Professional Documents
Culture Documents
MESSIAEN Lessons PDF
MESSIAEN Lessons PDF
edited by |
Dimitri Sykias |
2014
Olivier Messiean
Professeur au Conservatoire National Suprieur de Musique
" "
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
T hese lessons are intended for students who have already completed their apprenticeship in Har-
mony. 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 exer-
cises) 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 com-
pare this last realization with mine.
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
The lesson is constructed of an alternation of theme and episodes as practiced in Fugue. The stu-
dent must be reminded that the episode is a disguised harmonic step the entries of which are repro-
duced 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.
Ex.4
Ex.6
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).
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 be-
tween real and foreign notes and are delayed.
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.
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 pass-
ing-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:
Twenty Lessons in Harmony ix |
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
[ .
Messiaen, , .]
-
,
( , -
). , ,
.
Concours dHarmonie . -
, Monteverdi Ravel,
, ,
. -
, .
.
( ).
,
Dubois, .
Messiaen
.
, ,
, , Messiaen
,
.
Messiaen :
, ,
.
-
(lharmonie naturelle et vritable).
Messiaen, -
, , . ,
.
Messiaen,
.
.
Monteverdi, Bach ( ),
Mozart, Schumann,
Manon Massenet,
Debussy Ravel.
( -
), ( ) -
.
- .
Twenty Lessons in Harmony xi |
, ( 15, 18 20) .
20 -
Messiaen .
-
Messiaen (
)
.
.
. :
(6). -
-
.
5 , -
. , 5, -
( ).
(6/4).
.
.
7 . 7 -
. 7 .
. ,
( ). ( ,
).
,
. ,
, . -
hanging notes,
, ( -
19).
6 , -
.
4 9 ( 9 ,
V9/7).
, .
1. ( Monteverdi)
. .
.
. 20 26 5 ,
( [*] ). -
.
xii | Olivier Messiaen
2. ( Passepied Rameau)
: 6- 4+7
( rehearsal letters A [6], B [6], E [4+7], D
[4+7]).
. 9 / chappe / escape tone
( [esc.] ). 7 ( -
7 . 18 . 19).
Passepied
17 18 .
(3/8 6/8), , ,
4- ( ). -
, ,
.
3. ( J.S. Bach)
. 3
.
4. ( J.S. Bach)
( [1] ).
, . 5 [1].
. 9 ( [2] )
[1]. . 15 -
Bach ( [n.t] neighbor tone). ,
:
. 1
:
. 3
1 C4 .
Twenty Lessons in Harmony xiii |
-
.
.
.
Gedalge 2 (5)
:
1. ,
2. , ,
3. ,
4. ,
5. .
. 24, : V7/E - V7/A - V7/D -
V /G - V7/C ( 5) . 29,
7
.
, , -
. . 24 - 28 2,
Gedalge, 3 .
. 29 & 32 8 .
Trio Sonata
trio sonata .
. -
( ), . Trio Sonata
Bach .
( ) -
( ).
trio sonatas Bach , BWV 525530, -
, -
pedal.
6. ( Gluck)
.
8 . 11 12 , .
18 19, ( [*] ).
Coda:
: . 1 - 8.1.1
: . 8.1.2 - 11
: . 12 - 19.1.1
Coda: . 19.1.2 - 25
(sentence): 2 (I) + 2 (V6 - I) + 4 (I6 - V).
V .
7. ( Mozart)
. .
. 45 stretto . , decrescendo
(3) Mozart.
G3 2
F3 ( ).
8. ( Mozart)
.
. . 13 - 20 (
5). essiaen
. . 21
. 1 - 13. 8
( [*] ).
. 16 - 18 .
Coda:
: . 1 - 12
: . 13 - 20
: . 21 - 32
Coda: . 33 - 36
, , 3 -
, . 1 - 4 [I - vii7/vi], 5 - 8 [vi - V], 9 - 12 [IV - I]. V - IV 2
3 .
Coda .
9. ( Schumann)
. . 1 3 , . 2
C4 ( [p.t] passing tone [n.t] neighbor
tone ]. .
5. -
.
. 48 & 49 .
:
. 4
D4 .
(Compound Melody)
( )
2 .
, . -
Messiaen .
, . . 15
D3 C3 (
, ,
).
,
, Allegretto poco mosso, Csar
Franck (1886).
. , -
, (Harding).
(Canon)
-
. -
dux ()
, cmes (). -
(-
), . canon ad epidiapente, in subdiatessaron,
5 4,
-
, .. canon ad minimam, ad semibrevem.
-
.
6 7 .
6. Messiaen
6 : , ,
6 -
7 9. Rameau , Chopin -
V7.
Chopin, Massenet Debussy:
. 5
. 6
. 7
Debussy, Pellas et Mlisande, Act IV ( 9):
V7 4 6.
11 13.
20 .
3. ,
3,
Twenty Lessons in Harmony xvii |
4 6.
. 25 27 . . 18 - 20
/ whole tone scale:
xviii | Olivier Messiaen
. 9
6 (. 30 - 35) 5 -
.
.
[*] ). C#s . 22 - 26
. . 26 G$3
. 27 F#3 .
. .
26 .
. 2 F#4 . 3 F$4 , A$4 . 2
F$4. 6 C#-E-G-B,
c#7. D$4 A#3
C#4 / $ / . $4 .
3.3 . . 4 - 6 . 1 - 3 -
.
. 12 D@3
.13 ( ). Debussy.
. 29 - 34
:
. 11
. 57 - 58 !
( .)
V9/7, D, 7).
. 9.3 11:
. 13
. 16 C#3 .
. 28 - 30 6/4. 3 6. . 28
G#4 F#4, C#4 . 28.3
G# ( 6,
n.t / neighbor tone app. ).
20. ( , -
)
. Messiaen
.
Messiaen :
. 14
, .
. 3 ,
6/4 . .
. 45 : A# , C#
6, F$ 9 C#
6.
. 71 A#3 , F$4 D$4 (
) 4, C#4 6.
6 (C#).
, 2014
Lessons
(scores)
()
1. GIVEN MELODY
(in the style of Monteverdi)
*
MESSIAEN Olivier
Modr, un peu vif (1908-1992)
6
Soprano
(given) &8 #43 # 86 n #43 #
mf
6
&8
3
4 86 n# 3
4
Contralto
n
mf
Tenor
6
&8 3
4 6
8 3
4
mf 6
?6 3 6 43
Bass
8 4 8
6 d 5 d 5 5
3euk1L4 * 2014
2 TWENTY LESSONS IN HARMONY: 1. GIVEN MELODY
6 *
&
86 #43 # b
&
6
8 43 n
>
>
6 43
& 8
>
?
6
8 43
6 5 5 9 5
5 7
12 +
6 43 #
& 8 n
6 3
& 8 4 # # # #
>
b >
6 3 # # #
& 8 4 n
>
#
? 6
8 43
5 5 t d 5 6 d d
5
18 c
* * *
*
86 #43 # 86 # # 86 #43
&
6 3 6 6 3
& 8 4 # 8
# 8 4
6 3 6 6 3
& # 8 4 8 # ## 8 4
? 6 3 86 # 6 3
8 4 8 # 4
6 d 5 h d h d 6 d
TWENTY LESSONS IN HARMONY: 1. GIVEN MELODY 3
24 *
* *
3 * #> *
6
& 4 # #
#
# 8 ## n # n
3 6
&4 # # # ## 8 # ## n# # n#
# 6 #
3
& 4 # ## ## # 8
?3 # # # 6
4 8
d h d h d d - d - d - d - 5 - 5
30
& # # #
& # ## ##
& #
? # # # ##
7 6 7 d K
4 +
36
#43 # 86 n #43 #
&
# n 3 86 n# 3
& 4 4
3 6 3
& #
4 8 4
6
? 3 6 43
4 8
, 6 d 5 - d 5
4 TWENTY LESSONS IN HARMONY: 1. GIVEN MELODY
42 *
&
86 #43
6 3
& n 8
4
>
>
6 3
& 8 4
6
>
? 6 3
8 4
5 6 5 5 9
5 7
48 +
3 6 3
& 4 # 8 # #4 # # # n
3 #86 3
&4 ## 4 # # # #
n
n >
3
&4 6
8 #
3
4 # #
#
6
>
?3 6 43
4
8
5 d d 5 6 d d
5
54 rall.
# 86 6
& 8
pp
6 86
&
#
8 # #
#
>
pp
6 6
& # ## 8 8
#
pp
? # 6 6
8 8
5
2. GIVEN MELODY
(in the style of a Passepied by Rameau)
A Vif et gracieux *
#3
Soprano
(given) & 4
mf
#3
Contralto & 4
mf
#3 mf
Tenor & 4
6 5 5
mf
? #3
Bass
4
5 6 5 5 6 6 5
6 B esc. 5 5
# #m #m
&
#
&
# # #
& #
6 6
5
? #
5 - 6 K 6 K 6 6 #
12 C
# #
&
n
#
& #
#
& n
6 - h 5 - 6 5
- 4 - 4
?#
5 - 5 -
6 TWENTY LESSONS IN HARMONY: 2. GIVEN MELODY
*
18 ~~~
#
# n
&
#
&
#
&
#
? #
7 7 7 7 6 - 6 7
+ 5 +
23 D
#
&
#
&
#
&
- 6 6 6 - 6 5 6 -
?#
5 5 -
rall.
29 ~~~
#
&
#
&
#
&
? #
7 7 7 5 6 5 5
+ 5
7
3. GIVEN BASS
(in the style of J.S. Bach Chorales)
*
Tenor & 2
## 3
w U
f
f U
Bass ? ## 3 w
2 w
(given)
5 5 6
5
## w U w U
&
p
f
## U U
& w # # # #
p f
# U #U
# #
& #
p
f
f
U U w
? ## w
K 6 6 5 5 5 h 6 6 # # K
3 5
8 TWENTY LESSONS IN HARMONY: 3. GIVEN BASS
10 *
## # # #U
w # U
& w
## U U
& w # n
## # # # U w n U
&
U U
? ## # w w
#
5 g 6 5 h 6 # 6 5
# 3
15
## U U
& #w n w
p f
# U U
& # w # nw
p f
# U U
& # w # w
# # # #
p f
U f U
? ## # n w
6 h # # 5 6 #
5
20 rall.
## U U
& n w w
p
## U U
& w w
p
# U U
& # n w
w
p
? ## U U
# n
5 - 5 5 5 - 5 - 6 5 - 6 K 6 6 6 5 5
5
9
4. GIVEN BASS
(in the style of a J.S. Bach Prelude)
Bien modr
bb 4 *
Soprano & 4
b b 4
& 4
Contralto
mf
b4
Tenor &b 4
mf
mf
Bass ? b4
(given) b4
5 - 5 6 - 5 - 5
5
bb
&
mf
b
&b n
b
&b
?b n b
b
9 5 5 6 5
bb
&
p
b
&b
f
mf
b
&b
mf
f
mf
? bb
5 5 6 5 5
10 TWENTY LESSONS IN HARMONY: 4. GIVEN BASS
13 *
bb n.t
b
&
mf f
b
&b
b
cresc. f
b
&b n
cresc. f
cresc. f
?b
b
n
5 6 6 6 x 6 5 y n m
5 ! 5
17
bb b
& n
dim.
b
& b n # n
dim.
b
&b w
dim.
dim.
? bb
n y 6 7 5 h 6 6 6 2- 6 6 - 5
5 5
21 rall. >
w
bb w
w
& w
f ff
b
&b
w
>
f ff
b b w
&b
f
>
ff
f
ff
? bb
w w
w
6
5
5 >
5
11
5. GIVEN BASS
(in three parts, in the style of the organ Trio Sonatas of J.S. Bach)
*
Bien modr
#2
Soprano & 4
f
#2
Contralto & 4
f f
Bass ? #2
(given) 4
5 5 -
6
#
& # n
#
&
#
?# #
7 - 7 - 7 - 7 - 5 - 5 - 5 7 5 - 6
+
11
# >> n> > #
& # # n #
#
#
& > n
> > > # # #
? # n
# # # # #
7 5 - K 6 7 7 5
+ 3 + +
12 TWENTY LESSONS IN HARMONY: 5. GIVEN BASS
16 *
# n
##
&
# n
&
# # #
? # ## # #
7 - 7 - 7 -
21 +
# # # > >
& # # #n
#
# >
& # # # nn # > #
# #
?#
# n
# #
7 - 7 - 5 - 5 K 7 7
g + - + +
26 V7/E V7/A
# #
> >
n
n
&
#
& > > # n n n n
> >
?# n
n
7 7 u - 6
+ + + - 5 - 5
31 V7/D V7/G V7/C I/C
#
& # #
#
& n ## n #
?# # # n #
- 5 - 6 5 6 5 - 6 - 6 - 6 - 5 - 6 5
- 5 -
TWENTY LESSONS IN HARMONY: 5. GIVEN BASS 13
36 *
# b
& b b b
#
& n
b b b b b # n
?#
n 7 n n 7+
4 + 4 2
41
#
&
cresc. pi f
#
&
n cresc.
pi f
cresc. pi f
? #
-5 6+ 5 5- 6 - 5-6-555 556 6 6- 5
47 rall.
#
&
dim. p
#
& # # n n
dim. p
dim. p
? # n
# 6 7 5 5 6 5 7+ 5 K 6 7 5 -
4 +
14
6. GIVEN MELODY
(in the style of Gluck)
*
2
Tenor & b4
mf
mf
? b 2 - - - - - - - - - - - - - - - - - - - - - - - -
Bass
4
5 2 6 5 6+
TWENTY LESSONS IN HARMONY: 6. GIVEN MELODY 15
7 *
b n b n n n b * *
& b #
mf
& b b b b
mf
&b n b n
y 6 n 6 y 6 y 6 mf
- ! !
- - mf
- -b -- - - - - --
? n - - - -
b * *
5 - 4 - 5 K 6 5 5 2 6
3 !
15 * *
b
& b
&b b
&b
6 6 n
* * !
? b b- - - - - - - - -
- - - - - - - -
K 6 6 - 5 - 6 - 7 - 5
4 - + -
20
b U
& n n n
p
& b b
n b
p
& b n
6 y 6 y 6 p
!
p
?b b
n
2+ 6 e 6 6 5 6 6 6 - 5 - 5
4 K 4 -
16
7. GIVEN BASS
(in the style of Mozart's string quartets)
*
Gai, modr
b2
Soprano & 4
f
2
Contralto & b4
f
b 2
Tenor & 4
f
f
Bass ? 2
(given) b4
6 6 6 6 6 K 6 2 - 6 - 6
4 4 5 -
TWENTY LESSONS IN HARMONY: 7. GIVEN BASS 17
6 *
b b
& # #
&b
b
b
& b # #
? b
b
5 5 5 5 - 6 # 5 ! 6 7 6
K 4 + 4
12
b
&
&b
&b
? b n
6 6 6
18
b #
&
&b
n # b
& b
?b
n #
5 - 6 6 2 5 6 6 6 - 6 6 6 K
5 4 4 4
18 TWENTY LESSONS IN HARMONY: 7. GIVEN BASS
24 *
b n
& # n n
# #
& b
#
#
& b #
n
?
b
#
6 7 # 5 6 6 7 5 k 7 5 - r t6 -
5 4 + + 3 #
30
b
& #
& b #
b b
& b n
? b n n # #
#
6 7 6 - 6
4 + 4 -
36 >
b b b n # #
&
& b # n # # >
&b
b b
#
?b #
#
6 6 5 - 6 6 w # - 6 K - 6 , 6 h
5 4 4
!
TWENTY LESSONS IN HARMONY: 7. GIVEN BASS 19
42 *
b n n b
&
ff
&b
ff
&b b
ff
ff
? > > > > >
>
b
6 7 5 6 5 - 5 6 5 6 K 6
+
47 poco rall. au Mouvt.
b
&
dim.
&b f f
dim.
&b
dim.
&b
p
app.
& b
p
2M
p
?b
7 5 6 - 5 5 -
+
20
8. GIVEN MELODY
(in the style of Mozart's string quartets)
Trs lent et tendre *
bb 4
Soprano
(given) & b 4 n n
p
b4
Contralto & b b4
p
b4
Tenor & b b4 w
p
p
?b4
Bass
b b4
4 5 6 5 6 K 6
I
bb
& b nb b n
b
&b b
b
&b b
6 6
?b n
bb
b
6 5 5 6 5 K
8 vii7/vi vi
bb n n
& b # n b
pp
b
& b b
pp
b
&b b w w
pp
- pp
? b b - -
b -
5 5 5 6
V IV
TWENTY LESSONS IN HARMONY: 8. GIVEN MELODY 21
11 *
bb
& b
n <b>n b b
p f
b
&b b
b n n b b
p
b
& b b n b
p
p
? bb
b w
6 6 7 5 6 5 7
4 + 4 +
14 I
b n n
& b b n
b n #
&b b n
f
# n
b
&b b nn n
n
f
f b
? bb n# nn n
b
6 7 6
4 +
17 >
b b n b b> b
& b n
b b b b >
& n b n
b b > n
&b b b b n
> >
? b b b n b b n n
b n
K -, 7
+
22 TWENTY LESSONS IN HARMONY: 8. GIVEN MELODY
*
20 rall. au Mouvt.
bb
& b n
dim. p
b
&b b
p
dim.
b
&b b w
dim. p
dim. p dim.
? b b n
b b
5 6 5 6
23
b
& b b n n nb b b n
b
&b b
b
&b b b nb w
f espress.
? bb n b
b
K 6 6 5 5 6
26
b b n b
& b n # nb n
#
b
&b b
#n
b n
&b b # #
6 6
- -
? bb -
b -
5 K 5 5
TWENTY LESSONS IN HARMONY: 8. GIVEN MELODY 23
29 *
b
bb
& b n n b
pp
b
&b b n
pp p
b
&b b w
pp
pp
?b
bb n
5 6
31
bb n
b n b
#
& b n <b>
b
p
b
& b b b
n n b
b
& b b n b
p
p
?b
b b bw
6 6
4
33 *
bb *
n b n
& b b
pp
b
& b b - -
- w
pp
b
& b b - - - w b n b
pp
pp * *
? bb
b w w
< 7 5
+
24
9. GIVEN BASS
(in the style of Schumann)
*
b6
Contralto & b 8 .
.
.
.
.
.
.
.
.
.
p
b b 6 . . . . . . . .
.
.
Tenor & 8
p
p.t n.t
. . . . . . . .
p . . . .
Bass ? bb 6 . . .
.
.
.
. .
. n. . . . . . n. . .
(given) 8
5 7 6
4
TWENTY LESSONS IN HARMONY: 9. GIVEN BASS 25
6 *
bb . . .
& #. . n #. n. . . . . . .
. .
b
& b . n . n. #. . . . . . . . .
. # . .
& b b . #. . . . . . . . n.
> b . . . . . . . . .
. .
? b b nb n. . . . . . . . . . . . . . #. . . .
. . .
, 7
K 5 K
+
12
b b . . #. . n
-
-
&
mf
b . . .
& b . # n ## # n
mf
.
.
. .
b n b n # n -
&b
mf
. . . mf
? b b n . . n. b
. . . . b .
.
6 K 7 5 5 7 # 6 7 6 7
4 3 + +
18
b b -
&
cresc.
b n#
& b #
cresc.
b n
& b
cresc.
cresc.
? bb
6 5 5 7 5 , 5 g 5 ,
+
26 TWENTY LESSONS IN HARMONY: 9. GIVEN BASS
24 *
b b . . . #. . #. n. . . . . . . . . . .
& # n n# #
. . . . . .
f dim.
b . . .
& b # n# b n . #. #. n. #.
f . dim.
b n . . . . . #.
&b # n #.
f dim.
f dim. . .
?b
b # n n. n #
#. . . . .
5 7 6 ! j 7 g 7 K g
+ + + #
30
b b n. #. #. n. #n##n nnn b b . . . b
& . . .
p
b n. . n
& b #. n n b
p
.
b #. n. #. .
& b n # n b b b
p
p
? b b #. n. . . . . . . . . . . # n
n b b . .
d r 7 y h , t , ! , 5
s + r
36
bb - - -
& b . . . . #. . # n
mf cresc.
b ## #
& b n
b
mf cresc.
b -
& b # n-
mf
mf
cresc.
. cresc.
? b b # . . . . . .
.
. . . .
# 5 9 # 6 7 6 7 6 5
7 +
+
TWENTY LESSONS IN HARMONY: 9. GIVEN BASS 27
42 . . . . . . *
b b # # n# . b . . . b . . . . n. #. n. .
&
.
f
b >
& b # . #
f
. . . . .
b b n>
&b
f
? bb f
n>
6 , 7 6
5 + 4
48
b b . .
& n. . #. n
cresc. molto
b .
&b . . . .
. cresc. molto
b b . . . . .
&
cresc. molto
. cresc. molto
. .
. . . . .
?b n. . b . . . . . . . .
b
K 6 7 6
+ 4
51
b b . . U . .
# # . . . . . . . n. #
& . .
pp
b .
& b b . n.
. n. #. . .
.
. n. #. . .
pp
b . . .
. .
& b . .
pp
. . . . . pp
.
# n. b . .
? bb . . .
.
. . . u . .
7 h K 5
+ 4
28
10. GIVEN MELODY
(in the style of Csar Franck's canons)
*
5
####
&
f
####
& n # # n
# n
mf
####
&
f
? #### n
# n
2 e 6 9 5 K h k 6
7 4 4
+
TWENTY LESSONS IN HARMONY: 10. GIVEN MELODY 29
*
9
#### n#
& n
#
cresc. cresc. sempre
####
& # n
n n n # # n # n
cresc.
####
& n #
cresc.
? #### # n # n
# n
7 K , , , u 5 6 # 6 K -
+ # -
13
#### #
&
ff dim.
####
& #
#
f
#### n#
#
dim.
&
#
cresc. sempre ff
? ####
# n w
n
2 u 6 K 7 76
+ 4 + 4
17
####
& w w w
p pp pp
####
& w w
p pp
####
& w w
dim. p pp pp
p pp
? #### w
w
w
w
7 6 7 5
+ +
30
11. GIVEN BASS
(Style semi-Schumann, semi-Lalo)
*
Vif et lger
app. + p.t
app.
## 5 n n b # n # n#
Soprano & 16
p
# 5
Contralto & # 16
. . . . . . .
p
## 5 . . . . .
.
.
Tenor & 16
p
p . . . . . n. .. . . . #. . .
Bass ? ## 5
16
.
# ..
(given) . . #. ..
6 h g
4 5 #
8
.
##
# # . . . . . #. . n. . . n. . . b
& . ..
## n. .
& . . . . .
# . . . . . .
& # # # .
. . # # # n
?# . .
#
# . . .
# 7 5 6
+
TWENTY LESSONS IN HARMONY: 11. GIVEN BASS 31
16
## . n. .
* .
& #. n. . # . . # . . n n b
. .
p
## n # n#
& . . . . . .
p
## . . . . . .
& . n#
p
# n b b . . . . .
? ## .
#
.. . ..
2 6 6
4
24
## . . . n. n.
& # n # n# # nb b b
#
& # . . b . #
. . . .
## . . . . .
&
. . nb b
. .. .. . #. . . b . . b .
? ## n #. . . .
. b
b
. .
h g # m b
5 # +
32
## b . . . b . n. n. b b n b
& n. n nn
## b . .
& b n. n.
n nb n .
## . . b . b . n . b .
& #
. . b .
b b .
n . . . .
? ## b . . . b . . n n. n
m y K 6
+ v v
32 TWENTY LESSONS IN HARMONY: 11. GIVEN BASS
39 *
## b n
& # #n n b # #n
## . . #. n. . b . . .
&
. . . .
## b n # n #. n. . .
& # #
. . . . .. . .. .
? ## # # n #. .
b
. #. . . # ..
.
. . . ..
j 6 y K 7 h
r 4
47
## n .
n.
& # .
. . #. . . .
dim.
## b n
& .
dim.
## .
& #
.
? ## #. . . n b p.t
52 . . . . .
## #. #. n.
&
## b
n b
n b
&
7
## +
&
pp
? ##
. .
.
5
33
12. GIVEN MELODY
(style semi-Chambrier, semi-Lalo)
*
4
bb
& n # # n# n# n n # #
b n # n#
& b
#n n#
b
&
b # # #n
? b b n # n # n w
5 7 7 h o
+ 4 7
+
34 TWENTY LESSONS IN HARMONY: 12. GIVEN MELODY
8 *
b b
& # n b
b
& b # n
n # n b b
b # n # n
& b
? b b # n b
h t 7 6
4 # + 4
chordal note /
double app.
11 add6
bb b n
& n
p
b
& b b b b n b b
p
b n n b n
&b
p
p
? b b w w
n
5 7 9 5
! + 7 !
+
14
b b b n # b n
& n n # n n
cresc. f
bb
& b n b
cresc. f
b n b
&b n b
cresc. f
f
cresc.
? bb
n
n
7 9 6
+ 7 7 4
+ +
TWENTY LESSONS IN HARMONY: 12. GIVEN MELODY 35
17 *
bb
b
& b
pp
b w w
&b
pp
b n n
& b
pp
pp
? b b n n
m 6 7 6 7
4 6 4 6
20
b b , n
& b n # b- n-
- #- - - - - -
, p pp
b
& b b # - - n-
, p- - - - - - pp
b b - - - b- n - n- n- #-
& -
p
pp
pp
, - -
? b b n - - - - - b- -
6 7 6 7 7 5
4 4 +
23
bb w w w
&
b w w
&b
pp
b
w w
&b
pp pp
? bb
w
36
13. GIVEN BASS
(in the style of Faur's Sicilienne)
*
Modr
bb 6
Soprano b
& 8 <b> b n b
pp cresc.
7th
b6
Contralto & b b 8 n b n
pp cresc.
b b b 6 n n n n n n n n b n 7th n
Tenor & 8
pp
cresc.
pp
? bb 6 b bcresc.
n n
Bass
(given) b8
7 5 7 b 7 7 t
t
7
b b b >
& b n n n n
mf p pp
b b n
& b b n n n # n b
mf > p pp
>
b b # n n b # n n n
& b b
mf p pp
mf p pp
n n n b
? bb n # b b
b >
K 6 K 3 _ 6 5 7 5 y t K K
K _ + 3
2 _
TWENTY LESSONS IN HARMONY: 13. GIVEN BASS 37
13 *
bb
n n # b
& b n
n
p cresc. f
b
& b b b b n
b n
cresc. f
n n # n
b
& b b n b nn
cresc. f
cresc. f
n n
? b b b b b n
b
K , 5 K K K , K 7 7 5 7 _ t 6 _ K 6
t ! t _ # _ c
19
b b n <b> b n >
& b <b>
p mf p
b
& b b b b
>
p mf p
>
b n b b n n n
b
& b
p mf p
p mf p
b >
? b b b
b
6 _ n 6 4 7 5 6 !
5 _ 5 3 +
! _ !
23
bb
& b n
pp
b
& b b b
pp
b b b
n
& b
n
pp
? b b b
b
7 7 5 n 7 5 6 2
+ 4
38
14. GIVEN MELODY
(In a very Hybrid style: a little Schumann, a little Faur, a little Albeniz)
*
7
#
n
&
#
& # n #
#
&
?#
5 7 5 5 , 7 7 7
+ +
TWENTY LESSONS IN HARMONY: 14. GIVEN MELODY 39
13 *
# # # # # # # # # # b n
&
cresc.
#
& n # # # # n # b b
cresc.
# #
& b b b
cresc.
cresc.
?# # # # # n # b
#
7 , 6 j , , K , y , K ,
20 >
# n n # # # b n ## n n##
&
f cresc. ff dim.
# n #
& #
f cresc. ff dim.
# n b n n n n # # #
&
f cresc. ff dim.
ff dim.
f cresc.
# # # b n #
? # n
6 , , , , 6 6 K 7 K 7
+ +
26
# n# n # n # # # n
&
p
#
& b n # n
p pp
# n # n # # #
& #
p pp
p
n
?# b n b
f , 7 , 7
3 + +
40 TWENTY LESSONS IN HARMONY: 14. GIVEN MELODY
32 * add6
# #
# # # #n
&
pp cresc. f
#
& # # #
cresc. f
#
& # # # # #
cresc. , f
pp cresc. f
? # ## ## ## # #
, , 6
4
39
# n
&
dim. p
#
& <n>
n # n # n
dim.
p
dim.
#
& # n
y 6 h 6 h p
3 4 t 5
dim. p
? #
7 7 5
+ +
46 add6
#
& b <#>
p
#
& b
p
add6
# b n
& b n
p
?# n b
5 6
! 4
TWENTY LESSONS IN HARMONY: 14. GIVEN MELODY 41
51 add6 *
# -
&
-
pp
#
& - -
#
pp
# - -
&
#
pp
pp
? #
7 6 < 5 < 5
+ 4
57
#
&
#
&
#
#
&
?#
< 5 < 5
61
#
& . .
.
pp
#
&
. . .
pp
#
& .
pp
?#
42
15. GIVEN MELODY
(Style semi-Franck, semi-Debussy)
*
Un peu lent, expressif et recueilli
Soprano
#### # 6 # n
(given) & #8 n # b nn #
p
#### # 6
Contralto & # 8 n b n
p
#
# #6 n
Tenor & # ## 8 # b n #
p
? #### # 6 <#> n b n #
Bass
#8
6 n K g , 5
! #
7
#### # b nn b nn nn nn
& #
cresc. cresc. sempre
#### #
& # b n b n n n
cresc. cresc. sempre
#### # n # b n b n # n n nn
& #
cresc. cresc. sempre
b
? #### # n n n n n
n n b
#
, 6? n K n y t ,
f ! ! #
pressez un peu
13
#### # n # n # n n <#>
& # 2
ff
#### #
& # n nn n nn n <#>
ff
#### # n n n
& # n n n n n n ##
ff
? #### # n#n # nb n n # nb n n #
#
7 y h 7 y h 7 y
t # r t # r t #
TWENTY LESSONS IN HARMONY: 15. GIVEN MELODY 43
*
19 rall. Un peu lent
#### # <#> n # n
& # n ## n #
dim. p cresc. f
#### # ##
& # n n # n n
dim. p cresc. f
#### # # # n
& #
dim. p cresc. f
? #### # # n
#
9 6 6 6
7 5 4
+
26
#### # n # #
& # n n
dim. dim. sempre
#### #
& # n n n n n n n
dim. dim. sempre
#### #
& # # n # n # n
dim. dim. sempre
? #### #
# # n n b
n
y h o 6 K
4 7 r
+
31
#### #
& # n n n
pp
#### #
& #
#
pp
#### #
& # #
pp
? #### #
# # n
, 5
44
16. GIVEN MELODY
(Style semi-Massenet, semi-Debussy)
*
5
bb b n
& b n
cresc.
b b b
& b b n n n n
cresc.
b b b n
&
cresc.
? b b n b n n n
b
6 7 n 7 , 6 5
+ 2 +
TWENTY LESSONS IN HARMONY: 16. GIVEN MELODY 45
*
9
b b b n n n
& b n n # b b
f dim. p cresc.
b
& b b bb n
<b> n n n n
f dim. p cresc.
& b b b b
n n n b
f dim. p cresc.
? b n # n n b b
bb
5 m 6 y K 6 K
4
13
b n <n> n
b
& b n b n
f p
b
& b b n #n n b
f p
b b
& b b
f p e - 6 n -
b n 4 -
? b b b
b b
6 K 6 9 7 o 6
7 + 7 4
+ +
17 molto rall. U
bb
& b
dim. pp ppp
U
b
& b b
dim. pp ppp
b U
& b b
dim. pp ppp
? b b U
b
7 6 7 6 7 6
+ 4 + 4 + 4
46
17. GIVEN MELODY
(Style semi-Chambrier, semi-Debussy)
*
Soprano
#### # 6 n #n
(given) & #8
n #n
p double app.
#### # 6 pedal
Contralto & # 8
p
# n
#### # 6
Tenor & #8
p
-- -
? #### # 6 - - - - - - - - - - - - #- - - - - - - - -
Bass
#8
6 K 6 6 K 6
3
V
5
#### #
n # n # #
& # n # n#n
mf
#### #
& # n #
# # n
mf
#### #
& # n n # # n
mf
? #### #
# - - - - - - n- - - #- - - - - -
- - -
, 7 h 5
+ 4 d
TWENTY LESSONS IN HARMONY: 17. GIVEN MELODY 47
*
9
#### # # n # n # # n
& #
f p
#### # n #n n
& # # n n #n n
f p
#### # n n # ## n n
& # #
f p
? #### # - - - n - - - - - - - - - - - - n- - -
#
5 u K 6 u K
5
#
13
#### # # b nb
& # # n n b n # n#n
cresc. f mf
#### #
& # b n b n b n n ##
cresc. f mf
#### #
& # # n n b b n b n n- # n#
cresc. f mf
# - - -
? # # # - - - b- - -
# # b- - - n #
6 10 , l
5 K 7
# +
17 rall. au Mouvement
#### # - - - - - n #n
& # # # #
#
cresc. cresc. molto pi f
#### #
& # n
- - - - -
#### # n # - - - - - pi f
cresc. molto
& # n#n# # # # n
cresc. cresc. molto pi f
# - - -
-
-
? #### #
# - - - - - - - - - -
6
4
48 TWENTY LESSONS IN HARMONY: 17. GIVEN MELODY
*
21
#### # *
*
& # n # n n #n
dim.
#### #
& # n
# n
dim.
#### #
& # n n
#
dim.
? #### # * *
# - - - - - - - - - -
- - - - - - - - - -
7 7 6 y 5
+ + 4 4
V I
25
#### # n # n #
& # n
pp
#### # p.t
& # n # #
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
p.t 3 p.t
3 3
Soprano
(given) &4 - - - # - n- - n <n> b
p
app.
3
Contralto & 4 # # # #
>
p
> > >
app.
p
3
Tenor & 4 #- #- #- #-
- s p
?3 - - -
Bass
4 3
f
3
5
3
3
& b - - - -b- - n b n
p
& # # b n b b
> > > > >
& #- #- n- b
- b
- b
p
- - - -
? # -n - n b
b
3
3
n
r
10 !
4 3 3
& b b b b 4 b b b b 4 b - -n-
> mf
& b 44 b 43
b b b b
> > b
>
mf
& n- b n b 44 b b b 43 b
>
>
mf
- mf
? -b - b b 44 b b b bp.t 43 b
3 >
50 TWENTY LESSONS IN HARMONY: 18. GIVEN MELODY
15 *
3
n
& b b # # - -n- # # # #
cresc.
&
# # # n #
#
b b # #
> >
n # #
& b b b # n # # n #
> >
> n
? b b b n # # # # # #
> >
6 - j h 7
v - 4
20
# 4 w # # - - - -
& #
4 - 43 n -n -
3 3
f p 3 3
4 # 43
& # 4 w # - # #
3
f
>
p
>
p
# 4 #w > >
# - 3 # #
& 4 4
3
f y
f s
? # 4 #w 3
4 4
3
,
& # # # # n
> > > > >
mf
> > > > b> b
# # #
&
#
p mf
?
- - - -n - - b n mf
3 3
f u
3
TWENTY LESSONS IN HARMONY: 18. GIVEN MELODY 51
30 *
b -
& -b - <n>b n ---
44 b b <n><b> 43
3 3
4 43
& b b 4 b n
> > > >
> > > >
b b b b b b b b b b b b 4 b 43
& 4
-
? - -- <n>-b - n 4 b b n
- --
4 43
3 3 3
7 u 7 9
+ + 7
b
35 add6
3
b - - - # - -b- badd6 -
-b - b b b
& 4 b
b
mf 3 3 3 3 dim.
3 3
3
& 4 b b - b- b- -b- b- b
> dim.
mf
>
&4
3 b b b b- b- b- b-b- b- b b
mf 3 3 dim.
mf
b> b - -b - b - -b - - b
? 3 <n> dim.
4
3 3
- m
- n
-
40
3
4 w 3
& n n
4 - 4
3
p cresc. f
3 3
3 3 4 3
& nn - 4w 4
-- n n
-
p cresc. f
- - 4 43
& b b-nb 4 w -
3 3 3
p cresc. f
p cresc. f
? nb 4 w 43
4
3
y 3 6 7 y ,
t v 4
!
52 TWENTY LESSONS IN HARMONY: 18. GIVEN MELODY
46 *
3
3 3 3
&4 - # - - n- # -#- - n- n - # - - n-
-
p pp
-
added 6th
3
&4
#> #
# # n - b - - #> #
p pp
>
3
& 4 - - n # n # b- n
- - n> #
p
>
pp
>
?3
pp - - -
# # # #
4 # # b b
g
-o - - g
# m #
+
51
3
3
& # # #
- - - - # - - - - -
& # # # #
> - n - - >
& n # n- -
n #
> - >
? # - - -
# n # #
-
9
- - g
7 #
+
54 unresolved app.
rall.
3 3 U
& # - - - # # # # #- -
dim. pp ppp
U
& # # # #
# n # #
>
dim. pp ppp
U
& n # n n #
>
dim. pp ppp
dim. pp ppp U
? # # # #
##
#
, g
#
53
19. GIVEN MELODY
(in ve parts, in the style of Maurice Ravel)
*
? #### # 3 n n
p
Bass
#4 n n n
n n
- , - 6 - 6 - , - h - 6 - , h -
r - r 4 - r 4 -
-
54 TWENTY LESSONS IN HARMONY: 19. GIVEN MELODY
*
6 add9
#### #
& # n #
#### # add6
& #
n # # #
#### #
& # #
#### #
& # n n n n n n #
? #### #
n
n n
#
6 6 6 o - l
r 4 r u - 7
+ - +
12
#### #
& # n # n#
n # n# #
cresc.
#### #
& #
# # n # n # n # n #
cresc.
#### #
& # n # n# n# n# n n
cresc.
#### #
& # # # # #
cresc.
cresc. decorated pedal
? #### #
#
6 9 K
4 7
+
TWENTY LESSONS IN HARMONY: 19. GIVEN MELODY 55
*
17
#### #
& # n n n
f cresc.
#### #
& # # n n n # n # n #
f cresc.
#### # # n cresc. n #
& # n n #
n
f 6
5
f
#### #
& # n n n n n n n #
k 7 k , , - , , - , , - ,
? #### #
#
f
22
#### # # n n nn
& # n
p
#### # n #n # n n #n n
& # n n
3 p
#### # n #
& # 3
#
5 p
#### # n n
& # n n n
p
p
n n
? #### # n n n
# n
- , - 6 - 6 - , - 6 - 6 - h - 6 -
r - r 4 - r - 4 - r -
56 TWENTY LESSONS IN HARMONY: 19. GIVEN MELODY
*
28 n.t app.
#### #
& # n #
34
#### #
& # n # n # n # n # # n # n # n # n # n #
n #
#### # cresc.
& # n # n # n #
n #
#### # cresc.
& # # #
cresc.
#
## # #
#
& #
cresc.
? #### # cresc.
#
7 9
7
+
TWENTY LESSONS IN HARMONY: 19. GIVEN MELODY 57
*
39
#### # #
& # n n
f dim.
#
# #
& # ## n
f
# n
dim.
#### #
& # # n n n
f dim.
#
## # # dim.
& # n n n #
f k 7 , K , K
f 5
4
? #### #
#
6 dim. o
4 7
+
43 molto rall.
#### # U
& # - - #- -
# - -
pp ppp
#### # U
& #
# # n #
pp ppp
#### # U
& # # n #
pp ppp
#
# # U
& # ## #
ppp
#
pp
pp : ; ppp U
? #### #
#
5
58
20. GIVEN MELODY
(in a very special style, somewhat approaching Hindou cantilenas)
*
5
#### 5 4 7 3 5
& 16 # # 4 # n# 8 n # n # 8 4 44
>
#### 5 4 7 3 5
& 16 n n 4 8 8 4 44
>
#### 5 n 4 7 n 3 5 44
& 16 4 # 8 8 4>
n g h 7 K 7 5
r d r
? #### 5 4 7 3 5 4
16 4 8 8 4 4
TWENTY LESSONS IN HARMONY: 20. GIVEN MELODY 59
*
11
#### 4 n n 15 # 4 n 5 2
& 4 nn - - - nn - - - 16 # 4 nn - - - 16 4
p cresc.
#### 4 15 4 5 2
& 4 16 n n 4
# 16 # # 4
# #
p cresc.
#### 4 p
15 4 5 2
& 4 16 n# 4 16 n b 4
K s 6 K s 6 K s 6 cresc.
[p] cresc.
? #### 4 15 4 5 n 2
4 16 4 16 # 4
h
r
16
#### 2 5 2 5 2 5 2
& 4 # 16 4 # 16 4 16 4
#### 2 5 2 5 2 5 2
& 4 n 16 # # 4n 16 # 4 16
# n # #
# 4 n #
#### 2 5 2 5 n n 2 5 2
& 4 16 n b 4 16 4 16 n n 4
? #### 2 5 n# 2 5 # 2 # 165
# 2 #
4 16 4 16 4 4
6 h 6 h 6 h 6
4 4 4
23
#### n<#>
&
nn 4 3
4 # 4 165
f p --- --- mf
#### 4 3
& 4 4 165
n
# #
f p mf
####
# n 4 3 # 5
& 4 n # n 4 # 16
f p 6
? #### 4 3 5
4w 4 16
9 h <
7 4 y
+
60 TWENTY LESSONS IN HARMONY: 20. GIVEN MELODY
*
29
#### > n
&
2 5
4 4 83 n 45 44 b n n n
> ---
p mf f
#### 2 5
& 83 45 44
n 4 # 4 # n
> >
p mf f
#### 2 5 >
& # 4 n 4 83 n 45 n n 44
>
K K - 7 5 K - 7 5 K y y
t s e
? #### 2 5 3 5 4
4 4 8 4 4
35
#### nn 5 n # n 4 b nn 5 4
& b n n - - - 16 4 n n - - - 16 n# n n 4
#### 5 b b 4 5 4
& # n 16 n 4 # n 16 b # 4
####
5 n n 4 5 n 4
& 16 4 16 4
K y y K y
(f) n
5 n b b n 4
s e s
?# # 5 4 n n
## 16 4 16 4
- 6 u ,
- r
40
#### 4 n 7
& 4 # n 8 # n n # n n b b n
#### 4 7
& 4 n 8 n b n n b b n b n
#### 4 n 7 n b
& 4 8
h 5 y t
n e e c c
? #### 4 n 7 n n b n b n
4 8
- y 4 - 7
- e 3 - +
TWENTY LESSONS IN HARMONY: 20. GIVEN MELODY 61
*
44 au mouvement
poco rall. 9th add6
#### 4 5 4
& n b n 4 n n n # n n n 16 # # # n n 4
--- - - - cresc.
p
#### 4 app. add6
5 4
&
n 4# 16 n n b b n 4
# #
cresc.
p
#### n 4
& n 44 #
5
16 n 4
p cresc.
cresc. n
? #### # n 44 # n n 5 # n n 4
16 4
u , u
+
49
#### 4 ### 5 2 5 2 5
& 4 # --- 16
4 <#> 16 4 <#> 16
mf cresc.
#### 4 5 2 5 2 5
& 4 # 16 # # n# # 4n 16 4n 16
# # n# #
mf cresc.
#### 4 n 5
# 16 n n b
n 2 5 n 2 5
& 4 4 16 n n b 4 16
mf cresc.
mf cresc.
? #### 4 w 5 n 2 5 n 2 5
4 16 4 16 4 16
< h h h 6 h h 6
y 4 4 4 4 4
56
#### 5 2 n 4 # - - -
& 16 <#> 4 nn 4
f f
#### 5 2 4
& 16 n n # # # 4 n # 4 n
n
f f
#### 5 n # n n 2 4 #
& 16 4 # n 4
f f
f f
? #### 5 # n # 2 # 4
16 4 4w
h h 6 9 6 <
4 4 u 4 y
+
62 TWENTY LESSONS IN HARMONY: 20. GIVEN MELODY
*
62
#### - - - - - - # 5
& n# 43 n 16
-- --
dim. p mf
#### 3 5
& n # n 4 16
mf
dim.
p
#### 3 5
& # n n
# # 4 n 16
dim. 6 6 6 - 6 6
e
? #### 3 5
w n 4 16
9 6 y 9 h l h
u f r 7 g u g
+ + 3 + 3
67 double app.
#### add6
& 24 43 45 44 n
n
p
> pp
#### 2 3 5 44
app.
& # 4 4 4
> # - - - -
p pp
#### 2 n 3 5
& 4 4 4> 44 w
6 6 d 6 6 pp
p
#
? ## # 2 3 5 44 w
4 4 4w w
6 5 5
U add6
72 rall. molto rall.
####
& n n n n
- - uw
- ppp
#### U
&
# - - - - # w
ppp
#### U
& w w w
ppp
? #### w U
w w
w w w