Ml 
 
 50 
 
 N56 
 
 UC-NRLF 
 
Q 
 
 
 fT, 
 
KEY TO 
 
 Practical Harmony 
 
 A COMPREHENSIVE SYSTEM OF MUSICAL THEORY 
 ON A FRENCH BASIS 
 
 BY 
 
 HOMER A. NORRIS 
 
 Part I. Consonance Part II. Dissonance 
 
 Part III. Key to Harmony 
 
 PHILADELPHIA 
 
 THEODORE PRESSER 
 
Copyright, 1896, 
 
 BY 
 
 H. B. Stevens Company 
 Boston 
 
 Copyright secured in England 
 
 Copyright transferred, 1903, to 
 Theo. Presser 
 

 KEY 
 
 TO 
 
 PRACTICAL HARMONY. 
 
 PART I. 
 
 CONSONANCE. 
 
 INTERVALS. 
 
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KEY TO PRACTICAL HARMONY. 
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KEY TO PRACTICAL HARMONY. 
 
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KEY TO PRACTICAL HARMONY. 
 
 
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KEY TO PRACTICAL HARMONY. 
 
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KEY TO PRACTICAL HARMONY. 
 
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KEY TO PRACTICAL HARMONY. 
 
 
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KEY TO PRACTICAL HARMONY. 9 
 
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KEY TO PRACTICAL HARMONY. 
 
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KEY TO PRACTICAL HARMONY. 
 
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 KEY TO PRACTICAL HARMONY. 
 
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 MELODIES. 
 
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KEY TO PRACTICAL HARMONY. 
 
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 PASSING-NOTES. 
 
 ( Page 39.) 
 
14 
 
 2. 
 
 KEY TO PRACTICAL HARMONY. 
 
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 ( Page 41 -42.; 
 
 
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KEY TO PRACTICAL HARMONY. 
 
 
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KEY TO PRACTICAL HARMONY. 
 
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KEY TO PRACTICAL HARMONY. 
 THE SECOND INVERSION. 
 
 ( Pages 53-54.) 
 
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KEY TO PRACTICAL HARATONY. 
 
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KEY TO PRACTICAL HARMONY. 
 
 21 
 
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 MODULATION. 
 
 FIRST ORDER. 
 ( Pages 72-74.) 
 
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 Adagio. 
 
 :&: 
 
 Pi 
 
 •I — X3-? 
 
 "^r^s)-' 
 
 ^7^-"%-' 
 
 ■=l: 
 
 -25*^ 
 
 gj . g j: 
 
 q: 
 
 -<S>~v-iS*- 
 
 
 m 
 
 ^^ 
 
 
 :t: 
 
 «g= 
 
 ^ff^r^_=:^=r- 
 
 
 i^P 
 
 =:l=^=q 
 
 -^ 
 
 
 :=^3:z3:i: 
 
 -'5.'— -25(— 
 
 ■ii± 
 
 ^^=h-f^ 
 
 
 
 
 
 ei' -^-' 
 
 -J- 
 
 :^— 
 
 ^(S- 
 
 — ^_5 <>- 
 
 -(©— 
 
 F 
 
 S-^6^— 
 
 15= 
 
 -^n: 
 
 -(5^.- 
 
 
 fl 
 
 9z=-: 
 
 
 -g-b#- 
 
 
 -(2..!_^-i. 
 
 -«5>— 
 
 h22- 
 
 -iS?— 
 
 :ii^=c: 
 
 £ 
 
 II 
 
 Canlabile. 
 
 ii 
 
 -^-•--^ 
 
 
 9is?-^ 
 
 
 (51- -«'- _-»- -«'- 
 
 ;&±t 
 
 
 #-| — I ri — I r' — 
 
 
 
 -J- J 
 
KEY TO PRACTICAL HARMONY. 
 
 23 
 
 
 9^ 
 
 r(^- 
 
 :t=: 
 
 -^=2- 
 
 ^-^ 
 
 I 
 
 Allegretto. 
 
 :=]: 
 
 
 -4—-^ • — g- 
 
 -?^- 
 
 SECOND ORDER. 
 
 2^- 
 
 i-^— 
 
 -^r 
 
 -^-i — I 
 
 <^-r- 
 
 -(^ 
 
 E=i 
 
 
 ^fes 
 
 f' 
 
 si- 
 
 J-^^ 
 
 ls=z:^ 
 
 
 (Sl-r- 
 
 -s^— 
 
 --^r^ 
 
 #^^EFi 
 
 -« m- 
 
 -e&'-r- 
 
 9i=C: 
 
 -«!-=- 
 
 -^-^ 
 
 :=t 
 
 ;iii 
 
 2^ 
 
 9f^£ 
 
 i::ig: 
 
 __^^_ 
 
 Jg± 
 
 
 ©•-r- 
 
 9— 
 
 -(S-r- 
 
 -J- 
 
 I^IE 
 
 ' — <S>-r- 
 
 — -— 1 ^ 
 
 ^ r 
 
 ig; 
 
 -^- 
 
 ■^^- 
 
 r-4- 
 
 -^1 ^- 
 
 :3: 
 
 ■«— 
 
 :^- 
 
 -J-r4 
 
 -^z 
 
 : r-^r--s: 
 
 -(S— 
 
 <e-r- 
 
 HPi 
 
 -si- 
 
 T==p= 
 
 :t: 
 
 
 --'5- 
 
 m 
 
H 
 
 KEY TO PRACTICAL HARMONY. 
 REMOTE MODULATIONS. 
 
 Andante. 
 
 
 2zgi 
 
 
 =1: 
 
 -S'-s^- 
 
 Biziizzzie 
 
 (5^ -g- 
 
 I 
 
 
 
 :^g=^=^ 
 
 i'ST 
 
 ?'5'T 
 
 IS'-I 
 
 :^ 
 
 
 ?^±^: 
 
 
 
 
 
 9i 
 
 ~Fg~ 
 
 JfS'— 
 
 ^: 
 
 -'g-gi- 
 
 i-Jt^— g^ 
 
 rJ^ 
 
 g 
 
 
 
 
 ■JfS 
 
 
 
 d2sz^g^El^==: 
 
 zfe 
 
 -g^- 
 
 (2- 
 
 :1^=^ 
 
 i?-i 
 
 JZ-G>— 
 
 — «) — >v- 
 
 
 
 .^-i 
 
 9i: 
 
 :2=|=: 
 
 =^-^= 
 
 -iS'— 
 
 H 
 
 :H 
 
 TONAL SEQUENCE. 
 
 ( Pages 76-77.) 
 
 ■ 
 
 -4 
 
 tg 
 
 =i 
 
 =|: 
 
 :i 
 
 =^=::4: 
 
 -g- 
 
 
 -?5l- 
 
 ;ii 
 
 ^^^1 
 
KEY TO rRACTICAL HARMONY. 
 
 2. 
 
 •i—&- 
 
 ~7TT — c=^ 
 
 d=hJ l=f:=l l-l-H r 
 
 ^^^ — '5>—\-g6 — <a— -isi 1 
 
 ^— g: 
 
 ti^^z^ii 
 
 I 
 
 -&- -<S -H- 
 
 iS^SE^EEEE 
 
 (2- 
 
 -^ (2- 
 
 -«^ f=^ 
 
 ^ (2- 
 
 il 
 
 J 
 
 ftt 
 
 J '_4-J_l- 
 
 
 
 f=FF-r=E:# 
 
 ^=2 ^- 
 
 :^ 
 
 I 
 
 to: 
 
 i^^ 
 
 FzSEfc^EE 
 
 l^-- -5(- 
 
 -^ 
 
 
 ^^ 
 
 :^=L-g=S=: 
 
 Kg^ 
 
 i 
 
 -ri- 
 
 rbrB-d: 
 
 
 '^, — gh 
 
 :^:^- 
 
 :^g- 
 
 :^=-,fa^ 
 
 fe^zd— b^z-M 
 
 ^ — g- 
 
 <5 — t g — g^- 
 
 I 
 
 aas?3 
 
 tfz 
 
 fS? ^- 
 
 ■!^ — "^^ h^zn!?— I-'^- 
 
 -<2- 
 
 I 
 
 3E5 
 
 4=j=g=: 
 
 t=, 
 
 — I a — F 1- 
 
 --I — . — F-^- 
 
 c^i 
 
 ^ 
 
 =3 
 
 
 p— •- 
 
 il 
 
 «- -^- 
 
 r- 
 
 y Y — r~Z3~ 
 
 is-lss- 
 
 rrr-n 
 
 .(2-s.- 
 
 :-f=2-ps,. 
 
 
 :^J: 
 
 
 -(22- 
 
 P±ti 
 
 ^p^P£E£ 
 
 ■P-f2-rg-^. 
 
 i*n_^!' J (^ i^^ ^ ?_:_ 
 
 ^-<2-i 
 
 tt 
 
 ^^ 
 
 P?3 
 
 ^-f;^-!^^- 
 
 tSEES^ 
 
 -^Zg- 
 
26 
 
 KEY TO PRACTICAL HARMONY. 
 
 ■I 
 
 3!: 
 
 
 r^-d— ^ 
 
 ■=^-^ 
 
 :^ 
 
 §H 
 
 T^L 
 
 -(2- 
 
 £^t 
 
 
 «- — s*- 
 
 X--- 
 
 -(22— «.- 
 
 -1=2- 
 
 REAL OR MODULATORY SEQUENCE. 
 
 (Page 78.) 
 
 1. 
 
 
 -r^-^s-^fp^r 
 
 ^^^^^v^^^^^^ m 
 
 "r. 
 
 e3H 
 
 -^-^ 
 
 -5^-^ 
 
 'Z^A 
 
 m. 
 
 f^g#gt #i^^ 
 
 
 -3-' — c;^- 
 
 :a£»«^"t? 
 
 ^ig?" 
 
 
 1^ 
 
 Sfi'- 
 
 :II^ 
 
 :Efe 
 
 
KEY TO PRACTICAL HARMONY. 
 
 27 
 
 4. 
 
 '^^^^^^^^^^d-w^A^^ 
 
 % b' 
 
 '|SrG^|!-gr-Pg: 
 
 'W 
 
 g#g-(S^ ^I'^S'**^" ^" 
 
 S^$:35SS3^^ 
 
 '■^^^'-^9^ 
 
 ±^ 
 
 :tft=:]z 
 
 ft^^^S^- 
 
 =F«^ 
 
 
 -d^: 
 
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 |:|S= 
 
 ^"^^^r^ 
 
 :CI^ 
 
 
 ^EE 
 
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 I — h-^-g'^ — t'^ 
 
 -^■ 
 
 6.< 
 
 — '^~ l^fe" it~ %tt? -i^*" ^biTsT "frg 
 
 iisE 
 
 -B^- 
 
 ::l?^ 
 
 ^^ 
 
 8.< 
 
 m. 
 
 -O. 
 
 G> — 
 
 
 
 ■^- 
 
 ifj*j:ii-p. 
 
 fes 
 
 
 ;i;i 
 
 :«=^: 
 
 ■^:^- 
 
 t^-<&- 
 
 ^e 
 
 9. 
 
 ^^-8 
 
 2zS-z^ 
 
 -5*-- 
 
 r 
 
 I 
 
 -«- S*- -6'- 
 
 ^^^-g ^ — ^-F '^F^ +'=| — ^-Fl [ | g -F^— ^-r^-^H 
 
 ,..,! 
 
 ^4 -1 — -J-H- 
 
 -*f 4t —7+5 — g) <5»-\ — A- 
 
 1^ 
 
 -z^ — 'S'- 
 
 I 
 
 I feJEEgi g^ 
 
 -(=2 g- 
 
 
 :l;l 
 
2S 
 
 1 \.< 
 
 KEY TO PRACTICAL HARMONY. 
 
 y^ -s>-f^ \- s>— , 
 
 I 
 
 g-Sigib^i^L?? 
 
 i9-(^-&^G>— 
 
 to=i 
 
 
 -<9-P^ -G>- 'G>-, 
 
 
 m 
 
 
 9*8^ 
 
 (S'-r-- 
 
 m 
 
 12.< 
 
 giii 
 
 -6'-^- 
 
 -'?--2?- 
 
 ■i9 i-p- 
 
 J-.-J-J-.4 
 
 
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 g-^ 
 
 ggBJE^g 
 
 ^-^- 
 
 :t: 
 
 :^-_^ 
 
 
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 13. 
 
 ;$* 
 
 f^ 
 
 ^^ 
 
 -S= J: 
 
 Pii=^ 
 
 -^— 
 
 :4: 
 
 ■-S- 
 
 i 
 
 :i 
 
 I 
 
 PART II. 
 
 DISSONANCE. 
 
 THE DOMINANT SEVENTH CHORD. 
 
 ( Pages I 1-12.) 
 
 
 V^i4^ -19'—-^- -^ — ?d 
 
 
 :s: 
 
 -1:2- 
 
 -^^f- 
 
 ^Ez^=g— ^ 
 
 I I 
 
 f- 
 
 
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 ^-ffi: 
 
 r — 
 
 ■(S*- ^ -•5'- -«?- 
 
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 ? 
 
 t- 
 
 -(2. -^. 
 
 f- 
 
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 if?^-F:^=| 
 
KEY TO PRACTICAL HARMONY. 
 
 29 
 
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 i^^Eii^^^ 
 
 g=l=s- 
 
 ■tTz^' 
 
 i^ 
 
 5Kr 
 
 .1^ 
 
 ,_.-i2i 
 
 _2^_ 
 
 ^g-pb^-feJ: 
 
 i 
 
 12^ 
 
 :5f= 
 
 
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 x^ ?^ — *^ — 1~ 
 
 :=t^ 
 
 
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 m; 
 
 ^;2?-[-^ 
 
 -^^-6?- 
 
 H^^— «■- 
 
 zM— g: 
 
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 ^g 
 
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 ^-^g- 
 
 
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 iSlS 
 
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 ^ ^ 
 
 i^^i^l 
 
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 ^zzz^g^ 
 
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 SeI 
 
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 1 
 
 gi^5|ES^g=| 
 
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 1tR=t-|: 
 
 9fcp 
 
 ^^ 
 
 e 
 
 i 
 
 g^— <5'-f— S>- 
 
 y^ 
 
 -^-rz?— I 
 
 i.^ 
 
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 :ff5i- 
 
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 -^- -^- 1Z£2- 
 
 
 -^ 
 
 =^ 
 
 -«'- -S"- ^ -«'- 
 
 ^ 
 
 sg; 
 
 :t= 
 
 ^^-&- 
 
30 
 
 KEY TO PRACTICAL HARMONY. 
 
 
 — .-^U. 
 
 
 :ffgz: 
 
 (^ -^• 
 
 Ji±J^t=^± 
 
 pS^» 
 
 — ^-h- 
 
 zz&ite 
 
 -pS^ 
 
 =r-=^:^ 
 
 ■«^,^- 
 
 I 
 
 g'-^-gy-l 
 
 i^ 
 
 
 ,fe: 
 
 .JSSfI^^^- 
 
 
 isZIT-!^ 
 
 2: 
 
 
 (Almost never employed.) 
 
 T 
 
 m 
 
 
 :szcs 
 
 -'5'-h27 
 
 i 
 
 BASSES. 
 
 ( Pages 13-14.) 
 
 rS: 
 
 
 :^=^=E^=J;_?=# 
 
 =J=F^: 
 
 --U, 
 
 ^-t^ 
 
 -s'-^- 
 
 §±fi; 
 
 •^jig: 
 
 :?!•-• •--^-^_ 
 
 
 ^^i^^ijg^: 
 
 P 
 
 :ti 
 
 
 .^iV 
 
 -*T 
 
 SSesSe^ 
 
 :d=^-i 
 
 9i-»!g^ 
 
 tf= 
 
 r-*^ 
 
 
 .^J l_l.^_, 
 
 =^-( 
 
 
 ^^£^=^S 
 
 i^= 
 
 -/•-s*- 
 
 ill 
 
 iiiiiii^iiiaiigipi 
 
 *i$"-r- 
 
 s^^^ae 
 
 ::g,^=c^ 
 
 
 F=^ 
 
 — — g? 
 
 g 
 
KEY TO PRACTICAL HARMONY. 
 
 31 
 
 =i=5^-=i=2 
 
 --4- 
 
 - '^— g- 
 
 -^-# 
 
 •-#- 
 
 .J- 
 
 G' gi- 
 
 S.^ 
 
 I 
 
 9_^ifc^^t^ 
 
 =t=f=E 
 
 
 J J 
 
 N=t=tSE^ 
 
 ^-""I gEgE 
 
 ifc^ 
 
 fez^Jts: 
 
 :^=! 
 
 tJt^ 
 
 
 Ei 
 
 ^i^fc 
 
 
 -1^ 
 
 ;E5f- 
 
 EfeES 
 
 ^1 
 
 .■f&j*g- 
 
 
 
 <2- 
 
 9-^ .^.^ ^. 
 
 -li — • 
 
 :j=^ 
 
 -^ (=^- 
 
 9- 
 
 ^ • 
 
 'E^E^^^^ 
 
 ^ ^ 
 
 1 
 
 -1 ff-i5>- 
 
 E^gE^F^^ 
 
 >-Sg-B2 
 
 t-t: 
 
 t^-r 
 
 -&*- 
 
 i±. 
 
 ^ 1 
 
 ^-^=^ 
 
 — 1 — 1-— I (2 — ^•-hb — '^— hU-r-t 1 
 
 :Ft^F 
 
 Andante. 
 
 S^tEEB 
 
 
 ite— ^ 
 
 »_L(2_| 
 
 ttt: 
 
 4.< 
 
 4_^. 
 
 jg ^ii pg^a ^^ 
 
 -5*^- 
 
 ^S 
 
 
32 
 
 KEY TO PRACTICAL HARMONY. 
 
 -J— .1— J-^-rb^-^ 
 
 ^, 
 
 
 -^--"-1 — V 
 
 ^ -•- 
 
 ^•5- 
 
 mmm^^^^^ 
 
 
 ^-' 
 
 "^ 
 
 w^^^- 
 
 
 
 
 
 -•-^ — • 
 
 - - , , I N ^ I J 
 
 f 
 
 94 
 
 2?i|rr|==Fr 
 
 Sij^t 
 
 .-^^i£i^y^=iy^3 
 
 r^-^— 
 
 =4: 
 
 r 
 
 :i±Ej: 
 
 i±EjEej3!±±iEti^fei3 
 
 ]=ti£i 
 
 r r' - - 
 
 
 
 r* 
 
 BASS. 
 
 (Page 16.) 
 
 ( 
 
 i&a 
 
 — 1-7^—9- 
 
 
 p 
 
 Ig-Lc, 
 
 
 r-dd=* 
 
 fp&|ES|i 
 
 9j|§^d^jgr1 ^|s^fe ^jg; 
 
 *^-F?:6^ 
 
 g| 
 
KEY TO PRACTICAL HARMONY. 
 
 33 
 
 W- 
 
 ^ — z?^ 
 
 
 Sg: 
 
 ^— ^ 
 
 -8g^ 
 
 I 
 
 -| — ^ k 
 
 -^ g^ 
 
 ^ -s- 
 
 :[== 
 
 ^ 
 
 
 -(2^- 
 
 -F= 
 
 
 SES: 
 
 
 ^i: 
 
 J-r^J- 
 
 ::g £i2_ 
 
 
 .5=- -i2. 
 
 ''^ 
 
 ^-- 
 
 -F=f= 
 
 ^-^fg— ^— g-^ - 
 
 :^=i!?z:&^_ 
 
 -F= 
 
 :t: 
 
 § 
 
 ^-tzbfez^ 
 
 ( 
 
 =|::=4 
 
 -ii 
 
 
 75 ^ 
 
 £ 
 
 -g^ 
 
 
 Bt — ^ H 
 
 -J-^—Ti- 
 
 -^- --5!- 
 
 
 ■^--7? ;g-H- 
 
 ap 
 
 .'g— ?? 
 
 ^4=- 
 
 fe^ 
 
34 
 
 KEY TO PRACTICAL HARMONY. 
 
 
 Es^fc-t® 
 
 :i] 
 
 gi 
 
 ^z:s:i=il2^±tt^==g 
 
 -iS' — f=2. 
 
 -'S'-r- 
 
 r 
 
 -^H 
 
 i^=S 
 
 -«^S-<s*— • 
 
 ^P^ 
 
 •■( 
 
 BASS. 
 
 (Page 17.) 
 
 J=-J: 
 
 
 ^=«^ 
 
 -I-^- 
 
 -'g — TJ- 
 
 --tf^- 
 
 :ig^ 
 
 -^ ^- 
 
 r 
 
 -t^ 
 
 <5> gl- 
 
 ^z:4=E 
 
 -^—>9- 
 
 :t==^ 
 
 :^^ 
 
 
 
 lit: 
 
 ::t 
 
 ^: 
 
 «£=:^ 
 
 I 
 
 r 
 
 «^= 
 
 -6M^g)- 
 
 :^=± 
 
 :ffg=^i:=^ 
 
 :^=^=-i=^ 
 
 4-J 
 
 -s"^- 
 
 ^s^*- 
 
 .^1 I i^^ — u 
 
 (=2—^- 
 
 ^^^^pPiP^^^ep 
 
 
 :s — Jiz; 
 
 
KEY TO PRACTICAL HARMONY. 
 
 35 
 
 =-5^gzz?^rzl2Szdi 
 
 ifMc 
 
 ~)^ 
 
 
 . =]2ii-|i:_ 
 
 f=r 
 
 p^ 
 
 eg: 
 
 Ed 
 
 :^: 
 
 
 fei =ttg=| 
 
 ^^- 
 
 ( 
 
 r- 
 
 -< g- -^- -^- -&- -^ ^ 
 
 :f= 
 
 ^ 
 
 
 --^^"-fe 
 
 it 
 
 :»^ 
 
 CT 
 
 ^g= 
 
 :Cl^: 
 
 :^=s; 
 
 -4: 
 
 \>^. ^. :f:u :^- -^- r^- 
 
 :^S3 
 
 -(g- 
 
 -«i- 
 
 ^<^-rt^- 
 
 :t= 
 
 f= 
 
 
 =F=}=i 
 
 =^- 
 
 -4— J- 
 
 4;^ 
 
 ma 
 
 S-(g- •B-ig- -<&- -^ -.5:- 
 
 H 
 
 BASS. 
 
 ( Page 18.) 
 
 ,j 
 
 -^:=z^=it^ 
 
 _^_ 
 
 -g -^^^- 
 
 t^ 
 
 ±=^ 
 
 -z?- 
 
 i^ 
 
36 
 
 KEY TO PRACTICAL HARMONY. 
 
 -2^ ^ S* 
 
 i=§^rP^^ 
 
 ::Jz=^=fegz=^_=r^^^ 
 
 :fe 
 
 tfg_^-g-__^_|2(2_5f2_ 
 
 i2- 
 
 p2^: 
 
 .fe 
 
 ^t=^ 
 
 :^^=ii:=5? 
 
 I 
 
 
 
 
 9^ 
 
 
 -©■— (i2 ^— (S- 
 
 ^-ji=t=: 
 
 
 ;g 
 
 BASS. 
 
 ( Page 18.) 
 
 
 TJ 
 
 ^b:^ 
 
 "r=^ib:^^ 
 
 rq=:i— liirzl: 
 
 d=. 
 
 ^JL 
 
 =i= 
 
 ^4=^- 
 
 ;^i^ 
 
 
 
 :f^..fe^-^^- 
 
 •t'^-. 
 
 ^=^t^^£^iipE^^iii^g^ 
 
 ^^=f=^r:^^-F 
 
 ::^=d^:^: 
 
KEY TO PRACTICAL HARMONY. 
 
 --1=5l= 
 
 '-& 
 
 G>—v-^—r^- 
 
 <9- 
 
 
 -^ 
 
 3 
 
 •6- g— •— , 
 
 SiH; 
 
 *-F 
 
 .^1*=:; ff 
 
 1 
 
 -G> f^- 
 
 37 
 
 i 
 i 
 
 10. 
 
 I 
 
 1- ^ 
 
 
 
 aS:eE?^t 
 
 
 li^ 
 
 ;|i-p 
 
 ^'^^^^ 
 
 (2- 
 
 I 
 
 j?t 
 
 li: 
 
 n^M^ 
 
 ^ r 
 
 5-fc1=5=^,?^-? 
 
 gSSE^g^ i 
 
 ,— ■p==F:=t 
 
 
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 J I 
 
 -f2- 
 
 
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 ,J 
 
 4—5^ H — ® • — 9b- — <st-T- -«--• 
 
 1 
 
 t^-^iri=it:g^-^5=j=J=j= 
 
 
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 ^: 
 
 
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 4p- 
 
 ■Si-r- 
 
 -^-. -jS-. .^- 
 
 :± 
 
 :^ 
 
 -r-" 
 
 
 
 -iS'-T- 
 
 I 
 
 
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 '^ -Tr^- 
 
 ^i*iSzi 
 
 ^^ 
 
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 -•-r-«- 
 
 
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3S 
 
 KEY TO PRACTICAL HARMONY. 
 
 I K , ,N N 
 
 
 z*z—A 
 
 •~^ 
 
 -^=h 
 
 i=:=it 
 
 ^=F 
 
 ^-^^ 
 
 L|SZ_ 
 
 ii^ 
 
 3»- -F^ -V - -g - - #- 
 
 
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 H] 
 
 13. 
 
 [BEi^S-^^iEEfe-l^'^ '■ 
 
 
 
 
 H 
 
 (liilSi^i 
 
 -^-^» 
 
 
 iil;l 
 
 J-J- 
 
 J-J 
 
 fei^^i^ls^ii^^^S 
 
 14.>' 
 
 ^^^ II 
 
 
 'iS-"r 
 
 *-• 
 
 a^Bit^lEE 
 
 :SE?= 
 
 :1=j=c 
 
 _^_^_ 
 
 :,_^_ 
 
 '-W-'^'=^»' 
 
 
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 — I— I— 1-rH— I— &J-rJ — I — 1-J-i — I l—h — I 1 — r- 
 
 1-j — 1-^ -\-0 — I — —d — ^^+'^ '-\~'S>. — 7d — \- 
 
 :S^| 
 
 
 ^e^t ^. ^ 
 
 k-N: 
 
 
 i 
 
 MELODY. 
 
 ( Page 2 I .) 
 
 
 -g^'-5f- 
 
 .^. _^. 
 
 
 
KEY TO PRACTICAL HARMONY. 
 
 39 
 
 l^iifeEl^^Pii^i^ 
 
 <5>- -S- -&- 
 
 ' s>- -g- 
 
 9^ 
 
 t: 
 
 _-^V-— .— ^.i2^-.-fe 
 
 &^b, 
 
 ^^-^ <z fi^^. 
 
 
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 fe^— ^^^^ 
 
 r i_^^ _ 
 
 '»^^^g^ 
 
 g_l/,2_^_IZ^_ ^[j^_^_^^^_^_^ -r J-l?^ 
 
 ^ -„ , , — ^", (g-g(g-r— lL^ ^h«-«^ ^«^-^ 
 
 
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 ^5fe£fe'#fe=ife':l-;isfefe'£b.^fefe=^?.^. 
 
 w^f^^m^wm^^^-^f^- 
 
 =J^: 
 
 I 
 
 
 -^— ^- 
 
 r-J 
 
 ^-^ Fg=g=Fg-Fg-h^^r^- 
 
 I 
 
 .^. ^. -g- -^- .^ 
 
 iii^ii=^=^E^^^ 
 
 1^— ^ 
 
 _^ — a o— 
 
 E;,5=E;^z:tl 
 
 DOMINANT SEVENTH WITHOUT ROOT. 
 
 ( Page 24.) 
 
 ■i 
 
 
 Bxg-jfizg: 
 
 :'Ff 
 
 ^ 
 
 jtj: 
 
 lttd4=:f=rf-r=|=E=|= 
 
40 
 
 KEY TO PRACTICAL HARMONY. 
 
 .^_j-l i-J^^-XJ-^H-Vi— + n-r-H-r 
 
 
 -H 1- 
 
 <&— ■ 
 
 iE^ 
 
 
 
 f^r=r=f==r^=^ 
 
 
 EEtzE^EEHEa 
 
 CHORD OF THE DOMINANT NINTH. 
 
 BASSES. 
 ( Page 29.) 
 
 'mmf^^^^m 
 
 ^-0 
 
 SSezt^^E 
 
 
 ;^EEEEfe'E^t:E=t^:t=jE: 
 
 :^?=^|: 
 
 -J-J-Jt-J- 
 
 J-J-^1 
 
 •-*-• 
 
 1=t^s 
 
 ^Si^i^Ei 
 
 J-i 
 
 g" tt^ 
 
 — J-J-I^^ 
 
 l:^ 
 
 -rEte- 
 
 i 
 
 ^= 
 
 
 It 
 
 
 ^^. 
 
 -r^^-»- 
 
 ^e-ft^ 
 
 I 1 1 
 
 ^— •- 
 
 ^^^^F=^^ 
 
 
 
 ^-F^=F=F- 
 
 F=i=±:4 
 
 ipiilisgpii 
 
 ^r^ 
 
 -f2- 
 
 
 
 f^: 
 
 ILfS 
 
 ^^^S 
 
 p 
 
 :^Qs2_i2ffi_, 
 
 _ IS' 
 -&^ -z>- 
 
 g 
 
KEY TO PRACTICAL HARMONY. 
 
 41 
 
 2.< 
 
 atS^ 
 
 ?zr^ 
 
 t«^ 
 
 -4-4 
 
 -^-■s^ 
 
 r-^ 
 
 :5^- 
 
 =3 
 
 ^-2^- 
 
 it* 
 
 r-r- 
 
 
 f-=e 
 
 ^^J-*fe 
 
 
 
 9 
 
 
 
 si^^g^ 
 
 -ay 
 
 :??z 
 
 
 -Z5^ 
 
 4,-^-^i. 
 
 d— -J-, -'S'-a— '-1 ri 
 
 
 ^g=pg=f:S^pg g:pg= F^|:| 
 
 I I 
 
 
 "ig — 1&- 
 
 gi 
 
 fces 
 
 ■ — I — ©*■ 
 
 m 
 
 iSjiii 
 
 I 
 
 j 
 
 1 I ■ 
 
 1 — :=^ZC 1 ^-F-t;^^ 
 
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42 
 
 A'EY TO PRACTICAL HARMONY. 
 
 DOMINANT NINTH WITHOUT ROOT 
 
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KEY TO PRACTICAL HARMOA'Y. 
 
 43 
 
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 MINOR NINTH WITHOUT ROOT. 
 
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KEY TO PRACTICAL HARMONY. 
 
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 BASSES. 
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 KEY TO PRACTICAL HARMONY. 
 
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KEY TO PRACTICAL HARMONY. 
 
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48 
 
 KEY TO PRACTICAL HARMONY. 
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KEY TO PRACTICAL HARMONY. 
 
 49 
 
 1. 
 
 SEVENTHS OF THE FOURTH ORDER. 
 
 SEQUENCES. 
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 KEY TO PRACTICAL HARMONY. 
 
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JCEY TO PRACTICAL HARMONY. 
 
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52 
 
 KEY TO PRACTICAL HARMONY. 
 
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KEY TO PRACTICAL HARMONY. 
 
 53 
 
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54 
 
 KEY TO PRACTICAL HARMONY. 
 
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 TABLE. 
 
 CHORDS ON A TONIC. 
 
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KEY TO PRACTICAL HARMONY. 
 TONIC SEVENTH. 
 
 55 
 
 2. 
 
 ( Page 55.) 
 
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56 
 
 KEY TO PRACTICAL HARMONY. 
 
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KEY TO PRACTICAL HARMONY. 
 
 57 
 
 
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KEY TO PRACTICAL HARMONY. 
 
 59 
 
 
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KEY TO PRACTICAL HARMONY. 
 
 61 
 
 
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KEY TO PRACTICAL HARMONY. 
 
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 i 
 
Chats with 
 Music Students 
 
 or 
 
 Talks About Music 
 
 and Music Life 
 
 By 
 THOMAS TAPPER 
 
 Price, Bound Im Cloth, ^1.50 
 
 fHIS volume appeals to every student of music, however 
 elementary or advanced. It is designed to bring to the 
 attention of those who make music a life-work, the very 
 many contingent topics that should be considered in con- 
 nection with music. To this end the subjects selected for 
 the chats have a practical value, cover considerable ground, 
 and are treated from the point of view that best aids the 
 student. The reader is taken into confidence, and finds in 
 the chapters of this work many hints and benefits that 
 pertain to his own daily life as a musician. 
 
 The Music Life 
 and How to 
 Succeed In It 
 
 By THOMAS TAPPER 
 Price. $1.50 
 
 J^^HIS work is a companion volume to the "Chats with 
 Music Students. ' ' Numerous phases of ai t and art life 
 are talked about in a thoroughly practical way. It points out 
 the way of success to teachers and students in art life. 
 Mr. Tapper's informal and thoroughly pertinent manner of 
 writing has a real value in it that will make this companion 
 A'olume indispensable to every musician. 
 
 7 
 
price, $i»50 
 
 A comprehensive outline of musical history from the 
 
 beginning of the Christian era to the present 
 
 time; especially designed for the use of 
 
 schools and literary institutions. 
 
 ^ 
 
 The work has been adopted as a standard in most 
 of the important schook and conservatories 
 
 ^ 
 
 Indispensable to every music pupil and to everybody else 
 who wishes to be intelligent about music. 
 
 36 
 
14 DAY USE 
 
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 This book is due on the last date stamped below, or 
 
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 Renewed books are subject to immediate recall. 
 
 APR17 1968 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 .- 
 
 
 
 
 
 
 
 
 
 LD 21A-5m-7,'66 
 (G4427sl0)476 
 
 General Library 
 
 University of California 
 
 Berkeley 
 
hU 11 Ihl I iboL L. 
 
 DATE DUE 
 
 Music Library 
 
 University of California at 
 Berkeley