, LOrfeo
I13
6a,
(0
6
Gagliano
Iontevrdi
1 6(
F -A-t
T T I
tawI
L
1
Exercise 37, Cantata 108
~k Akr r:.M -1w i
6 3 1
b 5
mercise 38, L'Orfeo Monteverdi
6tlog 'L- 'A
I W 4, lp%000
I q7 7''7 ' '
0
The Neighboring Tone
A neighboring tone is that non-harmonic tone inserted
diatonically between two harmonic tones of the same pitch.
Each harmonic tone has four neighbors consisting of the
next higher and lower letters - either as a whole step or
34
Bach
-
35
half step. This non-harmonic tone may be single, double or
triple in content with the single neighboritone being the
most frequent in occurrence.
IVI_
A A A F In V A 1 7
Fig. 6o.--Example of the figurationsfor the neighboring tone.
Exercise 39, tAuf2rehungs-iistorie
p -
Schutz
r3 4L 3
34'
id4
I~~~ 0 7 .
TOP II I ~I- II bow- 'ii I"n I ftWi1
T- TAll
-IF
3 7.r
-II
& - I r, m I -. 1
A I t I I I
una newe-
It
a wis nu
AOL
36
Exercise 40, "L'Orfeo" (Schering Collection) Monteverdi
66 4
Exercise 41, Orfeo
fv II
_ _ _ _ _ _ _ _ _ __.-# -A
AOL-~-
4-04A: Le~-$~
ir.000%
1Elk-
*L--I
_ _ _ _ _ _ _ _ _ __its-
Monteverdi
37
Passingstonesin combination with neighboring tonesa.-
Exercise 42, Cantata 149 Bach
A-.d MnhAM , --t I VI,- EV _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
10b A7
The Anticipation
An anticipation is that tone which moves step-wise from
any member of a given chord to anticipate the next chord.
To the first chord this note is a dissonant tone, but to the
second it is a chord member. The anticipation may be singleor double in content and is usually found in the cadence.
Fig. 7 .-- Example of the figurationsfor the anticipation.
mm R
I w
J
#1
IV'
ir
ff
L 7x
;o OF
4L
38
Exercise 43, Constanza e Fortezza Fux
4.
PF*
f
The Escape Tone
An escape tone is that non-harmonic tone which is de-
rived diatonically ascending from an harmonic tone and leaps
down to an harmonic tone for resolution. The upward inter*
val ia either a step or half-step, and the downward leap is
the interval of a third.
_ _ _ _ _ _ _ _ _ _ _ _ "lit ~An pI
........... ..
I A m,I Ii
~ Jflow
t r
F*ig. 8.--Example offor the escape tone.
the figurations
4
1 .1lip
r
Exercise 44, L'Orfeo konteverdli
The Appoggiatura
An appoggiatura is that non-harmonic tone which is
approached from below by the leap of a third and resolved
downward by step. This non-harmonic tone may be single or
double in content with the single appoggiatura being the
most frequent. The single appoggiatura may be found in any
voice.,
Aft, iJ I
110_ _ _ _ _ _ _ 47
Fig. 9.m-Example of the figurationsfor the appoggiatura,
Is AL
Aft 90l6if T "I It-Mow
40
Exercise 45, Cantata7 Bach
a, 5
t'. TY aII ~
viw
The Pedal Point
A pedal point is a tone that is sustained or repeated
against a series of chord progressions. This sustained
tone is usually in the bass; however, it may appear in an
upper part. When it does appear in an upper part, it is
called an inverted pedal point.
S 9 4- 3.
Fig. 10.--cExample of the figurationsfor the pedal point,
t
41
Exercise 46, Judas Maccabeus
_ _ _ _ _ _ _ _ _ _ ~'p 4 r ' I
~ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
I 3PMwwm3
I'~~ ~~~~ __ _ _ _ __o__ __ _ ,_
I _F
Exercise 47, Cantata 194
A97___ wo
As:
Oct
I1Lil
Handel
I~I~
Bach
.-00
AWL a100
--w"m
I
42
xercise 48, The Messiah- a"WWHandel
I F A-
Exercise 49, Cantata 152ac
- I---7 A-AM
~t1I,'
3
CHAPTER VI
SEVENTH CHORDS
A seventh chord is a chord consisting of the third,
fifth and seventh above a given note. It is a triad plus
the interval of a third added above the fifth. This addi-
tional third may be either major or minor. The type of
chord is reckoned by the interval made between the root and
the fifth and by the interval made between the root and
seventh. A seventh chord, therefore, may be built on any
scale degree above any given triad. Figurations for the
seventh chord are explained in detail in Chapter II. This
chapter may be used in conjunction with Chapters XV through
X of the specified text.
The Dominant Seventh Chord
A dominant seventh chord is that seventh chord built
on the fifth degree of a scale. In a major key this chord
is a major-minor seventh chord'' and in a minor key is the
same provided the seventh degree of the scale is raised.
In playing this chord from a figured base, the seventh of
the chord descends one-half step to its resolution tone in
a major key and a whole step in a minor key.
44
0 I If
~vI7 v Y' rb
Fig. ll.-Mxample of the figurationsfor the dominant seventh chord.
exercise 50, Le Nozze Di Fig2ar........ Nol~ Mozart
__la
~ ~ r __ _____o"
Ill lit
4h '7i
be__ _ _ _ __ _ _ _ _ _ d LA ~
INV~ ~, I b
* V iAA
I
45
Exercise 51, IinorahMeyerbeer
a
I
Exercise 52, Cantata 11
-6.
b * p6''3
1 71-
Bach
i&a A & s as& *
b
4
T
46
:Exercise 53, Dinorah keyerbeer
__L:
'fin
Exercise 54, Cantata 94 lach
W.V +
hodUj j ~ 7iiZ2
IL
The Supertonic Seventh Chord
A supertonic seventh chord is that seventh chord built
on the second degree of the scale. In a major key this chord
is a minor-minor seventh chord, and in minor it is a half-
diminished seventh chord. The seventh of this chord resolves
in the same manner as the seventh of the dominant seventh
chord.
I I I nlT
ii ' I . J D . I7-iT - *Ike
I
r
OFWr 1 --T
rI
47
Pig. 12.--Example .of the figurations
for the supertonic seventh chord.
~xercise 55, St.. John's Passion Bach
ptG
-ercise 56, Th6 Yfessiah
R~ A
top-- No
A1
"Pi
443
Randcl
:-
I
-r
TE1
.1j ,
ALP-1 -J
I L
48
Exercise 57, St. John's Passion Bach
WON, r F
Exercise 58, Cantata 194 Bach
hWJA
*AIM6p
t3
The Leading Tone Seventh Chord in Minor
A leading tone seventh chord is that seventh chord
built on the seventh degree of a scale. In a minor key
with the seventh scale step raised, this chord is a dimin-.
ished-diminished seventh chord.
IP
49
il-
I.19_______________________ IS1 ~v~~fiIJI
r u L ~ ur
I
Fig. 13.--nExample of the figurations forthe leading tone seventh chord in minor.
Exercise 59, Cantata 91
~afr
Bach
UNIT
~r~ir rNOW
AL,W 1
-- A- __r
ox _______
6
Aa As
I
50
Exercise 60, Judas kaccabeus HIandel
M
.* ILI 1
ft # A&__I_______,_II
w 1wJ -Wi-
The Subdominant
The subdominant seventh
degree of a scale. In major
seventh chord; in pure minor
chord; and, in melodic minor
chord,
Seventh Chord
chord is built on the fourth
this chord is a major-major
it is a minor-minor seventh
it is a major-minor seventh
IL 4
T3bAft.
Fig. 14.--Example of the figurationsfor the subdominant seventh chord.
I t
51
Exercise 61, St. Johns Passion
7ifL
Bach
a,,of '9~s
The Tonic seventh Chord in Major
A tonic seventh chord is that seventh chord built on
the first degree of a scale. It is a major-major seventh
chord and rarely used. The figurations for this chord are
the same as for other seventh chords.
Exercise 62, Cantata 96 Bach
I_ _ _ _ _ _ __w
IW Ile4
AL pow-, i --
r Ji 0 IW
4w
AL
0
CHAPTER VII
ALTER D CHORDS
An altered chord is that chord which contains an alter-
ed note- of thie given scale yet maintains the basic function
of the original chord. The exercises presented in this
chapter may be correlated with Chapters XXII through XXIV
of the designated text,
Altered Chords in Minor
In minor, other than the raised sixth and seventh scale
steps which are found as a part of the minor scale system,
there are only the lowered second degree and the raised
fourth degree of the scale.
.k
for an altered chord in minor,
52
53
Exercise 63, Cantata 95
Ak * _ _
- ~VOL.-
b
-#f *-AE - -- -
xercise 64, Cantata 93 Bach
-- BaNT- -4W..-
m
47 W ~j I ~
L~
(~ r4.-,
Bach
A"~r 4 ~~~
W I-
I I"
- - -i
. ~~
AL
t'l '7MV
L 11,
rl l A6- a J -ij ---t
-
I -'- - F- -ImpFI---wmmmp40orI
I-
T
09 N
-, I .. . T tomppr,--,i -- 1 = i 1 . 1, -ow I LA-- I ,, I I
Ad L
54
Exercise 65, St. John's Passion Bach
ii -- An 9pI _ __ ___ __ __A&_
orlr. IV AIlink.,
imL
!f! 4 3
Altered Chords in Yajor
In major there are more tones that can be altered; the
following single scale alterations are permitted: raised
first, fourth, and fifth degrees; lowered third, sixth, and
seventh degrees. The following double alterations are per-
m itted: raised first and lowered seventh degrees; lowered
third and raised fourth degrees; and, lowered third and
sixth degrees.
II
I I Ig~I,'14
-t) I
Fig. 16.--Exarnple of the figurationsfor the altered chords in major.
-971
0
qk
140
-
FIIII
__
I
I I -t, Ao,
55
.iwercise 66, Cantata 94 Bach
$$$$a4 ,44.
6
ttt~rn.
-4-.
br
+#t tt, .f t
Exercise 67, The Christmas Oratorio
-Milk
lb --
I I a
I ._ CL| ||-
at
-E
Bach
r
6o
Ilkp
I-liar
1w
- -- -0
xercise 68, "Cantata 1"
Exercise 69, Judas Maccabeusj~----s
I,
6 br
Zachow
Handel
6
V _ Fo o
IW vr-
]Oxercioe 70, The Seasons
A.ZALEaI I 0 AL f~~~ ~) ,!2 X
MR. _ _ _ _ _ _ _ _
Haydn
L a 0& Ahk
brGO
CHAPTER VIII
THE CHORD OF TIIhE AUGI1=fT D sixTH
The augmented sixth chord is an altered- chord which,
in the normal spelling of the triad, contains the interval
of a diminished third. When this interval is inverted, it
becomes the interval of the augmented sixth. In using achord of this type, the diminished third interval should be
avoided. This chapter may be used with Chapter XV of thedesignated text.
I L - " ,-C ~ -
Fig. l7..ax--ample of the figurationsfor the augmented sixth chord.
I jL
,
-K 'a
59
Exercise 71, St. John's Passion
Q
4W-
orxercis 72, "Cantata 114"
5'3
~JKi A
3ach
50F
Bach
--r-
I I a-
60
Exercise 73, Iphigenie inA u
-~~~~~ -. 4-- -- A---- f---it--.'
6u
A$ v A
Gluck
CHAPTER II
MODULATION TO FOREIGN KIS
In Chapter IV modulation to closely related keys was
discussed and illustrated, and it was found that each key
had five closely related keys - each not more than one
accidental away. Modulation to foreign keys, therefore, is
going to a key two or more accidental from the original orgiven key. This movement from one key to a foreign key isusually accomplished through an altered chord. This chapter
may be used with Chapter XXVI of the designated text.
Fig. I.uufaple of the figurationsfor modulat ion to a foreign key.
4L1. ---_-abj
c07
Fig. 1 9 .-- Piano realization ofFigure 18.
r
61
62
exercise 74, St. Matthew's Passion
6
V
b7
6 1
'7
9j
iAh
~Ip
7-*
dMO
bach
.a +
4,
"I14
AL
4
'If
a
6l
-:vo
JE
-A-
A 4 b4r
63
Exercise 75, ?ThePassion of our Lod~....-.2.r,,d-
L m4 -.
1-1
- r-A
I
Graun
4- ha
u A*A &4A VIV
V
*00'
At 6 A I
V. l
4~ A
I
4
.les 0 &A .
A# - r -- at
CHAPTER X
REVIEW
This chapter does not present any new problem in key-
board harmony; however, many of the previously presented
problems are contained in the exercise.
Exercis# 76, t. john passion flach
If u I la
1v~Ib ~
~m~5br oon" __ ___
d _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
W4!hb
5As
AIL,
I,far
64
t
A
r-
SF
Mik
4,
wS
r PU
-0
S.
I
6 b
3,
Lif A
65
C,
f
4&*
Ak A
a
As
I
--w- Fv- -w-
66
-. Mdm I h' - - 0s. -
JT~1 AL Ida
W-- _
BIBLIOGRAPHY
Books
Apel, Willi, editor, Harvard Dictiona of Music, Cambridge,Massachusetts, Harvard University Press, 1944.
Arnold, F. T., Tkie Art of Accomjpaniment from a Thor.as, London, Oxford University Pres,1931.
Bukofzer, Manfred F., Music in the Baroque Ara, New York,W. W. Norton Company17.
Finney, Theodore M., A Histo ofx Music, New York, lar-court, Brace ana Company, 1147T.
Gray, Cecil, The j jstoryof Music, New York, Alfred A.Knopf Company, 1928.
Grout, Donald J., A Short f jto~r of NOpera, ew York,Columbia University Press,A947.
Grove, Sir George, Grove's Dictionar of Music and Musicians,edited by H. CCollis, New Yor ,"Maciilandompany,1938.
UcHose, Allen I., 'The Contrapuntal Harmonic Technigue ofthe 18th Century, New York, F. S. oCrofts and Company,
Music Sources
Ahle, Johann R., Agsewalte gesangswerke mit und ohneifleitung von inrumenten, edited by Johannes Wolf,Leipzig, Breitkopf and Hartel, 1901. (microfilm)
Albert, Heinrich, Arien, edited by Edward Bernoulli,Leipzig, BreiiE i and Hartel, 1903-4. (microfilm)
Bach, J. S., Cantata 7, Leipzig, Breitkopf and Hartel,no date.
Bach,G 5. .,Cantata 1, edited by Ifor Jones, New York,G. SchiriFr#i9o9,
67
68
Bach, J. S., Cantata 91, Leipzig, Breitkopf and Hartel,no date.
Bach, J. S., Cantata 93, Leipzig, Breitkopf and Hartel,no date.
Bach, J. 5., Cantata 94, Leipzig, Breitkopf and Hartel,no date.
Bach, J. S., Cantata 95, Leipzig, Breitkopf and Hartel,no date.
Bach, J. S., Cantata 96, Leipzig, Breitkopf and Hartel,no date.
Bach, J. S., Cantata 108, Leipzig, Breitkopf and Hartel,no date.
Bach, J. S., "Cantata 114," Werke., Bach-Gesellschaft edition,Leipzig, Breitkopf and Hartel, 1899, reprint, Ann Arbor,Michigan, J. W. Edwards Comnpany, 1947-48.
Bach, 5. S Cantata 149, Leipzig, Breitkopf and Hartel,no date.
Bach, J. S, Cantata 152, Leipzig, Breitkopf and Hartel,no date.
Bach, J. S., Cantata 194, Leipzig, Breitkopf and Hartel,no date.
Bach, J. S., "Passionsmusik nach dem Evanglisten Johannes t'Were, Bach-Gesellschaft edition, Leipzig, Breitkopfand Hartel, 1899, reprint, Ann Arbor, Michigan, J. W.Edwards Company, 1947-48.
Bach, J. S., tThe Christmas Oratorio, edited by Max Spicker,hew York, G. Schirmer, 1909.
Bach, J. S., The Passion According to St. John, London,Novello and i5Companyt, 19 4
Bach, J. S., The Passion According to St. Matthew, editedby H. W.~lciiholITew or, 0.~sliirmer, 1894.
Donizetti, G., Don Pasquale, edited by Sullivan and Pittman,New York, Boosey and Hawkes, no date.
Fux, Johann Joseph, Constanza e Fortezza, edited by GertrudeP. Smith, Northampton, Massacusetts, Smith College,1936.
69
Gluck, C. W., Aleste, edited by Gustav Kogel, New York,Broude Brothers, no date.
Gluck, C. W., jphigenie in Aulis, Leipzig, C. F. Peters,no date.
Gluck, 0. W, Orpheus, edited by B. Tours, New York, H. W.Gray and Company, no date.
Gounod, Charles F., Pirella, Paris, Choudens, no date.
Graun, C. H., The Passion of our Lord, London, Novelloand Company, 1 r28
Handel, G. F., th.e Messiah, edited by F. Volbach, Leipzig,2rnst Eulenburg, no date.
Handel, G. F., Judcs abeus, edited by Frank van derStucken, New York, 0G. Schirmer, 1941.
Haydn, Joseph, The Agsons, New York, G. Schirmer, no date.
Krieger, Johann P., 21 Mhlte ro mpositionen,edited by Max Seiffert, Leipzig, Breitkopf and Iatel,1916. (microfilm)
Meyerbeer, G., Dinorah, edited by Sullivan and Pittman, Lon-don, Boosey and Company, no date.
Monteverdi, Claudio, L'Orfeo, London, J. and W. Chester,Limited, 1923.
Mozart, W. A., Don Giovanni, edited by N. MacFarren, NewYork, G. SE Trmer, 1900.
Mozart, W. A., Le Nozze Di g , New York, Boosey andHawkes, no date.
Schering, Arnold, editor, Geschichte Der Musik in j3iflelen,Leipzig, Breitkopf and Hartel, 1931.
Schutz, Heinrich, Auferstehngs.-Historie, edited by FritzStein, Leipzig, Bulen urg P4blislrs, no date.
Tunder, Franz, Gesangswerke, edited by Max Seiffert,Leipzig, Breitkopf and Hartel, 1931.
Verdi, G., Il Trovatore, New York, G. Ricordi and Company,no date.
70
Weckmanni, Jiatthiasa, ocantaten und choerke fmitinstrumental-begleitung, edited by Max Seiffert, Leipzig,Breitkopf and Hartel, 1901, (microfilm)
Zachow, Friedrich W., Gesammelte were, edited by MaxSeiffert, Leipzig,Breitkopf and Hartel, 1916.(microfilm)
