Harmony simplified, a practical introduction to composition . ie in the key—as we shall learnin the next chapter. But as all chords have a tendency towardsthe I, the IV goes to the I either directly or first to the V, andthen to the I. ^Cjlule e.^^he V must not go to the IV. Try it and see howbadly it sounds. 11. 0 / ? i ^ f^ f3 ^ fn a ^ ,^ -|-| \ in /^ ^ » ri \fl/ >^ -- in % n „ fi li «J Good. -19- Good. a/ —-aBad. Pv- -S S ,S QO a - n •-1. •- c II /n o H IV IV IV IV IV IV The student should play the chords in Figure 11, noticing theeffect of the I, V, and IV chords. He shoul
Harmony simplified, a practical introduction to composition . ie in the key—as we shall learnin the next chapter. But as all chords have a tendency towardsthe I, the IV goes to the I either directly or first to the V, andthen to the I. ^Cjlule e.^^he V must not go to the IV. Try it and see howbadly it sounds. 11. 0 / ? i ^ f^ f3 ^ fn a ^ ,^ -|-| \ in /^ ^ » ri \fl/ >^ -- in % n „ fi li «J Good. -19- Good. a/ —-aBad. Pv- -S S ,S QO a - n •-1. •- c II /n o H IV IV IV IV IV IV The student should play the chords in Figure 11, noticing theeffect of the I, V, and IV chords. He should then at the pianodiscover for himself other distributions of these chords, namingthem as he plays. Figure 12 shows the use of these chords. Handel. Samson. 12. fe «v. >s. F iisii gtg: E^EE -i tr«zfc i 3 i -^z i ^- z£ 3 -(=-• =^ ?P~ T \ \ \ ^ i IV [ ^ The following from Chopins eleventh Nocturne shows whatcan be done by a master with the small material that we have al-ready studied. 10 SARMONT SIMPLIFIED. 13. F. Chopin, op. 37, No. Let the student first name these chords from the paper. Af-terward the teacher should play them at the piano and ask thestudent to name as many of the chords as he can by the sound,—he should know all the chords but the two marked with a cross. Exercise. First.—Write two or more exercises in the key of C usii^g thefollowing chords, observing all the rules thus far given : I, V, V,I, V, V, I, I, IV, I, IV, V, I. Write in common time, all half notesbut the last which is a whole note. Figure 14 shows some thingsto be imitated and some things to be avoided. From a to & noerror. At b parallel octaves. At c the third is omitted: c to dparallel fifths (between alto and bass). At / Te does not go toDoh. 14 $ ^ -SF= r-^r ^ SE -tS-d. I &- ^^^ -(2- I IV I IV V the student discover for himself the errors inthe following and write out the example in corrected are at least fifteen violations of the rules so far g
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