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THE BOSTON MUSIC COMPANY
1
MELODIES AND HOW

TO HARMONIZE THEM

WITH ILLUSTRATIONS FROM

ANCIENT AND MODERN SOURCES

BY
EDMONDSTOUNE DUNCAN
By the same author :
a Key to ' Melodies and How to Harmonize Them ' "

BOSTON, MASS.
THE BOSTON MUSIC COMPANY

New York: G. Schirmer, Inc. .'. London: G. Schirmer, Ltd.

■ > i
 H \ b 0

To
SIR HUBERT PARRY, Bart.
MUS. DOC, M. A., OXON. ET CANTAB.
Professor of Music in the University of Oxford, Director of
the Royal College of Music, London, this little book
15 respectfully dedicated by hisformer pupil,
The Author.
B. M. Co. 43gi

Copyright, 1906, by THE VINCENT MUSIC CO., Ltd.

 PREFACE.

When Thomas Morley in 1597 issued his "Plaine

and easie Introduction to practicall Musicke " he
exclaimed on the great difficulty in setting down
rules such as might stand the test of practical expe
rience. " Then did I see," he continues, " the most
part of mine owne precepts false and easie to be con
futed by the works of Taverner, Fairfax, Cooper, and
infinite more, whose names it would be too tedious
to set downe in this place."
Writers of our own day need fear no longer the
confutations of Taverner, Fairfax and Cooper ; but
Prout, Macfarren and Ouseley may cause them to
think twice before venturing unarmed (with well-
tested maxims) into their domain. The author of
the present little work, (rightly or wrongly), has no
such concern. For as little attempt has been made
to reduce the practice (of adding parts beneath mel
odies) to any very definite rule, so is there but small
risk of setting down hasty conclusions, that appear as
rules to the eye, but do not bear the proof of prac
tice. For his rules, the student must still go to the
harmony-book, which of course cannot be dispensed
with.
Illustration is here employed ; and by illustration
alone, in the author's opinion, can the Harmoniza
tion of Melodies be adequately taught. A book
iii
Iv Preface.

thus designed has, however, this important recom

mendation, namely, that it is practically a systema-
tised reproduction of the same process that took
place in the gradual development of the science of
harmony, as it is known to-day.*
Briefly to mention the early history connected with
this matter, it appears that though the ancients knew
of the simpler harmonic combinations and even tab
ulated them, as far as is known they put them to no
practical use. The Greek scales, full of melodic re
source, proved unsuitable for harmony, or at least
rendered the task a very difficult one. t
Hucbald, (who lived until about 930), is generally
credited with being the first to collect and set forth
the initial attempts of the earliest known harmonists,
of whom in all likelihood he himself was one. In his
§ "Musica Enchiriadis," he mentions that " there are
three kinds of symphony," (i. e., harmony) " in the
fourth, fifth, and octave, and as the combination of
^ome letters and syllables is more pleasing to the
ear than others, so it is with sounds in music. All
mixtures are not equally sweet.'"

Tz?- —z?—s>—a—s>— —«- -2 —&— s

<y ' ^ -V-
Tu pa - tris sem - pi - ter - nus es fi - li - us.
* " Formerly they used to compose from the bass, but mod
ern authors compose from the treble, when they make counter
point or basses to tunes or songs" — the opposite view is
thus expressed in "The Art of Descant," attributed to Henry
Purcell. — Playford's Introduction, 10th edition, 1683.
t The material and origin of Polyphony with the Greeks is
well shown in " The Oxford History of Music. " (Vol. 1 ) by Pro
fessor Wooldridge.
§ Odo, abbot of Tomieres, has been latterly credited with
the authorship of this ancient and learned work.
 Preface. V

Burney quotes the above example from Hucbald,

and adds, speaking of that which immediately fol
lows: — " Hucbald's idea that one voice might wan
der at pleasure through the scale, while the others
remained fixed, shows him to have been a man of
genius and enlarged views, who, disregarding rules,
could penetrate beyond the miserable practice of his
time, into our points d'orgue, pedale, and multifari
ous harmony upon a holding note, or single bass,
and suggest the principle, at least, of the boldest
modern harmony."

etc
Te hu - mi - les fa - mu - li.
" The origin of passing notes is indicated," says
Sir Hubert Parry, " as will be observed in the use of
a ninth transition ally between the combinations of
the octave and the tenth." (See * in above example.)
The use of consecutive fourths and fifths, now,
of course, abandoned, lasted no less than four cen
turies. Through the succeeding stages of the de
velopment of harmony it is not the author's intention
to go. One important issue may, however, be noted,
namely the discovery of counterpoint, thought by
Helmholtz to be a chance discovery " to amuse social
meetings."* For " it was a new and amusing discov
ery that two totally independent melodies might be
sung together and yet sound well." Thus originated
the " Discantus " or counterpoint of Franco of Co
logne, and in due season the whole practice of
counterpoint which reached such a remarkable per
fection during the period from the 14th to the 17th
centuries.
•This need not be taken too seriously. The old Greek
system of magadizing is to be regarded as the fundamental
principle of Polyphony.
vi Prejace.

But for the history of the growth of harmony and

counterpoint readers must be referred to the numer
ous volumes which directly treat of these matters.
The aim of our book is chiefly practical.
An average student finds it difficult to begin
harmonizing melodies, and he is usually left to pick
it up by himself, with what aid he may derive from
counterpoint and occasional remarks from his teacher.
To such an one, the present treatise should ap
peal, while to the really gifted student, (who finds
melodies and basses offer no difference in degree
of difficulty), benefit may accrue from a perusal of
the examples, some of which are rare.* Doubtless
the most sensible method of employing the work will
be to use it concurrently with a Manual on Harmony.
Of the older text-books Goss's may be recommended
for the excellence of its examples. Those who de
sire something newer will do well to turn to Dr.
Charles Vincent's " Harmony Diatonic "and Chro
matic," — one of the most practical of modern treat
ises. In due course, as the student advances, his
attention should be directed to the works of Dr.
Prout, in whose safe hands we may leave him.
In order then to assist the average student, to
help to prepare him for any of the best class of ex
aminations, and to encourage a more intelligent view
of the making of music, this modest little essay is
put forward in the confident belief that some such
work has long been wanted.
Edmondstoune Duncan.
January, 1905.
•An analytical key, in course of preparation, will offer
many interesting solutions of the no exercises contained in
the present volume.
 CONTENTS.
CHAPTER PAGE
I. Perfect Cadence. Plagal. Major
Scale Harmonized with Triads.
Major Scale with Triads and In
versions. Hints on Writing Basses. . 1-17
II. Minor Scales in Association with
Harmony. The "Harmonic" and
" Melodic." 18-42
III. The Dominant Seventh. Mouton
and Monteverde. How to Employ
the Chord and Its Inversions . . . 43-57
IV. Modulation. The Attendant Keys.
To Other Keys 58-74
V. Passing-notes. Diatonic and Chro
matic 75-85
VI. Arpeggi. Syncopation 86-93
VII. Sequences Ancient and Modern . . . 94-99
VIII. Chromatics. Chromatic Chords.
Dominant Minor 9TH. Diminished
7th 1 00-119
IX. The Augmented Sixth and the Aug
mented Triad 120-134
X. Further Study of Cadences .... 135-144
XI. Suspensions, Pedals, etc M5-'S5
XII. Examination-paper Melodies.
A. R. C. O. ; F. R. C. O. ; The Incorpo
rated Society. Mus. Bac. ; Mus. Doc. . 156-166
APPENDIX: Comparative Table of
Composers Quoted, English and
Foreign. Early Harmony. Triads.
A Chromatic Harmonization of an
Old Tune. Origin of Diminished
Seventh. Modulation 167-182
vii
 MELODIES AND HOW TO
HARMONIZE THEM.

CHAPTER I.
STUDY OF CADENCES.
A simple and practical introduction to the har
monization of melodies will be found in the study
of cadences.
The half-close and perfect cadence sharing the
same chords, namely, tonic and dominant, may
be taken first. Keeping both chords in their root
form, but with the several notes in turn in the top
part, we obtain some such result as the following :
Example 1. — Perfect Cadences.

(eppmgiiiliifl
An examination of the notes of the melody (or
upper part) will show that of a possible seven in
the scale, we can, by means of these two chords,
already harmonize five degrees of the scale.
Exercise i. — Transpose Example i into the
attendant keys of G and F, either with an instru
ment or on paper.
(i)
2 Melodies and How to Harmonize Them.

With the help of the Plagal Cadence we shall be

enabled to complete the harmonization of the scale,
for the first of its two chords (the subdominant)
contains the two notes which before we were
obliged to pass over. These, of course, were the
4th and 6th of the scale.
Example 2. — The Plagal Cadence,

ill
Exercise 2. —-Transpose the plagal cadence,
in its three positions, to the attendant keys of G
and F.
From the three chords thus far employed, we
may now construct a table, showing suitable chords
to be placed beneath each degree of the major scale.
Melody. Harmony. Richter's
Figuring.
1 st Note j ,[]/ Tonic or Subdominant. I or 4
I IV
2D Note V Dominant.

3D Note J Tonic. 1
I
4
4TH Note | 1/ Subdominant. 4
IV
5
5TH Note I—-V Tonic or Dominant. 1 or 5
I V
 Chap. I. Study oj Cadences.

6th Note /Y Subdominant 4

{ IV
7th Note V Dominant
{i
8th Note ( Tonic
{!
The upper figure (in the third column) shows the melody
note, the lower figure gives the bass note, and the Roman
numeral gives the root. This is a- modification of the well-
known system invented by Gottfried Weber, and since fol
lowed by M. Hauptmann, E. F. E. Richter, and most recent
writers. See also, Chap. X., of Dr. Vincent's " Harmony,"
which gives an ingenious system for the figuring of melodies.

With the assistance of the table, let us now har

monize a major scale.
Example 3.

Exercise 3.—Transpose the above passage to the

keys of G and F.

Observe the awkward motion of the bass in the above ex

ample. The progression from subdominant to dominant in
the sixth and seventh bars is also unsatisfactory. The chords
are excellent in themselves, but do not progress naturally.
Let us now extend our table of chords, not by adding new
ones, but by means of inversions of the three in use.
4 Melodies and How to Harmonize Them.

A and major table, admitting a few inversions

Tonic, Subdominant
ist Note and their inver 35468
sions. IV . .
2nd Note Dominant, and its
first inversion.
{i...
3RD Note Tonic, and its 2nd
inversion only.
{L
4th Note Subdominant, and its
inversions.
I IV. .
Tonic, and its inver
Sth Note sions, Dominant,
and its ist inversion. $ 7
v..
Subdominant, and 6 ...
6th Note the 2nd inversion. 4 1
IV. .
Dominant, and 6-3 I 1
7th Note or 6-4-3 on 2I,d 5 a
degree of the bass. V
8th Note (Like No. 1.) (See No. 1.)
With the greater freedom allowed by our table, we
may now obtain some such result as the following :
Example 4.—The Scale harmonized with Triads and
some inversions. ,1 ,— / ~7 C
-22-

a. ^ 1 £2 1
9«-g- —19 a -3
'--&> — —in
IV ) 1 I IV
 Chap 7. Study oj C adenc a. / 5
j 7 u f h
^ —&— o i
0 1
s-
.19- JS-
Of —G>—1 a -n H
-S a
^ H
a a 2 1
I Vllo IV I IV i V i
Exercise 4.—Transpose Example 4 into the keys
of G and F.
It will be seen from the above example that though the
roots of the chords employed are unchanged, the inversions
allow of our avoiding the wide skips of the previous bass,
while the whole effect is smoother and more connected.
Let us now add to the list (of available chords)
the triads formed on the supertonic, mediant and
submediant. These, being minor triads, belong as
much, or more, to the relative minor key. They are
especially useful in sequences of chords ; as for ex
ample, in the following or any similar passage.

Example 5.—Sequence, employing the three minor triads.

-r 1 1—'P*— 1—*— n 1
/ <.» 11
f(\
x\) %
& g ■

a a?— -—s>
5-—75— 9 1
1
I V n yi IV I
6 Melodies and How to Harmonize Them.

-CI-
-O—

-tS-
m
I V vi III IV I
Exercise 5.— Transpose into G and F.
The progression of the first two chords, which may be
taken as a half-close (in C major), or even as a plagal cadence
(in G major), is systematically reproduced by advancing one
step (of a note or two) at a time; (bars I to 6). Another
sequence * of descending notes follows; (bars 7 to 12 ).
The use of these additional chords considered
from the point of view of the melody is shown in the
next table.
Treble. Chord.
Triad
1 nad (and
(a: inversions) of Sub-
ist Note mediant.

Triad (and inversions) on

2nd Note Supertonic.

Triad (and inversions) on Me

3RD Note - m- diant.
13 5 7
6 11 L in . .
I
* Chapter VII treats of Sequences.
 Chap. I. Study of Cadences. 7

4TH Note

5th Note

6th Note

7TH Note (No change.)

The triad ( the Diminished ) which is formed on

the 7th or leading note, does not properly belong to
the major key, though even there it has a limited
use, especially in sequences of chords ; it will there
fore be included in the table of chords for the minor
scales. One illustration of its general employment
in the major key may be given in passing. (See
Ex. 6.)

Example 6 — Showing a manner of introducing the dim

inished triad in a major key.
0J - ■
IfJ —&
1 « 0
Si g
-O- JZ. in -O-
T. ^
1I 1
e e.
I IV VII0 III I IV VII0 III
8 Melodies and How to Harmonize Them.
0"
<2 g ~ ^
a — g— - * a 1
L—S>

—^— ■ ■ —® — —<2
6
IV VII0

—«>— a -IS <7 II

g> — —&— - & y
o <* <g ii

*. * ^ ^ ^ ^ -oo. :£
— a M
^-
II
a
IV vn° I in
Exercise 6.—Transpose into other keys such as
G and F.
From the above example it may be seen that the dimin
ished triad is employed beneath numbers 7 and 2 of the major
scale (when in the melody) and that the first inversion of the
same chord is also available under those notes. (See *.)
Here are the same chords figured.
8 6 7 5 8675 3 1 g 7
14 7 3 3423 1423
I IVvii°iii I IV vn° in I IV VII0 in
6 6 7 8
123642175625
I vii°iii vi IV vn° I VII° III vi 11 V
It is to be observed that the Diminished triad is chiefly
useful when the next note of the melody avoids the tonic, and
invites the support of a minor triad. The second inversion of
the diminished triad is rarely used in the major key.
 Chap. I. Study oj Cadences.

Ezample 7.
BLOW THY HORN, HUNTER.
From an early 16th Century MS.
in the British Museum.

-J- .J. -<s>-1 -<sN J-J

•if 4 ~ ~ ~
—r—r
: 1—t
1 1
-)f4
— 5

fj- g I g

1»-—•—(9 H2—

sH—#-s>—g;

r*—?5 1
—1 : "-4=

_!2_
-si—g*- -g< <»-
io Melodies and How to Harmonize Them.

,, -S>- -t5>- -#--(2- -

4=
1

=f*-F -*> =2-

i

' )• ] „
-» • 1 11
* f5> Si ° 1II1

The three-part example ( No. 7 ) is quoted from

an early 16th century MS in the British Museum.
Notice how the harmony, which is copied exactly,*
omits the 3rd in bar 4 and crosses the two upper
parts in bar 6. Note may also be taken of the F-
natural in bar 7 ( see the middle part ), and another
crossing of the parts in the 10th bar.
Example 8.
'WATKINS ALE.'
From the Anon. (Version
Fitzwilliam Virginal Book. perhaps by Dr. Bull.)

-I—C-t—
$

J:
U ur
feet
f-F
*The song also allows of the melody being placed in the middle, with
the (present) 2nd voice above it (transposed an octave).
 Chap- I. Study •/ r*?V«<w. 11

IF

i
i I

Our Example 8 is selected from the so-called

" Queen Elizabeth's Virginal Hook."* The harmony
is perhaps by Dr. Hull. It is almost entirely
done in triads, and not until the 7th bar is an in
version introduced. The air was once exceedingly
popular.
*The popular name for the " Fltiwllllam Virginal Hook" ( written
between 1550-1620).
12 Melodies and How to Harmonize Them.
Example g.
YORKE TUNE.
(Ravenscroft, i 62 1.)
John Milton.
t=l=J=t=
-19~
J Air in the tenor.
i J. a-1
———S>-
I >:4
-F

r r ,

f —r—^p=r-

tr—w- r r 1 f f*

r cr

i
 Chap. I. Stuay of Cadcmes. 13

Example No. 9 is taken from Ravenscroft's Psal

ter, 162 1. The melody is placed in the tenor, and
the harmony mostly made up of triads. It is by
John Milton, the father of the poet. Note that the
3rd is three times omitted (see A, B, and C) . It must
be pointed out that modern four-part harmony re
quires this interval to be present in all triads, the
exceptions to this rule being few and far between.
General hints on writing basses.*
With the table of chords shown ( on p. 4 ) to be
available for the major key, the student may now
proceed to write a bass to a given melody ; several
examples of such a procedure follow. Let us take
for example the first melody in Goss's "Introduc
tion ; " — ( Chapter 20 ).
Example 10. A B C D E F G

Si r r I \ ,
I IV IV I IV I VI
In the above example, the second chord is taken in its
first inversion■ By this means the root position of the sub-
dominant chord ( see " B " ) is successfully approached, by
contrary motion, with the two inner parts stationary always
of good effect. Another first inversion is employed for the
fourth chord (" C "), which enables the bass to avoid the
tonic, which is better kept for the final chord■ At " I)," " K,"
" F," and " G" may be seen the ordinary method of harmon
izing the alphabetical series of notes, Nos. 4, 3, 2, and 1 of the
scale. By means of the 6-4 chord at " E," we may a«ain
avoid the root position of the tonic -chord.t which appears in
* See also p. 34.
t This cannot always be done, but it is well to aim at It.
14 Melodies and How to Harmonize Them.

its true place at the end. Let the contrary motion of the bass
be carefully noted. In the one place where melody and bass
proceed in the same direction (downwards), at "C " and "D,"
the tenor moves upwards, while the alto is stationary. For
smooth chord-writing nothing could be better. In the analysis
of a simple passage like this, the student may discover some
of the elementary considerations upon which the whole fabric
of harmony rests.
Here is another simple strain, drawn from the
same source, which comprises a series of notes for
the most part alphabeticaLf^
Example n -jX^T^ , (,

* As the late^Sir George Grove pointed out, many of Beethoven's finest

melodies consist of an alphabetical series of notes; e. g., the theme of the
finale of the Ninth Symphony
 Chap. I. Study oj Cadences. 15

Several of the same features reappear. Thus there is the

same attempt at contrary motion, between treble and bass,
and a like aim at keeping the inner parts ( or at least one of
them ) stationary, when the treble and bass move in the same
direction.
Simple harmonies should be added to the follow
ing ten short melodies, (Exercises 7 to 16). The
table on page 4 will show the principal chords nec
essary, but occasional use should be made of the
supplementary chords given on page 6.

Exercise 7.

M2z

WES, 3 1

Exercise 8.
f—
—e>— -rS-

Exercise 9.

afc=C=M=fc*

H
16 Melodies and How to Harmonize 7 hem.

Exercise io.

'-2.
1—J —X- ■ ■ 73—'5>" 3■
L:£
Vz 1— r i 4—i— j—i II
Exercise ii.

Exercise 12.
» - =t=: "—i —
-\— ■9
• 1 1
Exercise 13.

• -pa—#-
1

Exercise 14.

"& B>-

-^CM 1 T -1 1" —1 — 1 j
—1
-a &

3=± II
 EXKKCISS 15.

-«— u

zmA±=: .■.
%j

d
• •i &4
i

0
Exercise 16 (see note).

Note that the first quaver at " A " unci at " H " In lUriclnr■
16 may be ignored, so that the melody could bo road lliu* i

[ Chapter V deals with passing-note*.]

18 Melodies and How to Harmonize Them.

CHAPTER II.
THE MINOR SCALES IN ASSOCIATION
WITH HARMONY.
The three forms of the minor scales, which are
the three varieties now in use of the Locrian or Hy-
podorian octave ( A to A ) agree only so far as the
first five notes ( counting upwards ) are concerned.*
Following the same method employed in regard to
the major scale, the two cadences (the half-close
and the perfect ) may first be applied.
Example 12.

-5'-
-eV-
1
Exercise 17. — Transpose Example 12 into the
keys of E minor and D minor.
The result is similar to that obtained in Example I, where
all the notes of the scale were harmonized with the exception
of the 4th and 6th. These two omissions are supplied with
the help of a minor plagal cadence.
*The Common, or Locrian, or Hypodorian octave (A to A) has given
us the starting-point of our modern notation ; for mediaeval musicians,
after many experiments, finally settled on calling this octave by the first
seven letters of our alphabet." Story of Notation. Abdy Williams, (p. 29.)
 Chap. II. Minor Scales. '9
Example 13.— Plagal Cadence in Minor Key.
When final.

-g—

Exercise 18.— Transpose the above cadences

into E minor and D minor.
It will be seen from the above example that a major third
is introduced in the last chord. The old name for this is the
"tierce de Picardie," which commonly appears in the last
chord of a minor piece. It may, however, be used in any part
of a composition, if it" be properly balanced by minor chords.
The table which follows is nearly identical with
that given for the major key. It must not be
forgotten, however, that as there is an accidentally
raised leading-note in the minor, all dominant
chords and their inversions are liable to contain
that interval.
Table of Minor Scale.
Melody. Harmony. Figuring
rsT Note Tonic or Subdominant triads.
1 1 IV
2nd Note Dominant (with raised third)

3RD Note Tonic triad.

r
4th Note Subdominant.
r
 so Melodies and How to Harmonize Them.

5TH Note Tonic triad, or Dominant triad

with a raised third. 0*
6th Note (When not raised accidentally) 4
Subdominant triad. { IV
7th Note (Raised) Dominant triad
(with raised third). 5
{IV
8th Note (Same as No. i). ( See No. i ).
Example 14.— The Harmonic Minor Scale harmonized in
three chords. ,— , y <g

0. -It—h
n
0 f t r ff
j—j.

17 r Tr
ft

^.^p— &—3=

4
v iK 'I IV If fv I
Exercise 19. — Transpose to E minor and D minor.
The effect of the harmonies in Example 14 (like the cor
responding one at No. 3) is obviously crude
With the assistance of the inversions of the triads
above employed, and to these may now be added
the triad on the supertonic and that on the sub-
mediant, together with their first inversions, the
following table is constructed. In each case the
principal chord, suitable for use, is placed first.
/-V! /J 6
/v-//
J7£
V fa

CAa/>. 77. Minor Scales. 21

Extended table of triads and inversions, for minor scales.

ist Note Tonic and inversions ; Sub-
dominant and inversions i3546i
1 IV
Submediant, (though
rarely with inversions). 6 (1) (3)
VI
2ND Note Dominant (with major
3rd,) and inversions ; and
triad (rarely) on Super- 5 7 2 (2)
tonic, and its ist inver V ... n°
sion (commonly).
3RD NOTE Tonic triad and inversions, 3 3
and Submediant triad. 1 3 5 6
1... VI
4TH Note Subdominant triad and in 4 4
versions ; Supertonic 4 6 1 2 4
triad and ist inversion. IV . . n°
5TH NoTE Dominant (with major 3rd) 5 5
and inversions, and Ton 5 7 2 1 3 5
ic triad and inversions. V . . 1...
6th Note (without being raised) Tri
ad and inversions on Sub- 6 6
dominant ; and triad and 4 6 1 6 1
1 st inversion on Subme IV . . VI .
diant.
7TH Note (raised) Triad on the Domi
nant, (with major 3rd)
and its 2nd inversion, [or
6-3 on Supertonic].
8th Note (Like No. 1.) (See No. 1.)
The inclusion of the 6-3, on a supertonic bass, is some
what anticipating the chapter on the dominant seventh, to
which the chord properly belongs. It is convenient, however,
to admit this form of it at the present stage. The inversions
(in brackets) are rarely to be used in early practice ; while
those omitted are better left alone.
22 Melodies and How to Harmonize Them.

Example 15.— Harmonic minor scale harmonized.

Exercise 20.—Transpose Example 15 to E minor

and D minor.
Returning to the consideration of the 1st, 3d and
6th notes of the melody in connection with the use
of the submediant triad (VI), phrases like the fol
lowing commonly call for the employment of that
chord, in one position or another.
Example 16.
_£2_ it
i i VI iv 1 VI iv V
( See Ex. 18.)

II
VI VI
*The wide skip in the second bar of Example 15 could have easily been
avoided, by the bass proceeding downwards, to"B"j the parts, however,
would have been somewhat too separated.
 Chap. II. Minor Scales. 23

In the first three of these phrases, the sustained

note seems to suggest a change of harmony from the
tonic ; —thus (See chords marked *).

Example 17.

i©1

Exercise 21.—Transpose Example 17 to E minor

and D minor.
The chord will prove effective where a relief from
the tonic is required, or in proceeding to the sub-
dominant, or in approaching a half-close, or lastly, a
perfect cadence. In the remaining melodic phrase,
the submediant harmony ( in its first inversion ) may
be thus introduced : —

Example 18.

Exercise 22.—Transpose Example 18 to E minor

and D minor.
24 Melodies and How to Harmonize Them.

When the triad itself is employed (beneath No. 6

of the melody) the progression will be somewhat
similar: — viz., tonic to dominant, with sometimes a
chord between — such as an inversion of the tonic—
or it may return to the original chord, or be used to
avoid a tonic chord in a cadence.
Example 19.

fr :" f r
.OS-
f EE I
In a succession of notes in the melody such as 3
2 1 7 ( see A ), 3 2 7 ( see B ), or 3 2 5 ( see C ), the
first inversion of the supertonic triad ( i.e., a chord
of the sixth on the subdominant) may be effectively
introduced, as thus :—
Example 20.
0 1
p r y n

J: *
Rf4 r _—

Exercise 23.—Transpose to other keys, such as

E minor or D minor.
t Compare Example 48.
 Chap. II. Minor Scales.

The triad itself on the supertonic is rarely used.

The example quoted (No. 21) shows how both chords
may be employed in approaching a final cadence.
Example a1.

^2= m
1
. A A A „
5i3
2■
r 3
Exercise 24.—Transpose Example 21 to G minor
and C minor.
Exercises 25 to 30 are designed to put into prac
tice those observations which have gone before. All
the passages are strictly minor, so the table dealing
with that form of the scale may be drawn upon ex
clusively.
Exercise 25.
—3 —1—- n- -29- "
t -¥=± m

J-6> & H» 1

Exercise 26.
i :f:
n .1 I
91
26 Melodies and How to Harmonize Them.

Exercise 27.
1
=4
# =J= Ld^-;—1
«j
>f ^ •- ^r-rrh
— -
Exercise 28.
—t*—T-fSL. —G>
H 1 4-
*~
—
7 Vs-?^— 1 L (?'=
1 4 ?— —n
Exercise 29.
:=FFf
41 1 1 » —

^53^
«H
Exercise 30.

— J ' 1,—1

if rrrfrr
4 1 ^ UJT 4
0
Hitherto the harmonic minor scale has been
referred to. In regard to the oldest form, namely the
L,ocrian, little need here be said, as its harmonic pos
sibilities are small. Moreover its peculiarity of hav
ing a sixth and seventh, both minor, is common in
descending to the Melodic (or Arbitrary) minor
scale ; to the discussion of which we may then pro
ceed.

1
 Chap. II. Minor Scales. 27

Example 22,

i EE
This form of the minor offers some new features.
The sixth note of the melody ( #) when thus acciden
tally raised may be supported by a triad ( or first
inversion ) on the supertonic, or by a triad on the
subdominant. Both forms are little used nowadays,
and a commoner method of dealing with the acci
dentally raised sixth is seen at Example 23 (c)
where the dominant is held in the bass as a pedal.
Example 23.
(a) # (or)

rrf
A
mi
1
a . ,6
(b) (c)

rrrr
-J J—,—I l—itfe —
"75—19—s——
1
18 4 6
fa {3
28 Melodies and How to Harmonize Them.
( d ) A simple harmonization, when the 6th and 7th are
not raised.

( e ) The same, with a difference.

3:

1 ,
IS
1

Exercise 31.—Transpose Example 23 into D

minor and E minor.
When the seventh and sixth are not accidentally
raised, as in the descending form of the scale under
consideration, the most usual chords to employ are
the triads. The example also quotes the same notes
accompanied by sixths, and the triads suspended.
(See Example 24.)
Example 24. # # _

a t
VI n° v
 Chap. II. Minor Scales. 29

1 VII VI v iv 1 V 1

ii I 5 la § ? I « J I
I v VI I iv 1 V 1
Exercise 32.—Transpose Example 24 into B
minor and C minor.
Example 25, ("We be Soldiers Three "), serves to
show how the minor was treated in the early seven
teenth century, and with what ease the different
forms of the minor scale were blended. ( See bars
2 and 4 ; also 6 and 8, etc.)
Henry Lawes, friend of the poet Milton, left many
good specimens of three-part music. The following
( Example 26 ) illustrates his use of the minor key,
when employing harmony. Observe the opening
chord with its bare fifth, which is not to be imi
tated.
3© Melodies and How to Harmonize Them.
Example 25.
"WE BE SOLDIERS THREE."
From Ravenscroft's
" Deuteromelia " (1609).

-- -
$4 J. 1 its *r—-J-*—J

— 1 I pj
1t_J_jL_

-(2-- . -J f- -p-
4= -
- 4

—I— 1H • aM-i—frl
-B» •1-

-1 "1 K 1

s- -p-
rti—rfr—~ 1

si i

tr—»- -#—2=1-
 Chap. II. Minor Scales. 3i
Example 26.*
"COME, CHLORIS, HIE WE TO THY BOWER."
From " Ayres and Dialogues," Henry Lawes.
(Book I, 1653).

" T r 1 j 1
J f—
1 FT
, J—pr"£"^ #g:_:-
^=5-g

i
1 .-^—'

Iligll 1*1

^ « :Jt-?'

J J J ii■ i

=3=2 I
$

_|S2_ 1
*Another version (from a 17th Century MS ) is quoted in Example 100.
(p. 122).
32 Melodies and How to Harmonize Them.

The advanced student may pass lightly over the letter

press from this point to Example 33.
The next two examples illustrate the use of the
tables of chords when applied to the minor key.
Example 27.

1£2:
f-? t r 7 f

f r r r

! 1 ,J
EE I
f=f=f
In Example 27 (A) the leading-note is supported
by the chord of the 6th, though the dominant chord
would have been nearly as useful. In the second
bar (at B) observe how the parts are stationary,
while the treble moves down a 4th. Intervals that
belong to the same chord are effectively treated in
this manner. Another instance of a similar kind is
seen at C, in the next bar, where, however, for the
mere sake of variety the second chord is changed to
 Chap. II. Minor Scales. 33

a first inversion. When the melody gives the notes

Nos. 4, 3, and 2 of the scale ( especially as the last
notes of any short melodic phrase ), the Half-close
is as a rule intended, as at D, in our example.
This is always the case in the middle of a para
graph, where a cadence of one kind or another nat
urally falls. The accidental cannot be forgotten, if
the chord-table for the minor is consulted. At E
the bass is formed on the melodic minor scale, an
example of which was given in Example 23 ( d and
e). Instead of the 6th on Gi] the first inversion of
the key-note triad was equally available.
The ascent of a 5th in the melody (see F) is
covered by the tenor-part serving as a hinge, and
also by the fact that though the bass rises ( in the
same direction) a whole octave, all the intervals are
common to both chords. At G the ordinary perfect
cadence must, of course, have an accidentally raised
leading-note.
Example 28.

3* —r-—r r
A.

I e n
*

mm
—=,—I—«—u
j- j j 1 ■ ■ ■ r
si- I I tj 1

a Pa I ^|
34 Melodies and How to Harmonize Them.

In the fifth bar of the last example ( see ) the chord of

the 6th used is made "accidentally" major, in preference to
having the interval of an augmented 2nd ( A-flat to B-natural )
in the bass. There are examples given of this form of the
minor scale at Example 23 (b and c) where they occur in
the melody. In place of the chord at the subdominant
triad had been equally effective. The Cadence approach (
was given in Example 20 ( B). It will be observed both in
Examples 27 and 28 how naturally the triad and its own in
version ( or vice versa ) may succeed each other.

If the student experiences any difficulty in com

posing ( at this stage ) a good working bass to an
ordinary melody ( without chromatics and modula
tion) the following method may be employed.
Take your melody and mark the likely places for
the triads, Jthus : v i>
l\ ' \ -^ v
Example 29.

EE

i
IV V
6.1 3
—»-
-V-
1
 Chap. II. Minor Scales. 35

The bass thus formed is derived from our table

for the minor scale.yl Proceeding to the intermediate
notes ; the table would allow a dominant chord for
the second note of melody. On testing it we obtain
this result, which is unsatisfactory if the triad ( Ex
ample 30A ), and worse still if the inversions, be
used. The latter therefore are not quoted.
Example 30.
A. B.
5
r f—1—r
-J- j
1^ J Jl j

The harmony at " A " is only unsatisfactory and not im

possible ; but the 8ves in the bass (by contrary motion) are
unnecessary, and the progression from dominant triad to sub-
dominant is harsh and unusual, so they may be dismissed.
There is still the solution at " B " in the same example (No.
30) which is derived from employing the melodic form of the
minor scale descending, as shown in Example 24. This, how
ever, leads us away from the triad selected to follow ; namely,
that on F. Returning to our table, we are allowed beneath
the fifth note of melody to employ the tonic or its inversions.
To write another tonic for the bass-note would be monoto
nous, while a second inversion, the 6-4 on G, would lead to
8ves, as at Example 30A. Therefore there is no other alter
native but to take the first inversion of the tonic chord and
to proceed thus :—
Example 31.

1
36 Melodies and How to Harmonize Them.

The table for the minor scale excludes the triad^on the
bass note E-flat, which is outside the key, and need not there
fore be discussed.
In bar 2, treble and bass merely exchange, so evidently
the most natural movement is from triad to inversion.
Bar 3 has the same feature.
Bars 4 and 5 contain the tonic, dominant, tonic, harmo
nies derived from our list. To avoid monotony one of the
tonics must be changed to an inversion or avoided altogether.
The two methods give this result :—
Example 32.

> •s> (2 1
4 -—p= ?—1£— l

a 3=
fle
( Avoiding inversion )
M J I I

In bars 5 and 6 the second note in melody had better

take an inversion, in each case to avoid too wide a skip in the
bass.
At bar 7, the bass note (the dominant) has just been
used, so substitute the progression shown at Example 20B.
liy following the considerations shown in the above analysis,
the student will find he can with confidence produce a bass of
sufficient correctness to support an ordinary diatonic and non-
modulating melody which will further admit of the two inner
parts being added.
* The submediant chord is included beneath No. 1 of the table.
 Chap. IL Minor Scales*

In the supplementary examples (adapted from

Goss ) remarks will be only added where necessary.
Example 33.

j j
a
mm
s
1 1 ii° u° 1
38 Melodies and How to Harmonize Them.

In Example 33, the opening notes may be expressed

together with their proper harmonies by means of a
common formula, so that when the melody ( major or
minor) employs these degrees of the scale, viz., 5-
1-3, they may be represented thus: *
5 - J z 3 z
Tonic. Tonic in Tonic,
first inversion.
Half-closes such as 43 2, or endings like 4321,
may similarly be treated, e. g.,
4 3 2 1
Subdom. Tonic Dom. Tonic,
(in 2nd inversion.)
As both Examples 34 (A and B) begin with the 5th
degree of melody, it is well to regard it as a rule ( with
a few exceptions, however,) that in beginning, tonic
harmony is desired. It may also be added that
sometimes the 5th note is merelydoubled at the unison
and 8ve, immediately proceeding to tonic harmony.
Both the succeeding little examples are drawn from
Beethoven. (See Example 34, A and B.)
* The lower part of the formula uses words, as these stand for both
minor and major chords.
 Chap. 11. Minor Scales.

Example 35 is adapted from a melody by (Joss,

chromatics and modulations not ( so far ) beinjj
admitted.
Example 35.

J.J. J
-J I
tfEHf
8 Ft" % Si '

1 ... 4■ ^.-hU-UmMl

e D e
40 Melodies and How to Harmonize Them.

.fm.-i-

i o 0
Pa a be
The great use of chords of the sixth is shown
above, where quite half of the example ( No. 35 )
employs nothing else.
In the exercises which follow ( Nos. 33-38) there
are both passing-notes and modulations. These, how
ever, are so simple that only a few words of explanation
are necessary. The passing-notes occur in the melody
at the second of any two quavers ( in Exercises 33,
34, 35, and 36 ) ; the first only needs harmonization ;
ignore the second. [ Chapter V deals more fully
with passing-notes.]
With regard to the modulations, these are merely
relative, and, as both major and minor have
now been treated of, the student will have no diffi
culty in following the general directions already
given.
Each melody should be carefully examined before the har
monization is begun, as it is only by this means that the
character of the scale ( i. e. major or minor ) can be determined.
See also the chapter on modulation. ( Chap. IV.)
Exercise 33.
 Ciuip. J J. Minor Si,iie*.

Exercise 34.
42 Melodies and How to Harmonize Them.

Exercise 37. — Place the melody in the Tenor,

as in Example 9. ( See note below.)
g g-=g->^ *
t

is— —a—

EXERCIse 38.

~i—h°n
-fii «!■ 1 a -

j
ifV> ) -- - S3

si

Note. If the student finds the above exercise ( No. 37 ) beyond his
powers; let him transpose it an octave, and place three parts beneath it, in
the ordinary way.
 CHAPTER III.
THE DOMINANT SEVENTH.
Hitherto only the dominant triad, and its inver
sions, have been employed in the perfect cadence,
the half-close and the combinations thence arising.
If to the . dominant triad we now add the minor
seventh from the root, thus :
Example 36.

we obtain a new and important chord, which will

be especially useful in harmonizing the fourth de
gree of the scale, in a manner not before admissible.
The chord is only too easily put to a foolish use, so
it has hitherto been kept back, on the principle of
the wise painter reserving the gayer colours of his
palette until good command is obtained of those of
more sober hue.
The Dominant Seventh was long in establish
ing itself as an independent chord, that is to say as
a chord to be used apart from preparation either of
tied notes or passing-notes. Claude Monteverde
(1568-1643) is, by common consent,* credited
with the discovery. This was published in his
Fifth Book of Madrigals, at the close of the 16th
century, and was then considered a bold departure
from the old contrapuntal habits of the time.
* According to the late Sir George Macfarren " Jean Mouton, 1475-
1522, is the earliest musician in whose works has been found an example of
the phenomenal chord of the Dominant Seventh approached with the full
freedom of present-day practice." (Encyclopedia. Brtiannka, art.
"Music") F^tis credits Luca Marenzio ( 1560-1599 ) with the first com
plete Dominant Seventh.
44 Melodies and How to Harmonize Them.

In the examples which follow, the gradual use of

the dominant seventh may be easily traced. Each
of the two-part carols from which quotation is made
contains a palpable dominant seventh, but both in
stances may be regarded as mere chance combina
tions produced by the use of ornamental notes, or
passing notes — as the case may be.*
Example 37. 15th Century Caiol.
(MS. Trinity Coll. Camb.)

rose of such ver-tue.

Example 38.
IN DIE NATIVITATIS.
15th Century MS.
TRIPLEX. (British Museum.)
=H—r
■sSH—S1- LP
Tenor.

•J
i

-S—a—
* An astonishing example, in four-part harmony, by Guillaume de
Machault (dated 1364) may be seen in Grove's Dictionary, vol. iii., p. 12.
 Chap. III. The Dominant Seventh. 45

The extract from Henry VIII, (with, of course,

his own harmony 1. introduces us to an undoubted
dominant seventh (see Example 39). but again the
chord is approached and quitted as a combination
arising from the passing-note in the treble part.
Betw een bars 3 and 4 may be seen the unusual pro
gression which gives all the effect of consecutive
fifths ( treble and bass ) without being strictly speak
ing present, owing to the crossing of the parts.*
39-
Henry VIII ( 1491-1547.)
From a manuscript in the British Museum.
r^4
f) ? IBM
d T5T 1— —
-Sh
r
-&-. a
f -\ . 1 ■ rSO as
^-2

* The melody is given in large notes.

46 Melodies and How to Harmonize Them.

The next three examples may be usefully classed

together. They serve to illustrate the old contrapun
tal system of employing some of the inversions of the
Dominant Seventh. Byrde's passage gives an inter
esting delayed resolution of the 7th itself, (bar 2).
The extract from Willaert ( Example 41 , bar 3 ) shows
a second inversion brought about ( probably ) by the
tenor part being regarded as a passing-note, the note
A being otherwise understood.
The three last chords of Mouton's example give a
surprising instance of the last inversion of the domi
nant seventh (prepared) and its resolution. As in
the Royal example quoted above, the impression of
5ths is observable, owing to the re-entry of the bass
on the note G.

Example 40. Wm. Bvrde.

'91:4; w

etc.
^3
 Chap. III. The Dominant Seventh- 47

Example 41, Adrian Willaert.

48 Melodies and How to Harmonize Them.

We now come to Monteverde's method of employ

ing the chord under consideration. The example
(from his madrigal " Cruda Amarilli ") is a famous
one, and will be found to be a distinct advance upon
our previous illustrations in that it employs neither
preparation nor passing-notes.

Example 43. *

This novel method of treating the chord met with

great opposition, which, however, was triumphantly
overcome. To quote Sir Hubert Parry: — "The
deeply ingrained habits of taking the chords wher
ever they lay, according to the old teaching of Des
cant, retarded considerably the recognition of the
Dominant and Tonic as the two poles of the har
monic circle of the key ; but Monteverde's use of the
seventh, above quoted, shows a decided approach to
it.
Moreover, in works of this time (early 17th
century ) the universality of the harmonic cadence,
as distinguished from the cadences of the Ecclesias
tical modes, becomes apparent."
The practical application of the use of the dominant seventh
is seen from the following table, which is followed by the musi
cal illustrations belonging to it.
 Chap. III. The Dominant Seventh. 49

2nd degree of scale in melody.

S 7 2 4
4th degree of scale in melody. 4
5 7 2 4
5th degree of scale in melody. 5
5 7 2 4
7th degree of scale in melody. 7
5724
Example 44.
Second degree of scale.
1 -1

=2r =1

—72— II

^If <5> 1 * 1 %> —58 1 ^ g - 1

( : * \ 1 =4
Fourth degree of Scale. (Unusual.)
So Melodies and How to Harmonize Them.

Fifth degree of Scale.

^ «
Seventh degree. ( Unusual.)
2
2 HI

2z 1
Dominant sevenths are precisely the same in either
the major or ( tonic ) minor keys. Care, however,
must be taken to put the necessary accidental to the
3rd of the chord, when in a minor key.* One example
with the figures will sufficiently illustrate this.
Example 45,
'±2

An example ( see No. 46 ) is added of the " unus

ual " employment of the fourth degree of the scale
supported by a 6-4-2 with the same note as a Bass.
The passage is quoted from Purcell's opera Bonduca.
* because it is the raised leading-note, and without it the chord of the
Dominant minor ;th cannot be formed.
 Chap. III. The Dominant Seventh. 51
Example 46.
("BRITONS, STRIKE HOME.")*
PURCELL.
zfiriS

1 1 j j
J. i ± i
i i i j j

* 1

I*

it II
64 6a 7 04
The resolution of the dominant seventh does not,
of course, necessarily lead to a tonic chord, as in the
perfect cadence. Example 47 gives the most useful
of the so-called " interrupted cadences " which avoid
the tonic chord.
Example 47.
( Rarely used.)
Jr P
-f=l
f"
S

* Scored for strings, with a Trumpet doubling the top part. The har-
iies are an exact transcript of Purcell's.
52 Melodies and How to Harmonize Them.

As the resolution of the dominant seventh is com

monly and conveniently delayed, a few examples
are added showing the usual method in which this is
done. The progressions at C and F cannot be
transferred to the minor owing to the peculiarity of
the descending minor scale. An alternative is
offered at H.
Example 48. — Some delayed resolutions.
A B

ii J
TS ? f2" <o

1/ /V
C ^ ^ D

-» W- -

( Rare ) G
j j|J-j J|J
r r f
 Chap. III. The Dominant Seventh. 53

-<S> ^<S> g ■g■_ 1

~ A J.
.(2_
1
Our quotation from Beethoven serves well to show
the character the dominant seventh can impart when
properly employed. Let the student play over the
example omitting the 7th (F), afterwards observing
the effect when added. Note that at "D" the
dominant 7th of A minor appears,* so the 7th is, of
course, the note D, counting from E which is the
dominant.
Example 49. Beethoven.
(Sonata Op. 14, 2.)
Andante. B
i&f r-iHl-—*— N"'^11^ P 1—I-

1—*—c ^ Si
D

etc.

* In its second inversion.

54 Melodies and How to Harmonize Them.

Two short extracts from Schumann further empha

size the remarkable character of the Dominant
Seventh.
Example 50. Schumann's Kreisleriana,
Molto lento. (No. 6.)

vj ^ 1 '—'-J etc.

Ped.
And again, later in the same movement : -
Ezample 51.
r-

§5£

I 1 ' I Ped. f- "

3 1
S9: etc.

§5£
r 7 fff 7 r^-r-
Our remaining examples offer plain successions
of the chord employed in four-part harmony in the
 Chap. III. The Dominant Seventh. 55

major and minor keys. In closing the chapter men

tion may be made of two unusual instances of the
use of the chord of the Dominant Seventh, namely
in Dvorak's " Songs my Mother Taught Me "and in
Chopin's Prelude in F (No. 23, Op. 28), inasmuch
as the first piece named opens with this chord and
the other closes with it. Other instances may per
haps be easily found but it is enough to observe here
that they are not recommended for imitation, though
in their place they are excellent.
Example 52.

Example 53.
t
SSS:
r r ', 1 .
!
56 Melodies and How to Harmonize Them.

-i i i i 4-rJ-j
FTTT f T f f r ", h V

The six exercises below are designed to admit of

the employment of the dominant seventh and its
inversions, as shown in the two preceding examples.
Exercise 39.
-
u ""? 5

&—\st si-

Exercise 40.

1
 Chap. III. The Dominant Snrnih. 57

Exercise 41.
•3 J
4*■
t-

Exercise 42.
t=F=+

ExERCISE 43.

Exercise 44.
58 Melodies and How to Harmonize Them.

CHAPTER IV.
MODULATION.
In harmonizing melodies the student will ask him
self " How am I to know when to modulate, and to
what key ?"
Without attempting to give an exhaustive reply to
he dual question, the present chapter, it is hoped,
will enable all following out its methods to solve
lor themselves such melodic problems as they
arise.
An accidental, sharp, flat, or natural, in the
melody, is, as a rule, the first indication of a modu
lation.
For instance, turning to Example 49 (page 53), at
the letter " D ", the sharp prefixed to the G is a
leading-note and introduces the perfect cadence in
A minor.
Let us continue the passage a little further : —
 Chap. IV. Modulation. 59
E

/ etc.

At the places marked A, B, D, and E the accidentals have

each a different meaning. The sharp at A is a leading-note,
( in key of G ), the flat at B is a mere chromatic-note, ( form
ing part of the Diminished 7th ). The natural at D contra
dicts the leading-note of previous bar, and thus re-asserts the
original key ( C ). In the next bar, at E, the flat is the
indication of a new subdominant. It may be observed that
the bars marked C and F will be considered later in this chap
ter.
The appearance of a sharp ( or an accidental that raises )
may generally be taken as a new leading-note, unless it can be
shown to be otherwise. The obvious harmony will thus be
the Dominant-triad ( or an inversion ) of the new key.
Similarly the sign of a flat ( or accidental that lowers ) most
commonly stands for a new subdominant, when occurring as an
accidental in the melody. In this case treat the top note as a
minor seventh, placing beneath a chord of the dominant
seventh, or one of its inversions. ( See E, in Example 54. )
6o . Melodies and How to Harmonize Them.

It must not, therefore, be hastily assumed that every sharp

is a leading-note, and every flat a subdominant, though in the
majority of cases they may be so treated, in the melody. It
is necessary to look well ahead and see if the notes confirm
or reject modulation. In the example just quoted, the flat at
B can easily be shown not to be the sign of a subdominant,
by its chromatic progression.
The cadence at C, namely a full close in G major, might
reasonably be inferred from the natural at D, which would be
meaningless if the new leading-note ( F-sharp ) were not still
in force, and so requiring correction. The tendency of the
melody plainly pointed to a full close in G, which we may
express thus : —
( The formula is adapted to the new key.)
421

The student will find much assistance if, during the study
of modulation in melodies, he analyse airs already harmonized,
with a view to observing the cadences. The manner in which,
especially in short pieces, every little modulation is at once
balanced by a return to the original key ( commonly with a
half-close), and the alternate use of sharp and flat attendant
keys, will impress his mind with a sense of the due propor
tion observed in the employment of cadences.
In the air by Beethoven ( see Example 54 ) the first point of
repose is in the second bar, where we have a dominant chord ;
another phrase, also of two bars, brings us again to the dom
inant ; then there is a direct modulation to the dominant
key ( G ) which is confirmed by the succeeding two bars.
( See A, B, C, of Example 54. )
At the letter U, plainly we return to the original key, and
modulate briefly into the key of F, and so on, back to C.
Before parting with the example, it must be pointed out
that at the letter F, a natural to the B is understood, by the
signature, so that (without accidental ) we return to the original
key, by means of the half-close.
Analysis of some such kind will prove useful, and the stu
dent is recommended to apply it to the Airs ( and Variations )
of Beethoven and Mozart, which he will find clearly defined,
without being trite and obvious, as chants ( so often employed )
commonly are.
What have been called Pivot-notes are much
 Chap. IV. Modulation. 61

used in modulation ; * that is to say holding-notes

which connect the modulation-chords with the old
and new keys. For example : —
Example 55. Josquin de Pres.
^51 EE
E2E
Re - qui - es - cat in pa - ce, A -
- .g g fg Tf*—<2—a— -s> s>-

« (S> s>—\s>—&—s>-
=F=F

Lpcf ft » 1
tJ
MEN. . . .
--& a.
tHts—^
RB-^ —\

—f9-
—H
— H^-| -+ISH-U
. V. —-
— 9—1-fa a — —H
^
£J»
H—f 1
* " It is good and usual, to change from any one to any other different
chord, when any one of the parts keeps its place.** ( Henry Purcell, "Art
of Descant.** )
62 Melodies and How to Harmonize Them.

The pivot-note system of modulation lends itself to the

most distant removes, as well as to the nearer keys. It may
be remarked of modulations, as a whole, that they are gov-
ened by the same laws which apply to any succession of har
monies. The nearer ones are bounded by the attendant or
related keys. A few examples follow.

=63
m
I

4=t

r r
A A sl -A A ^ A
-<2~
f-
An examination of the above examples will show that by
means of the perfect cadence ( with and without the dominant
seventh ) all the attendant keys of C major were approached
and quitted with ease. As the new dominant in each new key
is the crucial chord, it is perhaps worth while to tabulate
these, without regard ( for the present ) to the melody. The
notation refers to the principal key, in this case C.
 Chap. IV. Modulation. 63

Table Showing the Bass-notes of New Dominants for

Attendant Keys.
Supertonic Triad (with accidentally raised 3rd) see " A " (in
Ex. 56.)
Mediant Triad (with accidentally raised 3rd) see " B."
Tonic Triad (with accidental minor seventh) see " C."
Triad on Leading-note (with 3rd and 5th accidentally raised)
see " D."
Triad on the Submediant (with accidentally raised 3rd) see
" E."
The modulations made by these chords were :
C to G, and back to C. (Ex. 56, Letter A.)
C to A minor and back to C. (Letter B.)
C to F and back. (Letter C.)
C to E minor and back. (Letter D.)
C to D minor and back to C. (Letter E.)
It has before been pointed out that an accidental sharp in
;he melody is generally a new leading-note. This may now be
illustrated by an example covering the attendant keys, as
before.
Example 57.
C. D minor. E minor.

t t r f r t
4 ±t—1-

A minor.

i
f f j—\
J *
——F*2
64 Melodies and How to Harmonize Them.

As there are three notes to the dominant triad it follows

any of these may appear in the treble, or melody. As an ap
plication of what has gone before, the same cadences leading
to the attendant keys may be reduced to a formula. Let it
be borne in mind that the upper number refers to the melody,
while beneath is given the name of degree of the scale for the
bass note, showing the triad to be employed. Where the
thirds and fifths are marked in brackets, they refer to the
chord, not the scale. It will be seen that each of the notes of
the triad appears in the treble in turn, and that in a few cases
three numbers are given in the upper part of the resolution.
Modulation to Dominant.
#4 to 4-; 4- to
* 5 ' 2 S
(With raised 3rd.) (With raised 3rd.)
2 2, s, or 7
(With raised 3rd.)
To the Relative Minor.
Us
ML to 6 T7 to 6 or 8
—
(With raised 3rd.)
3 3' 6- or 1
3 to y6 ■
(3rd raised.)
To the Key of the Subdominant.*
b7 6 3 4 or 6

(to)
c 4 or 6 8 or 1 8 or 1
I 4 14
(b7) *7)
* The figures refer to the original key ( in this case C ).
 Chap. IV. Modulation. 65

To the Relative Minor of Dominant.

t ,0 1; |i to JL°I1.
7 3 7 3
(5th raised.) (3rd raised.)
7
.— t
to 7, 5. °r 3 •
7 3
(5th and 3rd raised.)
To the Relative Minor of Subdominant.
Ill 2 3 4 or 2
6 2 o 2 '
(3rd raised.)
6
— to 6,
—— 4, or 2 •
(3rd raised.)
In the foregoing list, the first of each group is the most ob
vious since the accidental then occurs in the melody (i. e., the
upper figure).
In the extract from Beethoven twice previously
referred to, the concluding bars of the theme modu
late to D minor and E minor, in turn, and thus com
plete the circle of the attendant keys. (See Example
58.)
Example 58.
A. B.
66 Melodies and How to Harmonize Them.

' T ^

1 1 1

The progression at A, if continued, would cover the entire

chromatic scale ; while the dominant seventh (in its second
inversion) at B, shows the class of chord with which to de
scend. Enough, then, has been said to show that for the pur
poses of modulation the perfect cadence (with and without
the dominant seventh) is of primary importance.

In cases where the accidental flat (or, from a

sharp key, a natural) does not indicate a new sub-
dominant, and is not merely a chromatic chord (or
passing-note), try if it be a new tonic, or even a
minor third from a new tonic. If several acciden
tals occur in the melody, aim at forming a portion
of a scale, with a view to establishing the key ; and
bear in mind that the new tonic or dominant is likely
to be emphasized and attract the attention by its
repetition in important parts of the bar.
It should be added that similarly a sharp (or from
a flat key a natural) where it is not a new leading-
note (or chromatic merely), may be a new major
third in its key, which is thus easily discovered ; or
it may stand for a new tonic or dominant.
The best plan, then, to pursue is to carefully study
the progression several notes further than that which
puzzles. Above all, study the compositions of the
great masters, especially Bach, Beethoven, and Wag
 Chap. IV. Modulation. 67

ner in regard to the practice of modulation, for ex

perience is the only guide to its mastery.*
The selection of examples which follows, serves
to emphasize what has already been said. They are
chosen more with a view to variety than merely as
obvious illustrations of melodic modulation ; for this
reason the accidentals are commonly not in the
upper part, though these would be included in the
chords (already tabulated) which lead to the at
tendant keys, or form new tonics in themselves.

Example 59.
Winchester. Thomas Ravenscroft.
(Melody in the Tenor.)

* A list of masters whose works specially favor the study of modulation

can be easily suggested by a teacher using this little work. To the piano-
player Chopin, to the singer Schubert, and to the organist recommend
Bach.
68 Melodies and How to Harmonize Them.

In the previous example from Ravenscroft may be

seen the simple contrivances current in early seven
teenth century psalmody. The melody (in accor
dance with the custom of the day) appears in the
tenor. The chords are almost entirely triads In
the seventh bar there is an old-fashioned use of a
chromatic chord on the seventh degree (flattened) of
the scale ; this is noticed in our chapter on chro
matics. Here it serves to correct the little modula
tion to the dominant which is seen two bars back.

Example 60.
Schubert.

The brief strain quoted from Schubert is an ex

ample of a very simple but astonishingly effective
modulation—from the minor to its first flat (attend
ant) major key. The student of orchestral music
will recognize it as the connecting phrase between
the first and second subjects of the "Unfinished"
Symphony, first movement.
 Chap. IV. Modulation. 69

Example 61.
EXTRACT FROM BRIDAL CHORUS.
Wagner's "Lohengrin."
ice. J
Voice „ u Molto tranquillo.

The bliss - ful strain is

fip .

In our quotation from Lohengrin, a remarkably

beautiful modulation is effected in four chords. The
third of the major triad employed in the melody is
converted into a third of a minor scale, and, after
resolution, into a sixth of a major scale. Notice the
B-flat forming a pivot, and changing enharmonically,
i. e., from B-flat to A-sharp. Observe also the soft
ening influence of the three dominant sevenths, in
the second, third, and fourth chords.
70 Melodies and How to Harmonize Them.

Example 62.
EXTRACT FROM HARMONY.
Beethoven.
A
9S>-
1

Our last example of modulation, drawn from Bee

thoven's treatise on Harmony, shows an enharmonic
change in the Bass, where F-sharp (a leading note)
becomes G-flat (a submediant) ; the first chord being
in C-minor, and the fourth in B-flat minor. The two
chords could of course follow one another as shown
at A.
The eleven exercises which follow, contain, for
the most part, simple and even obvious opportunities
of modulation. The first exercise (No. 45) should
be harmonized in three parts only, while the last
(No. 55) is intended to be in five-part harmony.
Exercise 45.

Exercise 46.
Slowly
 Chap. IV. Modulation. 7i

Exercise 47.
'.a <
JJ « <s>_

~« 1— psj—q

is> s>—r^
1— : M

EXERCISE 48.
*>— "i2—p—
4f 8 1 l 1 7 * "

-IS-

»- -«s> h|S>- _£2_

-»—P—«»-
g
ll II
72 Melodies and How to Harmonize Them.
 Chap. IV. Modulation. 73

Exercise 52.
-3 1*-
4

.—=--£- » . . -
4 1 -t u

-l-H— H—H—i—
-J-i i i—»

-h Py-
a « J□ • 1
-f

a •—Tr-f-f —•--
-1

Exercise 53.
rhr-
fh- *- \-=1—5-
1—1-

1 «--^
Rl -nf—f
-*>—-

-M- b--
1* —K ^ -i—

Exercise 54-

-i -i-t i— ---• <

4!#4—*- -J-J- • • :
74 Melodies and How to Harmonize Them.

J—• *
u * n

7 f-u r- r-p-F-ti - * •
'd—f f lit -
4 j£—! ——1

r-Hr-t;-^3—^. 1 m—H—i—i—i— 1 K ,
w I •—.

Exercise 55.
0—*. -m p -;
3>4

f2—

* The parts may be crossed in bar 5.

 75

CHAPTER V.
PASSING-NOTES—DIATONIC AND CHROMATIC.
Passing-notes have been denned by Sir Hubert
Parry as " inessential discordant notes which are
interposed between the essential factors of the har
monic structure of music on melodic principles."
As a general rule the student need not provide any
special harmony for these ornamental notes, and it
only remains for him to detect their presence in order
to ignore them.
In passing it may be observed that it is often advisable to
answer passing-notes in another part or parts.
The simplest form in which they occur is in pass
ing from one interval of the triad to another. Thus
in the chord C, E, G (i. e., the first, third, and fifth of
the common triad) there is obvious room for the pass
ing-notes D and F, which may be ignored, as far as
the harmony is concerned, in this way : —
Example 63.
EXTRACT FROM 'PARTHENIA."*

11 j JrJ* J. 7i 77 j

* 11 Parthenia " was one of the names bestowed on Queen Elizabeth ;

U also stood for an air in Playford's " Introduction ' (1655) which Handel
appears to have employed as part of the melody of the Pastoral Symphony
in the Messiah.
j6 Melodies and How to Harmonize Them.

The somewhat bare effect produced by the parts

standing still is easily obviated by accompanying the
melodic passing-notes with others in the parts ;
thus : —
Example 64.

As the examples which follow contain other ines

sential notes, which though not strictly speaking
" passing-notes " are nevertheless treated harmoni
cally with the same indifference, it is convenient to
include them under the general description.
Example 65.
EXTRACT FROM SEPTET.
Presto. Beethoven.
Violin.

Cello. ... ...

"•—•-•-1
- \r-tz
*-bb* r 1 r r^jjj —^—p-
 Chap. V- Passing-notes. 77

The two-part example from Beethoven calls for

little remark; attention may however be directed to
the dissonance caused by the passing-note ( in the
bass ) in the first and second bars on the second beat.
In the same bars, a dominant seventh is effectively
suggested by the bass ( on the third beats ).

Example 66.
"VALET WILL ICH DIR GEBEN."
From a Choral Prelude (for Organ).
J. S. Bach.
78 Melodies and How to Harmonize Them.

sua
etc.

Bach's Choral Prelude offers us a good example of

passing-notes in triplets, and answered in contrary
motion. Notice also the mediant pedal, in the bass
of the second bar. ( See also our chapter on pedals.)

Example 67. From Piano Sonata (Op. 111).

Leggiermente. Beethoven.

dffc
PP
 Chap. V. Passing-notes. 79

In the extract from Beethoven's great movement in

the Piano Sonata ( Op. in) one may observe the
delicate rhythm which is imparted by the alternation
of ornamental notes above and below the primary
notes of the melody. Note also the upper part being
a diminution of the lower ; - not exact, but unmistak
able.
Example 68.
EXTRACT FROM THE SONG OF
« THE MOORISH PRINCE."
p LOEWE.

Sieh',glanzende Per - len bring' ich dir dar. sic

etc.

m 1

The simple harmony Loewe has placed beneath

his melody throws into relief the quaint little melody
which depends so much for its effect upon the use
of ornamental and inessential notes. Our brief quo
tation only permits us one example, which is seen in
the group of four quavers, at the third beat of the
second bar ; where the melody note proper is first
delayed and then retarded, by the interposition of
the note C — so we get C, B, C, D, in place of
the trite B, D. ^p^gEg instead of
80 Melodies and How to Harmonize Them.

The use of chromatic passing-notes is well illus

trated by the following extract from Chopin's Etude
for piano-forte. As the employment of such notes
is more common to instrumental than vocal music
we need not dwell further on this phase of melodic
harmonization, beyond pointing out the extreme sim
plicity of the example, which has for its harmonic
basis the chords written in the lower clef.

Example 6g.
EXTRACT FROM GRANDE ETUDE, No. a.
Chopin.
Allegro,
sempre legato

"A

m
etc.
 Chap. V. Passing-notes. 81

Example 70.
EXTRACT FROM FIRST MADRIGAL.
Weelkes. (1597.)

¥=f=

Weelkes' First Madrigal gives us an example of a

common way of approaching a cadence* with a flat
tened seventh as ornament (or passing-note) to be im
mediately contradicted by the natural seventh of the
perfect cadence. (See bar two, at the third beat.)
The three succeeding extracts from the Incorpo
rated Society's Book of Melodies, serve to show the
use of chromatics generally.
Example 71.

* Common in Weelkes' day; obsolete in ours.

82 Melodies and How to Harmonize Them.

At "A" it is convenient to begin on a sustained pedal-bass,

partly owing to the melody suggesting a tonic chord on the
first of each of the opening bars, and also because there is
enough of change in the three upper parts.
The example at "B" could have had a tonic for the bass
of the first bar ; it is an advantage, however, to gradually as
cend, as shown, to the chord of the sixth on C . In the second
bar the melody notes (D-natural and C-flat) should be treated
as part of one chord. (See next chapter on arpeggios, etc.).
The interval G and F-flat can be taken as shown, with a de
scending bass, or contained in a chord of the dominant ninth.
More will be said on this subject in the chapter on chro
matics.
The example at "C" might equally have served as an example
of the arpeggio treatment in melodies. In the third bar this
is especially obvious, where the four notes B-flat, E-flat, G
and B-flat of the melody also supply the chord placed beneath.

The exercises which follow contain various oppor

tunities for the introduction of passing-notes — dia
tonic and chromatic.

Exercise 56.
 Chap. V. Passing-notes. 83

Exercise 57.—(Add an Alto and Bass.)

II

Exercise 58.—(Add three parts.)

-1- Hi
-7I >P^-J J. > . If- —* * • J- 1- 4n
-

Exercise 59.
fc IS
84 Melodies and How to Harmonize Them.

Exercise 60.
P m W

y—i■
1

Exercise 61.
_w i
—

Exercise 62.
' ? •
•—P
-^SE- -

i i

Exercise 63
 Chap. V. Passing-notes. 85

Exercise 64. —(ft [elody in the Tenor.}

JZ.
—1
±±*t 1

_y Tl 1
T 1

- ; '<» 1
|^L! 1
1
(3 —p r
-|
—H

EXERCIS>E 155■
-a— ffi
»-■— . _iJ—— -UU

-•-
-f-"h —#0 iirf-fft~ *—J
^ir 1 1 —V^- —u

Exercise 66.
J M HT1==FT 1
f—h

■fF.1 S-tP

< HIp- . P■■ ." h—

p— 1 1
r-M- ui&-i—;
86 Melodies and How to Harmonize Them.

CHAPTER VI.
ARPEGGI.
Arpeggi as applied to melody form the subject
to be considered in this chapter.
As each triad has three notes, it is commonly con
venient, if the melody ring the changes on the three,
to keep one harmony for the series, such harmony
being most probably the original triad. With the
addition of the dominant seventh, and ninth, and
other such chords, any interval of the scale can be
contained, in such a manner as to cause no unneces
sary movement in the sublying harmonies. This will
prove a great help in the harmonization of melodies,
especially in places where the melody skips much or
rapidly.
The great use of arpeggi in the harmonization of melodies
will probably ere this have occurred to the student. Everywhere
is he confronted with them in practical composition ; whether he
take up the Chromatic Fantasia of Bach, the First Sonata or
the " Appassionata " of Beethoven, or such works as " Parsifal "
Vorspiel, or the remarkable example in " Das Rheingold" ( see
bars 1-67). There is no limit to the examples scattered
through the pages of the masters both old and new. Here we
confine ourselves to a few remarks on the use of arpeggi, and
their necessary illustrations and exercises.
Example 72.
"WHY ASKE YOU."
From the Fitzwilliam Giles Farnaby
Virginal Book.

z.— 1 H't-Jfe-
[ S-J1

j J j , j
m-*
 Chap. VI. Arpeggi. 87

fee

feet 1

The little piece of harmony copied from the Vir

ginal book (Example 72) serves to illustrate what has
just been said. The wide skips are supported by chords
containing such melody notes. It would be very
difficult to improve upon the harmonization of the
four last bars, especially in three parts, though it
must not be overlooked that the style is instrumental
rather than vocal.
Note that each bar needs but one chord to support
the air.
88 Melodies and How to Harmonize Them.

Example 73.
EXTRACT FROM "THE MOORISH PRINCE."
Loewe.

Dass er im Kam-pfe,ge-schwungendas Schwert.

=S3F
/
BERK

*=1
The four bars extracted from Loewe (Example 73)
offer a still less promising group of intervals, until by
the same method of harmony we perceive that they
are merely portions of chords which quite naturally
fall into their place when so treated.
Example 74.
From a song by Dr. Greene.
Vivace.

The mer-iy^uck-oo, Mes-senger of Spring, His

i
3
 Dr. Greene furnishes us with a melody which, if
accompanied by the pianoforte, might be treated as
above. It will be observed that in order to avoid
the monotony of mere chords, these, like the melody
itself, are broken up into arpeggi, in imitation of the
air.
Syncopation can often be treated successfully by
the methods previously shown. In its other aspects,
involving suspensions, retardations, etc., this subject
will recur. See Chapter XI.

THE CARMEN'S WHISTLE.

Example 75. Wm. Byrde.
90 Melodies and How to Harmonize Them.
— —
f - * "—J- ' —4—*—« — ~H—r—
—J—*

K-=*

^ . -, . if . 1 H

3*M^
It may be pointed out that with one exception all
the syncopated notes also form part of the chord from
which they move. Byrde avoids monotony by a
change of harmony wherever the melody admits of
time and opportunity. Written with tied notes, as
suggested below, the example needs no further com
ment.
Example 76.

a
etc.

1
 Chap. VI. Arpeggi. 91

The selection of exercises given below includes

many passages which the student will do well to treat
as arpeggi, though here, as in other cases, the melody
will be found possible for other methods of har
monization. The exercises are to be worked in four-
part vocal harmony. In the last of these (No. 74)
the syncopation occurring in the melody should be
noted, before working the exercise.
Exercise 67.

: N- t
7 ;._J—J f—p-d'—I.-
H>—J-

0—•

tr-T- , M=N—1

Exercise 68.
92 Melodies and How to Harmonize Them.
Chap. VL. Arpeggi. 93
94 Melodies and How to Harmonize Them.

CHAPTER VII.
SEQUENCES.
Sequences play an important part both in melodies
and in their harmonization, and may now be usefully
touched upon. " A Sequence," says Sir Hubert Parry,
" is generally taken to mean the repetition of a defi
nite group of notes or chords in different positions
of the scale, like regular steps ascending or descend
ing." As regards their application to melodies, the
student must first trace his sequence in the melody,
and then test his harmonies that they follow exactly
where the melody leads. That is to say, if the mel
ody offers a phrase which is repeated a step or two,
higher or lower, the harmonies are to be also con
trived in such a manner that relatively they may go
through the same process. Example is better than
precept in this particular matter.
It must not be presumed from the above that sequences
are always to be exact. It is the perception of them which
should be the student's first care. Many beautiful effects may
afterwards be obtained by varying the replies in sequences.
Modern composers especially favour this method. The older
writers more usually preserved their sequences literally.
Example 77.
EXTRACT FROM A FUGUE.
RlNCK.
J 4 J -U
a• UJ u^u —1
1

—
 Chap. VII. Sequences. 95

The little two-part quotation from Rinck ( Example

77) shows an exact following out of the sequence.
For further examples of this kind the student should
turn to his Bach, where, especially among the Organ
Fugues, he will not need to seek far to meet in
teresting sequences exactly carried out.

Example 78.
EXTRACT FROM CONCERTO No. 2 (FOR ORGAN).
Handel.
96 Melodies and How to Harmonize Them.

The example from Handel's famous Organ Con

certo ( Example 78 ) practically confirms what has al
ready been remarked. Among the same composer's
harpsichord pieces are many passages built up on
this principle, which is of course ( as all good prin
ciples are ) still in vogue.
•.•
Example 79.
EXTRACT FROM " STABAT MATER."
( Chorus.) , Dvorak.
LJ4&
V T" *S a r
^H^^ht -f tf-'-M—-'

I
1 1 -4-- - -s>—
-H—
I

j; j :i j
•» ;
- H

More modern instances are now offered, by way

of example. Dvorak's opening bars (Example 79)
do not give us an exact sequence, which would
scarcely be practicable. The last four bars, however,
are sequentially accurate.
* The consecutives between bars 5 and 6 are not for imitation.
 Chap. VII. Sequences. 97
Example 80.
EXTRACT FROM " PARSIFAL."
Wagner.

molto legato.

-UbJ J J ihJ J J J js
fee
He
etc.

3
I

Wagner's " Parsifal" is full of instances of exact

sequences. That we quote ( Example 80 ) appears
in a variety of forms in the course of the work, which
the student will do well to study for himself. Among
modern writers Schumann seems to have employed
the sequence more than most. Grieg, following pre
sumably in his steps, has employed the device with
great success. The chromatic passages employed in
sequence by Wagner, notably in "Tristan," can only
be briefly mentioned here. In the chapter on
chromatics more will be said on the subject.
98 Melodies and How to Harmonize Them.

A few exercises axe added which favour the carry

ing out of passages in sequence.

Exercise 75.— (In three parts only.)

TJ I 1 Z=T^—q—a -l 4

Exercise 76.— ( In four parts.)

Exercise 77.
Ufa
Si: * •

1^
Chap. VII. Sequences. 99
too Melodies and How to Harmonize Them.

CHAPTER VIII.
CHROMATICS.
The treatment of chromatic notes in any given
melody involves either the use of mere chromatic
passing ( or inessential ) notes, chromatic chords, or
modulation. Much of the ground has been already
traversed in Chapters IV and V. Some further ex
amples of melodic chromatics are now offered. In
perusing them the student should carefully observe
the manner in which the chromatics chiefly fall in
the unimportant pulsations of the bar. The true
harmony is thus asserted while the ornamental mel
ody prevents it from becoming dull.
Example 81.
EXTRACT FROM "CALVARY.'
Spohr.
 Chap. Vlll. Chromatics. 101

With two chords as his harmonic basis, tonic and

dominant, and maintaining a tonic pedal, Spohr ( in
Example 8 1 ) takes us through the chief part of the
chromatic scale of A minor. The melodic notes
falling on the first beat of each bar may be taken
note of ; namely I, V, I, V, I, while the third of the
scale occurs in the middle of the alternate bars.
Example 82.
EXTRACT FROM NOCTURNE (No. 5).
Field.

U ZZTZUUJ

Field's example offers a harmonization, in one

chord, namely the tonic, of the chromatic scale of
B-flat major, one note being wanted in the melody
to make it complete, i. e., the 4th, E-flat. The initial
note of each group of three falls thus in the mel
ody ; — 1, sharp 5, 7, 9, and thus shows an advance
on the previous example.
Example 83,
EXTRACT FROM "FAUST."
Berlioz.
io2 Melodies and How to Harmonize Them.

->tLT

r f ~p
Berlioz makes striking use of the interval of a tri-
tone, in the first bar of Example 83. It may be
explained as an appoggiatura ( see Vincent's " Har
mony," page 138) or the supertonic nth in its third
inversion, or it may even be explained as a triple
pedal with a free part above. The whole passage
is instructive as a perfect example of how melodic
chromatics may be ignored.
Example 84.
EXTRACT FROM 1 NONET.'
Spohr.
Allegro.
Violin.

Viola.

Cello.
 Chap. VIII. Chromatics. 103

Example 84, from Spohr's " Nonet,"offers a simple

instance of the effect of skipping from a chromatic
passing-note. This is clearly brought about by each
of the melody notes of the first of the bar being an
appoggiatura. ( See Vincent's " Harmony," page
161.)
Example 85,
EXTRACT FROM AN ETUDE.
( Trot's Nouvelles hudes, No. 1.)

Example 85 offers a more elaborate succession of

chromatics, all of which are harmonized with a sim
ple dominant chord ( in E-flat minor ). The notes
belonging to the harmony may be profitably set down.
104 Melodies and How to Harmonize Them.

The upper figures give the degrees of the scale ;

the lower show the harmony in the ordinary way.
It M k a i» tt fr afr b b hb
521172 565442 i76544 276576 5
6 it 6
5 7 5
3
V V V V
It may perhaps be added that the pianoforte, for
which the passage was contrived, offers an excep
tionally good medium for the employment of rapidly
changing melodies above a chordal bass, assisted by
the sostenuto pedal. Observe, (in bar 4,) the raised
leading-note of bass, with flat 7th in the treble.
Compare Example 152.
Two exercises follow. These should be quite
simply harmonized with one chord to each group of
three notes. Here and there the inner parts might
also have a chromatic passing-note introduced.
Exercise 81.

• 1 B

Exercise 82.
 Chap. VIII. Chromatics.

Chromatic Chords.
We now enter upon the consideration of placing
chromatic chords beneath given melodies. The
power of doing this effectively will only be gained
after careful study and comparison of good models.
Chromatics are naturally weak in comparison with
the diatonic chords, which therefore must still form
the basis of any good harmony.
The major triad on a chromatically lowered lead
ing-note may be instanced as one of the earliest
chromatic chords put to systematic use. The dis
covery no doubt arose from the attempt to employ
the church scales in conjunction with harmony. For
a complete list of the chromatic triads, the student
may be referred to Dr. Vincent's Harmony, page 117.
Example 86.
Wm. Byrde.

-g>-
r
Si - on, thy Si - on wast -
tg- -<g-
PS
feVII

ed and rought low.

io6 Melodies and How to Harmonize Them.

The progression quoted above (Example 86) was

quite usual in Byrde's day ; namely, the harmonies
I-t>VII-I. More usual modern treatment of such
a chromatic chord will be seen in Example 89,
(p. 108).
Example 87.
Air from the Arranged by
Fitzwilliam Virginal Book. William Byrde.
r4-+-^--

1 F—g=j Ii -.*-

Our quotation from the Fitzwilliam Virginal Book

(Example 87) shows that this chromatic progression
was by no means confined to church music, as may
be gathered from the similar succession of chords,
— vi-i?VII-I — cited from a popular Elizabethan
song.
 Chap. VIII. Chromatics.
Example 88.
From the
Fitzwilliam Folio. Francesco Feroci.
Adagio.

P
J.
±1
■g«

A - do - ra - mus Te Chris - te et be - ne -

etc.

_22_

di - ci - mus bi.

Feroci's little three-part passage (Example 88)

gives an illustration of how the same chromatic chord
may be quitted in a smoother and — from a modern
point of view, perhaps — a more satisfactory manner.
This is managed by treating the bVII as a new sub-
dominant and dwelling on it for a brief moment.
The final destination is the same in all three exam
ples, namely a return to the key of the tonic.
io8 Melodies and How to Harmonize Them.

Example 89.
EXTRACT FROM "THE MASTERSINGERS."
I . . . .Wagner.

— +— pi 1— 1—

p sempre cres.
-ff- • -%- I -f- I *

I bVII IV

-7—p—

^ etc.

is
V I

Wagner's Is the only modern example (No. 89)

for which we have space. It will be seen that the
progression is but slightly varied from the older
ones ; as thus — I-bVII-IV-ii-I-V-I. The effect
of the 11 following the IV serves to show the advance
we have made in the general balance of harmony.
It may be noted that few effects ever become
obsolete.
 Chap. VIII. Chromatics. 109

The Pathetic Cadence supplies another instance

of a chromatic chord which in all likelihood arose
from the ancient combinations given us in the
ecclesiastical " Phrygian," or the Greek Doric mode.
Example 90.

The chord alluded to is the first of the above

series, and is of course known as the Neapolitan
Sixth. It was used long before the time of Bach.
More modern instances, unfortunately too long for
quotation, may be found in the first movement of the
" Moonlight Sonata " of Beethoven, and in the chief
motive in Dvorak's " Requiem."
The following phrases are drawn from the Incor
porated Society's book of Melodies, and serve to
show the appearance the cadence will make in ex
amination papers.
Example 91. (A)
no Melodies and How to Harmonize Them.

(B)

. L . I u fN J I etc.

asp -l2-
1
It will be observed that in each of the three
phrases quoted the pathetic cadence is somewhat
disguised in the melodic notes given ; the general
treatment of the harmony should easily adapt itself
to the altered conditions, as shown.
One of the most important of the chromatic
chords is the Diminished Seventh, which it is con
venient to refer to the dominant ninth as its original
position. The various resolutions of the diminished
seventh and its power to proceed up or down chro
matically invest it with peculiar powers of inviting
or resisting modulation. For more precise details
of these chords than our examples and notes admit
of the pupil is referred to Dr. Vincent's " Har
mony," pages 139 and 148.
 Chap. VIII. Chromatics.

Example 92.

etc.

Our 92c! example gives a Dominant Minor Ninth

as a chromatic chord, for the passage is in C major.
Each bar emphasizes the minor ninth, which, how
ever, ends as it began, in the major key. Attention
may be drawn to the chromatic descent of the mel
ody in the third bar, which is answered in the suc
ceeding bar by a lower part having a similar
progression.
Example 93. Beethoven. (Op. 2, No. 1.)

"-- 1— ^ . " II

■ f # ■#■ f
11 iii -r- "Oil
ii2 Melodies and How to Harmonize Them.

Example 93 shows all the intervals of the chord

of the dominant minor ninth successively intro
duced in the upper part on a dominant bass. The
chord is emphasized ( in bar 3 of the quotation ) by
the three-part harmony, which it may be noted is
the fewest number of parts capable of giving a clear
effect of the dominant ninth.

Example 94.
EXTRACT FROM "ALL YE WHOM LOVE."
John Dowland. (1597.)

V V I II 1 V I iv

The Diminished Seventh.

It has already been remarked that one of the

most important of the early chromatic chords is
supplied in the first inversion of the minor ninth,
which is distinguished by a separate designation —
the Diminished Seventh. In the sixteenth century
 Chap. VIII. Chromatics. IJ3

specimen quoted from Dowland ( Example 94, bar

3) the seventh itself is carefully prepared, and the
bass moves cautiously to the fundamental chromatic
(C-sharp). Other examples will be seen in the
Appendix to this volume.

Example 95. TSCHAIKOWSKY.

Celesta
or mf
Piano.

—i—i

Pizz.
V. 1.
(4 Soli.)

V. 2.
(4 Soli.)
v -3- f?

Viole.
( 4 Soli.)

Cello
and
Bass. 9#
( 6 Soli.)
ii4 Melodies and Hom to Harmonize Them.

In the 95th example, by Tschaikowsky, there is a

favourable specimen of the freedom of the dimin
ished sevenths, four of which succeed one another
in a rising passage * of chromatics, on a pedal bass.
It will be observed that the passage ends as it began
on the tonic ( E minor).
By a simple experiment the student will find that he can
construct diminished sevenths on each degree of the chro
matic scale, and though as an occasional effect this may be
done in practical harmony, as hinted in the last example, such
a succession is rarely effective, and therefore better avoided.
On the other hand, by the judicious interposition of a triad
( or inversion ) alternate diminished sevenths become at once
attractive and useful.
* Notice the progression of the Siring parts-
 Chap. VIII. Chromatics. "5

Example 96.
FROM THE BALLAD OF 'EDWARD."
LOEWE.
Agitato.

H:
Dein Sc:hwert wie ist's von Blut so roth,

- 3= -si—=1- 35E =1-

i
Ed ward, Ed - ward ?
N_
I
( etc.
-# fl

Loewe's example (No. 96) contains two dimin

ished sevenths (marked at A and B), and the bass
for the first three bars may be taken as a pedal on
the tonic, E-flat minor. If otherwise regarded, the
second chord in the example may be taken as a flat-
supertonic seventh,* prepared. Lastly, the same
chord may be explained as a chord of the thir-
* In its third inversion.
n6 Melodies and How to Harmonize Them.

teenth, formed on G-flat, with its root, third and fifth

all omitted. Before parting with the example, which
is certainly a curious one, it may also be observed
that in the last bar, the note G-flat, in the melody,
(written small) is to be regarded as the thirteenth of
a dominant chord from root B-flat, or as a mere re
tardation of a note contained in the previous chord.

Example 97.
KYRIE.
From the Fitzwilliam Folio. Leonardo Leo.
(1694-1746.)

Ky - ri Ky - ri

-a-
Vs^

Si <3
 Chap. VIII. Chromatics. 117

e e - le- i- son, Ky - ri- e e - le - i -

i/ .
V
1
V ; 1

iS^T—*2
m

^ i-FR-r I |—j—R-—

C5?
son, e - le

/TV
-gH- ^ a>
0
n8 Melodies and How to Harmonize Them.

The five-part example (No. 97), by Leonardo

Leo, shows an expressive piece of harmony, in which
the diminished seventh plays an important part, oc
curring as it does no less than five times. In the
last two bars leading to a dominant close, a pedal
again makes its appearance. With this example and
a few exercises for working, we close the chapter,
though other chromatic chords remain to be noticed.

Exercise 83.

Exercise 84.—Melody in the Tenor.

■» -\ 1— -f3-!*-*^ S-
as

Exercise 85.
■SVtfTf expressive.
Chap. VIII. Chromatics. 119
 120 Melodies and How to Harmonize Them.

CHAPTER IX.
THE AUGMENTED SIXTH AND THE
AUGMENTED TRIAD.
The chord of the Augmented Sixth, with its
many possibilities as regards melody, came into pop
ular use in the 17 th century.
A simple chromatic alteration of one note in the
chord of the 6th on the supertonic or the sub-
dominant produces the primary form of this
harmonic combination, known as the Italian
Sixth.

Example 98.

II
1K

-<S>- Et£3
1

The tendency of the flattened note to fall and of the

sharpened note to rise, is significant of the ordinary resolu
tions of these extreme intervals. With the addition of a 4th,
or the substitution of a 5th, two other forms of the same chord
are obtained. These are given without their several inver
sions, which, however, the student should write out for himself.
 Chap. IX. The Augmented Sixth, etc. 121
Example gg.
The French Sixth. The German Sixth.
^ ——
A% g -
t r
* ^ fe§T -t©— tg-
1 g rtt^-1 a? LI
4-2
It will be seen in the above example ( No. 99 )
that the French form of the chord has a useful
pivot-note in the 4th of the 6-4-3, while the Ger
man form has a 5th which must on no account fol
low the bass, unless at a safe distance, on account
of the fifths, which would otherwise result. In prac
tice, it will be found that the German form of this
chord is the most useful.
The system by which a double root (or first and
second generator ) was claimed for this chord is out
of favour ; but as it is instructive, at least, to note
what was formerly considered an important matter,
the two roots are shown in the first example ( No. 98).
" In the case of the augmented sixth on the flat second of
the key, there is only one note to be altered ; and as that note
is constantly altered in this fashion in other combinations—
namely by substituting the flattened note, as D-flat for D in the
key of C, by Carissimi, Bach, Beethoven, Chopin, in all ages of
harmonic music—it seems superfluous to consider whether
or no it is a chord with a double root as theorists propose, in
which one note is the minor ninth of one root, and the other
the major third of another." ( Sir Hubert Parry.)
Our first historical example (No. 100) is from a
manuscript written between 1650-1656, that is, dur
ing the composer's life time. In the second bar the
augmented sixth is prepared by the previous chord—
an augmented triad. In the printed version of
122 Melodies and How to Harmonize Them.

Lawes' "Ayres" ( 1653 ), the passage is modified into

a mere diatonic passage, a third part added, and
the barring of the song much altered. ( See Exam
ple 26.)
Example 100.
"COME, CHLORIS."
(A DUET.)
From the rare Guise MS. Henry Lawes.
( British Museum, circa 1650.) ( 1595-1662.)
Add. MSS. 11,608 fol. 8b.
 Chap. IX. The Augmented Sixth, etc. 123

Purcell does not appear to have employed the

chord to any very great extent, although his prede
cessors Carissimi and Pelham Humphrey both set an
example. The quotation is from "Dido and Aeneas"
( 1675), and shows an effective employment of the
Italian form of the chord, the voice-part proceeding
from one note of the chord to another.
Example 101.
EXTRACT FROM "DIDO AND AENEAS."
Purcell. ( 1675.)

Death is now a wel - come guest.

The three-part example ( No. 102 ), from the same

composer, shows the chord changing from the French
to the German form, by means of the melody rising a
step. The resolution is also to be noted as being
unusual in vocal writing. The passage is from Sir
Frederick Bridge's new edition of the great "Te
Deum,"* page 15. Mention may also be made of
another example in the same work at page 21, just
before the letter " T."
*Published by Novello & Co.
124 Melodies and How to Harmonize Them.

Example 10a.
EXTRACT FROM "TE DEUM."
PURCELL.
/Jlr4■=—k—k—V « . * • <•
i ^-
We therefore pray Thee^help Thy ser - vants

ir-4 T X^—1^'
' 4 ■^1 BtU-H

The student will find many splendid instances of

the employment of this chromatic chord in the works
of Bach, for which we have unfortunately no space.
His attention is also directed to the remarkable
movement of Beethoven, which begins with the aug
mented sixth, as shown in the four opening bars
quoted below. ( Example 103.)

Example 103.
Beethoven. (Op. 78.)
A llegro vivace
A—

etc.

A modern use of the same chord in a rapid me

lodic passage for pianoforte shows how character
istic is the simplest suggestion of the augmented
sixth in the hands of a master. (Example 104.)
 Chap. IX. The Augmented Sixth, etc. u$

For a completer view of this chord and its inver

sions, reference should be made to Dr. Vincent's
"Harmony," pages 121-133.

Example 104.
Brahms.
Presto, ma turn troppo. (Op. 35, Bk. 2, Var. 14.)
8va

Our final illustration of the chord under discussion

shows how the whole chromatic scale may be cov
ered by a succession of augmented sixths. Thus
grouped together, it must be borne in mind that they
have not time to make much effect ; * and care must
be taken not to introduce too many or too rapidly.
Beneath each of the chords a small group is given,
showing the original position and, in some cases,
the enharmonic equivalent. (Example 105.)

Exercise 89. — Play over, or write out, the same

passage, with all the augmented sixths altered to
diminished sevenths, at one time the favourite sub
stitute for the more modern combination written.
* Because of their conflicting tonality.
126 Melodies and How to Harmonize Them.

Example 105.—A succession of Augmented Sixths.

2g= &5t

—h=t
—1—g Ll>jg
fT J 4^r

1 hi L^p—p—1.|
I r-

1 J t~i—hTJl E
31

The Augmented Triad.

For the convenience of classification, theorists
usually include the chord known as the Augmented
Triad amongthe combinations arising from the chord
of the thirteenth. Thus the chord so built up from
any tonic will give the augmented triad by the sim
ple process of taking the root, the third, and the
minor 13th, ignoring the other intervals. Long
 Chap. IX. The Augmented Sixth, etc. 127

before such classification was thought of, the aug

mented triad was in common use. It can be traced
back to the sixteenth century, as some of our exam
ples will serve to show.
An entirely chromatic application of the chord is seen in
the third bar of Example 106 where, as D minor is not estab
lished, the passage must be held to be in the key of F. The
composer evidently felt the curiously harsh, biting effect of
the combination, judging from the words he illustrates. The
modern custom would be against emphasizing the C-natural
( doubled by the tenor ) on account of rendering the tonality
uncertain. The note of the melody derives piquancy from
this particular harmony in no other way to be obtained.
Example 106. Richard Edwards.
(1 523-" 566.)

In 1 - jing
plea - sant greene doe sting
i A■ J -J J J A
(g-

fir I J J 4rr^^

Ser pents lie, in plea-sant greene. etc.

128 Melodies and How to Harmonize Them.

It seems not unlikely that the next example ( No.

107, at bar 4) gives a good idea of the manner in
which the augmented triad was first used. The
cautious way in which the bass approaches the lead
ing-note B-natural, with the three upper parts all
tied, suggests strongly the old contrapuntal methods
of Dowland's immediate predecessors. In the fifth
bar an augmented triad is produced by the alto mov
ing to E-flat as an anticipation. This again is in
accordance with ancient custom.
Example 107.
EXTRACT FROM " GO, CRYSTAL TEARS."
From The First Set of Songs. John Dowland.
(1597.) (1 562-1 625.)

EE

9&
-19- 1
f
Another example from Dowland ( No. 108 ) proves
that even in the sixteenth century composers had
discovered that the augmented triad need not of
necessity be prepared. At the second bar of Example
 Chap. IX. The Augmented Sixth, etc. 129

108 all the parts are in motion to meet the chromatic

chord which is introduced with considerable emphasis,
not to say pungency. (See *.)

Example 108.
EXTRACT FROM "UNQUIET THOUGHTS."
First Book of Songs. John Dowland.
( 1597.)

r t 1
A i ±± I
Rt>4-i- f—P—f
!—1—P—!—p—

—S =3= ,— 1|
P=r ' C r r—n
j etc.
J 1 / -J- ,
i^r— <t * * II
The three-part example, No. 109, of William Webb
( a contemporary of Lawes ) gives the augmented
triad in its first inversion, approached by skip, as
far as the melody is concerned. The two lower
parts, it will be seen, descend gradually in sixths.
There are further examples in the book from which
the quotation is drawn.
The fifths between tenor and bass, in bar 3, are
very harmless.
t$o Melodies and How to Harmonize Them.

Example log.
FROM PLAYFORD'S 'SELECT AYRES."
William Webb.
(Bk. Ill, p. 18. 1653.)

For be the old love ne'er so true.

J I ^ J■ J,g■^j

No less than four chromatic triads occur in the little

piece taken from Purcell's " Bonduca," (Example
no). These are marked with an asterisk. (*) The
whole passage goes plainly to prove what has been
pointed out by the late Sir George Macfarren, that
Purcell did not use chromatic passing-notes to any
extent, though he employed chromatic chords freely
enough. Taken alone more than one part reads as
(chromatic) passing-notes; but these being combined
plain chords result.
Example no.
FROM THE OVERTURE TO " BONDUCA."
Andante. Henry Purcell. (1695.)
JnJ !,l j
 Chap. IX. The Augmented Sixth, etc. 131

ifif ^

It is no doubt a wide leap to the art of Richard

Wagner, but in Example 111, the same chord under
consideration is exhibited in its second inversion, the
passage being entirely in the key of G-flat. Note
should be taken of the progression of the bass, which
descends chromatically, and resolves the augmented
fifth itself (D-natural ) chromatically, that is, on the
note D-flat. The voice part omitted is not essential
to a correct understanding of the harmonic structure.
 132 Melodies and How to Harmonize Them.

Example m.
EXTRACT FROM " PARSIFAL." •
Wagner.

In the exercises which follow, the student should

find little difficulty in introducing the two chords
discussed in this chapter. If he does, he should
proceed to make out a table for himself, showing
what degrees of the melody are available for har
monization by the aid of these two chords ; —viz ;—
the augmented sixth and the augmented triad. The
resolutions of the sharp note should be also
marked. With such a table before him he may
then proceed to the exercises.
* Page 18, Rleinmichel's Score.
 Chap. IX. The Augmented Sixth, etc. 133

Exercise 90. — On the Augmented Triad.

2-£—H]H-
0

4 f* 5* <5
L^_| L_J \J

Exercise 91. — On the Augmented Triad.

-r-f-« -J -1
u^z—^ ^—1L« 1 J R ' sH —

Exercise 92. — On the Augmented Sixth.

s ^2—^ - 1—r
93

*—13? =1 5: -9
MS is*

Exercise 93. — On the Augmented Sixth.

1 19 — .(2
a) -1 —1"I

-\— -— ^ -Vs-^=
■ & -'-'^& 11
f j -f^ &
1 i-
134 Melodies and How to Harmonize Them.

Exercise 94.

' ii -&— &-

i - n

Exercise 95. — On both Chords.

^1

Exercise 96. — On both Chords.

F—
r" "■-t—H=SeI

hfrHj-fe J Ph
M— " J—ft -S J_

-•—
T " u> • r
 i3S

CHAPTER X.
FURTHER STUDY OF CADENCES.
The simpler forms of Cadences have already been
considered. Some of those which follow are no less
simple if their ornamental dress be removed ; others,
however, are rarer forms which are of great historic
value, if obsolete.
Example 112, copied from the Fitzwilliam Virginal
Book, shows a procedure common enough in the
Elizabethan period, that is, the attempt to finish an
air with the dominant cadence. It may be added
that not only the air had such cadences, but they
were retained throughout the series of variations,
and finally employed in the ending ; thus producing
a feeling of unrest and instability which doubtless
led to their being discarded.

Example 11a.
HAWSKIN.
" JOG ON, JOG ON THE FOOT-PATH WAY."
From the Fitzwilliam Version by
Virginal Book. Richard Farnaby.
d—T

1 X
is m
136 Melodies and How to Harmonize Tliem.

-J L

1 u

The fine old harmonization of Byrde (No. 113),

copied from the same source, gives an instance of
an uncommon use of the plagal cadence in the last
bar. The harmonic basis of the example is ex
tremely simple, and may be read thus :—
Bars 1 and 2 Tonic.
Bars 3 and 4 Supertonic.
Bar 5 Subdominant.
Bar 6 Tonic.
Bar 7 Dominant
Last bar Tonic.
 Virginal IVvii- XX m »v*» ^\>s^V.

*■ • # • » •« «
-

f ( I I

TT * I 1

JJ-^JJ"J J J j J j
. * ? „ * " \m » m »
r • r 11
 138 Melodies and How to Harmonize Them.

Lasso's example (No. 114) offers a varied form

of the plagal cadence, in which the melody takes
the unexpected progression seen in the two final
chords ; apparently this is brought about by the de
sire to introduce the interval of a third in each of
the two chords, in which only three voices are avail
able. Between bars 2 and 3 observe also the " in
terrupted " cadence ;—i. e., dominant harmony pro
ceeding (not to tonic) but to submediant

Example 114.
EXTRACT FROM THE MOTET, "SICUT ABLAC-
TATUS EST."
Fitzwilliam. Orlando di Lasso.

Another and almost modern use of the plagal ca

dence occurs in our quotation of Willaert's Motet,
(Example 115), a composition of the time of Henry
VIII. There are two exceptions to modern prac
tice, which may be pointed out in passing. Between
the treble and tenor, in bar 1, 7ths occur, produced
by the odd suspension in the lower of the two parts ;
and in bar 2, the leading-note is doubled. Both de
tails would be amended in modern practice.
 Chap. X. Further Study of Cadences. 139

Example 115.
FROM MOTET "QUEM DICUNT HOMINES."
Adrian Willaert.
j (1480-1362)

rr
4 JL

Z2SI
Almost every form of cadence occurs in Bach.
The one we quote (Example 116) illustrates the
rare employment of a plagal cadence in the minor
without tierce de Picardie.
Example 116.
FROM "TOCCATA ET FUGA" IN D MINOR.
Bach.
EE
i I
f

HH1
 140 Melodies and How to Harmonize Them.

Example 117, "Norwich Tune," from Ravens-

croft's Psalter, is a harmonization by John Milton,
the father of the poet, and an accomplished musi
cian. The final cadence is particularly well con
trived, with its tierce de Picardie ; and apart from the
harsh (false) relation in bar 3, there is little that
would not pass muster in our own day.*
Example 117.
NORWICH TUNE.
£ Ravenscroft's Psalter, i 62 i.) John Milton.
( Psalme 102 ).

( Melody in Tenor.)

FT=T=T
si—* 1-
ESS S2-
r
I J
r; \ \ o4-

J' f r p r
r r f

rets
1

*The 8ves between treble and bass (bars 7 and 8) should perhaps be
excepted.
 Chap. X. Further Study of Cadences. 141

The close connection of the tonic minor and

major is more evident in theory than in practice ;
though it must be admitted that in many of Schu
bert's Songs practical illustration of the real affinity
of the two keys may easily be found. In the follow
ing example ( No. 118) copied from Orpheus Bri-
tannicus ( 1695 ), Purcell shows how the master hand
of the 17 th century could combine with the utmost
delicacy these fundamentally similar, but practi
cally conflicting keys.*
Example 118. Henry Purcell.

* See page 43 ( par. 66 ), Dr. Vincent's " Harmony."

142 Melodies and How to Harmonize Them.

Our last illustration of unusual cadences ( No.

119 ) is drawn from "Tristan and Isolde," a work
which abounds in fine examples of the kind. The
novel way in which a perfect close is given by the
chorus — here represented by the upper staff —
while the orchestra (lower staff) enters with a
chromatic effect produced by the use of an aug
mented triad, gives the impression of an inter
rupted cadence, probably an invention of Wagner.

Example 119.
EXTRACT FROM 'TRISTAN AND ISOLDE."
-95
Sr-
1

1
For obvious reasons the chapter concluded does
not necessitate direct exercises upon it. The
opportunity is therefore taken to give a set of six
exercises bearing generally on the matter which has
gone before, without inviting the use of extraordi
nary cadences.

Exercise 97.
 Chap. X. Further Study of Cadences. 143

r —

1—
b£>" S«J—»-« -1——

Exercise 98.
■ —FH
—i~
J—1 1

•9 -
"R+f - —K

—~—
1.

Exercise 99.
• i* p\im a -|
H—T ■-*-J-J-
0
144 Melodies and How to Harmonize Them.

Exercise ioo.

Exercise ioi.

f X I —rl"
W 1 1 4—-S-J-

"i—w"f-
V-jUJ-J-J"- J— "rhH

-h■ ■ J p Jfc
is-*-*-
a

(2 ^ M-

:^ **=R1=F 1 1 11
ni—H

Exercise 102.

-f>-3 J, w i— r ]l 1 j 1 1
0 1—

-f-f-9- r^"prf— -
 *45

CHAPTER XI.
SUSPENSIONS, PEDALS, etc,
Suspensions have already been admitted in the
course of numerous examples ; only brief reference
will therefore here be made. From the point of view
of melody, a suspension is generally recognized by
its being a "tied-note " which falls. The interposi
tion of one note need not prevent the suspension if
the fall finally takes place. Retardations and sus
pensions were originally synonymous, so that a pas
sage of sixths by the retardation of the top part
became a series of suspended sevenths. The first
step in the development of the suspension was the
introduction of a different chord beneath the reso
lution.
The student is warned not to use a suspension of a note
together with such a note. The quotation from Dowland
(Example 120) illustrates what is meant. Such discordances
are better left alone. In the famous Canon of Tallis (Example
121) effective instances of the suspension occur in the opening
bars. The " ties " are shown by the dotted lines.
Example 120.
John Dowland.
146 Melodies and How to Harmonize Them.

Example 121.
"PRAISE THE LORD, 0 YEE GENTILES."
Canon " two parts in one."
Ravenscroft. m iomas Talus.
7^-—" : 7 -i—t=d—I- T—

f 1 1 r
... r r

—
Mil
, 1 "!
ii> j 1 3 J 1 *
j j ^1 »1 — j"
^
j 1 (*t r

2-^_i- 1 T- -i—1—1— —

—1—1—1- H—i—r—1 "

gf f f f
r rr f- ^

U: ^ J J rJ ^ J j-p -n
r~i F r £-1—fb-£±5=fl

This old form of Tallis's Canon is of simple har

monization. Note, however, the fifths in bar 2, and
the unusual suspension (in the bass) at bar 4.
A short collection of examples of the employment
of Pedals will tend to show how a single note,
properly introduced and quitted, may be sustained at
 Chap. XI. Suspensions, Pedals, etc. 147

any length with widely diverging harmonies heard

simultaneously. Such a note is "properly intro
duced " by any chord of which it is an integral part,
and the same condition should be observed at the
end of its duration. The early instance quoted from
Hucbald in our Preface should be examined in this
connection. (See page iv).
The extract from Chopin (Example 122) gives a
simple tonic pedal for the two opening bars, then a
dominant, and, more uncommon than these, a medi
ant pedal in the upper part (see bars 4, 5 and 6.)
The same passage is repeated, in sequence, one step
higher.
Example 122.
EXTRACT FROM SONATA IN B-FLAT MINOR.
148 Melodies and How to Harmonize Them.

The three-part example from Cesti (No. 123)

shows the use of a pedal on the sixth of the major
scale, the other parts flowing quite naturally but
freely to the half-close.

Example 123.
Marc Antonio Cesti.

Goes' * example (No. 124) an early sixteenth

century composition, introduces us to a tonic minor
pedal sustained with much ingenuity in the middle
part. The tierce de Picardie occurs in the final
bar.
* A Portuguese amateur of great musical distinction. See Hawkins'
History."
 Chap. XI. Suspensions, Pedals, etc. 149

Example 124.
Damianos & Goes, ( 1 501-1553 ).
#w4 H?- r: J—M- -4 «m
* »J w ^s-1

"t -.4 <z - ——i- -75

7- h 1

h« :
-1—1—v- 1—r

SEE

—*
i5° Melodies and How to Harmonize Them.

We give below (Example 125) a specimen of that

very unusual phenomenon, — a leading-note pedal.
(See the second half of bar 2, in the bass.) The
whole passage is worth study, the imitation being
extremely effective and melodious. The passage
might equally well have appeared in our chapter on
passing-notes.

Example 125.
EXTRACT FROM THE FUGUE IN B (No. a3).
Forty-eight Preludes and Fugues.
J. S. Bach.

LJ—I [g
etc.

Note.—A fine instance of the capabilities of a pedal with rapidly

changing harmonies is seen in the Second Ballade ( for Piano ) of
Brahms. The passage is too long for quotation here. But students are
recommended to peruse the second part of the piece marked *' molto stac
cato Uggiero" and twenty bars onwards.
 Chap. XI. Suspensions, Pedals, etc. 151

Though there is still a chapter to follow dealing

with melodies set in examination papers, a selection
of more or less knotty problems treated practically,
we have now traversed all the ground necessary for an
intelligent understanding of our subject. Some
would perhaps expect a chapter on the elevenths
and thirteenths, compound chords, if we may so call
them, or in place of these, a more elaborate consid
eration of the sevenths. I may refer all such to
Dr. Vincent's "Harmony," pages8i-i 15, where these
matters are fully discussed. Nor is there space for
a proper study of imitation, which in actual practice
is so very necessary for elegant part-writing. One
example, however, may be given (No. 126) in lieu of
precept. The theme (in tenor) supplies the rest of
the material which surrounds it ; that is to say, that
the phrases employed in the other parts are derived
from the theme and employed in imitation. For this
particular class of music the student is referred to
the Choral Preludes of Bach, which not only contain
exquisite workmanship, but also the most expressive
music ever designed for the organ.
* Example 126. E. Duncan.
Organ.

RiL4
^-b^r-

m—=j ——

* From a Prelude in F ( Vincent Music Co.).

152 Melodies and How to Harmonize Them.

%r-—-!UJ- ir r^^i
^—a£
^ r

^1 q (Theme.)

——»— .
 Chap. XI. Suspensions, Pedals, etc. 153

A selection of exercises is offered by way of con

clusion, bearing on what has gone before in the same
mariner as those given at the end of the last chap
ter. In a few of them the special opportunity for
pedals, imitation or suspension is indicated. The
remainder may be taken as supplementary exercises
on general harmony.

Exercise 103.—Add two parts introducing sus

pensions.

-»1 —4-
—i- —H
—ta= 1=

Exercise 104.—Introduce imitation.

Pa ^ . f-f- - -r* ffF- *r-—•—1 — H

-J

n
—1 r-H-
'-4—tJ^ 3^

Exercise 105.—Introduce imitation.

154 Melodies and How to Harmonize Them.

Exercise 106.—Introduce imitation.

Exercise 107.

Pedal.
5>
—•-- • ■ a 1-*-* Li
4- 4-J"

Exercise 108.

4 • "
I
 Chap. XI. Suspensions, Pedals, etc. 155

Exercise 109.

Exercise iio.
•-f- f=Fi"
—1— 53= _|—
156 Melodies and How to Harmonize Them.

CHAPTER XII.
EXAMINATION PAPER MELODIES.
Extracts and Adaptations of Melodies from some
of the leading Examination papers of the Univer
sities and Musical Colleges— In order to derive
the utmost benefit from the following examples, the
student is recommended first of all to copy out the
melody (each in its turn), then study it, and work
it out ; and finally to compare the details of his work
ing with the version here given. It is not to be
expected that the two versions will literally agree,
since the same melody always admits of several kinds
of harmonization.
[ Note on Example 117.]
The two opening bars of melody give a plain hint of suspen
sion ; answered in sequence, one step higher, in the third and
fourth succeeding bars. Let the parts strictly maintain the
sequence, as long as possible. The treble phrase invites an
imitation, which is perhaps most easily managed by the alto.
The chords used are all triads and sixths, which are always
favourable to the introduction of simple suspensions, such as
the4 3; 'he 7 6. In the penultimate bar (No. 9) the minim in
the treble is a disguised suspension. Had it been written as a
tied-crotchet its treatment would have been more obvious.
Example 127. — Melody given.
Adapted from a paper set for the
A. R. C. O. Exam.
 Chap. XII. Examination Paper Melodies 157

The melody of this example ( No. 128 ) was set at a prom

inent examination some years ago, and like others of its kind
appears to present difficulties not usually met with. Thus the
sustained note at the end for three bars requires exceptional
treatment, as few melodies conclude in this manner. The
figure at the beginning seems awkward to harmonize, owing
to the return to the tonic, at bar 2. A closer examination of
the initial phrase will show that the principal notes are numbers
1 , 5, and 4, the two quavers having the appearance of an ornamen
tal resolution of the 5th. At first sight the submediant seems
the best bass, unless indeed we keep a pedal for the two open
ing bars, which is rarely an effective or vigorous harmony in
the beginning of a piece. Look at the treble of bar 2. It
reads 1,4(42)3. Thei and 4 make answer to the I and 5
of the first bar. Better include each of the two notes in one
chord, so the 1 to 4 will be a form of the subdominant, just
as the first chord will be the tonic. It will now be seen that
we still require a chord for the second part of bar 1 . Let it be
the dominant, because that will lead easily to the subdominant
of bar 2, and also because it is an effective progression ( in
contrary motion ) from the tonic. In bar 5 the harmonies of
the same figure are very properly varied. Two endings are
given, each making use of the figures suggested by the treble.
In cases where the final note is much prolonged, it should be
assumed that the other parts must continue, in spite of the
restrictions imposed by the melodic pedal, for such the hold
ing-note in reality becomes. The plagal cadence should at
once suggest itself as having a treble note ( No. 1 ) common to
both its chords. The best way, however, is, as in our example,
to take some characteristic phrase from the melody and weave
it into some simple variation of the subdominant and tonic
chords, taking care not to stray too far away from the end,
which is so near at hand.
158 Melodies and How to Harmonize Them.
 Chap. XII. Examination Paper Melodies 159

The minor melody which we have worked (No. 129)

may be taken as a fair specimen of the more advanced
class, calling for considerable care in the treatment
of details. So marked a figure as that announced in
the melody of bar 1, should be carefully noted for
reproduction where opportunity offers. The eighth
bar and the two following give such an opportunity,
and a very easy one ; for we may fill them in as we
choose, providing only we are ready to take up the
melody again for the final bars ( Nos. 1 1 and 12).
Now as the melody breaks off and resumes on the
dominant, it will be an obvious plan to maintain
such a harmony as will suite both tags of the same,
namely a dominant pedal; which is what has been
done. The remaining details are already covered by
previous remarks on parallel examples.
Example 129. F. R. C. O., 1882.
( Adapted.)
160 Melodies and How to Harmonize Them.

p. a. 0. J
—-i " 1 T 1
The salient features of the melody at No. 130 may
be summed up in briefer fashion. The wide skips in
the opening bars must on no account be imitated in
the harmony. Let them be included in the chords
chosen, so that the E and G (of bar 1 ) form part of
the same triad, and only a little movement be
allowed the next pair of notes, namely F-sharp and
D. Two methods are given of treating the
fourth and fifth bars, both equally natural. ( See A
and B.) Care must be had that the last four bars
be not too monotonous. The descending scale of
melody sets a hint for the kind of movement to be
maintained, for maintained it certainly must be,
while the G semibreve is at rest. Moreover the full
close must not be thought of until the penultimate
bar (No. 12 ). Lastly it is advisable to keep the
movement going during that bar, as shown.
Example 130.
F. R. C. O., 1882. ( Adapted.)
 Chap. XII. Examination Paper Melodies 161
B

The special features of Example 131, another

melody harmonized, lie in the hitting off in an effec
tive manner the chromatics, and the observance of
the sequence in bar 9, and the preservation of some
sensible movement in the three last bars. At any
rate these are the objects aimed at. Let the student
always endeavour, during any pause in the melody, to
introduce material such as chromatics, passing-notes,
or any characteristic phrase that will keep the inter-
ist alive during the passiveness of the melody.
1 62 Melodies and How to Harmonize Them.

Example 131.
F. R. ( O., 1882. (Adapted.)

-+—!—fh—r"ti
Wf

1 M-
j JiVJl

i■

r if ci 1

J u J" 1.J
f—F- J_4_ a < l t r
P—-
 Chup. XII. Examination Paper Melodies 163

The harmonization presented in No. 132 bears

out the recommendation given in the last comment
made on the previous example. The features are
here all strongly marked. From the start imitation
should commend itself, while at bar 4 the melodic
phrase offers a ready opportunity for reproduction,
in a modified form, in the very next bar.
Example 13a. — Add three parts to the Melody given.
London Mus. Bac.

—1-1 i

J■ , * A+TI
Wuf—=f-3

AUi A
944—?—
The melody drawn from The Incorporated So
ciety's Book (and here presented in harmony, No.
133, by permission), in spite of numerous chromatics
has but a simple harmonic basis. Thus the bars
1 and 2 begin and end on a tonic foundation, while the
tenor voice-part accompanies the melody in its chro
matic course ; this is quite naturally balanced by the
progress of the two succeeding bars (3 and 4) being
practically founded on the dominant. Care must be
164 Melodies and How to Harmonize Them.

taken in the final bars of such a piece. After the

sluggish harmonies employed, movement of a more
determined kind was called for. This is imparted
by the rapidly changing chords of the two concluding
bars.
Example 133.
INCORPORATED SOCIETY MELODY, No. 647.
By permission.

Our final example (No. 134) is fittingly chosen

from a paper set for what is perhaps the most coveted
musical degree in the world, namely the Oxford
Doctorate. Strictly speaking such an example is
rather contrapuntal than melodic, though the sub
jects have much in common. The theme granted
appears in the part assigned the viola, and, round
this, suitable harmony (an addition of five parts) was
called for, which might suit stringed instruments.
 Chap. XII. Examination Paper Mclodits 165

Little need be said in further explanation of the aim

of the example, which is less complicated than some
of those that have gone before, despite its six puts.
In the course of the work, recommendation has been
made of the practice of harmonizing melodies placed
in the tenor. All the simpler melodies used in this
work might be put to such employ ; as in the prin
cipal examinations some such exercise is always
called for.
Oxford Hus. Doc.
Add five parts to the viola (second) part given :
so that there will be 2 violins, 2 violas, and 2 'cellos.
Mark the phrasing and bowing.
Example 134
Violin 1.

Violin 2.

Viola 1.

Viola 2. uuft~
The givenpHfE
part.

'Cello 1.

'Cello 2.
 167
APPENDIX.

The Appendix of examples which follows should

help to further illustrate the gradual growth of Har
mony, which is also one with the Harmonization of
Melodies. No attempt has been made to follow the
actual chronology, which is more usefully preserved
in the histories of Hawkins and Burney, to which all
thorough students of the subject of Harmony must fi
nally go. What little history incidentally arises in the
paragraphs here given, it is hoped will tend to brighten
the study of the examples and encourage a desire
for fuller knowledge, if not for individual research.
Although the 13th century Round— " Sumer is
icumen in " — has often been quoted as the earliest
known specimen of harmony, a few anterior exam
ples exist Those of native origin are mostly col
lected and reproduced in facsimile in the pages of
Early English Harmony, edited by Professor Wool-
dridge for the Plainsong and Mediaeval Music Society.
Others, almost equally ancient, of continental origin,
may be found in Coussemaker's " L'Harmonie Au
Moyen Age," and elsewhere. Such antique speci
mens, however interesting, are scarcely of direct
practical use to the modern student. Only a few
fragmentary examples, such as those drawn from
15th century carols (Example 38, etc.) are therefore
included in these pages.
Byrde and other writers of the Elizabethan day
claim our attention until we reach the period of Dow-
land, late 1 6th century. Henry Lawes and after
him Henry Purcell lead us forward to the light of
the 1 8th century, after which it would appear
we must turn to other countries for examples of
what music at its best can show, though native art
has been by no means idle. The following table
of dates will enable the student to take a rapid sur
vey of the periods to which our examples refer.
A
ctable
showing
the
odates
of
mthe
pfEnglish
eaand
coxramrtpmeiopvselgrens., (circa) )
circa
(

840-930 521
4150-1 1475
1522 1480-1562 1SOI-1S 3 1567-1643 1620-16 9 1641-1681 1685-1750
1532-I594

de
Josquin
Pres (WiAldareiratn)
JMoean)
( uton
Monteverde
Hucbald Stradel a
Feroci Cesti
Goes Lasso Bach

5(circa)
610-160 5(circa)
710-1620

1491-1547 1520-1585 566

5213-1 538-
1623
1 5612-1626 1 1595-16 2 1605-16 5 1590-1646 623-1
582-1
635 1 1658-1695 696-1
693 755
1

D(John)
(circa)
uns1t4a0ble-1453

(RaTvehnsocrmofats)
R(
)Eidcwhards (WeThlokmeas )
(Tahlomias ) Giles )
)
(
Farnaby JDowohnland
( )
M(
Garuerince
(Wil iam)
Webb Playford (Henry)
(John) Purcel
Henry
VIII (
Byrde
Wm.) Milton
(John)
(H.)
Lawes
 1685-1759 1694-1746 846
7170-1 17 0-1827 784-1
1 1796-1869 7917-1828 803-
859 869
1 1810-1856 1813-18 3 840-1
893
1 1841-1904
l83 -i897

Tschaikowsky
Be thoven Schuman
Handel Schubert Berlioz Brahms Wagner Dvorak
Rinck Spohr Loewe
Leo

180 -18 0

837
782-1
I

Goss
S)
(
John
ir
(John)
Field
170 Melodies and How to Harmonize Them.

Example 135.
From a MS. roll in the Library
of Trinity College, Cambridge. 15th Century.

The above example ( No. 135 ) is a fair specimen

of 15th century three-part harmony.* Thirds were
omitted, passing-notes were clashed together, and
the whole structure was considered rather from a
melodic or contrapuntal point of view than as har
mony in our sense of the word. The cadence, it
may be added, was a usual one of the period, and
curiously enough ends with 7, 6, 8 as the melody-
* All the flats, and the sharp, are absent in the M.S.
 Appendix. 171

notes. The accompanying alto notes, hopeless as

they look, are correctly transcribed.
Example 136.
"0 MY HEART."
( A Song for Three Voices.)
Henry VIII. (1491-1547.)
From a Manuscript in the
British Museum.

r^rr r t r f

-s>—.

^ r rr r

»*—1 +—p-

Little apology is needed for the introduction of a

piece of composition of so august origin, and I believe,
hitherto unprinted. The student will note with
amusement the free use of consecutives in bar 2.
The air, however, is not without merit ; nor indeed
is the harmony.
172 Melodies and How to Harmonize Them.

Example 137.
PAWLES WHARFE.
From the Fitzwilliam Giles Farnaby.
Virginal Book. (Circa 1560-16 00.)
•
-i—L-^Ui—^^ 1

1 ~ F "flfc F -^"l
—1 1 1 T i f x p

^=^1=^===^

::

r=1
r—|-^-

=i=f=s^=f
1 «Wfl-i-^S—

Vl 1 r r.

r=d ,

P?$?=F=4—p=^—^-^, H
 Appendix. 173

Farnaby's excellent harmony ( Example 137 ) might

well have been cited as an early example employing
an unprepared dominant seventh, (see last note of
second bar in the melody ). It is also rich in pass
ing-notes. The tenor part in bar 4 quaintly enough
passes through the minor 7th of the scale. Compare
also bars 6 and 7, where C-natural is similarly used.
There is scarcely a brighter little melody within the
compass of these pages, and the rhythm is far from
common.*
Example 138. Wagnkr.
Lento.

W?4=3 ftt=—i~
f etc.
V 1n 1
1
4—) *-=—1 — H
The chords of the above example ( No. 138 ) would
easily pass for an old-fashioned progression ; never
theless the student may find them on page 226 of
Kleinmichel's score of "Parsifal."
Example 139.
"PROPER TUNE."
( Psalm 148.)
Playford's " Introduction."

*The quaint effect of the C natural in the bass of bar 6, and the con
secutive 5ths in the last bar may be noted.
174 Melodies and How to Harmonize Them.

Jas> J ^=1
f r rr rrr h

11 r r'r f'Wrrr u

The " Proper Tune " set to the 1 48th Psalm ( Exam
ple 139 ) is remarkable for the singular alternation of
the tonic and subdominant closes, which occupy the
whole piece. Note also the arpeggio-like opening of
the melody. In slow music it is not satisfactory to
treat such notes as part of the same chord. Better
vary it slightly, as shown, keeping the bass near at
hand, and avoiding any wide movement in any part,
as the treble skips so prominently. The third and
fourth bars, though emphasizing the subdominant
chord, do not permit of any use of the perfect cadence
to the subdominant ; the tenor is therefore made to
hint at the missing chord, (a minor 7th on D), by
means of passing-notes. The endings of the lines give
 Appendix. «?5

the cadences in the following order : — Tonic.

Subdominant,
Tonic,
Subdominant,
Tonic,
Tonic,—
a truly remarkable ( and monotonous) list.
Example 140.
OXFORD TUNE.
( Psalm 4.)
From " An Introduction
to the Skill of Mustek."
John Playwrp.
3 -
2H m
I
-f-r^j"l -
±1
'7 6 Melodies and How to Harmonize Them.

Playford's "Introduction" yields us an example

of an old tune harmonized throughout with triads
(Example 140). The beginning on a leading-note
was by no means uncommon as regards the melody
of old pieces. Immediately following will be found
a modernization of the same air, in chromatic har
mony, made by the editor in the manner of Grieg, if
it be not presumption to say so. (See Example 141.)
Example 141. — In Chromatic harmony.
OXFORD TUNE.
 Appendix. 177

The opening is founded on the mediant triad

(with major 3rd) of the tonic major scale. The
sudden modulation to A minor, with no note in
common, is comprehended by examining the follow
ing extension of the same thing.

t9 -a 1\

— ri
H

Example 142.
From the Oxford version
of the Agincourt Song.
( 15th century. )

etc.

1§B
2fc 1

The next two examples may be taken in connec

tion with the chapter on passing-notes. The
"Oxford" version of the Agincourt song contains
the bars quoted at No. 142. The second bar act
ually contains a dominant seventh, unprepared,
though it is brought about by the singular use of or-
\ namental notes shown.
178 Melodies and How to Harmonize Them.

Example 143.
A CATCH FOR THREE VOICES.
Deuteromelia. (1609.)
.3

Three blind mice, etc.

This venerable fragment of harmony (Example

143) is copied from Ravenscroft's wonderful old
collection, entitled " Deuteromelia " ( 1609 ). To read
the little melody aright, we must begin at the figure
1 , then turn back to 2 , and lastly take the top line as
the completion of the melody. The quaint effect of
no third, in the 3rd chord of each bar, must not be
overlooked.

Example 144. Stradella.

(1645-1681.)

' S-
 Appendix. 179

-kSH
1
"p- " I "I Pi
The common origin of the minor seventh and the
diminished seventh on the subdominant, it is pointed
out by Sir Hubert Parry, is seen in the example
above given from Stradella (No. 154). See bars 2
and 5. A much earlier use of the diminished 7th
has already been given in Example 94, by Dowland.
Two more instances are here added ( Nos. 145 and
146 ) from Purcell's " Art of Descant" ( 1683.)*
( Art of Descant).
Example 145. Purcell.

TT7
i J J J i -p—e*-
tap- 4*t

1 r
Example 146. Purcell.

J.

I ' be
•Thefigures are quoted exactly.
180 Melodies and How to Harmonize Them

Purcell, in the essay alluded to in our last para

graph, speaks of "two discords, the sharp seventh
and flat seventh mightily in use among the Italian
masters," (see our example No. 145, chords 2 and
8). Example 146 is interesting as well for the un
prepared diminshed 7th ( in bar 2 ) as for the
Neapolitan 6th, an early instance, in the very first
bar.
Example 147.
EXTRACT FROM "AWAY WITH THESE SELF-
LOVING LADS."
John Dowland. (1597.)
 Appendix. 181

Modulation in the 16th century was of an

extremely cautious nature as a rule. Exceptional
cases like the preceding ( Example 147 ) can, how
ever, be found, especially in English compositions of
the period.
Our last quotation is from Schubert, and shows a
beautiful and striking progression ( Example 148),
which has been justly declared by Professor Prout
to be one of the " most beautiful and novel ever
written." In all probability this is its first appear
ance, though no one need be surprised if it be dis
covered in Bach. It is also perhaps of little conse
quence who first used the progression ; for those
who can use it well will not be in danger of being
accused of anything more than the common indebt
edness which the old masters themselves had for
their forerunners. Dvorak's use of the same modu
lation is also added. ( Example 1 49.)

Example 148.
EXTRACT FROM SYMPHONY IN C MAJOR.
Schubert.

'Celli.

decres.
Pizz.
Bassi. 9:4 * * »
E^T f h • 1 =
182 Melodies and How to Harmonize Them.

Example 149.
EXTRACT FROM "SPECTRE'S BRIDE."
Dvorak.

I r
si
i

The End.
 INDEX.
PAGE.
Adoramus te (Feroci) 107
Agincourt Song 177
A. R. C. O. Melodies Harmonized 156, 158
Bach 77, 139, 150
Beethoven 39, 53, 58, 65, 70, 76, 78, 1 11, 124
Berlioz 101
Blow thy horn, Hunter 9
Brahms 125
Byrde 46) 89, 105, 106, 137
Carols 44
Cesti 148
Chopin 80, 103, 147
Come, Chloris (Lawes) 31.122
Deo Gratias 170
Deuteromelia 30, 178
Dowland 112, 128, 129, 145, 180
Dvorak 96, 182
Edwards (Rich) 127
Farnaby (Giles) 86, 172
Feroci 107
Field (John) 101
F. R. C. 0 159, 160, 162
Goes 149
Goss (Sir John) 37, 39
Greene (Maurice) 88
Handel 95
Henry VIII 4S> I7I
Hucbald iv. (Preface)
Incorporated Society 81, 109, no, 164
Josquin de Pre"s 61
Lasso (Orlando) 138
Lawes (Henry) 31, 122
183
184 Index.
FAGS.
Leo "6
Loewe 79i 88> ISS
Milton (John) 140
Monteverde 48
Mouton 47
Mus. Bac 163
Mus. Doc 165
Oxford Tune 17S1 *76
Parthenia 75
Pawles Wharfe 172
Playford i73> i74
Purcell (Britons, strike home) 51
" (Dido & Aeneas) 123
" (Te Deum) 124
" (Bonduca) 13°
" (Song) 141
" (Art of Descant) 179
Ravenscroft 30,67, 178
Rinck 94
" Requiescat in pace " (Josquin de Pre"s) 61
Schubert 68, 181
Schumann 54
Spohr 100, 102
Stradella 178
Tallis 146
Tschaikowsky 113
Wagner (Lohengrin) 69
" (Parsifal) 97, 132, 173
" (Mastersingers) 108
" (Tristan) 142
Watkins Ale 10
Webb (William) 130
Weelkes 81
Willaert 47> J39
York Tune 12
The author's example 151
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 MT 50 .D911 1906
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