. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . V) (IV) (I) (IV) *l) *2) *3) *a) *3) D major *i) The triads in parenthesis are canceled. — *2) The IV should not follow the V. — *$)This may be either the I or the V; the I, because of the wide leap in soprano; or the V, whichis the better of the two, because it is wiser to change the chord at an accented beat — thoughnot imperative at the secondary accent. LESSON 10. Harmonize the following major melodies, according to the above directions: m *=$ T—•- m I a f ±s^^F •1
. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . V) (IV) (I) (IV) *l) *2) *3) *a) *3) D major *i) The triads in parenthesis are canceled. — *2) The IV should not follow the V. — *$)This may be either the I or the V; the I, because of the wide leap in soprano; or the V, whichis the better of the two, because it is wiser to change the chord at an accented beat — thoughnot imperative at the secondary accent. LESSON 10. Harmonize the following major melodies, according to the above directions: m *=$ T—•- m I a f ±s^^F •1) 4. •2) 5. m^^Tn^M^jiiuir^irf^mm 6. m 7. •^* Jtrtt E^E ^=^=S 3tlt -S^r1 *frftfffti V=i- £5*±^J -#v i^S _^_ -0-9—0- $®m &—& g 1 P=: S3 32 THE THEORY AND PRACTICE OF TONE-RELATIONS. Par. 84. 10. ps^w^^mmm ■rj e> ^£3- <* 1 ^ * I *3) m 11. gy?^?=F:r EEE trEEStifc t=ht «4) ^3: vk ft o ^—I—r m P N —1 0 1—P - i I—i—y—9-~f J *5) ^ *^ 13. 14. I y ^ -•^—p- 5—*—\ 1 ft-^—* F • h ES5^ S 4: i fc=S *5) 15. S 5S -1 =J *=t *6) 16. *7) S rffct ^=S= -jT-<-&-. *i) Turn all stems upward. — *2) The wide leap (and slur) usually indicates that thechord remains the same. — *3) At this wide leap the chord must be changed, because of thescale-steps represented. — *4) Here the chord must be changed, despite the wide leap in themelody, in keeping with par. 69, Rule IV. Beware of parallel octaves in soprano and Ex. 55, note *i). — *$) Here, also, the wide leap must be harmonized with differentchords, because the phrase should begin with the I. Again, see that the bass skips in op-posite direction to the soprano. — *6) See Ex. 55, note *q). — *;) When the leading-tonedescends, as here, with a narrow leap to the 5th step, it is evident that the chord must re-main the same; for only chord-repetition justifies the melodic licence; see Ex. 46, meas. 4.*8) Compare Ex. 46, measure 1. The chord should be changed for each of thes
Size: 3087px × 810px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, bookidtheorypracticeof1917goet
