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. KEYBOARD HARMONY
+§ANDi+

TRANSFUSITIUN
Preliminary Studies in Keyboard Harmony and Transposition
A Preliminary Volume for the earliest grades.

‘ Keyboard Harmony and Transposition, Volume I.

The Principal Triads; the Principal Dissonant Chords; the Secondary Triads;
Passing Notes.

Keyboard Harmony and Transposition, Volume II.

Suspensions; Anticipations: Modulation; Altered Chords; Organ Point.

BY

ANNA HEUERMANN- HAMILTON

MT Price 40 Cents

CHICAGO.
CLAYTON F. SUMMY 00., 429 So.Wabash Ave.
Weekes 8: Co. London.

Copyright 1916 by Clayton F. Summy Co.

International Copyright.
 KEYBOARD HARMONY
emine

TRANSFUSITIUN
A Practical course of keyboard work for eVery Piano and Organ Student. PRE
LIMINARY STUDIES IN KEYBOARD HARMONY AND TRANSPOSITION offers
an easy means of acquiring anlempirical knowledge of Simple Harmony. Volumes I
and [I may be used in connection with or to follow any Textbook on Harmony.

PreliminaryStudies in Keyboard Harmony and Transposition

A Preliminary Volume for the earliest grades.

Keyboard Harmony and Transposition, Volume I .

The Principal Triads; the Principal Dissonant Chords; the Secondary Triads;
Passing Notes.

Keyboard Harmony and Transposition, Volume II.'

Suspensions; Anticipations: Modulation; Altered Chords; Organ Point.

BY

ANNA HEUERMANN—HAMILTON '

‘Price 40 Cents . . .
w J

CHICAGO.
CLAYTON F. SUMMY CO'., 429 So.Wabash Ave.
Weekes & Co. London.

Copyright 1916 by Clayton F. Summy Co.

International Copyright.
"
ua-lo

I O 0'. l .

r .
4 O 0...
I y...
I o
's
 Keyboard Harmony and Transposition.
FOREWORD.

In spite of the fact that the study of Harmony is pursued very generally at the
present time by the more serious piano students,comparatively few arrive at the point
where harmony becomes a factor in their musical experience- where theory and
practice occupy the proper relation to each other. Pupils are frequently advised to
test their harmonic knowledge at the keyboard; but, lacking systematic material,
such practice is necesSarily spasmodic and the progress made is unsatisfactory.
Even organists seeking church engagements are generally deficient in the ability to
transpQSe .

Transposition may be accomplished by various routes, but it goes without say

ing that the plan that is based on key conciousness and harmonic knowledge is the
most musicianly and of greatest influence on general development.

The present work presupposes a knowledge of the Major and Minor Scales, and
the technical ability to play the exercises and illustrations. Aknowledge of harmony
is not a prerequisite, as it is quite feasible to study Harmony and “Transposition” at
the same time.

Beginning with the Tonic Triad, every chord is illustrated first by a simple ex
ercise and then by one or more excerpts from piano literature, showing how the
chord is used in actual composition. Every exercise and illustration is to be trans
posed into every other key. The more difficult illustrations may be left, if desired,
until the book is revieWed, using only the easier ones for the first reading.

From the first a short task is to be assigned for daily practice in connection with
the piano lesson and to be played as a part of the regular lesson. New work must
not be taken up until this task can be played fluently in every key.When the course
has been completed in this manner, the student will have a practical knowledge of
foundational harmony at fingers’ ends, and be expert in ordinary transposition and
modulation; he will be prepared to take up Modern Harmony, Composition, and Ex~
temporization .

Incidentally, musical memory will be strengthened. After any extract has been
played in a number of keys, it will be found that it has been memorized unconcious
ly, and playing in the remainder\ of the keys can be done with very little reference to
the notes. This discovery contains a valuable hint: In any piece, any passage that
is troublesome to memorize can be learned readily after the harmonic structure is
understood well enough to play it in several keys.

May this effort be of assistance in making harmony avital part of music-con

ciousness.
Anna Hwermann Hamilton.

C.F.8.Co. 1701
 Keyboard Harmony and Transposition. 5
VOL. I.
PRINCIPAL TRIADS, PRINCIPAL DISSONANT CHORDS,
SECONDARY TRIADS, PASSING NOTES.

PRINCIPAL TRIADS.
TONIC TRIADS, MAJOR AND MINOR.
A Key-Circle is a succession of all the keys in some regular order. the Circle
9f Fifths is so called because in it the Fifth of one key becomes the Tonic of the
next key. The expressions: Circle of Fifths, By Fifths, Elevation, On the Right, On
the Sharp Side, By Sharps, used by various authors, all mean the same thing.
Exercise 1. Play the Tonic Triad in every Major Key through the Circle of Fifths,
thus:
Key ofC u D A E B = cb
EX.l.

G? C“ Db Bl? F C

V
Name the signature of every key as you play its Tonic Triad. Notice thatthe fifth
of one triad is the root of the next. Play this without referring to the notes.
First eight exercises are to be played with each hand alone; left hand one octave
lower than the right.
The Circle of Fourths is so called because in it the Fourth of one key becomes
the Tonic of the next key. The expressions: Circle of Fourths, By Fourths, Depres
sion, On the Left, On the Flat Side, By Flats,used by various authors, all mean. the
same thing.

Ex. 2. Play the Tonic Triad in every Major Key through the Circle of Fourths,
thus:
Key ofC r Bl» Rb Ab
EX.2.

Notice that the root of one triad is the fifth of the next.

Ex. 3. Play the Tonic Triad in its direct form and inversions in every Major Key
through the Circle of Fifths, thus:

Copyright, 1916 by Clayton F. Summy 00.

C. F. S. 00.1701-27
6
Ex.4. Play the Tonic Triad in its direct form and inversions an every Major Key
through the Circle of Fourths, thus: F
C
“

EX.4.

Ex.5. The Tonic Triad in every Minor Key through Circle of Fourths:
a d g c f bb = a#
EX.5.
\—-/

el: -' ab " git cit fti b e a

\__/
Ex.6. The Tonic Triad in every Minor Key through Circle of Fiftns:
a e b fit cit git -_- ab
Ex.6.

dti = eb all = -bb f c g d a

Ex.7. The Tonic Triad in its direct Ex. 8. The Tonic Triad in its direct
form and inversions in every Minor Key form and inversions in every Minor Key
through Circle of Fourths: through Circle of Fifths:
a d etc. a 8 etc.

Ex'. 7. EX . s .

Ex.9. Tonic Triad in Major through Circle of Fifths. Right hand takes a
full chord, doubling first the Root, then the Third, then the Fifth. Left hand takes
the root each time, in octaves:
c ‘ 8'

etc.

EX.lO. Tonic Triad in Major through Circle of Fourths. Right hand takes a
full chord, doubling as in the last example. Left hand takes a descending arpeggio,
beginning first on the Root then the Fifth, then the Third,and again the Root,an octave
C F
lower.

EX.lO.

C. F. 8.00. 1701- 27
 7

Illustration I. Transpose into every Major Key through both Circles.Notice that
Right Hand takes root above and Third below, and then takes the Fifth. Left Hand
takes the root as octave. The distance of an octave and a third is between thehigh
er note in Left Hand, and lower note in Right Hand. Analyse all exercises and
illustrations in this way before beginning to transpose.

Mozart Rondo, No.20,(Cotta)

Ill.l.

EX.ll. Tonic Triad in Minor through Circle of Fourths:

EX.ll.

Ex.12. Tonic Triad in Minor through Circle of Fifths:

a e

Illustration II. Transpose into every Minor Key in both circles:

A Schubert Andante
Ill. I. . . ./ \. m anaam, _

flit
die. a m er
Illustration III. Without further remark every Major illustration is to be trans
posed intc every Major Key; and every Minor illustration into every Minor Key.
Ill.III. . . - Beethoven,0p.31,No.1.

C.F. S. 00.1701-27
 geeâhle/ens,
Beethoven I]1_V_ p' ’ 0' '
mm ?321 0p.2,No.f. .
m

Beethoven, Op.‚27, No.2.

4 . ‚

I11.VI. ff p

f‘ p as *
Allegr0>11r$lq€9 e co’n brz'o <J-:i26) Beethoven, Op 7_

Ill.VII.

Ill.VIII. A FoersteAr, Tarantella.

A Â/—\

.1?“

V \. \_ \‚\'‚ V v

[lux Beethoven,0p.27,_No.1. Ill.X. Beethoven,0p.27,No.2.m

‚J o

fl"

a
'
C.F.S.CO.1701'27
“m. W
 9
Beethoven, Op.27, No.1.
Ill. XI. ff 4
. "\

4
‘fm.. 8
f' ff . fie
Ill. XII. animate e tempestoso > Beethoven, Op. 27, No.2.
>

>cresc. ed incalzando.
>
>

1% 9%

*
Ill.XIII. _ _ ‘ Beethoven, Oph7.

decresce'ndo.
;- 1 m

53 flag“ ae
111. XIV. 9% Beeflgw2.

poco soste‘nuto .
mac. 147 1mm cov-da.
5 1

‘lm.
/—-—_—
AW /———\ \n m

\ _ *‘m. 5* (Elb- *'

(1F. S. 00.1701-2'7
10

Beethoven, Op. 26.

:32 4 5 4

\_/ *

DOMINANT TRIAD.
Ex.13. Major Keys. Name the key while strik- Ex.14. Minor Keys. Name the key while strik
ingthe Keyomead. Keyomeag. ing the nKeyofAmin. “KeyofEmin.
Triad;thus:g etc Triad; thus : Etc
1

TI-IE AUTHENTIC CADENCE.

Ex.15. Tonic, Dominant, Tonic Triads,connected. Three notes in Right Hand,root
of triad in Left Hand. Keep the common tone in the same voice. Play in all three po
sitions of the chord, in Major thus:

EXJS. I - v- I I- v- I I- v- I etc.

Ill.XVI. Transpose weber 0p'24“

Ex.16. Authentic Cadence in Minor.

a.

EX.16. I-V-I I-V-I I-V-I I-V-I I-V-I I-V-I etc

Ill. XVII. ' Transpose Beethoven, Op_2, No.1.

' v

I
C.F. 8.60, 1701-27
 11
SUB - DOMINANT TRIAD.
Ex.17. Major Keys. Name the key while strik- Ex.18. Minor Keys. Name the key while
ing the Triad-
0 ,0thus:
Mai . Fina}, strikin g the triad-thus:
a. Min). e Min.

EX.17. 3% etc. Ex.18. 3 etc.

THE PLAGAL, AMEN, or CHURCH CADENCE.
Ex.19- Tonic,Sub Dominant, Tonic Triads;connected. Three notes in Right
Hand, root of triad in Left Hand. Keep the common tone in the same voice. Play in
all three pcésitions of the chord, in Major, thus:
G Maj.

EX.19.

Ex.20. Plagal Cadence in Minor.

a. Min.

THE ALTERNATING MAJOR AND MINOR CIRCLE.

Take the Circle of Fourths in Major as a foundation; use the relative minor key
after each major, thus: C maj. a min. Fmaj. d min. Bb maj, g min. Eb maj. c min.Abmaj.
fmin. Db maj. bbmin. Gl’ maj. eb min. B maj .gfi min-Emaj. cit min. A maj.“ min.‘D maj.
b min. Gmaj. e min. and back to C maj.
This gives us the Alternating Major and Minor Circle. It is more interesting than
the circles we have been using. It affords the ear a relief from the monotony of on
ly Major or only Minor keys. From this point on, take the exercises through the Ma
jor and Minor Circle, unless otherwise noted. Illustrations in Major are to be played
only in Major, and illustrations in Minor, only in Minor.
Ex. 21. Authentic Cadence. Open Harmony.
C maj. a. min- F maj

EX.21.

Ex.22. Plagal Cadence. Open Harmony.

C . a. min- Fmaj.

EX.22

C.F.S.C0.1701-27
‘2 ' PERFECT CADENCES. '
Ex.23. Cadence with Sub Dominant Ex.24. Same cadence in Open Har
and Dominant Triads. m ny.

Ex.25. Cadence with Tonic, Sub -Dominant, Second Inversion of Tonic Dom
inantand Toni

EX_25_ I-IV Ig-V I I-Iv Ig-V I

o

Principal Dissonant Chords.

DOMINANT SEVENTH CHORD.
Ex.26. Play and resolve the Dominant Seventh Chord in its direct form and
all inversions. a. min.
C

V71 Vgl V31 VI

7 VI
g V4I
3

Ill. XVIII. flat" ntDUI

c zemy’ o p .599.
"‘10 NIFI noon
Nib liwa

0 0- 0

Ill.XIX. 5
g 5 5
2 5 "Mi! (099‘ laNIP @020
4 Czsemy, Op. 599.
“i' 1 2 HGDU‘
“N
N90! 3

Ex.27. The Dominant-Seventh Chord makes all cadences more satisfactory.

EX. 27.

(LES. (301701-27 I
 13

Ill. XX. Czerny, Op. 599.

2 l 1‘ 5 4 3 ’1

Ill. XXI.
8 4 4 Czerny, Op. 599.

Ex. 29. Transpose into every Major and Relative Minor Key.
C mad-0n a. minor.

C.F. 8.00. 1701-27

14
Ill.XXII. Czerny, Op. 599.
6% 2» A4 a 1 i ‘5 ‘t

Ill . XXIII. Czerny, Op.599.

Vivace 2 5 4
2 3
g I 1. I . g . 1. g

C.F.S.Co.1701-27
 15
'AMBOY
Ill. XXIV. Hymn -Tune I Lowell Mason.
. D.O'.

Beethoven, Op. 2, No. 2.

3’1
m4!

“Sim. 9k
Haydn.
Ill. XXVI.

\
Ill. XXVII. , Beethoven, Op.18.
- e I .

\J *9 “32m. aim. \. \. \.
C.F.S.Co%I-27 alt 653m as $1 *‘fm. #
16
Beethoven,Op. 31, No.1.
Ill. XXVIII. /\/ - /*’3 '

Ill- XXIX - Beethoven, 0p.19.

Ill. XXX.
Beethoven, Op. 79.

THE DOMINANT NINTH CHORD.

Ex.30. Remember that the Ninth in this chord is major in the Major Key, and
minor in the Minor Key. Still,the Major Key often uses the Minor Ninth. This exer
cise contains the V9 in its various positions.
C a Minor

EX .3

v3 V9
2
Ex. 31. The Descending Scale, with the sixth harmonized with the V9.
C a. Minor

EX.31. v9

C.F.S.Co.1'701~2'7
 17
Ill.XXXI. Minor and Major Ninth alternating in the Major Key.
Beethoven , Op. 142.
1w 81" fir ,9" 2%.
q7“.sz-m._A-'J._

VI? 43

,3 I; .I. If 4
> Schubert, Op.142.
Ill.XXXII. Mm

'—e_-—_

Ill.XXXIII. Hymn-Tune. I. Pleyel.

9 9
Ill.XXXIV. . Beethoven, Op. 27, No.1.

C. I". s. 00.1701—24
18
Ill. XXXV. Dominant Seventh and Minor Ninth in the Major Key.
I A. 5
Beethoven, O .31, No.1.
51A ’\ 8 51A

anxxvr Beethoven,Op.lO,No.1. ’ ‘
5 1T 2

decresc.

4 5 4 5

C. F. 8.00.1701-27
 19
MINOR AND DIMINISHED SEVENTH-CHORDS.
Ex.32. Remember that the Seventh of the VH7 is minor in the Major Key, and
diminished in the Minor Key.
C Major a Minor

EX. 32. J J
F

’I 1'7 65 '1143 VII'7 3

Ex. 33. Scale employing Minor Seventh-Chord in Major, and Diminished Sev
enth-Chord in Minor.
C Minor

F
EX.33.

Ill.XXXVII.
The Diminished Seventh-Chord as it is frequently used in a Major Key.
' I I
' Beethoven, Op.2,No. 2.
Y ' v
ril.

62a. *‘fm A , ‘
fl 2 4 p U
Ex. 34. The Diminished Seventh-Chord in all forms and positions. Play in ev
ery Minor Key.

EX.34.

6 '7 2
5 8
THE DIMINISHED TRIAD.
EX.35. The Diminished Triad in all forms and positions. Play in all Major
and Minor Keys.

EX.35. \ J l

C.F.§.Co.1'701-24
20

Ill. XXXVIII. This extract contains the Dominant- Seventh, the Diminished - Sev
enth and the Diminished Triad. Play in all Minor Keys. Beethoven, Op. 10, No. 1
Allegro molto 8 con brio ‘ 5 , ,
Mm ten. ten /A3

. 5 4 '
\Trlc/
4
5 3 3

SECONDARY TRIADS.
Except when otherwise directed, all Major Exercises and Illustrations must be
transposed into every Major Key through the CIRCLE OF FIFTHS and the CIRCLE
OF FOURTHS; and all Minor Exercises and Illustrations must be transposed into
all Minor Keys through the CIRCLE OF FIFTHS and the CIRCLE OF FOURTHS.

In EX.36 (Major) the Tonic Triad is followed by its Substitute: the triad on the
Sub Mediant (or sixth of the key).
Notice: (1) Two of the tones of these two chords are identical:
(2) The root descents a third:
(3) The two chords stand to each other in the relation of Major and Relative
Minor.
0 o
EX.36. @“V‘R R I A H
'1 1 VI IVHIIU §
\./
Ill
Name every triad- as you strike it.

In the same exercise the Sub-Dominant Triad is followed by its substitute: the
Super-Tonic Triad (or second of the key). All three points noticed in connection with
the Tonic and Sub-Mediant Triads also apply to these chords.
In the same exercise the Dominant Triad is followed by its substitute the Med
iant Triad,(or third of the key). The three points also apply to these chords.

C.F. 8.00.1701-27
 21

In Exercise 37 (Minor) the Tonic Triad is followed by its substitute: the Sub
Mediant Triad: and the Sub-Dominant Triad by its substitute: the Super-Tonic Tri
ad. Notice that only two of the three points mentioned before, apply in Minor.
Which two are they?
HI “A

EX.37. W
'J I VI IV 30

Why does this exercise in Minor not contain the Dominant Triad followed by the Med
iant Triad, as in Major? If you do not know, play the Triad of V followed ,by the
Triad of III in minor,- and your ear will quickly decide.

Ex. 38. The Primary Triads with their Substitutes,keeping the two common tones
in the same voices. In major, in all three positions of the triad.

Ex.39. The Primary Triads with their Substitutes, keeping the two common
tones in the same voices. In minor, in all three positions of the triad.

etc.

Ex.40. Every tone of the Major Scale harmonized in three different ways.
Notice: (1) With the exception of the chord immediately before the last, the bass
descends by thirds throughout.
(2) On account of the Sequence thus formed, the Diminished Triad with
root doubled and in direct form, is not objectionable as usual.
Diminished Triads are marked with an asterisk.
EX.40.

i i <I i
The first four chords of this EXAO, if followed by the Tonic chord with Third in Soprano, makes the Dresden
Cadence a. form of the Plagal.
EX. 4 . ’ X .42.

C. F. S. C0.1'701- 2'7
22

Ex.43. The Cadence employing the Sub-Mediant Triad. Play in all Major and
MinorKeys.

EX.43.

SESSIONS . L. O. Emerson.

Ill.XXXIX .

Passing Notes
/\ .1

\_/

VI VI
Ex.44. The'Caden employing the Super-Tonic Triad. Play in all Major and
Minor Keys.

EX. 44.

ARLINGTON, Thomas A. Arne.

Hymn-T e

Ill.XL.

Scherzo. ll 6 H
Allegro vivace. J: 96 .
Beethoven, Op. 28.
5 8

>
Ill.XLI. P

C.F.S-Co.1'701-2'7 ll6
 23
Ill.XLII.
Czerny, Op. 599.
3 23
11”?ng 5

5 .
4H,. 5
Ex.45. The Mediant Triad in its most common use: harmonizing the seventh
scale-step, descendin , in Major.

EX.45. %

Ill. XLIII .
Vivace. Beethoven, Op. 79.
4? ’3 s A '3

VI [Hg
or. s.c...1701- :27
24
Ill.XLIV. Beethoven, Op. 28.
~

F —/
P molto egato 5f

5 a Ill6

EX.46.

VI m6 N
THE SEVENTH-CHORD ON THE SUPER—TONIC.
Ex 47 Play this Cadence employing the Seventh-Chord on the Super-Tonic in
all Major and Minor Keys.

EX . 47.

III:
111. XLV. Play this illustration employing the new chord in all its inversions, in all
Ma' and Minor Keys.

PASSING NOTES.
Simple Passing Notes in one Part,
EX.48. Simple PassingNotes in Sopr. Maj. Ex.49.Simple Passing-Notes in Alto. Maj.

Do not forget to transpose everything.

C.F. 8.00. 1701-27
 25
Ex.50. Ex.51.
Simple Passing-Notesin Tenor.Major. Simple Passing Notes in Bass.Major.

“F.

j/

Ex.52. Ex.53- .
Simple Passing N t in Soprano.Minor. Si ple Passing N tes in Alto.Minor.

Ex.54. Ex.55. .
Simple Passing N tes in Tenor.Minor. Simple P ing Notes in Bass.Minor.

‘I/

Ill .XLVI .
Allegretto. Czerny, 559.
5453423

C. F. 5.00.1101-2'1
26
Ill. X LV I.
Allegretto
Czerny, Op. 599.

f
5

Ill. XLVII. Czerny, Op.599.

Allegro ’l ‘l
24

C. F‘. S. 00.1701— 27
 27
Ill'. XLIX.
-> .‘I a I Beethoven, Op. 31, No. 1.

TRIO. Beethoven Op. 2 , No. 1.

A ,

Ill. L. etc.

Beethoven, Op.2,No.2.

Ill. Ll . m

_ 7 ' .

VF _ 1 .
m - LIL Beethoven,Op.10, No.3. EX-§7- _
ff? Passing-n 1 two or more parts.

f 5Ti’m0 t)

1.1
MIH
1 VI II"
EX.58. v
Passin -Notes in two or more parts.

TF'F
l

C.F.S, 00.1701-2'7
28
Ill. LIII. ST. MARTIN’S
A Hymn -Tune with passing-notes in more than one part.
A A \ ' \ William Tansur. ‘

EX.59. Compound Passing- Notes- EX. 60. Passing- Notes on the accent.

I FIFE»?!

Passing- Notes on the accent./_\ 1' T3

A A AWeber, Op. 24.
leggieramente A A A
A A
EA

III. LIV.

Passing-3Notes on the accent. 4 Cramer.

Ill. LV. 81% 81%

ma/rcato ma leggiero

If. I". S. C0. 1701- 27

 29
INTERVALS

It is not necessary or even desirable that the student he burdened with the whole
subject of INTERVALS at the beginning of harmony study. But the time to consider
them is now at hand. Not all text books on harmony include the subject; so the inter
vals in common use, or the CLASSIC INTERVALS, will be treated here fully.
An INTERVAL is the distance between two tones, or their effect when sounded together.

A DEGREE is any line or space of the staff.

Intervals receive their NUMBER-NAMES from the number of degrees they cover.
For instance, c-d covers two degrees: a line and a space,- or a space and
a line; hence it is a second. i
‘

A Prime is an Interval that covers one degree only.

A Second is an Interval that covers 2 degrees.
I! Third n n v n n 3 v

1: Fourth n n n n n 4 n

0 Fifth n n n n n 5 n
" Sixth n n n n n 6 n

" Seventh n v v n n 7 n
n ()ctave v n n n n 8 n
" Ninth 7’ n n n n 9 0

Beyond the Ninth,an octave is generally subtracted from the interval,making the Tenth
equal the Third; the Eleventh equal the Fourth; etc.

'Flats and Sharps do not affect-the Number-Names,- ctt-dtt, cb-db, c-db,c- dtt,ctt-d, are
all Seconds, as each covers two degrees.

Flats or Sharps may affect the VARIETY of an interval. There are several varieties:
PERFECT; MAJOR or LARGE,- MINORor SMALL; DIMINISHED;and AUGMENTED.

The intervals formed by the tonic and the successive tones of the Major Scale are all
either Perfect or Major (large)
Perfect Major Major Perfect Perfect Major Major Perfect Major

1 2. 8' 4 5 6' '7‘ 8 9‘

The PRIME, FOURTH, FIFTH,and OCTAVE in this series in the Major Scale are
PERFECT. (A figure without other mark indicates that the interval is perfect.)

i 4 5 s

1. Construct Perfect Primes, Fourths,Fifths ,and Octaves on every tonic thru the Circle of
Fifths, naming every interval and the tones composing it, as it is played.
C.F.S. Co. 1701 -27
30
The SECOND, THIRD, SIXTH ,and SEVENTH in this series in the Major Scale are
MAJOR or LARGE. (A dot at upper right side of figure indicates that the interval
is Major.) .

2. Construct Major or Large Seconds, Thirds, Sixths,and Sevenths on every tonic thru
the Circle, naming every interval and the tones composing it, as it is played.
An interval covering the same number of degrees as a Ptarfect,but being one half-step
larger, is an AUGMENTED interval, (A dash from right to left thru figure indicates that
the interval is augmented.) ‘

it, . A” 6'

3. Construct Augmented Primes,Fourths,and Fifths on every tonic thru the Circle, nam
ing every interval and the tones composing it, as it is played. In each case sharp the up
per tone.

An interval covering the same number of degrees as a Perfect, but being one haltl
step smaller, is a DIMINISHED interval. (A dash from left to right thru figure indi
cates that the interval is diminished)
0 l

W i is. ‘8.
4. Construct Diminished Fourths, Fifths,and Octaves on every tonic thru the Circle nam
ing every interval and the tones composing it, as it is played. In each case sharp the low
er tone.

An interval covering the same number of degrees as a Major or Large,but being one
half~step smaller, is a MINOR or SMALL interval. A dot at lower right side of figure
indicates that the interval is minor.

2. 8, 6. '7.
5. Construct Minor or Small Seconds, Thirds, Sixths,and Sevenths, on every tonic thru
the Circle, naming every interval and the tones composing it, as it is played. In each case
flat the upper tone.

An interval covering the same number of degrees as a Major or Large,but being one
half- step larger, is an AUGMENTED interval.

2. Te
Construct Augmented Seconds and Sixths on every tonic thru the Circle, naming ev
ery interval and the tones composing it, as it is played. In each case sharp the upper tone.
C. F. 8. Cu. 1701-27
 31

An interval covering the same number of degrees as a Minor or Small,but being one
half-step Smaller, is a DIMINISHED interval.

giffi~IL
7. Construct Diminished Thirds and Sevenths on every tonic thru the Circle,naming ev
ery interval and the tones composing it, as it is played. In each case sharp the lower tone.

TABLE OF CLASSIC. INTERVALS

1 4- 2' 2. o- a‘ salt/r as 45' so'eAr-z' 7,48‘8—9' 9,

8. Construct this Table of Classic Intervals on every tonic thru the Circle, naming every
interval and the tones composing it, as it is played. ‘
Modern music employs a number of intervals not mentioned here;also some DOUBLY
DIMINISHED, and some DOUBLY- AUGMENTED. When the table has been mastered
it is an easy matter to identify and classify any other intervals that may occur.

INVERSION OF INTERVALS
INVERSION means: “turning upside down,” The Inversion of an interval is ac
complished by transposing the upper tone one octave lower; or the lower tone one oc
tave higher. Thus, c-d by inversion becomes d»c; fit-ab becomes ab- ftt,
The sum of the Number- Names of an interval and its Inversion always equals 9. Thus:
By Inversion a Prime becomes an Octave; 1 + 8 = 9.
v " 11 Second " a Seventh; 2 + 7 = 9.
n " v Third » » Sixth; 3 + 6 = 9.
v v " Fourth " - - Fifth; 4 + 5 = 9.
n n » Fifth ~. v " Fourth; 5 + 4 = 9.
v v " Sixth » H Third; 6 + 3 = 9.
" v " Seventh v v Second; 7 + 2 = 9.
n " an Octave " " Prime; 8 + 1 = 9.
By Inversion a Perfect Interval remains Perfect.
" " a Major or Large Interval becomes Minor or Small,
" v a Minor or Small v " Major or Large.
” " an Augmented " " Diminished.
» " a Diminished n n Augmented.
Hence, a Diminished Third becomes an Augmented Sixth; a Minor Seventh becomes
a Major Seoond,etc.
9. Invert every interval in the Table, naming the inversion and the tones composing it,
as it is played.
10. Construct the Table of Intervals on every tonic, as in 8; then invert the result, nam
ing every inversion and the tones composing it, as it is played.
0. F.S.Co. 1701-27
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(EYBOARD HARMONY
- -
--- AND --

TRANSPOSITION
reliminary Studies in Keyboard Harmony and Transposition
A Preliminary Volume for the earliest grades.

Keyboard Harmony and Transposition, Volume I.

The Principal Triads; the Principal Dissonant Chords; the Secondary Triads;
Passing Notes.

* Keyboard Harmony and Transposition, Volume II.

Suspensions; Anticipations: Modulation; Altered Chords; Organ Point.

BY

ANNA HEUERMANN-HAMILTON .
-
º

3. º - º
º
Prºce 40 Geºffs º
s
º
CHICAGO. º
cLayton FWeekes
summy co,429 sowabash Aveº
& Co. London. 5. * 6
Copyright 1916 by Clayton F. Summy Co. º
International Copyright.

<>
 r *: * ~* *- * * *
* *

ſº
- - - - - tº
* -

- , - . .. . . . ;
|-

KEYBOARD HARMONY - * a

- AND +

TRANSPOSITION
A Practical course of keyboard work for every Piano and Organ Student. PRE
LIMINARY STUDIES IN KEYBOARD HARMONY AND TRANSPOSITION offers
an easy means of acquiring an empirical knowledge of Simple Harmony. Volumes I
and II may be used in connection with or to follow any Textbook on Harmony.

Preliminary Studies in Keyboard Harmony and Transposition

A Preliminary Volume for the earliest grades.

Keyboard Harmony and Transposition, Volume I.

The Principal Triads; the Principal Dissonant Chords; the Secondary Triads;
Passing Notes.

* Keyboard Harmony and Transposition, Volume II.

Suspensions; Anticipations: Modulation; Altered Chords; Organ Point.

BY

ANNA HEUERMANN-HAMILTON

Price 40 Cents

CHICAGO.

CLAYTON F. SUMMY CO., 429 So.Wabash Ave. -

Weekes & Co. London.

Copyright 1916 by Clayton F. Summy Co.

International Copyright.
 Keyboard Harmony and Transposition.
VOL. II.
Mr SUSPENSIONS, ANTICIPATIONS, MODULATION, ALTERED CHORDS, ORGAN-POINT
SJ SUSPENSIONS.
+ H25 Unless otherwise indicated, every Major Exercise and Illustration must be transposed
- tº every Major Key through the CIRCLE OF FIFTHS and the CIRCLE OF FOURTHS
3 (see Volume I;) and every Minor Exercise and Illustration must be transposed into eve
ry Minor Key through the CIRCLE OF FIFTHS and the CIRCLE OF FOURTHS.

Exercise 61. A plain Cadence with suspensions in Soprano. Transpose into all keys
through the ALTERNATING MAJOR and MINOR CIRCLE, (see Volume I):
…-->

EX. 61.

Ex.62. The same Cadence as above with Suspensions in three parts. Through
the ALTERNATING CIRCLE.

-EX. 62.

Ex 63. Melodic Minor Scale, descending: Ex #4 Suspension in Bass.

63. -

Ex. 65. Suspensions in Middle parts Ex.66. Delayed Resolutions of Suspensions.

and Bass. Through ALTERNATING CIRCLE.
EX. 65. EX. 66. 2.--

-º-
ty I Uſ

Ex. 67. Same as Ex 66, with Suspensions and Delayed Resolutions in more than one
part. Through ALTERNATING CI

EX. 67. 4.

c.rs, co. 1702-28. Copyright, 1916 by Clayton F. Summy Co.

 Ex. 68. Suspensions from below.

EX. 68. f

Ill. LVI. Pick out the Suspensions and Resolutions, and name them while playing.
Mozart. Andantino.
5--

I11. LVI. P4

Ill. LVII. Pick out the Suspension and Resolution, and name them while playing.
Ill. LVII. THA Handel.

Ex. 69. Point out the difference between SUSPENSION and ANTICIPATION, and
take Ex. 69 through the ALTERNATING CIRCLE.
ANTICIPATION.

EX. 69.

Ill. LVIII. Point out the Anticipation and Ill. LIX. What is the nature of this Ca

the Resolution, and name them while playing. dence? In what respect does it differ from
the last?
Beethoven, Op. 28.

Jºãº ==N Mozart No.9. (Cotta).

Ill. LVIII. poco rif. I11. LIX.

/*N : J-J *
*
-

C. F. S. Co. 1702-23.
 Ill. LX. A characteristic Bach Close.
º fr
Bach. Bouree.
*N

I11. LX. - & a

4 3 21
V

ANTICIPATION AND SUSPENSION

Ex.70. Anticipation ascending and Suspension descending.
EX. 70. J-J44-4 42-14

a le 2 || 4

Ill. LXI. Analyze every chord and progression in this excerpt before transposing.
II1. LXI. queero coºl prio 2
f f f •ºf Beethoven
Op.2. No.8.
w
> >
w - r 2 2 2
2 - - >
f w - * *

MODULATION

As a preparation not only for Transposition of passages containing MODULATIONS,

* but for the practice of MODULATION itself, there is nothing better than playing many
simple chord-progressions through all the keys. A number of such follow. These pro
gressions should not be memorized, but should be thought out anew every time they are
played.
C. F. S. Co. 1702:23.
 Ex. 71. The Tonic Triads of all the Major Keys through the CIRCLE OF FIFTHS,
keeping the COMMON TONE in the same voice, and beginning with the Triad of C in
Octave Position, open harmony. In same manner play the Tonic Triads of all Minor Keys

EX. T1.

Ex.72. Same Triads as in Ex. 71, but beginning with Position of the Third. In
same manner Triads of all Minor Keys.

EX. 72.

Ex. 73. Same Triads again, but beginning with Position of the Fifth. Also in Minor.

EX. 73.

Ex. 74. The Tonic Triads of all Major Keys, keeping the Common-Tone in the same
voice, and proceeding through the CIRCLE OF FOURTHS. Begin with the Triad of C
in Octave Position, Open Harmony. In same manner play the Tonic Triads of all Minor
Keys. -e-’

EX. 74.

Ex. 75. Same Triads as in Ex. 74, but beginning with position of the Third. Also
in Minor.
->

EX. 75.

C. F. S. Co. 1702-23.
 7

Ex. 76. Same Triads again, but beginning with the Position of the Fifth. Also in

Minor.

EX. 76.

:
By using the above progressions, very smooth and simple, tho sometimes very round
about, modulations may be made. To go from any key to any desired key, begin with
the Tonic Triad of the key to be left, and proceed through the Circle to the Dominant or
Sub-Dominant of the key to be entered; and finish with a Cadence in the new key. The
three Exercises following are useful in the same way.
Ex. 77. The Tonic Triads of all Major and Minor keys through the Alternating Circle.
In cº; #mory beginning with the Triad of C in Octave Position.

Ex.78. Same Triads as in Ex. 77, but beginning with Position of the Third.
EX. 78. 3.

Éx}.
E -
Same Triads again, but in Position of the Fifth.
-

Ex. 80. A Modulatory Passage may be built of a succession of Chords of the Seventh.
It may be begun anywhere, and terminated with a Cadence when the Dominant - Seventh
of the required key has been reached. Analyze every chord when playing this lesson.
EX. 80.

C. F. S. Co. 1702-23.
 Ex. 81. Or of a succession of Dominant-Sevenths and Tonic Triads. Analyze every
chord when playing this exercise.
EX. 81.

->

Ex. 82. An exercise showing the easy transition through Major, Minor, Diminished,
etc. triads. This must be played through all the triads until C Major is again reached.
EX.82. /3

Maior
* Minor Diminished Minor Diminished

Diminished - Diminished etc.

TRANSPOSITION OF MODULATIONS
In transposing Modulations it is necessary to notice the relation the old key and the
new key bear to each other, and also the chord through which the modulation is made.
Ex. 83. From the Major Key to the Minor on its ll. Notice that the Second-Inversion
of the New Tonic follows the old Tonic (after a passing-note in the bass). It is then fol

lowed by the Dominant-Seventh, and the Tonic of the new key in Direct Form. Transpose,
beginning the Modulation with every Major Triad (through the Circles) in succession.

EX. 83.

Ex. 84. From the Major Key to the Minor on its Ill . Analyze as above and transpose
into all keys.

C. F. S. Co. 1702-23
 9

Ex. 85. From the Major Key to the Ex. 86. From the Major Key to the
Major of its IV. As above. Major of its V. As above.

3:
EX. 85. EX. 86.

Ex. 87. From the Major Key to the Ex. 88. From the Major Key to the
Minor of its Wl. As above. Minor of its Wll. As above.

EX. 87.

Ex. 89. A few Modulations in which the Dominant-Seventh or Ninth of the new key
is used directly after the old Tonic. Proceed with analyzing and transposing as above.
EX, 89.

r|s Fº

Ex. 90. A few Modulations in which the Super-Tonic or the Super-Tonic Seventh of
the new key is used directly after the old Tonic. . As above.

al

F.
The following examples are taken from the Supplement to Max Reger's Theory of
Modulation. Every one must be analyzed before transposing. Notice that only in one
instance a passing-note is used — in No.6. With the exception of this note (b; second
note in tenor) every note is a chord-tone. Also notice that in every modulation the last
four chords are: Major or Minor Sub-Dominant or its substitute; the Super-Tonic; Second
Inversion of the Tonic; Dominant or Dominant-Seventh; Tonic.

C. F. S. Co. 1702-28.
10

Transpose; beginning the Modulation with every Major Triad in succession, through
the Circles.

No. 1.- From the Major Key No. 2.- From the Major Key
to the Major of its II. to the Minor of its Il .

No. 3.- From the Major Key No.4. From the Major Key
to the Major of its Ill'. to the Minor of its lll .

No. 3. No. 4.

No.5. — From the Major Key No. 6.- From the Major Key
to the Major of its V. . to the Major of its VI.

No. 5. 4. No. 6.

No.7 — From the Major Key No. 8. – From the Major Key
to the Minor of its WI. to the Major of its VII.

No. 7. - r - - -- 2

No. 9. From the Minor Key to the Minor of its V. Transpose; beginning the
Modulation with every Minor Triad in succession, through the Circles.

No. 9

C. F. S. Co. 1702-23.
 11

No. 10.- From the Minor Key to the Minor of its II.

No. 10. r

Analyze every Illustration and Exercise and transpose into all keys through the Circles.
Ill. II. O GENTILE SAVIOUR Arthur Sullivan

r|*|F Fr Ir

Ill. LXIII. ~-> Beethoven Op. 31- No.1.

Ill. LXIV. Allegretto all'Ungherese 4. czerny op. 599.

3 1 - 4. : - -

3. 1. - - -

Ill. LXV. Gurlilt op. 326.

J’

; *** - A.

C. F. S. Co. 1702.-28.
12 -

Ill. LXVI. 8 3 5 4 Streabbog Op. 63.

p -

I11. LXVII. 1. A 23 Gurlitt Op. 326.

III. LXVIII. NBURY

Arr. fr. Schumann.

Ill. LXIX. ELIJAH

J. Stainer.

Refrain

C. r. s. Co. 1.0°.-::i5.
 13

The student who has carefully worked through the preceding material for TRANS
POSITION including the exercises in MODULATION will find it an easy mat
ter to play original Modulations. Especially useful to the Church Organist is the abili
ty to play smooth modulatory passages. A number of such follow. They should be
transposed into all keys. In each case the final triad may be Major or Minor. The stu
dent must then draw on his practical key-board knowledge and play many original pas
sages, from Major to Major; Major to Minor; Minor to Minor; Minor to Major.

EX. 91. r Fr Ir

EX. 92.

EX. 93.

EX. 94.

EX.95.

Ill. LXX. In what way is the modulation made 2

Ill. LXX. 5-S 3. 2 _- 5-S 3 Berens, Op.7.0.

;
C. F. S. Co. 1702-23.
 14

Ill. LXXI. Notice that this modulation is not to the Dominant,but to the Minor Dominant.
Ill. LXXI. Beethoven,
4 2,No.2.

Ill. LXXII. Notice that the theme in this illustration is first given in Minor; and then
note for note in the Relative Major.
Ill. LXXII. MINUETTO

5 § 4 3 Bºgº
Op.2, No.1.
3 * 3 # # - 2 i 1 ~

A few old German Chorales for transposing. Notice the many secondary chords and
modulations. Ill. LXXIII IN AL LEN MEINEN THATEN

^ Johann Adam Huº (?)

/*N

V
I11. LXXIV. HERR, ICH HABE MISSGEHANDELT Johann crººr.

C. F. S. Co. 1702.-23.
 15

Ill. LXXV. O TRAURIGKEIT,y O HERZELEID. 1628

^ ^

RESOLUTIONS of the DOMINANT SEVENTH-CHORD

Those resolutions of the Dominant-Seventh Chord in which this chord progresses to
some other chord than the Tonic, are closely related to the subject of Modulation, because
they are so often used as a means of modulation.
In the following example the Dominant-Seventh Chord progresses in turn to every
other chord of the key. Transpose the example into every Major Key.
EX.96.

-
WII*
v; – III V, V V v Will V- Vl v; –

In the following Illustration from Schumann this chord progresses into the various
chords marked. Transpose the Major Illustrations into Major; and the Minor into Minor.
Traeumerei Steckenpferd /TNTraeumerei

I11. LXXVI:
J

V-
º
|| v; – ill V.“ — IV

-Tº-S

C. F. S. Co. 1702-23.
vi-V.
16
ALTERED CHORDS

THE NEAPOLITAN SIXTH CHORD

Ex. 97. Origin of the NEAPOLITAN SIXTH CHORD. Play in every Minor Key.
() I

EX. 97. Fº
Fºr-B _

*5-8 #:
II* T ~ *
E;
Q
ll in c minor. Root lowered. 1st Inversion: Neapolitan Sixth.

Exs. 98, (a & b). Cadence in Minor and also in Major, employing the NEAPOLITAN
SIXTH CHORD. Transpose these and all following exercises and illustrations into all
keys through the Circles.

EX. 98. N6 EX. 98.

(a) (b)

III. LXXVII. Same chord with root below.

Chopin Prelude, Op. 28. No.20.

I11. LXXVII.

, h b

The following examples of Modulations employing the Neapolitan Sixth Chord are
from the Supplement to Max Reger's Theory of Modulation. Every one must be ana
lyzed before transposing. Notice that in all but No. 17 the Neapolitan Sixth belongs to
the old key. Also notice the particular form of cadence in each. Transpose; beginning
the Modulation with every Major Triad in succession, through the Circles.
No.11—From the Major Key to the No.12.-From the Major Key to the
Major of its Minor Sixth. Major of its Minor Second.

No. 11. No. 12.

No. 13.- From the Major Key to the No. 14.— From the Major Key to the
Major of its Diminished Fifth. Major of its Diminished Octave.

No. 13. No. 14.

(: F. S. Co. 1702-23.
 17

No. 15. – From the Minor Key to the Major of its Diminished Fifth. Traspose; begin
ning the Modulation with every Minor Triad in succession, through the Circles.

No. 15. J

No. 16. From the Minor Key to the No. 17. From the Major Key to the
Major of its Diminished Octave. Minor of its Seventh.

No. 16. A ba J. No. 17" A Jºlla.

AUGMENTED SIXTH CHORDS.

Ex.99. Orign of the ITALIAN AUGMENTED SIXTH CHORD.

()
7. /
EX.99. A.
*~
º
C º'I Q
T R +LZ-AM- =;
IV in c minor. Root rāised. 1st Inversion. Augmented 6th between ab & f;.

Exs 100 & 101. The ITALIAN AUGMENTED SIXTH CHORD in Cadences, Major
and Minor.

EX. 100. EX. 101:

Beethoven, Op. 18. No.2.

I11. LXXVIII:

Mendelssohn, S.W. W. No. 22.

I11. LXXIX.
dim. =: —

MacDowell, Op. 55. No.8.

Ill. LXXX.

C. F. S. Co. 1702.-28.
~:
18

Ex. 102. Orign of the FRENCH AUGMENTED sixth CHORB.

(, EX. 102.
#5 IT HEße ul.
EH
ITTRI ~ :
WY II**AI C . tº III
- " Y. Twº wº it T II
o TTU,

ll.
7 in c minor 3rd raised -
2nd Inversion. Augmented
g 6th between ab & re.

Exs. 103 & 104. The FRENCH AUGMENTED SIXTH CHORD in Cadences, Major
and Minor.

EX. 103.

Mgart D Major Sonata.

Ill. LXXXI.

de, Op. 28. No.20.

Ill. LXXXII.

Ex. 105. Origin of the GERMAN AUGMENTED SIXTH CHORD.

LEX. 105. L4 ->
Jºãº
TV UN
-

Q
bºtt ## T
#
IV, in c minor Root raised 1st Inversion. Augmented 6th between ab & fff.

Exs. 106 & 107. Cadences employing the GERMAN AUGMENTED SIXTH CHORD.

.67 4d EX. 107.

Schubert
w
Op. 142/5
7
No.2.

I11. LXXXIII.

C. F. S. Co. 1702-23. V
 Ill. LXXXIV. . . ; 19
- Mendelssohn, s.w w. No.34.

Mendelssohn, S.W. W. No.48.

I11. LXXXV.

Ex. 108. Origin of the AMERICAN AUGMENTED Sixth CHORD.

EX. 108.
º
ºn ITT T.
II* TD. Tº
#sº
ITTLſ Q
H
at
Cº. tº ºn I TTu
vo #
lly in c minor Root & 3rd raised 2nd Inversion. Augmented 6th between ab & ſº.

EX. 109.

EX. 110.

Ex. 111. A comparison of the ITALIAN, FRENCH, GERMAN, and AMERICAN

AUGMENTED SIXTH CHORDS. Notice that the German and American are the same
by enharmonic change. Some authorities claim that the German Sixth is often written
for the American Sixth: for instance, that Ill. LXXXV is incorrectly notated — that eb
should be dº.

Ill. LXXXVI. - Czerny, Op. 823. & 2 º' --

3 * -

F.6' I G.46- F43- I.6-

- - º º
--
- **

C. F. S. Co. 1702. 23. f*

20

Ill. LXXXVIII.-A modulation to the Sub-Mediant, employing the Aug. 6th Chord.
Dodge

Ill. LXXXVII.

Ill. LXXXVIII. - A modulation to Mediant, employing the Aug. 6th Chord.

Dodge

Ill. LXXXVIII.

Ill. LXXXIX-A modulation to Leading-Tone, employing the Aug. 6th Chord.

Dodge

I11. LXXXIX.

THE DORIAN SIXTH.

In the Harmonic Minor Scale, as we know, the sixth scale-step is minor; in the
Melodic Minor Scale, on the contrary, it is Major. This Major sixth in the Minor Scale
is called the DORIAN SIXTH.

This sixth is found in the Sub-Dominant Triad and in its Substitute, the Super-Tonic;
hence these two, chords are called the CHORDS of the DORIAN SIXTH. In the scale
of c minor, harmonic, the Sub-Dominant triad is: fab c. the Dorian Sixth Chord is: f a
c. The Super-Tonic Triad is: d f ab; the Dorian Sixth Chord is: d fa. As in the Mel
odic Minor Scale, this Major Sixth must always be led up into the seventh of the Scale.
Notice that is this chord, or these chords, the word “Sixth” does not refer to an interval
of the chord (as is the case in the “Neapolitan Sixth" the “Augmented Sixth"etc.) but
to the sixth scale-step.
The following examples of Modulations employing the DORIAN SIXTH CHORDS
are taken from the Supplement to Max Reger's Theory of Modulation. Every one must
be analyzed before transposing. Notice that in all of them the Dorian Sixth is in the new
key. Transpose; beginning the Modulation with every Major Triad in succession, through
the Circles. Notice that in Nos. 18 and 19, the Dorian Sixth Chord is the Sub-Dominant;
while in No. 20 it is the Super-Tonic. In these Modulations the upward progression of
the Dorian Sixth is marked, so as to be easily recognized.
-

No. 18– From the Major Key to the Minor of its Fifth.

C. F. S. Co. 1702. 28.

 21

No. 19.- From the Major Key to the Minor of its Minor Sixth. Notice in this example
the Neapolitan Sixth Chord of the old key, is the Dorian Sixth Chord of the New Key.

No. 19.

No. 20.-From the Major Key to the Minor of its Minor Third.

No. 20.

Nos. 21, 22 and 23 are from Minor to Minor. Transpose; beginning the Modula
tion with every Minor Triad in succession, through the Circles. Notice that No. 21 uses
the Dorian Sixth Chord on the Sub-Dominant; Nos 22 and 23 on the Super-Tonic.
No. 21.- From the Minor Key to the Minor of its Minor Sixth.

No. 21. Aba J

No. 22.-From the Minor Key to the No. 23. From the Minor Key to the
Minor of its Minor Third. Minor of its Minor Seventh.

No. 22. l No. 23.

ORGAN - POINT

Transposition of passages containing ORGAN-POINT is greatly simplified if the note

or notes to be repeated or sustained are first fixed in the mind. Remember, it is almost
invariably the Tonic or Dominant, or both. For the remainder, proceed as in any other
Transposition. SICILY Sicilian Melody

Ill. XC.

C. F. S. Co. 1702 -28.

22

Ill. XCI. What is the name of the chord that contains the bºb 7
Ill. XCI. _4 kJ·T-5 — Bºnº.

* ºf ºffs.
GOD SPEED THE RIGHT
- Ill. XCII. From the

Ill. XCIII. Op. 82.

III. XCIV. LYONS Haydn

C. F. S. Co. 1702.-28.
 23
Il1. XCV.
Beethoven, Op. 13.
Allegro di molto e con brio. 5 3
M.T. ten. 5 i 3

Il1. XCVII. Beethoven, Op. 31. No.1.

5
8 4 -
–
5 a 2 - 2- 3 º 4.4 .

itri

Ill.. XCVIII –s Scarlatti, Courante.

C. F. S. Co. 1702.-23.
 I11. XCIX. Thalberg

Beethoven, Op. 14. No.1.

Ill. C. - 5 4 | -- à

i.-l...º...l...-* a à
decresc pp rit un pochetti

Ill. CI. Haendel, Sonata.

>-

C F S Co 1702 : 28.
 25
III. CII. Beethoven, Op. 22.
Coda

p cresc.

# mf #

This closes the work of Transposition as founded on the harmony of the Classic School.
f

The transposition of Modern Music, in which the chords and keys are not so mani
3. fest as in the Classic, presents new problems. Though frequently a passage might be
susceptible of various interpretations, it is generally possible to find fundamental chords
and to consider all the tones that do not fall in with these, in the relation of Passing
Notes, Changing Notes, Suspensions, Anticipations, Substitutions, etc.
Bearing these points in mind, the student who has faithfully completed the foregoing
pages will have no special difficulty in transposing anything necessary in the further
pursuance of his studies.

C.F. S. Co. 1702-23.

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--

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.
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º

º,

***

****
-

ſu

- - ºn -
- -
Hamilton, Anna (Heuermann) MT
Keyboard Harmony and 50
Transposition +H:215
Clayton F. Summy 3

Date Due
JAN 15 1974
+++++

ºf 1778 l

--

-—

|Denico 38-297