Hamilton, Anna (Heuermann)

Keyboard harmony and

transposition

KtYGOARD HARMONY
TRANSPOSITION
:*reliminary Studies in

Keyboard Harmony and Transposition

Preliminary Volume for the earliest grades,

Keyboard Harmony and Transposition, Volume

The Principal Triads;

the Principal Dissonant Chords; the

Secondary Triads;

Passing* Notes.

Keyboard Harmony and Transposition, Volume

II.

Suspensions; Anticipations: Modulation; Altered Chords; Org^an Point.

BflB
HHBBMiiSca

Prior tO Cents

HHi

CHICAGO.
CLAYTON

F.

SUMMY

Weekes &

CO., 64

E.

Van BurenSt.

Co. London.

Copyright 1916 by Clayton P. Summy Co

International Copyright,

TRANSPOSITION
A

Practical course of keyboard

work

for every

Piano and Org-an Student. PRE-

LIMINARY STUDIES IN KEYBOARD HARMONY AND TRANSPOSITION

offers

an easy means of acquiring" an empirical knowledge of Simple Harmony.

Volumes
and II may be used in connection with or to follow any Textbook on Harmony.

Preliminary Studies in Keyboard Harmony and Transposition

A Preliminary Volume for the earliest grades.

Keyboard Harmony and Transposition/ Volume

The Principal Triads;

the Principal Dissonant Chords; the

I.

Secondary Triads;

Passing" Notes.

Keyboard Harmony and Transposition, Volume

II.

Suspensions; Anticipations: Modulation; Altered Chords; Organ Point.

BY

ANNA HEUERMANN- HAMILTON

nts

CHICAGO.
CLAYTON

F.

SUMMY

Weekes &

CO., 64 E. Van Buren

Co. London.

Copyright 1916 by Clayton F. Summy Co.

International Copyriffht.

St.

Preliminary Studies in

Keyboard Harmony and Transpositon.

FOREWORD.
The study of Transposition should be introduced very early in every
course. The present volume presupposes no knowledge except the ability

to read .notes.

Scales;
advances.
ial

beginning-

is

made with

a thorough study of the

Fundamental Idea of Harmony

and the

Consequently,

it

is

Major

acquired as the student

Harmony as a spec-

not necessary to pursue

study, although this system of transposition

Principles of

is

is built

altogether

upon

Harmony.

From the first a short task is to be assigned for daily practice in

connection with the piano lesson. and to be played as a part of the regular lesson. New work must not be taken up until this task can be played

When

book has been completed in this manner,

the student will have a practical knowledge of the rudiments of Harmony,
and be expert in simple transposition; he will be prepared to take up the
fluently in every key.

this

regular study of harmony and more advanced work

and transposition

in

keyboard harmony

Incidentally,

has been played

in

musical memory will be strengthened. After any extract

a number of keys, it will be found that it hasbeenmem-

orized unconsciously, and playing

with very
hint:

little

in

the remainder of the keys can be

reference to the notes.

This discovery contains a valuable

memorize can be

that is troublesome to

In

any piece, any passage

learned readily after the harmonic structure
play

it

in

done

is

well enough understood to

several keys.

For the greater part the Illustrations are taken, either literally or
in

adapted form, from Koehler and Czerny.

C.F.S.Co 1700.

9 4

Q
i 1

Preliminary Studies in

Keyboard Harmony and Transpositon.

Lesson

A
A

the

is

degree

An

THE MAJOR SCALES

1.

Interval

line or

space of the

or above or below the staff.

staff,

the distance from any

key to any other key.

is

Half-Step

name of any

is

the smallest interval on the

key-board;

from one key to the ve-

it is

ry next one, white or black.

What key

half- step that is

We

C?

step above

is a* half-

Dk

mig-ht say Cjf or

written on one degree and uses only one

letter, is

called a Chromat-

Half- Step, as C-Cjf.

ic

half- step that is written

on two degrees and uses two

The Major and Minor Scales use only Diatonic Halfwhat key

Ag-ain:

letters,is called

Diatonic

C-Dk

Half- Step, as

is

a half- step above

C?

Dl>;

Steps.

we

because

are at present using-

Dia-

tonic Half- steps.

What key
What key
What key

is

a half -step above

D? E? F? G? A? B?

is

a half -step above

Cjf ?

Dff?

is

a half-step above

Bb?

EJ>?

Remember

always use two degrees

to

in

F# ?

G#?

AJJ?

naming- the half- steps.

Lesson 2.

A
Steps.

is

Whole-Step

On

the piano there

What key
What key
What key
Lesson

is

Use two degrees

in

naming-

Whole-

one key between the two making- a Whole- Step.

is

a Whole-Step above

C? D? E?

is

a Whole-Step above

Ctf?

is

D#?

Whole -Step above Db?

El>

G? A? B?

F?

F#? G#?

Alt?

Gl>?

Bb?

At??

8.

Play the scale of

EX.

I.

as fing-ered

W=
{

L.H.

What
What

two Half-Steps.

as larg-e as

is

the Interval

is

the Interval

this

in

")

..

4^2

C-D?
G-A?

Example.
,f

Ji

E-F?
B-C?

D-E?
A-B?

two whole-steps and one half-step;

exactly like it: two whole-steps and one half

Notice that the part the left hand plays consists of

and

that the part the rig-ht

hand plays

is

built

step.

The part

the left hand plays

is called

a Tetrachord; and also the part the

rig-ht

plays.

The two Tetrachords

What
C.

F. S.

is

the Interval

Co. 1700.

that

make up

between

the

the scale are built exactly alike.

F-

G?

F Suminy

Co.

two Tetrachords:

Cnpyrip-M 1!W

liy

Clnyton

whole-step.

hand

Lesson

4.

two Tetrachords are

Since the

built

we

second one

can use the

of

one of a :ew scale.

this scale for the first

G A B C

Take the second Tetrachord:

find a

exactly alike,

new Tetrachord

in

the left hand, fingering-:

4321

and

What

the

for the right hand.

EX.

II.

L.H.

What

must we have between Tetrachords?

Interval

C?

whole-step above

Then

D.

new

the lowest tone find a

the

whole-step,

tone in the right hand

first

is

is

With D

D.

for

Tetrachord.

What

is

the whole -step above

D?

E.

What
What

is

the whole -step above

E?

F.tf

is

the

above

half -step

G.

Ftf?

Then the tones of our right hand part are

D E

Fjf

G.

Play the complete scale:

RH.
EX.

*-

III.

^^
|

'J

2i

11

L.H.

We have transposed the scale into the

How many sharps has the Scale of G?
Lesson

this scale

Continue

this scale,

in this

to

way

make new

Learn the number of sharps

EX.

did

you use the sharp ?

and make a

new

scale.

What

in

be the

scales until you reach one that has seven sharps.

Do

all the

work

at the key- board.

each scale, and compare your key-board

work

with

see that you are right.

R.H.

R. H.

>.

!v.

.Su

Li
lj

J
I

frJ

Ir f
'

*ti
ra

C
'*

L.H.

L.H.

L.H.
R.H.
2

RH.
1|

K.

1
|

fcl

"I
J
jo

L.H.
Co. 1700.22.

H.

IV.

||

F. 8.

will

Stop then, as each tone will have a sharp.

this table, to

Why

5.

Take the second Tetrachord of

name of

Key of G.

L.H.

LH.

JO

\\

Lesson

6.

Since the two Tetrachords are built exactly alike,

scale of

Take

use the

one of the

first

second one of a new scale.

for the

the first Tetrachord of the

1234;

we can

scale,

C D E

and find a new Tetrachord for the

F, in

the righi hand,

fing-ering-

hand.

left

R.H.
3
2J

EX.

What

must

interval

a whole-step below

down

to find

wards?

new

we

<*

V.

What

a whole-step;

What

is

the

What

is

the whole-step below

What

is

the whole-step

Lesson
Take the
ing-

A.

G.

below

G?

F.

left

g-oing-

H.

VI.

flats

has the Scale of

first

F?

Why

tetrachord of this scale in the

What

in this

will

way

Learn the number of

this table, to see that

did

you use the flat?

to

rig-ht

make a new

hand, and

scale, count-

be the name of the scale ?

make new

flats in

you are

you reach one

scales until

flat.

Do

all the

work

that

has

at the key-

seven

work

each scale, and compare your key board

rig-ht.
{.H.

L.H.

R.H.

Eb

1,

si

31

41

3=2*3=
fe

ETf

L.H.

Ab

f*pl
|4
|4
'3
13

R.H.

R.H.

Cb
^j_

f'f
ll
12

C.FS.Co 1700 22.

>J
'2

L.H.
II ,2|

L.H.
L.H.

flats.

board.

EX. VII.

|4 13
Lr.H.

is

A Bk

F G

hand part are:

Stop then, as each tone will have a

>^t?p

tone

7.

backward.
Continue

What

a whole- step.

Play the complete scale:

How many

whole-step.

are the intervals of the tetrachord counting- back-

Bb?

half -step below

EX.

You see we must count downward now, as we are

tetrachord.

Then the tones of our

have between tetrachords ?

C? Bk

half- step,-

i.

2.

3i

with

Play the Scale of 7 sharps: C#.

Play the Scale of 5 flats: Dk Do you notice anything- strang-e?
the
is

same keys exactly!

same keys, but

Using- the

calling-

Why, we used

them by different

names,

ENHARMONIC CHANGE.

called an

F#,with the scale of 6

Compare

the scale of 6 sharps:

Compare

the scale of 5 sharps: B, with the scale of 7 flats:

How many

we

scales do

How many

write ?

flats:

Gk What did you find ?

Ck What

different sets of

did

keys do

you

we

find ?

use on the

piano ?

Lesson

9.

When we

we

particular order,

make up a scale, but do not think of them in any

"
the Scale of
Key of C" or "the Key of FJf" instead of

think of the tones that

say "the

or'Hhe Scale of F$?

Learn the sharps or

by enharmonic chang-e.

flats in

every key, and

which keys are equal

tell

to other keys

Key of C
n

G
D

"

5
6
7

B
F#
C#

Cb
Gb

Key of 7
6

=.Db
Ab
Eb
Bb
F

flats

"

3
n

>

"

2
1

C
Lesson

is

flat or sharp.

the tone after which the key

C; of the key of

is

Fifth

flat

10.

The Tonic of any key

key of

"

>

is

is F,

is

The Tonic of

named.

the

and so on.

an interval that takes five degree to write;

as C- G.

Notice that the Tonics of the keys in the above table are all five degrees apart.

A, E, B or Cb,
CIRCLE OF FIFTHS.

Going- throug-h the keys in this order:

Db, Ab, Eb, Bb, F,

Fourth

Notice

is

when

makes

the

an interval that takes four degrees to write, as:

or B, E, A, D, G, makes the
to

or Gb,

Cj)

or

F.

C, F, Bb, Eb, Ab, Db or C#,

CIRCLE OF FOURTHS.

say the keys through both the Circles.

C.F.B.Co. 1700.22.

C-

Fjl

the above table is taken backwards, the Tonics are all four degrees apart.

Going- through the keys in this order:

Learn

C, G, D,

Gb or

F#,

Cb

THE TONIC CHORD.

Lesson

21.

The Tonic Chord consists of the

Chord

and Fifth of the

every key through both Circles, using- the fingering

in

and 5 3

Tonic, Third,

in

the Right

CIRCLE OF

B =

C\>

F# =

G\>

A.\>

B|>

Lesson

E\>

E|>

Ab

Db=

d> =

C#

Cl>

= B

nayi
te

i2.

Play Illustration

through Circle of Fifths,

fing-ering-

same as

R. H. beg-ins with the Tonic, C; and the L.H.

tice that the

in last lesson.

with the

Third

chord :E.

On what member

of the chord of G, will the R. H. beg-in

in

the key of

The L.H.?
111.1.

<S

Lesson

r.

i3.

Play Illustration 2 throug-h Circle of Fourths.

X.

BJ>

4ths

p4o j

Hand;

5ths.

p|
C

3 5

the Left Hand.

in

CIRCLE OF

EX.VIII.
Key of C

Play the Tonic

key.

G?

of

Nothe

Lesson

15.

Play the three chords

Ex. X.

What

impression do they

chords are restful: they are the Chords of Rest.

last
is

in

the Chord of Motion.

f)

make?

The middle one

The
is

first

restless:

and
it

EX. X.
*ih

In transposing-,

Tonic, Fifth, Tonic j

notice that L. H. takes:

R. H. takes Chord of

Rest, Chord of Motion, Chord of Rest.

Lesson
Many
them.
L.

16.

little

or the tones that compose

pieces are written with only these chords,
and
third of the chord,
111.3, notice that R. H. begins on the

In transposing-

H. on the root.

rfr111.3.

Lesson

17.

In transposing-

back

to the

111.

key of G.

4, beg-in

with key of

and

gx>

through the Circle

Both hands here begin on the Tonic.

until

you

g^et

Lesson 19.
Go through the

/5M7
fl?vM

Circle from key of

54

to

fr

R. H. on
key of A.
-""
~~5~

third;

111.6.

Tonic.

^
4

L.H.on

I
Lesson 20.
111.

is

little

more pretentious, but not a

more

particle

difficult

than the preceding

pieces.
Allegretto
3

823

^
III. 7.

sp
1

-*?!*
3
5

18_*88

1
a a
3

J*

a
3

THE SERIOUS CHORD.

21.

Take the Tonic, fourth and

2,1 in the L. H.

33

Same

sixth, of the scale, using fingers: 1,3,5 in the

fingering

in

all

R.H., and

5,

keys.

EX. XL
v^>

y>

ry

454
232
\\

Lesson 22.

1.

Same

Play these three chords: EX. XII.

4,

fingering- in all keys.

^J

before ?
they remind you of anything ? Have you ever heard the combination
Cadence
the
"Church
That is right; it is called
sounds like the "Amen" in church.

Do

'.'

Cadence
It is

is

a close.

R. H. takes:

Chord of Rest, Chord of Seriousness, Chord of Rest.

C.F.P.To 1700.22.

impression does the middle chord make? It is very serious.

In transposing-, notice that L. H. takes Tonic, Fourth,Tonic;, and

What

the Serious Chord.

It

10

Lesson 23.
Before transposing- illustrations 8 and
Jf
111.8.

1
|

9,

pick out the

new

chord.

11

Lesson 27.
In transposing-

111.

10, notice the

arrang-ement of the tones of the Motion Chord.

111.10.

te*

life

-Oi

POSITIONS OF THE CHORDS.

Lesson 28,
Is EX. XV.

the only order in which

trial at the

ent orders, as in

piano shows that

Use the same

just as the

V"\7T

can put them

three differ-

into

OF THE

fing-eringf in all keys.

the only order in which

piano shows that

we

we

TONIC CHORD was

root of the Motion Chord

is

EX. XVIII.

can put them into four differ-

This shows that the lowest tone

of thirds.

B D F G?

can use the tones

In the last position notice that the chord

ent orders, as in Ex. XVIII.

made up

C E G?

can use the tones

THE DOMINANT -SEVENTH CHORD.

Lesson 29,
Is EX. XVII

A trial at the

we

we

These are the three POSITIONS

EX. XVI.

TONIC CHORD.

is

S:

built of thirds

is

the ROOT,-

and had the

the fifth of the key.

The

TONIC

for its root.

Fifth of the key is called the

The

DOM-

So the Motion Chord is called the DOMINANT CHORD. Or as

Harmony.
it is a SEVENTH from G to F, it is called the DOMINANT- SEVENTH
CHORD. (A
SEVENTH is an interval that takes seven degrees to write; G-F is a

INANT,

in

seventh.)

Why

this in transposing*.

THE SUB -DOMINANT CHORD.

Lesson 30.
Is

Remember

has this chord four positions ?

Ex. XIX

| the only order

in

which

we

can use the tones

C F A?
EX. XX.

A trial at the
as in Ex.

XX.

piano shows

fhat

and the lowest tone was

C.E

into three different

is

the

its root.

ROOT; just

as the

the key

S. Co. 1700. 22.

is

called the

orders,

made up of

thirds.

TONIC CHORD was built of

The root of the Serious Chord

SUB -DOMINANT, in
SUB -DOMINANT CHORD.

The Fourth of
called the

can put them

In the middle position notice that the chord is

This shows that the lowest tone

is

we

is

harmony.

the fourth

thirds

of the key.

So the Serious Chord

12

Lesson

31.

A CADENCE
The
sitions.

is

a number of chords forming- a close.

of
following- several lessons will consist

They

CADENCES
we

will present no difficulties, in transposing-, as

the separate parts.

ted
Whv ?

using- i'he chords in all po-

have already transposed

Notice that one of the tones of the Dominant-Seventh Chord

is

all

omit-

THE AUTHENTIC CADENCE

54

4
*

j>

PP

EX. XXI.

nr

THE CHURCH OR PLAGAL CADENCE

Lesson 32.

55

r>

a.
il

EX. XXII.

H
THE PERFECT CADENCE

Zessora 55.

Notice that the third chord, which

but the Fifth, which

is

the Tonic Chord, has not the Tonic in the L.H.,

also in the Tonic Chord.

is

55

a.

b-l
T-

i
EX.XXIII.

*PP

-9

Lesson 34.
Name the chords, while

transposing-.

2 4
P?

111.11.

^
Lesson 35.

Name

the chords, while transposing-.

111.12.

35
C.F.S. Co. 1700.22.

il

13

Lesson
In all

36.

Name

keys.

the chords while transposing-.

^,

Allegro

fai

E=

111.13.

ini

Lesson

37.

In all keys.

Name

the chords while transposing-.

5

Allegretto

3^

f Ff.ffff.f
111.14.

Lesson 38.
In

all

keys.

Name

the chords while transposing-.

es&
111.15.'

"

.55
2i**3

^
3

5 4
2*.

1313 243

S^^

P
C.F S. Co. 1700. 22

* Z

..

S
2^3
1 m

1 2 j

2131

THE HARMONIC MINOR SCALES.

Lesson

39.

R. H. with fingering-: 235. What tone is a third bewith the thumb. We now have a chord of four tones: A C E G.

C E G

Take the chord:

low C?

Take

A.

in

XXIV

EX.

Chord of

The upper three tones are

tones

and

the chord of C; the lower three are the chord of

are found in both chords,- the chords are relatives. Strike

feel alike?
chords, and then the other. Do they
The C is a Major Chord, and the a is
is sad.

No,- the

chord

is

The

one of the

first

bright,and the

chord

Relative 'Minor.

its

on a inPlay a scale, beginning on a. Use the tones of the C scale, only beginning
How does that sound? All very well until
stead of C. This gives us: a b c d e f g a.

we must

have a half- step between the

Well then, sharp the g, and see what the result will be.
last two tones, to complete the scale.
is
a.
That
It is: ab c d e f g#
better, and is accepted as a minor scale.

we

get to g;

we

do not

In spite of the g#,

ery time

it

occurs, and

like that.

we
is

seems as

It

if

say the scale of a minor has no signature; g# is written out evcalled an "accidental."
Play the scale of a minor.

EX. XXV.
-IT
L.H.

Lesson 40.
What Major

Scale has one sharp?

take this chord with 2 3 5

in

G.

What

is its

Tonic

Chord?

GB

do you find the relative minor chord to be ?

E G

B.

Taking the scale of

foundation, build the scale of e minor, not forgetting to sharp the seventh tone
R H.

-fa

EX. XXVI.

^E=

As

D.

R. H. and then take the third below with the thumb.

ft

q8

" E^=

above,

What

Major for
-

15

Lesson 42.
Build a relative minor scale for every major scale with flats.
table, and learn them all, including- their signatures.
XVIII.
,r
R.H.
g- minor
4 c minor

Compare them with

rjr-'-'nV!*

I.,

R.

f minor-

,00

this

L.H.

Lesson 43
The Minor Scales through the

sharp or

flat

Key

of

Circle of Fifths.

2 sharps
3

b
rl

Key of 7

at

Lesson

or sharp
44.

What is the
C

flats

chord of c minor ?

e\?

g.

What

is

the difference

between

it

Major chord? The third is a half-step smaller in the minor.

The major chord has a major third; the minor chord has a minor third.

Play Illustrations

Lesson

What

and 2

in minor.

How ? By

substituting- eb for e.

45.

are the second, fourth, and

fifth

tones in the scale of c minor?

How

does this compare with the Chord of Motion

Ex.
X in all minor keys.
Play

Lesson
2

major ?

46.

To be played
111.16..

in

in all

minor keys.

[i

345
.fflff iff

C. F.

.Co.

1700. 22.

f f iff

if

WHJSiiC

GfH&SON
LIBRARY

and the

16

Lesson

47,

To be played

in all

minor keys, beginning- on e and going through the circle

4,

2 4

to e.

5,

s
111.17.

wT~w
3

Lesson 48From g- minor

Ill

23483*5

1 '3

to

minor.

18

Lesson 49.
From c minor

111.19.

C.F S.Co. 1700.22.

to c minor.

Pi
4324
324

53

17

Lesson

50,

Find the Serious Chord

Ex. XII

minor keys.

into all

Lesson

c minor.

in

in

major?

Transpose

Play Ex.

XIV

into all

minor keys.
4

20.

Lesson 53.
Transpose

111.21.

Transpose

51.

Lesson 52.

111.

a major or a minor chord.

Notice that both chords are minor.

Find the Dominant-Seventh Chord

the one

Is it

into all

minor keys.
5

in

in all

Ex. XIII

in

minor.

minor keys.

How does

it

compare with

18

Play lesson 28

in all

minor keys.

19

Lesson

67.

Transpose* into

minor keys.

all

64

new

Notice the

*?

chord,

111.23.

Lesson

THE SUPER -TONIC CHORD.

68.

There

Play this cadence.

is still

another

?of
1

degree of the scale

or key ?

is

a minor.

It is

its

On

it?

in

it.

Which one

is

it

l|

II

EX. XXX.

Take the chord through

new chord

434

It is

On which

various positions until you find the root.

the second.

Is it

a major or a minor chord

in

the maj-

Play the cadence

called the Super -Tonic Chord.

in

all

through

its

major keys.

Lesson

69.

Play the

last

cadence

in c

Pick out the new chord and take

minor.

various positions until you find the root.

Chord of D major
Chord of d minor

New

chord

is

Jt is neither

Play the

is

D F# A

is

d f

it

a major or a minor chord ?

d f ak

major or

new cadence

nr'nor,- it is

in all

EX. XXXI.

C.F!8.Co. 1700.22.

Is

it

smaller than minor, and

minor keys.

is

called a Diminished chord.

20

Lesson 70.
Where is the new chord

Play

in all

major keys^
5

'*

232

32

11124

Lesson 71.
Where is the new

chord ?

Play

in all

Imi
111

/*

25

21

*t
4
i

1*

ip

"3

4343

1114

tf

-*"**-

5^4
n
^

**

12.

o 3

5432

Passing- tone

Lesson 72.
Name all the

chords.
Play in
With flowing harp-like effect
1

11126

C.F S.Co. 1700

22.

3212

2 3

since, il basso.

minor keys.
4

all

major and minor keys.

4 5

46

21

Lesson

72.

THE MEDIANT CHORD.

Ex XXXII.

Play this cadence:

is

the third of the key;

It

sounds well

that

it

is

it

major; but

cannot be used

have used so

If

in

in

if

you

minor;

will try

it

545

at least not in

far.

sounds very well.

it

In the

new chord?

What

is its

the bass in bar 2

in

root?

Play this cadence in all Major key>.

minor you will find that it sounds so b;.d
the Harmonic Minor, which is the scale we

in

as our Harmonic Minor Scale

it

t;lls

bar according- to
us

This gives us the Melodic Minor Scale

must be raised, as

it

wants

to g-o

up

to,

in

you will
descending-.

to c.

Melodic Minor Scale the 6th and the 7th tones are both raided

and both are

Its root

called the Mediant Chord.

the sig-nature, and not cancelling-

The bflat

there a

will play this cadence in c minor, flatting the b in the first

you

find that

Is

in

ascending";

like the sig-nature in descending-.

XXXII

Play Ex.

(b)

in all

Minor Keys.
5

(b)

EX. XXXII.

Lesson
Play

111.

73.

27

in

Name

every major kty.

all

the chords.

111.27

Lesson

PASSING - TONES

74.

In the following-

two

with which they are played.

from one to the other.
the key.

You notice

They are

Major keys.

Hi. 28.

FS.Co 1700.22

do not belong-

that these tones connect

called Passing--tones.

In transposing-, think of the

according- to the sig-natures.

In all

illustrations point out the tones that

to the

chords

chord -tones, passing-

All the tones

are

members

of

chord-tones and put the passing- tones between

22

Lesson

77.

In all Minor keys.

Moderate

111.251

3 2

In the following-

Then follow
g-ain a

half-

two

illustrations Passing- -Tones are

steps for three whole bars.

succession of half- steps.

Put

boring- tone.

used that make half -steps with

In illustration 30, notice that the first tone in

the chord-tones.

into all

In

Beg-inning-

R.H.

with the

is

fifth

a chord- tone.

bar there

Bars 9-14 a chord -tone alternates with a

Major keys.

From key

of

to

key of

is

a-

neig-h-

F.

ff.fW.f f.iJrH
111.30.

Lesson

78.

bars 1-2 and 5-6 a chord-tone alternates with a neighboringBar three beg-ins with a chord -tone and proceeds by half-steps for two bars.

In Illustration 31, in

step.

7 begins with a half-step above the chord-tone and

proceeds by half-steps to the
be played in all Major keys.
Allegretto
111.31.

S. Co. 1700. 22

tonic.

half-

Bar

To

23

MODULATION
Lesson 79.
So far, when a
all

the

We may

gx> into other

keys and come back

ag-ain, if

to.

what key

close?

In

32 ?

is 111.

G;

it

to the last

bar on

in

first line;

it

C;

has made a

commonest modulation.

the

Key of C, for instance, it was in the Key of C

key of F it was in the Key of Fall the way through.

in

beg-an in the

not always necessary.

is

we wish

line

if it

way through;

But that

In

piece has beg-un

begins and ends

MODULATION

into the

Notice that the chords are

then

we

C.

what key does

In

key of

all in

its

until

take the Dominant- Seventh chord

The Modulation takes

and end on the chord of G.

in

place

when

Dominant.

new

when you

close the first line.

Remember

to

is

reach the next

in

the key of G,

the sharp

sharp the tone

This

we

is

g-oing-

No

used.

matter into what key you are transposing- this example, you will always be in
inant key

the first

dom-

its

to

up

the

tonic.

Second

line beg-ins

by using- same chord that closed the

we

as a Dominant; and directly

are back ag-ain

in

first line; but

our old key.

now

Transpose

it

used

is

into all

Major

keys, naming- the keys through which you pass.

111.32.

Lesson 80.
what Key does 111.33 begin? In what key does it close? It begins in C;
flatting- the b in Bar 2 we secure the Dominant- Seventh chord of the Key of F;
In

is

followed by the chord of

dorminant.

Play

in all

F.

This

is

a modulation from the Tonic

to the

Key of

its

C.F.S.Co.1700.22.

Sub-

Major Keys throug-h Circle of Fourths.

WIECK,

111.33.

by
this

Op. 66.
L.H.
3

24
In

key are
ing the
to

what key are we

we

remain

In

in the

in

111.34?

in a^

in

what key are we

what key are

Dominant

we

in

The modulation was made by not

sharp-

would have been necessary

the first part of the eighth

in

the ninth

to

had we wished

do

full

bar ?

The modulation was

bar?

In

The modulation was made

C.

in

pre-

ft.

in the

12th bar ?

in

you will be

Bar

original key, in which

Transpose

major.

in a_ minor.

The g

is

sharped, which gives us

a.

minor;

close.

In transposing,

the

it

what

begins and ends

d and f in the preceding bar.

what key are we

which we

In

In

it

minor.

ceding bar by cancelling the

In

In a_ minor,*

fourth full bar ?

the preceding bar, as

made by sharping
In

in

into all

8.

we

Back

Bar

Relative Major in

in the

to the Relative

Major

4;

Minor of the key of

Bars 9-11.

in

Back again

into

close.

Minor keys, naming the keys through which you pass.

With humor

^~
3

111.34.

PPP

major

1700.22.

^m
c

C.F. S. Co.

major

Er

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EDUCATIONAL
CLAYTON SUMMY
Piano Teclmlc
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'91