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Keyboard Harmony and Transposition (1916)
Keyboard Harmony and Transposition (1916)
KtYGOARD HARMONY
TRANSPOSITION
:*reliminary Studies in
Secondary Triads;
Passing* Notes.
II.
Prior tO Cents
HHi
CHICAGO.
CLAYTON
F.
SUMMY
Weekes &
CO., 64
E.
Van BurenSt.
Co. London.
TRANSPOSITION
A
work
for every
offers
I.
Secondary Triads;
Passing" Notes.
II.
BY
CHICAGO.
CLAYTON
F.
SUMMY
Weekes &
St.
Preliminary Studies in
to read .notes.
Scales;
advances.
ial
beginning-
is
made with
and the
Consequently,
it
is
Major
Harmony as a spec-
Principles of
is
is built
altogether
upon
Harmony.
When
this
in
keyboard harmony
Incidentally,
in
with very
hint:
little
in
that is troublesome to
In
it
in
done
is
several keys.
For the greater part the Illustrations are taken, either literally or
in
C.F.S.Co 1700.
9 4
Q
i 1
Preliminary Studies in
A
A
the
is
degree
An
1.
Interval
line or
space of the
staff,
is
Half-Step
name of any
is
it is
What key
We
C?
step above
is a* half-
Dk
letter, is
called a Chromat-
ic
The Major and Minor Scales use only Diatonic Halfwhat key
Ag-ain:
letters,is called
Diatonic
C-Dk
Half- Step, as
is
C?
Dl>;
Steps.
we
because
Dia-
What key
What key
What key
is
D? E? F? G? A? B?
is
Cjf ?
Dff?
is
a half-step above
Bb?
EJ>?
Remember
to
in
F# ?
G#?
AJJ?
Lesson 2.
A
Steps.
is
Whole-Step
On
What key
What key
What key
Lesson
is
in
naming-
Whole-
is
a Whole-Step above
C? D? E?
is
a Whole-Step above
Ctf?
is
D#?
El>
G? A? B?
F?
F#? G#?
Alt?
Gl>?
Bb?
At??
8.
EX.
I.
as fing-ered
W=
{
L.H.
What
What
two Half-Steps.
as larg-e as
is
the Interval
is
the Interval
this
in
")
..
4^2
C-D?
G-A?
Example.
,f
Ji
E-F?
B-C?
D-E?
A-B?
and
hand plays
is
built
step.
The part
is called
rig-ht
plays.
What
C.
F. S.
is
the Interval
Co. 1700.
that
make up
between
the
F-
G?
F Suminy
Co.
two Tetrachords:
Cnpyrip-M 1!W
liy
Clnyton
whole-step.
hand
Lesson
4.
Since the
built
we
second one
of
G A B C
exactly alike,
new Tetrachord
in
4321
and
What
the
EX.
II.
L.H.
What
Interval
C?
whole-step above
Then
D.
new
the
whole-step,
first
is
is
With D
D.
for
Tetrachord.
What
is
D?
E.
What
What
is
E?
F.tf
is
the
above
half -step
G.
Ftf?
D E
Fjf
G.
RH.
EX.
*-
III.
^^
|
'J
2i
11
L.H.
this scale
Continue
this scale,
in this
to
way
make new
EX.
did
and make a
new
scale.
What
in
be the
Do
all the
work
work
with
R. H.
>.
!v.
.Su
Li
lj
J
I
frJ
Ir f
'
*ti
ra
C
'*
L.H.
L.H.
L.H.
R.H.
2
RH.
1|
K.
1
|
fcl
"I
J
jo
L.H.
Co. 1700.22.
H.
IV.
||
F. 8.
will
this table, to
Why
5.
name of
Key of G.
L.H.
LH.
JO
\\
Lesson
6.
scale of
Take
use the
one of the
first
for the
1234;
we can
scale,
C D E
F, in
fing-ering-
hand.
left
R.H.
3
2J
EX.
What
must
interval
a whole-step below
down
to find
wards?
new
we
<*
V.
What
a whole-step;
What
is
the
What
is
What
is
the whole-step
Lesson
Take the
ing-
A.
G.
below
G?
F.
left
g-oing-
H.
VI.
flats
first
F?
Why
What
in this
will
way
did
to
rig-ht
make a new
hand, and
scale, count-
make new
flats in
you are
scales until
flat.
Do
all the
work
that
has
at the key-
seven
work
rig-ht.
{.H.
L.H.
R.H.
Eb
1,
si
31
41
3=2*3=
fe
ETf
L.H.
Ab
f*pl
|4
|4
'3
13
R.H.
R.H.
Cb
^j_
f'f
ll
12
>J
'2
L.H.
II ,2|
L.H.
L.H.
flats.
board.
EX. VII.
|4 13
Lr.H.
is
A Bk
F G
>^t?p
tone
7.
backward.
Continue
What
a whole- step.
How many
whole-step.
Bb?
EX.
tetrachord.
C? Bk
half- step,-
i.
2.
3i
with
Using- the
calling-
Why, we used
them by different
names,
ENHARMONIC CHANGE.
called an
Compare
Compare
How many
we
scales do
How many
write ?
flats:
Ck What
different sets of
did
keys do
you
we
find ?
use on the
piano ?
Lesson
9.
When we
we
particular order,
say "the
flats in
tell
to other keys
Key of C
n
G
D
"
5
6
7
B
F#
C#
Cb
Gb
Key of 7
6
=.Db
Ab
Eb
Bb
F
flats
"
3
n
>
"
2
1
C
Lesson
is
flat or sharp.
C; of the key of
is
Fifth
flat
10.
"
>
is
is F,
is
The Tonic of
named.
the
and so on.
as C- G.
Notice that the Tonics of the keys in the above table are all five degrees apart.
A, E, B or Cb,
CIRCLE OF FIFTHS.
Fourth
Notice
is
when
makes
the
or B, E, A, D, G, makes the
to
or Gb,
Cj)
or
F.
CIRCLE OF FOURTHS.
C.F.B.Co. 1700.22.
C-
Fjl
the above table is taken backwards, the Tonics are all four degrees apart.
Learn
C, G, D,
Gb or
F#,
Cb
Lesson
21.
in
and 5 3
Tonic, Third,
in
the Right
CIRCLE OF
B =
C\>
F# =
G\>
A.\>
B|>
Lesson
E\>
E|>
Ab
Db=
d> =
C#
Cl>
= B
nayi
te
i2.
Play Illustration
fing-ering-
same as
in last lesson.
with the
Third
chord :E.
On what member
in
the key of
The L.H.?
111.1.
<S
Lesson
r.
i3.
X.
BJ>
4ths
p4o j
Hand;
5ths.
p|
C
3 5
in
CIRCLE OF
EX.VIII.
Key of C
key.
G?
of
Nothe
Lesson
15.
Ex. X.
What
impression do they
last
is
in
f)
make?
The
is
first
restless:
and
it
EX. X.
*ih
In transposing-,
R. H. takes Chord of
Lesson
Many
them.
L.
16.
little
In transposing-
H. on the root.
rfr111.3.
Lesson
17.
In transposing-
back
to the
111.
key of G.
4, beg-in
with key of
and
gx>
until
you
g^et
Lesson 19.
Go through the
/5M7
fl?vM
54
to
fr
R. H. on
key of A.
-""
~~5~
third;
111.6.
Tonic.
^
4
L.H.on
I
Lesson 20.
111.
is
little
more
particle
difficult
pieces.
Allegretto
3
823
^
III. 7.
sp
1
-*?!*
3
5
18_*88
1
a a
3
J*
a
3
21.
33
Same
fingering
in
all
R.H., and
5,
keys.
EX. XL
v^>
y>
ry
454
232
\\
Lesson 22.
1.
Same
^J
before ?
they remind you of anything ? Have you ever heard the combination
Cadence
the
"Church
That is right; it is called
sounds like the "Amen" in church.
Do
'.'
Cadence
It is
is
a close.
R. H. takes:
C.F.P.To 1700.22.
What
It
10
Lesson 23.
Before transposing- illustrations 8 and
Jf
111.8.
1
|
9,
new
chord.
11
Lesson 27.
In transposing-
111.
111.10.
te*
life
-Oi
Lesson 28,
Is EX. XV.
trial at the
ent orders, as in
just as the
V"\7T
three differ-
into
OF THE
we
we
is
EX. XVIII.
of thirds.
B D F G?
made up
C E G?
Lesson 29,
Is EX. XVII
A trial at the
we
we
EX. XVI.
TONIC CHORD.
is
S:
built of thirds
is
the ROOT,-
The
TONIC
The
DOM-
INANT,
in
seventh.)
Why
this in transposing*.
Lesson 30.
Is
Remember
Ex. XIX
in
which
we
C F A?
EX. XX.
A trial at the
as in Ex.
XX.
piano shows
fhat
C.E
is
the
its root.
ROOT; just
as the
the key
is
called the
orders,
made up of
thirds.
SUB -DOMINANT, in
SUB -DOMINANT CHORD.
The Fourth of
called the
is
we
is
harmony.
the fourth
thirds
of the key.
12
Lesson
31.
A CADENCE
The
sitions.
is
of
following- several lessons will consist
They
CADENCES
we
is
all
omit-
54
4
*
j>
PP
EX. XXI.
nr
Lesson 32.
55
r>
a.
il
EX. XXII.
H
THE PERFECT CADENCE
Zessora 55.
is
is
55
a.
b-l
T-
i
EX.XXIII.
*PP
-9
Lesson 34.
Name the chords, while
transposing-.
2 4
P?
111.11.
^
Lesson 35.
Name
111.12.
35
C.F.S. Co. 1700.22.
il
13
Lesson
In all
36.
Name
keys.
^,
Allegro
fai
E=
111.13.
ini
Lesson
37.
In all keys.
Name
Allegretto
3^
f Ff.ffff.f
111.14.
Lesson 38.
In
all
keys.
Name
es&
111.15.'
"
.55
2i**3
^
3
5 4
2*.
1313 243
S^^
P
C.F S. Co. 1700. 22
* Z
..
S
2^3
1 m
1 2 j
2131
39.
R. H. with fingering-: 235. What tone is a third bewith the thumb. We now have a chord of four tones: A C E G.
C E G
low C?
Take
A.
in
XXIV
EX.
Chord of
and
feel alike?
chords, and then the other. Do they
The C is a Major Chord, and the a is
is sad.
No,- the
chord
is
The
one of the
first
bright,and the
chord
Relative 'Minor.
its
on a inPlay a scale, beginning on a. Use the tones of the C scale, only beginning
How does that sound? All very well until
stead of C. This gives us: a b c d e f g a.
we must
we
get to g;
we
do not
ery time
it
occurs, and
like that.
we
is
seems as
It
if
say the scale of a minor has no signature; g# is written out evcalled an "accidental."
Play the scale of a minor.
EX. XXV.
-IT
L.H.
Lesson 40.
What Major
in
G.
What
is its
Tonic
Chord?
GB
E G
B.
foundation, build the scale of e minor, not forgetting to sharp the seventh tone
R H.
-fa
EX. XXVI.
^E=
As
D.
ft
q8
" E^=
above,
What
Major for
-
15
Lesson 42.
Build a relative minor scale for every major scale with flats.
table, and learn them all, including- their signatures.
XVIII.
,r
R.H.
g- minor
4 c minor
rjr-'-'nV!*
I.,
R.
f minor-
,00
this
L.H.
Lesson 43
The Minor Scales through the
sharp or
flat
Key
of
Circle of Fifths.
2 sharps
3
b
rl
Key of 7
at
Lesson
or sharp
44.
What is the
C
flats
chord of c minor ?
e\?
g.
What
is
the difference
between
it
Play Illustrations
Lesson
What
and 2
in minor.
How ? By
substituting- eb for e.
45.
fifth
How
Lesson
2
major ?
46.
To be played
111.16..
in
in all
minor keys.
[i
345
.fflff iff
C. F.
.Co.
1700. 22.
f f iff
if
WHJSiiC
GfH&SON
LIBRARY
and the
16
Lesson
47,
To be played
in all
4,
2 4
to e.
5,
s
111.17.
wT~w
3
Ill
23483*5
1 '3
to
minor.
18
Lesson 49.
From c minor
111.19.
to c minor.
Pi
4324
324
53
17
Lesson
50,
Ex. XII
minor keys.
into all
Lesson
c minor.
in
in
major?
Transpose
Play Ex.
XIV
into all
minor keys.
4
20.
Lesson 53.
Transpose
111.21.
Transpose
51.
Lesson 52.
111.
Is it
into all
minor keys.
5
in
in all
Ex. XIII
in
minor.
minor keys.
How does
it
compare with
18
Play lesson 28
in all
minor keys.
19
Lesson
67.
Transpose* into
minor keys.
all
64
new
Notice the
*?
chord,
111.23.
Lesson
68.
There
is still
another
?of
1
is
a minor.
It is
its
On
it?
in
it.
Which one
is
it
l|
II
EX. XXX.
new chord
434
It is
On which
the second.
Is it
in
the maj-
in
all
through
its
major keys.
Lesson
69.
Play the
last
cadence
in c
minor.
Chord of D major
Chord of d minor
New
chord
is
Jt is neither
Play the
is
D F# A
is
d f
it
d f ak
major or
new cadence
nr'nor,- it is
in all
EX. XXXI.
C.F!8.Co. 1700.22.
Is
it
minor keys.
is
20
Lesson 70.
Where is the new chord
Play
in all
major keys^
5
'*
232
32
11124
Lesson 71.
Where is the new
chord ?
Play
in all
Imi
111
/*
25
21
*t
4
i
1*
ip
"3
4343
1114
tf
-*"**-
5^4
n
^
**
12.
o 3
5432
Passing- tone
Lesson 72.
Name all the
chords.
Play in
With flowing harp-like effect
1
11126
22.
3212
2 3
since, il basso.
minor keys.
4
all
4 5
46
21
Lesson
72.
It
sounds well
that
it
is
it
major; but
cannot be used
have used so
If
in
in
if
you
minor;
will try
it
545
at least not in
far.
it
In the
new chord?
What
is its
in
root?
in
it
t;lls
bar according- to
us
must be raised, as
it
wants
to g-o
up
to,
in
you will
descending-.
to c.
Melodic Minor Scale the 6th and the 7th tones are both raided
Its root
The bflat
there a
you
find that
Is
in
ascending";
XXXII
Play Ex.
(b)
in all
Minor Keys.
5
(b)
EX. XXXII.
Lesson
Play
111.
73.
27
in
Name
all
the chords.
111.27
Lesson
PASSING - TONES
74.
In the following-
two
You notice
They are
Major keys.
Hi. 28.
FS.Co 1700.22
do not belong-
called Passing--tones.
to the
chords
are
members
of
22
Lesson
77.
Moderate
111.251
3 2
In the following-
Then follow
g-ain a
half-
two
Put
boring- tone.
the chord-tones.
into all
In
Beg-inning-
R.H.
with the
is
fifth
a chord- tone.
bar there
Major keys.
From key
of
to
key of
is
a-
neig-h-
F.
ff.fW.f f.iJrH
111.30.
Lesson
78.
bars 1-2 and 5-6 a chord-tone alternates with a neighboringBar three beg-ins with a chord -tone and proceeds by half-steps for two bars.
In Illustration 31, in
step.
S. Co. 1700. 22
tonic.
half-
Bar
To
23
MODULATION
Lesson 79.
So far, when a
all
the
We may
ag-ain, if
to.
what key
close?
In
32 ?
is 111.
G;
it
to the last
bar on
in
first line;
it
C;
has made a
commonest modulation.
the
in
beg-an in the
is
we wish
line
if it
way through;
But that
In
MODULATION
into the
we
C.
In
key of
all in
its
until
in
place
when
Dominant.
new
when you
Remember
to
is
in
the key of G,
the sharp
This
we
is
g-oing-
No
used.
matter into what key you are transposing- this example, you will always be in
inant key
the first
dom-
its
to
up
the
tonic.
Second
line beg-ins
we
in
now
Transpose
it
used
is
into all
Major
111.32.
Lesson 80.
what Key does 111.33 begin? In what key does it close? It begins in C;
flatting- the b in Bar 2 we secure the Dominant- Seventh chord of the Key of F;
In
is
dorminant.
Play
in all
F.
This
is
to the
Key of
its
C.F.S.Co.1700.22.
Sub-
WIECK,
111.33.
by
this
Op. 66.
L.H.
3
24
In
key are
ing the
to
we
remain
In
in the
in
111.34?
in a^
in
Dominant
we
in
sharp-
in
the ninth
to
had we wished
do
full
bar ?
bar?
In
C.
in
pre-
ft.
in the
12th bar ?
in
you will be
Bar
Transpose
major.
in a_ minor.
The g
is
a.
minor;
close.
In transposing,
the
it
what
which we
In
In
it
minor.
In a_ minor,*
made by sharping
In
in
into all
8.
we
Back
Bar
Relative Major in
in the
to the Relative
Major
4;
Bars 9-11.
in
Back again
into
close.
With humor
^~
3
111.34.
PPP
major
1700.22.
^m
c
C.F. S. Co.
major
Er
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