Harmony simplified, a practical introduction to composition . ne of the other parts. Generally it is the dominant or tonictone that is so held. It is immaterial whether the pedal pointbe held throughout or constantly repeated, see Figure 151, a, and151, h. Rule 16.—The beginning and the end of the pedal point mustbe a part of the harmony. Figure 151, h. It would require too much space to quote many illustrationsof pedal point, but the student may refer to any or all of the fol-lowing : HeUer, Slumber Song from op. 81, the repeated AI? ;Chopin, Berceuse, in which the low D1? of the bass held by
Harmony simplified, a practical introduction to composition . ne of the other parts. Generally it is the dominant or tonictone that is so held. It is immaterial whether the pedal pointbe held throughout or constantly repeated, see Figure 151, a, and151, h. Rule 16.—The beginning and the end of the pedal point mustbe a part of the harmony. Figure 151, h. It would require too much space to quote many illustrationsof pedal point, but the student may refer to any or all of the fol-lowing : HeUer, Slumber Song from op. 81, the repeated AI? ;Chopin, Berceuse, in which the low D1? of the bass held by thedamper pedal occurs in every measure, and the harmony scarcelyvaries from I, V^; Chopin prelude in Di?, the Aj? or Gtt is heardnearly all the time. In Wagners Siegfried there is a passagein which the horns hold a tone through some thirty-four measures— an extreme example of a pedal point in a middle voice. The following illustrates the use of the pedal point both insustained form and in repeated form. See also Figure 168. Bach. Prelude, No. 22. Pedal Point. 102 HARMONY SIMPLIFIED. Gadb. The Crusaders. ?^ z^. ^^F^W^^^ m^gi m + ^t=£=i Ln«,-^ L^ L, 1—u f^ Pedal PoifU. Exercise. Harmonize the following. H L 152. i teSE w A y| J# -zJ- q= s U-^ titatii Dt* ?25^ I ^^ifeiS 033 f^Ff JJ 11^, IV l:;p=pl?E f^ • r^ Mill rt I Il^VyVi PedaZ Point. 153. i fcj ?i&—•—•- m ^ ^^ ?•• I V^o^Tb ^\lo^h V^ V^b 1 /= V, 7l! i -(& •—•- :*^ I I jJt 15! bi i ii -• • is>- I IV„ n,^ -St?- ^7,9,11 b ^7,9 Ic ff-^T HARMONY SIMPLIFIED. 103 I • ^ IS I: i -b—£f- ^=P= =t^t 1° VI 7b ^7,13 ^7 ^ 104 MABMONT SIMPLIFIED. CHAPTER or Retardations. Sixth. — By far the most important method of using non-harmonic tones is as follows. When a tone of a chord isdelayed and is heard in the following chord as a dissonance, it iscalled a suspension or retardation. Figure 154, a and tone is first heard as a consonance, and becomes a non-har-monic tone by b
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