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Reger Modulaciones
Reger Modulaciones
Reger Modulaciones
to the
ieory of
Modulation
ifolger
LIBRARY
ZIG,
PUBLISHER.
KTdK*<f*K***^*K*K*<rfK*K*K
with
Call
rench words
No.
ius
~ vr .~.. v
Keys
iprano or Baritone.
Contralto or Bass.
Songs Nr.
57,
price each
The whole
in 3
Vol.
I.
Vol.
II.
Vol.111.
1.
to
M.
1.80.
Collection
volumes.
Songs Nr. 1 i6 b
SongS Nr. 17 36
Songs Nr. 37-57
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Mezzo-Soprano or Baritone
Contralto or Bass
vol.
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C. F.
KAHNT NACHFOLGER,
LEIPZIG, PUBLISHER.
RT
'-
rvrr
SUPPLEMENT
&^y
TO THE
THEORY OF MODULATION
MAX REGER
TRANSLATED BY
JOHN BERNHOFF.
PUBLISHED BY
F.
KAHNT NACHFOLGER,
1904
LEIPZIG
BRIGHAM YOUNG
UNIVERSITY
LIBRARY
PROVO, UTAH
Date Due
&> -'w.
">
<
PRINTED
--'
-A
IN U. S. A.
Preliminary Remarks.
This "Supplement
lation"
cian
those
(for
organists,
teur
the
to
theory of Modu-
is
whom
to
learning
singers
and
harmony,
and
others),
for
pianists,
ama-
for the
the
would draw
that
e.
i.
the
to
fact
this
in
lation',
attention
special
in
have
purposely avoided anything pertaining to enharmonics, with a view of drawing the student's special
attention
son,
musical
to
have
logic;
given almost
for
all
the
same
rea-
examples of
the
dominant
into
the
new
them
in
so-called
sub-
tonic,
may
be,
i.
e.
or
super-
have given
in
order to
of modulation
the
analyses
in
the
clearest
possible
manner;
will
make
at once
any
all
the
Of
course,
but
solutions;
point"
be shorter
and more
i.
"more
e.
to the
given in this
"Supplement".
The
lation with
an experienced
teacher
modu-
their analyses,
"mind open
with
to
into
as
many
keys
as
possible,
and
in the
me, whereby
own examples
his
manner of
analysis adopted
the understanding
of
by
of the principles
ment"
he
will
certainly
be
facilitated
for
him, and
will
insight
into
modulation,
In conclusion,
amples
of
my
ex-
be looked upon
not
as
modulation
compositions,
sidering the
modern
especially con-
style of composition.
Should
in clearing
my
little
up the
book be destined
difficulties
to assist
of so manifold and
my
this
efforts will
special
subject ,
Munich, October
1903.
Max
Reger.
in
a)
i)
From C- major
G-major,
to:
2)
D-major,
piJzz^rrgJ^njt^Lif
r
s^^a^pi^
1)
G-major.
Tonic C- major; use
C- major which is
same time the sub-dominant of G-major.
(Cadence !)
[CI (= GIV), GH*), GVJ, GV
GI]
this
at the
2)
D-major.
Tonic C-major;
nant
(G-major)
(1st inversion)
C-major;
of
which
use
also
is
this
relative
Cm
[Ci,
*")
"
(=
" this
Dii),
DV
dvj,
mark under
Roman
the
domi-
e-minor
to
the
(Cadence!)
Di]
cipher means:
1st in-
"="
this
mark
under
the
Roman
cipher
of the six-four).
means:
7
3)
A-major,
4)
E-major,
'm^smm
3)
A-major.
Tonic C-major;
which
of A-major.
[CI, CII
4)
(=
(Cadence!)
AlVij),
E-major.
Tonic C-major;
of C-major;
use
AV, AV,
AI]
this
which
a-minor,
is
at the
5)
^W^^P
B-major,
6)
F^-major,
ij^ii^ ii_l^i
^m^mw
5)
X*
B-major.
Tonic C-major; relative (e-minor) to the
dominant (G-major) of C-major; use this e-minor,
which is also the minor sub-dominant in B-major.
(Cadence!)
[CI,
Blj
6) FJf-major.
Tonic C-major; dominant G-major; the ist inis used (the chord of the sixth,
b d g), which is at the same time the chord of
version of which
CV (=
in F#-major.
f#v,
F#IV|Jt), f#v<;,
(Cadence!)
FflH
i^P^a
CJj-major,
7)
8)
G^-major,
J.
7)
CJJ-major.
Tonic C-major;
relative
(e-minor)
to
the
e-minor,
this
in
Naples
adopt, as the
uses.
I call
fifth
of the minor
first
name
For instance
this
manner;
in
Riemann
faij
1n.
- -(S)ff
i-(i)-f-*t
*-?*
the pupil
is
strongly
faultless
recommended
to
progression of the
which
also the
is
is
cm
F$-
this
(Cadence!)
in C$-major.
[CI,
at the
(=
BIVJ}),
BV (=
C#IV),
c#v
Cft]
I
8)
G$-major.
Tonic C-major;
dominant (F-major) of C-major; dominant (Amajor) of d-minor; use the ist inversion of this
A-major
is
(=
CII
dl*),
dVu
*
G#I]
9)
sixth,
djf
a),
which
sixth
in
(Cadence!)
GJJ-major.
[CI,
chord of the
(the
the
also
G$V$) G#V*
j
D#-major,
|=8elgiP=pl
^dm
Tonic C-major;
*l
the sixth, g$ b
chord
of
the
e),
which
is
Neapolitan
at the
sixth
(Cadence!)
*)
triad.
Small
letters
or minor
10
o)
[CI,
CH (=
DtV
x
.
(= DJfJVft),
D#VJ,
D#I]
A$-major,
i
r
p 3
f=i"
^=&
?=*=*=*=
Tonic C-mayor;
relative
-Is:
(a-minor)
ist
which
is
also the
at the
dominant
in e-minor;
use the
the
to
is
inversion of
d$ f$
sixth,
b),
sixth
(Cadence!)
in A$-major.
[CI/CVI (=
elV),
eV
eV
(=
A#Vjfc),
n) E$-major,
^^m
r=*
-tf
i:
r-m
*Efe=E|
Tonic
#=
\=
=*==
C-major;
relative
(e-minor)
to
the
which
is
at
the
sixth,
a# c#
f#),
chord of the
(Cadence!)
cm
[Ci,
12
(=
EM,
bVp bv (=
#
biV),
B#-major,
4=3=333d=B3
<?
ixils:
^L
^f=fe
*t
the
use
this
(Cadence !)
[ci,
cm
B#IVjjft)
BftV,
13)
(=
bv^
B#V* B#I]
biv),
(-= Fii),
ws^m
F-major,
14)
B^-major,
ttr
W
13)
Ffv (==
-9&-
J-U
^EEjiEE
:=zpz
F-major.
Tonic C-major;
is
(Cadence !)
[CI, CII
this
d-minor,
FVI), FH7,
FV
FI]
I
12
4)
B?-major.
Tonic C-major; use this C-major, which is
at the same time the 2nd super-dominant*) of
BP-major; dominant (F-major) of BP-major; tonic
BP-major.
7
,
Bk]
16) At?-major,
*>
JU
j^a
rrf Uli
?
5)
bK
EP-major,
Iw
h=jj
fc^
ppi
Sac
E'f-major.
[CI,
sub-dominant (AP-major)
(Cadence!)
of EP-major.
EPl]
E\>Vl,
I
16)
AP-major.
Tonic C-major; chord of the Neapolitan
(f
av dP) in C-major
which
is at
the
use
chord of the
this
1st
sixth
sixth,
inversion of the
CIV^ (=
AblV), AbVJ,
API]
At-V:],
I
*)
a major triad
[CW =
D-major,
C^
= G-major,
i IV
Tonic
i.
e.
D.
is
CI
= C-major.]
5>-
IV
Dom. to Tonic G
2nd sup. -dom. to Tonic
2nd super-dominant to tonic C.
D0111.
Tonic
C.
7)
13
DP-major,
GP-major,
18)
lI
sgiie^
I
ifzJ2^I
W=J^
-i
17)
DP-major.
Tonic C-major,
sixth
(f
aP dP)
the sixth
(f
chord
of the
C-major;
in
aP dP), which
CIVb
18)
(=
(Cadence
DPj_) ? dpiv,
GP-major.
Tonic C-major;
sixth (f aP dP)
the sixth
the
st
(f
chord
dpV,
of
which
!)
Dbij
I
C-major;
aP dP),
chord of
use
is
Neapolitan
the
this
chord of
same time
at the
GP-major.
[CI,
in
Neapolitan
this
is
use
(Cadence!)
Gbl]
I
19)
CP-major.
iSEg:
4-
i225
m
19)
FP-major.
20)
VZT
ik
TUL
w.^
w
^^E&EBEEa
^F*?^
CP-major.
Tonic C-major;
sixth (f aP dP)
the sixth
the
(f
in
chord
C-major;
aP dP), which
1st inversion
of the
of the
Neapolitan
14
(DP-major) of CP-major;
J
..
20)
dominant (GKmajor,
5)
(=
[Ci, Civjjl?
ci>i]
|
FP-major.
C- major; chord of the Neapolitan
Tonic
sixth
(f at?
the sixth
(f
dt7)
by
C-major;
in
dt7
),
which
is
use
gP-minor,
this
which
chord of
of gP-minor;
use
same
the
at
is
this
time
relative to the
21)
BPP-major
22) a-minor.
tt=t
m^r
TTr P
f-jS^f-h^
I
Mih
m ^^
11m
i~,i
21)
N
p&
ii
m
.
Bt^-major.
Tonic C-major;
sixth (f by dP)
the sixth
the
1st
(f
dt7),
inversion
of the
C-major;
in
at7
chord
which
(chord
is
Neapolitan
of the
same
is
at the
time,
of the
sixth)
this
GP-
of cP-minor;
relative to the
major;
dominant
which
is
also
of BPP-major;
(FP-major)
jj
[a,
(=
civ* (= gK),
g>i
(= cK),
cki
22) a-minor.
Tonic C-major;
relative
(d -minor)
which
at the
is
dominant of a-minor.
to the
use this
(Cadence
!)
al]
|
fr
24) b-minor,
*3) e-minor,
iw
3;
j-j-
=P
i JbL
=:=
f
23) e-minor.
Tonic C-major;
is
sub-dominant
!)
[CI,
24)
(Cadence
eV, eVj, e I]
in e-minor.
CVI (= eiv )(
also the
'
b-minor.
Tonic C-major; use the
C-major (the chord of the
is
at the
sixth in
[Ci,
1st
inversion of this
e g c), which
same time chord of the Neapolitan
b-minor.
(Cadence !)
CI (=
biv*!,
sixth,
b v, bV|,
25) f#-minor,
b i]
26) c#-minor,
2 5)
16
fit-minor.
Tonic C-major;
(b
which
g),
is
the
at
26)
f$V%
C V (=
this
of the dominant
1st inversion
f#V f#V|
;
f #ij
clj-minor.
Tonic C-major; dominant (G-major) of Cthis G-major, which is also the sub-
major; use
as
chord of the
the chord
c$-minor.
[CI,
CV
sixth),
is
it
at the
(Cadence !)
(= DIV), DL
27) g#-minor,
27)
as
D-major (arranged
this
same time
a d) in
(fjf
(= c$V%, c#V
cJfT]
fr
28) d#-minor,
gjf-minor.
Tonic C-major;
of d-minor
this
dominant (A-major)
used, as
it
is
as
chord of
at the
same
minor.
[CI,
is
to the
d-minor, which
A-major (arranged
the sixth, c$ e a)
time
this
gjf-
(Cadence!)
CII
(=
dl),
dVfc
(=
gftlY^),
gftVx,
28)
dif-minor.
Tonic C-major;
relative (a-minor) to
is
chord of
the Neapolitan
CVI (=
[CI,
(as
the sixth)
used
C-major;
sixth
al),
in d$-minor.
(Cadence!)
aV (= d#IV^), d#Vx
s
djfij
a$-minor,
2Q)
~<s>-
rfcc
=1=1
=$
f4=^H
p=z5==3:
t
I
Tonic C-major;
tonic (C-major);
the
relative (a-minor)
in e-minor;
ist
the
to
which
is
at
domi-
inversion
which
is
at
the
1
W
= 4lV%
31 )b#- minor,
^^^^
p^g^^pe
l
-l4=^
^J
30)
i8
eft-minor.
which
c),
politan
is
sixth in
1st inversion
B-major;
of the Nea-
dominant
(Fft-major)
its 1st
i.
of the sixth
is
(chord
aft
fft),
eft
used, as
it
e.
at the
is
inversion,
this
chord
same time
(Cadence !)
[CI,
CI (=
WY%, BV (=
e jfiv4,
e|Vx,
'
e#I]
31)
bft-minor.
Tonic C-major;
major;
this
dominant (G-major) of C-
G-major arranged
d g) is used, which
the chord of the Neapolitan
sixth (b
dominant
is,
which
is
1st
;
CV (=
32) d-minor,
chord of the
same time
sixth in Fft-major;
use
this
at the
as
at the
arranged in the
the sixth
is
EftivgH),
F#V (=
bjpvjj), b|Vx,
33) g-minor,
19
d-minor.
32)
Tonic C-major
= the
sub-dominant
(=
[CI
(=
dl]
!)
A-major
is
the
the
(Cadence!)
(Phrygian
=ft
33)
is at
in d-minor.
FV), FII
C
g
g-minor.
dominant of F-major;
sub-dominant of F-major
used, as
it
in
sixth
is
also
g-minor;
(=
[Ci
gnr.li),
1
bZ} s ]
34) c-minor,
35) f-minor,
ppSfigliiE^s
j-tJ-
34)
r
c-minor.
Kli
~zL
^^^
'
C-major;
in
the
use
this
f-minor,
which
is
at
(Cadence!)
[CI,
*)
CIV^ (=
The Dorian
sixth
is
and
C I]
I
in
minor, which
b-minor triad!
in
D-major
20
35)
f-minor.
Tonic C-major
dominant
(=
[CI
is
used,
fVj,),
fll,
fl,
as
is
it
also
the
Cadence.
in f-minor; then
fl]
fVj,,
I
36)
bP-minor,
37) eP-minor,
HH^
=*3
$=&
J-4-M
*
^fcr^ri^
36)
11
teE
= F=
2
bt'-minor.
Tonic C-major
is
used, which
at the
is
same
nant
3j)
(f
a c
[el?])
(= bbw
[Ci
);
in bP-minor.
bbvj, bbi]
eP-minor.
dominant
(B- major)
of
which
is
in eP-minor;
and
eP- minor
tonic
eP-minor.
[CI,
e frl]
39) dP-minor,
38) aP-minor,
^ggm^mmm
1
>*
*^
38)
aP-minor.
Tonic
C-major;
chord
of
the
Neapolitan
sixth
same time
the
at
is
(DP-major as
sixth
chord
of the
aP-minor;
in
sixth)
which
(f a!? dP),
Dorian
the
aP dP) in C-major;
(f
the sixth
tonic of aP-minor.
ClV^b
[CI,
39)
(=
daVfr),
al^,
at*]
dP-minor.
Tonic C-major;
chord
of
sixth
(f
aP dP)
is
Neapolitan
the
used, as
at the
is
it
(EP-major)
AP-major;
of
minor
with
used, as
is
AP-major
of
tonic
which
seventh,
it
is
also the
dominant of dP-minor.
[CI, CIVjj| (-:
Abv 7
APIV),
same
dominant
A\>V\>
(=
M%
dpi]
I
40) gP-minor,
41) cP-minor,
T
?
40)
^_r-==t-
-S
r
i*
-u-P^fl
?> T
dfc^f
II
gP-minor.
Tonic C-major;
chord of the
st
is
seventh
[CI,
used,
inversion
cP,
CIVeJ
i.
as
it
of the
e.
(=
j?)
is
Neapolitan
at
the
g K),
glq,
g|rt]
I
22
41)
cP-minor.
Tonic G-major;
chord
of
the
Neapolitan
sixth is used, as
dominant (DP-major
it is
i.
GP-major again
is
also the
e.
J)
used, as
it
is
same
at the
cPV),
cPl]
P
b)
42)
to:
E|?-major (eP-minor).
m^^^^d
Tonic CJf-major;
sixth (f $ a d) in Cfl-major
which
sixth,
is
of D-major, the
at the
1st inversion
relative
of EP-major.
the
to
(Cadence!)
NB. To modulate
(f
aP
c),
which
eP-minor
minor.
(Cadence
EPV,
EPl]
I
ePlj
ePVt),
J
also the
is
sixth in
[C#,.^
is
!)
(=cv^)>cyJ^(
=eg^
43)
Akmajor
?3
(aP-minor).
iteMia^
bt
uffg:
>J
j^ y s
^y
:t=t
Sis
Tonic Cf|-major;
a d)
sixth (f$
fe^M
in Cft-major;
use
this
chord of
of
c-minor;
use
is
at the
this
c-minor,
as
it
is
also
relative to the
;
/a?v,
44)
a!i]
D^-major (dP-minor),
mm^m.
Tonic C$-major;
sixth (f$ a d)
in
chord
C$-major;
of the
\x
Neapolitan
the
sub-dominant (f-minor)
24
of c-minor, which f-minor
major
CftlVBj,
it
is
also
of
DP-
(AP- major)
of
cVY|j),
cV
CIT
C I,
fe;
r Dbni) /*.
45)
used, as
(AP-major)
dominant
(dP- minor);
DP-major (dkminor)
[C|I,
is
dominant
the
to
relative
D ?]
Gl'-major fgb-minor).
3i
Tonic C$-major;
chord
which
minant
at the
is
of the
Neapolitan
2nd super-dominant)
the
to
relative
dominant (AP-major)
is
of
the
the
tonic
with
same
time
7P
(DP-major), which
dominant
in
is
GP- major
(gP-minor).
[C#I,
(=
Cifiv^
.
cYLjJl), cV^,
civ
(=
DbUI),
%1V
46)
m sciooi of msic
mt
"''^ & AR
**
Ct>-major (cl>-minor).
1=E
=P^~Y
(f| a d)
C^-major;
in
a d), which
the sixth
(fjf
dominant
(f-minor) of c-minor
at
the
same
time
is
2nd super-
also the
sub-dominant
to
the
is
dominant
is
also
IC|1,
C|IV^ (=
dP-,
mendable,
finally
gP-
(= D^I|,
less
46
recom-
eP-minor,
used
cV, cIV
cVTjjfOj
is
quite
natural
and
also
c,
in
correctly
'
26
From a-minor
c)
47) e-minor,
i-
47)
48) b-minor,
ff
n
to:
1-
=P
e-minor.
Tonic a-minor, which can be immediately
used, as
it is
[al
48)
(=
at the
same time
the sub-dominant
(Cadence!)
of e-minor.
b-minor.
Tonic a-minor,
which e-minor
is
used,
(=
as
it
is
also
the sub-
(Cadence!)
dominant of b-minor.
[al, aVti
el]
|
blj
I
50) c#-minor,
49) f|-minor,
i^r^p^i^^
iM=^49)
f$-minor.
Tonic
the
sixth)
(aVH)
(b
a-minor;
of the
translate
d g$),
to
f$II
ist
inversion
(chord
of
d)
diminished triad
this
chord
of
(gjf
the
(diminished triad
sixth
g# b d
27
(Cadence!)
[at,
50)
(=
aVII
fflg),
f#VJ, f#V#>
f|l]
i
c#-minor.
Tonic a-minor;
use
ist inversion
(chord of the
sixth)
chord of the
this
which
sixth,
also f$II
is
which
at the
is
aVII (==
f#I
f#II),
C #IV),
c#Vjj,
<#]
52) d#-minor,
51) g#-minor,
51)
the sub-dominant of
(Cadence!)
c$-minor.
[al,
same time
g#-minor.
Tonic
the
a-minor;
translate
(a VII)
(b
sixth
g$)
the
fftll;
chord
of
dominant
at
the
sixth (C$
Dorian
[al,
sixth
aVII
(=
must always go
fflll),
fflv
#
52)
(=
g^/g^,
gI]
I
dj^-minor.
(ist in-
(gft
e),
28
which
the
at
is
aV
[al,
(=
dflTVjJj),'
53) a#-minor,
(Cadence!)
d#V, d#Vx
d |l]
54) eft-minor,
^Pra^^l^E^felp
k^M m
SE
a#-minor.
53)
dominant B-major
of the sixth
(dff
flff
b),
which
also the
is
aV
[al,
a vv
ff
(= a #iv4,
chord
chord
(Cadence!)
a #V, aftvx,
a #lj
e#-minor.
54)
(ist in-
at the
in
sixth
d$-minor; use
the
chord
dominant
of
the
Dorian
(B$-major)
of
x
ejf),
sixth
which
in
e$-minor;
is
also
eft-minor;
the chord
(in
is
used; tonic
eff-
minor.
aVu (=
"*
*j
d$V%
"
d#IV*
(=
e#IV*), eflVIP,
55) d-minor,
55)
d-minor.
(=
alV
[al,
dV
dU,
dl),
dIJ
,
I
ff
56)
g-minor.
Tonic a-minor;
which
at
is
Dorian
the
use
a-minor
this
(a c e),
on the
degree
7th
in
g-minor,
i.
e.
[ai
57)
(=
n%
gvn,
1
g i]
c-minor.
Tonic a-minor; sub-dominant d-minor; use
this
d-minor (d
f a),
which
is
at the
same time
alV (==
n%
V 7 d]
,
4,
59) bP-minor,
58) f-minor,
mf
1
m-
+
-T-
f=ffi
i^
S
il^i
-#-
5$)
3Q
f-minor.
Tonic a -minor;
sixth (d f bP),
chord
of
Neapolitan
the
sixth (d f bt?) in
which
f-minor
is
at the
sixth
f-minor;
in
domi-
nant
of
ished
by
(replaced
g bP dP) of f-minor).
[al, alVeb (= flVu), fVIp,
the
dimin-
(e
59)
fl]
bP-minor.
rela-
C-major, which
also the
is
2nd super-dominant of
bpvv }j h \,yi\>
b (,ij
61) aP-minor,
60) eP-minor,
fp^^ii^^^
60)
eP-minor.
Tonic a-minor;
chord
of
the
bP),
1st inversion
which
is
at the
61)
aIV6>
Neapolitan
chord of the
(=
ebVjj), e pV 7 K,
six-five),
e>I]
aP-minor.
Tonic a-minor;
chord
of
the
Neapolitan
3i
(d
sixth,
i
which
bP),
inversion of the
st
ay- minor.
[a
alV^ (= a^Vv
I,
a ^H(t>), a \>I]
})
62)
dk minor,
-#
63)
!.
gt-
-^4
in
I
1-
minor,
I,
I
I
kifeU
2^:
dkminor.
62)
Tonic a-minor;
W)
sixth (d f
chord
of
Neapolitan
the
chord of the
which
(d
sixth
f bV),
1st inversion
AP-major;
which
is
of the
AP-major;
tonic
at the
use
A^-major,
this
(with 7 b)
of dP-minor.
[al,
63)
(=
dt>V('t>)),
gkminor.
As in Nr. 62 use this A^-major, which is at
same time the dominant of Db-major; use
;
the
this
DP-major (with
7P),
which
is
at the
same
Dbl
I
(= gW),
1
gbl]
b)),
32
64)
cb-
minor.
dM
P=
Tonic
a -minor;
relative
(F- major)
to
chord
at the
1st
is
cP-minor; tonic
of
j?)
cP-minor.
(See
Nr. 65.)
[al a VI
(=
FI), FIVPb
(= M), &^>,
65) fb-minor,
cH]
66) C-major,
^m^Md-^M,
65)
fkminor.
Tonic
minor
the
sub -dominant
this
F- major as
same place)
the
sixth
of
dP g?)
(bP
the
sixth
of
relative
(Also
tonic.
;
in
(bt>
chord
(F
in
the
of
F- major; use
db
gb)
1st inversion
CP-major;
major)
of a-minor;
(d-minor)
which
of the
tonic
Nr.
64
to
use
at
Neapolitan
this
is
chord
at
the
dominant
CP-major (with
00
the
at
is
[al,
(=
66)
^h
(= cK),
Cl*( 7 M>),
^\
C-major.
Tonic a-minor; sub-dominant (d-minor); use
this
d-minor, which
relative
is
67)
G-major,
67)
G-major.
68)
Tonic a-minor;
relative
G-major.
[al,
the
to
sub-
(Cadence!)
D-major,
use
sub
the
to
this
a-minor, which
dominant
(C-major)
is
of
(Cadence!)
al (= GH), GV%
GV(#),
|
G l]
68) D-major.
[al, aVjj
69)
use
this
minor, which
sub-dominant of D-major.
(=
DII),
DV%
A-major,
is
relative
(Cadence!)
DV(|),
|
D I]
70) E-major,
f
4'
6g)
34
A-major.
Tonic a-minor; sub-dominant (d-minor) of
a-minor; use
this
d-minor, which
same
at the
is
70)
E-major.
Tonic a-minor; use this a-minor, which is
at the same time minor sub-dominant in E-major.
(Cadence!)
[al
71)
(=
B-major,
72) F#-major,
^M^f%^N^P
wM^^M^
71)
B-major.
Tonic a-minor; minor dominant (e-minor)
of a-minor;
same
time
use
this
e-minor, which
minor sub-dominant
(Cadence !)
[al, aV^ (= BlVtf, BV*), BVJ,
72)
is
at the
B-major.
in
BI]
|
F$-major.
Tonic a-minor;
of a-minor;
same
time
use
this
e-minor, which
minor sub-dominant
is
Do
major-tonic,
not
its
forget
scale
is
that
at the
B-major;
in
is
at the
(Cadence !)
F#I]
F#IV), F#V,
in F$-major.
(=
upon the
understood.
entrance
of the
new
IS
74)
G#-major,
g^-ai
73)
C#-major.
Tonic a-minor;
a d)
(fjf
sixth
(f \
chord
a-minor;
in
a d), which
use
is
chord
this
i\
to
(Cadence!)
(The Dorian
gift!
the
at the
NB.
of
from
requires to be
sixth
led upwards!)
[al,
74)
m# (=
c|iv^), c%v\
c#i]
G$-major.
Tonic a-minor; dominant E-major; use the
1st inversion of this E-major (the chord of the
g$ b
sixth
chord
dominant
is
e),
the
of
which
is
at
Neapolitan
the
sixth
at the
[al,
G|I]
75)
D$-major;
D#-major,
76) AJ|-major,
75)
36
D#-majoi\
Tonic a-minor; dominant E-major; use the
i st inversion
of this E-major (chord of the
sixth g$ b e), which is at the same time the chord
of the Neapolitan sixth in D$-major; dominant
aV# (= D#IV^),
[al,
76)
A#-major.
Tonic a-minor;
of a-minor;
use
D #V X
D#IJ
this
e-minor, which
at the
is
tonic
B-major
is
(the
at the
use
the
chord of the
same time
aV^
(=
d$
sixth
which
(Cadence!)
BlVb),
BI (=
AM),
*
A#I]
77) E#-major,
78)
i f=ri
of this
b),
fjjj
sixth in A$-major.
[al,
1st inversion
y?r)-*s>-
A#Vy
F-major,
T-p
r-
m^^m^m
7)
E$-major.
Tonic a-minor; minor dominant (e-minor) of
a-minor; use this e-minor, which
is
at the
sixth
chord
of
d$ f$ b),
of
the
same
use
the
Neapolitan
of
sixth
in
Aff- major;
A$-major;
use
this
E$-major
dominant
tonic,
as
37
(B$-major)
of
(=
aV^ (=
BIVJj),
E#]
E#V,
E#I),
|
78) F-major.
Tonic a -minor;
a -minor;
use
alV
(=
79) B^-major,
4-
sub-dominant (d-minor) of
d-minor, which
this
relative
is
(Cadence!)
to F-major.
[al,
BI (= AfcTfo, A#V
E^-major,
w-
A^-major,
s^3
fdat
crr
i-i
FI]
|
81)
J2St-
rr^f
79) BP-major.
Tonic
minor
1=
:r:
relative (F
sub-dominant (d-minor)
F-major (with
7P),
r
-
major)
of a-minor;
which
at the
is
to the
use
this
same time
aVI
[al,
So)
(= Bk(^)),
Bbl]
Eb-major.
Tonic a-minor;
sixth (d f bv) in
(d
sixth
f bP),
1st inversion
chord
of the
a-minor; use
which
is
this
at the
Neapolitan
chord of the
major.
[al,
a.IV6(7
(
81)
E^V), El*]
AP-major.
Tonic a-minor; chord of the Neapolitan
sixth
33
is at the same time the 1st in2nd super-dominant (BP-major) of
AP-major; dominant (E^-major [with 7 1?]) of Ak
(d
bP),
which
version of the
A(
82)
AKl), AK( 7
Dkmajor,
83) Gb-
82)
major,
isi
ff
^plp
wm
rf=f
ji kJklj
VjSL
9t
Abl]
l>),
jit:
?JO.
m.
$5 I
Dkmajor.
Tonic a-minor; chord of the Neapolitan
a-minor
(d f bv) in
(d f bP), which
is
sixth
at the
1st in-
dominant (GP-major)
alVet? (== ebVjj),
[al
83)
is
of DP-major.
M (=
(Cadence!)
D^I), Dl>V
D^I]
|
Gkmajor.
Tonic a-minor; chord of the Neapolitan
sixth
which
the
is
at the
eP- minor,
which
GP-major.
(Cadence
[al,
alV^b
G\>V, Gbl]
I
1st inversion
is
!)
(~ ^Vl),
to
(==
the
tonic
of
this
of
GpVI), Gt>H
39
85) FP-major,
84) CP-major,
84)
CP-major.
Tonic
a-minor;
relative
(F-major)
to
the
use
this
sixth
(bP dP gP)
sixth (bP
dP
F-major;
in
which
g?),
of the ^dominant
1st inversion
at the
is
(GP- major) of
aVI
[al
85)
(=
FI), FIVi?
(=
CPV), Cpl]
FP- major.
Tonic a-minor;
relative
(F-major)
the
taken
sixth
1
st
as
the
sixth
tonic;
(bP dP gP),
inversion
(bP
which
of the
dP gP)
in
this
chord
use
is
at
to
the
chord of
F-major,
of
the
same time
the
(=
FI),
FlV^p
(=
FP\I),
FPV, Fpl]
d)
86)
4o
From C-major
to
FJj-major (f^-minor).
Ss
^^mm
fefegj
ip
v
r=*F
nn
Ckmajor; use
dv g?)
which is
the same time chord of the Neapolitan sixth
of
(chord
the
sixth
bi7
inversion
the
ist
the
sixth
c),
which
sub-dominant
f$-minor,
f|-minor.
is
sixth in
is
F$-major,
chord
of
at
the
at
or
the
in
(chord
of
same time
B-major; tonic
the
same time
if
modulating
Dorian
sixth
in
(Cadence!)
CbV (= FIVty, FV (=
l{= FtlV)
87)
in
C-major,
of this
[Cl*,
at
F-major;
to
F#
Jny
C$-major (c^-minor).
Pjfl]
BlVgit),
BI
Tonic
41
dominant (GP-major) of
Cb-major;
inversion
st
Neapolitan
of the
the
at
is
it
sixth
in
F-major;
the
Gb-major
the sixth e g
c),
of
this
which
is
C-major
(chord
of
at the
sixth in
B-major; tonic
this Flf-major,
(or
sub-dominant
is
sixth
in Cff-major
in
cjf-
minor).
(Cadence!)
[Cbl,
Cbv (=
FV (=
FIVfr),
BIV^), BI,
|
c#rv),
/(=
C#i]
Cftv,
c#I]
c#IVj), cftV
|(=
fr
G$-major (g$-minor).
^?
a5^ Pf
Tonic
\&-
(chord
Ct?- major;
of the
chord
ist
sixth
use
A-major
which
is
bb db
gb),
which
also
is
at
relative
this
d-minor
(A-major) of d-minor;
this
tonic F-major;
d-minor;
ffi MjmqA
=g^^^^p
the
M^
H^
f=^r=^
(chord
the
as tonic;
dominant
use the
ist inversion
of
the
sixth
time
the
same
of
a),
chord
of
cf
the Neapolitan
42
G$- major
in
sixth
(gff-minor).
(Cadence!)
f(=
GM),
IV6 ^).
l(= S
e)
89)
(=
C\>V
[Cbl,
FVI (=
FIV8>), FI,
gjf ]
From cb-minor
to:
E-major (e-minor).
nrTf
1
dV#
dl),
G#V, G#I]
yx
1
^p
rJr
(chord
of
the
fer
idp
sixth
e?
at>),
of
AP-major
which
is
at
same
time
the
use
d^
[dK
EV,
EI]
I
eVfc
el]
I
(a
-minor)
of
E-major
(Cadence!)
b
GIVp,
GV
[(=
eljVII),
e IV,
go)
43
B-major (b-minor)
IiKSnFllpTf
W7
&
qJ
^
SI
Tonic
ft
dominant (AP-major)
dP-minor;
of
the
ist inversion
c eP ay),
sixth
which
relative
is
to
the
tonic
is
also
G-major;
sixth in
of
of this AP-major
this
D-major,
of
b-minor;
dK
[dK
(=
(= ovft. gv ((=
|(=
JJJJO.
bni|])
(
*
b v|,
BV), Bl]
bl]
gi)
F$-major (f$-minor).
ji
jj
^5
i
'
j;
=^^
- i*
f
U^-Uta)^
fc
dominant (AP-major) of
el?
ay),
which
AP-major
is
at
the
(b-minor) to
this
D-major; use
this
'
44
which
b-minor,
dbv.
[df*.
minor sub-dominant of
also
is
(Cadence!)
Fsf-major (fij-minor).
^J'
c#Y #]
i
92)
C$-major (c$-minor).
PTOr^N
i^Mta
BKE
!ite
Tonic
dP-minor;
of
J.
the
dominant (AP-major) of
1st inversion
sixth
eP
of this AP-major
which
aP),
is
at
the
in
inversion
the
1st
the
sixth
the
Neapolitan
f if
a d),
of
D-major
this
which
sixth
in
is
(chord
also the
C$-major
of
chord of
(cj^-minor).
(Cadence!)
[dn, d>v,
Cp]
(= givs), gv
=
|!
*3SS'
>f
45
93)
Gjf-major (g#-minor).
Tonic
dP- minor,
dominant (AP-major) of
which
AP-major
is
at
the
of
the
sixth
c$ e a),
which
is
also
[dpi,
(=
94)
dt^Vjj
(= GIV^j
G#IVSJ),
GV (=
DI),
DV
GJfV, G#I]
D$-major (d#-minor).
p^^fpif^ppl
^e^ ^
is^
ist inversion
sixth c eP aP),
of this AP-major
which
is
at
the
46
change the D-major into d-minor and use
d-minor, which
is
dominant E-major
E-major
is
(chord
g$ b
sixth
D$-major (d$-minor).
which
e),
((=
DJtlVjj),
](=
d$V%
= a IV), aV#
D#V, D#I]
d#vx,
ditl]
From a#-minor
f)
(Cadence!)
[dbl, dt>V
95)
of the
at the
sixth in
this
to
Bb-major (bkminor).
1=3
#
It
*-
^=fr?=F=t
^M^T^r
J#=^
ate
p
sixth
st
which
is
chord of
this
at the
same time
f),
sixth (a c
f),
which
the
chord of the
[a#I,
((
is
a$m
(=
BbV), Bbl]
bbl]
eVj(),
el,
dV<*
elV'lj,
,
47
g 6)
E^-major (eP-minor).
which
of the
is
at the
this
chord of the
inversion
ist
is
(F-major)
f),
in e-minor;
of EP-major
2nd super-dominant
dominant
(eP-minor);
atilV^
[ajfl,
Et>v
Ek]
e^Vjj,
e ^I]
(=
Jj=
^Jg
97)
Akmajor (akminor).
m w&& ^B^ri
fT
i
'i
j^*M A
p P
(d$ f$
the sixth
b),
(d| f|
in a^-minor;
b),
which
is
use
this
at the
chord of
same time
the
st
48
f)
(a c
sixth
f)
which
of
inversion
st
the
is
also
chord of the
at
is
2nd super-dominant
this
BP-major, which
in AP-major(al? -minor);
a#rra (=
((=
aK
[(==
98)
eVjj), e l,
aK
Abi]
a^ v a^,
abl]
v
),
),
elV^
(ab-minor).
bH
Bt>V),
|
Db-major (db-minor).
fr?^
L^f ya
111
I
Tonic a$-minor;
sixth
(d$ f$ b)
which
inversion
E -major;
of
tonic
chord
of the Neapolitan
a$-minor; use
in
at the
is
dominant
the
this
chord of
of
this
chord of the
sixth
(B^-major)
tonic
also
of AP-major;
AP-major;
the
use
dominant
this
of
(d
f bb),
as
it
is
2nd supef-dominant
dominant EP-major;
AP-major, which
is
DP-major (dP-minor);
49
(Ab- major
dominant
[with
D^-major
of
7b])
a#IV|^
[a#I,
(=
99)
A\>VL),
(=
E^
EV), EI,
Abv
(== a I),
aIV*t>
|
DbV, Dbl]
AN
dKtj, dbi]
G^-major (g^-minor).
i^^i
.h-^3===h^==j2^=B^
1
#
Tonic a$-minor;
sixth,
chord
1st inversion
E- major;
tonic
which
also
is
of the Neapolitan
(dj( f$ b),
is
the
at
chord of
same time
E- major;
dominant
use
in
this
E- major,
a -minor;
which
is
chord of the
(EP-major)
(BP- major)
of
of AP- major;
At7 - major;
use
this
2nd superdominant
AP-major,
which
in
sixth (d f bP),
dominant
tonic
f bP),
AbW AbV
oo)
(=
a#lV|:
[aftl,
(=
EV), EI
Abl
alVeb
aVu), a I
(= GbVV) G ^'
'
G ^I]
I
Cb-major (cb-minor).
1^^
-^
'i
^-
fft
st
is
at the
chord of
same time
E-major;
tonic
which
also
is
E- major;
dominant
use
in
this
E- major,
a -minor;
tonic
which
also
is
BP-major
(in
gP
st
gP
bP)
of the tonic
ist inversion
;
cP) in
sixth (eP
sixth (d f bP)
of BP-major;
(eP
the
chord of the
chord
of the Neapolitan
BP-major; use
cP),
as
it
is
this
at the
sixth
chord of the
same time
the
(= BH),
|
BbiV, BblV^b
(=
Cbl),
j[=
v.
Cbl]
cbi]
G V
;
[
Vh
C. F.
-^
KAHNT NACHFOLGER,
7
Franz
LEIPZIG, PUBLISHER.
CAART
Liszt.
1.25
1.25
3.
4 hands
M. 1.25
2.
1.50
2.
2.
Ouverture
hands
4 hands
March of theCrusaders
forPianofortefor2hands
4 hands
8 hands
*
,
t
Interludium for Pianoforte for 2 hands
..
.
4 hands
.
.
Harmonium and Pianoforte
,
Isten veled. Adieu. Hungarian Romauce for Violin
>
Are Maria.
5.
1.80.
2.50
2.50
1.
2.
3.
and Pianoforte
Transcription for Violoncello and
Misrnon's Song.
Pianoforte; by Friedrich Grlitzmacher
Trois Morceaux suisses for Pianoforte for 2 hands.
No. 1. Ranz de V aches (Variations)
No. 2. Un soir dans la Montagne (Nocturne)
No. 3. Ranz de Chevres (Rondeau)
TheThree Gypsies. Paraphrase forViolin and Pianoforte
.
1.50
1.80
2.50
2.50
2.
2.50
2.
1.50
1.50
2.50
2.
Pastorale
March
of the
Three Magi
hands
4 hands
for Pianoforte
.
2.50
4.
hands
2.50
4 hands
4.
4.50
for 2
Fantasy and Fugue on the thema BACH" Transcription for two Pianofortes for 4 hands by
Charles Thern
C.
F.
KAHNT NACHFOLGER,
LEIPZIG, PUBLISHER.
KAHNT NACHFOLGER,
C. F.
LEIPZIG, PUBLISHER.
DATE DUE
(PA
Ash
Cho
DEMCO
38-297
Rubinstein, A.
No.
No.
No.
1.
up.
*<.
x^
Romance D-major
Preghiera
3. Nocturne
Voss, Charles. Op.
1.80.
2..
20.
de Bellini
C. F.
1.50.
2.
KAHNT NACHFOLGER,
Norma'
5.50.
LEIPZIG, PUBLISHER.
^
c. f.
k r;"'''">'mmmmmi
jblisher.
Daily Exercises
for the
Violoncello
lb
Friedrich
Griltzmacher.
Revised Edition
iJ
^gp>^
work
specially
written
for
Introduced
instruction
Wk
lition.
at
most
of
the
or
Conservatories
of Music.
Price
M. 5..
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LEIPZIG, PUBLISHER.