. Harmony for ear, eye, and keyboard (first year). ing chord is such that this poorposition of n is at least strongly invited and if used whenthe following triad is I4 we get bad parallel fifths, as inEx. 36 (a). In such a case, one should give up commontones and use contrary motion to the 11 (b). Sometimesopen position of the 11 makes the same trouble (c). Rule for n or116 to IJ From 11 or if to IS use contrary mo-tion to an ascending bass to the nearestchord tones and do not have the fifthsof the chords above the roots, as in Ex. 36(6) and (d). 90 HARMONY FOR EAR, EYE, AND KEYBOARD 91 Parall
. Harmony for ear, eye, and keyboard (first year). ing chord is such that this poorposition of n is at least strongly invited and if used whenthe following triad is I4 we get bad parallel fifths, as inEx. 36 (a). In such a case, one should give up commontones and use contrary motion to the 11 (b). Sometimesopen position of the 11 makes the same trouble (c). Rule for n or116 to IJ From 11 or if to IS use contrary mo-tion to an ascending bass to the nearestchord tones and do not have the fifthsof the chords above the roots, as in Ex. 36(6) and (d). 90 HARMONY FOR EAR, EYE, AND KEYBOARD 91 Parallel 5ths(a) (b\ ; m Bad W £ XE § Parallel 5ths (c) (d) Correction it £ ^TT O Bad 331 m Correction zz: If It The vi with doubled third is next in value,ecep ve a ence ^ preceges y in the half cadence and followsV (or V7) in a new one, the Deceptive Cadence. You willsee that this vi has tonic function and, having that, itsthird (tonic) is fine doubled. Listen to these in Ex. V7 should be complete when it precedes vi. See (b). The VI in half cadence. The Deceptive Cadence (3 approaches ) SIGHT-SINGING AND EAR-TRAINING Scale Drill: Write the melodic minor scale beginning on C# andon F. Sing several minor scales and the tonic chord. Verbal Dictation: Whole-notes in minor. Tonal: Groups in minor similar to those given in the last lesson. Melodic: The teacher will play very simple minor melodies forthe class to sing and then write: — 92 HARMONY FOR EAR, EYE, AND KEYBOARD ASSIGNMENTKeyboard Work: Play thejfollowing in several major keys: m v^s =p i :&= Written Work: Harmonize i Half Cadj Deceptive Cad. i Full Cad. mm w in |jjj 64 7 66 4 s ^- w rrrvr lrrr 6 4 63626 5 36 647 2 ./b IP si g—p—p—a-* o *—p O- LESSON 32 We shall limit our use of the secondaryin Minor triads in minor to the supertonic and the subdominant. The III with its augmentedfifth is better omitted in elementary work. The supertonic triad in first inversion is used just as inmajor, but i
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Keywords: ., bookcentury1900, bookdecade1920, booksubjectharmony, bookyear1922
