. Harmony for ear, eye, and keyboard (first year). d, that Where it is good, it is very, very good; and where it is bad, it is horrid. Its use is very restricted. It is pre-eminently a cadencing chord and, as such, will be limited at present to the following conditions: — 1. It must be a tonic six-four, on an accent,in the cadence. 2. The root and third descend stepwise intothe next chord which should be V. Position inthe Cadence Ex2( a p (5>—& Half Cadence 6 54 3 P §§ Per. Auth. Cad. i 64 3 IE * 3H IS v i EAR-TRAINING Harmonic: The teacher will play Ex. 20 and have the class analyzeeach ch
. Harmony for ear, eye, and keyboard (first year). d, that Where it is good, it is very, very good; and where it is bad, it is horrid. Its use is very restricted. It is pre-eminently a cadencing chord and, as such, will be limited at present to the following conditions: — 1. It must be a tonic six-four, on an accent,in the cadence. 2. The root and third descend stepwise intothe next chord which should be V. Position inthe Cadence Ex2( a p (5>—& Half Cadence 6 54 3 P §§ Per. Auth. Cad. i 64 3 IE * 3H IS v i EAR-TRAINING Harmonic: The teacher will play Ex. 20 and have the class analyzeeach chord and name the cadences. Also play exercises similar to the following (no inversions) and havethe class write out on staff paper the soprano, bass, and the chord nu-merals. The first time emphasize the soprano, the second time empha-size the bass, then play once or twice with no particular emphasis, givingthe class an opportunity to hear the chord color and the chord succes-sions as a whole:— 50 HARMONY FOR EAR, EYE, AND KEYBOARD 51. f i J f f^f r ? i r IV V <b) pmm i j -r-3, i J ? n= ^ J3L Lua i i ii pg I IV I - V I - IV I ASSIGNMENT Keyboard Work: Play Ex. 20; note the balance between thetwo halves of the period, and test by ear thecadencing force of each of the six-four chords. Playthis in Bb, and D. Written Work: Harmonize this soprano, using two tonicsix-four chords:— o — jg m q l- 4 J * I 11 I I U I 1 M 1*1 — Also compose an original in G. Mark off the eightmeasures first, then sketch in the two cadences so asto make a period similar to Ex. 20. Select yourmaterial (aside from the cadences) from the primarytriads and plan your melody as in previous lessons. LESSON 18 The Chord ofthe Sixth The primary triads may all be used in theform of Chords of the Sixth. We now havethe first real opportunity to give the basssome melodic character. Thus far all the bass could do wasto leap stiffly from one root to another every time the chordchanged. No wonder if you b
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Keywords: ., bookcentury1900, bookdecade1920, booksubjectharmony, bookyear1922
