Harmony simplified, a practical introduction to composition . We thus contrast keysinstead of single chords. HARMONY SIMPLIFIED. 79 Second. —After writing the foregoing exercise, write a newone as follows : First, a simple melody in half notes and quarternotes, sixteen measures long, in either duple or triple time,composed of four phrases of four measures each, a cadence atthe end of each phrase. Figure 120, b, may be used as a the first cadence to the I either perfect or imperfect; thesecond to the V, using a transition to that key : the third, a sim-ilar transitional cadence to th
Harmony simplified, a practical introduction to composition . We thus contrast keysinstead of single chords. HARMONY SIMPLIFIED. 79 Second. —After writing the foregoing exercise, write a newone as follows : First, a simple melody in half notes and quarternotes, sixteen measures long, in either duple or triple time,composed of four phrases of four measures each, a cadence atthe end of each phrase. Figure 120, b, may be used as a the first cadence to the I either perfect or imperfect; thesecond to the V, using a transition to that key : the third, a sim-ilar transitional cadence to the IV; and the last a strong perfectauthentic cadence to the I. In this exercise the student for thefirst time furnishes all the material. He will succeed best if heaims at simplicity rather than at effect. Figure 124, b, shows a transition to the key of the V. Fig-ure 125, c, gives one to the key of the i?VI. Figure 126, a, givesone to the key of the iii. Figure 126, b, gives one to the key ofthe IV. 126. KuLLAK. Octave Study. f=?=P:?J^*--f--j»--f--»-. (m ScHUMAKN. -LGrillen. ^i^l ?r 1 §?5:1^ I ^i-Kte H=f=i^-- D\?: y V,^ I^ 80 HARMONY SIMPLIFIED. Third. — Harmonize the following. It is the bass of a wellknown hymn-tune. a= 127. ^±M- OE :#=ic ^m :f=?3t *±=t±f:|=« ^±^ I ^ -»-^m- ^^ S S ±t5 ^ ^v^ IV V V x^i HARMONY SIMPLIFIED. 81 CHAPTER Chords. There are four ways of using tones that do not belong to thescale of our key: First.—By changing the key. This we have spoken ofin the preceding chapter on transition. Second.—By using altered chords. Third.—By chromatic chords. Fourth.—By mixed chords. To understand the second and third classes, we must remem-ber that every chord possesses two characters: First, the characterthat is determined by its form, whether major, minor, diminished,etc., which is independent of key and which we may call itsformal character. Second, the character that is determined byits relation to other chords, wh
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