KC-x fCNJ "CO YEAR FIRST "lO HARMONY -CO COMPLETE. by WILLIAM LOVELOCK, D,Mus. (Land.) DISTRIBUTED ^ ALGORD TD. ? A. HAMMOND & Co. LANCASHIRE COURT. PRICE 11. :^85 NEW BOND STREET, .'OOZ LONDON. W. 3.00 1. . 1 )SI 7320 !N CAr SUPPLEMENTARY EXERCISES FOR YEAR HARMONY FIRST BY WILLIAM LOVELOCK D Hut. (Lond.) This work has been written in response to many requestt for further material for use in connection with First Year Harmonx Additional exercises have been provided to most of the chapters, and have been carefull/ adapted to fit in with those In the orifinal work. University ofToronto Presentedtothe Faculty ofMusic Library by Gwen Duchemin FIRST YEAR HARMONY COMPLETE. by WILLIAM LOVELOCK, D.Mus. (Land,) A. HAMMOND & Co. LANCASHIRE COURT. 11. NEW BOND STREET. LONDON. W 1. 7320 INDEX. Chap. Page. Preliminary 1. 1 2. Triads and Chord - progression 1 3. Cadences and Simple Harmonisation 13 4. First Inversions of Triads 20 5. Second Inversions of Triads •• 32 6. Unaccented Passing Notes 36 7. The Dominant Seventh 44 8. The Mediant Triad 51 V. Accented Passing Notes 55 10. Suspensions 61 11. The Melodic Minor Scale 73 12. Klementary Modulation 76 13. Auxiliary Notes 86 14. Three-part Work 92 15. Some Points (»f Style 98 Addenda 106 MAY 2 9 1998 V/ tOv^ /\. ?/? J^fry oirl FOREWORD. In writing this book my aim has been not only to sho^ the student how —to manage and use the various possibilities, but also when to introduce them a point which is obviously of prime imf)ortance. One so often encounters students who can talk glibly about the " treatment " of all kinds of chords, but who seem not to have the slightest idea of when to use them, or how to know when their use is implied in a given part. While the harmonisation of a melody or a bass is to a great extent dependent on the musical sensibility of the student, it has to be realised that certain melodic progressions imply, normally, certain definite harmonies, and these implications I have tried to make clear. Elementary work, at least, is largely compounded of commonplaces, and my object has been as far as possible to show how the underlying commonplace may be " spotted." An appendix on Figured Bass, for the benefit of those who use it in teaching, is published separately. It provides instruction and excercises on each chapter. The chapters and material have been arranged not only to provide a good grounding, but also to cover what is generally needed in the more elementary Harmony examinations, such as the paj>er work of the A.T.C.L., A.R.C.M., and L.R.A.M., and the whole book is based on my own practical experience in the teaching of Harmony. An attempt has also been made to show how exercises can be made reasonably interesting and flowing, by the early introduction of the unessential, and in particular Suspensions, which are often left to a later stage on account of their supposed difficulty. Actually they are easy enough to manage if dealt with on the lines indicated. The treatment of certain matters has been dehberately restricted and limited for the sake of clarity and simplicity Modulation, for example, has ; been dealt with only in an elementary manner. The student is recommended to follow this book by my " Hints for Paper Work Candidates " (Hammond & Co. which will serve for general revision. Ample supplementary excercises are to be found in my "108 Excercises in Harmonisation" (Hammond & Co.,) W. Lovelock. Copyright Digitized by the Internet Archive in 2010 with funding from University of Toronto http://www.archive.org/details/firstyearharmonOOIove Chapter 1. PRELIMINARY. 1. It is taken for granted that the student, before commencing the study of Harmony, has a thorough knowledge of " Rudiments " otherwise mis- ; understanding and confusion inevitably arise. In particular, Intervals must be properly understood. 2. No real progress is possible unless the faculty of mental hearing is properly cultivated. A complete discussion of this matter is obviously beyond the scope of the present book, and one can do little more than to stress its extreme importance. Every example, whether a single chord or a complete progression, should be played many times consecutively at the piano, and the student should endeavour to memorise at least its general sound-effect, so that when he sees any given chord-progression on paper he may be able to realise mentally its actual sound. 3. It is also desirable that all the examples, which are given generally in C major for the sake of simplicity, should be written out and played in various keys, so that the student may be able to recognise them in ke}'s other than C. 4. But the effectiveness of these procedures is entirely dependent on a properly arranged course of instruction in mental hearing, which can only be left in the hands of the teacher. 5. It must be firmly impressed on the student that what follows is to be studied, not merely read. This may seem a trite observation, but experience shows that all too many students appear to think that a more or less casual reading over of the text is sufficient to enable them to achieve real understanding, and the ability to work exercises correctly. It should be clearly realised that every sentence, throughout the whole book, is of importance, and its meaning and implications must be properly understood. Chapter 2. TRIADS AND CHORD-PROGRESSION. 1. If we take a note and place above it a 3rd and a 5th we obtain a triad. that is, a three-note chord. The note on which the triad is built is called the root, and a triad is said to be " in root position " when this root is in the lowest voice or part. .. , ^ ^ 2. There are four kinds of triad : (a) major, (6) minor, (c) augmented, and (i) diminished. Ex. 2 shows an example of each on the note C as root. Ex. 2. (a) (b) (c) (d) & II b^ II ^ig. II \>^ It will be seen that the major triad consists of root with major 3rd and perfect 5th above it ; the minor of root with minor 3rd and perfect 5th; the augmented of root with major 3rd and augmented 5th {i.e. two superimposed major 3rds) ; and the diminished of root with minor 3rd and diminished 5th {i.e. two super- imposed minor 3rds). 3. A triad can be built on any note of a scale, thus Ex. 3. (a) C major (b) C minor ^h ^ ^ § ii r-» 8 w ^ „ a g u i§ " a^ m m I u IV V VI VII I II IV V VI VII Note : (1) The triads in the minor key are formed from the notes of the harmonic minor scale. Use of the melodic form is considered later. (2) The leading-note of the minor key is always raised a semitone by an accidental. (.3) The Roman numerals indicate the degree of the scale which is the root of the triad. Thus, " Chord IV " refers to the triad on the sub- dominant " Chord VI " to that on the submediant and so on. ; ; (4) A triad is known also as a " five-three chord," since it consists of a 5th and a 3rd above the bass. 4. Chords I, IV, and V, in either major or minor key are called Primary Triads. It will be seen from Ex. 3 that in the major key these are major triads while in the minor key I and IV are minor, V remaining major. II, III, and VI in; the major key are minor, and are called Secondary Triads. VII,—being diminished, is a discord. In the minor key the only Secondary Triad is VI a major chord. III, augmented, and II and VII, diminished, are discords. For the moment we confine ourselves to the use of Primary and Secondar}' triads (with the exception of III in the major key, which is dealt with later), viz., in the major key I, II, IV, V, and VI in the minor key I, IV, V, and VI. No other chords should be used ; until they have been specifically dealt with. Exercises : (1) Write the primary triads in the keys of G, A, B flat and A flat major, and D, F, F sharp, and B minor. (2) Write the secondary triads in the same keys. (3) Write the primary and secondary triads in D and G flat major, and E and E flat minor, naming each triad as major or minor. — 5. Work will be written for four voices or " parts " soprano, alto, tenor, and beiss. Their compasses are : Ex. 4. Soprano Alto Tenor o m I ixz: XE TT WTien writing in short score (two staves) S. and A. are placed on the upper stave, T. and B. on the lower. Stems of notes in S. and T. are written upwards, those of A. and B. downwards. Ex. 5. I ^ m ^ 6. In arranging a triad for four voices, one note has to appear in two parts, i.e. it is " doubled." The best note to double is the root, the next best the 5th. In a minor triad the 3rd may be doubled, but in a major triad this is undesirable (for the present), except in certain special circumstances mentioned below. Thg leading-note may never be doubled. For the moment it should be taken that the root only is to be doubled. Ex. 5 shows what is meant by " doubling the root," both bass and soprano having C, which is the root of the chord. 7. Spacing of parts is of great importance. Next-door parts should not be more than an octave apart, except T. and B. Examine the following, noting that the root is doubled in every case : (b) (a) (b) (a) (c) (d) Cc) Ex. 6. $ ^ ti 11 xc ^^ ^ jo: Ti- fi^di It will be seen that broadly speaking the parts are either roughly equidistant (a), or the S.. A., and T. are close together, leaving a larger gap between T, and B. (6). Also, the farther apart the S. and B. are placed, the more generally wide- spread the spacing becomes (c). The spacing at {d) is noteworthy, since it has the largest gap (a 6th\ between A. and T., while T. and B. are only a 3rd apart. This is good when the'nth of the chord is in the S., provided that the chord does not lie too low. If too low, the effect is muddy. 8. Parts should not cross ; i.e. S. should always have the highest note, A. the next highest, T. the next, and B. the lowest. Exercise Add A. and T. to the following, to form triads in root position. Double : the root in every case, and give the root-indication of each chord. /