Key To Exercises

in Fart
FACULTY
,
Faculty of Music Library
Anne Bolger
UNIVERSITY
OF TORONTO
A KEY
TO THE EXERCISES IN
PART
II
OF
A TREATISE ON
HARMONY
BY
J.
HUMFREY ANGER
Late Professor of Harmony,
etc., at the
Toronto Conservatory of Music
Hon. Mus. Doc., Trinity University, Toronto;

Mus. Bac., Oxon; F.R.C.O.
BOSTON, MASS.
THE BOSTON MUSIC COMPANY

(G. SCHIRMER, INC.)
Copyright, 1913, by
For
B.
THE BOSTON Music
all
Countries
M. co. 3710
Co.
PREFACE
To the purpose, the double purpose, of a Key, and to the use,
the proper use, of the same, reference was made in the Preface to
the Key to Part I. Reference was also made to the fact that the
great majority of the exercises may be harmonized satisfactorily in
more ways than one; but, that the solution given is regarded by the
author as being the most desirable one in the interests of the
student.
In addition to the above, two other points arise in connection

with the exercises in Part II, to which a brief reference must be
made. In the first place, it has been thought well to symbolize only
the chord or chords under consideration in each chapter; for, the
student should be thoroughly familiar with the various chords which
have been previously considered. In the second place, in regard to

the figuring of auxiliary notes, and in accordance with a very general law, the accented ornamentations alone are represented in the
figures.
To Miss N. R. Hearn, for indefatigable clerical work, the acknowledgments and thanks of the author are due, and are herewith
cordially tendered.
Toronto, Canada
March
24th, 1913
CHAPTER
XII
SECONDARY SEVENTHS
(Pages 198-204)
(F,
1.
C,
HI,
VI 7 3;
1
,
(r)
II 7
Bb,
VI 7
Bb, II 72;
Eb, III 7
Eb,VI 7
2
;
IV;
(b) D,
Ab, III 7 2.
G,
(d) G,
F, III 73.
2.
y-%-
2f
i
T
87
6
5
A+
^^
f-
T=^F
r~
r
i
-r
J.
1=^
687
AH?
123
VI 7*
3
7
C,
SECONDARY SEVENTHS
124
r r r
-A
Bi
SECONDARY SEVENTHS
4- (a)
125
(0
r r
-^
iL
r7
D-
E-
677
BVI
rr
j
<S>
AA
j
&
r
677
*
G-
K
IV
787
CIV1
II 7
(*)-
r~r
J.
-s>- --
h^
f^r-T
4
3
A+
G+
IV
6
5
SECONDARY SEVENTHS
126
&
nit
j~i
4
2
6.
6
5
rr
SEE:
667
(a)
x^>
$>-
4-44
PS
6
5
S>
#-
47
4
2
E-
6
5
Fl
()
-4
EÊfe
4
2
D-
teki-
r^
4,
-(5'-
m
4
3
6
5
G-
6
5
7
#
n?2
87
-
SECONDARY SEVENTHS
127
7.
^
rrr
F--^
677
677
G+
G+
117
8.
^^p^p=pd^pp^^^P
^:
tt
r*-r
7777777
D+
BVI 7
II 7
V7
I7
IV
VH07
9.
Zu-5
/-
rn'T
687
77
D+
SECONDARY SEVENTHS
128
&P
_H
SECONDARY SEVENTHS
129
11.
<3=t
== =
^r
hf==t- *rt=T
}:
4
2
6
4
6
5
5
ft
i
5
E-
IV
PJ
IV6
J-
SECONDARY SEVENTHS
130
<-
fn}"
r*
SECONDARY SEVENTHS
/r "s a
131
SECONDARY SEVENTHS
132
3
i
J:
^_J_J J
6464646
52
5
A+
IV 7i
VI 73
HI?
15.
^=4=
rr
p^
rfTr---
|
i
iij
^^
665 77
677pt^^t^p
4
4
2
7##46#666 67
6
5
4
3
EII 7 3
17.
() The dominant
seventh occurs upon the
fifth
de-
gree only of a scale; secondary sevenths occur on other degrees.

a primary seventh are a
(b) The constituent intervals of
major
third, a perfect fifth
and a minor seventh; those
of sec-
ondary sevenths vary, but are never the same as the former.
SECONDARY SEVENTHS
133
The term 'primary' is usually employed in reference

(<c)
to a chromatic tetrad only, the dominant seventh being a primary
diatonic tetrad.
18.
=rah*
J^
6
5
6
5
6
5
6
5
G+
G-
G+
IV6
IV-6
II?
6
4
G-
19.
pi
7777777
{{7
a.
&.
687
5
G+
VI 7
II 7
I7
EIV 7 /L 7
V7
G+
I
VlI 7
20.
ff
^rryrr
Jj*LJ_LJ
i
^rrrtytp
6787
&A
I
f^r^r^f
6787 67 f687 r
565
L07 III 8 7
SECONDARY SEVENTHS
134
21.
H^
fr
UB
mr rn
J i'
-M-U-^J-J-j
mr
46
253467 6477
687
;i
F=PI
=
^
aa
^ 546-46-46 767
325252
Â.
JL J*.
ttB=F=2
=tb
j-.
jj
H
23.
/L S
'
SECONDARY SEVENTHS
24.
135
SECONDARY SEVENTHS
136
26.
r r r
r*r f r
nrrr
'
j-j-ju
6
^^'^M=^
334
t)6
C-
Eb+
II 7
V^
I7
27.
)fe==^=
H
^ L^_^g
^
^rrr
7^Z
^=bg
J
4
2
r:
67
HT
Gi
SECONDARY SEVENTHS
28.
\J
IE
b']
137
SECONDARY SEVENTHS
138
LLr
J-
^
7
'
^Fp^^^B
7
A+
6
5
7
#
OS
30.
F=?F =f==p
JJ
6747 35
646
47i(643
25 647
3))b
3
C-
Eb
C-
C
Blank rhythm
31.
in bass.
=C*=3t
677
677
Bb+
Bb+
n,
4
3
6-5
4-3
SECONDARY SEVENTHS
139
=d:
t=F
-r
1~
i-A
4646
2525 46464677
25252
II 73
I 73
Blank rhythm
IV 7 L 07 3
i
III?
VI 73 Ilyi
V7
II 7
in treble.
32.
A.J_q_q~
r-^
-F~T
SSp
""
".
**
6
5
6
5
B-
6656
4
ft
III+i
46#4646464
III 73
SECONDARY SEVENTHS
140
33.
>f
EES
SECONDARY SEVENTHS
141
^J
3-J
f=f.
1
m.
7
&
a
i
x -
33
142
SECONDARY SEVENTHS
I?
IV+ IV-6
1+
143
CHAPTER
XIII
CHORDS OF THE NINTH

(Pages 216-221)
(d)
=t
J J
-2-
$*
tEE
4
3
2
Roots
5
_D
rr
AJ,
,?i_ L^ztL:
JJ.
û
f2
:?Z-
-9
rt==ffg
4
3
2
Roots
CHORDS OF THE NINTH
144
3.
(fl)
Bad
the ninth must not be placed a second above
the root.
(b}
Good
(f)
Bad, as
provided the ninth (below the]third) be prepared.

V 9 (third being omitted), but good as V 7
.
(</)
Good
best position for the upper parts,
if
the third be
omitted.
(<?)
Good
(/) Bad
provided the ninth

as
2
9
(in the bass)
be prepared.
(third being omitted), but good as
V2
7
CHORDS OF THE NINTH

4.
145
CHORDS OF THE NINTH
146
6.
etc.
3ft
--&=
7.
>i2^s-
r
fT
:
i*
-^ ig
-^hJ
J
J J ^n*ff-^}
J 4-A^n^
^>
.
I
<s>
:^
(Sl-ii
<L
mTFTrl
rf'r-F-rT-
r-^-ff-iS'
i
f fT^F
li^X
^^_
i
!
g<
(~S
jHCS
^\f>
687
5
F+
,G-
D-
F+
II 7 T
8.
/L h >
CHORDS OF THE NINTH

I
-<s>
147
&
rr-rr-f-i
i
'am
(2
9
7
V7
9.
^LJ-Jtffi
'9
76
b7
V9
b9
7
3
CHORDS OF THE NINTH
148
10.
ri
I-
pEFW^N
79797
9
7
I
IV9 VII 7 III+9VI 7 Il9V 7
-J^-4
>J-
5-fe-s^-^bl.^ aJ-g*t^
-J-J,^
,
9
7
A+
li
V9
ho-^
P*FF3
Û-J.
f^f^r^F
66
6875
IV6
11.
frrpf
CHORDS OF THE NINTH

12.
_/l u
_J
149
CHORDS OF THE NINTH
150
14.
^m
1/5
(1)
Z""^
(2)
(1)
(3)
(4)
(5)
(1)
(1)
(7)
(8)
CHORDS OF THE NINTH
151
II
15.
g
J.
IP
F+^H
f=(
J.
r^TTf,
J_J_JJU
r
6587
16.
iid-Jdi
Eb+
CHORDS OF THE NINTH
152
17.
yt,
ÊEjE EB3E|EBEp|
rrrTr^TTT
r
r
r
lldrr^
|uM=pr-t
J id
*=if=f=t
^
^=F-=3
989r
J-U-+*M
L^3
a^^
_--=!
r-r-
676546
2
A+
V9
-pfl
V9
D+
V9
CHORDS OF THE NINTH
153
19
-&
&-
<s>
>_A
AU&
6
5
G-
20.
j^-jiLj^
A
I
A.*
6466
3
2
r-r
965
743
7
2
G+
H+9
21.
TTrffr^m
J^.iM^lîyjl ^J
333
46464
2
J|7
9
7
F+
V9
CHORDS OF THE NINTH
154
I-
a-^-T
r1
rr rr
rr
trf-
87
6
5
F+
IlT
v.
22.
-A:
-<S><2-L-V(S^_
I
\
if
98-
A-
f*=
f^
S
98-
C+
CHORDS OF THE NINTH
446 7965
33
743
6 #4 #6 6
34
2
C*'
B+
E+
155
E+
H+g
V9
24.
9
7
F-
25.
it
6JJ466
3
2
65
4fc3
t>7
V9
9J37
7
#
CHORDS OF THE NINTH
156
=r =f=?
rF
779797 P
vi7
n v
7
E+ B+
9
i7
iv9 L 7
V9
157
CHAPTER XIV
THE DERIVATIVES OF V 9
(Pages 236-243)
I
1.
(*)
(a)
r
n
~a~\
z?
4664
G+
F+
L7
L7
$-4
P=
r
664
5
2.
(a)
P=p=t=f:
J.
E-
#4
4
#2
^ n
THE DERIVATIVES OF
158
Vg
TT
#6
5
DL7
6
4
#2
3.
jg-ar-
i,
f~.
,J
.g?
i.
-<g
J-
<d
II
6
5
D+
4.
11
ft
IV
(a)
G+
IV L 7
4
3
-?!?:
66--
4
2 -
Eb+
(0
CO
w
LJ
iJzi-o-feziJôl
r
f^
=F^
TT
î^fciiiT^H^^n:^
6.
()
uff
'ITfT
159
=i
JC-
21
JO.-
A+
flx?:
F+
F-
L7
b5
W
HOT
b
1
L7Q
1
THE DERIVATIVES OF
160
Vg
tejgjuauM^^
f
rffrrFrmrr
M
i
-)
U-l
("0
(/)
LU-J-J-J-l
rrnTrr-^^^
646
6
6-5
54-3
A+
L 70
72
JM-
fTTr
.(0
(/)
(*)
()
(0
^^J^-^-j^J ^
?^
f=*F
6
5
6
5
7
#
IT!
L?1
I1
II +7
i}7
V7
8.
rff^g-g-
at
53
,-&r-
gg
t^T
1,6
||6
E+
C+
L 702
L 702
L 702
161
9.
I
i
r
rr rr
fO-
&.-^8 -G>\
-!
A+
10.
XL b
-<*<*-
J
iM
I
-<&- 2
j^fÊ^
<&J
r?
-*$>
rjE^z
46
67
D+
THE DERIVATIVES OF
Vg
11.
467
66667
E+
6
4
B+
L 72
L7
VI 7
-Vl
s:
L7
L^
-i
r~
3E3
v
-5
E+
#4
2
CJ
'L 7
1(7
Fl
6667
543
E+
ih
L7
,II 7
IS.
^
fi=
76
5
B-
rrrr'r
^J^-
64-6
32
667
-54S
687
THE DERIVATIVES OF
163
Vj
13.
~d2
-r-r*rr\
LAM
PWFtf
f-r-f-
4466
3 #2
#4
52
6987
7 #6
5
765
# 4 #
G-
14.
_L
_L_
isi
1)4
FLT*
W
_u^
II 7
724
9
t}4
b6
^3
F-
Bb-
V9
|)4
L^
PW
r
- .
b7
6 b7
r:_
_^
Eb+
L 70
Ab+
L^Q
767
4
fa
D[>+
F1V 7
THE DERIVATIVES OF
164
Vg
r=f^r=^=r
j.
-i
^PF
466
47
35
Lr
/L b
h"
L 7i
2
Ii
VI
LT^
36656
43
IP
V P
(*)
165
(<)
3E
,ej
-tffej-^-
J2L.&
rf
y ^Bi
j x_
6
5
6
5
6
5
6
5
D-
F+
DLor1
(a) This is a chord of the diminished seventh
18.
(),
(V),
IV-6
(^/)
and
same notes by
(<?),
certain
enharmonic changes.
Generator
Key
() D
B
(^)
F(d^
19.
A
F#
C
Eb
Ab-
change of name without change of
Enharmonic
sound.
0)
(a)
(t)
trl-
tt6
b6
A+
and
are diminished sevenths formed from the
Fl
L 70 L 7l
A+
JJ7
fa6
b6
A+ CL 70 L^
THE DERIVATIVES OF
166
20. (a)
\\_\L^.
E
21.
/T"
Vg
(0
(*)
1.LJ2C2
THE DERIVATIVES OF
Vg
Tr
j-
^j
167
^P=P
4667
*=s:
<
24.
=i=g-M
fcfei
^ -^f
;-^!^^^-^
g=
1
^
g
11
'
'
i
i
?=FJ=
'
*=&~*
T
JiJjLiAiJ
r
rn r
9
7
L/
V9
#6
A-
L7
L'
1="^
#4
3
fir
656
4
THE DERIVATIVES OF
168
Vg
26.
pppp
J
'&-
ggf^t^
#66
765
65
L7
/k
IV7
THE DERIVATIVES OF V9
4
3
169
#4
3
B-
H7
27.
^ 1 J
466
fr
E+
28.
cn
^4^+^yEd^^fî^
rrfPWf^
9
2
,,1
^=2fcfej:g
6
5
Lg-g_Lrg
cr^-^-L,
J16
65
443
6667
77
L7
VI 7
II 7
Mw
170
29.
r r
rT
TTTT
jjjjjjjjjjuxju
ttU ^
4
3
2
67
677
9
7
A+
V9
rrrr^f t-f-7-r-T
i.j
i^yÛ
fr
f=t
46667
43
I
B-
D+
30.
3^
&
D-
-r-tri
55#6
#4
3
^668787
j
5
3E?EEB
1
:=
^=fl
THE DERIVATIVES OF
31.
*
&
*ft
*jfJT-T*
tf \7
rg
1
f
171
m
53
#6
Vg
#4
6
4
9
7
# 3
32.
L-U.i
O ~*
JI
C+
F-
L 70
L7
*
*
77
b7
L 70
/I^
3
Vllr
The more advanced student would regard this chord

XVIII ( Part II ) and XX (Part III ).
Chapters
<^
as
xIV 70
/I 7
L7
\V 7
resolving upon V,
172
3=s
|_
feîîiSg
A
6
4
3
6
4
it!
fc2
it
fa
F-
r
6
^-^
-J-
6666
4
2
J.
-H=2.
6546
433
6667
543
I
4
2
6
4
THE DERIVATIVES OF V9
34.
i=t
W
-I A.
173
J..
765
46
}2
L7
mn
w
j.
i
6
fa"6
.Uû
^=r
6
87
35.
41
fei
f-r
^f-if
J
'
j
4
*2
A+
L 7o2
n?
1^3
^^
6
4
E+
L 70
THE DERIVATIVES OF
174
Vg
mrr~r
r~r
-u
PI
4=
46
6-6 77
Hg
87
"
'I
A+
A+
VI 7
36.
^[î^^^^j
'
'
'
'
'
j^-j-
i^F^f
p^^r
979
687
#-
69fc7
A-
E-
L7
iv9 vii 7 ni9
h46
446
C+
F+
3
2
#4
b
D-
66687
4
A-
# -
CHAPTER XV
SIMPLE SUSPENSIONS
(Pages 259-264)
(0
i-^,
.A
798
6
5
gz.
476
G+
I
12
N8
>8
so-
6764
4
2
965
5
2
E+
V9
12
^
j
PE
si
ai
b^&A
^-trSu
Jt2.
^-
643
fap
&l
&i
778
476
D+
F+
I
Ii
\Q
.0
/o
175
1^=
6764
2
I
\q
o
FP
G+
(0
(a)
fS
778
A+
SIMPLE SUSPENSIONS
176
i^ iiS
till
4
2
66-
5
2
A+
E+
12
C*X
35*
=!t?
986
498
36-
46256
B+
3.
te^3
j^ j
n ^^H
rir^nFFTgii
798
76
6
5
A+
I2
N8
4
3
4
2
SIMPLE SUSPENSIONS
177
4.
A
?=3i
ESf:
676498
4-36-
64 345
2
I2
Ii
N3
^3
6.
r^r
f-r
-r
1
6
8
B-
r
^
43
V
**
>8
if
re
J:
65698
4
#6
4
3
V
>5
Ii5u_fc
#4
ft
IV
^8
^6
4
3
4-6 4^7
2
SIMPLE SUSPENSIONS
178
6.
n g>_ L^
^ j rr^j-
ns
76676
698
IV
II
N8
5
2
zJL^_Lj|i
N3
SE
U.
SiEiabi
r
J
i_
^=
256 765
f-
iS'-
698
Cfr-
IV
VI
Ii
/8
Hi
>
v8
676
4
5
2
Vi
"|
6
2 #5
#4
765
ft
VI
SIMPLE SUSPENSIONS
179
7.
w
ITT
&
&
ri
r^rl
rj
PIfci
&
\\
g.
-r
4
2
t|4
22-
(14
JF-
'
96r;
h y
~^r
^-i
fc
66- 676
5
42
fc6
I2
>I
9
6
SIMPLE SUSPENSIONS
180
8.
9(?
SULjfcS
T ?
'
i
6
543246
6
9876
56
4-35
IV
/k b
V,
SIMPLE SUSPENSIONS
10.
fey-itE
181
SIMPLE SUSPENSIONS
182
r
j.
98-476 443 66-5677

54-32
V
N8
12.
SIMPLE SUSPENSIONS
183
Sr
13.
^
698
i.rt-jj
986
6
5
E+
L 70
E+
M
-T
J^_ j, J
4
_J_IXJ-J
52-
TT
T-frr
4
2
A+
L 702
^3
- - 7
12
V3
\5
98
76-5
V
14.
rs/^-rs
--^
r=f
J.
JT==t
V
N3
86
VI
43 986
III
IV
SIMPLE SUSPENSIONS
184
"
Ifll
* 9
*r
SIMPLE SUSPENSIONS
185
16.
=
fc
ft 3
fTTT
j.
j.
&S
r ^
=
r
.j.
J-
J-
=8E-
43
6
5
98
ft
#6
4
3
Fl
IV
'^-T-T^--^^^
^^^
4
2
17.
.Lui^LLJ
Z~g 4._
i
-^
-A
^
J
J
91
\
r
A A
x^?
.x^
1-A
A A
^f^-rP-^f^^f
656
1-4 43 98
5
#6
AI
>3
IV
#6
4
3
SIMPLE SUSPENSIONS
186
i=^Z*3
3~~Trv Iff
^ j-jj i
--
(2_
5>
#3
#5
687
56
D-
A-
C+
II
N3
II?
=1
c*
18.
rr
P^^^ ^F^r
76
Xf h
6
4
#4
$3
#5
#6
4
SIMPLE SUSPENSIONS
I^J
J:
4 #3
1A
98
6
4
G-
J J. J
-7
#35
65
43
IV
187
N5
19.
G+
659843
VI
in
\8
lr-3
i-
r-r-rr
-
989
ii
\8
y
>8
SIMPLE SUSPENSIONS
188
20.
V-1/
25
/y
189
CHAPTER XVI
COMPOUND SUSPENSIONS
r
.
(Pages (279-289)
0)
(')
,
l>~*
11
(d)
J J
lu-ÎDP
s-
s:
-
q^
&-
478
343
F+
698
543
G+
-1
9
7
4
2
j
7
5
+
I
igyjah^jg
^^^
f^~^
tr^
*g
9-r&
î|=
76
5
4
3
9
7
7
4
^
-
33
G+
i^>
^2_U=
Ju.
46
25
2
D+
F+
ln-gL
tPJt^
g =i
s
4
G+
7
6
F+
JS.
D+
190
I
J
BEzi
6
7
4
2
9
7
4
A+
V?3
7
6
4
V7
N8
it
I
Jl
f
6
5
3
B+
3.
(a)
t=J
?
?
:::
L_|
J-fîi
E^
a=?_
r
66-75443
Hi
N8
12
N8
8-
&
~n
\\~cf
^-a-S-i
5-
767-9
54657
8 4
3-
I
X
8
v3
4.
P-rH^H
j^H
g
^~^
b^d
r^tûj-^ûj^^g
l-.l
-&-
J-
PlEE
^PT^T
6
V7
VI
5443
8-
192
^
A
J.
221
-986 987
6-5
4-3
A+
VI
N3
w
oi
ft
P
^
i
4
3-
=4-
hu^h
fg^LF
193
194
$
Iff
7876 5465
767-
45
23
23
4
,6
,3
IP
N8
x8
;3
V8
N3
N6
^3
4323
3
I
>3
7.
=^
K-J
t-F^P
SB^rsti
A+
^fi
7676 7676 7676

v
iv 1
N8
^8
in1
ii 1
i1
^8^8
L1
^8^8
8.
(a]
mm
g-l-g-^-H-^
i
ij
-P
!-
7784
43
2
6767
54
P
65
4
VI
105
f6
9
7
4
j:
7
5
6
4
-
73
>3
*-UM
7
5
L-N
&-&
%
65
4
#2
VI
5 4 2 -
7 6
4 2 -
V7
9
7
4#3
V9
>3
76
5 #4
3 -
L^
<8
196
9.
(a)
df
U-v
47
798
43 25
r
2
7
6
E+
iS
S
rnrr
-<9
1^*
?v~
*-*
978
698
76 76
5
197
J-^
r^r
=-n-g-rsr
Â.
if
6
9
7
9
7
6
5
2
fe7
6
4
J|4
t)
V9
N>
10.
iT.
^^
L* |_
J.
U-^
bJL
^
I
8 b7
fa6 b5
3
8
5
b7
43
98
65
43
9
7
V9
7
6
FL?
$
>6
^3
r$-b
f-r
L 70
FI
N>
198
11.
J
-g
I
_^_
JSL.
t=*
&
J-
754
698698 66432
43543
V7
(sft
IV
199
200
14.
2CE23
986
43
746
33
65 #7 86 987
76
# 2 3
7
4 -
5 #4
67
6565
4354 -3
987
76
4322
98
43
A+
IP
VI
"
-3
;s
16.
&&H^~>J-?&=}==,
(P
>3
202
-+-?+*-4-i-Ffi
zogzzpgac:
P
^H-t^rH
Jr^J
kl
^J_J-
b!
96969
Lo
I
8
VI
N8
N8
-f-
-T
446-967
256
4323
9
7
V9
V
>3
IV
Ii
\8
^8
V 7 V7
N3
/3
j|6
17.
i02&5
J-
F^-^F
698
c-
LI
^8
N8
_i
^
98 76 98
5-43
IV
Vyl
j.
a
8
5
4
P
/3
j.
- 7 6
- 5
ft-
18.
VT"
11
203
204
^H*
7
#4
3
9
7
'6
7
5
ft
N5
20.
te
H^
feg
rrf
:r z:
rf
j-^44^
^^P
F^ ^ 666^
^f
546
6
6 #6
IV
P.
n .T^Pj^fea
^
JJ^J
*
it
i ^
kûj\i
r
:==8P-p
P
P'ffr
rt
98-
'
fg
-L
LJ
i=t
#
rg
67
6
1
7
5
fi
7
#5
6#67-787
3-4-565
2-33
#-
IV 7
V87
S3
N8
H.
21.
b
205
206
tJ-^
-J-
r
J
j.
Zg
r-
te
-f-
76677434II1
>I
I
/8
^
23.
?
i
^ A
7
6
5
S^
98987
3765
A+
G+
H
N8
g>
/ IV
/
^8
L 70
N8
Vj
^^
7877
43
G+
8
3
b5
6-7-4
443
5
207
24.
t=t
3^5
e)
j.
J-
-&-
-iS>-
IF=F
6
5
V6
5=3
r
fÛUj=
-si-
r~r^ F-^-F-r
J-^l^:^
6
J-JL
1
3423D5
1)6
C+
6-
^
6
F+
6-
^5 #6
r
j
56
5 -
7
5
3-
V
N5
208
25.
A&4-4!
\f
J-J
EB
209
:p
rî^
r
r fff"
Ff^Tr
$4
4
3
D+
Fl
#3
V
N3
S3
27.
*U
pf
66-6
54
2
A+
*LJ
65
*__
t=
fFFf
69367
43
1(5
V
N5
D+
A+
/iI II 7
(iv
\v8
28.
^r\^^
jj
43
210
i=3
&-
9^
I
-
76 56 767
4-3
4
2
L7
N8
29.
I
o
3
^5
>3
>3
211
30.
J
^ --3
rr -r-
_J g
665
-5-76435-4
4-43
542-4G
B+
VT*
TT
O^
xo
x*2
i=jM^F
2
"^
656
/8
IIP
/8
6743
66-
5 6
II1
P^
-T-f- -f=T~i
IVi
II 7i
I
^3
^8
31.
1^-^
&
P^
r^
EIV
^8
8 -
r-f
F^î
212
fcJ:
Pi
-T-
8 6
4
7674-65
#
s
i
32.
213
rr
is
t^Htz^=r=Ffr
i^f
6
5
5
I
33.
#
I
12
N8
>3
N3
767 4323
>3
P^
A
J
}=t
m
fe
(S'
439
IV
VI
N3
3 -
-p
I
d-
214
*^/
Av
'
216
216
-J&L
fc
fete
4
4
#5
98-79
76-57
54-34
43
G-
36.
^5
N5
^3
hP
-r
#3
=t=t^F~r^
^^
^F^^
I2
98
987
BIP
N8
XIV70
V
^5
#4
2
217
^
trm*
6
5
E-
37.
"n #*>
IS
8
3
665479
4
#3
#2 #3
218
784
I
,8
A+
L 70a
r
=f
(j7
j(6
E+
I1
-8
L 70
5
3
I
>5
>3
38.
765
543
39.
"5
219
220
i^hfc
h=-
767
65
r
6
5
9
4
8
3
9
4
G-
F-
-i
r
j.
J.
rr
j
atfc
9
4
8
3
6
4
5
3
I
N8
41.
t=t
SiS
r
ffi^^^
66
5
98
43
#6
|7
H5
8
5
L7
LI
^3
t)7
89
5
3
7
#
B+
E+
L 70
V9
N3
NJ
-d^d
Ig
F*
C8
221
--*-
H-^-
f^r^
s
#7
6
4
1*
fe
8 #6
5
3
4-6
33
2
F*
I
/8
LI
6 #6
3 2 -
667
5 4
#
t~
8
*7
Cl
J
^3
sVy*
>3
222
CHAPTER
XVII
AUXILIARY NOTES
(Pages 308-319)
t
EPCT
p
U.
-_2-
p p
BfH119
P-T-Jf-,
fnV
AUXILIARY NOTES
3. Measure
i.
(a)
Consecutive
fifths
(treble
and alto)
at
third beat.
(I))
Consecutive
fifths
(alto
fifths
(alto
and
tenor)
at
and tenor)
at
fourth beat.
Measure
2.
(c)
(d)
Consecutive
first
beat.
The
use of the mediant chord
(first
beat)
not desirable.
(e)
Similar motion
(treble
and
(/) Consecutive
the
to
struck
fourth
second beat).
alto
fifths
(treble
and bass)
at
fourth beat.
Measure
3.
(g) Incorrect treatment of a dissonant note
(B
(Ji)
in tenor)
Consecutive
on
first
fifths
beat.
treble
and
alto)
at
second beat.
(/*)
Incorrect treatment of a dissonant note
(F in bass) on second beat.

(/) Consecutive fifths (alto and tenor)
fourth beat.
at
AUXILIARY NOTES
224
(k
Consecutive ninths
treble
and bass
at
fourth beat.
Measure
(/) Consecutive fifths (treble

first beat.
4.
and tenor)
at
(m) Incorrect treatment of a dissonant note

in alto ) on second beat.
(
6. At (a) each note
is
harmonized separately;
there are
five distinct chords.
At ()
B and A
are treated as free turning notes

distinct
chords.
three
only
and
are treated as changing notes
At (c )
there are but two distinct chords.
there are
now
By
and now
" melodic "
is
understood a minor scale, in which the unmelodious in.
augmented second
is
not present.
the term
terval of an
AUXILIARY NOTES
6.
fe
te
i r
P
e
fefe
tr
i* J *
i=,j-Uy
r
7.
^
r-g
AUXILIARY NOTES
226
=1=
^
A
J.
4-3-6
8.
1(6-8
33
3--
#5-8
3 -
33
C+
Bb+
j.
J}4
6-
C+
F+
3-6-65
b5
Bb+
I
D+
F+
G-
f^
AUXILIARY NOTES
J_J_
rm
227
pS"
f=S<^=ÊpllEEEE
6
346-
9-6-8 987 874342
6676565
4
9.
-fei
?^P
A+
G+
t=tj
AUXILIARY NOTES
228
Ill
f=f
6-6684-
III
-434
b
43
be 5
2
9 7 8 - #4 2
fe4
B-
D*.
/L
"
L 7oV N I
23
AUXILIARY NOTES
10.
A
4
6-6
4
G-
C-
J-
6 -
ifi:
3 -
64G-
6 -
9
#7
-J
AUXILIARY NOTES
11.
^
-A
6 6 5
4
2
.(2-
6-65
4
6-4
652
B-
D+
^Pfet
-
6E-
12.
D+
6-5E-
4 - #3 -
B-
V7
4323
I
AUXILIARY NOTES
-fl.-frfc
5V>-*
,-=^
-*-
231
AUXILIARY NOTES
232
b4 - 3 -b6 7
13.
nti
89-8
7 -
AUXILIARY NOTES
3P
i-
rf
4396
IV
III
f-
_ /a
t^
ii
233
I
^3
16.
r
6
6 4 -
7 -
3478
6 5
43
V
* Unaccented auxiliary notes, as a general
IV
rule, are not represented in the figuring.
AUXILIARY NOTES
234
-&-
u
y-
$==^
6
4387
1)6
3
ft
=b
M-
$b=i=f
-j
3=2=^*
f ^rrf=f
î
87566
65
4
3
8
3
8
6
If
pfeSE^
fc
i^JHiPi
r
i
6-986-6
65
r
p1+
756
3-
L
1
J
6
* -J
-H2
AUXILIARY NOTES
235
16.
-t
8-6
7-6
-
4
3 3
# -
6
6 -
65
F+
fpN*
AUXILIARY NOTES
236
17.
m
E
-p
'
P-*
PW
_u
-'
s
Jw-
^*
J.
*_!
j'
A+
^
r
6
Fl
AUXILIARY NOTES
18.
mU
6
4
c-
"I/"
Q-
5
6 ft
AUXILIARY NOTES
238
19.
HH
^T-
r
6
ii
67556
&
j
^r
f-r
>5-g-
A A
iJ.
6
3 -
D-
1)4
C+
-^&
f^F
6436556
7F+
AUXILIARY NOTES
20.
j>
Sly
tf
rfffrrT
ff
J___J
^
s
91
J
__J
gi__j
^~^P=
g>
r
6
6
4
G+
-f
f
F-^P^rî
J. J-
i--r-r
236
IV
rff
6543-
f^
=^
6
H-J
7766
4432-
1^
AUXILIARY NOTES
240
21.
"
WT.*f
74323
5
2
t
^__^_
!
-^=f=f:
j
7
5-^6
-\
F+
74323
ft
V s! 1
^3
/ Vi
1MA
-*-fci
Stes
22.
'
iffe
^
-
tt/
'
i=nd
J-LJ.
^^^
-
7
3
#6
At
,7
tf
7 6 7 6
8 #7
6 fa6
5
3
5 8fa75 6
# -
7#6
II 7
E+
AUXILIARY NOTES
242
Ertrrr
765
696
IV
23.
Bl
i
466
345
7
3
AUXILIARY NOTES
24.
t^fl
*=t-
76 54 34323
I-
B-
IV
3tfl=i
7
id
t33ta
#4
2
244
ott
AUXILIARY NOTES
AUXILIARY NOTES
25.
^^t^^^rgffi
^
A-
=F
IV
^^
II
UJ-
99--J-9
j.
f-
-T-
-i
j.
^z
^
r
P"
7
IV
V,
26.
j
ii
J--J.
ft
m
9867466-6
6
fa
51
'2
246
AUXILIARY NOTES
AUXILIARY NOTES
247
28.
J.
J.
F
986
c+
IV
AUXILIARY NOTES
248
29.
B
^
F
i
n K
hv
^
i
i*
i
--'(*
^^T
J-J
r~^
^
'I
AUXILIARY NOTES
30.
IE
*-d
I^H- 4-=H
d'h^-d
*-
rH
tfz^-r-'-i^â__^ -^jfcBB5j= =:=
^-r~"^tTÊurn^rgîS^-^
fe= ^r ^
1
r^r^=
:t^zE^ÊEg
CHAPTER
XVIII
EXTRANEOUS MODULATION
(Pages 341-354)
rrr
_a
isL-bgrL
&
-^
feE
b5
1(6
b5
G+
F+
D+
/IV-
G+
(IVVII-
VlII-
14%
xd ^31
r
J JtJ
rr
7
ft
A+
D+
/
uv-
it
/V
/III
VIV250
A+
F+
(IVVvi
j}5
251
(0
tr
7
ft5
#
fljjj)
Bb+
(III
A+
VIV2.
rJfi
IVIII
252
Sfczi
3E
~r
253
fiEr
fc~r
b5
#5
b4
b
ft
B+
Ab+
E+
/IV-
(iv-
Vni
J
7
(#6)
1)5
E+
/V
/III
Vi
uv-
IV-
T~
I
b5
tt5
#6
1
E+
ni
VIV-
III
#5
254
J-4
BE
r=t**
fcHc?
P^tp
M^
--
JlJ, tj
ikJ-4
rzp*_L.kSfcCrmrcrrJzrBZîifcffir:
,
b5
b(i>
1
B+
b5
Eb+ D+
Bb+
G+
F+
/III
VlV-
&=f=\.
^=r^s
r r
9
b7
4
3
D+ Bb+
Bb+ G+
^-L
J.
hg-"
A+
t)
Eb+
-J--"
a A>A
(b5)
b7
A.
b5
5
3
F+
A+
F+
D+
E+
6.
255
(a)
fe
r=f
t}6
#6
4
3
||5
A+
G+
B+ G+
(0
ii~
ff^fe
t>5
A+
F+
266
r
j.
m
6
b6
b5
b5
ft
B+
C b+
(f)
A
F-3--ji
b5
tj6
b4
#5
bg
\
B+
Eb+
r>b+
E+
257
$=&>
r
A
t*-
6
5
b6
b5
J
B+
Bb+
7.()
lift
11^-tilA
1
I
r r
m s
i
1(7
ft7
(i|5)
ft
5
ft
B-
Ff
C+
/IV
C+
CI
(S
VlII
(vi+
t?
g
r
'
C+
'(g-
-f=2:
Gl
'IVkVI
l=
(1)8)
G-
c+
I
"
258
(f)
iqr "p
C+
V
I
8.
u<y
g>
"r
C+
/III
VII
(a)
i
I
i
rr
ry-T
ijsxdtfz^
/^
H4
6 fa
tttt6
ft
E-F-
D-E-
D-
B-
D-
Fl
'/'
at
L
jL
\
\-<?
I
I
b7 ^7 (#5)
ft
S
_tt
F-
JJ:
Cb-B-
i}7
Bb- G-
#5
(*')
^
J
JL
*L
H5
\
Gl
ci
G-
9.
B=
gE
rYr
rff
65873423
b
10.
j
u4
g_
B-
56
7
5
x5
7
5
-#6
x5
i
j}6
I
BV V7
B+
5X
5X 6
4
F^
260
- 7 #5x5
- 7
#5x5(j6
# -
8X
F-
v 7 v7
5X
F*
v7
6
5 -
8-6- 687
556)J3#3
6
B-
v7
6
i+
261
r^ffi^
J.
\-LLSr
Bin-
ffl-^VTO
If
B+
SHE;
PSUiis
Rf-fr
-.
^ft-r*-
14.
^^^ ^^^ 3
3t:*^
D+
Cjff
5:
F+
&
Gb
B-
D+
16.
w=^
A.
ai'-iJL
^^^g^pg^m^p
*
G-
D+
fc=F=t
s r?r
1
iH
aSltt
^g
G-
F+
^.
a/ yf
<r
J^TI
JÛ
^ f^
3
D+
rr_
frf
44
i
f*+t^f
16.
B^
S
E-
Q^;
Eb+
=* ^
^-jH^dgl
Ê^r|iEit
:
IT
I
r*
GH
fr-
^^ ^
'
-S-4
Fi
GI
265
17.
?*i?
jg
fagi
5
3
%4-j-J-if^3=3J=n=fldar1
6
4
ipj=
Ê^ffiE^f^^fflS
r
f rr
pp-f
1
2
19.
II +7
()
.
I 7-.
(b)
(/)-VI 6 x
X IV 70
(Fr. 6)
-VIe x (It
6).
IV-.
5X
+1
(V) -II
(Ne)
20.
(c)
(b)
(a)
j &
I
SE
n~
b7
6
4
-VI 6X
xiv70
rf
"
'
7
3
267
21.
-N-n-
FT
!*-
;f
is?
"
JET
22.
6 S6
*t
b6
7 b5
66
5
G+
-VI 6X L 702 Ir- -H+ 1 -VI+ x!V 70

1
268
23.
S3
|=|
fT
im,mu
_ _
^
"is?"
-8
568776656
3-4534235
432
tMd=J
w767989-8-7
^
P
97
-5
44
24.
233
D+
I
I 7-
IV2L1I
4334-- -323
V7
VIi IV* I
/3
25.
6 ^6
56-54
#4 -ft
#7
i(7
D-
x!V 70 L
3
1}3
G-
787654865#-2^4^24
D7
V 7 /P
8 #7
V? 1 VI 1 Vi xIVo
V xIV70 V
3
269
26.
ft7
6
4
B+
L 70
t{7
III 7o2
fc6
2-3V
fi4
XlV 703 LI
27.
I
-j-
J.
frj.
5
3
5
3
b6
4
F+
J.
4
3
G-VI 6x
4=^4
1
6
J.
b7
ft
J.
#6
#6
64
b5
A-
F+
G-
w ^
5^-,
IMS
ff^
*L_JLJJ4
r ^r^
-
^T^
74
43
Ir-
II 87
fee
VI 6X
4-3
V
b7
28.
^ste^g
^rr ^^^^p
(S--
765
G+
j^g:
^-
64PJ}
B-
76 #5
it643
271
IS
-5
-57-5656633-63435
33-63
22-
66
5 #7
#5
G+
VX
D+
G+
IV6
3 #2 3
IV6
8
8
#5
tt
fe6
JJ6
b5^b4
h6
4
b6
,
tj2
L 70
t}7
4323
1}
-VI 6 x
/ I
x!V 70 V
11+
S3
V-II+
- #7
-
8
5
b7 b5 b7
b5
6
I:
r r
j
.^J-
1234-3234-
3
I
II 7
rr
5
I
IV ^H
/I 7 i-
b6
IV-
-545
-2-3
L
#7
70
V2
272
29.
I
=a=t
zis:
55
fc
rZ>Jfaz>-.{2.
r^ Hr^
nti
46
b7
b
i
Bb+ C+
be
fee
b54
b?
G- F+
D+
L 7o
4
2
Bb+
L7
III07o
- b9
G-
646
Eb+
4435434--323
b7b6 --545
he
tr
xrv>o
-IH 6x -Hex
IT-^
-H+2 L 703
30.
fc*
^:
Jzi
J
I
A+
B-
273
ISIZ
I
r
8
-F
-=
r-rr-rf-*f7
#5 #7 -#98 #
*4 -
t{7
86-
E+
3
r
^=JTTJ
fr^
^
rr
J-
:fcljq
FH-F ^$>
S^1
pLh-^PF-flh
#5
B-
6 6
^6
fi5
9 8
S5 6
4 _
1^9
8 - -987
6 - 5
_ 4
--3-
A+
'
.11
<8
!2
V5
Il+ixIIyo
IV-Lyo
!1
/8
LI
\8
274
31.
K-M
d&tJiG
^>
fvq
i_ _ J^^
_,, .
/ 4:
BifcffiifQ
r^_.
^zgfl
^
IS-U*^^
*-^J
=f3=
p
,JT
F^^q
J\J"?lJ
=t=*=
i^teqqiGterrs
L ,_.
^
r^=?^H
W--M
a ^ h
fciq
6-5 9-8
4-
4-
7-fc65
6766
6 #4
42
Fi
-VI 6x'
-ii
^5^8
III
II+7
N8
>3
N3
tl
ffÊ
86
4
#7 8 -
#-#-#
5
x5
x5
Ji-
x5
v x /i
E+
Vx/i
6-568-7
4-
ft
6ft
G+
Vx/I
(v
VX
A+
vx
4-^136
D+
$5
B+
Vx/i
F#+
/i
-II+i
rr
rTr
S6-5#6
8-7
32.
4-^46-55x5^6-^- 4 2
#
##2
X IV70
TMT
,U_1-
iHtiiiiuS
7
276
1+
IV+
276
- -
- b7
8
5
432
I
3
IT
'3
#6
t}6
V7
>3
N3
4323
C+
VI 6X
sfe
87-
8 b7
#5
I
F-
04
-J-
-^-
SO ?
-E-fr
6 -
- 6
i|5
3-62-4-
277
33.
AEE
r=
A A
&
î
4
2
#6
3
C+
G+
G+
11+71
^T
4
2h5
bJ
K.
\-~
fa
1
bJ
J_
J_
43
b7
fc6
=&
5-43
t|7
I 7- 3
XlV 7o
IVi
b6
IV-
N8
34.
tnn
E
r-,'
j
T j^fa^^^^
^Tfir-=PT-r=P
i
-j.^
8
t>
3
3
4b5
5 3
C+
IV
L 70
278
8-7
6-5
6
5
H+7
6
5
8 7
6 5
D-
fV
87
633
F-
^5
=a=J=m
3t=
r r f
U^
'
565734343
-VI+
b6
7
3
-II+i
35.
t==rf
B^fiS
^pppp^
-VI 6 x
6.'
4 .6 '96'
4326
4
3
JJ5
ft
11+
6
4
50
279
N3
6
4
#7
#5
46
XII70
JJ7
4 #7
xIV 7
L^
8
4
i}7
IT-I
8
7
4
IV
b6
8
5
#4
3 #2
53
NII
36.
FT
PP
J-JL_1_J_
ytj&.
Si.
6-6
E+
8 -
;6
3
F+
I1
J-
-9-8
A+
II+i
(*)
281
37.
EE*
I
"
f-
25
#6
573
8
4
-VI6X
#6
5
KG
4
#3
-VI 6X
282
38.
-1
L-UJ
'
^^
6 ^4
B-
L 70
J(5
8 #7
4 ^2 S3
56-5
F*
H+71
)(7
283
^
^
39.
1
5
5
2
IV-
#5
#6
5
Ix
fci
e=E:
Fte ^-J*_jcp^__p_4
rr~r
'^^r^
^ *i
^P
^^=rtt=r87
'
(17
5o
8 7 8
b6
""
.
X v 70 vi
40.
RT^f
trr
^
?
*f= t-
f^
6
b6
5
I
IV-
7
3
Ho
284
|37
8
5
b6
b5
43
6 b6
6
b5
8 to
6 t6
4 -
9 8
5 1>6
b4 b3
1
IT- -II+
8
5
3
x!V7o
41.
^^
mfT^nSEr^S
7#6
4 3
6-
5#6
34
6 5 #4
4 3 x2
A+
VX
6
(6
t
)J7
fc6
- #4
v 7o2
^8
#7
436-5
fe7
XlV 7o2 L
xV7o
N3
J37
3 #5
285
42.
._r"q -J-frA-X
g~j^^*~r""/Tf^
i^^T^f
=^2fcb
b6
b7 b6
&5
fc6
-II+i
-II+i
fa5
j(3
^8
hP
^-f
l^rrsji^r J^,
^g^-FT
- 6 b6
F
t)
frTT!
'it
6
J(4
F+
_vi 6xi
I-
f-Ê^B
b7 b6 (J6
b3 - 4
Eb+
-n+i
i'rr^rn
tj5
9 8
4 3
^:
^L
>8
W=
323^4
2
x7
#4
6-53
8
4
Cl
I
286
Si
-L
J-
i^^
J.
EEii
4
323
E+
5
#2
#2
ci
44.
J
T
.
J.
-^
i
6
4-H3
F-
565
343
H7
-^-
J.
4-3
A
V
a?
B4
tt4
F-
Bb-
Eb+
n
3j
287
frU-J^
b6
f^=p
-6
F-
C+
-II+i
J-
IV-
'
~~p
7
1.6
|{6
DO
IV6
45.
XL
-23
&
I)
288
8787
4387
6 -#5
343-
6 5
7967
743
^^Jl^LÛL^
MFh îrmr^
-JJELj
43
bJ
.j-hJ5P
66
b^J
P=lt
#
4343
r
=f=
t=
289
=1=
p ^f^frf^rF^
::fc
J.
s^pl
798
43
46
2
766
b5
111
^TT=^
-T-^^r^T^^f-t1,1
^
e
Û
7 b7
ft
1,7
1,7
ft
r-TT
#6
4
fc
-f8 b7
3 -
6-^53
[-
r9
b7
fnV
291
5
o
J JJ
^"i3^b^ J- Ê^b^-4^T
+^
ii!
#6
-^_-^p^^^^^^p
'
-A
43
:îjljJ.J.
#4
2
A
"
6 4 6
5 2
b
48.
/L S3
9 8 r 6 &7
7 --'4 3
4 #3
4369436
5
4
5
4
10
292
aSE
t*
=S=d
r r
J.
&
46-676
65
343
4-543
#6
i
Û
tfc
Ê?
b2
^
N
4-4
^=^
6 5 7 b9
4 3
H^-ftJ.
3=&-&
t6
lJ6
4
3
b7
b5
t|6
4
3
b6
4
bb7
b5
it6
b7
4
b
\\--4-^\^==^
^
g_ggg=
*-i*y
-^
gl
lÛ,
^_S.
656
874346-5
434b6-5b5-fa6t}6567
23-
293
49.
t=t
TJ
Jl
J.
65
87-
766- 987-
654365
4
3
-(
^.
I-
65 98
98767
4#3
43
J-JU
5 #2
4^3
6 5
6^6
4
3
6
5
4 ^3
1(7
<-
tat
9874
4
4
3
4#3
i^sg^
fl-4-
&
294
Coda
major m<
in the
4 S3
4#3
/,
986
-
al fine
#2
#3-
50.
PE
IJL
^--^-h~ P^tt^SFP
7
tt
ilB
6
fc4
'
#6
4
3
# 6 7
4 i(
6
4
5
ft
295
f
m
&<
r^
XL
.i-
B n
.
E_
*\
IT
-i
(orfrE
r
S7^H?~Hl
i
46
b
:*=_,!
P
rter
fr
4
2
1(4
7l)6 b7
# 4
i
ft
b6t{5
9 -
ft7
61.
f-
J-J-
^
7
1(6
54
b7
f6
B+
D+
-VI 6x
5
297
may be
28. Transposed a major second higher,

as
a
reply to this question.
garded
54. Discords are divided into two classes, viz :
53. Ex.
re-
Essential and II unessential discords.
Essential discords comprise tetrads (chords of the seventh)

primary and secondary, diatonic and chromatic also, pentads
;
(chords of the ninth) major and minor, primary and secondary,
and diatonic and chromatic, including

and various modifications.
also, their derivatives,
Unessential discords comprise suspensions, rising or falling,

tied or struck, and their ornamental treatment
also, aux-
and
accented and unaccented, diatonic and chromatic,

various chords (modifications) which arise from their use.
iliary notes,
The Boston Music Company Books

FOR THE
Apprentice
SERIES
Net
\
Treatise on
\a Treatise on
Harmony,
Part
Harmony, Part
J.
H. Anger
"1.25
II
"
on Harmony, Part III

\c Key to Part I,
Treatise on Harmony
\d Key to Part II, Treatise on Harmony
\b Treatise
\e
2
3
4
"
"
Key to Part III, Treatise on Harmony

The Modern Enharmonic Scale
in
"Studies
in
Musical Graces"
Exercises in Sight Singing (Solfeggio)
Exercises for Training of the Boy's Voice
Position
Vocal Reinforcement
and Action
in
E. Fowles
L25
.75
A. A. Giraudet
1.25
S.
W.
Cole
.60
Ed. J. Myer
"
1.25
Elementary Violin Lessons
12
School of Trio Playing. (Two- voice inventions, with a third

voice added and arranged for Organ by Max Reger and
Karl Straube)
/. S.
13
14
The Organ Accompaniment

The Plain-Song Service
15
Practical
E. Gruenberg
Church Service
Bach
H. W. Richards
S.
Harmony
The Rudiments
of
.60
Macpherson
1.25
.60
Designs
"
Music
"
Music
\7a Questions and Exercises upon the Rudiments of Music

18
Practical Counterpoint
19
Music and
20
its
the
Modern Orchestra
2,00
.75
.75
"
2.25
1=50
Appreciation
The Technique of
.75
1.25
2.00
Harmony
on Harmony
in Music, v/ith especial reference to the
1.50
E. Douglas
ISa Appendix to Practical
17
1.50
"1.25
of the Vocal Art
of Instrumental
.60
E. Douglas
11
Form
.30
.50
The Renaissance
16
1.25
R. Wuerst
10
\5b Questions
1.25
E. Fowles
Singing
of the
1.25
1.25
"
Elementary Theory of Music and Treatment of Chords

Studies in Musical Graces
4# Key to the Exercises

5 Gymnastique Vocale
1.25
Ck.
M. Widor
5.00

FOR THE
Apprentice
SERIES
II
Net.
21
22
23
24
25
26
27
28
2Q
30
31
Reading Exercises on Notes

Reading Exercises on Time
G. Farlane
25
Reading Exercises on Phrasing

Elements of Music, Simply Explained
Handbook of Conducting
Catechism of the Rudiments of Music
Organ Playing: Its Technique and Expression
25
The Child's First Steps in Pianoforte Playing

The Forearm-Rotation Principle in Pianoforte Playing
75
H. C. Knowles
.40
36
Handbook
Handbook
37
Instrumentation.
38
Handbook
39
Beethoven's Pianoforte Sonatas.
40
Beethoven,
4i
Studies in Phrasing and
42
Advice to Young Musicians

Sidelights on Harmony
S.
and Viola Playing
Macpherson
C. Schroeder
"
of Violoncello Playing
Norris
Critical
Biography
(Letters)
(ill.)
Form
Harmonic Analysis
Time, Rhythm and Expression
The Pianist's Handbook
:
Part
I,
Part
II,
i.oo
Croker
I.OO
Carl Rcinecke
1-25
Vincent d'Indy
1-25
S.
2.00
Macpherson
Schumann
25
Louis B. Front
I.OO
R.
I.OO
25
Franklin Peterson
A Theoretic Companion to Practice

A Handbook of Musical Form
460
75
i.oo
(Revised and Supplemented by Richard Strauss)

Hector Berlioz 10.00
for Singers
466
2.50
1.25
35
.60
Charles Tree
C.
44
75
2.00
Herbert Antdiffe
on Dr. Prout's Harmony
350 Exercises in Harmony, Counterpoint and Modulation
45
i.oo
50
34
43
C. Schroeder
Henry Farmer
Ebenezer Front
33
of Violin
50
(i
Counterpoint: Strict and Free

How to Acquire Ease of Voice Production
Founded
Charles Trew
A. Eaglefield Hull
Tobias Matt hay
Living Music
Rhymes on the Rules of Harmony.
32
25
75
75
49
H. Riemann ea. i.oo

Analysis of Bach's "48 Preludes and Fugues." 2 Books,
"
Catechism of Musical Instruments. (Guide to Instrumentation)
I.OO
Catechism of Orchestration
I.OO
50
Introduction to Playing from Score
47
48
,The Voice and its Control

52 The Tenor Voice and its Training
51
53
The Boy's Voice
at the Breaking Period
I.OO
Churchill Sibley
50
E. Davidson Palmer
50
"
5

FOR THE
Jflutftc
Apprentice
SERIES
III
Net.
54
Manual
55
of Voice Training (with a
complete course of exercises)

E. Davidson Palmer
W.
56
Short History of Music

Life of Ethelbert Nevin (ill.)
57
Studies in Musical Interpretation
58
59
Concise Dictionary of Musical Terms

Introduction to the Elements of Music
60
Modern Instrumentation
61
Practical Instrumentation.
620
Part
626
Part
62C
Part
62d
Part
Part VII.
ments
.50
for String Orchestra, Military
Seven Parts, complete
and Brass Bands

John Fitzgerald
of Percussion
Catechism of Pianoforte Playing

Introduction to the Study of Theory.
2.00
E. Davidson Palmer
M. Arnold
Franklin Peterson
.75
S. Macpherson
The Appreciative Aspect of Music Study
Ebenezer Prout
Harmony, its Theory and Practice
Double Counterpoint and Canon
Harmony Simplified (also published in German and French) H. Riemann
of
Musical Knowledge
.75
Catechism of Music
74
Dictionary of Music
Catechism of Musical Aesthetics
75
Musical Biographies of Composers, Classified in
76
77
Summary
78
Common
79
Practical Elements of
73
i.oo
80
2.00
i.oo
of the Principal Rules of Strict Counterpoint
Thorough-Bass
Wagner and the Reform of the Opera
2.00
Centennial Periods
Guide to Violin Playing
Sense and Singing
.50
2.00
4.50
A. M. Browne
Practical
.50
i.oo
Music")
Handbook
i.oo
H. Riemann
(A Sequel to the "Elements
69
72
1.25
2.25
Organ and Harmonium

The Rightly-produced Voice
Pianist's Manual
Student's
1.25
1.25
Harp, Mandolin, Zither, Guitar, Piano, (Cembalo),
The
71
i.oo
Richard Hofmann 10.00
67
68
70
i.oo
2.00
62g
of
1.50
2.00
Part
An
2.50
Tobias Matthay
F. Niecks
The Strings
The Wood- Wind
III. Strings and Wood- Wind Combined
"
IV. The Horns
"
V. The Combination of Strings, Wood- Wind and Horns
VI. The Trumpets, Cornets, Trombones, Tubas and Instru-
Part
65
66
Vance Thompson
I.
62/
64
i.oo
II.
626
63
.75
S. Rockstro
H. Wessely
S. Macpherson
John Kennedy
.50
1.25
.50
.50
W.A.Mozart
.75
E. Dannreuther
2.00

Key To Exercises

Uploaded by

Copyright:

Available Formats

Key To Exercises

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Key To Exercises

Uploaded by

Copyright:

Available Formats

in Fart

Late Professor of Harmony,

Toronto Conservatory of Music

Hon. Mus. Doc., Trinity University, Toronto;

THE BOSTON MUSIC COMPANY

THE BOSTON Music

In addition to the above, two other points arise in connection

have been previously considered. In the second place, in regard to

seventh occurs upon the

gree only of a scale; secondary sevenths occur on other degrees.

third, a perfect fifth

and a minor seventh; those

The term 'primary' is usually employed in reference

CHORDS OF THE NINTH

CHORDS OF THE NINTH

the ninth must not be placed a second above

provided the ninth (below the]third) be prepared.

best position for the upper parts,

provided the ninth

(in the bass)

(third being omitted), but good as

CHORDS OF THE NINTH

CHORDS OF THE NINTH

CHORDS OF THE NINTH

CHORDS OF THE NINTH

CHORDS OF THE NINTH

CHORDS OF THE NINTH

CHORDS OF THE NINTH

CHORDS OF THE NINTH

CHORDS OF THE NINTH

CHORDS OF THE NINTH

CHORDS OF THE NINTH

CHORDS OF THE NINTH

(a) This is a chord of the diminished seventh

change of name without change of

are diminished sevenths formed from the

The more advanced student would regard this chord

iv9 vii 7 ni9

98-476 443 66-5677

7676 7676 7676

use of the mediant chord

(g) Incorrect treatment of a dissonant note

Incorrect treatment of a dissonant note

(F in bass) on second beat.

(/) Consecutive fifths (treble

(m) Incorrect treatment of a dissonant note

6. At (a) each note

five distinct chords.

are treated as free turning notes

" melodic "

understood a minor scale, in which the unmelodious in.

9-6-8 987 874342

rule, are not represented in the figuring.

tfz^-r-'-i^^a__^ -^jfcBB5j= =:=

-VI 6X L 702 Ir- -H+ 1 -VI+ x!V 70

28. Transposed a major second higher,

Essential and II unessential discords.

Essential discords comprise tetrads (chords of the seventh)

(chords of the ninth) major and minor, primary and secondary,