Basic Keyboard Skills

«#7* ^V>#/l»or##*<

§9 i Warn M*eiz

i

BASIC KEYBOARD SKILLS

m

BASIC

it

§ 9*

P SP

KEYBOARD SKILLS

AN INTRODUCTION TO ACCOMPANIMENT IMPROVISATION, TRANSPOSITION AND MODULATION, WITH AN APPENDIX ON SIGHT READING

WILLIAM PELZ Butler University

ALLYN AND BACON, INC Boston, 1963

îS.>

TO ROWENA

MUSIC LIBRARY

MT" P3k

© Copyright, 1963, by ALLYN AND BACON, INC., Tremont Street, Boston. All rights reserved. No book may be reproduced in any form, by mimeograph or any other means, without permission 150

part of this

in writing

from the

publishers. Printed in the

United Card

States of America. Library of Congress Catalog

Number: 63-18658

INTRODUCTION Basic

Keyboard

Skills is

a book for those

who

desire to develop

the ability to improvise accompaniments, transpose, modulate and sightread. It assumes that the reader has

completed

study and has done (and will continue to do use of this book)

work

in basic theory

a

so,

year or

two of piano

concurrently with the

and harmony.

It is

concerned with

the application of fundamental ideas in music theory to the following practical ends:

The teaching of rote songs at the piano; The playing of accompaniments for singing games and folk dancing; The accompanying of instrumental and vocal soloists and ensembles studio, rehearsal room and concert hall; The accompanying of group singing on social occasions, and Church

in the

service playing.

The

concepts and problems involved in these disciplines are pre-

sented briefly and directly.

Each concept

is

illustrated

by means of musical

examples. Exercise materials at the end of each chapter embrace

commonly-used

keys, meters and tempi, and appear in

all

the

problem forms

directly applicable to the practical situations listed above.

While accompaniment

improvisation, transposition, modulation and

sight reading are indispensable skills for the ticular, there are in addition

many

keyboard performer

instances in

in par-

which they can be of

valuable assistance to the conductor, the critic and the music history student.

William Pelz

——

~~~—

CONTENTS

PART ONE: ACCOMPANIMENT IMPROVISATION ONE: ACCOMPANIMENTS USING THE PRINCIPAL CHORDS OF

I

MAJOR

KEYS IN BLOCK STYLE

3

ASSIGNMENT NO.

8

1

TWO: ACCOMPANIMENTS USING SIMPLE FIGURATIONS OF THE PRINCIPAL CHORDS IN

MAJOR KEYS

ASSIGNMENT NO.

2

I

3

16

THREE: ACCOMPANIMENTS USING BLOCK CHORDS AND SIMPLE FIGURATIONS IN MINOR KEYS

ASSIGNMENT NO. FOUR: THE

3

19

23

ASSIGNMENT NO. 4

25

THE V7 OF IV IN BLOCK CHORD AND FIGURED

FIVE:

ACCOMPANIMENTS

29

ASSIGNMENT NO.

5

31

INTRODUCTIONS

35

ASSIGNMENT NO. 6

38

SEVEN:

HYMN-STYLE ACCOMPANIMENTS

ASSIGNMENT NO. EIGHT:

7

41

42

ACCOMPANIMENTS WITH MORE SONORITY AND STRONGER

RHYTHMIC MOVEMENT ASSIGNMENT NO. NINE: DEVELOPED

47 8

ACCOMPANIMENTS

ASSIGNMENT NO. 9 VI

7

W OF V IN BLOCK CHORD AND FIGURED

ACCOMPANIMENTS

SIX:

!

49 53

58

1

PART TWO: TRANSPOSITION

67

TEN: TRANSPOSITION UP A HALF STEP TO A KEY

LETTER

WITH THE SAME

NAME

69

ASSIGNMENT NO. 10 ELEVEN: TRANSPOSITION

72

DOWN A HALF

STEP TO A KEY WITH

THE SAME LETTER NAME ASSIGNMENT NO.

77

11

79

TWELVE: TRANSPOSITION UP A WHOLE STEP

ASSIGNMENT NO.

12

THIRTEEN: TRANSPOSITION

ASSIGNMENT NO.

83

86

DOWN A WHOLE

STEP

ASSIGNMENT NO. 14

PART THREE: MODULATION DOMINANT MODULATION

ASSIGNMENT NO. SIXTEEN: PIVOT

15

MODULATION

ASSIGNMENT NO. 16 SEVENTEEN: CHROMATIC MODULATION

ASSIGNMENT NO.

97

13

FOURTEEN: TRANSPOSITION TO OTHER INTERVALS

FIFTEEN:

91

17

EIGHTEEN: ENHARMONIC MODULATION

ASSIGNMENT NO. 18 NINETEEN: MODULATIONS INVOLVING MINOR KEYS

ASSIGNMENT NO. 19

APPENDIX: SIGHT READING graded list of sight-reading materials

103

104

1

1

I

I

3

119 127 131 I

35

138 143

146 149 159

165 i

66

additional collections of pieces for sight reading

(more advanced) easy

hymns for

INDEX

CONTENTS

sight reading

169 i

69

171

vii

BASIC KEYBOARD SKILLS

PART ONE

ACCOMPANIMENT IMPROVISATION

CHAPTER ONE

Accompaniments Using the Principal Chords

Major Keys

of

in Block Style

Keyboard accompaniments to children's simple dance music should provide

port and rhythmic movement.

melody

is

most

useful.

The

songs, folk songs

two musical elements

An

accompaniment

and

—harmonic sup-

that also carries the

playing of accompaniments, in

common

with

other types of instrumental performance, requires the ability to play accurately, musically and in tempo.

performance of accompaniments

is

Competence

in the contriving

and

thus a complex resolving into three

constituents:

(a) the determination of the harmony appropriate to a given melody; (b) the selection of a suitable rhythmic background; (c) drill in the performance of selected accompaniment patterns in all the

practical keys.

Many

simple melodies strongly suggest the harmonies appropriate

from the

for their accompaniments. This results

fact that such tunes are

constructed almost exclusively from notes belonging to the principal

chords of a key

IV,

(I,

folkish tune, they are

EXAMPLE

few and can be

tones are present in a

easily recognized.

ENGLISH FOLK SONG IN THE KEY OF G MAJOR.

1.

J

j

W). When non-harmonic

Option 1-G Option 2- G Option 3-G

j

J

i

n

r

i

r

I

^m

r

1

I

rv

I

1

I

A comparison

r

r

i

principal chords of the

V7

r

V7

I

IV

I

v7 v7

I

v7

I

ir

IV IV IV

of the English Folk

^

r

V7

IV IV IV

IV

V?

r

i

I

Traditional

i

r

v7 v7

Melody

in

r

I

v7 v7

I

IV

I

I

I

v7

Example

1

I

with the

G major:

key of

^ G:

IV

I

reveals that considerable variety in harmonization

limited

framework of the three

member

of one or

instances

where

more of

a note

is

principal chords.

is

Every melody note

the principal chords in the a

member

of

possible within the

key of

more than one of

factors in (a)

chord choice

Example

1.

The two

a

G major. In

the principal

chords, alternate harmonizations of that note are possible, as the three optional harmonizations in

is

shown by

determining

are:

strong tonal progression

The progressions among the three key feeling

principal chords of a

key that reinforce

are as follows:

I-V7

I-IV V7-I IV-I

IV-V7


.

W-IV is not a strong tonal

.

progression, and should not be used in music

D

of the type being treated here. For example, the note

member of be harmonized with V7 since the

Example

1,

although a

harmonized with IV, and the

the

W chord

in measure

4 of

key of G, cannot

in the

following melody note (E) must be

would be the weak

result

tonal progression

Vz-IV.

(b) traditional cadence structure

Folk music, popular songs, dance music and children's music are usually constructed in four-measure or eight-measure phrases, and each phrase

ends with a cadence.

The

final

may

(V7-I). Intermediate cadences

On

cadences (I-V7; IV-V7).

cadence

is

almost invariably authentic

be authentic, but also

may

be half-

rare occasions the plagal cadence (IV-I)

will be used either as an intermediate cadence or as a final cadence.

English Folk Song of Example phrases; there

is

1

is

constructed of

tionship holds for

For the

all

Note

keyboard, the

I,

and an

that this cadence rela-

three optional harmonizations given in

practical purpose of keeping the

from which

positions

two eight-measure

a half -cadence at the close of the first phrase

authentic cadence closing the final phrase.

it is

easy to progress

IV and V7

The

Example

accompaniment chords

from one

chords are played

as

to another

1

in

on the

follows in the key of

G major: EXAMPLE

2.

THE PRINCIPAL CHORDS OF G MAJOR

IN PRACTICAL PLAYING POSITIONS.

Left hand

G:

Note

I

IV (6)

v ? (6)

that in the practical playing position of the

V7 chord shown

above, the fifth of the chord (the second degree of the scale) has been

omitted in order to maintain consistently three parts in the accompani-

ment.

It

should be remembered, however, that the

V7 chord

and appropriate for harmonizing the second degree of the

is

scale

available

when

it

appears as a note in a melody. (See the penultimate melody note of Ex-

ample

3

below, and note

its

harmonization with V7)


5

EXAMPLE

3.

ENGLISH FOLK TUNE HARMONIZED WITH BLOCK CHORD ACCOMPANIMENT,

USING PRACTICAL PLAYING POSITIONS OF THE CHORDS

U*i

J

j

J

I

m^ G:

J I

SHOWN

IN OPTION

I

I

1.

m V

IV

I

OF EXAMPLE

^^

"WPg

i 1

I

1

7

.'

half-cadence

m

a

j

j

I

I

nrr ^p

j i

Mi

Si N

I

i

i rv

i

I

-sP

authentic cadence

(Note that

in measures

(D) of the left-hand chord

and 9 of the above example, the top note

1 is

omitted, since

it

playing of the melody, which includes the note

EXAMPLE

4.

$m

J

J

I

r

I

r

I

r

yq# I

interfere with the

D in both these measures.)

ENGLISH FOLK TUNE HARMONIZED WITH BLOCK CHORD ACCOMPANIMENT,

USING PRACTICAL PLAYING POSITIONS OF THE CHORDS

G:

would

m

SHOWN

IN OPTION

3

OF EXAMPLE

1.

(1)

^P PP

I V,

I

I

I

IV half-cadence

^m

P^N

^p

mm

g^ I

IV

IV

l_

authentic cadence

In this harmonization, the note

harmonic tone (in

On

B

in measure 7

this instance a passing tone)

the second beats of measures

1

is

and

considered a non-

is

not harmonized.

and 9 of the above example, the


top note of the left-hand

V7 chord

the playing of the melody,

When

melody on an accented

would

it

which includes the note

V7

the third of

omitted since

is

interfere with

D in both these places.

(the leading tone of the key) appears in the

melody

beat, or precedes the tonic note in the

a cadence, the following

form of

W

is

used in the

acoustically undesirable doubled third in the

V7

left

hand

at

to avoid the

chord, and to avoid a

progression in parallel octaves between the melody and the bass:

m V

4)

7V (

EXAMPLE 4(a). THE USE OF V7 WITH THE LEADING TONE (ACCENTED) MELODY. God Give Ye Merry

IN

THE

Christmastide

Old English Carol (l)

J.

ELU m Mr Lc inl ini §=m

s G:

(1)

|

IV

I

Third of

V

I

r

r

(l)

IV

(leading tone of key) in

7

melody

at cadence.

EXAMPLE 4(b). THE USE OF V7 WITH THE LEADING TONE (UNACCENTED)

IN

THE

*

MELODY.

Carry

Me Back

to

Old Virginny

James A. Bland

r r

?>lG:

(1)

u n r

f

f

tnni

J

J

'

J r

li

£m£

IV

I

Third of

the leading tone

:

i=g±Tri

is

V

n

j j j

M^= v

7

V?

(leading tone of key) progressing to tonic note in cadence. (In 7 preceded by an accented passing note or appoggiatura by step.)


I

this case,

— ASSIGNMENT NO.

1

Harmonize the following tunes with block chords in the style illustrated in Examples 3 and 4. Use only I, IV and W. Non-harmonic tones (passing notes, neighboring or auxiliary tones, suspensions, appoggiaturas,

echappees) and up-beats are marked (*) and should not be harmonized.

Use only the strong

tonal progressions listed in Chapter

melody descends low enough

1.

When

to double a tone in the left-hand

the

accom-

paniment, omit that tone from the accompaniment.

Note: The melodies

in this assignment are suitable for use

accompaniment chords given

in the registers

with the

shown immediately preced-

ing each tune. In later chapters, and elsewhere, the student will occa-

—

sionally encounter melodies

whose low range

A

particularly in the keys of Bf>, A\) and

will necessitate playing the

accompaniment chords an

octave lower than given in the exercise section of this chapter, to avoid interference with the right-hand melody.

C

Principal chords of

y

fl

f

=

P VV

IV

1.

VV

7

7

Brightly

Austrian Folk

G

Principal chords of

r

Tune

major:

r v7

IV

2.

major:

v7

Humpty Dumpty

Gaily

Nursery Tune

ii

J

G:

I

I

J r

I

t

mm f

IV

8

IV

r

l

)

[_r_J V

r

Lf !

7

^

t

g fci V

J

7


F major:

Principal chords of

<»

W.

^

1

f

IV

3.

Ding Dong Bell Nursery Tune

Moderato

g

j

F:

I

J r

i

is

^

J

i

I

n

J

r

cr

i

^

J

i

cj

r

^j=i

I

Principal chords of

^m

D

major:

*k

% IV

4.

German Folk Tune

Allegretto

Principal chords of

Bfc>

i ^^

i

i

major:

IV

5.

Away

Tenderly

in a

Manger

Martin Luther

m

r

i

r'gr

i

r-p

*

*

\

u

i

J

i

j

r

r

*

r'nr

i

f

i

.

i

j

i

imu *

rnn mr

p

ju

*

i

r

r

j r

(i)

r

I IV

W Added 6th to the IV chord. The (2nd degree of the scale)

is

^

J

J i

interval of the 6th above the root of the often harmonized with IV.


j

v.,

IV chord

Principal chords of

^

4

major:

If

v7

IV

I

6.

A

7

Moderato

f y=

Lavender's Blue Old English

J

u

n

rnr /îJ r

r

n

ru rnr

Principal chords of

Cow

cjîr

v

v7

7

Hickory Dickory Dock Nursery Tune

spirito

H>H

J

J

±

ft

j

^

j

Eb major:

iv

7.

v

j>

*

^

J._.M

^

I

J

p

-t^ttt r

Principal chords of

'):

J'

l

ip

4 f?

E

J

j»l

^J

J>^

J-

J

l

j.

II

major:

rt

jlf

IV

8.

Moderato

Miss Muffet Nursery Tune

Little


r

Principal chords of

§

9.

^

$

Ab

major:

^ P Mary Had

Allegretto

a Little

Lamb

Nursery Tune *

fW

*

[j^

i

L/r

i

c_r

i

irr

\

uûis un


\

CHAPTER TWO

Accompaniments Using Simple Figurations of the Principal

Chords in Major Keys The block chord accompaniments hibit adequate

two

ment

many

possibilities for

in each of the four

The

following figurations show

achieving a degree of rhythmic move-

common

meters

( |,

applied to the principal chords in the key of

EXAMPLE

Ex-

textural interest can be imparted to the accompani-

figuring the left-hand chords.

of the

1

harmonic support and a modicum of rhythmic movement.

Added rhythmic and ment by

presented in Chapter

5(a). LEFT-HAND FIGURATION FOR

*

|,

f,

|)

.

Each

figuration

is

C major.

METER.

13

EXAMPLE

5(B). LEFT-HAND FIGURATION FOR

\

METER.

4

EXAMPLE

6(A). LEFT-HAND FIGURATION FOR

\

METER.

EXAMPLE

6(b). LEFT-HAND FIGURATION FOR

\

METER.

EXAMPLE


|

METER.

m

*r~i

i

r

'

I

EXAMPLE

*r~i

*o

i

r

r

IV

V.


\

i

r~±

METER.

^m iv

EXAMPLE

v.,


i±J ijJ iSJ i

iJ. *

i

|>

METER.

iSJ

oJ uU '

l^

iv

EXAMPLE


ngj

14

m

<>

METER.

OJ OJ

i

H-J

l^

IV


Note: adapted to

The |

\

figurations

meter

shown

in

Examples 6(a) and 6(b) can be

as follows:

^m

s

When

final

=S-

using a figured accompaniment, do not continue the figura-

tion through the last measure of the song.

movement

¥=

The

relaxation of rhythmic

typical of the closing cadence requires a block chord

on the

I.

EXAMPLE 9. THE LAST FOUR MEASURES OF EXAMPLE 1, USING THE FIGURATION GIVEN IN EXAMPLE 7(A), AND CLOSING WITH A BLOCK CHORD ON THE FINAL I.

ppm

J.

I

W^f G:

im

i

m >

s

j.

IV

EXAMPLE 10. THE LAST FOUR MEASURES OF EXAMPLE 1, USING THE FIGURATION GIVEN IN EXAMPLE 7(b), AND CLOSING WITH A BLOCK CHORD ON THE FINAL I.

mm PQ^ G:

I'

r

i

w^m

m

IV

In places within a phrase where the harmonic rhythm does not

permit a

full

measure of the figuration pattern, employ either block

chords or a modified (shortened) version of the figuration.


15

EXAMPLE 11. FIGURED ACCOMPANIMENT USING BLOCK CHORDS IN MEASURES WHERE THE HARMONIC RHYTHM DOES NOT PERMIT A FULL MEASURE OF THE FIGURATION PATTERN. Hickory Dickory Dock Nursery Tune

ifo-J— fr

*=£ 3=£

Pî

s

T

u

BE

IV

IV

^ »

J 1

EXAMPLE 12. FIGURED ACCOMPANIMENT USING MODIFIED (SHORTENED) VERSION OF THE FIGURATION WHERE THE HARMONIC RHYTHM DOES NOT PERMIT A FULL MEASURE OF THE FIGURATION PATTERN.

j^l

^P

??

1

_Z l»" l

.

J

J

J'

*

SI

~s

Ek

J-

J>

?^£

I

J

n

LU

J

^£ IV

^

J-

ti-> I

^^ ^ wm «

d

IV

ASSIGNMENT NO. Harmonize again the melodies

in

2

Assignment No.

using the left-hand figuration patterns given in Examples

16

l

I

WiFr

Chapter

Ji

1,

5, 6,

Chapter

1,

7 and 8 of

2.


CHAPTER THREE

Accompaniments Using Block Chords and

Simple Figurations in

Minor Keys

A PARTICULAR KEY SIGNATURE MAY INDICATE EITHER A MAJOR OR A minor key. In final

children's music, simple dance music and folk music the

melody note

key of Eb major

is

will

almost invariably the keynote. Thus, a tune in the

end on the note

Efj,

A major minor keys. A

and one in the key of

will close

on the note A. The same

melody

D minor will end on the note D; one in C minor, on the note C.

The

in

is

true of melodies in

following table shows the key signatures and closing notes of the

major and minor keys in which simple song and dance music are most often written.

17

.

EXAMPLE 13. TABLE OF KEY SIGNATURES AND CLOSING NOTES OF THE COMMONLYUSED MAJOR AND MINOR KEYS. Key Signature

If

Closing Note

Key

Is

Is

C major

f

*£=k

If

Closing Note

gnn

G major

*=4

D major

fe^

Is

Key

Is

A minor

E minor

B minor (rare)

f

m

t^

*£

#

t=j=

Meê

E major

«

minor

Cjt

minor

(rare)

f D minor

F major

.fe^

i

Bl>

major

PlU

G minor

f

P

BE

Eb major

f^

fefeE ^5

14.

V

7

iBteEE±f

^

^g

Ab major

C minor

F minor

THE PRINCIPAL CHORDS OF THE COMMONLY-USED MINOR KEYS (NOTE CHORD IS THE SAME AS FOR MAJOR KEYS WITH THE SAME LETTER NAME)

A

minor

i

J rv

18

F)t

(rare)

4m

EXAMPLE THAT THE

*£

A major

E

minor

D

minor

I

?

[»

j

A v7

»f

^ v7

jj


G

minor

i

T

>

t

%

it

IV

C

=j^

minor

1

1IV

I

I

F minor

i

V,

J^ft

dl

\U b

j

T

y

r

f

IV

ASSIGNMENT NO.

3

Harmonize the following melodies, using

procedure:

this

Referring to Example 13, determine the major or minor key in which the tune is written; (b) Using the principal chords of the determined key, harmonize in both block style and figured style. Chords for minor keys are given in Example 14; major key chords are given in the exercise section of Chapter 1. (a)

1.

Spanish Folk Song

Andante *

feE '

JH

j

j

j

2.

*

r

i

f

,]

rr

'

-

J i

rrrr

J

J

J

r

AH

)

J. |

J'Jj J iJ

v

i

*

m

t'iUi

r

rl

pr

'

r

>i

2)

The added The added

Rollicking

r

i

npfir

r

r

i

(2)

>Vrrrir»rTr'r

'

J

U

(i)

•

*

(1)

^

Traditional Russian *

J.' i

J

'

Moderato *

3.

^fe^ i

"

J J

|

J

-

IJ

J,J

J

V7

6th is frequently used as melody note with the 6th to the IV chord (also quite frequent).

We

I

'

'

r-

ir

(

^

F

chord.

Won't Go

Home until Morning College Song


19

1

Go Down, Moses

Andante

4.

Negro 0)0)

m >'~

j

(1)U)

jj

jirr

|

i

J

rr

r'

ii

r

i

"

"

j-

Spiritual

i

j j

m

r

»

J

J-

J

j-

r

j

i

g

i

JJ

rr

i

-Hj-

|

^j-

\

J

rr

'j Vv

V

V

7

j»j

j

i

p 7

V

7

7

"> Added 6th to the IV chord.

5.

Tempo

m *

6.

Cow

My

di valse

Nellie's Blue Eyes American Folk Song

j

j

j

i

u

j

j

j

.i

i

i

J

r

i

r

r

i

r

r

i

i

r

iL

J

i

J

\

i

^

j

i

J

-LU

i

j

'

'

»

Hungarian Dance Johannes Brahms

wzoto

&\

i

r

r

r

f

lfM

r i

r

'

'

"f

r"

f

rr

r i I

C_r r r

'< I

^^

1

j^> f 7.

n~n

i

r^T[jjj

i

j

r

i

J

r

Allegretto

$\\

8.

i

Italian

J

With

pLcr spirit

i

r

pr'

i

r

pr'ir

J p

J

1

pLq

i

r

pHr

fj

Folk Dance

jU>/-/

Polly

ii

Wolly Doodle Traditional

20


9.

Russian Folk Song

Slowly

*=

rr-j

n n i

j

i

r

r

g

-n

m


21

.

CHAPTER FOUR

The X

V

of

in Block

Chord and Figured

Accompaniments It

is

often possible and musically desirable to precede the

dominant chord

V

V7 of

at either the half

(the dominant of the dominant).

injects a degree of

mony

The

characteristic of simple music, adding a

commonly used

keys.

Note

EXAMPLE MINOR)

15.

may

follow either

V7

cadence with the

use of this progression

I

chord name.

letter

or

IV

welcome touch of

V chords

of

that this

and minor keys bearing the same the key, and

final

chromaticism into the predominantly diatonic har-

Following, in Example 15, are the the

cadence or the

is

(symbolized

It

always precedes

C

of

W

of

of the key.

THE V7/V CHORDS OF THE COMMONLY USED KEYS (MAJOR AND

|f:

HO

V7/V)

the same for both major

—\—T^

vi Eg

color.

1

G

F

D

A

Bl>

E

Eb

u

Ab

In practical playing positions:

-Iw£

,

left

__e

,

Aa

,-fct

V? /V(V4/V)

23

V7

of

V

chords are subject to the same figurations shown for the

principal chords in Chapter

V7/V

is

Note

2.

that, as in

V7

of the key, the fifth of

omitted in practical playing position. Remember, however, that

the fifth of this chord (the sixth degree of the scale)

is

frequently har-

monized with V7/V.

EXAMPLE

THE

16.

V

7

OF

V

PRECEDING

V

7

OF THE KEY AT THE HALF CADENCE.

My

Bonnie

Traditional

iA

W

,

,

,__

mnnM

9f^

rr

F:

1

i

sa ££ £ mnrr # rri^ m*

'

IV

I

/fir*

£ if

f

etc

r

i

V./V

I

(2)

(1)

The added

6th to the

IV

chord.

(2)

Note modification of the accompaniment melody into the accompaniment range.

EXAMPLE

THE

17.

V

7

OF

V PRECEDING V

7

figuration necessitated

by the descent of

the

OF THE KEY AT THE FINAL CADENCE.

Melody from The Viceroy Victor Herbert (i)

fo

J

nm C:

uL

N

J iJ

(2).

rj

r

IV

J

|

(2)

,

J

J

I

J

J

J

J

|

J

I

J

p

(3)

#

mm mm

^m

W^W

^m mm

IV

____^ J

s:

m mm mm mm m •

r

I

J

JM

J

v /v

m

?

(i)

24

Added

6th to

IV

chord.

<

2>

Added

6th to

I

chord.

«) Added 9th

to

V

7

of V.


ASSIGNMENT NO. Harmonize the following melodies using

4

this

procedure:

Determine the modality (major or minor) of the melody (see Example 13). (2) Select the chords appropriate to the determined key. See Assignment No. 1, Chapter 1, for major key chords; see Example 14 for minor key

(1)

W/V

chords. Example 15 for harmonize with an appropriate figuration in the the meter and (3) accompaniment. See Examples 5, 6,1 and 8 for figurations of the prin-

chords; see

Note

cipal chords (also applicable to

W/V chords).

(4) Beginning with this assignment, the identification of upbeats, nonharmonic tones, added 6ths and alternate positions of V7 will be the responsibility of the student.

(5)

As

in preceding exercises, the

harmonic rhythm of particular tunes will

occasionally necessitate the modification of the figuration patterns given in

1.

Examples

8.

Slumber Song Franz Schubert

iJ-nr

r

rr-W

l

V

V

J

r

f

I

I

J-

V7

wm ^N-' nr

i

rr

jjg

j.j.j

i

i

j

J

j

I

T7II

J

J r

u.JJ -uj i

i

r

r

j,

jj j

jj^^w-^-rtJ. jjijjj jjj i

j

i

v7

v_/v

i

j

1

1

Russian Folk Song

Con moto

g

i

Cowboy's Lament American Folk Song

Moderato

m

3.

and

Molto moderato

U 2.

5, 6, 7

r

i

i

r

g

I

,.i i

/

i

r

r

r

rf^


25

Home

on the Range American Folk Song

Moderato

4.

a

j

j

j

j

\

j

j

j

i

§

j-j

J

j

5.

j

j

i

r

jj

-

i

j

if

r

,Lbl

I

m

rMf

r

1

55 i

r

-

1

nj-

J

J

c/

r

|

J

I

m

u-

J

-r'j

1

j

1

J.

1

j-jij

-i i

J

j

î

-

j

j

j

j-_lj

1

,

J

I

j

g^

-J,

J

j

J

J

Slumber Song Robert Schumann

Andante

P

H,fi

r'

I

r*

1

rby r T r r Iby

J

#•

J.

1

J.

I

J.

I

I

.

I

r-d-m

1

v /v 7

v 7 /v

6.

v

7

v7

Swanee River Stephen Collins Foster

Con moto

(1)

6 i i ft

HK

=j=i-:=j=

J

ff

r

-

J

f

J

=^==3=^ = =^ =

v7 /v 4

ft

— —fr=^==f=j=-^— —— —^"T" ^-^ (2)

M it

(3)

F

J

1

2

~f

V?

Mjt *

,

r

<3>V7

26

=

P

1

\

I

I

1

1

1

I

S

j

11

d J * d

\

1

J

r I

, il

f B1 1

I

.

n

» J J

1

1

J

e I

o

V

The

«'V7

1

*

I

v,

of V. 9th of 7 of (block chord). (block chord).

V


—

r

7.

—

]

Old French Song

Allegretto

Peter Ilyitch Tschaikowsky

f

J'i

?

l>

1,

'ft'

*

—-H

J

J

&feEi b''|>

—tr Mf

4-^3 J

m

it

w

v

v,/v

r [

nr »

f [

r-

8.

Allegretto

9.

Moderato

i

ff

i

———

*

r

T

i

r

r

r

f

7

r

r

r

r

i

^m mm

m

P

j

n g

r~-

^

HM^

r

r

Melody from

I

^

Zta//e£ Egyptienne Alexandre Luigini

Gavotte Ethelbert Nevin

\£\)'&

f

if

r

r

r r r r

t

r

—

JTJll

,

Td

FTT^r—f—g—

1

1

1

v ? /v

(i)

10.

Added

6th to

V7

.

Chiapanecas

Allegretto

Mexican Folk Song

f»jjJj V-jjjJj i

|

j,

j

l

<

JIJj,ju.j^j

j

Uj

v /v

v

7

«

j^jjij

'

ju-,j>iu

j

i

hj

j-

J'j

'

r^


i

i

jJJ

7

j

B 27

#

a

La Zingara

Scherzando

11.

Carl

J J

iiJ-

j

jyt

pg

J.

I

^r

m

[y

i

c-f

J, J J. J

jj

i

CiTi'

J.

I

j

cjj

r

i

i

J i

Lrr

rj-r

r

i

r

J-

I

njû

r

i

—|—*P" —p» *

—

•J

14.

*

jfj-

™

j

^. TT

._

va~a

—

1

*

-1

Duchess

Waltz from

d

»

15.

j

i >

i

.j

r

hf

I

f'^.j

a

j,

i

-i

j

i

f,u

rTf r

-J

,

i

r

jj

<

r

*

i

f

r

r

j

iiJ f

r

r

28

i

n

»

J.

Gounod

j

-

.J i

r

y

i

J

J

;

r

p

g

1

i

p

r

Italian

r

j.

>

s

»b

i

Fatt

jîi

II

Fdrwrt (fragment)

f

-

p

J

«

Charles

j

II

, |

-J

J.

Allegro

>V!i

a

De Koven

T;

—•— —a

—

J

Little

Reginald

=fcza=3=™ " —»* * J (JP J

l

J'

J

'c^

Fragment from The

Moderato

13.

a j.

j.

I

u ^Jj

J i

i

i

c

Bohm

B

J

J

JT3i

Folk Melody

j^^


—

—

—

CHAPTER FIVE

The X

IV in Block

of

Chord and Figured

Accompaniments Another chromatic chord useful for adding color to the harmonization of simple music is the V? of IV (dominant of the subdominant) This chord usually follows .

IV

of the key, and always precedes

I

of the key. Occasionally within a phrase (but not at the beginning or

end) the V? of key.

As

IV may

in the case of

substitute for I of the key, following

V? of V, the V?

of

IV

tions used for the principal chords of a key,

and minor keys bearing the same example

18.

the

v

7

of

letter

is

V?

of the

subject to the same figura-

and

is

name.

the same for both major

symbolized V7/IV.

It is

iv chords of the commonly used keys (major and

minor).

ri—d 'ft

— — — w— — —nfl

i

i

'

s r

1—

1

i

"

'

'd

'

r-ri

M

'

ntt

>i

' 1

'

— «—r^ i

i

'-i

'

'

Ek

Ak

In practical playing positions (block style)

_k-

1

b ,

»

f

,

d

ir

!

^b3

in ff

^

a.

â

t

^bi

29

EXAMPLE 19. THE V7 OF IV FOLLOWING I OF THE KEY AND PRECEDING IV (THE FOLLOWING MELODY IS #1 OF ASSIGNMENT #1, WHICH HAS BEEN HARMONIZED PREVIOUSLY USING ONLY THE COMMON CHORDS [I, IV, V 7 ]. NOTE HOW THE USE OF V 7 OF IV ADDS TO THE HARMONIC INTEREST OF THE ACCOMPANIMENT).

Austrian Folk

Tune

EXAMPLE 20. THE V7 OF IV SUBSTITUTING FOR I OF THE KEY, FOLLOWING V7 OF THE KEY AND PRECEDING IV. NOTE AGAIN HOW THE USE OF V7 OF IV ADDS TO THE HARMONIC INTEREST.

Humpty Dumpty Traditional

^m t=$ n^ y«ii G:

30

uS

rJ-f

m

r

p

r

t

^

mm /$k

v7

v7 /iv


ASSIGNMENT NO.

5

Harmonize the following melodies, using the procedure prescribed in

Assignment No.

shown

are in

in

4. Practical

Example 18 of

playing positions of the

The

this chapter.

V7

of

IV

chords

melodies given below are

both major and minor keys. Each melody offers opportunities for using

either

V7

of

V or V? of IV

(in

most

cases,

common

both), as well as the

chords of the key.

Yankee Doodle

Lively

1.

Traditional

^•in^Prun'^n jur^ ^.Qmjj i

*

Accented passing note.

My

Andante

2.

j>

J i

Old Kentucky

Home

Stephen Collins Foster

1

J'

1

J

J

j-J

j

jjjn

i

i

-H^t

n Lfr

i

\

[:

Hi

1

1<

niJjj:ni!>i Theme from Mazurka

Andantino

3.

p\i.

jij

Frederic Francois Chopin

^\)

r

tf

4.

Allegro

r

..

p

1—a

===

J~.

f v t

-}

—

J

j

bJT^-—

==r}==^= '

^-*

)t*

Oh, Susannah Stephen Collins Foster


31

Dixie

Lively

5.

Emmett

Daniel D.

*

Added

9th to

r

ff

V7

chord.

j

i

m

jut

j

-ii /

i>

\

\.

w

Theme from Romance

Cantabile

6.

j


7.

Carry

Espressive

Me

Back

Old Virginny

to

James A. Bland

"'"i-

ur

tr

J p

n

44 r

8.

c/r

i

i

j ;

'

J

1

^M

r

^

-

j

lt

i

cj -1

^

^rmir^ 1 m

j

i

c_r

Jingle Bells

G^'/y

J.

P j»

32

^j

r

r

'

^

i

u n

r

'

r?

u i

y

J

1

"

'

Pierpont

r

^

5 1

,i

'[

r

cj-


.

For He's a

Briskly

9.

Good

Jolly

Fellow

Traditional

p

^11

^ 10.

j'

j

i

1>

j

j

J

J

J

j

J.

I

J-

i

JHJ

J

f

'

F

r

J J-T3

r

J.

I

W

)

E^g?

J

J

r

Good Night, Ladies Traditional College Song

Slowly

^m 11.

\

nt

ft]

i

r

i

r

'

cfp

f

i

îrprr

irrr

f

God Give Ye Merry

Moderato

i

r

\

i

Christmastide

Old English Carol

j'm

'

12.

j

j

j'

j

j

J

i

I

J

J

j

j

j

j

J p

1

r

i

"

'

r

n

j

'

N ir

!^

i

jJ

r

r

i

r~

/£ /a

J

j

\

\

J

1

J^

J

J.

1

_p^

F

p

I

1

P'

1

Expectation

w/*e

Traditional Russian

qJv\

te 14.

Cow

j

i

Rio Grande Sea Chanty

WVrfe spirit

\

13.

j'

j

i

~'J^~~ L~

~~j~ r

r

r

r

r

r

rrj~

r

=== —f—f—

^

*=--f-r--= ==^=±=^=

r

f

^

=*

j-

j_j

ji'^p-'ji'i

P

Lj [J

'


U"

mi

rp

Israeli

£n'o

j

Waltz

U

Folk Song

I

g

33

»

15.

Co?i

moto

I

1

16.

Israeli

f

j

r

j

j

r

r

r

r

j

r

I

i

r

j

i

r

^ t

J

J

i

I

rrr,

p

j

i*

r

r

I

J

n

r

Allegro

:

J

J

Jl

J

34

''

i

r

?

r g

§^ r

^^

Israeli

r

g

r

r

i

p

r

i

p

n

r

i

f

p

r

s

r

t

r

•>

r

r

r

r

'

i

Folk Song

r

Folk Song

'

f

r

i


CHAPTER SIX

Introductions A there

SINGING GROUP WILL

is

agreement on tempo

on the

attack

first

note.

The

MAKE A GOOD at the

INITIAL IMPRESSION

ONLY

IF

beginning of the song, and a confident

accompanist,

by providing the proper kind

of introduction, holds a major responsibility for a good beginning, for he

must adequately indicate to the singers both the tempo and the beginning note.

A

common

practice

singing of hymns,

is

accompanying the

hymn through once before Not only does this acquaint

first stanza.

with what might possibly be an unfamiliar tune;

both the tempo of the its

organists, in

to play the entire

congregation begins the singers

among church

hymn

it

the the

also establishes

and, through the context of the tonality,

beginning note. In situations involving the singing of familiar tunes

to indicate the tempo, since this

is

known through

it is

not necessary

tradition.

Thus, for

songs such as America the Beautiful and Silent Night, the only require-

ment

is

to indicate the beginning note. This can be

with a single chord whose top note

is

done

satisfactorily

the beginning note for the singers.

35

— EXAMPLE 21 (A). A SINGLE CHORD USED AS AN INTRODUCTION, WITH THE FIRST MELODY NOTE IN THE TOP PART.

America the Beautiful Samuel A. Ward

Katherine Lee Bates

EXAMPLE 21(b). A SINGLE CHORD, WITH THE USED AS AN INTRODUCTION.

Joseph

FIRST

MELODY NOTE

Silent Night Franz Gruber

*

-Jtlj-j

E^ ^^s^==^^ 1

i

1 1

lx^

cIj

1

lX-*

^

-'

ff-n^ p r

i

accompanist (unless a song leader or conductor

J

ft

p

it is

1

-

'

U-'

1

necessary for the

directing) to indicate

is

nod or some other gesture the exact point

If ;

uj\'LtJ

'eJj

After an introduction of the single chord type

a

THE TOP PART,

Mohr

1d flHa TO H

by

IN

at

which singing

is

to

begin.

In the singing of a

new song

(in

which

case the single chord intro-

duction would not suffice) or in a program situation where the playing ,

of the complete song as an introduction would unduly retard the pace of the performance, the most useful type of introduction consists of a

phrase or passage

two taken from

may

the song to be performed.

consist of the first

one or two, or the

first

and

Such an introductory

one or two phrases of the song, the

last phrases,

last

depending on which arrangement

most effectively indicates the beginning note.

36


EXAMPLE

22.

THE FIRST PHRASE USED AS AN INTRODUCTION. Careless

Plaintively

Love

Southern Mountain Song

^

^

Introduction

>c

J.

J

J

J

I

j

mm

/7N

pi

„z

1

f

r

n

f

r

^

5§

^^

EXAMPLE Con

FN^

;

'

23.

S p^

r

r

j

jij

THE LAST PHRASE USED AS AN INTRODUCTION. Turkey in the Straw American Square Dance Tune

^S f5 ^N^

m n ts^ i

395e»

rf

^

^

r

,

i* J

Hnifp f

Introduction

||Ju

rW

iî H^f ^ M§ es

g^s

brio

y>

f###

^

J

f

f

iCv

Hii

Hit

^P

i^g P§^ ft ^NE M=z gi£

f f f

J

f

1M

ff

£«

xE^^P

—F

— —F

X

^

f f r


l '

'

37

J

EXAMPLE

THE FIRST AND LAST PHRASES USED AS AN INTRODUCTION.

24.

M oder at o

Red River

Valley

Western Folk Song Introduction jL.

^h-f3

im

j

M

r

q-

f=H^ Vi/

ffepg fe^

JJ,

yg^ £=M=

£

ff""

m J

f=M=£

>

^

i

Pg 3=g

u

r

!

yi^^

The

E-M

;3

Mn

u

J

-J

p

-

r~r

$±

f

[jr

u ^

r

f

f

j

f

s

ii=i

m ^^

J

f

f

r

f

phrase-type introductions illustrated in Examples 22, 23 and 24

are usually the

most

suitable for

music used in dancing and other types of

action.

ASSIGNMENT NO.

6

Play, with varied figured accompaniments, the exercises of Assign-

ment No.

Chapter

5,

5.

Precede each exercise with the type(s) of intro-

duction indicated below: (1) (2) (3) (4)

Yankee Doodle: (a) single chord; (b) last phrase. Old Kentucky Home: (a) single chord; (b) first and Theme from Mazurka: last two phrases. Oh, Susannah: last phrase.

My

last phrase.

(5) Dixie: last phrase. (6)

Theme from Romance:

(7)

Carry

Me

Back

to

first two phrases (entire excerpt). Old Virginny: (a) single chord; (b) first and

last

phrases.

38


(8) Jingle Bells: (a) single chord; (b) last (9)

(10) (11)

For He's

a Jolly

Good Fellow:

Good Night, Ladies: God Give Ye Merry

(12) Rio Grande:

first

last

two

two

phrases.

phrases.

(a) single chord; (b) last

Christmastide:

first

and

two

phrases.

last phrases.

phrase.


39

CHAPTER SEVEN

Hymn

Style

Accompaniments Hymns, most

patriotic songs and some folk songs are of such

a musical nature that they are not

presented in Chapter

companiments

is

2.

The

amenable to the types of figuration

strongly rhythmic character of figured ac-

too frivolous for the serious content of the texts; and

the harmonic rhythm, frequently requiring a change of chord for almost

every melody note, does not lend

itself

to figuration.

Tunes of

this

numer-

constitute a significant part of our musical heritage, and there are

ous occasions are

many

parts

—

ground

when

the accompanist

collections of such songs

available for the accompanist

in piano technique.

is

called

on

—arranged who

type

to play them.

There

in the traditional four

has had a considerable back-

For the musician whose background

in piano

study has been limited, the following three-part arrangements of some of the most familiar songs of the type under discussion will prove useful.

41

ASSIGNMENT NO. Play the following songs (preferably from in a

tempo and manner

suitable for the

7

memory)

accurately and

accompaniment of group

singing.

Precede each song with an appropriate introduction in three-part chordal style.

Old Hundredth

Louis Bourgeois

Arranged by William Pelz

m

^r

I

III'

m

x 2.

f

J

J

J

j

j

J

rt j

J.

J.

42

Night

i

^ Franz Gruber Arranged by William Pelz

^^ F=i

iab

±e£

P^F

^^ ^^

^ T=^

^H î

^P^P

pp

^

Silent

^^

as|

^^ mM

Mohr

Joseph

a

mm m

«f ^^

f^f

^^ ^^

^

^^ i

r

^^ h P

r^ ¥y


^^ f m I?

m

r

J

r

4.

g

*-t

$

^^

S ^ am s^

*~T~1

Samuel A. Ward Arranged by William Pelz

America the Beautiful

I

mm wm

-?—*

r

J .-

rr

m

ii

3

im^ ^m

W* #p m mim ^^ ^S ^

U r^ f*r^ nJ

*M=?=

v:

^m ?m ^^

^m$ pn^ j

i:

m

^s £

r

Katherine Lee Bates

isî

if iff

W

#1*1 »> r

Henry Carey Arranged by William Pelz

America

Samuel Francis Smith

3.

j

.

J-

temi ^*rt

Imm

PM


43

5.

Key

Francis Scott

The Star-Spangled Banner

fam ¥

=£1

mju ^m m

John Stafford Smith Arranged by William Pelz

w

^ ^

^m

ZM

E

3=^

i.

:n"

i

g

r

r

^

4^-#

*§ 3g

44

^

m=£

(P^pi Pi^

!

^^

j

\

û ^ J

I

r

F=»

^fp

W^^HH ^ ^ in&# n m f\

j

j.

^

^n

p^ m

§,

j=^=

' i

f

j


Home

&m ¥*f^

on the Range

pm

n j— m r~r

m

t.

f

ti

^^

r

§§^

w

j

n-j-

r~r-

9 mm X2TUJ

m

American Folk Song Arranged by William Pelz

T"3

r^

£

r^

mm

m

£ê

rrn n

j

n

m

ww m r

r


^

45

CHAPTER EIGHT

Accompaniments with More Sonority

and Stronger Rhythmic Movement The accompanist will sometimes encounter problems for which the

close-position, tightly-figured

keyboard patterns of the preced-

ing chapters are not the best solution. In

ums of

vast dimensions,

accompaniments with are indicated. is as

One

halls,

auditoriums and gymnasi-

and when large groups of singers are performing,

a higher degree of resonance

of the most effective

and rhythmic

ways of providing

vitality

these elements

follows:

The

left hand plays the chord root in octaves in the lower register of the keyboard, on the first beat of the measure. (b) The left hand then continues with the full chord, close position, on each of the subsidiary beats of the measure. These afterbeat chords may be in the practical playing positions used before, or in either of the other two close positions possible for each chord. The afterbeat chords should fall within the octave immediately below middle C on the keyboard (occa-

(a)

47

may fall somewhat above above the melody being played by

sionally the top note[s] of afterbeat chords

middle C, but not so high the right hand), (c)

I

as to cross

The right hand plays the melody in octaves, which may be filled in with one or two notes of the prevailing chord on strong beats, and wherever else it is practical to do so.

The above practice is most useful in j, and t the movement is often too rapid to

I

and slow

\

meters. In fast

be practical from the stand-

point of the technical demands

on the accompanist.

EXAMPLE 25(A). ORIGINAL MELODY

IN

METER.

|

Molto moderato

Viennese Refrain Traditional

b

'

i

•

* '

'

'

=*t=

j-

i

.

mi

mi

r »r

j.

jr

r

i

»

i $j

^m

r

EXAMPLE 25(b). OPEN STYLE ACCOMPANIMENT TO EXAMPLE 25(a).

Molto moderato

^

££

m

:

^"J

\,l

i

i (i)

A

$

£A

<-;

g

Jf

f ,^

j

i

**-^*

kft;

*

i *-*

X

jg •

—r

mm

v /v 7

(1)

48

For deeper sonority, play the

first-beat octaves occasionally

an octave lower.


EXAMPLE 26(a). ORIGINAL MELODY

IN

|

METER.

La Golondrina N. Serradell Slowly

——

ra— r— ii^JT^JlU-

r^P

'y

J.

„

J J

y

J

J)

i

i[

— "T— — ,

i

jj jjij. i

—r«^njijjn

fr^-T

^-tfJ

*»

;m

nJ-

EXAMPLE 26(b). OPEN STYLE ACCOMPANIMENT TO EXAMPLE 26(a). SZozoZy

-4

^ji

i

nr^ naipN i

7

<•

*

7

f

si

w

plpf ii f

Note

jj

l

'

l

f

j

f

f

1

fii

uln

that, as in the

when more

— f*

m m sm h

fg

Uf

f

f

mLt

1

^

*=^*

penultimate measure of Example 26(b) above,

than one chord to a measure

is

indicated, the figuring

is

shortened.

ASSIGNMENT NO.

8

Play the following melodies with accompaniments in the style of

Examples 25(b) and 26(b). Precede each example with an introduction in the

same

style.

Opportunities for the use of Vz of

numerous. Exercises are given in

all

the

V and V7 of IV are

commonly used major and minor

keys.


49

j 1.

A

la

Waltz

valse

Victor Herbert

m jUj ju

^nijjju-iJ N b

J

J

J i

2.

r

r

r

i

r

r

r

1

f

1

i

<

j

r

j

Slowly

j

i

j

j

J

1

i-si

i

1

j

'

Ground

Massa's in de Cold, Cold

Stephen Collins Foster

fi'^r

«gE 3.

-nm

g

s J

r

i

J

^ ^^ ^^

M

r

1 1

Jl

i

a

r

Molto moderato

Old Song Peter Ilyitch Tschaikowsky

î

h

i

JTTJir- »ir

p jm pnn J.

4.

j

nrr

hi-

r

n

j

i

r

r

i

i

f

r

ir Lf

p

r

j.

i

r

fj j>

^

s

Will of the Wisp Waltz

S/oiu waltz

Johann Strauss

f'ii

5.

^

j.

p

i

Hj

j.

c

p

-j.n

j

i

j.

J p

i

i

r

S

j

Cowboy Song

Moderato

Traditional

fWjU ffe 50

j

j

j

JUJ

j

ji „

i

j

J

J

jj

j

i

r

r

r

u

i

.

i

j

ji

I

r

jjj

J

i

j

Jij

J

j

Ji

r

i

j

rt+^ J

J

â


—

—

Brightly (Play

6.

Q

,

u

„

two chords

~P

7.

Country Gardens Old English Folk Song

to each measure)

p

V7

IV

Eb:

^

—J

1

d

|

jt

3—

I

"m

—

_

» |

etc

i

Con moto

Afy Bonnie Traditional

i£ #** a

8.

Jj|

J j

i

r-

UJj

i

p

r

Moderato (Play two chords

j

te

i

j

j

•'

Hfi

J

i '

Romance

to each measure)

Robert Schumann

iv

J

9.

v?

i

I

Moderato

Carry

Me

Back

to

Old Virginny

James A. Bland

jl^r

p 10.

j r

r

r

I

J

'

-

f

gg n

-"

?<

j:j.hJ.

i

r

j-^ j u

l

*

e

'

i

n

i ,

r

ci j-

'

i

lj rj

,i

Dolores Waltz Emil Waldteufel

Waltz tempo

|3

^^

1^=3 -*

^

'

H*

£


^P¥^

'

11.

Andante

*»

Cradle Song Johannes Brahms

n

J

-I 1

ri

r

I

——

*

*

»

12.

m

r

1

t*ti

.1

i

—

•

Slowly

H

Gambler's Blues

American Folk Song

rur

J" 3

'

r

r

r

j

j

p

j

f

f

^

i

tt

\

n

jj

j

\

}

pj

,

jjirj r; -^

Waves

J

jûn-i

i

I

Andante

f

r

r

r~rr» J

i

[" I

I

T

r

r

J

I

i

r

of the Danube Ivan Ivanovici

J 'r

i

"t'j

r

r

>

1

J.

I

".

Auld Lang Syne Scotch

52

j

Old Black Joe Stephen Collins Foster

Moderato

j

i

j

Slowly

j'i

15.

Tj

J

(

j^ 14.

j

i

r

fi TI

j

<' f 13.

J g

Tune


CHAPTER NINE

Developed

Accompaniments Simplicity

many

is

the earmark of all folk music,

of the famous melodies

as

well

as of

composed for singing and dancing. The

simplicity of the block chord and figured accompaniments studied in the

preceding chapters

is

appropriate, and their modest textures are entirely

adequate for the playing of backgrounds to melodies of the folk type.

Lyric appeal

is

so regnant in folk melodies that

we

are satisfied to hear in

the accompaniment merely an unpretentious statement of the harmonic

and rhythmic aspects of the music. Then,

too, the limited instrumental

technique of the folk performer has made simplicity of accompaniment a historic necessity.

For the professional and the accomplished amateur, however, there are

many

opportunities for achieving a higher degree of musical interest

in both the texture ligent use of

bass lines

secondary triads III,

V7

and more varied

(II, III,

sonorities.

Employment

of the

VI), of their respective dominants (V7 of

II,

of VI), and of occasional altered notes in the principal triads

(raised 5th in

More

intel-

non-harmonic tones and chord inversions will make possible

more melodic

W of

and the sonority of the accompaniment. The

I

and V; lowered 3rd

in

IV)

will

add color to the harmony.

elaborate figurations in the left hand and figurations divided be-

tween the hands

offer almost limitless possibilities for diversity of rhyth-

53

mic character

in the

accompaniment. The introduction of occasional

imitative motives in the lower voices of the

integrate the

melody with

its

accompaniment

will serve to

background. These devices, in tasteful com-

binations and used with musical discretion, will add to an accompani-

ment's effectiveness without distorting the essential character of the music.

EXAMPLE

27.

MELODY NOTES OCCURRING ON THE BEAT; ACCOMPANIMENT CHORDS ON BETWEEN THE HANDS; USE OF INVERSIONS (16 AND V*).

AFTERBEATS, DIVIDED

Andante con mow Felix Mendelssohn

Moderate

pwi

i ? f

mf

V

EXAMPLE

28.

v.

i

C:

IV

v n i

i

f

1

i6

i6

V

1

n i

[h

ppp^ f

1

f

y r i

Jh

1

f

1

J

1

f

f^

^?=ff=f?

n

REPEATED ACCOMPANIMENT CHORDS, DIVIDED BETWEEN THE HANDS, ON (V7 OF II, 7

V

AFTERBEATS; USE OF INVERSION (Us); USE OF SECONDARY DOMINANTS OF III, 7 OF IV); CHROMATIC PASSING NOTE.

V

Sostenuto

Serenade

Hugo Reinhold

i^ ^

m.

^

r=r=r

»zp

—

l^bg

^_

F:

(1)

54

^ II

LE-Ff V7 /II

Chromatic passing note

m

in

&

j, i

r

r

-T^rr-rr r

liii

m*

V7 /III

accompaniment.


EXAMPLE 29. EXTENDED LEFT-HAND ARPEGGIO FIGURATION; MELODY IN BOTH SINGLE NOTES AND OCTAVES," USE OF INVERSIONS (IV J AND V*); USE OF SECONDARY TRIADS (III AND VI) USE OF SECONDARY DOMINANT (V 7 OF III) USE OF PEDAL TO SUSTAIN ;

;

EXTENDED LEFT-HAND CHORDS.

Allegretto

Nocturne Leybach

J.


55

EXAMPLE

30. OPEN LEFT-HAND ARPEGGIO FIGURATION; USE OF INVERSIONS (V 4 V 8 USE OF SECONDARY DOMINANT (V 7 OF IV); USE OF II 7 -A SUBDOMINANT CLASS ,

II

4

);

,

CHORD SUBSTITUTING FOR IV; USE OF NON-HARMONIC TONES (SUSPENSION, NEIGHBORING [AUXILIARY] TONE); USE OF PEDAL TO SUSTAIN EXTENDED LEFT-HAND CHORDS.

Lento

Nocturne Frederic Francois Chopin

IS simile I

V? /IV

I

(1)

Suspension.

(2)

Neighboring (auxiliary) tone.

Ily

EXAMPLE 31. DESCENDING ARPEGGIO FIGURATION DIVIDED BETWEEN THE HANDS; USE OF PEDAL TO SUSTAIN ACCOMPANIMENT CHORDS. NOTE IN THIS EXAMPLE, AND OTHERS GIVEN, THE USUAL AVOIDANCE OF SMALL INTERVALS (3RDS AND 4THS) AT THE BOTTOM OF LEFT-HAND ARPEGGIOS, FOR REASONS OF GOOD SONORITY.

Andantino

Lullaby Friedrich Burgmuller

P*

r

g^

*

F:

56

^=r E^r

I

^

*

^h

w *

J)

^r

?

I

J

*

simile

^

V,

I

wm i

#

sfe

^^ ^J j

r I

b^

1

J>

?

k£aj

I

j»

?

la

4^f

I

^r

p

^

*

^P


l

—

|

EXAMPLE

REPEATED AFTERBEAT ACCOMPANIMENT CHORDS DIVIDED BETWEEN THE

32.

HANDS; USE OF SECONDARY TRIAD (II); USE OF INVERSIONS OF SECONDARY DOMINANTS (V* OF II, V| OF IV); USE OF INVERSIONS (Ilg, IJ). NOTE HOW THE USE OF INVERSIONS ACHIEVES A SMOOTHLY ASCENDING STEPWISE BASS LINE IN THE ACCOMPANIMENT.

Delirium

Presto

Felix Mendelssohn

Bk:

V6/II

I

V6/IV

II

IV

33. MOTIVIC IMITATION IN THE ACCOMPANIMENT. NOTE THAT MOTIVE A IS IMITATED AN OCTAVE BELOW IN THE TENOR, AND MOTIVE B IS IMITATED AN OCTAVE AND A FIFTH BELOW IN THE BASS. IMITATION MAY OCCUR AT ANY INTERVAL BELOW THE MELODY, PROVIDED IT FITS THE PREVAILING HARMONY. IT MAY OCCUR IN ANY PART

EXAMPLE

BELOW THE MELODY LINE. IN THE EXAMPLES OF IMITATION GIVEN BELOW, MOTIVE A IMMEDIATELY FOLLOWED BY ITS IMITATION; THE IMITATION OF MOTIVE B OVERLAPS THE ORIGINAL STATEMENT OF THE MOTIVE ONE NOTE (stretto). IS

Joseph

Mohr

Silent

Franz Gruber Arranged by William Pelz

Night

B

A

A i

9

-f-

mp

r

...A...

9-' r

\

-i

"

-i"

...A...-

-i-i,- 1.. — I

F

i

C:

"

+-H-n —

I

I

*H

f.

jj

1

1

etc.

k.

—

Ji

i

J

6


!

57

EXAMPLE

34. MOTIVIC IMITATION IN THE ACCOMPANIMENT. NOTE THAT MOTIVE A IS IMITATED AN OCTAVE BELOW; MOTIVE B AN OCTAVE AND A FOURTH BELOW; MOTIVE C AN OCTAVE AND A SECOND BELOW. THE PREVAILING CHORD DETERMINES THE INTERVAL^) AT WHICH IMITATION IS POSSIBLE.

Old French Song Peter Ilyitch Tschaikowsky Arranged by William Pelz

iS

^

1

J

j

f-rrTTr

F minor:

l

(1)

Passing note in accompaniment.

(2)

Suspension in accompaniment.

h

ASSIGNMENT NO.

9

Play the following melodies with accompaniments in the styles indicated. Precede each

accompaniment

used.

example with an introduction in the

Suggested harmonies are indicated below each

melody. Preceding each exercise position

on the

style of the

is

a

list

of chords used, given in root

treble staff, in order of appearance. All

commonly used

major and minor keys are included.

58


Accompaniment in

1.

Example

the style of

mm

1

G:

j

ii

IV

v7 /n

I

»ii i

V7

II

27:

v

7

V

v7 /v

/vi

Con moto Victor Herbert

ill ^

j-ir7

I G:

t

iQ

r

J

J

J

U

^

J

J

J

i

IV

I

J

J

V? /V

V?

i'

i

f

Hj

i

V

r /VI

jjjjjj

r

r^JTJ

' j V /II ?

i

j

j,

j>

i=j=a

v 7 /v

Accompaniment

2.

'

r

r

II

J~]JJn

II

Tr

V-/II

F:

in the style of

V7

I

Example

28:

V? /V

VI

Melody from Martha

Cantabile

Friedrich von Flotow

m

J

F:

I

»

J

\g

e TTr V

tIT\' V

U

\

i

cj rj

\Uf

r

I

V?

I

i

r

i

r

\

gr\O Q

V?

I

m^nû-i

VI


59

Accompaniment

3.

C:

Example

in the style of

V

IV

I

29:

V

III

?

V /V

/III

?

7

Melody from Mignon Ambroise Thomas

Cantando

j» C:

»'

!£

I

|J « '

I

y

m

J

'

J

Y J

'

I

*

«.'

I

m

v7 /m

hi

I

4.

-*

J

7

*

*;

I

I

«TJ **

J

J

»

'

J

J.

J

Example

l

nl

m

J V?

I

V, V 7

V-/V

in the style of

F minor

-

IV

III

Accompaniment

—

-

I

v.

I

4

I X

31:

l

IV

Air Alessandro Scarlatti

Moderato

i.V;j

r

F minor:

I

I

60

Jd

J

I

IV

I

jj'

i

,

jj

i,

V?

V-

jjn I

I

lcj-

i

cxj

I

1

'

i

iIV

IV

IV

rT^

'

t-

ilLn i

-

i

I

IV

I
V,

I


Accompaniment

5.

4

i*l Eb:

h!

VI

I

in the style of

^

a| V?

II

Example

I

30:

JV

"il

TS

(lowered 3rd)

V /V ?

* | R Vy /II

V

Andante

Adoration Felix Borowski

Eb:

I

I

j

^ J^TtfTr JCTlTr

6.

Accompaniment using

34):

i

r

r'tnT^frj^y

occasional imitation (see Examples

m F:

r-'p

I

V

F:

and

V,

Moderato

fri

3 3

Gavotte G. B. Martini

j i

i

r i

fr

n71

1|-

rrr

i

r

^

J

nij

I


V

j

J f (

|

61

y

—

Accompaniment

7.

in the style of

=*i C minor: I

r

f

Example

V /V

IV

V

?

29:

V /IV ?

?

Moderato

Waltz

Hugo Reinhold

a

-n

P-'

a

r

*

i

i

C minor:

P f

—f

~T~

i

r

r

i

IV

I

r*

i-C

r

r

if r

p

n—

"T

r

F

i

*

,J

i

IV

I

I ryirrrir

r

,

^r

-'

-.

7

ir

i

rnT rj

p

in the style of

"ll

j

/

I

"j

il

7

?

n ,

I

27:

^

ill

V

v /v

?

v

i

i

r

Example

1-

v7 /v

v7

Accompaniment

Bb:

f

1

I

rrr r

^ ,

,

IV

I

8.

—F

P'

V /VI

VI

IV

?

Andante

Melody from Rigoletto Giuseppe Verdi

rv

I

Accompaniment in the

9.

style of

^ C:

31 V?

V ? /V

IV

I

Example

h

V 7 /II

V? /IV

?

?

i

30:

B

V /VI

v

1°

Con amor

IV (lowered 3rd)

Gypsy Love Song Victor Herbert

i

r

C:

I

J-

r

j

^

i

j

^J Jj-

IV

I

jtj-jjj, i

IV

I

j V V,/V /V

j

v 7 /v

62

?

i

I

V

i

pp ^m I

I

?

rnT

H[Jri

V„/VI V /VI

I

?

m

j

V

r

m

r^j

j Vy /V

»

j V, V

?

4 rj

1

I

r mJr -j

V,/II

?

3.

V /IV ?

J>|

JT^jh IV

I

I

i

pjf

IV

(lowered 3rd)

V

?

r I


:

Accompaniment

10.

$

^

G minor

:

In

27:

1

P^P^

>!

T

V?

I

Example

in the style of

T

V ? /VI

VI

IV

III

V /V ?

Vtyraised root)

?

Cantando

Chanson Triste Peter Ilyitch Tschaikowsky

^

r

r

r

G minor:

r

i

u

r

I

J r

r

i

r

Jjj

f

r

r

i

r

r

Vy /VI

»

J

J

^

r

r

i

VI

J

J|

J

'

v^

Q

v 7 /v

v7

J

»

I

(raised root)

Accompaniment

11.

D:

Con

V

I

7

in the style of

/II

Example

V?

II

28:

V? /V

V

XL]

Sweet Dreams

espressione


<8rrr Cj r i

D:

V

I

rrr

'*

I

1

2

.

i

7

i

V?

/II

Q

r

rrr

i

jri

r

II*

-rTTnQr

v? /u

r

n^r

V

V

r 6

Ab:

in the style of

"'i* I

li'il

IV

V /V ?

i

!

5

Example

d

rnflr

J

r t?r V

Accompaniment

^

6

,

u

t

V*/V

rr

ir

i

V

r

U

y

^ pa

6

V

7

X

3 1

^ V

Con moto


German Folk Song

63

.

Hymn

13.

:

Style (4 parts)

Morning Prayer

Lento


a

fcfc

''

J

r

V5

V

i

.

H

r

1

v/m

IV

J

J

!

IV

6

1

v|/vi

V/VI

6

1

i

r

i

v

v*/v

6

in the style of

V

I

r

T

I

iv

iv

I

6

lj

i

V*/IV

Example

V?

V

VI

iv

V

IV

1°

6

J

i

r

IV

6

^

i

p

i 1

I

V /V ?

V°/II

1

1

V

V? /V

V( raised 5th)

I

w.

i

-

i

'

7

27:

pp

a

m G:

II

1 i

g

V^/II

VI

1

5

—

t

r

V

r

1

r

V /V

Accompaniment

14.

i

I

6

a

J

r

i

V3

X

r

i

p

II

A:

p

r

r

V? /IV

V ? /II

IV

II

Andante

Berceuse

Moritz Moszkowski

n G:

I

.j~]' '' V

'

u

J

v7 /v

I

(raised 5th)

^ I

m v7 /v

64

r'r

r i

IV

V*

^ r

i

r

V7 /V

UJUJ v7 /iv

J

i

i,J~J v

i

i

7

J~3 iJ~J v

i

(raised 5th)

^»n I

I |

V

i

CJ, r

r flLf lt

r r

V7 /II

I

(raised 5th)

tj IV

ni j

jl i

j

]

7~mm r

II


:

Accompaniment

15.

I

p

I

IV

E minor:

Example

in the style of

i

i'

m

'

l l

V? /V

32:

V

V/III

V(lowered 3rd)

III

Requiem

Moderato

Stephen Heller

wm E minor:

I

J

J

J

i

v

i

i

m

v/in

i

jJi I

r

v /v 7

v^

6

(lowered 3rd)

(lowered 3rd)

Hymn Style

16.

j_j

V

iiq r

r

i

r

r

J

j.

i

V°/V

J

J

I

-..

IV

I

J.

jm

j.

(4 parts)

Child's Prayer

Andante

Theodore Kullak

m

*k

J

E:

%

J

J

r~ m

V 2 /IV

I

um

r

r

P^

IV

6

pV

V /V

V&

V^/II

I

IV

l&j Lr

i

J

j

i

y

!

6

Jj] }

j

t\

i

n

6

i

j_j

i

i

V /V

4

rj

j

i

i

r"

ir

IV

iv

IV

U

J~3 I*

6

v7

i£

ii

6

6

^>

r

r

v7 /iv

X

h

"J

^

V4/IV

I

J

=3=z=\

j

U6

5

=S

^

Vf/V

jt

J

(raised 5th)

Accompaniment using

17.

occasional imitation (see Examples 33

and 34):

»

W

I'

A minor: V ?

^

V? /V

I

V

Moderato

Hugo S

A minor

:

*

I

Vy

I

I

I

I

1

if

7

^*—

v

I

s.

v /v

V,

'!)!

ii

V

V

7

|

i

i

v /v

'iii'i'

pi

i'ii

ii

.

j

v /v 7

Scherzo Reinhold

p

1

1 |

I

?


nTTTrmi V

in I

?

65

PART

TWO

TRANSPOSITION

CHAPTER TEN

Up

Transposition

a Half Step

to

a Key with the

Same

Letter

Name

In the course of his duties in the classroom, the studio, the

church and the rehearsal

A

pose.

may

vocal soloist

originally

composed

conductor

may

hall the

is

often required to trans-

song

as

too low for the most effective use of his voice.

A

wish to exploit the increased brilliance resulting from

indicate transposition

letter

is

feel that the tessitura of a particular

raising the pitch of a choral

When

accompanist

up

transposition

work. Situations such

as these

frequently

a half step. is

made up

a half step to a

name, the following key changes are

key with the same

possible:

MAJOR KEYS From From From From From From From

C

up

Db up

a half step to a half step to

Qf

D

Eb up a half step to E F up a half step to F# Gb up a half step to G

Ab up

a half step to

A

Bb up

a half step to

B

69

MINOR KEYS From From From From From

C

minor up a half step to Qf Eb minor up a half step to E F minor up a half step to F# Ab minor up a half step to A Bb minor up a half step to B

minor minor minor minor minor

Transposition up a half step to a key with the same letter

name

is

a

simple matter of reading. Three steps are required:

Mental substitution of the new key signature; Reading the notes as originally written; (3) Mental substitution of accidentals a half step higher than originally ( 1 )

(2)

written:

becomes x; becomes #; (c) becomes ti; (d) \)\) becomes \>. (a)

%

(b)

t]

\)

(A double

sharp in the original will rarely occur in the context of a key

to be transposed

up

a half step to a

EXAMPLE 35(A). EXCERPT

IN

key with the same

THE ORIGINAL KEY OF

Bb

letter

name.)

MAJOR.

Andante Grazioso Franz Joseph Haydn

EXAMPLE

35(b). TRANSPOSITION

ps

70

UP A HALF STEP TO B MAJOR.

£Tlt

TRANSPOSITION

;

;

Compare Examples 35(a) and 35(b) above, and ( 1)

(2)

(3)

The change in key signature; The absence of change in the The changes in accidentals:

written notes;

F# has become F x Ft] and Bt| have become respectively F# and B#; A\) has become At).

(a)

(b) (c)

EXAMPLE

note:

36(a). EXCERPT IN

THE ORIGINAL KEY OF C MINOR.

Sonatina

Muzio Clementi

A llegro

'*i>

,

i.

EXAMPLE

[ytfti-

f

f

f

f


f rf r i

r f

Mj%£

=jeJ=E

I

j i

f

i

TrTrtrTr

UP A HALF STEP TO C# MINOR.

=mm

f

rrrr>frfr I

Compare Examples 36(a) and 36(b) above, and (1) (2) (3)

The change in key signature; The absence of change in the The changes in accidentals: (a) Fjf has become F x (b) Bt) and At) have (c)

A\) has

become

TRANSPOSITION

k

note:

written notes;

become

respectively

B# and

Aft;

At).

71

ASSIGNMENT NO.

10

Transpose each of the following musical examples up a half step to a

key with the same

letter

name.

Sonatina Carl Reinecke Allegretto

H

^m ^

pm

*

pm Minuet

Georg Friedrich Handel Con moto

'Pm

B

' '

r

i

\

m ?

r

r

r

r

r

>r

UJu

r

j

j

r

|

r

r

J

r

cXf-r

r

g

fe=e

£ P

(N

r

i

^

^*r

.'h

LLCj

f

=& r

r

,i

'

r

^^

^m p^^p

'r

i

Minuet Johann Vanhall Moderate

§m f VM 72

t

m ^ W tt m ^ m ^m pm m=m IS

iffhi

ife£

W £

TRANSPOSITION

i

Allegro

4.

Wolfgang Amadeus Mozart Allegro if'.P

l»

[—l

o

^^^

IT

a

f

J'

J

y

y

r

*

'

•

r

"f"

•

IT

f

fT

*\

m

*^

r

^^

r

fc^

fe

Minuet Johann Sebastian Bach

Larghetto

%M ?M.a

-i

>

s S^ W

l

>J

Ij

J,

^^

^ Counterpoint

Andante

6.

i

rT

r

*

ffe^

'W

X

ISw-

>

£

zr

w

Samuel Scheidt

J

znj. I

-

£

TRANSPOSITION

.1

fr

^,rr"r

tr

r

r

r

r

73

*

—

Allegro

7.

Sonatina Friedrich Kuhlau

mM

npn

uj

r

%

mg 'fff

^m rfffr l mi£

Andante con moto

8.

Allemande Carl Maria von

—j

mm ^

£

vm

T 9.

Tempo

^

-j

.

r

mm

£M

^

^1

J:

Christmas Peter Ilyitch Tschaikowsky

ffeL

J-rJ S—t-

j

i

J

{

i

.

,l'.

rit.

V^ 74

^3 *

—

jl

.'

-J

.1

i

p i* uli ? ti

coZ peddle

Sk*

^

Im

di valse

Xy*>«

Webei

P

*

i

g=j=

^ ##

a tempo

rr

P^

1

feE=5

f=F=

^

*=*

T^rr

f^F

P

t>E

F

P

TRANSPOSITION

i

10.

—

|

Nocturne John Field

Lento

te

j

j

j

JT3

J-

VM

i

J

••

ff ^

I

P^ff ^

**

3

i

^

fi^nt 11.

fc i

1

*

J

J

J

=3=fo

e

J

r

i,rj i

nI

j

j

j

j

Hymn

j

^^ i

I

Holley

George Hews,

i^rk

—

1—r-n—

j -re—

.^-m,

—— P

d

•

i

f-f- -p

^*-

¥4=

[

TRANSPOSITION

5

p

M—

:

8

3

3

-i-4-

1— 1— -J

r-

1835

—o

— Li ^M—

H—

75

CHAPTER ELEVEN

Transposition

Down

a Half Step

to

a Key with the

Same

Letter

We have noted in Chapter

10

Name

that individual differences in

vocal range and problems of tessitura sometimes indicate transposition of a solo or choral

down

a half step

accompaniment up is

the same problems

a half step. Similarly, transposition

frequently indicated as a solution to one or both of

—range and

tessitura.

When transposition is made down a letter

half step to a

name, the following key changes are

key with the same

possible:

MAJOR KEYS From From From From From From From From

B down a half step to Bb down a half step to Ab down a half step to Gb FJ down a half step to F E down a half step to Eb D down a half step to Db C# down a half step to C C down a half step to Q?

A G

77

— MINOR KEYS From From From From From

Transposition like

The

B minor down a half step to Bb minor down a half step to Ab F# minor down a half step to F E minor down a half step to Eb C# minor down a half step to C

A

down

first

two

key with the same

a half step to a

such transposition up a half step,

same

steps are the

is

as before:

Mental substitution of the new key signature; Reading the notes as originally written.

The

third step

—

name,

letter

again a simple matter of reading.

(2)

(1)

minor minor minor minor minor

accidental substitution

—

different;

is

now

required

is

the

mental substitution of accidentals a half step lower than originally written:

becomes becomes (c) b becomes (d) x becomes

(A double

flat

be transposed

EXAMPLE

(a)

#

(b)

t)

t);

|j;

b(j;

#.

in the original will rarely occur in the context of a

down a half step

37(a). EXCERPT IN

to a

key with the same

letter

key to

name.)

THE ORIGINAL KEY OF G MAJOR.

Little Study Robert Schumann

EXAMPLE


DOWN A HALF

STEP TO Gb MAJOR.

i

rt^bl,,, t7

f •

_

•

JbCTtK=^

1

IJ

—MlkJ*

K

r>^

F*^1

i

yx —

-

IjJJ

78

•_

p|

^T

fft -UJsr

frf JM

TRANSPOSITION

Compare Examples ( 1 )

(2) (3)

37 (a) and 37 (b) above, and note:

The change in key signature; The absence of change in the The changes in accidentals: (a)

written notes;

F# and C# have become respectively Ftj and C\\; become respectively F[? and C|j; E|? and B|? have become respectively E|j|j and Bfc>b.

(b) Ft| and Ct| have (c)

EXAMPLE 38(a). EXCERPT

IN

THE ORIGINAL KEY OF A MINOR.

The Ghost

in the Fireplace

Theodore Kullak

%

H

I

EXAMPLE

fJ

j

u n

r

$%i.tl

iffT

j

p

i

I *± * I

DOWN A HALF


r

J>hJ

STEP TO Ab MINOR.

i~Tl

i

i

(1) (3)

The change in key signature; The absence of change in the The changes in accidentals: (a)

G# Bb

has has

become become become

note:

Gtj; B[?; B\)\).

ASSIGNMENT NO.

11

Transpose each of the following musical examples to a

key with the same

letter

TRANSPOSITION

j

written notes;

(b) Bt) has (c)

.

rnfr

Compare Examples 38(a) and 38(b) above, and

(2)

JTi

i

j

p^p

» J|

down

a half step

name.

79

—

— Allegro

1.

from Sonata No.

5 in

C

Franz Joseph

major

Haydn

FF^ Moderato

2.

March

of the Dwarfs

Edvard Grieg etc. lulfi-Jji

•T"

^

;

r

7 F

v

-J-

••

#^

—

i

—

»-« i

^N

3.

Andante

7

:

—

p

r

^T^

T

•-=

n

i

»•

Chorale

Georg Bohm

*t

4.

Tranquillo

^ ^ ^ â

Variation

Ludwig van Beethoven

TRANSPOSITION

5.

Andante grazioso

Sonata

Wolfgang Amadeus Mozart

etc.

F

f->

6.

Vivace

7.

Andante

8.

i

r j>

fe# I

Allegretto semplice

r

r

r

9

r

n

«

I** "T

i>>

Bourree Johann Sebastian Bach

Morning Prayer Peter Ilyitch Tschaikowsky

Elegie

Edvard Grieg

TRANSPOSITION

81

Hymn

9.

Wentworth Frederick C. Maker, 1876

pVUhf b«iS

M

i

a

*3

rt 10.

«** ^P

y^ *i*

*=9^?

&

s£

i i:

d=5i

r »=£=i=I

gj

f

&

Study Stephen Heller

^

|

J~J=ÎN ZllfUlf

Off -J.

82

^ *»

«? T i

Andantino

jfc

fmi

» ^

^

TRANSPOSITION

CHAPTER TWELVE

Up

Transposition

a Whole Step Unlike transposition up or down a half step to a key with the same letter name, transposition to other intervals as

is

a matter of analysis

well as one of reading. While more complex procedures are involved,

these procedures apply to

from

this point.

transposition

up

The a

all

the intervals of transposition to be studied

present chapter will limit

whole step

—another

itself to a

discussion of

useful transposition in the

accom-

paniment of solo and ensemble vocal music.

The two

essentials for transposition

by

analysis are:

(1) Complete and accurate analysis of the original music; (2) Transference to the new key of the elements of musical structure revealed by the analysis.

A large body of two-part and three-part keyboard music

is

amenable

to analysis almost entirely in terms of three structural concepts: (1) Scale complexes; (2)

Broken chord complexes;

(3) Interval complexes.

83

# EXAMPLE 39(A). ANALYSIS THE KEY OF C MAJOR.

TERMS OF SCALE AND BROKEN CHORD COMPLEXES

IN

IN

Sonatina

Jacob Schmitt Scale

Scale

(5th omitted)

The

analysis in this

(5th omitted) (5th omitted)

example does not involve the upper

staff.

EXAMPLE

39(b). TRANSPOSITION UP A WHOLE STEP TO FERENCE OF ALL COMPLEXES TO THE NEW KEY. Scale "1

«Z

r

*»i-

Lrr

r

1

-I

I

C;r

r

-J

I

2

f

i

l^=g

I

I

r

-i

r

^s

pte g^=A D:

r

i

^m

r

Scale

I

3

2

2

NOTE THE STRICT TRANS-

D.

3

2

1

s

ftsi

I

I

I

I

I

I

(5th omitted) (5th omitted)

(5th omitted)

EXAMPLE 40(a). ANALYSIS IN TERMS OF INTERVAL, SCALE AND BROKEN CHORD COMPLEXES IN THE KEY OF D MINOR. Minuet Johann Sebastian Bach

minor: 3

2

^

Broken chord

Scale

Scale

D

T

17

m in. 6th

1

V

perf.4th

(VII°_

)

6

5

S

r

dim.7th

4

2

3

3

1,

Scale

:n>i

r

^

D

minor:

,

I

r

r

f

l

r

--

- j.

Perf.8ve Perf.Sve

I

r

Perf.4ml Pe rf.4th

^=f . ...

Pert4tn

1

£j

~""—

pert5m

Scale

Note can

also

that the last

two measures of

be analyzed as scale tones

?

r 5

84

the lower part of

Example 40(a)

as follows:

j -5

i

r

j

15

w 1

TRANSPOSITION

EXAMPLE 40(b). TRANSPOSITION UP A WHOLE STEP TO E MINOR. NOTE THE STRICT TRANSFERENCE OF ALL COMPLEXES TO THE NEW KEY. E minor

1

E minor:

Perf.Sve

Perf.4th Pert4th

Scale

^^

OR 1

_5

5

1

Scale

new

All accidentals in the original are transferred to the

below how the example in

raised second

F major

fourth degrees of the

(41 -a)

and fourth

become

new key

of

EXAMPLE 41(a). ORIGINAL EXAMPLE

Note

scale degrees in the original

respectively the raised second and

G major

IN

key.

(41-b).

THE KEY OF F MAJOR, WITH ACCIDENTALS.

Sonatina

Johann Ladislaus Dussek Scale (Chromatic)

Broken chords

1(4

(I)

(raised 4)

#2 (raised 2)

EXAMPLE 41(b). TRANSPOSITION UP A WHOLE STEP TO G MAJOR, SHOWING TRANSFERENCE OF ACCIDENTALS TO THE NEW KEY. Scale (Chromatic)

Broken chords

(I)

1 4 (raised 4) j)

TRANSPOSITION

2

(raised 2)

85

ASSIGNMENT NO.

12

Transpose each of the following musical examples up a whole

The performance

of each transposition should be preceded

mental (not written) analysis in terms of

scale,

by

step.

a detailed

broken chord and interval

complexes.

1.

L'istesso

tempo

Intermezzo

Georg Friedrich Handel

P^

5P 2.

Andante con moto

Sonatina

Jacob Schmitt

m^f±

^nrlfrlS Eji £ff 3.


Andante

pm ? mm m

a 86

r r

r

f

TO

s* - • p

l

r

r

j

^ ^ ^s ^ «i tf=r

TRANSPOSITION

Allegro moderato

4.

Sonatina Carl Reinecke

pupn

IPli

rr

f

a

^3

Sonatina

Allegro

5.

Muzio Clementi

?> t

6.

c£rf cXrf

Allegro moderato

Franz Joseph

P'i rTTTT^ i£^ y*m r

7.

r

r

£

P^PP

Moderato

1^ p^p

HHP

&

Haydn

Pf^¥ i

m

1

Trio

Johann Sebastian Bach

TRANSPOSITION

87

Minuet

Grazioso

8.


%i

r

r

|npi

s 9.

fe

m

nn

^ pi ^ fe^

ps

r=

s mss m ?m

??S3

£in Allegro

Leggiero

Domenico

?ff^ f==l i^ eÊ 10.

Vivace

11.

Allegretto

88

Scarlatti

^^ in E minor Franz Joseph Haydn

from Finale from Sonata

from Sonata in F major Wolfgang Amadeus Mozart

TRANSPOSITION

12.

j

Allegretto

feji

^ p^|

^

^ ^^

Variation


P^P

j^l5

'^\

^S

Pf¥^

W~m ±rm

;>* r

"p

^s

#g^#

JuJ^

iJ

^m ^ ^^ as ^^

^

|S 13.

Allegretto con

moto


^m

'pm

v>a {Tit yâ CJ

*^F^ i

^

LL-LLT

^ hî^ il ^^

^= CJ

'

CJ

^

?^=p

TRANSPOSITION

C^H

f

^

g

3

-^

C^gJif

fc*

DJ

^

CJ

s

89

CHAPTER THIRTEEN

Transposition

a

Down

Whole

Step

When a soloist on a B\) instrument plays from the same piano score as the accompanist, the accompanist must transpose the keyboard part

down a whole

step.

The B\)

instruments involved in this transposition

are: B\) clarinet

Bass clarinet

Transposition

down

a

B\)

trumpet or cornet

B\)

tenor saxophone

whole

step, like the intervals of transposition dis-

cussed in preceding chapters,

is

also frequently indicated for solo or

ensemble vocal music. Four-part music, analysis in terms of

as well as

much

three-part music, often requires

chord structure and harmonic progression,

to analysis in terms of the interval, scale

discussed in Chapter 12. line, is

Note

in addition

and broken-chord complexes

in the following

example

how

the

melody

while analyzable exclusively in terms of scale and interval complexes,

also

—

at the

points of rhythmic stress

—included

in

the

harmonic

analysis.

91

EXAMPLE 42(A). ANALYSIS IN TERMS OF CHORD STRUCTURE AND HARMONIC PROGRESSION, AS WELL AS SCALE AND INTERVAL COMPLEXES; F MAJOR.

Song Without Words Mendelssohn

Felix Scale

Scale

Scale

(doubled 3rd)

half -cade nee

In Example 42 (a) above the analysis recognizes:

The The

unusual doubling in the first chord; appoggiatura in the second chord;

Other non-harmonic tones;

The

The more

traditional half-cadence formula.

more accurate

detailed the analysis of the original example, the

the transposition

which

will result.

EXAMPLE 42(b). TRANSPOSITION DOWN A WHOLE STEP TO

MAJOR. Scale

Scale

Scale

1

I

ffe^

5.

4

>) r

3

2

I

7

T

J'

J

j

J

j

-B-

y^Ff

¥ iv6

I

(doubled 3rd)

4

J

i

Maj.3rd

Perf 5th

Ek:

Eb

vi/v

±=£ r J*.

J

half -cadence

Doubling, spacing, chord position and chord inversion are important elements for giving insight into the harmonic nature of In Example 43 (a) following

we

length built entirely on the

I

many

passages.

find a musical statement of considerable

chord in the key of B^ major. Note the

following: (1)

The melody, beginning on up

(2)

to the fifth, octave,

The

bass line

the third of the chord, ascends

and higher

shows root

by skipping

third;

position, first inversion, root position again

and

finally the second inversion;

92

TRANSPOSITION

(3)

Movement from measure one

to measure

two

is

effected

by

the outside

voices (bass and soprano) ascending in skips of thirds, while the inside voices (alto and tenor) hold the same notes;

end of the excerpt the bass skips down the contwo upper voices (soprano and alto) skip up in the same manner; (5) The tenor holds the same note (the fifth of the key) throughout the

(4)

From

this point to the

secutive notes of the B\y chord, and the

entire passage;

(6) All doublings are (a)

commonly used

Root

ones:

position chords double the root;

(b) First inversion chord doubles the fifth; (c)

Second inversion chord doubles the

fifth.

EXAMPLE 43(a). EXCERPT SUSCEPTIBLE TO ANALYSIS IN TERMS OF DOUBLING, CHORD POSITION AND CHORD INVERSION; Bb MAJOR.

SPAC-

ING,

Larghetto Franz Kuhlau Soprano

EXAMPLE 43(b). TRANSPOSITION DOWN A WHOLE STEP TO Soprano

pm

Alto

Tenor holds

>

3

i

w,>H

Bass

Ab

MAJOR.

uu P^ J

P^P in!

At:

A

two-part texture will often imply three-part harmony. Quicker

and more accurate reading and transposition are possible when such a passage

is

read "harmonically" rather than as

TRANSPOSITION

two

lines of single notes.

93

EXAMPLE 44(a). ORIGINAL EXCERPT WRITTEN

TWO MELODIC

AS

PARTS.

Melody Robert Schumann

v r

r

r

r

3^ ^m EXAMPLE 44(B). EXAMPLE 44(a) CONVERTED TO THE IMPLIED THREE-PART HARMONY.

r

„

^

r

^ IV

C:

I

v

6

3

(chord 3rd omitted)

EXAMPLE 44(c). EXAMPLE 44(b) TRANSPOSED DOWN A WHOLE STEP TO

m IV

mm I

6

EXAMPLE 44(d). EXAMPLE 44(c) FIGURED

U

94

'

1 1

MAJOR.

^m

V=e=i

b'v

Bb

r

r

"3 (chord 3rd omitted)

IN

THE

NEW

r

m

KEY.

PTJ'J TRANSPOSITION

In a similar manner, a two-part texture often implies four-part

harmony,

as in

Example 45 (a) following.

EXAMPLE 45(a). ORIGINAL EXCERPT WRITTEN

TWO MELODIC

AS

PARTS.

Invention


9<-

ji

^

r

EXAMPLE 45(b). EXAMPLE 45(a) CONVERTED TO THE IMPLIED FOUR-PART HARMONY.

jui

'I

m A

minor:

.

r

Suspension

m .

I

EXAMPLE 45(c). EXAMPLE 45(b) TRANSPOSED DOWN A WHOLE STEP TO G MINOR.

G minor:

I

EXAMPLE 45(d). EXAMPLE 45(c) FIGURED

ftv

7

IN

THE

NEW

KEY.

jTi fjTl

» y*-ft^ EEE^

TRANSPOSITION

95

Innumerable combinations of melodic,

complexes are to be found in keyboard is

a typical

and harmonic

intervallic

literature.

The

following example

combination.

EXAMPLE 46(a). A COMBINATION OF MELODIC AND BROKEN CHORD COMPLEXES. Music Box Anatol Liadov

i

J

JsJ>j

Jsh

f^m =^^ E Note passage

is

J>-J>

*t

*

J)

i

i

sm

1

1

Example 46(a) above, the three components

in

m

JuJ>J

to

1

J)

etc

'

1

which the

reducible:

A melody composed of both scale and broken chord complexes:

( 1 )

Ma pi *

4

:

(2)

A:

Of

f

A linear

|

f

Of

'r^^

J

g?fr

f

i

L

f

i

I

VIP (broken^

I

f

12

&£ 3

Scale

left-hand part convertible to three-part harmony:

V7 (5th

Two

i

2

sL

|

(3)

f^f

j

omitted)

l|

V? (5th

omitted)

l£

inside sustained lines:

Combined and transposed down

a

whole

step to

G

major, these

three ingredients result in the following:

96

TRANSPOSITION

^ EXAMPLE 46(B). TRANSPOSED CONVERSION OF EXAMPLE 46(a). passing tone

passing lone

i

G Major:

V9

1^

(added chord 6th)

l£ (added

V,

chord 6th)

EXAMPLE 46(c). EXAMPLE 46(b) RECONVERTED TO ORIGINAL FIGURATION IN THE

NEW

KEY.

md J

j

in*

P

Hi m m

p EE

s

s

J

i

pFT

h

f

fE^F

If

13

Transpose each of the following musical examples

The performance

^

j> |

ASSIGNMENT NO. step.

j

down

a

whole

of each transposition should be preceded

by

a

detailed mental (not written) analysis.

1.

Allegretto con

moto


Ttrr

n> ,t

k.

^w

TRANSPOSITION

t

i

r

ic 3=^T

nils

97

2.

Allegro

ma non

troppo

Sonata


3.

Allegro

Finale

Franz Joseph Haydn

^^ P*m

pm 4.

mÊf t=f

m

j

f

»

"f

t=^

Moderato

Serenade Cecile

98

»

f

T

p^

>

Chaminade

TRANSPOSITION

— — 5.

Con moto

Rondo Johann Ladislaus Dussek

pn UU

£S i

r

i

r

i

r

frfrrrfr

r

i

P^ wm wm

Hi

-

|L§j_i

6.

j

J__^

i

1

J

^

j

^

i

J

— 'MM i

i

i

'

J '

I

i

J '

I

J

y=


Andante

'$M

^^ÊS

iSiilpUl

tffl

i

7.

etc.

.B.

tjA rrfrrrrr

i

a

ii


Moderato

i^g i

gwf

r

j "

r

^^^ ^^ '

n

r

'

J

A

f

-

j-

f

£^P J

TRANSPOSITION

S

^ fe^

nn

>

1=

^^ ^f^ 99

8.

9.

Poco

allegro

Waltz Edvard Grieg

P*^

m

y»a

1=1

r

Andante

00

1

I

*

^ ^^

T=F=F

r=F=F

j t

—

j.

r

r

Nocturne John Field

TRANSPOSITION

# 10.

Moderato

Siciliano


f

r

'ii

'mii

11.

r

r

r

r

r

r

r

r

r

r

r

r

p ^T

r

r

r

r

r

r r

r

r

r

f

r

m

Hymn Joseph Barnby, 1868

F'iiJ^ Mi

i

—

%

t

f

til

t

^f

PW r

? T

ii r-

p

r

r'

r

TRANSPOSITION

t

r

t

^m P TTi

I

f

!

r

i

t

^^

101

12.

Hymn

Evening Prayer George C. Stebbins, 1878

#=5

pup!

*

PP =^

g

102

i

w

i

^

mm

pp

F?

tt

«

£-k

ii

^ *^

t=*

m iû

T

TRANSPOSITION

CHAPTER FOURTEEN

Transposition to

Other Intervals THE FRENCH HORN AND a soloist

on one of

these instruments plays

from the same piano score

the accompanist, the latter must transpose the piano part fifth

or up a perfect fourth

most

effective register.

when

a soloist

—whichever

The

alto

places the

most

up

a

a perfect

and baritone saxophones are in

down

in the

E[j,

on one of them plays from the same piano score

minor third

as

and

as the

a

major

— whichever places the accompaniment

in the

effective register.

Vocal raise

down

accompaniment

accompanist, the accompanying part must be transposed sixth or

WHEN

ENGLISH HORN ARE F INSTRUMENTS.

soloists

and choral directors sometimes find

or lower the key of a particular piece of music as

Many

it

advisable to

much

as a

minor

recommend

the trans-

position of troublesome passages to several other keys, as a

means of

or major third.

piano and organ teachers

gaining technical mastery and musical insight.

While in order to

the keyboard player must be able to transpose to other keys

perform

specific duties as a successful accompanist, his greatest

advantage from the study of transposition will accrue from increased musicianship

—the

capacity to grasp instantly the essentials of musical

structure to the ends of quick reading, accurate memorization and intelligent interpretation.

The

great pianist-composer Ferruccio Busoni valued

transposition as a discipline so highly that he began each day

by transpos-

103

ing a prelude and fugue from

Bach's Well-Tempered Clavier to

J. S.

keys.

all

The approach in the

whole

to transposition to other intervals than those studied

preceding chapters

is

the same as for transposition

and detailed analysis of

step. It involves careful

up or down

a

scale, interval,

broken chord and harmonic complexes in the original music, and the transference of these complexes to the

new

key.

ASSIGNMENT NO.

14

Transpose the following musical examples to the prescribed keys. Precede each transposition with a detailed mental (not written)

1.

analysis.

Andante

Andante

Christoph Willibald von Gluck

Transpose:

Up Up Up

(a)

(b) (c)

a

m

^ ~N

04

a

r

J

minor major

third; third;

a perfect fourth.

r

\

>

a

qu r

J

^

r

r

r

^^ ^^

m

iiiH J

j

r

J

J

J

J

J

g

J

J'

j

J

J

i=î

TRANSPOSITION

*

2.

Trio

Moderato


Transpose: (a)

(b) (c)

Down a major 6th; Down a perfect fifth; Up a half step.

p *

uf

i

f

f

ipm

J

P^

1

Ipm

^=3

3.

J

J

^

eJ=

^p PHH1

J

J

^4^ J

Animato

J

J

J

£ J

•—

J

J

J

J J

Ecossaise


Transpose: (a)

(b) (c)

Up a major third; Up a perfect fourth; Down a half step.

TRANSPOSITION

105

Allegro

4.

Study Friedrich Burgmiillcr

Transpose: (a)

(b) (c)

Up a minor third; Down a perfect fifth; Up a half step. simile

hI

I'.

=?F=?rf=?f

m

<„ f

kf' vf i

m

f

^

f

r

r

W krvw

W

r~T

f

m

1*

.irp^p^ irvw

5^ irirvv

E .ir.i r.

^TsMSfcTsIF

f

f

r

i\

M^#

r

e

^^TlTlf inriTlf feiE £

I-

"N

5.

Andante

Moderato

Franz Joseph

Haydn

Transpose: (a)

(b) (c)

Up a major third; Up a perfect fourth; Down a half step.

m

^

P^P i i

^ 06

^

*

I P

^ ^^ ^^ ^ &

[_r

j i

^^

#^fH

M

_f

s=£

c

r

TRANSPOSITION

*

* 6.

Waltz

Lento

Frederic Francois Chopin

Transpose: (a)

(b) (c)

Up a perfect fifth; Down a major third; Up a half step.

P

s

i

i-i

'

r

j

j

3

T"

r=

P^3 J

JOl

as

i

^

n±n

*

j

n

=s

TRANSPOSITION

*

^

j

^F

m

s

^

P

—

5t

m

j

si3j j

*

r

Pf

—

=r

*^*

t^

* j

^n ^^ mn

J^L

/I

07

——

j

Allegretto

7.

Rondo Jacob Schmitt

Transpose:

Up Up Up

(a)

(b) (c)

rf Q

a a a

major minor major

sixth;

third; third.

_—

k

r

r

•

p

f

s

*

- 1—

1

f*\

Grazioso

8.

Ignaz Joseph Pleyel

Transpose: (a)

(b) (c)

Up a half step; Up a minor third; Down a major third.

?»a

>

f

f

tt

i. r

r

r

1î^

P^P 108

TRANSPOSITION

9.

Andante

Sonatina Jacob Schmitt

Transpose:

Down a minor third; Up a diminished fifth; Down a perfect fourth.

(a)

(b) (c)

m

J i

*^

r

S

•J^

#

Js^ igi

^

^

S

£ in bj-j

i^

-\

10.

JJ:

^ ^

-N-

^

i

=±

Tranquillo


Transpose: (a)

(b) (c)

Down Down Down

a perfect fifth;

a

minor

third;

a half step.

M TRANSPOSITION

109

Hymn

11.

Beatitudo

John

B. Dykes, 1875

Transpose: (a)

(b) (c)

Up an augmented Up a major third; Down a half step.

jUl

j

?>A>i>

f f

:1

fourth;

m£

j

m

^-

w

9

m

i

m

'P^m

w^

f

i

pp

i

TRANSPOSITION

PART THREE

MODULATION

—

CHAPTER FIFTEEN

Dominant Modulation Modulation instances in

—

is

the process of changing keys, there are many

which the performer

at the

keyboard

to dissipate the prevailing tonal center

The

singing of a song medley

by

and

is

required to modulate

establish a

a soloist or choral

new

key-feeling.

group presents the

accompanist with problems of modulating between the close of each song

and the beginning of the following one. In folk and

ballet

dance accom-

paniments, and in the performance of background music to pantomime

and other dramatic

action,

it is

necessary to modulate frequently from

one musical excerpt to another. The church organist can enhance the unity of the service by connecting certain of

The

its

parts with modulations.

studio voice coach finds modulation useful for his accompaniments

to the vocalizing of his students. In small dance bands the pianist

is

ex-

pected to supply the modulations involved in moving from tune to tune, or from chorus to chorus.

A new key

is

effectively established

tonic.

There

are several

direct

way

to

is

cadence complex: dominant

the progression: dominant

effecting this progression.

The most

the final tonic chord of the old

key to the

ways of

move from

by

—tonic

in the

new

key.

I

13

— EXAMPLE

DOMINANT MODULATION DOWN A MAJOR SECOND.

47.

I 9=i= Oldkey(C):!

Development of the if

m V^

Newkey(Bb):

ability to play

modulations can be accelerated

the modulatory progressions are conceived in visual and tactile terms

in terms of

"what happens on the keyboard"— as well

To

structure and progression.

as in

terms of chord

understand Example 47 in these terms,

three concepts are necessary:

The

spelling of

I

(2) Part

movement

to the second chord (the intervals of

(1)

in the old

key

(position, spacing, doubling);

movement

in the

and bass) and (3) Part movement from the second chord to the third chord. soprano,

alto, tenor,

;

would

In Example 47 these three steps (1)

I

of the old key

is

be:

positioned, spaced and doubled as follows:

doubled root in Soprano

IM

^

—

-^~- 5th 3rd

in

m

I

close position

in Alto

Tenor

J

root in Bass

(2) Part

by

part,

movement

second below)

is

into the second chord

(V| of

the key a major

as follows:

Soprano repeats same note Alto descends whole step

f.

Old key (C):

I

14

I

New key (Bb): V°

Bass descends three half steps

MODULATION

(3) Part by part, follows:

movement from

the second chord to the third chord

is

as

Soprano descends whole step

Alto repeats

same

note

Tenor descends half step

New key (Bb):

V^

I

Bass ascends half step

the three preceding steps are clearly grasped as visual and tactile

If

concepts, as well as in terms of chord structure and progression, the per-

formance of

key

a

a

whole

dominant modulation from any major key to the major

below

step

is

easily done. It

is

recommended

that, in all

modulations presented in the following pages, the student consider each

one from two points of view: (1) In terms of theoretical chord structure and progression (chord symbols);

and In terms of "what happens on the keyboard" (the "look" and "feel" of

(2)

first chord and the part-by-part movement of each chord into the one following).

the

Example 47 as

"keyboard

is

known

given in the spacing of "close position," also

style."

This

style

is

suitable for modulations

between

hymns, or for modulations between songs having the simple accompani-

ment

figurations

shown

in Part

1

of this text.

On

the other hand,

it is

often possible and desirable to put the modulation in the style of the

music being played (see Examples 48 and 49). hibits a pianistic figuration,

it is

When

the

new

tune ex-

advisable to use the figuration of the

new

piece in the modulation. This makes possible the setting of any different

meter and/or tempo the new music might require

any

style, a

modulation

may

(see

Example 51). In

be followed by an introduction to the

new

tune (see Chapter 6). In practical applications the dominant modulation

second, either

shown

in

Example

down

a

major

47, leads naturally into melodies beginning

on the tonic note or on the mediant note of the new key.

MODULATION

I

15

.

EXAMPLE 48. DOMINANT MODULATION DOWN A MAJOR SECOND TO A MELODY BEGINNING ON THE TONIC NOTE OF THE NEW KEY (SIMPLE ACCOMPANIMENT STYLE).

The Last Rose of Summer Friedrich Von Flotow (Closing bars)

^m

M

6

¥*f¥*

Old Black Joe Stephen Foster (Opening bars)

mn

,—,

j flJ..H

l'b«

f

_

etc

j

i

[I

f

INewkeyC):v£

I

nn

#

?

Old key (D):

s

zt

IV

I

Modulation

EXAMPLE 49. DOMINANT MODULATION DOWN A MAJOR SECOND TO A MELODY NING ON THE MEDIANT NOTE OF THE NEW KEY (HYMN STYLE).

Hymn,

St.

Magnus

Hymn, Almsgiving John B. Dykes (Opening bars)

Jeremiah Clark (Closing bars)

m P^^fn

u

nn Old key (A):

j

jj V v|

BEGIN-

,

m I

6

IV

j

i

j

mm

^

t*

*£ \\

V

I

(?)

i

*p

New key (G): v|

1

X

6

V (7)

Modulation

In accompaniments to vocal music, the dominant note of the

new

key,

it is

when

the

new

tune begins on

advisable for the accompanist to

indicate the beginning note at the close of the modulation.

I

16

MODULATION

.

EXAMPLE 50. DOMINANT MODULATION DOWN A MAJOR SECOND TO A MELODY BEGINNING ON THE DOMINANT NOTE OF THE NEW KEY (SIMPLE ACCOMPANIMENT STYLE).

My Bonnie Scotch song

O,

John

(Opening bars)

(Closing bars)

fte mm ^=# W^ m mm Oldkey(Bb):

No

English folk song

IV 1V

6 4

4 V v 3

I

r>

r-j-i^'- ji jj

rrirurr

/7\

£ w^t

New key (Ak):

v(j

Modulation

DOMINANT MODULATION DOWN A MAJOR SECOND (PIANISTIC FIGURAWITH THE MODULATION ASSUMING THE FIGURATION, TEMPO AND METER OF THE NEW PIECE )

EXAMPLE

51.

TIONS IN BOTH PIECES,

Serenade

Valse Charles M. Widor (Closing bars)

*L

m

01dkey(Bl>):

(Opening bars)

jy]rr

\

3

\

Gabriel Pierne

V?

3

ms 3

J—

m^

Allegretto !;

"VH«ftj"j

?£

1

V*

New key

(Ab)

:

V° Modulation

Dominant modulation from major third below

Example

is

a

major key to the major key lying

a

achieved by continuing the progression given in

47.

MODULATION

I

17

EXAMPLE

52.

DOMINANT MODULATION DOWN A MAJOR

THIRD.

^

feni £

m '

Old key

(C):

t New key (Bb): V°

I

01dkey(B|>):

Newkey(Al»):

I

V° 2_

1

EXAMPLE

53.

13a--

(HYMN

PRACTICAL APPLICATION OF EXAMPLE 52

STYLE).

Hymn, Mozart

Hymn,

Wolfgang Amadeus Mozart (Closing bars)

fc

3=^=

y»8

Hollingside

John B. Dykes (Opening bar)

s s

±=k

*

f f

Old key (G): II

I

F

:

c^

cy

VJ?

I

Eb: VJ?

1

*6

.

IV

!

6

Modulation

The

following example shows a dominant modulation from one

major key to another major key lying while the

new key has been

a

minor

third below.

satisfactorily established

chord has sounded, the fact that the seventh of the

by

Note

that,

the time the third

new dominant chord

occurs in the soprano intimates that the forthcoming melody will begin

on the mediant note of the new key.

To

adapt the modulation to melodies

beginning on either the mediant note or the tonic note of the the cadence complex has been restated with the so that

its fifth is

in the soprano. Should the

dominant note of the new key, of the modulation, as

EXAMPLE

54.

shown

this

in

V| chord

new melody

new

key,

positioned

begin on the

note should be sounded at the close

Example 50 (vocal accompaniments).

DOMINANT MODULATION DOWN A MINOR

THIRD.

£ Old key (C):

I

18

New key (A): v|

MODULATION

EXAMPLE

55.

PRACTICAL APPLICATION OF EXAMPLE 54 (FIGURED STYLE).

German Dance Franz Schubert

S

(Closing bars)

pm

W

Old key (Ab):

J

S

Moderato

Energico

e

g

——

«

i

>_

i

££££?

f

llf

I*

J I

f

I r

New key (F): V*

tf

I b;

^

£ I

Modulation

German Dance Ludwig Van Beethoven (Opening bars) Moderato

'fV'if

l^p

j

*^3 ^Lr * ^3 r

e

^^ IV?

ASSIGNMENT NO. A.

15

(1) Continue the following modulating sequence (developed

Example 47)

MODULATION

until a return

is

made

to the original

from

key (C):

I

19

from

(2) Continue the following modulating sequence (developed

Example 47)

until a return

P•^

i* n^=

^ B:

(3)

^

^F ^P

n>

^=1 A: Vi

I

I

V£

G:

until a return

i

'J

t

mm

£

F:

I

A: V*

made

is

V°

in D\),

»»i

»/i

<>i

r

"r

«r

I

and continuing

F#:

until a return is

D, and continuing until a return

Each of the following song or piece in

a

d

»r

»r

I

number

made

number is

made

3

key (C):

V*

(5) Play the sequence pattern given in in

to the original

i

(4) Play the sequence pattern given in

B.

key (B):

Continue the following modulating sequence (developed from

I

I

to the original

etc.

Example 54)

%

made

is

Ek: V?

above, beginning

to D\). 3

to

above, beginning

D.

exercises consists of: (a) the closing bars of a

major key, and (b) the opening bars of another

song or piece in the major key a whole step (major second) below. In each instance the

two

excerpts are to be connected

the dominant modulation given in

vocal accompaniments,

when

dominant note of the new key, of the modulation.

Remember

Example

the second this

47.

by means of

Remember

that, in

melody begins on the

note must be played at the close

also that, in

both vocal and instru-

mental music, figurations and changes of tempo and/or meter in the

forthcoming music should be anticipated in the modulation. Play modulations between hymns in

120

hymn

style

(open harmony).

MODULATION

—

<

1

Reuben, Reuben Folk Song

1.

(Closing bars)

Li

P^ a u wm

^

m y

l Liza Jane Folk Song

(Opening bars)

^m ^ Deck the Hall Welsh carol

Hark, the Herald Angels Sing Mendelssohn

2.

Felix

(Opening bars)

(Closing bars)

'V+H^

INp^

y»jT f f

•m

3.

>

r

t

i

*

*

i

r

Crusadefs Hymn Folk Song

Silesian

(Closing bars)

(Use tempo and figuration of second tune in the modulation) Andante

ifjM, 9 v

m y

1?

,, i-

V-—

9=^ •

—

^

—

r

1

•

°

(i

s

j

o H

Cantique de Noel

Adolphe Adam (Opening bars) Moderato Voice

lap

J

MODULATION

Jl

*

\

L ^ >^

P

^

P

12

4.

Rondo

Valse Peter Ilyitch Tschaikowsky (Beginning of excerpt)

Muzio Clementi (End of excerpt)

(Use tempo, meter and figuration of second tune Allegretto

in the

modulation)

Assai vivo

k

nrtlftD i

,rnj^

jlii

Each of the following

exercises consists of: (a) the closing bars of a

song or piece in a major key, and (b) the opening bars of another song or piece in the major key lying a major third below. In each instance the

two


by means

of the domi-

nant modulation given in Example 52. Keep in mind the special treatments required for

new

1.

new

melodies beginning on the

Tavern in the Town American Folk Song

pm

r

y*|r.

i

Hymn,

Who

Will Shoe Your Pretty Little Foot? American Folk Song

i

St.

(Opening bars)

pcj-cj J.

i.

J.

fe £5^

Wm

Anne

Hymn, Need Robert Lowry (Opening bars)

(Closing bars)

fe

122

jfe*g^

j

f

mm g^

mm

William Croft (?)

^

of the

key, and for changes in tempo, meter and figuration.

(Closing bars)

2.

fifth

f

^

?n''iH

J

^m iplii

MODULATION

Ring, Ring de Banjo Stephen Foster (Closing bars)

3.

Moderato con moto

Funiculi, Funicula

Luigi Denza

(Opening bars) Rapidamente Voice

^m

I

^11

^r

*

J I | §gjg= §=g=iiE=i

4.

i

h

«

t

J'n

1

h

I

HE3ES f i

E3p=5

li

Sowg Felix

Nazareth

Mendelssohn

Charles

Andante

Adagio a

fril

Voice voice ,|.

.

Jjj

ill 'jj'jj *>*!»

.-.

f

Gounod

(Opening bars)

(Closing bars)

gj

MODULATION

ybii

i

r

|

J.

=gig

«—5^ 13

^

123

Each of

D.

the following exercises consists of: (a) the closing bars of a

song or piece

in a

major key, and (b) the opening bars of a different

song or piece in the major key a minor third below. In each instance

two

the


modulation given in Example

54.

by means of the dominant

Keep

in

mind

the special treat-

ments required for new melodies beginning on the

new

1.

Passing

fifth

tone of the

key, and for changes in tempo, meter and figuration.

By

Edward

Purcell (Closing bars)

Moderate

Folksong Robert Schumann (Opening bars)

Little

Con moto

hn

2.

j)

i)

j)

iii

j)

J>

J»

j>

yjy>

$>

Hymn, Germany

Hymn,

William Gardiner (Closing bars)

%n

s

124

1

ir

j

Coronation

Oliver Holden

pup

Hin j-j ,

i

^m

m k£M

(Opening bars)

P^ i

MODULATION

Ave Maria

3.

Pietro Mascagni

(Closing bars)

Andante

M

Voice

m

-MJ.

^^ 'M /4x/e

i

fi

j

J'

,

T

Mr'

J

{

Jl

7

p

Mf

1

1

i i=*=*

>

Maria

Bach-Gounod (Opening bars)

Modern to Voice

German Dance Ludwig van Beethoven

4.

Dance Caprice Edvard Grieg (Opening bars)

(End of excerpt)

Tempo

giusto

frW

i

m

£

j

r

r

r

pn m m mm w ^ Vivace

^N

MODULATION

?-

|

y«i*4

>

mm ^m

pill

125

CHAPTER SIXTEEN

Pivot Modulation When two

keys have several notes in

common)

quently, chords in

it is

common

common

possible to modulate

The

the other

by means

both

means of departure from the old key and

as a

into the

new

key.

of a

The new

56.

1

by

PIVOT MODULATION

DOWN

J

m

tonality

—

complex: dominant

EXAMPLE

(pivot) chord.

tonic, or

i

11^ J

is

the

a

(and, conse-

from one key

pivot chord serves

means of entrance

confirmed either by the cadence

more

complex: IJ-W-I.

definitive

A PERFECT FOURTH.

§

j

i

I

VI

i

3=p^

Old key (C):

I

VI

V

New key (G): II

New key (G):

I

VI

tical applications this

in the old

|

key and

progression (and

all

as II in the

l£

II

In each of the examples above, the second chord

functioning both as

i

£ Old key (C):

(7)

to

is

a pivot chord,

new

key. In prac-

succeeding modulatory pro-

gressions to be presented) can be suitably adapted to either

hymn

style

127

.

.

(open harmony) or to

pianistic figured style.

However,

succeeding

all

modulations between tunes in simple accompaniment style (see Chapters 1

through 6) should be played in the close position

Example 56 above. Succeeding modulations

style exemplified

by

will use chords other than

the basic ones characteristic of folk and dancing music; these chords do

not adapt easily

companiment

—from the standpoint of voice

leading

—

to simple ac-

style.

Like the modulations presented in Chapter will use a position of the

new dominant chord

15,

succeeding examples

that permits

movement

new melody beginning on either the tonic note or the mediant note of the new key. In all future exercises, when a new melody begins on the into a

dominant note of the new key,

this

note must be sounded

at the close

of

the modulation (in vocal accompaniments)

EXAMPLE 57(a). PIVOT MODULATION DOWN A PERFECT FOURTH (SIMPLE ACCOMPANIMENT STYLE)

Once

I

Loved

a

O How

Maiden

English Folk Song (Closing bars)

Old Key (Ab):

V*j

I

I

Lovely is the Maiden Robert Schumann (Opening bars)

VI

New key (Ek): n

WZ

(7)

I

EXAMPLE 57(b). PIVOT MODULATION DOWN A PERFECT FOURTH (HYMN STYLE).

Hymn, Pro Horatio

W.

Patria

Parker

(Closing bars)

wm

1 1

1 i

^M Mi Old key (A):

*¥¥?

M

^m

«== I

New key (E):

VI II

Modulation

128

MODULATION

Hymn,

St. Crispin

George J. Elvey (Opening bars)

pm

^

tit M

«

»

JEflff I

VI

6

Ilf

V

EXAMPLE 57(c). PIVOT MODULATION DOWN A PERFECT FOURTH (FIGURED STYLE).

O, Press Your Cheek Adolf Jensen (Closing bars)

Andante

Moderate Voice

I

S

j

J I

-M

J

_d.

' i

LJL?

WHip

s Old key

(Bfc)

:

I

II,

<•

n

nuiiii

j

j

I

VI

Newkey(F):II

j

t

V

(7)

Modulation

Who

Is

Sylvia?

Franz Schubert (Opening bars)

Moderate

MODULATION

129

EXAMPLE

58.

PIVOT MODULATION

DOWN

'

A PERFECT FIFTH.

^

'

(1)

^m Old key (C)

:

J

VI

I

New key (F):

the

^

IV

III

V

(1°)

I

(7)

The pivot chord in Example 58 above is VI in the old key and new key. Note the cadence complex: IV(l4)-V7-I.

PIVOT MODULATION

EXAMPLE

59.

Hymn,

Theodulph

St.

DOWN A PERFECT

(HYMN

FIFTH

STYLE).

Hymn, Hamburg Lowell Mason (Opening bars)

Melchior Teschner (Closing bars)

m

i^F

^

Zj

A

cl

V L

I

IV

V

^3

'JHlj/Hjj

f m J:

Old key (C):

III in

VI

I

New key (F):

III

%=*

V

IV

i V

I

3E

n

I

(7)

V^/II

6

II

I^V

I

I

Modulation

EXAMPLE

60. PIVOT

MODULATION DOWN A MINOR

SIXTH.

(1)

$

J

J

t

J Old key (C):

I

New key (E):

(1)

in

The Cb

in this

chord

The pivot chord the new key.

130

(J)

in

is

a

VI IV

(

l

'

l^/f

J

)

J

v

«P

"borrowed tone" from

Example 60 above

J

E

is

=f (7)

minor.

VI

in the old

key and IV

MODULATION

EXAMPLE

MODULATION DOWN A MINOR SIXTH (FIGURED STYLE).

61. PIVOT

Humoreske

Grandmother's Minuet Edvard Grieg

Edvard Grieg (Opening bars)

(Closing bars)

Grazioso

Old key (Ab):

Allegretto

Allegretto

IV V4

-

4(3)

New key (C):

IV

(7)

Modulation

ASSIGNMENT NO.

16

Continue the following modulating sequence (developed from Ex-

A.

ample 56 [b]

)

until a return

is

made

to the original

move up

be occasionally necessary to

key (C).

to a higher position

It will

on the

keyboard in order to avoid the undesirably thick sonorities of the extreme low

I

f

f

9

r

r

C:

register.

r

i

f

r

f

.J

t

.

J

» !

f

VI

I

G:

II

VI

I

D:

II

VI

I

A:

II

Continue the following modulatory sequence (developed from Ex-

B.

ample 58)

until a return

is

made

to the original

key (C). Move

to a

higher register on the keyboard whenever necessary.

f

C:

f

f

kr

M

*f

kr ^

{

'M

VI

I

F:

III

IV

V

(7)

VI

I

Bb:

III

IV

V

(7)

VI

I

Et:

MODULATION

III

IV

31

Continue the following modulatory sequence (developed from Ex-

C.

ample 60)

f

'i

until a return

"f

f

iij

it

E:

(7)

m

VI IV

GO:

key (C).

w

tji

##

P

«

!

I

to the original

&

»

r

VI IV

I

»

4

^fe^ C:

made

is

V

(7)

L

1

P =

VI

I]

Ab:

V

C: IV

D.

Play the sequence given in Exercise in

C

above, beginning and ending

Db.

E.

Play the same sequence, beginning and ending in D.

F.

Play the same sequence, beginning and ending in

G.

Each of a song,

the following exercises consists of:

hymn

another song,

E|j.

(a) the closing bars of

or piece in a major key, and (b) the opening bars of

hymn

or piece in one of the following major keys:

(a)

a perfect fourth lower;

(b) a perfect fifth lower; (c)

Each

minor

a

pair of musical excerpts

appropriate modulation.

sixth lower.

is

Use the

to be connected

by means

close position style of

for modulations joining excerpts given in simple style; use

when tion,

open harmony for modulations connecting

the second excerpt

which

paniments,

new

also

must

when

the

is

Example 56

accompaniment

hymn

passages;

figured use the figuration in the modula-

set the

new

of the

new tempo and

meter. In vocal accom-

tune begins on the dominant note of the

key, this note must be sounded for the singer (s) at the close of

the modulation.

Long, Long Ago Thomas H. Bayly

1.

(Closing bars)

Kathleen Aroon Franz Abt

(Opening

bars)

pmiippp ¥W*

"N

132

MODULATION

.

2.

Hymn,

Hymn,

Pentecost

(Closing bars)

{Uf

i}

I

J

1

r.

-&•

—— — /T3 — — q»Mfl

JL -(9

-

•i

m

—F"—

*

'J

J.

Pi

liU

M

f

f

/ire So Like a Flower Robert Schumann

fr

The Lotus Flower Robert Schumann

(Closing bars)

(Opening bars)

Andante

Andante

Voice voice

r-r—.

i

'«V

m I pipL-irbr' j.

M

-

Voice

JU

^'^MMr

y\Ki

rr

Hymn,

Love's Old Sweet Song J. L. Molloy (Opening bars)

m£

*?-

$n

J

^

A J

j^j

J

V 1

^P f

6.

f

J>

J- J»

Hymn,

S«. Agnes John B. Dykes (Opening bars)

Jubilate

(Closing bars)

^

J

fffill

Horatio Parker

fr 'l

J

ss

^

tym 5.

J

*\

Love Somebody American Folk Song (Closing bars)

J

m

s^ ^=3 4.

Asaph

Hll

:

C

Fow

3.

St.

William S. Bambridge (Opening bars)

William Boyd

p

'7^

± r=r

PF «

p Bi

7^f' i

Under the Leaves Joseph Francois Thome

8fc

Dreams Georges Bizet (Opening bars)

(Closing bars)

Lento

Andante

ma

non troppo

T\

igfgp

^^

/^

f

MODULATION

gg

t

W

if

J

J)

J.

J

j

133

My Love

7,

Gone

Is

Then

to Sea

Hymn,

8.

Remember Me

m

^^r*

IS

You'll

Michael William Balfe (Opening bars)

Francis Hopkinson (Closing bars)

rt

Hymn, Schumann Mason and Webb's Cantica Laudis

Meditation

John H. Gower (Closing bars)

mm PPPi

^m

y»Ai p

9.

Mf^ em

w

PF¥

rw<' [

^pN

My

Lovely Maiden Franz Joseph Haydn (Opening bars)

Maiden's Lips Johannes Brahms (Closing bars)

Con mo to ,

b "<-

r

i

iB

k=d

as 10.

Allegretto Voice

Voice

uj pr /i *

i

j

-î

tiF

^:

j,

i ^ i *l

i

^

j

^ Hymn, Trentham

Hymn, Webb George

J.

Webb

Robert Jackson (Opening bars)

(Closing bars)

^ i

W^^f

134

P*U C f

f

t

^

in

S

^

£

i

M

MODULATION

CHAPTER SEVENTEEN

Chromatic Modulation When one or more notes of

a chord in the old key are chro-

matically changed to produce a chord in the tion results. alteration;

to

new

Any chord of the old

however, since

we

new

key, chromatic modula-

key may be subjected to such chromatic

are concerned here only with modulations

keys from the closing chord of the old key, the old-key chord

to be chromatically altered will always be the final tonic chord. Also, since brevity

is

desirable in the practical modulations

with which

concerned, chromatic alterations that convert the old-key into a

— or complex—

dominant chord in the new key

directly to the

new

cadence

I

we

are

immediately

that result in a chord leading

are preferable. In a chromatic

modulation: (1) (2) (3)

One or more notes of the old-key I are chromatically altered; One or more notes of the old-key I may be retained; A new note (a member of the new chord) may be added.

EXAMPLE

62.

CHROMATIC MODULATION UP A MINOR THIRD.

$ 'Old key (C):

i

I

Newkey(El>):

*i

ti

1 I

j

J

bj

Viyv

i-

r

1^

135

.

Ill

Example 62 the

VII7/V of

the

new key

final I

chord of the old key

is

converted into

as follows:

(1)

E

(2)

G in the soprano and C in the tenor are retained; A new note from the new chord (A) added in the bass.

(3)

in the alto

chromatically altered to E^;

is

is

Note old-key

that this

different

I

of the old-key

EXAMPLE

63.

I is

modulatory progression begins with

from

that used previously. (In

a position of the

Example

62, the fifth

in the soprano, rather than the root)

PRACTICAL APPLICATION OF EXAMPLE 62 (FIGURED STYLE).

Melody Robert Schumann Allegretto

D:

IV

Modera to

I

Modulation

Adieu

Piano Ludwig van Beethoven to the

Moderato

i

k

^1£

Bar

m EXAMPLE

^

64.

*

g

1

frf

i

r

JL£S

CHROMATIC MODULATION UP A MAJOR SECOND.

Old key (C)

all

:

I

7

'f

T

£

£ New key (D)

:

VII°

\

preceding examples of modulation the new-key dominant

chord has been a

1

^m

#=

In

vi r\

W.

In Example 64 above, the new-key dominant chord

is

diminished seventh chord. Note also in Example 64:

36

MODULATION

—

(2)

C in E in

(3)

A new note

The

old-key

(1)

EXAMPLE

—

the alto

is

chromatically altered to Qf; in the tenor are retained;

G

the soprano and

65.

(B^) from the

new chord

chord has the third

I

is

added

in the bass.

in the soprano.

PRACTICAL APPLICATION OF EXAMPLE 64

(HYMN

STYLE).

Hymn, Kilmarnock

Hymn, Trentham Robert Jackson

Neil Dougall .pass tag tone

ng tone

.pass rt\i.

iflU.

4

E

1

"TC

—

1

I

S

3

p

f

IV

Ek:

I

m

r

* r

IV

l6

V(7)

'm

-»

''

6

3

Bi_

fa

9

~&-

P

— — 91

:zc

1

//

,h

{j

0-

-

»

9

.

f-

y

L —

-S-'

1

g'

:

i

I

F:VII * 1^

V

L,

I

?

IV

Modulation

EXAMPLE

66.

CHROMATIC MODULATION DOWN A DIMINISHED FIFTH.

$

^

^

»ri

i

?i

s *\

Old key (C):

I

^

^^

L

New key (F&: Vl

ig p

IV

V

i* I

(7)

In Example 66 above:

(1)

C,

G and E in the soprano,

alto

and tenor are altered respectively to C#,

G#andE#; (2)

No

(3)

A new note

notes are retained;

(B) from the

new chord

is

added

in the bass.

Note also the two-cadence complexes in the new key:

V

2-1 e,

and IV-

V7-I.

MODULATION

137

EXAMPLE 61 PRACTICAL APPLICATION OF EXAMPLE 66 (SIMPLE ACCOMPANIMENT STYLE).

Come Where My Love

Lies

Dreaming

Stephen Foster

*L

passing notes\

^m

appoggiatura

em

***

^te

J

j

i

i

J»

*

J»

a^ *)

ti

f

>

¥

*N

E:

^3 ^ #

I

V*

4

Bk:

I

I

f>

InFÊfe V

IV

I£

V,

(7)

Modulation

Farewell to Thee

Queen

Liliuokalani passing note

auxiliary note

m

p

y^vc

<

,

i

f=f

*

,

1=4=±

IV

(i)

Ef,

It

effected

Bjf

is

and

Gx

are notated in the

new key

interesting to observe that

by chromatic

alteration of the old-key

(see

and

A

respectively.

when chromatic modulation I

dominant chord of the new key, such modulation dominant modulation

C

(Bb Major) as F,

Chapter 15). This

is

is

chord directly into a

is

—by

definition

—

also

not the case, of course,

when: (1) (2)

Some other chord than the old-key I is altered; The alteration results in a non-dominant chord Example

of the

new key

ASSIGNMENT NO.

17

Play the modulation given in Example 62, beginning on the

A.

in D\) (modulation to E). Play the

the respective

I

I

chord

same modulation, beginning on

chords of the following keys: A,

E, G\), and Af? (Note the position of the old-key

138

(see

62).

Ejj, I

C, F, D, Bb,

chord).

MODULATION

.

B.

Play the modulation given in Example 64, beginning on the in each of the twelve I

C.

chord)

in each of the twelve

D.

chord

major keys (Note the position of the old-key


I

I

I

chord

major keys (Note the position of the old-key

chord).


exercises consists of:


hymn or piece in a major key, and the opening bars of other song, hymn or piece in one of the following major keys: a song,

(a)

(b) (c)

Each

A minor third higher; A major second higher; A diminished fifth lower


appropriate modulation.

Use

(augmented fourth higher).

is

to be connected

by means

of the

close position style for modulations

joining excerpts given in simple

mony

an-

accompaniment

for modulations between hymns;

when

style; use

open har-

the second excerpt

is

figured, use the figuration (or an adaptation of it) in the modulation,

which

also

ments,

when

must the

set the

new

new tempo and

meter. In vocal accompani-

tune begins on the dominant note of the

new

key, this note must be sounded for the singer (s) at the close of the

modulation.

Melody from Martha

Melody from Martha Friedrich von Flotow

1.

Friedrich von Flotow

i

2.

rr

Hymn, Wesley

LTLr

i

cJC/i^

Hymn,

Lowell Mason

pi*fi

i

Crossing the Bar Joseph Barnby

U m

MODULATION

IfUpfH

39

3.

Caro Mio Ben Giuseppe Giordani

/c/j L/e&
Dich


Moderate

Andante sostenuto

puPi

W3

P^H w Bte Sailor's

4.

&& fm fm

=

r

Hornpipe

Blow

the

Sea Chantey ,

Con moto

Giocoso

jinrpr

5.

Hymn, Hernias Frances R. Havergal

6.

i

f

i

r

'

^^

Hymn, Regent Square

Pm P^ ¥W¥

Man Down Sea Chantey

^^

mm

-§-

Wi

[

e

f

Henry Smart

^^F £=!=?=;

Mazurka Frederic Francois Chopin

Vivace

^^^^ B J

f

ep

HHi i

1=4

^minl

I

Elegie

Edvard Grieg (Excerpt) Allegretto

^^pum mi 140

i j j i

j

m MODULATION

— The

7.

First

i

—

I

i

'

Good King Wenceslaus

Noel

Traditional Carol

Traditional Carol

fviirrrirrr

Hymn,

8.

i

râ

i

^***^

jjj

i

Jjj

i

r

j

i

.t

Hymn, Flemming

Stvabia

Johann Spiess

m

jjjj

Friedrich

Flemming

pm

^Fi

m

IU

m

tail

Wa/*z

9.

Hugo

Reinhold

Grazioso

f/Q

j-J

——

=3

J

-t—

ff^^

-—

•r

•=

i

r

—

i

—

p-1

K Tno Ludwig van Beethoven Con mo to

10.

Hymn, Martyrdom Hugo Wilson

\(Pq

j

|

rii

Hymn,

iTib'M

—6

1

1

— i:

r-

¥

j

rf

i

'

MODULATION

1— «l

U

-^b 2

»

K

$

m

i

— —*«— — — *

»

1 i

All Saints Neiv Henry Cutler

J)

J

J

q

1

»

r

1 1

r

p

r

i r

41

:

CHAPTER EIGHTEEN

Enharmonic /Modulation g_j_

THE GERMAN the

SIXTH

( 5

) IS

FREQUENTLY AN ALTERED

minor key. (The minor IV7 with

I

W CHORD IN

a raised root)

#^fi

C:

It is

German

6th.

most often used

gression in the key

be used

as a

is

in the first inversion, either to

IJ

(in

means of departure from

and although

minor) or to a

V

its

normal pro-

(in minor),

major key, since

it

it

can

has the sound

of a dominant seventh chord in the key one half step higher.

43

example 68(a). german sixth progressing to

i j

or

v

in

the key (non-modu-

lating).

\>

^M

^*

^^ C minor:

-k-p-

IV5*

I

3

6

(l .) 4'

EXAMPLE 68(b). GERMAN SIXTH USED ENHARMONICALLY STEP HIGHER) TO MODULATE UP A MINOR SECOND.

m

(AS

M

±B

V

7

OF THE KEY A HALF

rfe

^

^ 6+

Old key (C):

EXAMPLE

69.

Hymn,

Peter

St.

IV 5

I

= New key (Db): V ?

PRACTICAL APPLICATION OF EXAMPLE 68(b)

(HYMN

STYLE).

Hymn,

Alexander Reinagle

St.

George

Crispin

J.

Elvey

Û>

Eb:

VI

L

IL

I?

V

I

6

VI

Il6

V

I

Modulation

(1)

This chord, although written twice to show enharmonic notation,

We have seen in Chapter 7

144

to be played only

(paragraph following Example 67) that

certain modulations can be classified as either

The modulation

is

given in Example 68(b) can be

dominant or chromatic. classified in three

ways:

MODULATION

:

(a)

As

a

dominant modulation (a progression directly from old-key

I

to

new-key V7)

C:

(b)

Db:

V.,

As

a chromatic modulation, exhibiting type of modulation:

The soprano and

(1)

E to

from

The The

(2)

(3) (c)

I

T

%

r

alto

is

E|),

tenor of old-key

and from

G

all

I

three characteristics of this

are chromatically altered

to G\), respectively;

retained;

bass introduces a

new

As an enharmonic modulation

note from the

new chord (A^).

Example 68 [b]). In

(see

modulating chord functions as a pivot chord which in each of the two keys involved.

Example 68(b) has shown

that

when

a

chord

is

is

when

a

chord

resolves as a

is

is

German chord of the new

entered as a

Sixth in the old key and resolves as a dominant seventh

key, modulation to a key one half step higher

this case the

notated differently

effected. Conversely,

entered as a dominant seventh chord of the old key and

German

Sixth in the

half step

lower takes place.

EXAMPLE

70.

new

key, a modulation to a key one

g_i_

DOMINANT SEVENTH CHORD USED ENHARMONICALLY

(AS

5

OF THE

KEY A HALF STEP LOWER) TO MODULATE DOWN A MINOR SECOND.

id

>J"J

m

H 6f

Old key (C):

I

V_ = Newkey(B):IV5 '

MODULATION

3

1

145

example

71.

practical application of example 70 (simple accompaniment

style).

Old Paint

Cowboy song

>V

1

J

J J

,i

I

^^

m p^pi 6+

p=^

V,= G:IV5

V*

Ab:

a»=*

i

M=£ l=§ a^s i

T\

Modulation

Dream Life Cowboy song

/4

^fe *

^^ f£

y^y»r.

inni

>

^ |»

f

a

IV

ASSIGNMENT NO.

18

Play the modulation given in Example 68(b), beginning on the

A.

I

chord in each of the twelve major keys. Note the position of the old-

key

I

chord.


B.

in each of the twelve I

C.

I

chord

major keys. Note the position of the old-key

chord.


exercises consists of:


hymn or piece in a major key, and the opening bars of song, hymn or piece in one of the following major keys:

a song,

other

(1) (2)

Each

an-

A minor second (half step) higher; A minor second (half step) lower.


is

to be connected

by means

of the

appropriate modulation, performed in an appropriate style.

146

MODULATION

1.

îi

2.

melody

F.

a

ji

i

J

j

j.i

i

mm

J

J

J

i

f

^

Rondo

melody

M Mirfield

Arthur Cottman

P^

+^-£ P-

p

f Hymn,

Adeste Fidelis

Wade

5

Wf^

-

l.'Mii'i

3.

Have Heard on High

Traditional French

r

Hymn, J.

J

J

We

Angels

This Endris Night Traditional English

\

r*

PpN

^ fe

(excerpt)

Muzio Clementi

^SS

Pi

fH

Prelude (excerpt)

Johann Kuhnau

jig

4.

*

j

j

*

Hymn, Azmon

^^

Hymn, North

Carl G. Glaser

a=g

c

:

*-*t

B5 5.

Coates

Timothy Matthews

l''JiJ1 ?'«

J

J

f

Cowboy''s Lament American Folk Song

Sourwood Mountain American Folk Song

{Vii

.mrni^nu

MODULATION

| 147

n

—

'

Hymn, Coivper

6.

Hymn, Ajalon Richard Redhead

Lowell Mason

m

P^ mm

?si

m

*=*

m

mm f=i

i

=j

Rondo (excerpt) Ludwig van Beethoven

7.

lifj -j^-a

^^

44 i'«

Moment

Musical No. 3 (excerpt) Franz Schubert

Wi \A\)'\b'4

[f-f-Fm- -r

r

r

1

J

1

J— — j i=q— J i J i 1

—

r

i

-i-H-^ J

!

* 4 *

Hymn, Marty

8.

Hymn, Diademata

Simeon Marsh

George

J.

Elvey

'

fyi

?M

148

'1

J

i

f

ff T

^^ :£!

Q

=^

VHhi

f

Uf

f

^

MODULATION

CHAPTER NINETEEN

Modulations Involving

Minor Keys Collectively the modulations presented in the preceding chapters provide the means for

moving from any

particular

major key to

any of the remaining major keys. They included examples from four general types of modulation: dominant, pivot, chromatic and enharmonic.

was noted

It

— depending on

that

definition

and notation

—

certain

mod-

ulations can be classified as belonging to two, or even three, different types.

In addition to modulating from one major key to another major key, the pianist or organist must frequently modulate in one of the following

ways: (1) (2) (3)

From From From

a a a

Many all

three

major key to a minor key; minor key to a major key; minor key to another minor key. of the preceding major-to-major schemes can be adapted to

modal

variants listed above. Since the

schemes given in Chapters a

1

5 to

1

8

is

first

chord of

is

the

the final tonic chord of the old key,

lowering of the chord third by a half step in the old-key

for indicating that the old key

all

in the

I is sufficient

minor mode.

149

To

convert the

new key

into the

minor mode,

all

tonic chords

(I,

and the subdominant chord (IV) should be made minor by lower-

Ie, \\ )

ing their respective thirds one half step.

The dominant chord

in the

new key

is

not changed, since the domi-

nant chords used in the models (V7, Vllh) are identical in major keys

The examples below modulation down a whole step.

and minor keys. the

demonstrate the modal variants of

EXAMPLE 72(a). DOMINANT MODULATION FROM A MAJOR KEY TO A MAJOR KEY A WHOLE STEP BELOW (AS ORIGINALLY GIVEN IN EXAMPLE 47, CHAPTER 15).

i

*

=§= Old key (C Major):

g^

I

y6

EXAMPLE 72(b). DOMINANT MODULATION FROM A MAJOR KEY TO A MINOR KEY A

WHOLE

M ^^

STEP BELOW.

(1),

^ Old key (C Major):

New key

I

minor):

(Bt

(1)

Note

the lowered third in the

new-key

v6

I

5

I.

EXAMPLE 72(c). DOMINANT MODULATION FROM A MINOR KEY TO A MAJOR KEY A

WHOLE

STEP BELOW. (1)

i

^^

£= 01dk«»(Cm™r)

(1)

50

Note

;

I

Sort's

the lowered third in the old-key

'

I.

MODULATION

EXAMPLE 72(d). DOMINANT MODULATION FROM A MINOR KEY TO A MINOR KEY A

WHOLE

STEP BELOW. (2)

(1)

i

^%

£ New key

Old key(C minor):

I

(Bl>

(1) (2)

Note the lowered Note the lowered

third in old-key third in

Examples 72(a), all

the

new-key

(b), (c),

„6

minor):

5

I.

I.

and (d)

illustrate the principle that, in

modulations, the tonic chord (and the subdominant,

mode (major

used) defines

if

or minor quality) of a key; and that the dominant chord

remains the same in either mode. Although only representative examples of dominant modulations have been given in the text,

it

possible to

is

modulate from any key (major or minor) to any other key (major or

minor) by the dominant process:

Old-key

I

—New-key dominant—New-key

The new-key dominant may position of

Vllr or any of

its

be V7, Vjj, V3, V\; inversions;

it

may

I

may

it

be the root

be root position or any

inversion of the leading-tone seventh chord in major (VII7

diminished" seventh chord);

key

is

it

may

be

Vs

of the

new

key;

It is

"half

V of the new

an acceptable modulating chord, though not so strong

dominant chords

—the as the

other

above.

listed

important that the inversion selected for the new-key dominant

chord makes possible

dominant (keep

a

smooth progression from old-key

common

skip). If this principle

is

tones usually,

move

parts

by

step

I

to

new-key

and/or small

observed, even modulations to remote keys will

sound smooth and convincing.

MODULATION

15

EXAMPLE

DOMINANT MODULATION FROM A MAJOR KEY DOWN A MAJOR THIRD TO

73.

A MINOR KEY (REMOTELY RELATED).

Old key (C Major):

New key

I

(Al>

(1)

Note

the

minor):

v4 3

smooth voice-leading from old-key

I

to

new-key Vj.

Pivot chord modulations are not as adaptable to changes of are

dominant modulations.

the

new key

is

obliterates the

the change of

For

When

the

mode

mode

as

of either the old key or of

changed, a change of key-signature takes place that often

common mode

instance, in

quality of the pivot chord. Frequently, however,

does not rule out the acceptability of the modulation.

Example 58 (Chapter 16) the following

illustration of

pivot modulation was given:

EXAMPLE 74(A). PIVOT CHORD MODULATION FROM A MAJOR KEY DOWN A PERFECT FIFTH TO A MAJOR KEY (ORIGINALLY EXAMPLE 58, CHAPTER 16).

i=i Old key (C Major):

VI

I

New key(F

^f

k Major):

III

^m IV

aS)

(7)

Changing the mode of the new key from major

to

minor

results in

the following:

152

MODULATION

a EXAMPLE 74(b). PIVOT CHORD MODULATION FROM A MAJOR KEY DOWN A PERFECT FIFTH TO A MINOR KEY.

j

^

tt

j

bj

m Old key (C Major):

A

borrowed chord from

What makes is

\

j

VI

I

New key (F minor)

(1)

f^Hfi

IV

III

:

V

l

(7)

C minor.

the foregoing modulation acceptable and convincing

the fact that the altered notation of the pivot chord in the

not prevent

its

new key

does

being considered as a borrowed chord from the opposite

mode (C minor)

of the old key.

Example 75 provides another

illustration

of this principle:

EXAMPLE 75. MODULATION FROM A MAJOR KEY TO A MINOR KEY A PERFECT FOURTH BELOW (A MODAL VARIANT OF EXAMPLE 56 [b], CHAPTER 16).

u

i—

r^-

fe

n

i

p^ Old key (C Major):

VI 7

I

New key (G minor):

(1) E(j is a

borrowed tone from

The Neapolitan degree of the

Sixth

is

II

(l£)

7

C minor.

a

major chord built on the lowered second

scale:

m C:

MODULATION

N

153

)

Its

progression within the key

V7

in minor; in these progressions the usual doubling in

from

usually

is

its first

inversion to

Ne

is

I

J

or

the chord

third:

m

^

m C (Major or minor)

^M

:

C (Major or minor):

N,

I

In modulating passages, the root of

The Neapolitan tions, either as

EXAMPLE

76.

LOWER, USING

N6

N6

is

Old key (C minor):

common chord Ns in the new key.

B VI

*J

k

/

T

1

J

:

IV

(1°

6

)

V?

I

MODULATION FROM A MAJOR KEY TO A MINOR KEY A MAJOR THIRD N6 OF THE NEW KEY AS A PIVOT CHORD.

*L

Old key (Ak Major):

irt

P^^P

^^

IV,

I

New key (C minor)

154

in modula-

I

New key (Al> Major)

77.

(7) (

frequently doubled.

T

HIGHER, USING

V

MODULATION FROM A MINOR KEY TO A MAJOR KEY A MAJOR THIRD N6 OF THE OLD KEY AS A PIVOT CHORD.

Efe

EXAMPLE

o

Sixth can be used as a

in the old key, or as

$4

N,

I

:

N&

(1°

V?

I

MODULATION

Another useful modulation using Ne as

a pivot

Old key (minor) I-/N 6 \ New key (Major VVe/-!- /y 65 _T\

I

or minor)

The and

is

|

is:

Modulation up a diminished

fifth

diminished seventh chord, in the key, resolves normally to

I,

used with equal frequency in major and minor:

=»

C (Major

Any

chord

or minor):

taM VIIô

I

tone (3rd, 5th, 7th) of the old-key VIIr>

leading tone, and the chord resolved to a

whose root

is

a half -step

new

may

be considered

as a

tonic (major or minor)

above the note of the original VIi7° selected

as

a leading tone.

EXAMPLE 78(a). MODULATION IN WHICH THE THIRD OF THE OLD-KEY VII70 BECOMES THE ROOT OF THE NEW-KEY VII7-

m

i

£ Old key (C): (Major or minor)

I

^

^^ m m Vlt

=

VII"

m (

c

v, or minor)

EXAMPLE 78(B). MODULATION IN WHICH THE FIFTH OF THE OLD-KEY THE ROOT OF THE NEW-KEY VII70.

m

^—%£

W

£

m

Old key (C): (Major or minor)

I

VIL,

)

I

New key (Et Major

i

I

BECOMES

VII?"

ikmi m& =F*

-B±

VII

(

v|

I

)

3 I

New key

MODULATION

(Gt Major or minor)

55

EXAMPLE 78(c). MODULATION THE ROOT OF NEW-KEY VII70.

IN

WHICH THE SEVENTH OF OLD-KEY

i=ii

&

VII70

BECOMES

t

m

W Old key (C): (Major or minor)

Vlr7°°

I

VII

°6

I

New key (A) (Major or minor)

Used

shown

as

above, the diminished seventh chord in each case

provides the essential element for an enharmonic modulation similar in effect to the ter 18. In

German

both cases the modulating chord

differently in the

quality chord

The complex

Sixth enharmonic modulations discussed in Chap-

two keys

whose root

is

involved.

a pivot

chord that

Vllr functions

as a

new

key.

the leading tone of the

diminished seventh chord as a

is

may

notated

dominant-

modulatory

also function in a

secondary diminished seventh chord in the

is

new

key. In this

type of context the following modulatory progressions are possible:

NEW KEY Major VIIô/II

- II-V7 -I

VIIJo/III

- III-IV-V7 -I

OLD KEY

down

(mod.

a

whole

down

a

step)

major 3rd)

,VIi;./V

- IV- (I J -V7 -I (mod. down a perfect - V( 7 )-I (mod. down a perfect 5th)

.VliyVI

- VI-IV-(I°)-V7 -I

VIi;„/IV

t

(mod.

)

4th)

(mod. up a minor 3rd)

I-VIi;°

Minor VlIJo/III

VlI/J.IV

X

- III-IV-V7 -I

(mod.

down

a

-IV-(IJ)-V7 -I (mod. down

VII 7./V

- V( 7 )-I

VIIJ./VI

- VI-IV-(IJ)-V7 -I

(mod.

down

minor 3rd) a perfect 4th)

a perfect Sth)

(mod. up a minor 3rd)

t This chord, and others in the above chart, are symbolized as root position chords. Rethat any chord listed may be used in any inversion as well as in root position. inversions producing the smoothest and most melodically-interesting part movement

member, however,

The

should be selected in each case. X The major quality of the

III

chord (not the augmented quality)

is

generally used in

minor keys.

156

MODULATION

Both of the German Sixth modulations given in Chapter 18 are

The

adaptable to any combination of modalities.

quired for changing modes

only modification re-

that of lowering the third of the old-key

is

and/or lowering the third of the new-key

I

I:

79. MODAL MODIFICATIONS OF EXAMPLE 68(b)— MODULATION TO A KEY A HALF STEP HIGHER, USING THE GERMAN SIXTH OF THE OLD KEY AS ENHARMONIC EQUIVALENT OF NEW-KEY V 7

EXAMPLE

.

i
wm

dfa

¥=^

£ "

Old key (C): I (Major or minor)

W

£

6+

IV 5

Cb.

3

New key (Db) (Major or minor)

EXAMPLE

80.

MODAL MODIFICATIONS OF EXAMPLE 70 (MODULATION TO A KEY A HALF V7 OF THE OLD KEY AS ENHARMONIC EQUIVALENT OF NEW-KEY

STEP LOWER, USING

GERMAN

SIXTH).

imi ^^g

=te

i

Hi

J p

T

T

J

6+


rv5

1

3

J

New key (B Major or minor)

Pivot chord modulations are always practical between a major key

and

its

closely-related

closely-related

major keys.

(major or minor) are

—

minor keys

The

also

between

a

minor key and

closely-related keys to a particular

its

key

as follows:

CLOSELY-RELATED KEYS Dominant Relative of

Dominant

Tonic Key Subdominant (Major or minor) Relative of Subdominant Relative of

MODULATION

Tonic

157

EXAMPLE

8

1

.

PIVOT MODULATION

FROM A MAJOR KEY TO A CLOSELY-RELATED MINOR

KEY.

Old key (C Major)

I

:

New key

(A minor) :|IV,

(Relative minor)

EXAMPLE

82.

PIVOT MODULATION

^

(I*)

/ '

FROM A MINOR KEY TO A CLOSELY-RELATED MAJOR

KEY.

3

>A^

i!

f

'f

fe=^ Old key (C minor):

New key

I

I

Major): (Relative Major) (El»

VI

(iv, (7)

Combinations of chromatic and enharmonic modulations can add color and surprise to a change of key. In the following example, old-key

IV

is

converted chromatically to Vz of the key a perfect fourth below,

which chord key

a

diminished

EXAMPLE

83.

German

in turn functions enharmonically as a fifth

below the

Sixth in the

original tonic key.

COMBINED CHROMATIC AND ENHARMONIC MODULATION (ANY MODAL

COMBINATION).

=»

I

*

*N

H A

P

H

^^

«J

itJ

at *r

6>J


G: V,

IV

I

IV 5

L Chromatic i

Enharmonic

New key

58

(Ff Major or minor)

MODULATION

example

combined chromatic and enharmonic modulation (any modal

84.

combination).

*i

M

w£

J

"J

*

m

*\

Old key (C): I (Major or minor)

IV?

B|>

|

Chromatic

:V7

6+ IV5 |

3

I

Enharmonic

New key (A Major or minor)

ASSIGNMENT NO. A.

Select

from the

text of

19

Chapter 19 a model for each of the following

modulations, and play in

all

keys:

A

modulation using N6 as a pivot to modulate from a minor to a major key; (2) A modulation using (major) old-key VII7 enharmonically as an inversion of (minor) new-key VII7 A modulation by pivot chord between two closely-related keys ( 3 ) (one major, the other minor); A combined chromatic-enharmonic modulation from a minor (4) key to another minor key. (1)

key

;

B.

Connect each

by means of the

pair of excerpts

indicated type of

modulation. Use the appropriate type of texture for each example.

1.

Use Example 72 (d)

as a

model.

The Dove Serbian Folk Song

Andante

^^

J

J j

j

1

Hungarian Dance Johannes Brahms Andantino

jM *n

a=

MODULATION

1

J

J

1

j.

i

l

S a 159

1

°

Use Example 81

2.

as a

model.

Allegretto

Franz Schubert Allegretto

|W :m T/:>e

t

J

P P

^h

»

»

r If

'

'

Clock (excerpt)

Theodore Kullak Allegro vivace

3.

Use Example 83

as a

model.

Hymn, Old With Genevan Psalter

Hymn, Urbs George

4-

-4

^m mm 4.

Use Example 75

m

pup

'pmm pp I* as a

1 1 1

j^g

=&=

F.

Beata

Lejeune

^ *.

i=

model.

Joan Glover Traditional English

4*9 r

r

^

i

r

g

r

ir

f

'r

r

r

'

'

Ofc, / Pray You Alessandro Scarlatti

j^

160

w

r

j

r

Mr

i

r

p

i

r

^

j

j

i

I

^

MODULATION

Use Example 82

5.

as a

model.

Albumblatt

Ludwig Van Beethoven Con mo to

ifiiffi ir'rrr'rrP

y

H

t'?7

i j

^=FJ>

r^

*

•>

?

P

11

^

Wolfgang Amadeus Mozart Allegro

mm pum

m

Use Example 76

6.

as a

^m model.

Hymn, Aberystwyth Joseph Parry

j'* |3

a

fl/jj

^^

=p

JTJ f

I i

»

r^

Hymn, Armageddon

^^ ^

John Goss

m

N

MODULATION

^^# ##^#

161

7.

Use Example 73

as a

model.

O How

Lovely Robert Schumann

Song from Susanna Georg Friedrich Handel

h j

8.

j

J

j

.i i

Use Example 77

Trio Franz Joseph

as a

r

J r

i

i

n

model.

Preludio

Haydn


Con moto

Scherzando

yîir

9.

1

§

J

|

W'i.H

J

î

»

Use the following modulatory scheme:

Old key: I (minor) -/Ns\ New key (major) \Ve/-I-V!j-I

Hymn, Cannons

Hymn,

Georg Friedrich Handel

S ^

5

i

62

f »=*

» ^Jj

^

Bentley

John Hullah

f#P¥f gjfpf

PP*

PP*

MODULATION

— 10.

Use Example 84

as a

model.

Might

1 Be Giovanni Battista Pergolesi

f"i.^

11.

Linda Amiga Spanish Folk Song

Use

the following modulatory scheme:

Old-key

The

i a

flUflJp

I-[ VIi;° =

New-key

VII'J ]-IJ-V7-I

Romanze Ludwig Van Beethoven

Doll's Burial


f'^JJl

^m 12.

mi mp

Henry

p

vii

.fJ7

j>n

j

Use the following modulatory scheme: Old-key:

Hymn,

I-

[

Vlfr = New-key VIK-/VI] -IV-Vz-I

Hymn,

Pentatone Davies

W.

P^ ¥*fcf

^

Moderate

Grave

Sf.

Brzê

Samuel Howard

*

—S

i

-g.

i

(U3.

MODULATION

1 ffi

m ^Mi

W^$ f

r

Mr

163

APPENDIX

Sight Reading The development The

cipline.

of sight-reading ability

is

a matter of

Dis-

essentials of this discipline are:

(1) Daily sight-reading practice (15 or 20 minutes); (2)

The

availability of a large

amount of easy

to

moderately

key-

difficult

board music; ( 3 )

Careful preliminary observation and analysis of every score before playing,

(4)

The

and during the act of playing; use, at

every point, of materials considerably

less difficult

than the

student's current repertoire.

It

has been said that nine-tenths of a conductor's

before he mounts the podium. sight reader, essential to

There that

To

work must be done

a certain extent this

whose preliminary observations and

is

also true of the

analysis of the score are

proper performance. are several items of information at the beginning of the score

must be observed and understood before playing the music. These

include: Clefs;

Key signature; Time signature; Dynamic marking;

Tempo

and/or metronome marking.

In the body of the score there occur items of information that

observed and understood before playing begins

curacy and

facility in

—

—

if

will contribute to ac-

performance:

165

— Dynamic marks (accents, crescendo, diminuendo, Repeat marks; Phrasing

etc.);

(slurs, staccato, etc.);

Fingering;

D.C. and D.S. signs; Changes in meter; Changes in tempo; Changes in clef.

Once

a

preliminary scanning of the score has been completed, and

the information listed above has been noted, the performer

is

in a position

to approach the additional problems of reading that occur during the

performance of the music. These problems are analytical

actual

and have been discussed in relation to transposition 14.

in Chapters

1

in nature, 2

through

Excellence in sight reading develops in proportion to the ability of the

performer to read music

as larger

and larger complexes

The achievement

monic, textural and formal.

—melodic,

—by extended

har-

practice

of the ability to recognize musical structure in terms of harmony, counterpoint, texture

and form

To know what

well.

real objective of the

he

is

concomitant with the

is

playing

musician

—

who

ability to sight-read

in terms of musical structure

—

is

the

desires to achieve facility in reading at

sight.

The

following graded

list

of piano sight-reading materials ranges in

degree of difficulty from very easy through easy, moderately easy and

moderately

difficult; textures

vary from two-part through three- and four-

part; there are linear, chordal

monly-used keys and meters.

and figured textures in It is

own

complete

list

com-

suggested that the student supplement

these materials with additional music to develop his

a variety of

from other

sources; or he

may prefer

of progressive sight-reading materials.

two grades

(It is

important that music used for sight reading be

easier

than that of his current repertoire.) After the preliminary observa-

tions of the score have

at least

been carefully made, each piece should be read

three times at a comfortable tempo, with the performer "reading ahead"

—not note by note—but

in terms of structural complexes

—the larger the

better.

GRADED I.

LIST OF SIGHT-READING MATERIALS

ROYAL CONSERVATORY OF TORONTOPIANO BOOK I (Summy-Birchard) (1) (2)

166

Study No. Study No.

5, p.

2, p.

26 24

APPENDIX

1

(3) Study

6, p.

(4)

No. Study No.

3, p. 25

(5)

Gossip Joan,

1

26

p. 15

(6) Minuet, p. 10

(8)

Hark, The Tiny Cowslip Bell, p. The Marching Trumpets, p. 14

(9)

Gay

(7)

is

the Rose, p. 17

(10) Chorale, p. 18 (11) The Shepherdess, p. (12) f/oiu Should I Your

II.

2

True Love Know?

p.

22

ROYAL CONSERVATORY OF MUSIC OF TORONTO-P//WO BOOK II (Summy-Birchard) (13

The Flower

(14

A

(15

Girl, p. 28

Dance, p. 4 Slumber Song,

p. 2

(17

Lavender's Blue, Lullaby, p. 25

(18

A

(16

(19 (20 (21

(22

III.

13

p. 22

Little Song, p. 17 Bourree, p. 16 All Through the Night, p. 12 Minuet, p. 10 Musette, p. 9

(23

German Dance,

(24

/4

Sea Sowg,

p.

24

26

p.

SCHUMANN, ALBUM FOR THE YOUNG,

Op. 68

(Schirmer) (25

(26 (27

(28

(29 (30 (31

(32 (33

(34 (35

(36

IV.

No. No. No. No. No. No. No. No. No. No. No. No.

3,

Melody Hunting Song

5,

L?V?/e Piece

1,

2, Soldier's

4,

10, 8,

March

Choral

Happy Farmer

Tfre PFi/d

Horseman

11, Sicilienne 14,

16, 1

8,

41,

Li«7e Siwiy

Fz'm

Low

The Reaper's Song Norse Song

PORTNOFF, DANCES THROUGH THE CENTURIES (Chappell) (37) Polka, p. 10 (38) Gavotte, p. 2 (39)

PTa/ftz, p. 8

(40) Jig,

p.

6

(41) Blues, p. 12 (42) Habanera, p. 14

APPENDIX

167

V.

MIROVITCH, Vol.

I

(Presser)

(43) Etude in (44) Etude (45)

COMMAND OF THE KEYBOARD,

Little

F

(Ricci), p. 25

in B\> (Ricci), p.

Serenade (Ricci),

(46) Graceful (47) Etude in

24 p. 23

Dance (Ricci), p. 21 A minor (Ricci), p. 26

(48)

March (Leopold Mozart),

(49)

Rhythm

p.

14

(Ricci), p. 12

(50) Etude (Seiffert), p. 13 (51) Staccato (Ricci), p. 10 (52) Etude (Hassler), p. 11

MIROVITCH,

VI.

Vol.

II

COMMAND OF THE KEYBOARD,

(Presser)

(53) Fr elude (Heller), p. 15

(54) Etude (Bertini), p. 7 (55) The Cuckoo (Gnessin), p. 8 (56) Vivace (Hassler), p. 6 (57) (58)

March (Leopold Mozart), p. Quick March (Kossenko), p.

5

10

SELECTED SONATINAS,

VII.

Vol.

II

[Podolsky, editor]

(Belwin) (59) Sonatina— Complete (Biehl), p. 6 (60) Allegro (Haydn), p. 105

movement (Clementi), p. 42 movement (Clementi), p. 38 Sonatina— First movement (Clementi), p. 36 Sonatina—First movement (Clementi), p. 40 Sonatina— Second movement (Clementi), p. 46

(61) Sonatina—Last (62) Sonatina— hast (63)

(64) (65)

VIII.

TSCHAIKOWSKY, ALBUM FOR THE YOUNG (Schirmer)

(66) (67)

The Sick Doll, p. 8 The DoWs Burial, p.

9

(68) Russian Song, p. 14 (69)

Old French Song,

p.

19

(70) Italian Song, p. 18 (71) In Church, p. 31

IX.

SELECTED PIANO SOLOS BY ROMANTIC COMPOSERS, Vol. I (Schirmer) (72) Prayer (Gurlitt), p. 1 (73) Chorale (Gurlitt), p. 3 (74) Distant Bells (Streabogg), p. 4

168

APPENDIX

(75) March of the Tin Soldiers (Gurlitt), p. 14 (76) Serious Moments (Gurlitt), p. 16 (77) Morning Prayer (Tschaikowsky), p. 35 (78) Strolling Musicians (Rebikov), p. 40 (79)

Trumpeter's Serenade (Spindler), (Kullak), p. 29

(80)

The Clock

(81)

Waltz (Gurlitt),

p.

44

10

REINHOLD, MINIATURES

X.

p.

(Schirmer)

At

School, p. 12 Fairy Tale, p. 4 (83) (82)

(84) Silhouette, p. 14 (85) Gypsy Song, p. 15 (86) Arietta, p. 16 (87) Slumber Song, p. 17 (88) Nocturne, p. 21 (89) Melancholy, p. 23

ADDITIONAL COLLECTIONS OF PIECES FOR SIGHT READING (MORE ADVANCED) Bauer, Eight Diversions from a Composer's Notebook (Chappell) Podolsky, Musical Finds from the 11th and 18th Centuries (SummyBirchard)

Piano Literature of the 11th, 18th and 19th Centuries, Vol. II (SummyBirchard) Scher, Fifteen Descriptive Miniatures (Ditson) Agay, Panorama of Easy Pieces by Modern Masters (Presser) Levine, Themes from the Great Ballets (Presser) Kullak, Scenes from Childhood (Schirmer) Selected Piano Pieces by Romantic Composers, Vol. II (Schirmer) Mendelssohn, Songs Without Words (Schirmer)

EASY HYMNS FOR SIGHT READING The- following forty of embellishment, notes.

They are

all

hymns

are in easy keys,

moving for the most to be

these

hymns, and many others of

in other etc.).

APPENDIX

However, most of

degree of difficulty, can be found

hymnals (Episcopal, Lutheran, Methodist,

They can

minimum

Hymns (North River Press),

this publication.

like

a

part in quarter notes and half

found in Christian

and the page numbers given refer to

and contain

Baptist, Presbyterian,

be located by means of the indices by

title.

169

NUMBER 1

2 3

KEY c c c c c c c

4

St.

Anne

5

St.

Petersburg

6

Colchester

7

Penitence

8

Tallis'

9

Canon Sandon

10

Ilfracomb

11

Italian

12

St.

Hymn

Catherine

13

Stephanos

14

Arlington

15

St. Agnes Old 134th

16

18

Hursley Dennis

17

(St.

Michael)

19

Praetorius

20

Hamburg

21

Martyn

22

Quam

23

St.

24

Near The Cross Trentham Gordon

25

26

Delecta

Flavian

30

Herongate Darwall Sweet Hour Swabia

31

Truro

32 33

Samuel Monsell

34

Wareham

35

Ernan

36

Webb

37

Germany

38

Festal

39

Arthur's Seat

40

Bethlehem

27

28

29

70

TUNE Rathbun Ombersley Deus Tuorum Militum

Song

G G G G G G G G G F F F F F F F F F F

D D D D D D Bb Bb Bb Bb Bb Bb Bb Bb

PAGE 106

250 381

198 118

387

344 10

65 107 143

156 162

207 268 191 16

55

61

108 177

202

210 254 169

260 81

130 313

206 390

478 44 160 297 337 393

300 335

376

APPENDIX

INDEX Accompaniment improvisation,

1-65

Accompaniments, block chord,

major keys and, 3-11 minor keys and, 17-21

V of IV in, 29-34 V ofV in, 23-28 7 7

developed, 53-65 figured,

major key sand, 13-16 minor keys and, 17-21

V V

7 7

of

IV in,

of

V in,

29-34

23-28

hymn-style, 41-45

with sonority and strong rhythmic movement, 47-52

dance accompaniments, 113 Block chord accompaniments, major keys and, 3-11 Ballet

minor keys and, 17-21

V V

7

of

IV in,

7

of

V in, 23-28

29-34

Children's music, accompaniments to, 3-21

Chromatic modulation, 135-141

simple, accompaniments Developed accompaniments, 53-65

Dance music,

to, 3-21, 53

Enharmonic modulation, 143-148

17

Figured accompaniments, 13-16

major keys and, 13-16 minor keys and, 17-21

V V

7

of

IV

7

of

V in, 23-28

in,

29-34

Folk dance accompaniments, 113 Folk songs, accompaniments

to, 3-21, 41, 53

Hymns, accompaniments

for, 35,

41-45

easy, for sight reading, 169-170

Improvisation, accompaniment, 1-65 Introductions, 35-39

phrase-type

of,

36-37

single-chord type of, 35-36

Left-hand chords, figuring, 13-16

Major keys, block chord accompaniments and, 3-11 figured accompaniments and, 13-16

modulations involving, see Modulation

Minor

keys,

block chord accompaniments and, 17-21 figured accompaniments and, 17-21

modulations involving, 149-163 Modulation, 111-163 chromatic, 135-141 defined, 113

dominant, 113-125

enharmonic, 143-148 involving minor keys, 149-163 pivot, 127-134

Patriotic songs,

accompaniments

for, 41

Pivot modulation, 127-134

Sight reading, 165-170

172

INDEX

Transposition, 67-110

down a half step, 77-82 down a whole step, 91-102 to other intervals, 103-1 10

up up

a half step, 69-75 a

whole

INDEX

step,

83-89

173

MT 236 Pelz,

.

P36

William.

Basic keyboard skills

7!tWf%^"

3 5002 00401 8052 Pelz, William. Basic keyboard

Date Due !

NOV

5

i

wki

2 1 19;^

APR

5

UO

MATTT1B0

UOV-XU^

^m

tete-ij-zim-

MAW-4 2ML nfrpftir *70D7

Library Bureau Cat. No. 1137

MUSIC U8RA.-Y

MT 236 Pels,

.

P36

William.

Basic keyboard skills

skills;

an introduction

t

Allyn and Bacon, Inc.

.40*

V

s

I

Basic Keyboard Skills

Recommend Documents