Pl!Pf?PywlI;5' W-^o^'^vvT'' * VxVf -•"*'--.' 2 a 9 3 01^ "^AajAiNa-^w^^ -" ^ = I i^i so :<^ ^ijMsm .^ ilMNn-JWV CO !3AINfl-3WV 9 ni mf^i)(J/c -3 >i OUJiiVJ'iV) ( JjTi aS^HI^ CAIIFO/?^ •.N? \WEUNiVERiV/i JI1V3-J0^ ^^0JnV3-J0>^ G\LIF0% ^.OFCAIIFO%, >- en ^\\tUNIVER5y/) tvHan-# ^:WSANCElfj> )i gS^:^ 00 ■so =0 aNiJJl^V '.]•,-■ vjAavaaiv^s^ iBRARYQ^ ■^^^UIBRARY•Q/: ■im-.wr.FIfr. 2 gfftJL. i^J 1^ so ^nVT-!0^ ^fln^nV>-!0^ ^TilJONVSOl^"^ %83A •3 \ o x^' J on V (KlLttl^ M^^^-^^^^ THEORY OF MUSIC: BEING A PRACTICAL GUIDE TO THE STUDY OF Thoroiigh-Bass, Harmony, Musical Composition and Form, FOR THOSE WHO WISH TO ACQUIRE A KNOWLEDGE DEC I 31946 FUNDAMENTAL PRINCIPLES OF THE SCIENCE, IN A SHOUT TIME, EITHER WITH OK WITHOUT THE AID OF A TEACHER: Including 730 questions which are illustrated by 582 examples, selected from the works of the BEST WRITERS ON MUSICAL SCIENCE. BY H. R. PALMER. PUBLISHED BY THE JOHN CHURCH CO., Cincinnati. New York. Chicago. Leipsic. London "•-m-riu-Iil ^K'MIV., i.vir. U. Pai.mek.) Music [Sbrm ?\%f PREFACE. About ten years ago the author published " Elements of Musical composition,'' which was largely made up from the works of Dr. Crotch, an English musician of the last century, and while it contained many good things, there was much in it which did not comport with our present ideas upon the subjects treated. When the pre- sent book was first projected, it was intended only to revise that work, but, ;ipuu maturer reflection, it seemed to become necessary to make an entire change, and the following pages are the result. The volume Is divided into two Bwoks, tne first of which is Catechetical, and the second Illustrative. Each of itiese riooks is further divided into four Parts, namely Elementary, Thorough Base, ftarmony and Composition, and Form. In the Ele- mentary part of Book I, wiU be found a concise and logical statement of the prin- ciples of Musical Notation, and the same are illustrated in the corresponding Part of Book II. Part Second of the first Book is devoted to the subject of Thorough Base, and treats of the formation of chords, their relations, inversions, and the tlgures by which they are expressed. These are also illustrated in the correspond- ing Part of Book II. Tne tliird Part of Book I, entitled Harmony and Composition, gives a clear idea of the progression of chords and all the entangling principles wliich such progression naturally involves. The corresponding Part of Book II, not only illustrates these principles, and continually refers back to thom, but con- tains short statements concerning them, which renders this Part of the work a complete manual of Harmony in itself. Part Four of both Books is devoted to the sut)ject of Form, a department of the science of music which is little understood by musicians generally. The Author has endeavored to take the student by easy steps, from the first principles of vocal Forms through the many grades up to the highest Forms of instrumentation; and lest vocal students should feel that this portion of the work is not for them, we would remark that it is only by studying the liigtier Art-Forms, that we obtain a glimpse of the wonderful attainments o( ;tio liuman mind, from a musical stand-point, and that it is only by gaining some knowledge of the best that we are enabled to form correct opinions. Most people stand at a great distance from such geniuses as Beethoven, Haydn, Mozart. Men- dlessolin, and others who are acknowledged to be the world's great master- minds, and admire them in a hazy, uninteligent sort of way; while some go inro rapturos. and talk learned nonsense al)out tliem, thus seeking to hide their I'/rm- rance. It \h oroposed, in this department of the work to assist students in PREFACE. o rming a more intimate acc,!iaiutance with some of the most sublime writings ol H -se wonder-workers, ami to place in their hamls a key with which they will be enabled to penetrate into the lloiij »/ Holies, the very inner Samtuary of these High-Priests of Song, these great Tone-magicians. In these days most of the works of the Ma.sters are arranged for the piano-forte, and, in nearly every town will be found some one who kas skiU enough to be able, at least, to trace out tUe ideas wliich arp here laid down; and we would ad- vise students, after studying this book, if not able to play themselves, to become acquainted with some one who can, and who will be glad to divide with them the benefits which may be derived from half-hours of mutual conversation upon An Forms. The writer would suggest to teachers of the Piano, that the advancement of their pupils would be much more satisfactory to them, if each was required to commit to memory a certain number of tliese questions and answers, and recite them at each lesson. The thanks of the Author are due to the friends who have so materially lightened his labors by their encourageinent and .suggestions, and whose letters of commen- dation are printed in connection with this preface. To Mr. W. S. B. Mathews, he ts especially indebted for valuable suggestions made in regard to the illustrations of the higher Art-Forms. H. R. Palmer. New York, June Ibth, 1876. OPINIONS OF PROMINENT MUSICIANS. From Mr. W. S. B. Mathew.«, Organist at the Centenary M. E. Church. Pbof. Palmer, Dear Sik-.— Allow me to congratulate you on your admirable work on Mu- Hcal'Theory, which 1 have examined in MSS. 1 take pleasure iu complimenting you on the industry with which you have cjllecled so great a mass of intormation, much of which was not easily accessible before, and the gratifying success that has crowned your effort to express it in clear and concise language. It covers a ground previously uuoccniiied. am! dofs it so well that 1 am very sure It will re- ceive a warm welcome liom the musical public, ami do a great deal to increase musical iuteligence in this country. Such works lay the foundation for a broader outlook in the alter coming genera- tion. You and 1 know how gladly we would have devoured such a book twenty vears ago. and bow. like good old Simeon, we came most uncommonly near d.\ing without the sight. 1 am yours tnily, Chicago. Feb. letli, 1S"6. ' W. S. B Mathews. 4 OPINIONS OF PROMINENT MUSICIANS. From the Eminent Pianist and Teacher, ^h: William Mason, Doctor of Music Mr. H. R. Palmer, Dear Sir:— The examination of your book lias given me mucli plea.sure, and its simplicity seems to me one of its chief recommendations. It is progressive, and so clear, concise and logical in its definitions as to be easily and readily un- derstood, and I shall recommend it to my pupils and others as a book from wliici; they can obtain the most useful information concerning the subjects of which il treats, with the least effort and in the easiest way. It appears to me that you have especially succeeded in presenting the matter intelligibly, and have happily avoided the befogged and complicated manner characteristic of most works ou the same subject. Yours, very truly, Orange, N. J ., June cth. 187G. William Mason. From Mr. Dudley Buck, the renowned Organist and Coviposer. H. R. PALMfIR, Dear Sir:— I was very favorably impressed wiUt the design and purpose of your new book. My examination of the advance sheets was necessarily super- ficial, owing to the short time aflorded me for the purpose. Of this, at least, I am certain, that the work will prove of decided value to ali w'ao maSe use of it. Very truly yours, Nbv York, May 23d, 1876. Dudley Buck. From Mu L. O. Emerson, Director and Composer. Friend Palmer, I have examined your new work on harmony, and must say that I am ex- ceedingly well pleased with it. It will meet a want which has never before been met. It must prove an invaluable aid in the study of Harmony and Musical Foi'm, and should be in the hands of every musical person. I am, yours, truly Boston, Aug. 15th, 1875. L. O- Emebsok. From Mk. W. Luddkn, Teacher of Vocal Ctdliire, Author, eft. Mr. II. R. Palmer, Dear Sir:— I have examined the manuscript copy of your new work en- tilled Theory of Music.'' and must express myself as delighted, both with its general structure and with the clear ami concise manner in which you have Ircattul rhe several dcpartmenls into which the work is diviilcd. ■\i>iir descriplimi of the H/iarjj ;^i.rt/i with its classiiiciiiioiis. giving the origin and derivation of each is the most satisfactory iiculiiicnt Hint I have seen, and is calculated to throw light on what has usually been regarded as a somewhat oliscun- point in ninslcal composition; wli 'e Part IV develops. In a peculiar]) liapjiy manner. 1 he subject of MnxU-til Fori^ which is too little known and recog- ulzi'd by our American musicians. Ill my opinion this work will prove an invaluable aid to both teacher and pupU. Very truly your* Savannah, Ua., March 8th, 1876, Mf. Ludden. OPINIONS OF PROMINENI MUSICIANS. K o From Mr. F. W. Root, Kditor of Song Mensmger, Teacher of Voice. Culture, Author, etc. H. R. Palmer, Deak Sir: — I have taken great pleasure in looking thi'oiigh tlie MSS. of your new book, glancing at the entire plan ot the work, ant' examining with some minuteness those portions of it wliich treat of Harmony and Form. The tliousands of .students ot musical tlieory who delve for knowledge, far from the eenter.s oi artistic culture, are but poorly provided with means for its acquisition. Our Amer- ican elementary musical text l)ooks have been brouglit to great perfection; but such of the works before the public, as contain anything like a complete theoretical course, seemed to me practicable only in an atmosphere of culture, under the direction of the best teachers. I believe your book will go far toward supplying the want which exists in this direction:— Its simplicity and clearness are such that all can understand it. even ; hose that have not had the advantage of especial culture and fine teaching; its comprehensiveness is great, and in its exposition of the material and Form ol composition it seems to me practicable beyond precedent. I doubt not that this book will add another to the list of remarkable successes wliich have crowned your career in authorship. Very truly yours, Chicago, Oct. 29th, 1875. Fkederick W. Root. From Mr. G. F. Root, Doctor of Music. I cheerfully endorse the above, especially what-is said of the chapter on " Form." Geo. F. Root. Fi-07)i Mr E. K. Wihttkmoric. Teacher of Music in the Pithlic Schools of Chicago, Organist dec. Prof. Palmer, Dear Sir: — When will your new work on Harjvony and Mnsical Formhe ready? I believe it will prove to be a work which every teacher of music in the country will find invaluable and indispensable. I was more interested in the pages you showed me. than anything of the kimi I have ever seen, Yours truly, Chicago June loth, 1875. E. E. Whittemore. From Mit, C. A. Havens. Onjani.^t ^l°oTe .Cr/" ,UeT« «■ ha, ever co»,e ua.er „,, aofl aio liappj '» >«.'• ■' " ',,':' „„,„!, and labor, and will be regartefl Wi a ..« „ a val.« .e.. ^o. 'or .„«P.K^^ ^^^^^^ ^„„„, ^ ^^^_^^__ CHICAGO, Jan. etli, 1876. Fr,om MR. I. V. Flagler, 0>-^a««t ai Plymouth Church, Chicago. Mr. H. R. Palmer, TTormnnv and Form. an(i DEAR Sir:-1 liave examiaed your nex bool. on Hanno^y an ^^^ ^^ am glaa to say that I consider it an;nvalnaWe work one -l^^J Je. ^^^ ^^^ ^^^ amateurs cannot f o-^^ ^^^ ^^ ^°:^,; „e^" eentSrsn.Ject treated ..tu sue,. Musical Form; and ™"^^^''Y'\i\\^'^^^;,\°7be, present work will make itself felt .n *^ Yours, truly, j ^. pj^_^gler. CHICAGO, 111., Dec. 29th, 1875. From Mr. O. Bl.^ckm^^ ^^ ^^^^_^ . . ^^^ .^^^^ ^^^^^.^ ^.^,^^^^^^. Mr. H. R. Palmer, Tp.,chers will alwavs feel deeply indebteo dear SiH-.-The American Mu.ic ^^f f "' '"J^rvthinc^ in such au under- a good work. Yours, &c., . o. Blackman. CHICAGO, Dec. 29th, 1875. From Mr. Wm. P. Sherwin, Author and DirecU>r. ^"- '\^: ^L.-^ l.ave heen so delighted - --^T^^ ^ Sli'S or ,our forthcoming Theory of f-^^^ ^^:: ^T^^t^ ^.^ appear.. setting yourself to do so much ^"«'\ ^^^ ' ^^'''^l^eeds of Amencau students. ,,„.,,. is so ->'n'ramy adapted to .neet the gene^^^^^^^ ^^.^. ^^^ ,^_^ ^,^^,^,, You have sh..wn remarkable culinary skill in s r^P ng . ,,„,,, t„e verbiage and tiresome technicalities, and then O^^^^^J^^ .^^^^^,^,, i„ the truth is made clear to any ordinary ^l^^^'^^^eLlTreZ.li comparatively lit- section upon •• ^rm," a -''i-^^^'f 'f J ^^t M m^^^^^^^^^ y- ^^^ «" '^^^^^ tie attention, ,my conscience bearing me Mtnes.s^) o ^^^ hereafter. ?^^r;;;?:irirr^v::^ -; a^"-^^ -rioution to our too .canimusicalliterature. and am ^^^^ ^,^^^ ^^,y^ ^^ ^ Sheewin.. New York, February 18th, 1876. PART FIRST. ELEMENTARY. 1. What isSomol Sounil is any thing audible. 2. What is a TonEl A tone is a sound in which pitch is perceptible. What IS a Key? A family of tones bearing a certain fixed relation one to another. 4. How many tones constitute a key ? Seven.* 5. Wkat is the tonic, or Key-tone? The tone from which all other tones are reckoned; the point Of repose -£. How are the tones of a key named ? The tonic, or kej'-tone, is named one (or eight), the next tone above it .'s Damed two, the next three, etc. 7. What siiU.ables are sometimes airplied to the tones of a key ? The syllables Do, Re Mi, Fa, Sol. La, Si. 8. The names of what letter,'} ai% used as the names of the pitches of tones ? The names of the first seven letters of the alphaljet, A, B, C, D, E, F, G. 9. What constitutes the Diatonic Scale? The tones of a key in successive order, fi'om one key-tone, or tonic, to tlie next, inclusive. 10. TT7 Bars are small lines drawn perpendicularly across the stafl. 21. What is a Double Bar ? A Double Bar is a broad bar drawn across the stafl'. 22. What does it generally denote ? The beginning and ending of a line of words. 23. What is the Close, and what does it signify ? The Close consists of two double bars drawn across the end of the staf^ to indicate the close of the composition. 24. What is a Measure ? A measure is a group of two or more regularly recurring i)ulsations. 25. How is a measure represented ? A measure is represented by the space between two bars. 26. A measure having two pidsations is called what ? Double measure. 27. A measure having three pulsations is called what ? Triple measure. 2S. A measure Jiaving four pulsations is called xchat ? Quadruple measure. 29. A measure hating stx pulsations is called what ? Sextuple measure, or compound double measure. 30. A measure having nine jndsations is called what ? Compound triple measure. 31. A measure having twelve pulsations is called what ? Compound (juadruple measure. 32. ir//«/ /.s Beating; Ti.me ? Indicating each pulsation of a measure by a certain motion of the hand. fABT I.] CATECHETICAL, 3 33. Describe the beats in double measure. Down, aud up. 34. Describe the beats in triple measure. Down, left, and up. 35. Describe the beats in quadrwple measure. Down, left, riglit, and up. 3H. Describe the beats in sextuple measure. Down, left, left, riglit, up, and up; or simply down aud up, coni])rt' Heading three pulsations to each motion. 37. Describe the beats in compound triple measure. Down, left, and up, comprehending three pulsations to eacii motion. 38. Describe the beats in compound quadruple measure. Down, left, right, aud up, comprehending three pulsations to each motion. 39. Wliat is Accent? A slight stress upon a certain pulsation, to mark its position in the measure. 40. Which pulse * of double measure is accented? The first. 41. ^V}lich pjulse of triple measure is accented ? The fii-st. 42. ^VIlich pulses oj quadruple measure are accented 1 It has a primary accent on the fii-st, and a secondarj' accent on the third. 43. Wliich pulses ofsectuple measure are accented ? A primary accent on the first, and a secondary accent on the fourth. 44. Which pulses of compound triple measure are accented ? A primary accent on the first, and secondarj' accents on the fourtli. anc' seventh. 45. Which pulses of compound quadruple measure are accented ? A primary accent on the first, and secondary accents on the fooi'th, seventli. and tenth. 46. What is the Fraction' ? The figures placed at the beginning of a composition. 47. W7iat does the numerator denote ? The number of inilsations in the measure. 48. What does the denominator indicate ? The kind of note which is reckoned to each pulse of the measure. 49. Wliat is the rule for applying words to nitisic ? Apply one syllable of the words to each note. ,50. ^iVlKd is a Slur ? A curved line connecting two or more notes upon different degrees ol the staff. * We need hardly say that this word '■ pulxc. " nr " puhntion " is the game as was formerly called •■part," and is still called " beat " by some authors THEORY OP MUSIC [BookL 51. What ts a Tie? A curved line connecting two or more notes upon the same degree of the staff. 52. What is the rule for applying words when the slur or tie occurs ? Apply one syllable of the words to as many notes as are so connected. 53. What are Rests ? Characters indicating suspension of sound. 54. How many kinds of rests are there, and lohat are their names ? Six. The whole rest, the half rest, quarter rest, eighth rest, sixteenth rest, and thirty-second rest. 55. As regards duration, rests correspond to what ? To the notes of the same denomination. 56. How is the whole rest made ? A square block below a line. 57.. How is the half rest made ? A square block above a line. 58. How is the quarter rest made ? Lake the figure 7 reversed. 59. How is the eighth rest mads ? Like the figure 7. 60. How is the sixteenth rest made ? like the figure 7 with two heads. 61. How is the thirty-second rest made ? Like the figure 7 with three heads. 62. Into how many classes are human voices generally divided, ana ihat are they called ? Four. Base, Tenor, Alto, and Soprano. 63. Describe Base singers ? Gentlemen who can sing low, and cannot sing high, 64. Describe Tenor singers ? Gentlemen who can sing high, and cannot sing low. 65. Describe Alto singers ? Ladies who can sing low, and cannot sing high. 66. Describe Soprano snigeis ? Ladies who can sing high, and cannot sing low. 67. What is meant by Middle C ? The pitch C, which all voices have in common; it being in the middle of the i,Teat vocal comi)as3, ladies can sing as many tones above it, as genthnnen can sing below it. 68. How is the. pitch middle C represented ? By the added line al)0ve of the base stafl', the added fine below of Uie aoprano stafl". and by the third space of the tenor staff. 69. What is a Clkf? A character which determines the pitch of tones as represented by the staff: EAxrt] CATECHETICAL. 11 70. Haw many clefs are there in general use, and what are they called? Three. The soprano clef, the base clef, and the tenor clef. 71. What does the soprano clef indicate ? That the pitches are so arranged as to fix middle C on the added line below. 72. What parts sing from the staff so arranged ? The soprano and alto, and sometimes, (always incorrectly,) the tenor. 73. Wliat does the base clef show ? That the pitches are so arranged as to fix middle C on the added line above. 74. What parts sing from the staff so arranged ? The base and sometimes the tenor. 75. What does the tenor clef denote ? That the pitches are so arranged as to fix middle C on the third space. 76. What part sings from the staff so arranged ? Tlie tenor. 77. WJiat was the former use of the tenor or Ccleff It was sometimes placed on the first line as a soprano clef; on the third line as an alto clef; on the fourth line as a tenor clef; and in ancient music it was sometimes placed on the second line. 78. What is a Brace, and what does it indicate ? The brace is a character used to connect two or more staffs, and generally Indicates tlie numoer of parts which are to be performed simultaneously. 79. Staffs, iche^i connected by a brace, are called wlutt ? A Score. SO. What is the use of a Dot ? It adds one half to the rhjthmical value of the note or rest after which it Is placed. 81. How is the repeat made, and icliat does it mean ? It consists of dots placed in the spaces at the left hand of a bar, and shows that the preceding passage is to be repeated. 82. ^VIlen only a part of the pi'evious passage is to be repeated, hoio is rt indicated ? By dots placed in the spaces at the right hand of a bar, in which case all between tne two sets of dots, is to be repeated. 83. What does Bis imjAy ? That the passage so marked is to be performed twice. 84. What does the Hold, or Pause, denote ? That the tone indicated is to lie prolonged at the option of the leader. 85. What is a U.visox pa.ssage? A passage in which two or more parts sing the same tones. 86. What is to be understood by the letters D. 0? The Italian words Da Capo; more frequently the Itahan sentence Da Capo al Fine. 12 THEORY OF MUSIC. PooK I 87 What is the translation of Da Capo al Fine? Bn, from the: aipo, commencement; al, to the; Fine, end; sing "from •:he commencement to the end." 88. What is the meaning of D. S? Dal Segno, retrnm to the sign. 89. Wiat are triplets ? Three equal tones performed in the time of one pulse; the time usually given to two tones divided into three equal parts. m. How are they represented ? By three notes grouped with a slur or tie, or marked with a figure 3. 91. Titans Syncopatiox? Commencing a tone on an unaccente.l pulse of a measure, and con- tinuing it mto the following accented pulse, Uiereby temporarily displacing the usual accent. 92. Wltat are Intermediate Tones? Those which occur between the regular tones of a Key. 93. Between what tones of a major Key do tvejind ijitermediaie i07W£ ? Between 1 and 2, 2 and 3, 4 and 5, 5 and 8, and 6 and 7. 94. ^V7len is a tone said to resolve ? When it is followed by a tr ne to which it naturally tends. 95. How are intermediate tones indicated ? By the aid of characters caUed sharps (»). flats fr), and cancels (£).* 96. For what is a sharp (S) used ? To indicate an intermediate tone, the tendency from which is upwatti. 97. For ichat is aflat (h) used? To indicate an intermediate tone, the tendency from which is dowu- ward. 98. Far what is a cancel (11) nsed ? To cancel the effect of a previous sharp or flat 99. How many ways are there of representing each intermediate tone, and what are they ? Two: ifitstendeucvisupwartl, it is represented by the lower of two degrees, and called sliarp: if its tendency is downward it is representea b\"the higher of the two degrees, and called flat.f " * The pernicious effects of calling this chaimter (g) a ■■ Natural' 'are awarei.t kuowledKe of the subject, that the key of C is more natural tbaii "t^^ei keys.^ and tua the real difficultv in leaminR to read music only bes.ns ^^l^^'' ;«-/'^'™^X.acter Ipvs is clearlv traceable to the iuapproiniate name ot this character. The chaiacter H^Mf s ne *er u'^1 eicer.t for the puiTose of canceliuK the effect of a previou.s sharp o'^fllt hence no inTa^e can ariL i?, which the word -naturaV ^^-J„^„^ ".^"^T.^^^^r iw wn.rl •• rANTEL" Would not be more appropriate. For tliese rea,-,out, the autnor L'^ ecided'^'^oV\he name Ca^ci. inst'e'ad; and would -"^ all tea^h^rs o a^s,^ inthe effort to curtail the evil effects of the term natural.-U. R. P., >ew YorK, Apru 13, 1876. t There are exceptions to this, as to all general rixlea. pabti.' catechetical. 23 100. W/iat is a Chromatic Scale ? A scale iu which all the tones, intermediate and diatonic, occur in suc- cessive order. 101. 117/// lis f/n's scaJp. called chromatic ? From the fact that the intermediate tones were formerly' written in colors. 102. What are Accidentals? Siiarps, flats, or cancels used throughout a composition, for the purpo.^e of introducing intermediate tones, or a modulation. 103. What is the rule for their contiunatice ? Accidentals continue their significance throughout the measure in which they occur. * 104. 1T^«^ is 1, or 8, of any key called ? The Key-tone, or Tonic. 105. What is the difference between a scale and a key ? A scale implies a certain order of succession ; while the familj' of tones of which it is formed, called the Key, may be used in any possible order. 106. What other difference is there ? A Scale must have eiglit tones, while a Key is manifested with seven. 107. Wliat is the order of intervals in the major Key ? Major seconds must occur between 1 and 2, 2 ami 3, 4 and 5, 5 and 6. and C and 7; minor seconds must occur between 3 and 4, and 7 and S. 108. Wliat is a Signature ' Tlie sharps or flats at the beginning of a composition, which iuaicai« the Key or Scale. f 109. How many m,ajor keys are there in general use ? Twelve. 110. What tones form the key of C? C, D, E, F, G, A and B. 111. 1 Vhat is the signature of the key of G ? It has no signature. 112. What tones fonn the key of G ? G, A, B, 0, D, E, and F#. 113. W^iut is the signature of the key of Q?\ One Siiarp. 114. What tones form the key of D ? D, E, n, G, A, B, and C«. 115. \Miat is the signature of the key of D ? Two Sharps. * The additioual clause of this nile. uamely, 'ami from measure tu measure, until canceled by a tiote iuterveuiug upou auother degree of tlie stafl'."' is vt-ry properly discontinued l)y most of our composers, as it is of uo benefit, auil causes great confu- sion. In all the author's works whenever an accidental is required iu the following measure it will be placed there. t See Webster's Dictionary. ». THEORY OF MUSIC. iiBOOK I 116. W?iat tones form the key of A ? A, B, Ct, D, E, Ft, and G$. 117. What is the siff nature of the key of A ? Three Sharps. 118. Mf'f't tones form the key ofE? E, F«, GS, A, B, C«, and D$. 119. What is the signature of the key of El Four Sharps. 120. What tones form the key ofB? B, CJ, D$, E, F$, G$, and A«. 121. Wliat is the signature of the key of B ? Five Sharps. 122. What tones form the key ofF%? Fl, Gt, AS, B. CS, D«, and E». * 123! What is the signature of the key of it? Six Sharps. 124. Wait tones form the key ofF? F, G, A, Bb, C, D, and E. 125. What is the signature of the key ofF? One flat. 126. YMiat tones form the key ofB\y ? Bb, C. D. Eb, F, G, and A. 127. What is the signature of the key of Bn f Two fiats. 128. What tones form the key of Eb ."' Eb, F, G, Ab, Bb. C, and D. 129. What is the signature of the key of £h ? Three flats. 130. 117/^// tones form the key of Ab? Ab, Bb, C,Dl7, Eb, F, andG. 131. What is the signature of the key oj Ab .'' Four flats. 132. What tones form the key of Db •" Db, Eb, F, Gb, Ab, Bb, and C. T^. ]^„* oi+hmio>i ^^5^^'''; '^ ul d re iv-'Ut H, eauuot be u.ed Hecond; ami s.condl,,. the F decree '»^^>"o'.f,'''^'^> .^ae t, ^^ • e.it two toue.. a half to represent 7; for. althouKh a decree ^an e n, le t , _P ,,.preReut two step, or even a step apart, it can. >n no jnM^ "''"'''• \^;,;;'^';J',,,,,. ft should be tonlls, the h.terval hetwee,. ^^^^^ ^;i^^:^;^Z^]Z iVo •. whi e tile word step o.' ren.euil)ered. that the wora second "V^f^J^o" 'l ence t Ze writers and teachers ard hall step ma„ or ma,, not Mnply t"''; 'l^-K^''^,;-, , ,^ t "o 's a step Ironi three to lour is a sa?"^''^Foi^>"--:^i" t;::'v::s.;;:r^^K t^E, («a.ue puch as ., . . haU-step, but it is uot a miuor secoud. Part I.j c ATECHETICAL 15 133. Uliat is the signature of the key of % ? Five flats. 134. What tones form the key of Go ? Gb, Ah, Bi7, a, Db, Ei. and F. 135. What is the siynature of the key of Gb/" Six flats. 136. \Vhat is a Minor Scale ? A scale iu whicli the intervals from 1 to 3 and from 1 to 6 are minor. 137. What is Hie order of intervals in the minor scale ? Jiajor seconds must occur between 1 and 2, 3 and 4, and 4 and 5; iiinior seconds must occur between 2 and 3, 5 and 6, and 7 and 8; while from 6 to 7 must be an augmented second. 138. Should this order be preserved in descending ? It should. 13'J. How is the harshness of the augmented second between 6 and 7 sometimes temporarily avoided ? By "raising the sixth," or, more correctly speaking, by making the intiM'val from 1 to 6 major instead of minor.* 14'- What tones form the key of A. minor ? A, 13, C, D, E, F, and G«. 141. What is the signature of the key of A minor ? Like its relative, C major, it has no signature. 142. What tones form the key of E minor ? E, F$, G, A, B, C, and D|. 143. lT7/f// is the signature of the key of E minor ? Like its relative, G major, it has one sharp. 144. W^at tones form the key of B minor ? B, Clt, D, E, Fit, G. and Alt. 145. 'Wlait is the signature of the key of B minor ? Like its relative, D major, it has two sharps. 146. Wliat tones form the key of Y% minor? PJ, Gl A, B, C«.'d, andEJ. * This avoidance of the augmeuteil secouil between 6 aud 7, by "i-aisLug 6," gave rise to what has been caHed the "Melodic Minor Scale," which is given by some writei's, and still adhered to by many teachers. But the law which provides that all douiiuant chords shall have major thirds, and thus fixes 7 of the minor key a half- step below 8. is no more binding than the law which says that the sub-dor»inant chord of a minor key .shall always have a minor third, and so establishes the interval of an augmented second from li to 7. It is absolutely impossible to harmonize the melodic form in any acceptable manner; and while all the classical composers fre- quently gave that form in melodic pa.ssages. they invariably wrote the sub-dominant chord WMtli a minor third, ilo.st of the old theorists jiass over this striking incon- sistency iu silence; probably recognizing the fact that any attempt to reconcile such palpable contradictions would be utterly useless. Uichter says that "The sixth degree of the minor scale (key) is not capabl*-, in a hfinnnnw smsi-. of auy such chro- matic alteration;" also that the sub-dominant chord with a major third, (in the minor key.) •■ cannot be conceived of. • in other words, we have but one wiuor keii, that which has been known as the Hnrnuinic Minor; (the order of intervals of which is given at question 137.) and while we frequently form a scale, called the Melodic Minor Scale, there never was a Melodic Minor Key. Whenever such paeaftges occur, they can easily be accounted for as paaeiug tones or appoggiaturaa. See remark on page 68. -g THEORY OF MUSIC. [BookL 147. Wmt is the signature of the key of F« minor ? Like its relative, A major, it has three sharps. 148. What tones form the key of C» minor? a, m, E, F«, GS, A, and BJf. . ^^ . _ p 149. What is the signature of the key oj C« minor f Like its relative, E major, it has four sharps.^ 150. Wliat tones form the key of GJ minor ? G35, A«, B, C«. D», E, aud F douljle sharp (X)- 151. Wiat is the signature of the key of Gtt minor? Like its relative, B major, it has live sharps. 152. Wliat tones form the key of D« minor ? D8 EJ, Fit, GJt. AJ, B, and C double sharp. 153. What i^ the signature of the key of D« minor ? Like its relative, Fjf major, it has six sharps. '^ 154. Wiat tones form the key of D minor ? D, E, F, G, A, B(r, and C«. 155. Wiat is the signature of the key of D minor? Like its relative, F major, it has one flat. 156. Wliat tones form the key of G minor ? G, A, Bb, C. D, Eb, and F«. ^ ^ • „. ? 157. Wh at is the signature of the key of G minor ? like its relative, Bfe major, it has two flats. 158. Wiat tones form the key of C minor ? C, D, Eb, F, G, Ab, and B. .o • ? 159. Wiat is the signature of the key ofC minor? Like its relative, Efe major, it has three flats. 160. Wait tones form the /cey oj F minor F G \It Bb, C, Db, and E. m' Wmt is tM signature of the key of F minor ? Like Its relative, Ab major, it has tour flats. 162. What tones form the key o/Bb minor ? Bb, C. Db. Eb, F, Gb, and A. „, . o 103 H^«/ isaie signature of the key ,/ Bb nunor ? Like its relative. Db major, it has five flats. 164. What to: ''^s form the key of Eb minor Eb F, Gb, Ab. Bb, Cb, and D. 165. Wat is the signature of the key of Hj nunor? Like its relative, Gb major, it lias six flats. i„.. th." mclodv. l.ut which do not torm an essential i.ait ol of a measure. ? . ? Part L] catechetical. 168. How is it usually represented? By a smaller note. 169. TlV/^/^S «« ACCIACCATUKA? A passing tone, a half step above or below the tone to which it is pre- fixed. It is usually written with a dash across its hook; it has no de- termined time-value, and should be closely blended with the following tone. 170. ^\llat is an After-tone? A passing tone which follows an essential tone, on an unaccented pulse of a measure. 171. He perfnrnied nidiiixsiiiio. thev mark it with three or even with four p'.f. Now. as /40. When is a Chord said to be in its second inverted form f When the Base takes the fifth. 341. How is the second inversion figured? It is figured 6, or simply 2- 4 342. In this second inversion of the Triad, which member is it best to diiph'cate ? The fifth ; the tone upon which the Base stands. 343. miaf is a Dissonance ? A chord in which two tones occur in alphabetical order, Or one iB ivliich there is an augmented or diminished interval. 344. Wliat is a chord of (he Seventh ? A triad, with the interval of a seventh added. 345. Wliat is meant by the Dominant seventh ? A choi-en is the Dominant seventh said to be in its first inv&i'teOform* When the Base takes the third. t»60. How is the first inversion of the dominant seventh figured? it is figured 5, or §. 351. When is it said to he in. its second inverter keii ' A minor third, diminished fifth, and minor seventh. 360. What peculiarity has this-chord. The seventh must always be in the Soprano. 361. mat intervals form the chord of the seventh of if, in the mtr^r key ^ Aminorthird,diminislied fifth, and minor seventh 362. Wliat intervals form the chord of the seventh oj vu°, m the m'cn<^^ ^'^ A minor third, diminislied fifth, and diminished seventh. 363. What is this chord generally called ? The chord of the diminished seventh. qfii Whnf U o,.df,-o,,, ninths, wh,ch are sometimes fome.,>J suspensions. , , „ 367 Upon what member of the key is itjounded ? chords of the ninth ? The fifth. n^' ^*!'i/tlu. fifth is retained, the Chord would contain two perfect ABT n.j TECHETICAL. 29 371. How many inversions has the chord of the ninth ? Three: uainely, wlieii the base takes either the tbu-d, lifth or seventh. 372. Are chords of ihe ninth ever founded upon other tones than the dominant ? Some them-ists reco-iiize and classify chords of tiie ninth founded upon »tlier tones; but such chords are generally treated as suspensions, which ' enders their e.\i)lanation vastly le^ss complicated. 373. What are chords of the eleventh, and chords of the thirteenth ? Like chords of the ninth, they are dominant seventh chords, to which s added the interval of eleventh, or thirteenth. 374. Are they generally classed as fundamental harmonies ? ■ By some theorists they are so treated; but, as they always have the •/naracter of suspensions, most writers choose to classify them as such. 375. What is meant Ijy (dtered chords ? The chromatic alteration of one or more intervals of fundamental liar- iionies. 376. Wliat is the effect of such alteration ? It has the two-fold ettect of producing a modulation, and of giving a lew chord formation. 377. How many new chords may be so formed? There are only live which may be met with in practice. 378. What is an Augmented Triad ? A major triad, with the tit'tli augmented. 379. Where is this chord found as a fundamental chord uiithout chro- matic alteration ? It is a fundamental chord when founded upon the mediant of a minor key. 380. Upoiu what tones is it most frequently formed ? Upon Xh-i Tonic, Sub-dominant, or Dominant of a major key. 381. How many Inversions has thp. augmented triad ? Like the major triad it can be used with good effect in both inversions. 382. muit Sevenths may be emvloyed ivith the augmented triad ? The major seventh of the Tonic, and the dominant seventh may be added at pleasure. Also, in -rare instances, tiie major seventh of the sub- ilominant may be added. 383. ^^l>en the major seventh of 1 or FV is added to the augmented i>-iad, which member of the following chord must always be doubled? The third. 33-4. What is (tn Augmented Chord of the Sixth ? A cliord, consisting of a major third and augmented sixth. 3.S3. From what is it derived ? From the chord of the seventh of ii° in the minor key, with the third altered from minor to major, and the fundamental omitted. 38(i. Which inversion of this seventh chord brings the augmenieiX chord of the sixth ? The first inversion. 30 THEORY OF MUSIC. [Book L 387. Infourimrt harmony, whichpart of the Auffmented Sixth Chord should be doubled ? The third. 388. How is the chord figured ? It is figured $6. 389. \VJiat name is sometimes given to the augmented sixth chord ? Some theorists call it the Italian sixth. 390. What is an Augmented Chord oftlie Sixth, Fourth, and TJiird ? A chord consisting of a major third, augmented fourth, and augmented sixth. 391. From tchat it is derived ? From the chord of the seventh of ii° in the minor key, with the third altered from minor to major. 392. Which inversion of this seventh chord brings the Augmented Chord of the Sixth, Fourth, and Third? The second inversion. 393. How is it figured ? u It is figured *. 394. \\-liat name is sometimes given to the Augmented Cliord of the Sixth, Fourth, and Third ? Some theorists call it the French Sixth. 395. What is an Augmented Chord of the Sixth and Fifth ? A chord consisting of a major third, a perfect fifth, and an augmented sixth. 390. From what is it derived ? From the chord of the seventh and ninth of \f, in the minor key, with the tliird altered from minor to major, and the fundamental omitted. 397. WJiich Inversion of this seventh and ninth chord brings the Aug' mented CJiord of the Sixth and FifOi? The first inversion. Z^%. Hon- is it figured? ' It is figured *|. 399. What name is sometimes given to the Augmented Chord of the Sixth and Fifth ? Some theorists call it the German Sixth. -400. What othi'r Chord is found tit/ altering fundamental harmonies? A very useful choi'd may be derived from the chord of the seventh and niiitli of iP, of the iiiiiior key. Ity ullerinij; the third, fifth, and seventh, inakiiin the third major, the fifth perfect, the seventh diminished, ami omitting the fundamental. 401. \Mdch inversion of this seventh and ninth chord wiU briiig Ihtu new chord ? The second '\ ersion. Past n.] CATECHETICAL. 81 402. How is it figured ? H It is tiirured Jf4. 3 403. What na?ne is proposed to give this cliord ? The American Sixth. * 404. mutt is a Suspension ? The withholding of a tone which is proper to a chord, and, in its stead, retaining a tone from the preceding chord, thus producing a momentary dissonance. 405. In what parts, and before ichat members of a chord may a Suspension be employed ? In any part, and before any interval of the triad, also before sevenths In rare cases. 40G. (Jan Suspensions occur in more than one jxirt at the same time ? Two, or three parts may be suspended, called double and triple sus- pension. 407. ir/taOs Anticipation ? The abandoning of a tone which is proper to a chord before the metrical division leads us to expect it, and. in its stead, taking a tone which belong to the succeeding chord, and i-etaining it until the other parts follow; the reverse of suspension. 408. Can Anticipations occur in more than one part ? Anticipations may occur in two or three parts, at the same time. 40'.t. \Mtat is Organ-point, or Pedal-point ? A passage in which tlieBase sustains the Tonic or Dominant, while the other parts move independently. 410. May the Organ-point tie taken l>y other parts tluin the Base ? It may I)e sustained l)y any part; but when such tones are taken by the upijer parts, they are more correctly called Stationary Tones. 411. H7/rt^ /s I't Sequence ? A regular succession of similar harmonic, or melodic, formations, or phrases. 412. Of what does a Sequence generally consist ? Of a chord, thought, or phrase, which is repeated at a higher or lower pitch. 413. In a phrase Sequence, what is the first formula called? The figure. * The author claims the original classification of this chord. He has been nuable to find it in the works of any other antlior. neither it is mentioned anion-? the altered chords by any theorists, so far as he has been able to find by dilifjent research. That it is correctly built is acknowledged at once by all theorists with whom he has had the opportunity of conversing. The proposition to call it tlie .\nierican sixth meets with geuei-al favor, being suggested by the names Italian sixth, French sixth, German sixth, and Euglish sixth (this la.st nearly obsolete): see page9ti. Although very useful for voice leading, it is seldom met with in practice, for the veasou tiiat no theorist has heretotore recognized it, or alluded to it in any way. 32 THEORY OF MUSIC. iBoos. I. 414. JMiat is the second formula, third formula, etc., called? The first repetition, secoud repetition, etc. 415. What are Passing T^nes? Tones wliicli are foreign to tlie liarinony, and which are used in pass- ing from one chord-tone to another. 416. What are the distinctive properties of Passing tones? They must not appear at tlie same instant with the chord-tone, but must follow it, and no not generally progress by ski])s. 417. Tr//r/^ rt/-e Changing ToNE!^? Foreign tones which enter witli the harmony, and attach themselves to the harmonic tone. 418. What are the distinct/re properties of Chanoing tones ? They can progress by skips, and when formed beloW; they incline to the distance of a minor second from the harmonic tone. 419. What are Passing Chords ? Chord-formations which grow out of a combination of two or more passing tones, the liarmonies of which are generally too transient lor their construction to be recognized. PART THIRD. HARMONY AND COMPOSITION. 420. TT7/e?? is a part, or chord, said to remain stationary ? When the tone or chord is repeated. 421. When, is a chord said to progress ? When some or all of its parts move to other tones, and thus form an- other chord. 422. W/iat does such progression involve ? Motion. 423. How manij kinds of Motion are there, and what are they called? Three; contrary motion, oblique motion, and similar, or parallej motion. 424. When are tivo parts said to move in contrary motion ? When one ascends, and the other descends. 425. When are two parts said to move in similar, or parallel, motion ? When they ascend or descend together. 426. When are two i)arts said to more in ot^lique motion ? When one part ascends or descends, and the other remains stationary. 427. What is the first great Law o/ Progression ? Eacli part should move to that tone in the next chord which occasions llip least motion. 428. IfV^^^; IS the second great Law of Progression ? If the two chords contain a mutual tone, the part which sings it in the first cliord should sing it in the next chord. 421). Wliat is such mutual tone called ? Tiie ))indlng tone. 4j0. How should the t)imling tone be indicated ? By connecting the two notes with a tie. 4:il. What tone is mutual in the chords of the Tonic and Super- tonic ? Tiiey have no mutual tone. 4:>2. Wliat tones are mutual m the chords of the Tonic ami Mediant ? Tiie third and tifth of the Tonic chord are always the fundamental and third of ih',! cliord of the Mediant. 84 THEORY OF MUSIC. [Book I. 433. Wiat tone is mutual in the chords of the Tonic and Siib- dominant ? The fundamental of the Tonic chord is always the fifth of the Sub- dominant chord. 434. What tone is midual in the chords of the Tonic and Dominant ? The fifth of the Tonic chord is always the fundamental of the Dominant chord. 435. What tones are mutual in the chords of the Tonic and Sub- mediant ? The fundamental and third of the Tonic chord are always third ajid fifth of the Sub-mediant chord. 436. What tone is mutual in the chords of the Tonic a)id Sub-tonic ? They have no mutual tone. * 437. What is the third great law of progression? Two perfect fifths must not occur consecutively between the same parts. 438. What is the fourth greed law o/ progression? Two perfect octaves must not occur consecutively between the same parts. 439. What is the rule for avoiding consecutive faults ? Make the offending part move in contrary motion. 440. What is the rule for the progression of the leading tone ? (See 280. ) It should ascend a minor second. 441. If the base moves a second or a third, how should the ui>2^er three 'parts move ? If they cannot remain stationary, they should move in contrary motion. 442. Between the Sojirano and Base what motion is generally prefer- able ? Contrary motion. 443. Why does the second inversion of the triad require more careful treatmeid than the first ? (See questions 337 and 342 inclusive.) Because in the second inversion of tlie cliord. the interval of a perfect fourth takes on the character of a dissonance, which weakens the efiecl. 444. Does the interval of a fourth generally bear the character of a dissonance"! , Never, except when it stands over against the base, as iu the ^ cliuni. 445. Is this the case with real dissonances ? It i.s not ; they alwaj'S retain their dissonant character. 44(5. When is the | chord most effective ? When it is foriiicd upon tlic Tonic, Dominant, or Sub-dominant, enters* ii|)i)n an acccntiMl pul.sc, cillicr free or as a suspension, and resolves into the ^ ciiord of the tone which forms the base. • Tuo learner hIiouUI ik^w coiiiijare tlie clionl of tlif Supcrtonii; wifli all otli'" chords, and point out the mutual tonew, tin ii pioiMed the same way with the clionla yf the Mediant, Sub-dominant, Dominant, S\il)-niedlaiit, and Hub-tonic. f ART m i CATECHETICAL. 35 ■947. /". what other manner is it J'requentljj employed? \s a passing chord upon an unaccented pulse. t-18. W'nit trutds most frequently 2)recede the ^ chord? The triad of IV or of 11. (See 300 and 302.) 4t9. Where is the | chord most freqently found ? In formations of the Close. (Cadences.) 450. Why is it paHicidarly effective in modulations ? Because, in entering upon the accented pulse, it instantly produces the feeling of a modulation. 451. In what other way is the ^ chord employed ? As a suspension; in which case the fourth is always prepared. 452. When does the 2 chord appear at greatest disadvantage? AViicn, with prepared base, it enters on an accented pulse. 453. When is a part said to resolve properly ? When it progresses according to its natural tendency. 454. What is tlie proper resolution of augmented intervals? Upward. 455. mmt is the proper resolution of diminished intervals ? Downward. 45(i. Should augmented or diminisJied intervals be doubled ? They should not. 457. Why not ? Because, being dissonances, they have a determined resolution, and if doubled, and both parts properly resolved, consecutive octaves would result; and if, to avoid the consecutive fault, one of the parts is made to move contrary to its natural tendency the effect is still worse. 458. WJiat is the smoothest way of approaching and leaving the chord oftlie Super-tonic ? (See 300.) . Approach it from the Sub-dominant, and leave it through the second mversion of the Tonic. 459. What is the smoothest ivay of approaching and leaving the chord of the Mediant ? (See 301.) Approach it from the Dominant, and loa\*e it through the Tonic. 4(j0. What is (he smoothest way of approaching and leaving the Sub- dominant? (See 302.) Api)roach it from the Tonic, and leave it through the second inversion of the Tonic. 461. Wliat IS the smoothest imy of approaching and leaving the Dom- inant ? (See 303. ) Approach it from the Tonic, and return to the Tonic. 402. 117;/;^ is tht' smoothest way of approaching and leaving the Snb- mediant ? (See 304.) -*l)l)roach it from the Tonic, and leave it through the Sub-dominant. THEORY OF MUSIC. [Book I. 463. W/ia( is (lie smoothest way of approaching and leaving (he chord of the Sxb-tonic or leading tone ? (See 305.) Approach it from the Tonic, and return to the Tonic. 464. Wliat is the resolution of the cJiord of the Sub-tonic ? Its fuudanieutal being the leading lone, must ascend a minor second; its fifth being diminislied, nmst descend a minor second; its thu'd is free. 465. To what harmony does it invariably resolve ? To the Tonical harmony. 466. Whe/( ((re parts said to be icritten or played, in close havTUOny ? When the highest three parts are all written within the compass of one octave, so that they may be played with one hand. 467. When are parts said to be written or played in dispersed har^ mony ? ^Vhen they are so arranged that the interval between the base and tb-? soprano is about equally divided by the tenor and alto. 468. /// dispersing harmony what is the rule for separating the parts ' Not more than an octave should intervene between any two contiguous parts, except the base and tenor. 469. }\7ien is a dissonance said to be prepared ? When it appears as a consonance in the preceding chord, and is taken by the same part, so that it can be connected Ijy a tie. 470. ^V^iat are the rules for the progression of the cliord of the Domi- nant seventh ? (See 345 to 356.) The seventh descends one degree ; the third, being the leading tone of the key, ascends a minor second; the fundamental and fifth are free. 471. Into what harmony does it generally ?-esolve ? Into Tonical harmony. 472. Into irhat other harmony may it resolve ? The Dominant seventh of a major key may resolve into the Tonical har- mony of the relative minor key: and the Dominant seventh of a minor key may resolve into the harmony of IV of the relative major key; other resolutions are possible, but not as usual. 473. Of whatpeculiar resolution is the dominant seventh chord ca/udjle-^ One seventh chord may resolve into another, and that into a third, etc- 474. The third in version of the dominant seventh chord ( | ) necessarily resolves into wJuit chord ? Into the first inversion of the Tonic. 475. Are there exceptions to the rule that the interval of a seventh must descend one degree ? There is one exceiHion. viz. : in the .second inversion of the chord : when the .seveutli is in liie soprano, ami liie cliord-resoives to Die first in- version of the Tonic, tlie seventli may ascend willioul i)rodncing a bad eflect. 476. Are there other ccceplional treatuients (fthe interval of seventh ? Tliere are; it may be abandoned entirely; it may also be transferred paetui.] catechetical. 37 from oiiP part to aiiotlier, wliPii tlic clionl is iviwatpd; in which case the l»ail tliat has it last must he respuiisiljle for its correct resolution. 477. If it s/ioiii'l heroine xeccssori/ to omit an// of the to/ien o/the Domi- HKiit serentli chunl ii'lml tones con lie s/i(trei/ liest ? Tiie octave of tiie fuinUimeiital tirst, the tifth next, and, in extreme cases, tlie tliird may be dispensed with. 478. What is the especial use of the Dominant seventh chord? It is especially useful in cadence formations, and in determining: the Key in modulations. 479. HoiV does it point to the key in modulated jiassages ? No 'other chord is built like it, (major 3rd, perfect 5th, and minor 7th,) its fundamental is always five of some key, and having found five it is easy to determine the Tonic. 480. What rules govern the resolution of the several invei-sions of the Dominant seventh chord ? The same rules that govern the direct form, the seventh descends one degree, the third ascends a minor second, the fundamental and fifth are free. 481. Does (he Dominant seventh require a jjreparation ? Not necessarily. 482. Hon'! is the chord of the seventh of ii, i}i the major mode, most frequentl// employed? (See 356.) In its first inverted form. 483. Wlien thus used, what name was formerly given to it ? The Ecclesiastical chord. 484. WJiy? Because it is peculiarly adapted to church harmonies. 485. ^Mlat is the resolution of the chord of the seventh of VTi°, in the major mode ? (See 356.) Its fundamental being ihe leading tone, ascends a minor second; its seventh descends one degree; its fifth, being diminished, descends a minor second, and its third is free. 486. In -what position should this chord always be used ? With Uw, seventh in the soprano. 487. Hoip can consecutive fifths he avoided between the third and seventh ? By either doubling the third of the tonic chord, (which is most usual.) or. by causing the thint of tlie seventh chord to descend five degrees. 488. Does rhis serenfh rei/nire /treporation ? Not always. 489. Hoa- does (he chord of the seventh of if in the minor mode, differ from that ofwv in the mirjor mode? Only in the resolution of its fundamental tone, which, being no longer ihe leading tone, is free. 38 rHEORY OF MUSIC. [Book I. 490. Into what hcwmony does it most frequently resolve ? Into Dominant harmony the fifth and seventh descend a minor second, the fundamental moves to the Dominant, (either up or down, ) and the tiiird ascends one degree. 4!)1. What is the jirimary resolution of the chord of the seventh o/vii° in the minor mode ? (See 356.) Its seventh and fifth descend one degree, its fundamental ascends one degree, and its third is fi-fee. 492. ^V}lat is this chord sometimes called ? The equivocal chord. 493. For what reason ? Because it does not point to any particular Tonic, and is capable of a great variety of resolutions. 494. Which inversion of this chord is least satisfactory ? The third inversion. 495. How can thts chord be converted into a dominant seventh chord? There are four principal ways ; First, one of its members may descend a half-step, Vvhile the others remain; (SVco»(/, three of its members may ascend a half-step, wliile the other remains; Third, three of its membei's may descend a half-step, while one descends a whole step; and Fourth. three of its members may ascend a whole step, while one ascends a half- step. 496. WJiat other peculiar progression can he formed vrith this chord? All its tones may be made to descend a half-step, thereby forming an- otlier similar chord, which, in its turn, can be resolved the same way, and so on indefinitelj'. 497. Does the Seventh in this chord require a jjre^yaration ? It does not. 498. What is the Resolution of the chord of the Ninth ? (see 364.) The ninth descends to the eighth, when the chord becomes a chord of the Dominant seventh, and is resolved accordingly; or the chord of the ninth may resolve directly to the Tonical harmony. 499. W7iat rule should be borne in mind when v.sing chords of the Ninth ? The fiiiidaniental tone and ninth .should be kept nine degrees apart. 500. What is the^ progression of the Augmented Ctiord ? (See 378 to 383.) Its fundamental remains stationary, or descends five degrees; its thii'd may ascend a minor seconil, or remain stationary; and its fifth ascends a minor second. 501. Do these rules apply to the inversions also? They do. 502. Wliat is the resolution of the Italian Sixth ? (Augmented Chord of the Sixth, see 384 to 389.) It resolves to tlie Dominant hannonv: the fundamental, foriiiiiial tliinl. 5 Part III.] CATECHETICAL. . 39 descends a minor second, the augmented sixth, ascends a minor second, the third descends a minor second, or ascends one degree. 503. Which member of this chord may he doubled in four part harmonies ? Tho third only. (The original fifth.) 504. Are the inversions of this chord generally used? They are not. 505. What is the progression of the French Sixth? {Augmented Chord of the Sixth, Fourth, and Third, see 390 to 394.) Its fundamental, (original fifth,) descends a minor second; the third, (original seventh,) descends a minor second; the fouflh, (original funda- mental.) remains stationary, and the sixth, (original third,) ascends a minor second. 506. Are the inversions of this chord generally used ? They are not. 507. Kow does the French Sixth compare as regards its usefulness with the other Augmented Sixth Chords ? It is considered inferior to either of them. 508. What is fh« progression of the German Sixth ? (Augmented C'iord of the Sixth and Fifth, see 395 to 399.) It has two resolutions. Isf. The third and fifth remain stationary, the fundamental descends a minor second, and the sixth ascends a minor second, thereby forming a ^ chord of the minor Tonic, which resolves im- mediately to the Dominant; and, 2nd, the fundamental descends a minor second, the third remains stationary, the fifth and sixth ascend a minor second; thereby forming a ^ chord of the major Tonic. 509. What other resolutions are sometimes found ? It is sometimes resolved directly to the Dominant, in which case open fifths can be avoided only by a pre-resolution of the fifth: a fine eft'ect can also lie produced by converting this chord into a chord of the diminished .seventh, l>y causing the fundamental to ascend one half-step. 510. Are the inversions of this chord generally used ? They are not. 511. What is the progression of the American Sixth ? * (See 400 to 403.) Its fundamental descends a minor second, its third remains stationary, its fourth and sixth ascend a minor second. 512. Is this the only resolutioti ? It is. 513. Are the inversions of this chord generally used ? They are not. * The author claims the original classification of this chord, concerning which see marginal note on page 31. THEORY OF MUSIC. [Book 1. 514. \V}iat is Modulation? Passing from one key into another. 515. W/iat may be called the point of Modulation ? The point when the home-feeling, or Tonic, seems to have taken a new position. 516. 0(C)i this shifting of the Tonic, or home-feeling, take place with- out the use of tones which are foreign to the first key ? It can; whenever the tones of a key are so arranged that their relations have changed, and have centered around a new Tonic, modulation has taken place. 517. How IS this change of Tonic usually effected ? By use of tones which are foreign to the ruling key. 518. What two chords form the chief ineans of Modulation ? The dominant seventh and chord of the diminished seventh. 519. Why are these chords better for that purpose than others ? These two are never to be mistaken, while all others are ambiguous. 520. Uoiifare the other chords ambiguous ? They can belong to several diflerent keys. 521. Whe)i an ambiguous chord is used us a means of modulation, how are we to recognize the new key ? By the succeeding chords. 522. ^VIl(lt is the simjilest and most natural conclusion ichich Wb arrive at when a foreign tone or chord is introduced ? That it belongs to the key which is nearest related to the ruling key. 523. What keys are nearest related to the principal key ? Tlie key of its parallel major or minor; and of its Dominant and Sub- dominant, together with their parallels. 524. Should a key which is brotight about by modulation be used as thefimd key oj a composition ? It should not; a composition should en