. Harmony for ear, eye, and keyboard (first year). 17. Then analyze orally as it is played once againwithout reference to the paper:— £jE^ m ?u n ff ±1 11 in i i ate m ^ m. i3 i6 v v( m mm i i6 iv i! v mm mm m j-j-i *U I8 I6 IV IV6 IV8 if V f 54 HARMONY FOR EAR, EYE, AND KEYBOARD ASSIGNMENTKeyboard Work: Play the following in several major keys:— f^Hn 0 1 V -f (J =£ kh 3 6 c- 6 6 54 3 -B- / V \> €> a -o —£ ?6 J —o— Written Work: Supply the middle voices in No. 1, and har-monize No. 2, seeking the very best soprano the chords as usual, remembering that theRoman numerals al
. Harmony for ear, eye, and keyboard (first year). 17. Then analyze orally as it is played once againwithout reference to the paper:— £jE^ m ?u n ff ±1 11 in i i ate m ^ m. i3 i6 v v( m mm i i6 iv i! v mm mm m j-j-i *U I8 I6 IV IV6 IV8 if V f 54 HARMONY FOR EAR, EYE, AND KEYBOARD ASSIGNMENTKeyboard Work: Play the following in several major keys:— f^Hn 0 1 V -f (J =£ kh 3 6 c- 6 6 54 3 -B- / V \> €> a -o —£ ?6 J —o— Written Work: Supply the middle voices in No. 1, and har-monize No. 2, seeking the very best soprano the chords as usual, remembering that theRoman numerals always refer to roots:— m h A *=* U ,,1J ,,l j 6 5 4 3 P^2 w n u m 5 6 2 2aB! ^£§ LESSON 19 The Six-FourChord and Chordof the Sixth(Con.) Freedom in the choice and use of inversionscomes only with practice and thoughtfulanalysis of good models. With nothing butthe primary triads,in root position, we neededscarcely any help beyond the little rules in Lesson 5. Now we must consider the following :- Correction (b) Bad Correction. At (a) we have parallel octaves even though there be acommon tone. This is one of our new problems. Thetenor makes an unnecessary leap down to E. In the cor-rection the soprano takes E, tenor G, and the octaves dis-appear (Lesson 5, rule 1). At (b) bad parallel fifths occur between the soprano andalto, another new problem not covered by any rule so fifths disappear if we lead the soprano to B, the tenorto D. This is sometimes called mixed motion. No is sufficient to observe such cases. EAR-TRAINING Key and Interval Drill, as in Lesson 16. Melodic: Insist upon accurate rests. Note the use of the sequence. 55 56 HARMONY FOR EAR, EYE, AND KEYBOARD fe-jJnJr^cr^iJMirc^^ fcAh 4 ——u-f—w-r-1—— r *—m-F-?— ^-H 4 • f— m r r r r i J r r r i r m^f^i is £=^=S h? Ji? ^ i J a i ¥=? ^=^^-HtH m
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Keywords: ., bookcentury1900, bookdecade1920, booksubjectharmony, bookyear1922
