MESSIAEN Lessons PDF

Olivier Messiaen
Vingt Leons d'Harmonie

Twenty Lessons in Harmony

edited by |
Dimitri Sykias |
2014
Olivier Messiean
Professeur au Conservatoire National Suprieur de Musique
Vingt Leons d'Harmonie

Dans le style de quelques auteurs importants de "l'Histoire
Harmonique" de la musique depuis Monteverdi jusqu Ravel
prcdes d'une note de l'auteur et de remarques sur la
ralisation de chaque leon en particulier
In the style of a few composers important in the "Harmonic
History" of Music from Monteverdi to Ravel
preceded by a note by the author and some remarks on
the realization of each individual lesson
" "
Monteverdi Ravel

edited by |
Dimitri Sykias |
2014
Contents |
Authors Note, iv
Notes on each lesson, iv
, x
, xi
, xi
Lessons
1. Given Melody (in the style of Monteverdi), 1

2. Given Melody (in the style of of a Passepied by Rameau), 5
3. Given Bass (in the style of J.S. Bach chorales), 7
4. Given Bass (in the style of a J.S. Bach Prelude), 9
5. Given Bass (in three parts, in the style of organ Trio Sonatas of J.S. Bach), 11
6. ( Gluck), 14
7. Given Bass (in the style of Mozarts string quartets), 16
8. Given melody (in the style of Mozarts string quartets), 20
9. Given Bass (in the style of Schumann), 24
10. Given Melody (in the style of Csar Francks canons), 28
11. Given Bass (style semi-Schumann, semi Lalo), 30
12. Given Melody (style semi-Chabrier, semi-Massenet), 33
13. Given Bass (in the style of Francks Sicilienne), 36
14. Given Melody (in a very hybrid style: a little Schumann, a little Faur, a little Albeniz), 38
15. Given Melody (style semi-Franck, semi Debussy), 42
16. Given Melody (style semi-Massenet, semi-Debussy), 44
17. Given Melody (semi-Chabrier, semi-Debussy), 46
18. Given Melody (in the style of Debussys Pellas et Mlisande), 49
19. Given Melody (in five pars, in the style of Maurice Ravel), 53
20. Given Melody (in a very special style, somewhat approaching Hindu cantilenas), 58
iv |
Olivier Messiaen
Authors Note
hese lessons are intended for students who have already completed their apprenticeship in Harmony. They approximate in difficulty to the Concours dHarmonie of the Paris Conservatoire. In
order to encourage the student to read the works of masters old and new and to find there the source
of the rules imposed upon him and the license allowed to him, they have been conceived in the style
of the few composers important in the harmonic history of music, from Monteverdi to Ravel. They
have nothing to do with pastiches, but are four part studies in different styles. Some lessons draw
their inspiration from two composers at the same time. In my realizations, I have constantly figured
the bass: this figuring suffices, in most cases, to indicate the normal analysis. For passages difficult
to analyze, I give below some detailed explanations, to which I add some advice to students on the
harmonization of each individual lesson.
Contrary to the usual practice whereby one book is issued for the student (giving only the exercises) and another to the teacher (with the authors realizations, I offer here a volume of realizations
which should serve the student, guided by the teacher. The student should proceed with each lesson
in the following manner: he will copy out the bass part (if it is question of a given bass) or the soprano
part (if it is a given melody), carefully covering up the other parts, and having read what concerns
him in the Remarks on each lesson, he will work it out, always seeking to evolve from the given
melody the natural and true harmony that it presupposes. Then he will read my realization and
explanations. After which he will again work out the lesson, with my figuring and soprano part for
those where the bass is given, and with my figured bass for the given melodies. Finally, he will compare this last realization with mine.
Notes on each lesson

1. Given Melody (in the style of Monteverdi)
Very expressive. Do not fear appoggiaturas. Close entries at each pause in melody.
Authors working out: bars 20 to 26, the consecutive fifths between soprano and contralto are allowed in this style (the first been diminished, the second perfect).
2. Given Melody (in the style of of a Passepied by Rameau)
A special mould: 2 sections of 6 bars each, then two sections of 4 plus 7 bars.
Authors working out: bar 9, a run in the soprano, common at the time. The sevenths are embellished at length before their resolution.
3. Given Bass (in the style of J.S. Bach chorales)
Frequent use of passing-notes. The leading note may descend at cadences.
4. Given Bass (in the style of a J.S. Bach Prelude)
Numerous imitations of the initial motif. Beginning in three parts.
Authors working out: bar 9, the soprano superimposes a new line over the entries of the initial
motif. Bar 15, the soprano effects a delaying embellishment peculiar to Bach; normally, however, the
part would be written thus:
Ex.1

5. Given Bass (in three parts, in the style of organ Trio Sonatas of J.S. Bach)
Must be composed for three voices, designing, more than in four part writing, the melodic outline
of each part. The A in the initial motif must be considered a passing note:
Ex.2
being the arpeggio form of:

Ex.3
The lesson is constructed of an alternation of theme and episodes as practiced in Fugue. The student must be reminded that the episode is a disguised harmonic step the entries of which are reproduced at symmetrical intervals; example in the Authors working out: in the second episode (bar 24),
the episodes follow each other at intervals of fourth; the first part on a B, the second on a E, the third
on an A, the fourth on a D. Again in the Authors working out, bars 29 and 32: the soprano using the
arpeggio form of the theme, the direct octave between the outer parts is good.
6. Given Melody (in the style of Gluck)
Use of appoggiaturas.
Authors working out: the octaves in contrary motion between the outer parts are allowed at the
return of the theme (bar 12) and at the cadence (bar 19).
7. Given Bass (in the style of Mozarts string quartets)
Imitations in contrary motion. A few appoggiaturas are allowed.
Authors working out: bar 45, a fanfare-like stretto. The lesson ends in three parts, decrescendo,
with the third in the upper voice, according to Mozarts frequent practice. In the last bar, the clash
of the real note with its appoggiatura is acceptable in this style.
8. Given melody (in the style of Mozarts string quartets)
Both noble and tender in character. A great deal of tact is required in the working-out to preserve
the rhythmic respiration of the given text. The middle section (bar 13) should be treated as an episode, the soprano part being suited only to imitative treatment, and compelling greater contrapuntal
treatment of the other parts. On the subject of episodes, refer to what I have said above regarding
symmetrical entries (Given Bass N 5). The reprise of the beginning (bar 21) should be varied in the
working-out. In the last bar, the octave in contrary motion between the outer parts may be allowed
at the cadence.
Authors working out: bars 16 to 18, the false relations are motivated by the thematic entries.
9. Given Bass (in the style of Schumann)
Very instrumental. In the first two bars of the theme, the A in the bass is a passing-note, the C an
embellishment; same analysis for similar bars. See what I have said above in reference to Given Bass
No. 5. Appoggiaturas may be used.
Authors working out: bars 48 and 49, the bass plays arpeggio-wise two implied parts; it could be
written:
v|
vi |
Olivier Messiaen
Ex.4
the D being a pedal.

10. Given Melody (in the style of Csar Francks canons)
Seraphic in character. The canon at the octave, between soprano and tenor, is indispensable. It should
be prolonged to the end of the melody. Chromatic harmonies and a very expressive working-out. In
order not to spoil the line, the bass can be descend to the low C-sharp (bar 15).
11. Given Bass (style semi-Schumann, semi Lalo)
Very instrumental like N 9.
Authors working-out: in the first bars, the soprano progresses by appoggiatura passing-notes being
the consequence of a D (the implied real note); at the moment when these passing-notes are going
to terminate on A (the real note), this becomes an appoggiatura of the following chord. Bar 50, the
passing-note in the bass does not terminate. Bar 55, the common-chord of D major is implied.
12. Given Melody (style semi-Chabrier, semi-Massenet)
Seek at length for the true harmony: it alone will give the melody the passion it demands.
Authors working-out: the soprano D in the first bar, and the soprano G in the second are added
sixths. Bar 11 the soprano has a double appoggiatura which resolves in the following bar at the
moment of change of chord and on the E-flat, added sixth minor. This lesson, moreover, is full of
added sixths. What an added sixth is? It is a foreign note, with neither preparation nor resolution,
which forms an interval of a major sixth with the fundamental of major common-chords, dominant
sevenths and ninths. Rameau had some idea of it. Chopin used it on the chord of the dominant seventh:
Ex.5
Chopin, Ballade for piano, op.38 N 2
Ex.6
Massenet, Manon, Act I

(on the major common-chord)
Ex.7
vii |
and Debussy, Pellas et Mlisande, Act IV, on the chord of ninth:

Ex.7
13. Given Bass (in the style of Francks Sicilienne)

Follow the rhythms of the bass. Modal cadences. Some sevenths can ascend and be attacked without
preparation, according to Faurs own example.
14. Given Melody (in a very hybrid style: a little Schumann, a little Faur, a little Albeniz)
Authors working-out: bar 38, added sixth in the soprano. Bars 49, 50 and 51, use of the added
sixth (see explanation of this term in Given Melody N 12).
15. Given Melody (style semi-Franck, semi Debussy)
Authors working-out: the triple appoggiatura of bar 2 is written in the mode:
Ex.8
The foreign notes in bars 25 and 27 are also written in this mode. Bars 18 to 20, most of the notes
are altered, the passage being written in the whole tone scale:
Ex.9
In the last six bars, the fifths between the outer parts are possible, because they are produced between real and foreign notes and are delayed.
16. Given Melody (style semi-Massenet, semi-Debussy)
Charm. Mellifluous harmonies. Frequent use of the added sixth (see explanation of this term in
Given Melody N 12). Bar 2: D in the soprano, appoggiatura of the C, which is an added sixth (this
melodic outline is found in Manon).
17. Given Melody (semi-Chabrier, semi-Debussy)
The initial motif is a double appoggiatura of th C-sharp: this remark is enough to explain the whole
melody.
Authors working-out: bar 1, the contralto F-sharp is a short pedal. Bar 4, added sixth in the soprano. Bars 21 and 22, fifths by contrary motion between the outer parts are allowed at the moment
viii |
Olivier Messiaen
of the final cadence. Bar 23, the soprano C-sharp is an implied pedal. Bars 26 and 27, the extended
passing -note in the contralto resolves in the tenor, that of the tenor resolves in the bass.
18. Given Melody (in the style of Debussys Pellas et Mlisande)
A very difficult lesson. Intense and penetrating expression. Begin with:
Ex.10
The accompanying parts will often make use of this rhythm. When the melody ceases, the bass
takes up the initial theme.
Authors working-out: in the first three bars, soprano part: the F-sharp and F-natural are passing-notes, the A-natural is a disjunct embellishment of the passing-note. Bar 12, the bass D-flat
(passing-note) is cut off by a rest before its resolution, a very Debussyste procedure. Bars 29 to 34,
several notes are altered, this passage being written in the whole-tone scale:
Ex.11
Bars 38 and 39, use of the added sixth on the chord of the ninth (see the explanation of this term
in No, 12 and the example from Pellas et Mlisande). Bar 47, the contralto D-sharp is an added
sixth. Bar 54, the soprano G-sharp is an appoggiatura which remains suspended without resolution,
again a very Debussyste procedure.
The last three bars could be written:
Ex.12
But, in fact, the double appoggiatura of the upper two parts does not resolve.
19. Given Melody (in five pars, in the style of Maurice Ravel)
Equally a very difficult lesson. Poetic charm and passion. Must of necessity be worked out in five
voices (with two tenors) because of the richness of the chords to be used. I need hardly say that we
appear to be in F-sharp major.
Authors working-out: in the first section of the melody, nearly all chords contain an added sixth.
Bars 6, 7 and 8, the contraltos C-sharps are added sixths, the soprano F-sharps are added ninths.
Bar 9, third beat: chord of the ninth augmented by a third:

Ex.13
Bar 16, the bass C-sharp is a decorated pedal. Bar 28, soprano part: the G-sharp is an augmented
fourth, the C-sharp is a disjunct appoggiatura of the G-sharp.
20. Given Melody (in a very special style, somewhat approaching Hindu cantilenas)
This melody is even more difficult than the preceding ones. I would advice the student to have a look
at my working-out before setting to work. Here are a few notes about my realization: the harmonies
are frequently based on the mode:
Ex.14
Moreover, they follow the very peculiar rhythms of the melody.

Bar 3 contains a double-appoggiatura for three of the parts; similar passages may be analyzed
in the same way. Bar 45 is particular difficult to analyze: the contralto A-sharp is an appoggiatura,
its C-sharp is an added sixth, the soprano F-natural is the minor ninth of the chord, the soprano
C-sharp is an added sixth. Bar 71, the contralto A-sharp is an appoggiatura, the soprano F and D
are a double-appoggiatura of the E, the soprano C-sharp is an added sixth. The lesson ends on the
common chord with an added sixth.
translated from French by Felix Aprahamian
ix |
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Olivier Messiaen
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xi |
xii |
Olivier Messiaen
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xiv |
Olivier Messiaen
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xvi |
Olivier Messiaen
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xvii |
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xviii |
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xix |
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xx |
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, 2014
Lessons
(scores)
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1. GIVEN MELODY
(in the style of Monteverdi)
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&
p
f
##
&
& #
? ## w
U

U

# #
#
f
#U
# #
h
3
6
5
TWENTY LESSONS IN HARMONY: 3. GIVEN BASS

*
8
10
## # #
&
##
&
## #
&
? ## # w
#U
w
U
w
# # U
U
w
h
3
g
#
U
w
15
##
&
#w
#
& #
U
w
U
#
U
#
w
p
#
& # w
p
? ## #
h
5
nw
U

U
# # # #
w
f
n
5
U
w
rall.
20
##
n
&
##
&
& # n
? ##
U
w
U

U
w
U
#
6
5
n
K
4. GIVEN BASS
(in the style of a J.S. Bach Prelude)
*
Bien modr
Soprano
bb 4
& 4
b 4
b
& 4
Contralto
mf
b4
&b 4
Tenor
mf
mf
Bass
(given)
? b4
b4
- 5
bb
&
mf
b
&b
b
&b
?b
b
5
6
5
5
bb
&
b
&b
f
mf
b
&b
mf
f
? bb
mf

*
10
13
n.t
b
bb

&
mf
b
&b
cresc.
b
&b
cresc.
cresc.
?b
b
6
5
6
!
y
5
17
bb b
n
&
dim.
b
& b n
dim.
b
&b
dim.
? bb
dim.
h
5
2- 6
5
>
w
w

rall.
21
bb
& w
ff
b
&b
w
>
b
&b
ff
b w
>
f
ff
f
? bb
6
5
5
5
ff
w
w
>
11
5. GIVEN BASS
(in three parts, in the style of the organ Trio Sonatas of J.S. Bach)
*
Bien modr
#2
& 4
Soprano
#2
& 4
Contralto
f
f
? #2
4
Bass
(given)
&
# n
#
&
?#
11
#
&
>>
# # n
#
7
+
7
+
# # #
# #
7
+
7
+
K
3
n> > #
#
#

& > n
>
> > # # #
? # n

*
12
16
#
&
##
#
&
# #
? # ## # #
n
#
7
+
21
#
&
# #
# #
#
#
& # # # nn #
?#

#
7
g
7
+
>
>
#
#
# n
#
> >
#n
7
+
7
+
V7/E
V7/A
26
# #
&
> >
n
#
& > > # n
?#
n n
> >
7
+
7
+
u
+
V7/D
V7/G
V7/C
- 5
- 6
-
31
#
&
#
& n
?#

# #
##

#
-
I/C
# n #

- 6
-
5 - 6 - 6 - 6 5 -
5 - 6

*
36
13
# b
b b b
&
#
& n
b b b b b # n
?#
n
4
7
+
n
4
n
2
7+
41
#
&
pi f
cresc.
&

n cresc.
pi f
pi f
cresc.
? #
-5
6+
5- 6 -
5-6-555
556
6-
rall.
47
#
&
dim.
p
#
& # #

n n
dim.
p
dim.
? # n

6
4
7+
7
+
14
6. GIVEN MELODY
(in the style of Gluck)
*
Un peu lent, noble

Soprano
(given)
b2
& 4
n b
mf
Contralto
2
& b4
mf
Tenor
2
& b4
mf
mf
Bass
? b 2 - - - - - - - - - - - - - - - - - -
4
5
- - - - -
6+

*
*
*
15
b n b n n n b

& b
mf
& b b b b
mf
n b n
&b
mf
y 6 n
!
6 y 6 y
!
-
b
?

b
mf
-- - - - - - n - - - -
*
*
5
- 4
3
K 6
!
15
&
&b
&b
? b b- - - - - -
-
- - - -
6
4
7
+
20
b
& n n n
U

p
& b b

n
p
& b n
6 y 6 y 6
?b
b
2+
6 e
4 K
n
6
6
4
n
!
16
7. GIVEN BASS
(in the style of Mozart's string quartets)
*
Gai, modr
Soprano
b2
& 4
Contralto
2
& b4
f
Tenor
Bass
(given)

2
b
& 4
f
f
? 2

b4
6
4
6
4
6 2 -
6 - 6
5 -

*
b
&
&b
6
K
# #
b
& b #
?
b
17
6 7 6
4 + 4
12
b
&
&b
&b
? b n
18
b
&

&b
& b
?b

6
5
6 2 5
4
n # b

n #
6
4
6
4

*
18
24
b n

&
# #
& b
& b #
?
b
# n n
6
5
6 7
4 +
7
+
r
3
t6
#
30
& #
& b
& b n
- 6
-
36
b n
b b
&
& b #
&b
?b
? b n n #
6 7 6
4 + 4
n #
6
5
!
6 w
4
>

# >
6
4
# -

*
42
b n n b

&
19
ff
&b
&b
ff

ff
ff
?
b
6
7
+
>
>
> > > >

au Mouvt.
poco rall.
47
&

dim.
&b
&b
?b >
dim.

dim.
>
>
>
f
dim.
>f
>
>
>
>
>
>
>
6
4
Plus lent
rall.
51
b

&

&b
app.
& b

p
2M
?b
7
+
5 6 - 5
20
8. GIVEN MELODY
(in the style of Mozart's string quartets)
*
Trs lent et tendre
Soprano
bb 4

& b 4

(given)
n n
Contralto
b4
& b b4
Tenor
b4
& b b4 w
p
Bass
?b4
b b4
bb
& b nb b n
b
&b b
b
&b b
vii7/vi
?b
bb
8
vi
bb
& b # n
n n
pp
b
& b b
pp
b
&b b w
w
pp
? b b - -
b
5
pp
IV

*
11
bb
& b
n n b
b
&b b
21
b n n b
b
& b b n b
p
? bb
b w
6
4
6
4
7
+
7
+
I
14
b
& b b n
b
&b b
n n
#
n
b
&b b
f
? bb
b
6
4
7
+
b b b >
b
&

>
? b b b
b
K
nn
b b n
n
n
n
b
n# nn n
17
b b n b b>
& b
b
&b b
>
b
b n
b >
n
>
b
b
n
-,
7
+
n n

*
rall.
au Mouvt.
22
20
bb
& b
p
dim.
b
&b b
p
dim.
w
&b b
p
dim.
p
dim.
? b b

dim.
23
& b b n n nb b b n
b
&b b
b
&b b
b nb
f espress.
? bb
b
b
6
26
b b n b
n # nb n
& b
#
b
&b b
b
&b b
? bb
b
#n
- -
-
-
5

*
29
bb
& b
23
b
n n
pp
b
&b b
p
pp
b
&b b w
pp
pp
?b
bb
31
bb
& b
b n b

n
b
p
b
& b b b
& b b n b
p
n n
?b
b b bw
6
6
4
33
bb
& b
n b n
pp
b
& b b - -
- w
b n
pp
b
& b b - - - w
pp
pp
? bb
b
w
<
7
+
24
9. GIVEN BASS
(in the style of Schumann)
*
Trs vif et lger

Soprano
b b 6 .
& 8
Contralto
b6
& b 8 .
p
Tenor
Bass
(given)
b 6 . . . . . . .
b
& 8
p
n.t
p.t
. . . . . . . .
p
.
.
.
.
.
.
.
.
.
.
. .
? bb 6
. n. . . . . . n. . .
7
6
4

*
.
.
.
. . . . .
bb
& #. . n #. n. .
. .
b
& b . n
. n. #.
.
# . .
b . #.
b
&
> b . .
.
.
? b b nb n.
. . .
,
7
+
25
. . . . . . . .
. . . . . . . n.
. . . . . .
.
. . . . . . . . . . . . . #. . . .
5
12
-
b b . . #. . n
&
mf
.
b .
.
& b . # n ## #
mf
.
.
.
.
n b n # n
&b
mf
mf
.
.
.
? b b n . .
n. b

. . . . b .
.
6
4
K
3
7
+
7
+
-
n
-

6
18
b b -

&
cresc.
b
& b
b
& b
? bb
n#
cresc.
cresc.
cresc.
7
+

*
26
24
. . . #. . #. n. . . . . . . . . . .
# n n# #
. . . . . .
b b
&
f
.
.
.
# n# b n . #. #.
f
dim.
.
.
.
.
.
n
# n
#.
b
& b
b
&b
dim.
dim.
?b
b
n. #.
. #.
7
+
.
.
dim.
# n n. n #
#.
.
.
.
.
6
7
+
7
+
g
#
30
b b n. #. #. n. #n##n nnn b
&
. . . b
. . .
b
& b #. n
.
p
b #. n.
b
&
p
p
? b b #. n. . . . .
n. . n
#.
.
n #
b b b
. . . . . . #
n
r
s
7
+
h
r
b
,
b . .
5
36
- -
-
bb

& b . . . . #. . # n

mf
b
& b
cresc.
## #
mf
cresc.
# n-
b
& b
mf
cresc.
mf
cresc.
.
.
? b b # . . . . . .
.
.
.
9
7
+
7
+

*
27
. . . . . .
b b # # n# . b . . . b . . . . n. #. n. .

&
.
42
b
& b
>
n>
. #
. . . . .
n>
b
&b
? bb
6
5
7
+
6
4
48
b b
&
n.
.
.
cresc. molto
b
.
b
&
cresc. molto
cresc. molto
.
. .
.
.
.
?b
.
.
.
n
. . . . . .
#.
cresc. molto
b
&b
.
#
.
.
51
b b .
&
.
.
n.
. b .
7
+
U
# . . .
. .
6
4
. .
. . . . n. #
pp
b
& b b .
n.
b .
b
&
? bb
. . .
7
+
h
4
. n. #. . .
pp
.
. n. #.
. .
.
. .
.
. .
pp
pp
. . . . .
.

# n. b . .
.
. .
. .
u
K
.
5
28
10. GIVEN MELODY

(in the style of Csar Franck's canons)
*
Trs lent, expressif et recueilli

Soprano
(given)
Contralto
Tenor
Bass
#### 4
&
4
#### 4 mf

&

4
#### 4 p
&
4

mf
p
? #### 4 n
n
4
h
5
7
+
h
5
7
+
####
&
####
&
n # # n
####
&

? ####
# n
mf

9
7
+
h
4
6
4

*
29
####

n#
&
cresc.
cresc. sempre
####
&
# n
n n n # #
n
#
n
cresc.
####
n #
&
cresc.
? #### # n # n
# n
K
,
u
+
5
#
K -
13
####
&

dim.
ff
####
&
#
#
f
#
dim.
####
n#
&

ff
cresc. sempre
? ####
w
# n
n
u
6
7
6

K
+
17
####
&
pp
####
&
pp
####
&

p
dim.
p
? #### w
7
+
7
+
w
pp
pp
pp
pp
w
w
30
11. GIVEN BASS

(Style semi-Schumann, semi-Lalo)
*
Vif et lger
app. + p.t
app.
Soprano
## 5
& 16
n n b
n # n#
p
Contralto
Tenor
Bass
(given)
# 5
& # 16

.
.
.
p
## 5 . . .
& 16
p
p
. . . . .
.
? ## 5
16
. . #.
..
6
4

.
.
.
.

.. . .
n.
#

.
.

. #. .
h
5

.
.
.
..

g
#
##
#
&
##
&
.
# .
& #
?#
# . . .
#
.
. . . . . #. . n. . . n. . . b
. ..
n.
.
#
. .
.
7
+

.
.

#

.
.

#

.
.

# n

.
.


*
.
16
## . n. .
#. n. . # . . # . .
&
.
.
31
##
&
.
## .
&
# n
? ##

.
.

n
.
.

.
.
n#

p
. . .
.
.
.. . ..

.
p
.

n#

.
.

6
4
24
##
#
&
#
& # . .
.
## .
&
. ..
..
? ## n #.
. n. n.
.
.
b b
n#
nb

.
.

. #. .
b .
nb
h
5
b . . b .
.
.
.
. b

. .
g
#
m
+

.
.
b
b

32
## b . . . b . n. n.
&
## b .
&
## .
&
b
? ##
b
n.
b
n
.

n .
b .

nb
b
n
nn
n.
n.
.

b .
n .

. . b .
.
n
. .
. .
b
b . . . b . .
n n. n
m
+
y
v
b .

n b
6
v

*
32
39
## b
&
# #n n b
## . . #. n.
&
.
.
.
.
## b n # n
&
. . . .
.. .
.. .
b
? ## # # n #. .
y
r
# #n
. .
.
.
# #
. b .
#.
n.

. #. . .
K
..
.
#
..
. . .
h
4
47
.
n.
# .

. . #.
. . .
dim.
## n
&
##
&
.
## .
&
? ## #.
dim.
.
. .

b p.t
52
. .
. .
.
## #. #. n.
&
## b
&
##
&
? ##
n b
n b
7
+
pp
. .

.
5
33
12. GIVEN MELODY

(style semi-Chambrier, semi-Lalo)
*
Passion, presque vif

Soprano
bb 6
& 4
(given)
add6
add6
mf
b6
& b 4
Contralto
mf
app.
Tenor
Bass
b6
& b 4
mf
? bb 6 w
4
9
7
+
w
9
7
+
bb
&
n # #
n# n# n n # #
b
n #
n#
& b

#n
b
n#
&
# n # n w
? b b n
7
+
h
4
o
7
+
# #n

*
34
8
b b
&
# n
b
& b #
n # n b b
# n #
b
&

b
? b b # n

h
4
t
#
7
+
6
4
chordal note /
add6
double app.
11
bb
&
b n
n
b
& b b
n b
b
&b
p
p
? b b w
5
!
7
+
9
7
+
5
!
14
b b b n
&
n
# b n
n # n n
f
cresc.
bb
& b
cresc.
b
&b
n b
cresc.
f
cresc.
? bb
n
7
+
9
7
+
7
+
6
4

*
17
bb
b
& b
35

pp
b
&b
pp
b
& b
? b b
pp
pp
6
4
7
6
6
4
7
6
20
b b ,
b
&
- #- - , p
b
& b b
- , p- b - - - b-
b
&
p
, - ? b b n - -
6
4
6
4
n # b- n-
- - -
pp
# - - n-
- -
pp
n - n- n- #-
-
pp
pp
- - - b- -
7
+
23
bb w
&
b

&b
pp
b
&b
? bb

pp
pp
36
13. GIVEN BASS

(in the style of Faur's Sicilienne)
*
Modr
Soprano
Contralto
Tenor
Bass
(given)
bb 6

& 8
b n b
pp
cresc.
7th
b6
& b b 8 n b n
pp
cresc.
b b 6 n n n n n n n n b n 7th n
b
& 8
pp
cresc.
pp
b
n
? bb 6
bcresc.
b8
7
t
b b b
& b
>

n n n
mf
pp
b n
# n
>
mf
p
>
b b # n n b # n n n
b
&

mf
p
p
mf
n n n b
? bb
# b
n
>
b
& b b n
n n
3
K
2
_ 6 5
_
_
7 5
+
y
3
b
pp
b
pp
pp
b
K

*
13
37
n #
bb
& b

b
& b b
cresc.
n
b nn
b
& b b n
f
cresc.
n # n

cresc.
f
cresc.
? b b b
, 5
7
t
7 5
!
7
t
_ t
_ #
_ K 6
_ c
19
b b n
& b
 b n

mf
& b b b b
mf
b n
b
& b
p
b b n n
>
>
mf
mf
_
_
_

? b b b
b
6
5
!
>
6
5
!
4
3
7
+
>
23
bb

& b
pp
b
& b b b
pp
b b b
b
&
pp
? b b b
b
7
+
6
4
38
14. GIVEN MELODY

(In a very Hybrid style: a little Schumann, a little Faur, a little Albeniz)
*
Presque vif et lger
#6
& 8
Soprano
mf
#6
& 8
mf
#6
& 8
mf
mf
? #6
8
Contralto
Tenor
Bass
(given)
7
+
_ 6
_ 4
#
&

#
&
#
&
?#
7
+
7
+

*
13
39
#
# # # # # # # # b n
#
&
cresc.
#
& n
# #
# #
b b
cresc.
#
&
?#
#
7
cresc.
cresc.
# #
20
# # b
# n n #
&
f cresc.
>
n ## n n##
ff
# n
&
b b b
dim.
f cresc.
ff
# n
&
n n n
dim.
f cresc.
ff
dim.
ff
dim.
f cresc.
? # n
#
,
7
+
7
+
26
# n# n # n #
&
# # n
#
& b
# n
n
#
&
pp
p
p
?#
pp
f
3
7
+
7
+

*
40
32
add6
# #
&
pp
#n
cresc.
#
&
# #
f
cresc.
#
&
# #
# #
cresc. ,
pp
f
cresc.
? # ##
##
## # #
6
4
39
# n
&
dim.
#
& <n>
n #
n # n
dim.
dim.
#
&
h
t
h
5
p
y
3
6
4
dim.
p
? #
7
+
7
+
46
add6
#
&
<#>
p
#
&
add6
b
b
&
?#

5
!
n
n
p
n b
6
4

*
51
41
add6
# -
&
pp
#
&
-
# -
&
? #
pp
<
pp
pp

7
+
6
4
<
57
#
&

#
&
#
&
?#
<
<
61
#

&
pp
&
#
&
?#
.
pp

.
.
pp
42
15. GIVEN MELODY

(Style semi-Franck, semi-Debussy)
*
Un peu lent, expressif et recueilli
Soprano
(given)
#### # 6 #
& #8
n # b nn #
p
Contralto
Tenor
Bass
#### # 6
& # 8
p
#
# #6
& # ## 8
p
? #### # 6
#8
n b
n
# b n #
<#>
n b n #
n
!
g
#
#### #
& #
#### #
& #
b nn b nn
nn nn
cresc.
cresc. sempre
cresc.
#### # n
& #
n
!
n n nn
cresc. sempre
b
n n n
6?
f
cresc. sempre
cresc.
? #### #
#
n
!
n n
n
y

t
#
pressez un peu
13
#### # n
& #
n n
<#>
ff
#### #
& #
n nn
n nn
n <#>
n
##
ff
#### # n
n n n
n n n
& #
ff
? #### # n#n # nb
n n # nb
n n #
#
y
#
h
r
y
#
h
r
y
#
rall.

*
Un peu lent
43
19
#### #
n ##
& #
n #
<#>
n #
dim.
#### #
& # n n #
dim.
#### # #
& #
p
dim.

? #### # #
#
9
7
+
cresc.
cresc.
n
f
cresc.
##
6
5
6
4
26
#### # n
& #
# #
dim.
dim. sempre
#### #
& # n n n
n
n
dim.
#### #
# n
& # # n
#
dim.

? #### #
h
4
dim. sempre
dim. sempre
n n
o
7
+
6
r
31
#### #
& # n
pp
#### #
& #
#
pp
#### #
& # #
? #### #
# #
pp
44
16. GIVEN MELODY

(Style semi-Massenet, semi-Debussy)
*
Lent et tendre
app. add6
Soprano
(given)
app.
b b 9
& b8
p
Contralto
b9
& b b 8
6
4
6
4
vii/V
vii
Tenor
Bass
b9
& b b 8
? b 9 n
b b8
bb
n
& b
cresc.
b b
b
&
b
b b
b
&
? b b n
b
7
+
n
b
n n
n n
cresc.
n
cresc.
b
n
2
7
+
n
,

*
45
b b b n n n
n
n
& b
f
b b b b
&
f
? b n
bb
dim.
b
& b b bb

n n n n
cresc.
n n n
dim.
cresc.
dim.
# b b
cresc.
n n
y
4
b
6
b
K
13
n <n> n
& b
b
& b b
& b b
f
n
b
? b
b
b
9
7
+
#n n b
e - 6 n 4 -
b b
7
+
o
7
+
6
4
molto rall.
17
bb
& b
dim.
b
& b b
dim.
b
& b b
? b b
b
7
+
dim.
6
4
6
4
7
+
7
+
pp
ppp
U

pp
ppp

pp
ppp
U

6
4
46
17. GIVEN MELODY

(Style semi-Chambrier, semi-Debussy)
*
Balanc, un peu vif

add6
Soprano
#### # 6 n #n
& #8
(given)
p
Contralto
#### # 6
& # 8
n #n
double app.
pedal
p
Tenor
Bass
#### # 6
& #8
p
-- ? #### # 6 - - -
#8
- - - - - - - - - #- - -
6
K
3
- - - - - -
6
#### #
& #
n # n # #
n # n#n
mf
#### #
& #
#### #
& #
? #### #
#
n #
#

mf
n n # #
mf
- n- - - #- - - - - -
-
- - - - -
,
7
+
h
4
5
d

*
47
#### # # n #
& #
n # #

#### #
& #
#n n
n #
n
#### #
& # #
f
- - - n - - -
? #### #
#n n
## n
- - - - - - - - - n- - -

6
5
#
13
#### # #
& # #
n n b
b nb
n
cresc.
#### #
& #
b n b n b n
6
5
#
mf
cresc.
#### #
& #
# n
cresc.
#
? # # # - - - b- -
# #
n b b n b
f
-
b-
- - n
10
K
rall.
# n#n
##
mf
n n- #
n#
mf
#
l
7
+
au Mouvement
17
#### #
& #
- - - - - n #n
#

# #
#
cresc.
#### #
& #
cresc. molto
pi f
- - - - cresc. molto
- - - - - pi f
#### #
n
#
#
n
& # n#n# #
pi f
cresc.
cresc. molto
#
? #### #
#
- - - - - - - - - -
6
4

*
48
21
*
#### # *
&

n #n
dim.
#### #
& # n
#
dim.
#### #
& #

n
dim.
? #### # * *
# - - - -
- - - - - - - - 7
7
6
- - - - -
5
25
#### #
& # n
n # n #
pp
#### #
& #
p.t
n # #
n # n
pp
n
n #
#
#### #
& #
n
pp
? #### #

#
#
- - - - - - - -
29
#### #
& #
-
-
ppp
#### #
& #
n
ppp
#### # #
& #

? #### #
#
ppp
49
18. GIVEN MELODY

(in the style od Debussy's "Plleas et Mlisande")
*
Modr, profondment expressif
3
p.t
Soprano
3
&4
p.t
- n- - n
- - - #
(given)
<n> b
p
app.
Contralto
3
& 4 #
>
p
#
>
#
>
#
>
#-
#-
#-
app.
p
Tenor
Bass
3
& 4 #-
- s
?3
- - -
3
f
3
5
3
&
- - -
-b- - n
b n
& #
#
>
>
#-
& #-
? #
-n - n
b n
>
n- b
b
>
- b
b
>
- b
p
- - -
3
3
n
r
!
10
& b
>
4
3
b b 4 b b b b 4 b
- -n-
mf
& b
>
43
b
>
44 b
b
b b
n b
>
44 b b b
43 b
>
b
>
mf
& n- b
mf
-b -
3
mf
b b 44 b b b bp.t
43 b
>

*
50
15
& b
n
# #
#
# # # n #
>
# #
#
#
>
n
# # # #
>
# - -n- #
b #
cresc.
&
b b
>
& b b
>
? b b
>
# #
b # n
>
b n #
6
v
h
4
#
#
20
# 4 w
& #
4
# #
- 43 n
- - -
-n -
3
3
3
4
& # 4 w
3
# 43
#
# -
>
p
#
>
>
# - 3 #
4
# 4 #w
&
4
3
f
f
4 #w
? #
4
y
s
>
#
notes from whole-tone scale
25
b
&
<n> b
- - -
3
mf
& #
>
>
#
&
#
>
>
#
#
>
>
#
#
>
>
#
n
>
mf
b> b
mf
- - -
-n - - b
3
3
f
3
mf

*
51
30
-b -
b
&
<n>b n
4
b 4 b n
>
>
b b b b 4 b
4
b
>
>
>
>
b b b b b b
&
>
>
b b
&

? - -
3
44 b b <n> 43
--
<n>-b - n
- - 4 b b n
43
43
43
3
7
+
7
+
9
7
b
35
add6
3
& 4 b
- -b- badd6
b

b - - - #
-b - b b b
mf
dim.
3
3
3
3
3
3
& 4 b
>
mf
>
3 b b
&4
mf
mf
>
b
? 3
4
b - b- b-
-b- b-
b
dim.
b b- b- b-
b-b- b-
- -b -
b
<n>
b
dim.
- -b - -
b
3
-
dim.
m
n
40
3
& n
4 w
3
- 4
cresc.
3
3
3
3
& nn -
n n
-p
- & b b-nb
3
cresc.
4
4 w
3
cresc.
cresc.
4 w
4
3
y 3
t
!
6
v
3
4
-
43
? nb
4w
y
4
43

*
52
46
3
&4
- #
p
pp
- - n- #
-#- - n- n - #
-
- - n-
added 6th
3
&4
#> #
p
pp
# #
>
n - b - - #> #
3
& 4 - - n #
>
p
pp
pp
?3
#
4
#
n #
>
b- n
- b b
-o -
#
#
g
#
- n> #
# #
-
g
m
+
51
3
& #
#
- - -
& # #
>
& n #
>
? #
# -
n-
n
9
# #
>
n #
>
n -
- - -
#
#
g
#
7
+
rall.
54
unresolved app.
& #
- - -
dim.
& # #
>
dim.
& n #
>
dim.
dim.
? #
# # #
pp
# #
ppp
# n #
pp
#
ppp
pp
pp
#- -
#
ppp
ppp
##
g
#
53
19. GIVEN MELODY

(in ve parts, in the style of Maurice Ravel)
*
Presque vif et caressant

Soprano
#### # 3 n
& #4
n n
(given)
Contralto
#### # 3 n n
& #4
# n n
# n n
Tenor I
Tenor II
Bass
#### # 3
& #4
p
#### # 3 n n
& #4
p
p
? #### # 3 n n
#4
, - 6 r -
6
r
n n n
-
, - h 4 -
6
r
n n
-
h 4 -

*
54
6
add9
#### #
& #
#### # add6
& #
#### #
& #
#### #
& # n
? #### #
#
n #
n n n
# # #
n n #
n n
6
r
6
4
6
r
o u + -
l
7
+
12
#### #
& # n # n#
cresc.
#### #
& #
#
cresc.
#### #
& # n # n#
cresc.
#### #
& #
cresc.
cresc.
? #### #
6
4
n # n#
#
n# n# n n

#
# # #
decorated pedal

9
7
+

*
55
17
#### #
&
cresc.
f
#### #
& # #
n #
n # n #
cresc.
cresc. n #
n
#
#### # # n
& #
6
5
#### #
& # n
k
7
? #### #
#
n
k
n n n
,
, -
, - ,
n n #
, - ,
22
#### # # n n
& #
nn
#### # n #n # n n
& #
3
p

#### #
& #
3
p
5
#### #
n n
#
&
p
p
n n
? #### #
, - 6 r -
6
r
n n
#n n
n n
n n n
-
, - 6 4 -
6
r
n
-
h - 6 4 - r -

*
56
28
app.
n.t
#### #
& #
#### # added 6th

& #
#### #
& #
#### #
& # n n
? #### #
#
n
n #
n #
n #
n n n n
n n n
n n n
n n
n
6
r
6
r
6
r
o m + -
g
#
34
#### #
& # n # n #
#### # cresc.
& #

#### # cresc.
& #
cresc.
#
## # #
& #
? #### # cresc.
#
n # n # # n # n # n # n # n #
n #
# n #

cresc.

9
7
+

*
57
39
#### # #
n n
& #
f
dim.
#
# #
& # ##
# n
f
dim.
#### #
# n
n
& #
n
f
dim.
#
dim.
## # #
n
& #
n
n #
f
k
7
,
K
,
K
5
4
? #### #
#
dim.
6
4
o
7
+
molto rall.
43
#### #
& #
pp
#### #
& #
#
pp
#### #
& #
#
pp
#
# #
& # ## #
pp
? #### #
U
- - #- -
- -
ppp
U
#
U
ppp
n
ppp
pp
ppp
ppp
58
20. GIVEN MELODY

(in a very special style, somewhat approaching Hindou cantilenas)
*
Modr, avec charme

Soprano
(given)
Contralto
Tenor
Bass
double app.
#### 4 n
5 #
n
&
#
4 nn
- - - nn
- - - 16
p
double app.
#
## # 4
5
&
n n
4
16
#
#
p
double app.
#### 4
5
&

16 n#
4
K
s
6
K
s
6
5
? #### 4
4
16
4 n
5
4 nn
16
- - -
4
5
4
16

#
4
4
K
5
16
s
4
4
5
16
#### 5

4
&
16 # # 4 # n#
#### 5
4
&
16 n n 4
#### 5 n 4
&
16
4
n
g
h
r
d
r
4
? #### 5
16
4
7
3 5
8 n # n # 8 4
>
7
3
5
8
8 4

>
7 n 3 5
8
8 4>
7
8
3
5
8 4
44
44
44
4
4

*
59
11
#### 4 n
15 # 4 n
5
n
&
# 4 nn
4 nn
- - - nn
- - - 16
- - - 16
p
cresc.
#### 4
15
4
5
&
n
4
16
4
16
n
#
# #
#

#
p
p
#### 4
&
4
K
? #### 4
4
2
4
2
4
cresc.
15
4
16 n# 4
s
15
16
5
2
16 n b 4
s
4
4
cresc.
[p] cresc.
5 n
2
16 # 4
h
r
16
#### 2
5
&
4 # 16
#### 2
5
&
4 n 16 # #

#### 2
5
&
4 16 n b
? #### 2 5 n#
4
16
h
4
2
5
4 # 16
2
5
4 16
2
4
2
4n
5
2
5
16
4
16
# n # #
2
5 n n 2
5
16 n n
4
4
16
2
4
6
2
4 n #
2
5 # 2 #
16
4
# 2 #
165
4
h
4
h
4
23
#### n<#>
3
nn 4
&
4 # 4
----f
p
####
4
3
&
4
4
n
#
#
f
165
mf
165
p
mf
####
#
&
f
? ####
9
7
+
4
4 n #
3 # 5
4 #
16
p
6
4
4w
h
4
<
y
3
4
5
16

*
60
29
####
&

####
&
n
2 5
4 4
>
p
2 5
4 # 4
>
p
#### 2 5
# 4 n 4
&
>
K
K 7
2 5
? ####
4
4
>
83 n 45
n
44 b n n n
---
mf
83 45
>
mf
>
83 n 45 n n
K -
7
t
3
5
8 4
44
#
44
y
s
4
4
y
e
35
####
nn
5 n # n 4 b nn
b
&
n - - - 16
n - - -
4 n
n
####
5 b b 4
&
n 4 #
16
n
n
#
####
5 n n 4

&
16
4
K
y
y
K
y
(f)
s
e
s
#
5
4
?#
n n
16
4
##
- 6
- r
5
4
16 n# n n 4
5
4
16 b # 4
5 n 4
16
4
n
5 n b b n 4
16
4
u
40
#### 4 n 7
#
&
n 8 # n n
4
#### 4
&
4 n
#### 4 n
&
4
n
? #### 4
4
- y
- e
7
8 n
7 n
8
n 7 n n
8
4 3 -
7
+
b n
n b b n
n b b
n b n
h
e
5
e
y
c
t
c
b n
b n

*
61
au mouvement
44
poco rall.
add6
9th
####
&
n
5
4
b n 4 n n n # n n n 16 # # # n n 4
--- - - cresc.
p
####
&
4 app.
4#
add6
5
4
16 n n b b n 4
cresc.
####
n
&
? #### # n
44 #
n 4
5
16 n
4
cresc.
cresc.
44
# n
n
5 # n n 4
16
4
u
+
49
#### 4 ###
5
&
4 #
--- 16
mf
cresc.
#### 4
5
&
4 #
16
# # n# #
mf
cresc.
#### 4 n
5
n
# 16 n n b
&
4
mf
cresc.
2
5
4 <#> 16
2
5
4 <#> 16
2
4n
5
16
# # n# #
2
5 n
4
16 n n b
2
4n
5
16
2
5
4
16
5 n 2
16
4
5 n 2
16
4
5
16
mf
cresc.
? #### 4 w
4
<
y
h
4
h
4
h
4
h
4
h
4
56
#### 5
&
16 <#>
n
2
4 # - - -
4 nn 4
f
#### 5
&
16 n n # # #
#### 5 n # n n
&
16
? #### 5 # n #
16
h
4
h
4
2
4 n #
4
4 n
n
2
4
4 #
4
f
f
2 #
4
6
9
u
+
4
4w
6
4
<
y

*
62
62
#### - - - - - - #
n# 43 n
&
--p
dim.
####
3
&
n
# n 4
5
16
mf
5
16
mf
dim.
p
####
# n
&
? ####
3
5
16
# # 4 n
dim.
6
e
3
n 4
9
u
+
6
f
y
r
9
7
+
h
g
3
l
u
+
6 6
- 6 6
5
16
h
g
3
double app.
67
####
24 43 45
&
>
p
####
2
3
5
&
# 4 4 4
>
p
####
2 n 3 5
&
4
4
4>
6 6 d
6 6
p
#
2 3
5
? ## #
4
4
4w
add6
44 n
n
pp
app.
44
- - - -
pp
44 w
pp
44 w
w
5
add6
U
####

&
n n
n n
w
- u
ppp
U
####
&
- - - - #
w
#
ppp
U
####
&
w
w
w
ppp
U
? #### w
w
w
w
w
w
72
rall.
molto rall.

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MESSIAEN Lessons PDF

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Olivier Messiaen

Vingt Leons d'Harmonie

Professeur au Conservatoire National Suprieur de Musique

Vingt Leons d'Harmonie

1. Given Melody (in the style of Monteverdi), 1

Notes on each lesson

Twenty Lessons in Harmony

being the arpeggio form of:

the D being a pedal.

Chopin, Ballade for piano, op.38 N 2

Massenet, Manon, Act I

Twenty Lessons in Harmony

and Debussy, Pellas et Mlisande, Act IV, on the chord of ninth:

13. Given Bass (in the style of Francks Sicilienne)

Twenty Lessons in Harmony

Moreover, they follow the very peculiar rhythms of the melody.

Twenty Lessons in Harmony

5. (, Trio Sonatas J.S. Bach)

Twenty Lessons in Harmony

Twenty Lessons in Harmony

Chopin, Ballade for piano in F major, op.38 N 2

Massenet, Manon, Act I

Twenty Lessons in Harmony

Twenty Lessons in Harmony

. 35 - 39 V9/7 (D@-F-A@-C@-E@). B@4 . 38 & 39

Modr, un peu vif

TWENTY LESSONS IN HARMONY: 1. GIVEN MELODY

TWENTY LESSONS IN HARMONY: 1. GIVEN MELODY

TWENTY LESSONS IN HARMONY: 1. GIVEN MELODY

TWENTY LESSONS IN HARMONY: 2. GIVEN MELODY

Dcid, un peu vif

TWENTY LESSONS IN HARMONY: 3. GIVEN BASS

TWENTY LESSONS IN HARMONY: 4. GIVEN BASS

TWENTY LESSONS IN HARMONY: 5. GIVEN BASS

TWENTY LESSONS IN HARMONY: 5. GIVEN BASS

Un peu lent, noble

TWENTY LESSONS IN HARMONY: 6. GIVEN MELODY

TWENTY LESSONS IN HARMONY: 7. GIVEN BASS

TWENTY LESSONS IN HARMONY: 7. GIVEN BASS

TWENTY LESSONS IN HARMONY: 7. GIVEN BASS

> > > >

TWENTY LESSONS IN HARMONY: 8. GIVEN MELODY

TWENTY LESSONS IN HARMONY: 8. GIVEN MELODY

TWENTY LESSONS IN HARMONY: 8. GIVEN MELODY

Trs vif et lger

TWENTY LESSONS IN HARMONY: 9. GIVEN BASS

TWENTY LESSONS IN HARMONY: 9. GIVEN BASS

TWENTY LESSONS IN HARMONY: 9. GIVEN BASS

10. GIVEN MELODY

Trs lent, expressif et recueilli

TWENTY LESSONS IN HARMONY: 10. GIVEN MELODY

11. GIVEN BASS

TWENTY LESSONS IN HARMONY: 11. GIVEN BASS

TWENTY LESSONS IN HARMONY: 11. GIVEN BASS

12. GIVEN MELODY

Passion, presque vif

TWENTY LESSONS IN HARMONY: 12. GIVEN MELODY

TWENTY LESSONS IN HARMONY: 12. GIVEN MELODY

13. GIVEN BASS

TWENTY LESSONS IN HARMONY: 13. GIVEN BASS

14. GIVEN MELODY

Presque vif et lger

TWENTY LESSONS IN HARMONY: 14. GIVEN MELODY