Paul Hindemith

Traditional harn1ony
Book 2: Advanced
exerctses
•

IGIOII
1133S Al'68
 Paul Hindemith

A Concentrated Course in

Traditional Harmony
Book 11

Exercises fqr
Digitized by the Internet Archive Advanced Students
in 2012

£r�gl11h Trnnl/ation by
ARTHUR MENOEL

ICHOn
Scholl Music Corporation. New York

http://archive.org/detalls/concentraledcourOOpaul
 PREfACE

The 6nt book of 1h11 work, Trodollonnl H•rmony, In lhr u:n }tan
oin� h W11J fint publiohtd, hao provtd • uoc:Cul IC'Xtbook h ha1 p�
vidtd thouoandt of uudrn11 whh rxtr<ioc muerial. lhe ge nto> l op­
���No �019)& •D
C··��Yillht 0 l9 J h� A..-.>\l.lrJ Muw .. P�o�bll•tlr".lnt. Nt�w YIX� provalattordtd to the mode or P"'stntation hao b«n extended oho "'
C:C'rttl,:ht • l•Jh,. AUIJntd tn ft. S<hnu'• �Mnt, M•lnt
1

lht n•11ore •nd qualhy of thr e xerci&ro. Thot book ""' n11rmlrd •• •
CtJp�rllliH 0 rcn•wcd 198\ very brief ourvey of tra ditional h>rmonlc prac tice, withouc rdercnce
Allt!jthlt h•t thll US. ('� o t�wll.a, •nd M<"ll'ito ronttullrd nrhuivt"ly hy
to any technique b.11rd on • mo110 develo ptd and more atlvonted che<>ry
AlJ Jti,lloh l tr..-no ..l CopyrJ&ht Mnrt"d
l\atOC"t.u'l Arnttlur� MWA�C 0t.JU1bUlflfl Ct•rp••r1Uhll\
.. J Pritltfli '" llSA of music. The provi11onal <hll"liCter ol the book •howtd iuel£ In an
other rttpeet as "ell: alt ho ugh the harmonic m >ter l•l h offered "that
lnl
l' tn.-ll�•n

whoch a com poo er who follow• tr•diuonal p•ths uses every day, the
f111t vol um t' of Ttad1t•nrt1tl HtJrmQny madr no p.1rtlcular p01m of tit
vdopons opecifically compooouonal rxer mn. In lhr fint plate the <om
P'*'r's gift of invmuon nnnot be taugh t (although tult•ble txuwn
a"' indi>pen,.blr 10 the uncovrronK and dr•d<IPment ol t>lrnt), a nd
In !he sccond plact the book was of coune ontendtd Cor th� general ""'
or •11 harmony studenu and not (or the •pecial purpoott of the bu ddong
<om J>C*'r
But it dtvrloptd thlt otudrnu adcquattly tndowtd wtth muuca l
intelligence, but not wi t h tolent Cor compoottion. drrlved benefit Cmrn
maurring tht trthniul llfublrms t>f Tradotoonnl Hnrmo11y, and then.
oince the nature or their Riht excludtd genuinely cr eative arcivlty,
th�y r�gTttlully hnd to give up thi• usrful occupation with thr trdo
nique o! traditionol harntony because any lunhtr source of appropriate
nourishment for th eir oltrt lncrlilgtn<r wn< nowhrrr to 1><' found The
indicattd l>tk then W.lt to p rovode. Cor good. intellogent muoidon1 who
did not 1Upi"' to thr lourttJ ol thr composer, rxrrri<r motno•l th.u
trught opur them oo to htj!h tcchnota l nhievemcntt, but th., at the
a�cmr timt would f"'r them from the rxacung feeling or Ch">to>r ob

lipuon.
Such matrt'Ul i1 what the prtJCnt book JCtks en olfcr h ct>tuains
pot� of e•·cry type and scope. ll>e t•rrct'CI "'"RC· on mtdoum of I''"'
(onnan«. from pi ano .olo to ttrina: orcheura, and from 1.0Jo vo1('(' to
maxc<l chorw: nrunur>lly b<t"nn hule d•n<r por<n ond full go own

liii)
.on11a mo>rmenu thr t«h nical .mnualJ of many uylu of wrlung
wtll � fo und lht h.rmc>noc matcriol u the umc os th.c u"'Cl tn Tra·
dotonoal H••,.·••Y· Book I The fint fi\C ch•pt<r> of the ne w book CONTENTS
cormpond to Ch•pttra IX XIII o( the old book, wh•l• the aixth
ch apter extend• tht matrrial ollercd in iu "xtccnth (auppltmentuy) Preface Ill
ch•1•t<r. tO< th< ununcn t of thu alrndy lam ohar mattnal, the p�•n•
book olfcn th< u udtnt many IUQUtioru that lead ht m lu beyond the Olapu:r I
prtmiu'"t domJm o( mtrt tKhmc.a.l proficie:ncy, an obj«tl\'t 10 'Wh1ch Four �non• for StunK Quuu:t I
Book 1 (and routtn< humony tnnrucuon altoscthcr) rotroettd melf Two Songs Cor Sopnno (or Tenor) and P oano 4
The prc•ent book. thus. prrform• approximately the function of a Two Ihtcc P4rt Chorwe. • &
U'l•el guodc that one rcaru when • rniJoumcy cannot be unJenal.en.
Two Song> !or FourPart Choru1 7
Y<t, the ut< or thcar ...rcbes should not be confintd to the lntelll
grnt non·composcr I have found thot they arc ol th r hit�h<ll value tO
for the ind11prn1ablr tcchnic.l training of the coonpotcr, ohhough of
Chapter 11
coune now and thrn 1 creati ve spirit will find lucll uncomfortably Two Sons• for Mruo-Sopnno and P iano to
cumped in the patht lold down Cor thcae cornpo>�ition skeletons llut Two Flvt P•n Choruttt 11
e•en • rompoocr woll find material enough (espcctally in the lau rxer·
cues of the book) to or��t�
t hls lmaJination. Any lntelllrrnt mutlcian Chapttr Ill t5

an aol• t the problems here pooed. bu t not e><ryonc woll be able to ·�

l"e them the apark or hie that ttatulorrru them Into real mwic.
Four Four P•rt Choru.co
Thtmt and Van•uons ,,
NtcdiC16 to ..y. thne uercuo. like the ear lier on co. have l!fOwn
for String Trio
Three Poc cn Cor Clarinet. En�tliah Horn, and B;woon 10
out or dau tuchcnr. and f\a-e befn thoreuahly med out in pncucr.
Aaatn 1t wu a cl"" In thtc>ry and compoouton at tl.., School of Mwic •s
of Yale Unt•enlty that helped me to find the aolullon of the problem
Chapter IV

Two Pol'<ft for Vtola and Pt>n o .,

Paul Hindemlth Three Schern Cor Trombone and Pian o 16

New Havtn, Com1ulle&d Chapter V 18

Mina:uure O.mt<'t ror Phmo

Ma1 191}
•9
Th ree Pirrct for llarmonlum at

Ch ap ter VI

Suite for Strins Or cheJtn

Two f'uptot Cor Two Vnicn
Two Two-P•n lnurumen�l Fu11u et
Three ThrtcPan Yonl Fugue.
Fint \lovtment of • Son•'" I<�< Cluinet :tnd Ptano
font Mo•nnent of a Sonata for Hom a nd P11no
Theme and V•u•uon• Cor Stnng Qoa.rtct

(I•) (vj
 CHAPTER I

Tonol ond honnonlc m•terltJ for lhe pieces lO be wriuen In lhit

chapt<r
o. the tonic, dominant, and oubdomlnant triadt o( lhe maJor and
minor keyt \
b. the dluonlc triad• (major, minor, dlrniniohed, and augmented)
the other de(ll'tCJ of the major and minor uaiCJ;
on all
t. the domlnont ocvcnth chord with h• three invenlont:
d the dominant harmonica derived from the dominant ttventh
chord· v,, V :•, and their lnver..ono:
t lht •ubdomlnant chord 11:
In mwial notatJon
'--C
lat

·> �-:lAm.,m:s
l • r¥ I V IY

ut # ', ,H
la e I
IJI .,
u m VI w

•
., ...

la 0 •114

•>tJirPA
...
,., •.
lAC
tu

t)
:f1::; :::1:..::. ::11�1,.t5'�iiE�
.. .. ... .. ...

i 1 ··: ..., 1
..
, ,
••
.

• N.,t T....-.lnokll)-<:aphal lcUnt• lllljo' tC • C-..jor triM);

.-.11 tc-ucn • minor t• • • Minor tr1ad)

[I I
 f.Jt�t;t:
Theoe tre all chorda that were wor�td with I n Chaptcn I·IX 2. Moderate (J, otl C.non bcl....n ""' \llotln •nd 'Ctllo

f€r&!!'
or Ttndt·
ltonol Hcrmo•y. BooA I.
� •. r'f'@r,fll
Four C..noo• for String Quonet

'Cell o
These piecet are to be: written on four stave-s, for two violini. viola,
and ·�llo-rhe viola in alto d<l.
Two or the four voices rare in canon: one o£ thete ii given, 1.ntl the
other b to� •ddtd. The entronce ol the imltallve oecond voire os In·
dinucd rn each anon. In the first (wo piecc.s, it arrie' out th •mica,ion
at the octave below: In the third. at the filth below: and In the fourth,
at th e m•Jor third above. In rhe firn t hree canon• th e imitation repro­
duces every interval exactly: In the fourth a different treatment is
prescribtd.
The two voices forming the canon arc to be worked out fint, and
the a<her t wo added only afte,... •rda. The non-canonic voices mun also
take the form or logically developed and •••ily lnrelhgible melod ic
lines· voir•• thot act •• mere filling are to � avoided. Never th eless,
the rhythmic aulvity of the.e voices must be kept from interfering
with the two canonic voices' funClioning os the tubjcct of principal in·
tertll. Accordl"gl�. Ill the �rst and £ourrh canon• lt will hardl y be
necessary to use nO<c·values shorter than the J., while on 1he 1econd
and third the J u to� regarded a; the boslc unit o{ motion.
In the 1hlrd canon. rhe <wo canonic voices lie vety clok tog<rher
in pitch. Th11 meant thor rhc: development of rhe ronalfty (f minor)
depend; mouly on rhe combined efforts of the given U))J>er voic e and
I
the free bus.
In the f ollrth tlnon. p>nlcular auc nri on mutt � poid tl) th e
melodic ftow or the upper vot
i e.

l'I (SI
 Two Songs for Soprano (or Tenor) and Piano
on texu by Wllll am Bloke (•757·1817)
lq rliiUJJJJ 'I; ;dVJ_l
t. Soh Snow prJme, A.nd tbe wm • • 1.tt:
_ caH'd ___ il_
•· The Sick Rooe

The mood �uggesced in the vocal line I• to be anten..r.ed ut the =

dread-fill
ir-.
- I"'?
=r 11
accomp ani ment,
a c rtme.
in accordonce with •he con•ent of the poem. for thb
purpo•e. the tuggested potterns or accompaniment should be camed
on. This does not mean that the piono puu may contain nothing else. 2. The si<k Rose
The elfeet of moaningltu bwtle which the uninterrupted repelltlon 11Grave <.I••,)
of a singlt accompaniment motif would create is to be avoided by
one or more lnterpolotions or other (quieter) motllo.
The dynamlc.s are to be suited to 1he expression e11ablbhed by the
aolo vo1ct ::and the accompllo1ment.
The oc cornpo nim e nt muu ault the soprano venion of caeh song
u well u the tenor. Acoordingly. lt muu avoid tones or figures in
either the soprano or the tenor regiJter thac would disturb the vocal
line. (Be c<troful with non..:hord tones.) furthrrrnore, the line con·
siuing of the upporrnoot tones o! the accompaniment muJt, a ltho u gh
int<rruptod by othtr ton••· have • cor toin melodir <)uollty which in
th< cue of a tenor •ingins the vocal patt would permit this succession
of prominent potnts to be undcntood •• the upper outline of the totoI
1trucuare.

11
d�: - Jtt roy. __

Two Three-Part Choruses f o r Soprano, Alto, and Tenor

•· Song Robert Browning (o812-o88g)

2. The Vine Jamcs Tbornson (•834·•88•)

The lowcn pan, as the founduion of <h e harmony and the tonal
development, i$ tO be writttn first. Since it lies in the tenor voice. and
thus moves in a comparatively high register (£or the rnost p�ut in the
small oc:t.ave), strong bass effects are to be avoided. These are n ot really
effective except in the true bass rcginu. .sung by ba.ss voices. l n the:
tenor th,ey mostly give the i mpms ion of unnatu ral imitations of 2 bass.
Tberdore. ins<ead of the nrong leaps of fourth• and fifths charac-

[51
t(rlltlc or thr bus, n wtll be better to uor the mooc melodic pr!lj!l'euiono 2. Th� Vin�
or t«ondund thirtlo.
In thr �ru ""'I· ho rmonir e mraoures 68 dtf!cr.ntly from the
..a �JIr" JIJ..pIr tDj1,)l.l J'l .---1-.-
Very fa>t CJ, ••>
ror·

respond'"' mcaaurca os l'he unit of m01lon Is the J Too mony .. •

eilhth notes In the middlr or lowtJt voocr would rob the top vottc of T b• w iD e or Lone lt mu • ••-
• A11 4 t�
• r .... t of Lo••-
cu mclodt c imporuonce. and uoily rcauh in a contropuntal c.-ture
that would n011U1t the loahcnes• or tht poem and of the mclodk lone.
To achcc•c an a ppropriate and conv.n<tnK rnllliiiM olche JtCOnd

<.i1Jl. One mwt

aons. the •cry fan tempo mwl no< be wecghcd down by note••luo
omollcr than halfnoto (J) or Utplct half notes
aloo clearly undentand the metric structure or the poett in order to
place the pr incopal harmoncco ol the tonaloty at the be>t poinu. The
p otet folia tnlo �upo of two or three mcuurct, in .ach ol which
one muoure u felt u a ccented •nd th<r.Corr dcmondonK humonoe

and tonol prcferrncr. To undcntand thiJ, dovidr the pcecc up onto the
1for-emenuontd t.wo- .tnd tht« mn.turt poupt. Howc'"tr• to rr:alilt:
1'1
the full rf!tet of the rrtumdo in mruures •S·to, it wtll be nteeaury
lit rul- tlb

10 S"• up any acccntu•uon in thc counc of th- mu>ures, try to J<l

along without any of the principal h.,moniea of the tonalny. and avoid iJ I· 16ft3'!' I
u much •• possi ble the rr<urrence ol humonoes JIIJt hurd. witb bis OWD Tllat rr..t, r kb Vlot.____

Thit oxcrcbc cannoc, be looked upon u JOivcd until thr <lau hu

dcmonmottd ito U'ffulnr" ond pr•uicobohty by ainll'o ntt 11 llftm.H�rdJ,
the piccco may bt played 11 thr pi ano for practicr in ..:orr-..
r dons

�fast!J.... ,.)
I. Song Two Songs fo r Four·Paro Chorus of Mil\.cd Voicct
o n"'"" by William Sltaltttpcar< (o564·16t6)

a. Wi nte r

•· Orpheut

�!though the only task in ohe•t two JOngt is to comple tt Lh< har·
monies, it is possible by adroit lead�ng and rhythmiC' treatment o£
the loweT voices to intemify the expression proper tO each "ong ln a
coruiderable dtgret.
Writt on (ou r &ep.uate stave-s. the three u pptr ,·oicet in the c-cJdto

=pij '
Sing the >e>ngs in chorus; ohen pby ohe score on ohe pi>no

(6) [;1
 I. Winter 2. Orphcus
Modrr•tr (J •• u)
�I L L
� .
()r.�.. ...u. b
�b ... made
1E
... ,be -..W..topolbe\

=
I -

? ." ' ___...

s

-�-obfp• btr4 ..t. ;;[

"' _lbo
"'
frf:ee
t. Bow - - sth ·es witeo b
<-- .Ud ''"''
1- lh<m
.
- hor
'

JO (J - .
..
'(J
Aad mllk eo•
.•• fro A.tD home
i '"'�, .r rpruq, �
la
-
•r To bb .. .... and n o
w .. u:. [v.

lh _"
f,\ •
Cl'l«.

T\.t1 .,.
I& "'

I• alpp'd. .w ••r• .. loul,

e)
�
... ..... abCJ W • t:rl Tbercb&d mad
e 'i. Lul- � :,�.
:
'

For th� �cond ve�. the rhythm of the melody is to be cllan�d u

necusary:

Evtry thing that htard him play.

Evtn tht billows of the sta,
Hung lhtir heads and then lay by.
In swtet music is such art.
Kolling care and grid ol htart
Fall :ultep. or. htaring. dit.

Ul
(8)
 mtnt, one mwt com idcr carefully m w hich OCIIIVe it will be most
effective .

Try to work out • t y pically pionbcic !lyle: avoid the normal lour·
parl texture: orschoolbook harmony cxcruses.
Add prtci"' dynamic markingt.

CHAPTER 11

The chord mactrial for lhi.l chapcrr rormpondt co c.hll In Chapter

X of BooA I In addhlon 10 !he harmonae. previously wed ..., now •

adopt lhe ttcond

.. y ae�enlh chorcb on I, 11, Ill, IV, VI, and VII or
c.ht ruj« and m in« tcaltt. wilh c.ht1r in•rniont.
In mWical notation:
LaO

lltc boo •1 111<k le

11 J. �
• • •

b
Two Softtf (« MUJO.Soprano and

" Mnn ory

a. Epl1aph
Wllllam
Piano
Brown e <•&88-•645)
Ro�rt Htrridt <•s9"'674}
•

r,• ,, I; i
.J.
I
··%]5
,. 1 '

vola! In � or (for prac.tlet) In one of che <·ddJ

"'f or* )
Wrhe cht solo

lilac embrace the range ol ch11 ve»ce: ( . For the first

., • 1 '
aong. an acrompanlmcnt figure In dS h th nottt lt rtcommtndtd, in

�--)l
which melodic development mull � aupprcNtd In favor of
&Its_ tbe_ tur

r
- -;.
tie

· wbea t.be li b'\._t

broken

"R�-oh�---��: .y �
� _
· one
chorda. The d ynam ic riac and fall of the voul lint mun bt auppontd
by careful gradation• in the fu lln eN of the choa·dt. J. e., on the number
of tone� conca!ntd In tath harmony, which may b• lncrtaacd by
'· ph :3
J
doublings.
In che tong, "Epi1aph", variety may be introductd into che accom·
• � lli.
- .
1 1 (?' � •
I
'

I liDCt
�.
rra� f:
all_ ...,__ ..
p•nament by the uac of daffe renc r<gtJl<n ol che piano: low ch orda may

c· f: �
J.�
J.
p: ;: Z:
� juxtapoatd agaanil hagh OneJ, For chit purpooe lt b not ntces.tary 14

to clIns literally ehher to the particular octave In which the baN voice
I
iJ wraucn or to itt rhythm. �· �· 't' •
T
In both tango th e �evench chord• will havt to be trta t ed wlch con·
• '

«<Dt·
siderablc caution. When the �Oleo hat the aevrnlh or a chord. on• will

ha ve 10 ulr. oneac lf whether the aecompanlment ohould tncludc the '

or,
'Fi·
11

a<venlh on the ume ocll>e, in flCl, whether il nrtd include hat all
If lhc figure• tall for a �e�cnth that can only occur in lhc accompanl· '
t .
;,:P.'L.41
.
, .

r•o J I"I
 An.swtr: Old·fa.shioncd mu,iciAn' may I"W abit to �<·t along, in smug
sel£.satis£action, "'ith whatever h;�pJ>C:OS 10 lu: ntart\t l\t hand. Sut
ought \o\'t not to strive eo lt:.rn )()llltthtng ht)·Ofid the bare- tcchmcal
necessities o( cYtryday hfe? To an�ont who h3, no notion or the Lat1n
language and o£ the way i t hJs l)t('n treated 10 mu"'IC, altn()\t all muJac
before an •mport;�nt branch o( b.tcr mmir, mun rtmain
1500, as well u

a dosed book. But it i.J juu the muSIC of chr ptnod Utfore 1:.oo. aJ
has bee.n shown JO oltcn m the l<dt deudn. thiu repre�nu (()r cht
musicim of coday an inexhauSliblt $C')Ur«" ol itimul:uinn and tnh�;hten�
mcnt. at le.ut as importmt ._, the mus1c of the eighrunch and nine·
cttnth centuries. and in many rcspt"CU more- V).
For tht> .ong •• woll u lor th01< to lollo"' (in Ch>porr \'1) tht
Jtud.t:nt .should become hmiliar "'Uh th� rult."\ ot \)IIAbit:dl\t\ion an
Latin.
I. Man

Two Fi.-t'-Pilrl Choruto for \fiAtd Voict•

1. )fan John ll•
a iH (r�6?-r6t6l
•· Th� Rt<u•n of �prlna Anon)mou• (u. uoo-•soo>
.
r
7
"
In thr fint oong rhc only tcchnocal dolfi<uhy ...rn thr wk of 1--.
0

011\',.d
b<
compret!unR tht ft\Jt \'OitM wulun A N:l111pJr�tdvt1y narrnw compau .. d i« bO· rlllliD all, I k U U\\ l'w ou "- or
The strond one P<X•• different prol>lrnu
.r� cfll
/'"
�
-
/'
t:....
2d
ll<re • wtll flo�<ong
upper vot(e mmt br ln\-NHN-1 rm thr flut 16 mr:uurr• Th11 \'Oi« is
.,
b h od and a�- no
r :::_
;-
to bt: wrltrrn firu, ond 11 ro be lch •• ohe prloHoj'"l rnrl<�ly, luodn� rhe • ran l
b.us into the tc>mewluu le�• hnpcuuuu rolt nl 1ht lowtr rraminq voice . ..
.,
�f=_ "f'
'
Measure' •7·tl arr: to be ueattd .-. relr,w1. contr.tJUtll 1n H.'Xl\llt.
er��('. > >
"• ,---...._
...
1.1

exp�ulon. ond dyrwnrfl wrrh rhr �r\1 parr lltl(rnnrn�t wloh mt ..ure
13, four mcatUrCI O( t.hlJ (("(I.IIU lolrC lrpt.tttd. lhtli1111C: With the IC!nOr
"' Na-t urt"l! lit - 'le Jli -
� ..
ft t �b > ..
t� If... , and

a, prtnttp.al voirt.
The fihh voi<e whoch h tub< •d�t'fl tu thr u•u•l luur p.ort <hor.ol
:
r ·r 1-'1
. . . .. ,. lo
te-Kturt ('oprtano, alto, ttnor. ban), m.&\' b� rithtr a '�'C'('Ind •oprano or
a a.econd tenor (b,1ntont). \\'rtte on fi\rt \t.l\·t,:, ll'tllllf .u m11n" c.hfft'rent
cleiJ ., poulblc.
Don't lorgrt to aona bmh ronA• Thtn pl•y thrrn "" th< pl.mo

Nott 011 1h1 ft'ttJfld lflng. •·lt ., rt.tlly .. ry w �· t,.uin te-.n

nttrn
to mutal? \'\'hen \hall we t\er hue cxc;uaun cu Uit thi• dud l;m�ua��··

[u)
 2 The Return of Spring
Jl.a,loul.-fJ ,.,

-�Y�I£1 1����-�-�ll�r-�zy��
111 •- .... t, "'-•,... •• t.-• • ,.,. �4u.et.�•W-
•
CHAPTER Ill

Simpl� alt�tion. 1-o t.he h:umonic materiaJ hitheno uied, "e no\\·
add:
a, u-iacb derh<d lrom the th•ngeable sixr.h and •c,enth degree•
of the melodic minor scalt:
.. .

�tlP"U IJ J JV
,,!n 1
V V1 VU

b. the similarly derived secondary s..venth chords:

...

flijliJtj!l#
l' uotit.l0tuaeu
c. in major, the chords•
to C

�iktn l±4IP ,_,I

d. in the chords
lo<
mUIO<",

T,.•ut.ho" (/or r'lfCI'rlltth to'f ert�l\ "or lttr pett••lttlf}

MntD (10-..)
\. ..,,.,., ltmr
are discus.sed
flr<Wtlt!
.S'tmm('f nt�" wHh jo', These a_nd sim i lar tonal constructions in Chapter
\Yuh •�•nnh �nil .,.,,h bc'a�ny, XI of BooA 1.
Wl'l•rh . ,, tummtn tnl"(' •1an•
,-he unh f\l)wcu ;1' ''""")'•
rhc lihn hl�m (oJth,
Tht fOWl txmll' fn1ranc.�. Poems Crom Omar 1\.hayy�rn
The p<mltr) uOin.
Four the Rubaiy4t ol
(translated by £dword FitzGNald, J80<)-J8RJ)
for Four-Part Chorus of Mixed Voic ..

In uch ol r.he lour pieca, the melody, ol which only Cragmenu arc
given, must first b.: completed. Avood wing the pi ano or an) ocher
instrumen L Nor may the melodies b.: completed by merely adding
tona which mOft orloss fiL On t h e eonu-ary. the student mu" lorce
himsell to fill the gaps by nngong, and must noc write antthang down
until b e has arrived at the final f.,.-m o( the melodies 'ocally. Here, u
tbc�htrt 111 th'' t·•ook, ··,inKillJf dor\ nm mt.an J�nt humnun� undc.r I. Lively<J.,)
our ·, brr.uh, lml rtJIIy lllll(ittA t)lll, ""llh tht ..,-nrlls-thf' ont .tnd o nly
��·•' lt) lUIII\.zll 'hr ht-llug lut th(' Ult(·IIHt gmwth of mrlndtc hnrs.
Onct' (JI1t h.a\ lw•,�Ht' u'ul w tud' A�IIIJttUJt. unt unnuc f.ul cu rt"ognut
lnc
,�\.�b Yf �pJ: r r.IP=:tEV¥!1
.
thr< h.111 r.uun� 41"urduy uf I("Dt)nt In nlU\IUl .thcurt'' th:u 11mit
eo ... . 1111 lbe Cup,a.tadll.l1be lir.of !> p rao
� You r \\' ua ..t.e.r·

• "
lh<m..,hn 111 lh( lqb<�.ml •no! u•IIJ>JJ><'I. •nd on"' domg thokc and
dl) up 1hr n.uuul '.nurn ut .311 mu,au1 uutn�ncrt, eh(' m1Ml 1"\'h�blt =t=' ;. ; I
b._. but a
•nd antopanll)t fC'JitUI.ahn� btwr u' mu,uJI uutnuonr.-the hum.an f R.peo....cofltDjf:-
·5U·IDeDIO TbtDtrd of T1m.

\l.�lt�.

Wl..,n 1hc mci...J,, lm( h•• bc-<n ll•lllJ>ItlcoJ. 1hc two

fint. and rhrn thr n•h tr \OI{t'J
.. .. 10 � added
Try (0 T.li\C thf'\ot" aonr front tht rnlm
�''\: ltH.le way To
,,,J J
flut • te r-- ud
1
t he Bard fl OD lb
c
.. J
u( int"lt' h.armun� C'\C"ru'" uno the tiOJu.am ul inltnw mu•aul upra-
1-loo. b� rt:utf•JUlltl( the: JIIUC'UI 'IU.t11ly ut thC' "UHb lhUJUAh Z. �lodtr&t<. <>-prc.-ivo<J., -1
lhC' \;lf)ltl� 'Jac-td ul lfu• cfiHI".&I \UtH.1oUOil;
the \UC'hallg or
thr chmt-f" ul l'flt'
•
"'Ptuc·,un� of mtl�•n ttnd hurnonln. And
r nr n1urf" •K•t;��I«"CJ, "'"P'-Itor or "�•fiP'"� motaon.
tf
iob �TeftJWf F t¥-"Jttar!iFM
fott _ IDtD.•ttlht ir lk•rU up. oa'Turo.•Aill·tt-
Tb �rld-Jr J
Ih� bq111n1nJ ut lht lon1 qu11ra1n, ..-u h ;,. JO)OU\ ··eom·. fill lilt
hlw,-t�ttt)' uf huMint "'"'' tu4•thH1. •h•lr
�jj
Cur)•, c.alb lut ,utn�th and
oll tluJI f .aclm� nf tht- f•lnilnnnl in lht lt\1
thf' If H
I U\l b(' matthtd by a
aundou o�Wtc-tnt'ru ul t.tll thr ""''"..' tlrtuf"nh.
'Ihr \t'lt>nd qu.,r•in can rtm•ln 1hrou�hnu1 on 1110 t\prtUI't lt•tl
of relgnJti..n-•n tftr<ttu 1..- J<hlr\cd lhJinly b� llrJ>wuc motion •nd
tht> ( rt't'llltnt rtpcottth>n or quiet but r"prnJl\ol" mollft
"fhtr• "'"' 1 h• )),•.,.. lwJ I• ' ' 1,.. otl In loud. l11••y thllrd<, \\hlch
'i�� Ir',J JIr � J JHJ.*'I
dusty Flrc•,llsbo-lllf> a Ill- <le bour or IWO I• 15"..�
9
• J AI 1ht worcb
3. Grav.CJ,.,_.,)
may m.•inly follow 1h• r h)th mi< "''""Rcmrm
• ·.ultl th�n". 111 me,t).urt· CJ. thr Nt'olf�nlu.m tt'\lh chord m.ay br uJ4!d to
<><<upy 1hc whole """'"'' ond • h u lc mo1t. I<J<IIng. wloh lh( m elody
to a pumn endiu�
, ••1 'VVJ.p r).J Tbtre wu the Door
r •t
In t he tounh ttu..urotiu, thr hCJVY·&pirltcd hnh.auun .tuggelted in
to wbk.b lfou u d uo K eyJ 8Y. IS tbe\tll
Tb er

tht lkrcth iA w br brou ght �)UI hnt h in rurlody anrl h111rmony.

In thtl<' p•«n. "' """ "' m 1hc laorr onn ol this chap1er and
In 1h""c of Chapltn IV and V. RI'<>I (arc mm1 he lokcn nor eo modu·
lout-. ()n1y by U\fOJt)Uil mudu1:umu tom thr wn.tl t�ylc aimfd u ln thac
���v r rw·O ur1r- r a r"r 1
tbrOIJ4Sbwbte:b I m is;.b&uot ne: Som. Ht · \le t a lk .. w b U e of

rxcr<isa � .chlevt-d The prt'K"bcd honno nl( m11crlal lt no1 10 �

.tddtd w. ancl no u�ltrm.tJ hmn:ulnm: .ur IU l.)( U'C"'I t n .. tpt thC' hAll

:an\.1 £u11 t.tclcncu liiUf-*C'I 10 tht Umill ltly of C'.tth .UC'tC'. �anrt the teeh·
4MJ,P !@bf I� e�u-
ME a.od THEE Tbt.r &od t he n u o mort o l il&.od ME .
fT:t.B

"''I"• of cmphn-•nR •hcn•l flwrd• 11 •11 ooo opt eo thllt oR !n1o IOillll
untt:llolmLy o�nd da"'ndrr .,lt'C..&utu.mt �ll·"'"'' •uth d;angcrs n•ult be
•

to'km by lhf' U\C." nf rtcurrC'nl tonlr kAm,onirt. !�nd b)' aht wa� pl.tci.n&
or���� •nd th< oth•r pruuip•l h•rmonln of lhc kry. ... lhat lht hum
may lll>l J,,... 1hr 1onal 1hr•ad.

(1 7)
 Thtmt and \.O.uUtiont for \t""lt Tr i o
(l'rQ(,., l'rolo, 011d 'Ctllo)

Thr tht'm<' .u well .u nth of thf' tJutc '\'.U&Jttoru. coruuu o( lhret

•

dttftn·nt lhcm.atu- JtWUJJO\ whu.h lnU\l bto clt ..rh difrtn-nuatrd. 1n

tnture and humony. lhu1, muturl't 7 8 >nd I) 14 "111 � •im1br to

m�.hUtt'l t·t, and thttt• "'alllM' Clltf<'\pondC'n<« btt�tfn S·i .tnd g-1n,

.uuJ t�nu tn �fi . m,

I 1 1 11
In th• ftnt \Oriati<>n. meuurn 1 �·18 ond 1he tocTt<pondonl lot<r
RfOUf» .lrt LO bt- trt.atttl on an an--.-.mp.�ntrd t.t)lo (or \tula In thot> .ntl'f·
·�nons ""':uurr>, the ohrrnation ul 1he motih ou�ttd in the •ketch
mU>t comr t>Ut dr.rl). llut IJ<" urelul not tu lrt any IOU nrik1ns
limtluity in thtte pamKn to mr;uuru ss 34 and 39 40 or thr �rcond
\-i.Htautm. Ht w thr p 1'""J'-'I ruoul .,, tht 11urU (mt.l\urt' •n ��. ttr.)�
make 1utll duturbonRil noto<tJble.

V01riation J V
g
·
6re®�5iw
V V
I
ii E 1 1•rr.
� p
...

r
,..
1•91
 rh)'thmic 3nd melodic attivity. Under such circumstances, the middle
\'Oitt wiiJ o£ coum ha\C' to remain quite subdued.
Meuures eo-16 art to bt" tr�ttd as a contrasting middle t«tion,
•
• and since in the �n ing and dosing sections we: have: dtcidtd on a
juxtaposition of lino \\·hi�h. dtspitt' lht' limh.ations da.cribed. h.a\·t'
a cenain independence. it will be a.ensiblto to adopt for the middle s«·
cion a homophonic ce�ture an "·hilh e:itMr all three voices ha,·e
essentially the Amt" rh)thm or d.se t\\'O similar voi.ct"S a� set oft against
a contrasting qu1ettr one moving in hal£-ncxeL
The <wo o<h<r po<tt> •n: <o be tre�ted in similar laohion. In <he
second one. the lowesc voice h:..s a d etinite solo character. In the
thirU it will he hl·�t to lnmg out \•e1y dtoarly thto.structural articulation:
measures h"J, princip31 m::ucri11l; 5·10, subsidiary 3nd transitional;
10.13, prindpal mattaiaJ: 14·17, coda; a8·2o. confirmation of the
ending.

In 1h� flrn pit<� �lt'" by wming lht top (d>ron<t) rwt. lh�
lowctt voi<e here gtvtn moves in definuely mdod1f fa!hao n . C'*'tn
<houjlh 1t d0<1 hoole mort than �t lonh the moot omportont ton•l
funwons-<onir, both domonanu. leading tont, Ntapolllan-by m.ans
ot b rottn thord• and anltn-ilb. h would be' • m1tt:tkr 1n lil:t .t rr...llv

onde�ndtnl IOfO •oote ag•on>< thos poeudo-ontlo.loc loft (whoth .uongly

auncu our autntton through liMar accumulation or many tone.).
tot tlut �tJuld tone our pen'f'ptl\'t bculun to t.tl.f' m t'WO f.u.tou
of equal "tight Ooubtltu tht bn< tolu<inn will ht to on•tnt 1 lone
mo•on� on h•ll not« and quantr no<a lor m•••uru 09 and 17·•s­
• hnt pooKUons enout�h lilt or iu own to be lth "'' an onde�ndtn o
mdody, and )<t unt th., wolf Ieo • • tht blU tutfi(ltnt lr�om for 111

(to) I•oJ
�fftptP1�
19- c&fc&&i
m�r=®.:J�Jq-]l�-1
J. R.1bcr ;W.IJ,,..,., CHAPTER IV

... ?ffi?(MJ @tk•Jiif;:;� We $1\all now pranicc che incorpora1ion o[ ><condary dorninanu

� we have used hitherto. The ddinition given in

into lhe ton:e1 mattri::al

*'�tfl-r,�� � c=t)2�
Book / may h<re be reptattd:

�·
"Any major or minor 1riad othu 1ban the conic rriad o( a key (11. Ill.
5
·�m IV, V, VI in major: IV, V, VI in minor), as well as all major or minor
criads CTelll�d by ah<ration, can be cmphasittd by being pre�tdtd by a
u-iad (major, less frequently minor) or sevencb chord (mostly of the
dominant seventh cype-chat is, consisting of major triad and minor
seventh) which st-ands in the relation ol a dominant to il.
"These oerondary dommanc chords contain tones which do no< belong
to tbe main

ltjj®11ih� Jf.D lft

key (or, what :unounu to the "me tbmg. alter.uaons o(

91il·:eY--�
lM
,
tODC$ of the kt�).
"The domin<ml ancmh chord of lhc m.Un key cm abo be prrrtdtd by
--- iudominan t.. ...
11 ''The elfect of a aecondary dommant an be created not only by a

?t¥tetrsue·,J;vIJ§fJ-FJ -
chord nanding in the relation of dominant w iu .suc«"HHr, but also
which is used
..
by a chord rrtcted on a tone as the l�ading tone to che
rao< ol the following chord, thu• euabli>bing an artificial VII, vu•.
vu:. or VII, (ahC'red or unahered. in root position or any inversion).'"

Two Pie<>es for Viola and Pillno

•· Andance
a. Very lively

mark all the place> where o«Obdary dominanu an be intr�

Fint
duced. Then deltrmine under which tones or lht given melody th e
principal harmoni... or the key are 10 >tancl. When these two R'rtd ol
imaginary harmonies are compared. it will be ea•y 10 determine how
many memben fint series an be used 10 support 1he ><cone!.
of the
Since tonal daricy u alwa)' the firoc requirement, we mun be artful
not to take too many mm1�n of the 6nt sc.ries into our conal plan:

[u) t•sl
 , ,
thtY would lx>to•ne preponcleuno •nd dlmini.h the vaho< of e>rn the
prindp•l humunio of the key. Srcanrlory dominon u even whrn
u>rd •p>ringly, olw•>• rc1ulo in • u�den tonal fill •nll "�"'· They
:ue l)llit•l roprrstn<ati>ti of tonal mrR"Iom•nia: they try to rrpr<stnt

wmrthong ohM thcv arc not. employinJI: the mun1 or modulation but
nut hovlng the lorce ro rroducc the conviction of modulorion. The
elfcn of rapid twi•u Olnd turnt wothout b>>ic chonge c>l tonol dir.,.,toon
rcnumh nnc ol a bicyde wobbling tiS"•8 down the '""'eo. inuead of
tilher goong ltr>igho or d
..crib�ng wcllorched turv�. The use of
stcnndary dominant< In qu•n ol oy cvQktl the tonal 11rucourc ol the
1<cond· and thord·clau mu.tc ol the p;uo century. or-when they arc
•ddtd te> •rpropriaoc mclodiet--QC the 1yrupy ltnt imenuloty of many
of the popubr •nd ....,"'popular" pieces ol the prcstnt day, which,
tonolly lpt>king, are frrqurntly nothing but chairu or I«Ondary
domi11•n••· Thr<c styln of mu<ic 1how clearly how • orchnic• l devirc
that b perftcoly good but by no m..n,
rhrtodb..r< , cvrrywhere

wht•n lt is o•·er·u!l('d and enrb up by being r

w•ble bccome1
idoculow and
r<:pubi,t. For pracucr. we can of coune ext>ctlmcnt I n the !ollowong
piecct oo e ho"' Cor the lnrrta>ln� number or secondary dominQniJ
..
.

strrngohrn• connructinn ""d conmbute> to tle.r undentnndlng, nnd

Jun when they begin oo degen�te onto a mere spinrlcn •crirs or
in.ipid tLiflocUe\.
In th� firS& piece. make a clear dininction becwttn 1hr struttural

� )
Jd> �
1"111.00

se<tion• by u•in� diffemot l t ><tur

.. "' the pi•no put. Aft<r thr for>o
appe>r3nce of the principal maorrlal, mca>ures tt·tg require different 31 tFpPf� J1 'J. J ,·lJJ .J.
J1 ,.�
1B ���, I =�= If' I
·

11
·
treatment. From mtasure ro on, return eo ll modffitd Corm o( tht' tcx·
ture u>td for ohr prinr•p•l m>ttrl•l. The &n•l oneaouret, beginning
VIola
j""
with mcMurt S•· ore to be tr�atrd a> • cnda. Prcd,. dyn>moc indica

:?. Presto CJ.. ••• 1

uoou �re to lx> mdudtd.

In ohr second pie<><, ooo, ohe owo p:>ru arc "' be dearly diflerenli
ao<tl in text ure. Tht gi•cn voice is to be ldt en tirrly 10 !he viola,
inA i!
whkh rvrn In the do Mpo i
s to ploy juu wh>t rs gov<n. The ptnno. on
the other haud, io to pl•y in the do topo the melody of the seoond
pan. provided with on accompanimrm, and rran1posrd to the tonic
key A.

(·�] l•�l
 Thrrt Scbn'U for Trombon( and Pr1no

Wh�t .... ta1d •bout the "'orkina out of the p�rna pi(ttt
applies to th� 11 woll.
In mu1um � •nd 18 of tht fint pot<t, tht 8maJOr harmony it 10
be uuttd •t • 1\npoht•n chOfd (t �.• rullt Cb)·
In the �cond pi«•. tht progrt"iont lrom "'condary dt�minant to
KCOrldlry IOOIC >re IO be a»asn<d mltnly 10 tl\( tWO<iJ!hth figure
{ ' n ) i n the orcompanim•nt.
The <ul!l!<><td model for the occomp.>nlment ol tht third pitce it
not applicablt to meatUC(I g>t4.
Ntedles• w ••Y· pl>ytng tht ranilltc(! plrctl rnoy htrr agoan bt re­

gordtd as the ba.ls for final judgment of them. IC no trombone b avarl·

able, we some other inmurne111 •• a tubstitute.

k-
'f\
r'rr-r.
�8§
1. Allrrro(J uol
�

la m m-vytrtrjJ)k!fi� -v
�
i¥.1t !r..v
=-t ="'! _•

1!tt0'-f!d��-4liliJl
• J
�l).1�-
l
-

'LUf
4I
---

� p

�-kw��nf:t*rn "'"

ftb)
 Still other chonJs may bt !onncd in che indocated f>!hion, buc
thty are nolhing but n()L1tional vorianu or thord\ alrtady (2miliar.
C I I A r T F R \' There are in addition. it is trut. a greoH number or chordJ that 3re

fhr chnrd, eo bt.'! .1ddrd to our m�t("ri;al an du� lawn-lhO'W" th.u

not covered by the method de><ribtd. Our tr•dhional thtory of h>r·

art w'ltttC'd m .a turuht) b'f mt"'m uf thf ")t.tllt,..d rwtntdrd or

mony cannot ghe sausfactory rule� ru.he:r ror their construction or Cor

c/HO'''IJ(If a/ta41rON-tjl"f r-.cp1J1ned an mutt h.UMCiO) tt-.ltHJOit..s

their me. Anyone who wiJht.s to u� them mun tithtr trun to his
:11

(ollo""
mwical irudnct� procedure that d� not nt<tu�rily lt3d to con
viocing results-or look around for a S)'Stem �·hich. ft'aching out
l'\cr� um� r.f a Kilt nn bt: chrom:wnllv ahtrtd �nd the ahtttd lunber than the methods hitherto 1n use. woll comprthend. .-plain,
ton .. con r..rm p.rto ot thouh tlw m•y "" rt'JI•nltcl •• btlongmg and arrange in ordu all conce.in.ble harmonies. But ln the pre�nt
10 tlo� k� COUl'5e of sn·dy ot trad•toonal hannony there ''· on any ca�. no place
£0< such chord..
Thnc' chord• mu,, folio" thr h.n1c l.aw of u.aduwn.JI h;umon), •<tord.
.ng 10 "'hich u..:rv hnmon... un bt rCtluctd 10 an on�anll cl01e
p.,.1Uon m wh1(h 11 " hu1h up out c>l thmh of WM'ftt '-011, and ts· Miniature: Daoces (or Piano
�ntoall� btl<>nRl 10 one or chc b:uic ·�pc• or th•onh wuh ..ht<h ....
btg;ln uur h.annun� t�trt : tri.ul\ ol four k1n<h. dMn•n:ant tt\tnt.h
''" Modulation-i. e.. the ettablithment or new tonics. whi
ch would
<hOC'dt t<cond•ry "'enth th<>ld>. •"d nonch thurdt. Wh<n wt tubJnt be fdt "' independent-os Slill not to bt u>cd.
th"r ".lhtrtt.l"' chorch eo chr orlf'r.aUQnt WC': utotd on the ors�inal triadt, Fint "'Tite a ban line th.at movet along ,.·ell, and then fill in chc
clc.-n�mcl\' IO\C't-11()1\, rtpl.auuu·nt vi orw- of tht- thnrd f�non b� other tOOCI of the barn10ny.
ltJ nt•Khboring cont. \1\C" 1U fltcunct.ary tlomtnJ.nt-�t tome- mlo porr

��'"'" ot 1hc <OUit ar><n'l of 1h11 l"c )fylt of rndiu11nal harmun"

and conal dc•clopmenc
Th1' •• nut tht plnu• to <'"1-..ntt thr "raknc"<'' nt 1hc- trchnu')Ut'
of .11lttrau�n and of itt throltllul fuuml.auem 'iufftu· u lo \JY lh�l
all chnrd1 of chi1 JOrt art 'imply drrfvato••• ond 10rianu of chc doml·
n11nt ,tH·n•h chord -1
hit umu\f'" 01ntl fomph14.' dtrmitif
ln-
-whirh.
inddencolly. W>l lonnul>tcd •• early •• the ••Ahttcuch <enlurv, buc,
likt' Jn m.my nf thr dt.tfl"\l ttnd airHfllt-llt ''"JIIUnutimt\ or con.ll phr·
nomena, Wll ditreguded .nd ftugolltll In r...
�r u( h•ller incerprctl•
liOnft.- W\.1� clr.awn Uf-"111 In rrntllllfllutl l(mrrtml-y, Rtm� I, whflrr tht
dcrivacion• and um of chtte dtorw ut detulbtd in Chapcer XIII.
Ncverchrlr., • liu of thr chor<ll thrrr Rivrn mov M re�atcd here

la C, oa ..th ehrt�••,t• d
r"..
t

�;r••it'll;rftl�;�•t�u 111 t�a..u�·Pritlt

(•8)
 t;tt®IUfffirVW I Gn I
p
r;

� .
� .t =
" �, :: � )c;i'"t ['?; ,:-1¥-t:i"...
_�;:;;::;:�
PJ I( �
.l �
8
� lf
@�� cffj1Hlt� ¥§8£#fN
if¥!
'i£QUrJ 1r P 1*rtrec17t�rrjrY1
*'P
,.r�«:.

�iCjr tr1@rt$IQ�{Jl•uf]b@Ir"ijteI
r
.I
>1>

f�t''Ft 1_!:rC; l"fuf;�m I6@d I

I lt� '" C! t:.
� dO•rIrf?J3I¥1Y"�IrFfD1•dff@I
�
�1:-JO :VTtlPJ#j 1ot.=.P��..� ,
n,
Ju

��Pir:ur �· j:Jt.d�111,i(H11!fm2 3i
(
rF?n IrF?:O IrF?W3 ICf?jLQ
P PP

Three Pieces Eo.r Harmonium

•· Melancholy
t, Schenando
!J. Resigna�ion

Humooium?l?! But aren't we musicians o£ some culture, and

haven't we better, more reliable inStruments at our disposal. better
3dapted to &erious muslcaJ exercises than that primitive old wheete·
box?
1 wiU be !rank to state that 1 consider the harmonium an cduca·
lional medium o£ very high rli.nk, and that Cor purposes of innruction

rs•l
11 lk'C'tm tu fn(' •lmott antlhf'C"nt.ablr. \\'hAt t tu,,C' m rumd as nut a What we bur. pla�, :�nd 'ing u in a1mC»t every instance clearly anicu

h.armonu�m •·uh tl\. or nw,� wuntl•n• ''OJ»\ antJ nunttwut • .,

c
hn lated according to iu meuic structure:. Musical fonn. with its di"i.siont
tlcvko� but r••ftu tht' h-.nnan tum •n 11\ l�u prrltmaoYt f�>rm. ••tb· down to the lan deuul or altunauon beu�teen strong and weak be3U. is
04.1& llopt. •nd wtrh no added lt.»turn '""-'tt'' :.. •mAlt uncrn-Jo-n,.tll <:2ught in a net of lines lilte the dcgren of latitude and longitude on a
t.IC\UC'-1� fornt an �h1th_ a1 the t1mpku dcktnd.&nt vt the ohJ rrJ&I, global map, wht<h tcll w at any moment ex•alv "hat part of the
ll tla OUI !U O.Uttn(t, teorned b \' ML.nlli.IIU 1n tht' hontn of Kntj form "'C" ha,·c rtachtd. Valuable D this constii.Dt information s i for the
m<nt•l m�&>tcl•"'" and the hum
b f
•
e <h•peh o i the •nulint ""'&"� undemandtng or musoc by the hearer or the perlonntr, it h.. made
uoru Of coune- u l.etb ;.,lmutt t\tF)Ihana eh;u •·oulll aburt u a pllct us ni me coune of time so dependent on meuic di\llSton that it has
an ltk' r;anl• [)( ''tnptte.ablc·· mustat '"''"'mrnu. but u h•• two become almoot impoa.tble for "' to .. without tmp<Mtng
grasp melodi
ch.autttrauau ch.u ..,..,u lt..ith th� t&udtru ol tht ctct•n•(}uc- of mu,tral mec.tie p3ttem on thtm, lcl alone undent:and lttrgcr fonru without
wrnmtt m�ltt' abQuc thr connr-tuoo ot tOnt'$ iolnd h�nnuntrt th .a n � n� dear 3ccemu:uion just as we can h:.rdly listen 10 melodic line-s with·
pt.i.nu gruuJ) ot othrr ln
ur
't trum ..nu� h .11 rontt concinut' to aound out unconsciously supplying harmonies to go with them. The hoc·
With canu.ant �olumt. and chcy o�.re not auueptlblt" tu l((tUlu..umt monium, if we understand it fully and make •<nsible use of it, rnn
Ktu " nut lrC'oi\Uring tuch a. pi uCul uutrumttnt likr preuhins in iu expressionleu neuLn.llty make meter and rh)•thm our �ervunu
cht ..,nut u( f"'J'C'ft) o�nd the mnr•l value or a�ttlu'm tn onr I•HnfC m agai n (as they should natul'211y be, and as they were in former times).
I"" )I lite '"""'"'l'l<Hion mtpu be: Wht not. tf th•t wtll furth<r instead of letting U5 run nervously to and fro as their Jl:t\'rs, in cite

the dtHIOJJ111Cn& ol tht' IIH.h\'ad uill Jnd cht �nrr.al "tlfut?

"
chains of eternal regularity of acc:enL To a er-ruin drgret, one &Ort
l"he rnnrt or lht h�nno nium, C'QnUO\ttMR CO '••uncJ wuh c:oruunt of accent can be i mhattd on the harmonium-namely, 1h;u �hach 1S
..
o lumr� pttw"fH t\ftv c:h•u-d thruutth,mc tu tnflrt: ti Unt1•1n an 1n produced by the mere inc:reue o[ loudness (dynamic aw!nt). I am not
un,h.anll'"l duual!ucwn of •oiYmt .a.nd aoUil� qu.alat) Othf'r arucru roerring to ,aw, opening or • hule shutter by mcans of the knce
mf'ntt 1t\(rpt chf' t,-pn} do not do chit> fuhtr th • tubordtNII t tht i porunt de.,iu hu only insignificant influence on th�
lever. that unm
c�
u,
t
Urtngth .and t:t.pta.t&un of cht mJt�idwl chord an '"''"• de­ playing of th� tn<trumenc 0,-n•mic i =ast Ius to be 2ttomphshtd
n
ltf'f> w dlf' tC"tJutrnnrnu of o cctlcad•ns and nehe-r prrfonn.anct be
... con, b) i.ncrc.aJing the number or tOOts, DOl the \40lum� o( the Single Cone.
01', .u tuth eh� p•.artu. tht-ar tont:1 �puJiy dJt •"•Y ;&h«-r :.1 ah..up uuual
A structural a«<:nt of rh)thm or mcter m111t thus be ••P•� through
.11Uo�tk In bo«h n't' a cht)rd U subj entd to conunu.al ttruuutal a chord that conuin.t ap�ter number of tones than iu unaccented
'h.enl" m cht counc hf ab cJurauon. Roul'hnt11ft m t hC' h.nmmuc p.uh n�igbbon. Th111 the compooer-and not, as in all other c..es, the

...•mouthe<l o•cr b) <h•nge• or oone-<olor. dyn�mto, >obruo, etc; pet£onner-is directly responsi ble for m>.king th< £orm fully riNr.
'""Pirl •nd inc-.prnta�e h:trml')nie. are littrntd up b)' �•mih..r mrAn\ I have no wish in this connection to play the part or • fool who
•nd cnduwcd wtth grutcr mtem11r Thw "h•t we ••• u.;,d to luoking in joy ovtr hi• hobby·hon<! becomes its prophet, and who wholly over·
UJl<ln u simple h•rmQnic or tQnol tfftcl\ art in rrolhy ohr producu looks what must, despite all the advantages of the instrumenc, be
of • <otnploutcd •ml bt no m..m (o<lll•lll combtnauun or ntAny rerogniztd as its primitiveness and its undeniable practical limitations
rocu>r. But ror • tnoo lnowl<dge or harmonica and thror r>O'"btlhttt 1 t (which come clO!tt w mak111g it unusable). But I would rt((ltnmend
u c�f chco h1gh�1 unp(lftolnt'� 10 h�"·e chc:-m a\';all.al.llr ltlf f\fJtriment<�l e\len to the doubter that he once give himself without prtjudiCC' to
purp<m• tn a r..rm hee from •11 adulteration For t hi• the harmoni um the pursuit of the lines or thou�ht suggested here, and then worll out
11 tl•r tdr-o�l m•trumt-nt ,, chord th:at.at;aru ou t a• a hltltuut h.arwt">fl)' that: pi«� and pl�y them chrough with an extremely critical ear.
�nd.t forth m unmila�:au�d htdtoutnc-» unul th� cmunce oC tht ntxt Anyone who does JO seriously and "ith a mind open to �n appreciauon
onr-.and tqu.a1lv. a tuphonsous toent;in..ation rtm.tlnt (Of'UUHJOUJIT of the problcms outhned -..tU be surprised •• tht dolliruhy of the a.nign·
prt\C'pltlllc '" lla ruphonl' The h�rmorun Ut' ht'.Ard m und«tpu•t mtnl; and I am sul't' chac he will not let the maner roe wich thit one
nuduv, and nt>th1n1 nn be addtd eo t� or •uhcunr.t from tMm au.rmpt. Ell.t:tCI'ln "-rll �n for the hannonium.. like d\or:ll settings.
E•tn murc- amp9rc.anl it th< lmpohtblhCY o( .lutntf'd pbttrt.l on should be $12ndard dcvic:es in the teaching or the t«hniquc or mu>ocal
thc harmonium A• performing mtwttan•. wt an: ttrnbly opoolcd wnling. (Of cou,., the organ �rvn the ••me purposc. but wh•t h.u·

[33]
mCin'to Of C'OUfH('IJ"'tlllt C l.a" hj\ 1n Or«,lf\ �� Ut CPn\Unl dUJJIMII� tO a<:;tpe the danger or becoming an UOCOnKiOU.S victim o( hannonic
1rt u• IIJ('hh tht hmut-tl <''IJf'f'Ui\f mJttn•l off<"ttd b' tht: tur progression•, the effect of which, for lack of rxptritnce gaintd through
momum to HI utmutt .anti WIU«It out of 1t c\C
• v f'f''C'U.I\'f J'I'M'-•billty
r su.th practic., one had no< clearly enough forf�n.
h ('1'llhc•Jan ()ur f1ht J''C"Ct' tt to plau· tht hf,Ut'r m a mOt.d of df'tP"l.
m<bnchoh, oh< ..-cun<l .to•ll m•Lr hom 11••• 1nd lht 1hord tJilll tURg'<'l
torro"rul reucnauon le t1 d1f!Kuh to dnc.nlH- JU'' h,,w a lu,tcntr
•ho u "'-&llanlj: cu )atld Ill IU(h rnuocb <Jn IIC' pcnu.adcd-'tllihlt chc I. �l•l•odlolyfJ.... ,
==--
1p«1fK trthnJOl n•un• mute br.. J.&tr'lortl thr (hot� mAltnal ..�a•l•blt

4::=�C'Ji&Pt,%J?J. tflc-Jpi';.cPJI
....._
eo '"· th.lt "-•ll lnd wnh .mill' crruant'f tt') ahe f''ltJ"'nt'nC"'nC ol tht
inG
mood• n•m<d \hhouah thu could b< ftUbhthcd bv lcD«•hr P! ·
chc>log�<'•l "l'"•mrntt on f'K'I'lr'• mwon• to doltrf!1l fonD� ol p r.:___.,•· �.._
· _ ___ _

"fiUIIJr, 11 IDU\1 b< ldt 10 lht ••udtnl lo> Ln<l oul bv .Kluol lrPl wb.ol
•n•l hcno ht mu.1 wri•• ll �· J"'fhiJ" unbor 10 lta•t hua to •ud·
dtnly eo hn uwn .t...-ocn. bu1 thr m"notnl h• lta•a purtly l<'<hnocal
lhln� b<h1nd and lumt hot autnll<>n ""'" 10 •h• tmollonal dl"'u ol
mu .. c, ht wm br obl•�. l•�r all mutlc�"' b<f- hom, 10 rtly

mort anct mo•t on hh o•·n pc>'IC'n of •m.a.,:nutt<Jn. « to &nd hu

uunuh 1n auolablt m•odtb Wluchr>tr rn<'lh<>d h� '"- ht mutl
al..,,." m such �otl h.l\t UJ•pcrm�t an m1nd the cmouooal e:!ttt to
bt prntlu(td, lu\cJ •"'' cht" ttchn1uf trtatmt"t t•f ti'M- nuttrial tntirtl"
to thJ.l tfl'<"cl Of toune, thf" tomb.nauon ol 10 ablurd an app.u�tut
11 a lllrmc•noum wuh tilt •ubhmr mood ol rnognauon 11 100 ltfOletqut
rn n·•lltr trrwu:,lv. But ,r the pur� (14' 11 lcas1 tht •nt"tuble
eo l»r< t�..
tffcct) or muu( '' ro aw:aktn \4llnC' son nf £tt11np '" c� litttntr.
thttc tcfmt no rr-�ton why at ;houltl nett bt rtlhtrd wnh any .,,und
producon11 mtdoum thal can b< b<nl at all on 1h11 dortclion (whoch
""h a �•lorh,..,t, fnr •••mpk. "''"old noo 11- 'I"'" "' "mplt) If 1h1>
JIU.Ol un b< ••�thtd wolh our hannonium. ol b to b< INumtd tha 1 "'«'
>hall � all 1h� mort ablt 10 do oo wuh mort n..oblt and txprn"'t
rntilnt.
In rnptco oo harmon� and l<>noluy, our porrtt Wlll ont-.lably oound
hlt .., many hundrtds <>f llot ocnlnu<nl•l «'"" po«c> ol lht po>•·
Trur�.,, ll)IC Th11 n tht rauh not or 1ny man1a for imitation on our
pan, or on 1h•• pan of all tht com�n ,.ho ha•• '""""' ouch pottto
b<fort uo. bu1 11mply of tbt het 1ha1 lht cnnunuout Ut(' of "ahtrtd"
donunant .. t rmonif':'t mut.I a1"'a"' product dnl ,,� or .c-xpmsion.
Whal ...... OrlJ!on>ll) fth 10 b< to "nh.d<rn and 10 promott to much,
•

lutnto OUt tO br a ttchnicaJ dt\.I(C' Chat lt UW(UI only tar the Cft:lUOn pert•('.
fl
t
of •ll 100 lomut<l <ftl'<U '•••nhrlo., '' u adHsablt on«. for puc·
IIC.. In "allow lh<>roughh on 1hlt tl)lr C•f wroun� of only LO ltarn
throuch C:\..twuuon "hJt an ahr ntd ont "�nu to a"otd� and lhtii
�!f0I1J#i;JJ IJb1Joj8.JP1t!OOft#=J
 CHAPTER V !

From now on, a.ll th� malc.riaJ or tradilional hannon ic practice.

induding modulation, s
i a1 our disp<K>I. Con<t!ming 1he le<hnique ol
modulating. see Chap1ers XJV and XV ol TraduiornJI Harmony,
8ooft I.

s,.;,e lor Siring Ort:hes<ra

Fut
Ariooo
\finurt
Finale-Verr lu1

This Juiu si to be �rittcn for the usuil Jtnng orcheura combina·

cion (Violint I and ll, Violu, 'Ct:lli. and lluoes) on 6,., naves.
Before uarllng work. read urtlully 1he lollowin�; im1ruc1ions.
and b«ome thoroughly !amiliar wah 1he kind of th inking 1ha1 under·
lies Lhem. This i s indispensable for the proper solu1ion of 1he problems
gi\'en.
In what follows, I dew-ibe 1he working prOC<'Clure os applied 10 a
single movcmenl (1be lim one in Lhis oui le) as a model, and 1his pr<·
cisely and in grca• detai l, oincc the .ame procedure is 10 be follo�<·ed
for each of the subsequcnl examples.
To many readen i t may 'ecm that the labor involvtd is out o£
all proportion to what is ctnain ly not an exCC$5l vely rich musinl
harven-•he more so since this book claims eo dtal wi1h problems of
traditional harmonic praccice. and CC':rcainly n()ne of the old textboolu
contain anything of the exaggerated analys.es and manipulations here
offered. Others may consider 1he inttmion of 1he hyp<r cechn ical inco
the intimate sphere of their own harmonic and tonal imaginat ion tobe
altogether dsi turbing or ewn in.tu hing Of count I a m conscious of
such objections. bul I reJ«I chem Hally. I have enough familiarity ,..ilh
m� nspir.at
i ional side of compolitional work. as ""'tll as iiS te<:hniC2l
a.sp«u. to llnow that sudl resa.sc;antt\ arc onl)' the tSC�pes and excusn

b7]
of �haat' who h.•u� ntvtr th()UR,hl lhtit mu,Jul iti�Ji" throuJ{h tD th�
tnd, o1nd WhO h.tn• ftt'\'C't JChlt\td d rullv dfc:,tl\t wurkin.'( lhhlllt)UC'.
An�ont who i� di4lurbtll by- trchnrral romadt"r:ui,...n• in hh "·ark. h.u
'im)'h noc l&(quirc:d \Uiflra<nt l�1..hn1qu( GtM)(l (ft•.Hh·to adt.:at un nt\'d
bt- •poii..S by the kond af tCJmprthtl\mt technique th>t h., become
uncunKIOll" throu�th conl:to�nt •H<Uttcr. On lhC" c:cmuary. unb 'uch
• technique e>n bring rhrm 10 rhe full �•lirotion o( their f>O<"bihlle>
\\.h;tt I dc:Knbt he:rt 1\ no1hmg but thr nukrng ron(nnut � m.m)'
prO«duret rn the te<hniquc or mUJinl wrurn� which art gcncr>lly
followed anyway, but rhe umlfrlyinR rr•«>ns for whr(h art u<u>ll\ n<>l
aubjc,ttd to the \'trdtct ey( conKaous dchbcrauon Tt� do tO i1o in no
wov to prolonc prt\ott ••nctU>rl!·<, but "mpl� 10 dcm;uc 1hc poo•tblc
tourers or error
melodic phrase (measures •7·25)· At its second appearance (measures
s•·68) it is hardly changed in exprnsion, but it has been extended to
the length o£ 16 h:tl£-note$, and it no""� consist$ of two longer lteralions
(ins1ead ol the three original •hon ones).
Material C. clooely related to the main 1heme. A, forms the climax
of the movement. It consists o[ a single phrase stated three times, each
time with different tonal significance.
The oLher three elements are of le!Ser importance.
Element D 6Jis the space between the fint and second themes.
I t employ> motifs derived from 1he first theme, and thu• serves 10 make
the li5tener better acquainted wi th the principal material while at the
same time he is being led away from it.
Element E, w hich appear> twice (measure. 25·3• and 68·70) s i

simply a conne-ct ing mem�. and tbm has no strong melodic indi..
Form. Thr mo\>tnlcnt we arc htrt con•udeflnA condtu ttr fht •truc­
vidu ality. What linear vltality i t has it achieves by the continuow
turol elcmcn11. uch dis11nct in charQcter, exp�uion. 1trucwral lunc·
repetition of a single tw�cone motif.
l the transitional secdon, F. which has
don. oe.nd u:rhnu·al trurmcn,.
Even less independent s
on1y the function o( a brief relaxation between two significant ele­
ment$.

Tonality. A tonality is the sum o( all the harmonies that our

analytic hearin� can relare to a """trdl bannony (tonic). To be per­
ceived as a tonal grouping understandable in iuetr, a series of har·
monies must be so arranged that Lhe harmony intended as the tonic
gains the upptr hand over the other harmonies through cadences.
(avorable position, rccurren.r appearance, and sup port by its mos1
closdy related hannonies.
The tonality o[ a plccc as a whole consists of a number o£ such
ndividual
i tonal groupings. connccred by more or less cxr.end..S modu·
lations. Modulation is accomplished by r.he use ol groups ol hannonin
that Cilll bo understood as belonging both 10 the key or origin and to
the key or destination. These common middle sections can in some
pj
!
!J
l(!
«
U/
!!/(I
u
JI
J//f
{!#
(
••
(IIU
!��IIil·li!i!lijii!Ailliiiiijlliil\llrr?;t
� H n u � � n u » '' n ft " circumstances be compressed in to a .!iinglt chord, and in speci al ca_ses
an a pparcn lly complete lack or connection between two tor\alities may

appc•rs thr<e limt"4 (mtaou...., 1 ·,. ·18&•· 7' 77).

be advisable.
The r.m thrmr. A.
lt it. bv \olrtue of ltt me:lnd1c �tructure, ttJ fKb ltion. and nt t"�"emal
The present piece consi.sts partly o{ sections in which a si ngle

enc�v. nructur:ally the mo.<t rmportant m••cri•l ol th< mo,tmtnt.

E'er) um• it appcan i1 rtta rn�. dcspnr ,·.,yrng d)n�mia. all "'
e:har.u.te:rm•c tniu.
0( olm<>SI equal tm(>Dr<:llt(t but uilftrenl t•rrts>IOO I< 8 (�«>nd
rhtmt}. h milktt H\ rtrtt ipptnaoct Ji\ ., triple ltc:ution or � \lnAit
tonali ty mu>l appc2r with great definitene... and partly of others
ich contr�St wilh these stable tonal arrangements by their tonal
wh
vagueness. Eve-n in rht$C tonally weaker sections tonics can nm be
disco\•end, but they come in .such quick succession that i t is hard to
find :. common t.onal denominator (or them all. (H one were to attempt
to 6U a pi«e with notMng but t.his sort of tonal material, one would

[59]
� •rrro.,m••�lv 1n thr f'O"IIton or •n archittct trvlng to conmuct :..rready been mentioned. no tltJr tonality is neCe1\:'lly
...u; •nd '"l'l"''u out ol • puddrn1 lt�r m•")
Tonal Amfllttude. By thi• ttrm we mc•n tht de8"ce of tonal tension
Th� lollowin� tk•ICh rllum.... tht IOn>l d�...
n or thit mo-.menl.
that exi.su within a clearly est.1bhshed tonal struuure betwttn the
tonic cbord and every orh�r chon.l th�u bean a rtlation to it. The
!Jt
_j
' . .. " 14 u ••
harmonia most clo..,ly r<l>trd to the toni< 11 V I. I VI IV l, . . .)
produce only mild tonal d�Rcctiont. The widot deflections we con
achieve with the m:.tuial at our dLSpoQI �re represented by the we
or �ndary dominanu prectdmg altered chord•
A glance at the fint fi"t m.ca,urcs of the mo"cmcnt under dis­
cws.ion will show "'hit is meant rbe two &i\·en \'Oi(6 all for chords
that in the 6nt two meuura rcmoun an the rtg•ons of dos.t tonal con�
netrion ...-itb c, (I, \11, IV ): but lrom the third m.a•urc on they
• • •

bnnch out. more wtdcly, "·ith ahued chords and thear dominants. The
hnvy lin-tS drawn into our slctch of tonal dnign lho" approximatel-r
how the toruli omphtude sbould � di•l"'.td: • horiJont•l cou"" tndi·
•• ... •• catto lide or no dtR«tion. •nd the dtgr« or de•i>tion lrom the hori·
Y
6ti:
d;:IW
&
.. u .... ..
:ontal tho"" the dtgrtt ol dtR<cuon lrom the momen•••l tonic. Place>
likr the long C: o[ me;uures 48.68. or thr long f� (•;·•51· which appear
in tbt- torul whole a.s poinu. of ton:a1 rcSl complete tn thcm�h·ti. ne
Cs• t•k.. firtl plart b«JJUW' or m numrrinl ptrf"'ndtranrt and endowed by the varyrng dtgt"<U ol dtR«'uon wrth a rich intra·tona/
prtlrrred I""""'" •• tht· "1!mnrn� •n<l rml. "I"'" lr·•m any "'hrr life. H�. •• n i the we of all the oth<r tcchnini iACIOrt 10 be drsru•.td.

�oru•<Jtratmm �inct u i• thut felt tn ht· thr: U1ntt, lhtrt would be the rule is: if one element in the writing If to be mon prom inent.
ltttlc fJOHU m \etL.w• tH OPJ"')oo.t' 11' '"�lftiOI n� I'" uth�r to uK ill reduce the value or the o•hcn.
mo'c clft\oC'I) rcbtrtl humontC't tn ntJtC' lurthtr )01itl 'UJlil(•ft tnr ''· In 1.he pas5ages m:.rked ··anddmnc". no tonal .1mplltude is in·
•nd 10 ;uhltii•IO, 11\IWdUtf r)H.hiUII.IJ ( : h H!IIIIOI� 111ltl lht' \C'C.1100l \\t dicated. Since in Lhese pasJ.tgts one t3nnot tell prctisely which tonk
ha\c ttrmt'f.-1 ''in,ldmnt si in effect at any g1ven mornenc . u i s even lt\\ J>OMtblt! to dtlcrmine
·rhe nt:Xt mt)'t •mpor&�tnt r nu.tlitv i� �- (mt·.nut•• 17 l't)· le would suthdeA<ctions.
be wcll lo retnford� thou ktv, wu.
luctunt1o,, This te-nn inditates the dHTerenc�s in
Shontr �(tlrtn'i or t.rtth.·d IOn�Ill) (k(Ur In tht lllldtlk ul tht JH«t',
Ha1•monic f
c.e·nsion bt'tween one individual hnrmonv :tn<l another. The h�rmony
hol\td on C. A. und • u (mr.,,.mr' ,!1 fCI), \nmhrr �ruutJ. nc:u thr rnd i Lh(' major triad: thr ho1rmoni<'s of p;reatrSC. ten5ion
o( least tension s
ol tht pit« (7• ·771· b"tJ 011 ft uught uc11 1n brcnm• 1nn rntlq,.ntltnt
within our traditional material are: the chrom:uir alterations of tht
'frr t'J m;akr 11 :t� dr.u ·-" (H")\C1hlr cha1 thl'\ �= •• the tubdominanr
dominant ieVrnlh chord (s.ec pagr t8). Htnmoni( nuct\lation is 1101
ol the hn>l (.•. thu ••n � >ctumr>l�th«l ll\ the "" nl Cl •nd c::
h.trntt�uu-, (d"pur thr C:Q m chr mtlucl)) nr tu•u H( ahr wna (..' .1nd
identical wilh tonal a_mplatude. although or coum in the complete
C:
tonal effect neither is conC'eh·able without tht other. Che>rds o( slight
'" mhtr<houh
i tonal deHectioo m•y � or o high de�rce of flumrauon, as lor ex�mple
\lt:nurn ij,,. \houl,l IUH' on\l'Uif',l thf> '1Ut'1-tlnn "'huh IQnc .
• chord ba..,d on the tonic but forming • romplicoted h>rmony:
E fJf (,=· 1\ lt:lt tQ pn-d••nun\ll'• •uut m thr rnc of 1hc P"'C('- '*' h.n

•tn tht' tnll<lw•na tut,....nn ... cll'tlfte'tWJfl K ,.. �

.. btt'l�Hftt M.t)Or tPd rnu.or
,,..,... of ll\flol" na,..,. dftlpll•� tONtuJn Ttlr tOftk e. _. ,_
,
.. ,. tl • toft.4l.it't •
._,
aptW..JI iD ttdwr to.H"��a Mpeftldusa on tht t4W'f�nl·, 4tM'rtdon lad .,. tlt"ktunl
cur�·,..
On rhr n1t1t1 h.mct, .. ,.crv wut. tm1:tl tlmpltltttlt• tj.ln I� ttfrctf'd ,_.ith
4 \rf\ •unl'k h)ltii\•JI''
laC

�.p;�
tn dnrrnurung the UuUU.JIIfin \"Jiur (,( dtulfth out' umph cinrt
�nh the nnn-rboot tonn. \rqu1rc- �� h.Jbtl n£ coucfulh c."'l< vl.ataOK the actual rhythmic mO\'trMnt would C'Qnsist of tht> n.Jllft:
hUlfl(tOIC fhuIUthon (:hurtl'\ nl fuch lMl\!00 '-ho.ai.J niU ,.,_tUf nl4"tt-h
at the rnuh of rQIIO"'"� th(' p:uh ol Jn,, rnnut1cc m ch4:' ""'<f'>lr:.td r • u r l c.J..Ln u
tn
•. l tt�l l twldru rf'lt,:uum uf ttn'''�n ufctr prt�tN\ittn' of rhord'l n(
htgh ttnwM"' " ouhn.tbk •mI" "h� Qn(' romutc:n th(' rt"lultm� ''"" while the harmonic morion would exhibit only;

r
mnnu 'hrw._ Ut""''''f"llt dl) JIUtlfird
bnt cmtx.ldu:d m c-hunt, uf u·n,aun.
1r
,J ,. 8
o
1omu ul tnn.•hllt') Ut' 1111

wh1th .trt·ill''' ltt·.,t \utlf'tt m m:tk.t- the funt rtnn o( tht aubdomin;an1 m<Kl
dtJI, l>umirunu, un the othrr h:md (n•U tu tneouunn lr.ufln� trntM), The speed of movement or tht$e h�nnonic note-va1ues is what counu
co�n bt:.r 'hnrel' nf hi�h trn,Jon in the alculation o( harmonic density. In this calculation, u in thac
l.1n ut Uuctu.llttm th.u \\Ill ht" Ul\\t tn rt:".AIItt' cm eh'· o( 1\uctuauon, non-chord ton•• are •imply disregardtd.
l-Int• '' J l'
b.atU of tht lonotl llUthn<" I'IC'\iOU\h ..
i\C'n
To our plan or hannonle ftuctuation given above, a plan o( har·
• • • • •
.:b-+=>I 0I
LI I 1\<:=J...J...1 III
t • ' n •� •� u M M u u ' monic d"nsioy may now ll<' addtd:
1o.,..,
I -

..
•· • 0
1 r r 1 r r 1r r r • 1 ..
'"'(,.,IAI0 I I I-;....;
,., .. ' . .. ..

r r l r r l r r lr r l r r lr r l r r l r r l r r r 1 r· 1 1 · 1
,r.:.
''r -r
' ""''T:::
'""'
'
H:+:""
f 1 ">.1 o"!'r "
"' • .. ... n .. ... ...

I I r Ir r I lr F IF fir f' lP r I

rr 1 "' 1 "' '' "' 1 "' 1 "' 1 "' 1: r r r 1:

..... .. 1 r r r r 1r r nr r r 1 r r r r 1 1r r 1r r 1
The htJV� hutiitlnti!ll luu· rc:·pte.tnu lwr monu•t Wtlhuut ccmlrnt lrnm o

tl�ffl nl turm11nit fluou.tunn tht

x
th�t lt"'tl tmt ri\f'\ 10 V;ttlQm
dfiCJft' t:�l ltll IUH b..tnR \U�C'UMI b\ thf t.lt�hC' uf t'lt\'.llh.ut HI th('
rrr r1 1 "' 1 "' 1 "' 1 r r r t r r r 1

jag<tl li nt. t.o (.Ar u 'uth tubtlt l'roctdurti tHt llf '"'"'hul11tcl 1t all
In \>i\U.tl fU \t"thA1 1tpf�IH.Iltntl
" IF r 1 r r 1r r r 1
Ho�mOJtu flnmry 1'ht' " . .umthtr '"'IItltl.U'H JJctllof tn I� ul
:
u-"
o!r r 1r r 1r r 1 r r 1r r 1 r r 1 r r
cullttd an IM h11mmuc �•KI ton41 �\nul ol thr torm
.. 1t h.u IQ do

o'l)>
ol
""'"l lh tht duratannt ol lite" indni•fu�1 hJrmonin 1M p;�ru·rn of th� f IF f 11" f 1r· r lr F If f If f I
duuuunt .J•Jilf"i ntt. (.,( c.ourw-. n('(nutd) (bHlUtiC" •uh tbr rh)'thm
"t rJitf(ri\C' I\ th.at of d� :uiUaJ 11'\IC' ttur,JUu"" t,rOuJ:fU about h\ t � ...,.
r r tr r !f r r r t:
nt�tu,;rntlll 11l thr H>tU'\ U, few txampl(". Wt' tr�ocrct , ,, h1rmonlzr th,..
fint IWo mt.nurn uf thn mo\cmf'nt �• follow, o 1r r t r r 1r r r 1r r r 1 �
o
..
I
I••J [45]
 h ""'11 two ""' " th.u tht m.ltn thttnn �re \tt to tht lon�u h1rmonit1�
\lrhuh �Hr thou �r1�h1 .auJ �•p•fic:antt, "-'hilt' cht "f'IH up rh\lhmt
(lhorttr h.atml"'niN) •r� utrtl for tht tran,lti,,n•1 ltu •ncitrtndtnt
.rcwxn
In �.uurn t� 3' and 6
!\
;o. on� or tht m1ddlt \m(f't 'hou1d bt
1'"" th< '"""1'•11«1 rhHhm I r •tr r ,- , tt<, In thu way
th• atuul rh11hm of th� '"""' will •ppnr oup-rimf'<"<'d Uf"'n lht
tulf no1r moHtnrnt uf lht h.umon•c d<"m•t"
' ... ) For the two apptarancts of cht transition, E, tht uylt i! alrtady
r e: · :: r
\ly/• Witluu th<' lo.tnt<wurk of •11 tht •ug��ntlon• •lrudy m•d•.
"�t uc aull frt't to rhoo� whtther in thr humonit .;ind lt.Kiill arnn�r
m<nl of our ptt« 1hr comb�n•tion• of 1one� Ut 10 b.: tmph••lr«l in
o� rnorr hum(Kiit or mnrt melodic d imcion-whctl\u, 'n othrr wordt.
"' wuh 10 m•k• th< pt<� l••n mo« 1owonl homor>h.,nlc 0< towud
contr.punul •••I• t'ittthtr ol lh< txlrom<t-tomplt. blook·hlt har
monttJtton. on thr nn� hand, nor th< �le\1 pooob!.. ""'loooc
ind<ptndtn<t ol lht added ..,.cc:>. on tht olh<r-te:t111> pooaoblt lor
thh Mc)WC'ft\f•nt, tor I Slr111Cf'U lhorcbJ f\a.rmoni.tiUOft, tht •h<Jolt ltrUC•
tur<. •• dtt<rmm«< bv tht nuon lone:> alrrady nublo>hed, u loo cO<npli·
ut«! 11 th• ""'"" 11 """Id only do �iolrnct 10 1ht latrly dNalltd
mtloooc and hJrmonot dc:to,n K"tn on the 1ltt<h and wuuld lortt •n
orul\coal 11mphl\ntion on 11 But a d<6nittl� contrapuntal nylr would
add lurth<r tomJllocaU<Inl 10 tht plan al«>dy tkttchrd, and 1hu1 (tn
tht quock lrmpo ol the poca. "'hoch iJ not la•onoblc 10 lht undtr
uam.long ol cnn in<l<tlt'ndrm voice ludinJ) lay huvy burdtns on lht
ptrctpllvt l><uhott ol the hurer. AotordonJtly, 11 woll b< btJI 10 eh�
a .rylt ljlng modw•y btt,.·ttn the 1wo <xtrtmt1. ond tn ltl tht wntlng
•«r no" to lh< cooHrapunul and no., to the homophonic aidt, accocd·
Ins 10 1hr chanoctrr and "gnificantt ol tht Individual IC'Uion• ol the
urutture.
ktlton A, nch time 11 apptan. may hnt fairly lndtpmdtnl
hn<1 (1\ >UjDtf'trd In tht •tnion ol the 1"'0 01"'"'"1 mtatum JIY�
•bo•e). but on •U<h C.>hoon 1ho1 any 1hon no<n lh>l would ao b<:)ond
eh• a•�tn teht�M of hannonic dtntny will onur only •• """ ch«d
'"""' In "" ' .,., th• l••hna ol motion n...,..ry 10 1ho1 -• of thrmt
tan bt rnmboned wuh tht concittnns d<1onblt lor 1ht pnnupol m•
trri•l of a m'•\tm,.nc
Stwon D. on thr other hand, •hould b.: •• lroc at poot�blt ol n i
(u]
deptnd<nl linn, both umtt i1 appears; only in measurtJ 6<>67 might
tht play of line bttome >lightly more d�eloptd, in ordtr to go>< tm
pbasis to the repcuuon or lht' theme.
Tht climax, C, nteds a good dtal ol parc·motion. but not much
indqxndtntt on tht lontJ So ht« one >hould "1' as far u poostblt 10
kt tht quarttr·notn called lor n i tht plan ol harmonic dtnlity lall on
chord tona.
�on D. if il b 10 bt <ealit«< as plann«<, an only b.: <ntirtly
homopbonic.
pr<SCI'ibtd; th< etTtel, in spite ol tht juxuposition ol the rhythms
r f {lr r r and r '� r '� . is not markedly contrapuntal.
For 1ince the texture of this passage hu only limited melodic interett,
the chief impmjion of which 1he lislener is conscious is the jerky
rhythmic impulsion.
Finally, Secdon F, in order to make the contraSt betwttn che
climax and lht rtSiattmtnl o! the principal theme ptrlectly clear.
should attain tht rtlativtly high..l d<grtt o! contrapuntal tntrgy in
this pittt-the conunu•l changes ol harmony in quaner·no<co railed
Cor in tht plan of harmonic dtruity hardly ptrmit ol an) other inttr·
prttation. In thos M:Ction, thrtt thoroughlv indtptnd<nl mtlodoc lin..
should m,_. lrtdy, and only draw togethtr IOW11.rd tht end (mtuum
41>-47) lor a homophonic, tadtntial ell«<.
Thue is a.n additional factor o( construction on which the style
ltrm 1..4y<rJ.
ol the pitce dtptnds, for which I .,.·ould likt to wt the
the vttticDl strata o£ th.e harmonic textu.re u opposed
By thiJ is meant
10 the hori�onlol plan or harmonic d<nsity: the word, layerJ, thtn, •i 10
deoott the numbtr of tonts, piled up abovt tbt Joweo1 IOnt. ol which
the individual harmonies oonJist, and •he rate of such incrust or de·
crease in chordal ma.. as there may bt in lht progrtssion from harmony
to harmony. In pieco written in real parts, such as the present ont,
lhtrt s i a choict bttwetn panageo o£ thinnest texturt Cor which
occasionally two-part or even one··part writing may serve, and thOK
ol massi•e lelttU« in which. with the aid oldoublellops. sc•cn, ttght,
or mort tones (counting doublings. oC courx) Corm a singlt harmony.
Thr lay�n art thw deltrmin«< by th< numb<:r ol indtptnd<nl singlt
voice:> o( which th� toincid<nt tones lorm chords, u ,..�11 aJ b• 1ht
numb<:< of mtrt chonl Ion., which are pan of the indi>idual har·
monies without belongins to aetual horizontal \·o1ce hnes. In this
•uitt tht laytn will dtpend mort on tht fin< principlt of cont�ruwon
jull menuoned, where-as in composition .. (or pian�in which broken
[45)
rhord• connnutt on� ol ouutondins lraturn ol t� t..ture­
�� 17
"
'
th� o.cond ol tht two prindplo oJ mo..., hk<ly 10 dttrnnin< t� nyl<
..
(ott rhr ..,., . rM•<mmu lat<r on w book).
Tht lollo'""� plan nuy sct'<C U I suod< lor worklna OUI tM
l»rn The! num�r ol Iona ondica�pproxomatrl,-thc nWDbcr ol
.,f.p fi:'J EiJ) l'""'rl�� I
""'' parto fl\t hnn ondtutt a 'Uf thotk tnrur< rn whl<h 1� chords .,. !-r '.:.,!
m1v tontaln �tn mon- lhan fi"c roncs

� � 6§
!�....__...��pp�
.......
...

L.....- - � t::=::J EE�:S

"- ·- ·-- ..
_ ,, .___
. ..._ "-

_
..
CJ
.._
c
40.
-= e::=::
.. .._ .. _
c=3 c...._
.._ ._tl_.,
E-•

1:::i;;&;;;;JJ:'::m:;;lll
 � �::c
f!:·:=;·,c
ml
f!t1 =· I
r
wrt l
cr># l'r!J

lr�·��
):��;;, r:1:tn
_ _ ......
 ·==,.*--�
(!)

-
.....
,.
� 'f r·� -
• •
,

�!:_:: --=
"
® 0 @ ® �0
�- -=: -= �""•=
.""'-'
' -• .,.I:<I •,...

'0 @ ® 0

l _,

1 =�ttl·l' b�{=
t
l :r
l ® ® ®

[5�)
 Compl�te the two fugacos Cor che cwo indicated voiceo .
Two Fupcoo for Two Voices
FOTm. The fi rst rugato COI'Isists or three sepanne Jiule fugues that
1. His Ep io;oph Sir \Yah..- RaleiJIII (15$t·1618) are to be dilfe�ntiated in character [rom one another. The voi« that
for Sopr•no and Alto or Ttflor a11d Bou sings a counterpoint to the theme at any moment must not rise above
a certain lev.J of melodic content,
Charlet Lamb (1775•18$4)
so chat the theme-itself of lictle
1. The Okl FamiUar fa«> significance in these examplc.-can scill be fclc
for Tt11or 011d 8411
tO be of primary
interest. As will tasily be seen. the .second fug3to contains only two
contrasted sections.
With th<i< fupcco and che linle rugue. 1h1t rollow chem. an
attempt i mJ.de to initiatr the atud�nl in
t unorthodox fJthion into tht> Tcmality. The tonal plan of each piece is clear from the skccch.
technique or rucue-wricinc TheK lew examplts cannoc of toum In the fi.nt fugato, be sparing in the u.se or secondary domiMRl$ and
dor away the whole mooable
.
collccuon of unmusiral formulu-che secondary leadi ng-cone effects in che third section ("yet rrom thi•
dreary ond lilelns p;ouing eosecher or ..npositiona.. and ...piJOd
.... _ earth..), since they might easily dJsturb the smooth tonal Bow of the
of which che uau•l instruction in ruSl'c consitcs. Buc thoy J..c"k eo pitee.
dcmorutrllc thlt instod or the UJUII approoch 10
!U8uc-<lamely, by
way of scyle imocauon. ol PaJtstrina on vocal m\ltlc, and of Bull in
Tonal Amplitude. Although one canno t do much harm with only
two voices, it is wUe to calculate the amplitude. In this resptc.t, too,
1rutrumcncol-a working mtthod an be developed thll concern•
the third JC<tion of che fine fugaco olfen some problem�.
icscll 1..
, with quatloru of uyle than wich che e�ndally technical
c.rucmenc of che material. Thecc is no tingle. hard·and·luc scyle chac Harmonic Fluctuntion hardly plays any role in twc>pan vocal
musc be followed in IUJ!U<t any more than en other muoleal form•. If writing, since £or the •ake of making the pieca really •ingablt (try
a uudcnt is •dvanccd <nough to wrhe rusuet, he muse ol.ao be capoble them out!) one cannot get too rar from the basic imen•als of octave,
of working ouc a siyle chac will auic hia muJOcal matetlal, his conc<pclon fifth, fou rth, chirds,and t
sixhs.
ol cht complete
Harmonic Demity. 1t will be best for che changtJ ol harmony to
pioce. and chc performance purpooe• he h11 in mond.
only do t.hb if he were eo de•·elop hu own
take place in hal(·noces in the line fugaco and in quartcr·noce. in the
Ideally, of <eunc, he could
cbematic :ond nruaurol idcu from the fine noce on. Buc chit requiret
second.
ooruiderable profic1cncy which con be acquired only by plentiful
preparatory cxertbcs. My contcpcion of the nacure of ouch preparatory \Vhen both fugatos havt' been written out £or two voices., and
i thown in chc following cx
cxcrdtet J ampl . Many mort cxercitct
.. su ng, provide them with a piano accomp:animem that will serve to
ol chb aorc •r� n..,..,.ry eo lay a aolld ceehnical lounduo i n lor che support 1he voices without in any way dominating them.
work of lucuno concnpuntaJJJu The few tumpltt given here are eo·
cended to uimulate the teaeher to inven t lurcher m•cerial of che
l tort ror hi> scudencs, �eting eo ic that. aJ the proficiency or che
I. His Epitaph
Jllle
scudenc in<rea�ts, the proportion of preparatory worlt on the port ol SapNno41nd Allo<or Tenor ••MS 8.1s,.\l
the tcaehtr ni writing the lupl slt�lctont Jceadily dim1ni1htt and
the uudenc's Jhare coruwnly IITOws.
Our lupcoo and IUJ!Uts ore to be worked ouc accordJng co chc
m.odel procedure laiddown for cht 6nc movemcnc of che precedins
1crlng aucce. Soncc there everything wu deteribtd in groc detail, the
Collowins nom:oru ue 10 be reguded noc u predJC working inttruc·
tion$ buc rather at nimuli to the atudenl'a own producthe rtft«lion.
pa
ys Wi but w
l
th

[55)
 •

m;yn12arru12

,.

?i'rrru 1,''uu lurr

f .
,,f?n

Trct. E"fn t:Uth tt T1mt. that ukH1n trwt

Our routh. ourjovs. •ndall wt ha•t
And P"Y' u1 but with age and dwt:
Who, on the duk and JOicnt �"·
When wt h••• wandcr'd all our WO)I,
Shuu "P tht uory ol o�tr d>yo:
But lrom thiJ nnh, thb gra•• thi• duu
My Cod shall ni� me up. I trwt

T.xt: I ha•t had pla}m>t6, I have had comP"nions,

Z The Old Familiar Pacu ol childhood. in my jo)lul school-<iat>­
r"'••' ._. .._,,
In my da1•
AII. all art son<. the old familiar lares.

I ha•c been laughing, I ha>< been carou•ing.

i tting lalC-. "''ith my bosom cromtt­
Drinking lalt. l
AII, all art gone. the old familiar r.c
..
.

[s6J [57)
 Two T"�hn lrulnl��Smtal Fucu..

1. Fucue for Piano

•· Fucuc for Viob ....t �llo

:"vtMr pi«e o«en ant probkms of form The tht� of the t«ond
full"•· aftrr tor>tnl appt.tran<t� in ou ori(inal form, aloo occun in
on•enaon (mruum 9 13. •S· to)
AJ "T'nil tonality, OM will ha� IO JUOrd opin\1 npid modula

JiJiJ-
�iiJ,- JJI:J-
IJiJiJ- �;FIE!JEff@I
JJJ.11-
"""' Tbe mcatum �twccn two dc.uly rocognio•blt tonal domaont
ohould thtrtfOft � kept •• neutral :u po<tible
Tbe harmonoc dcntity in the fint fugue ohould not lntlude any ....___.. ....___..
.1. ,
";le:gr
l •r
nooe·•alutt •horter than the (e•en non-chord tfJhth·nottt •hould
� uotd >try tparinrly), and in the oecond the puhc will � sl•tn by
p,...l.. on. of hannony In tllhth·no<a.
Ir·

f\>r PiAnO For Viola and 'Ce11o

I. Pbt tJ., ,.,)

ta A �j�
A ;;:Jj-JlWj-J.,;•.·
- --

8 .J
I(Ig
r

- - - m
.1, EFI
�fiiUJ! - - -
tT "'

I@ ' J3J9M
?

�� · I�I
�

[59]
 !
fff
8

I .. PE
3.: , tf:
...;:- 19
0
lr
�- •t �· Mt - li-or ll.e· U - or Mo· li·or
-
-

,,
elf e r r r r·1r41
•

ZJh@&WR@@trtnI�� u 0 b l - ... t d · CD - tl· a

t}E CntljFtrIre:J]•rrGIp • J I

Three Thrte-Pan Vocal Fur

..

1. \frllor nt paupn
forSopruo. 11/to.o•d Tt•or T�xt: Mtlior at JN.Uper. qui ambulat in aimpticiure ma.

•· Otnnit •pit'otia
quam divutorqutno labia oua, ct lruipirns.

..o, 11/to, ond IJIW

reuinus en pedibus.
Ubi non est sc:ientia animz, non est bonum:
for Sopr et qui oll'endet.
3· Jwtw pml111bh
(or Alto, Ttnor, .. d IJIUJ TntnJI4tion:
lkttet b the poor thll walkct.h In hislnt�rhy,
than ht Lhlt il ptn(f'l(In hi• hpt, and 11 • fool
. coo, bt on suard aplnn ouddrn or unbalanced modulatlon1.
... Abo, th.ac cl\e .oul be without \nowl�. h lt not tood;
or tht harmoniC dtnshy· Rnc ru�· J
He
; -ond J. ; and he chat haueth whh hb feet •lnntth
(l'rot•nbt, wCx, •·•)
Notc·••lun
third ;

I. Melior ut pau�r
2. Omnis upientia
So,ruo,Aitt>, Ttnoor
Sopu.no, Aito; S..u
lie ·

111 0
J·JJ:lfffl
a Do-mi- oo 0. -

mw
�rrrr:r
-

n11r1rr 0 · • 0 0
Eflrr•rr·t JJ r·
(So)
 1cn r\ �

•
ihrr 0f;rUr· IR er r (lq rg ,
-
sie Ul 11 0
...

i,r r2ffrr 'l\hJlr· ,

11

ol no • " . b ll
tttrrTI -

,ep
,r rr�
rr
.. �Ip:
l[j 0t:Q5l
.
,

g
11

1
..J
wr

r W I
· bit la .. . wr · .
' Q

Ttxl
J. � J. 1••@ &11
Omnio upoenua a Domino 0.0 .,.�,
ttcum Jlo fuit Kmpc.r. n c:tt �nte zvum.
a_g;�· ,rrc�F' ,rrccbq
......-:=--.
T,.IIUI•tiofl
All w""""' b "- thc l.<ltd Cod.
•nd h.uh bHft atwa)'l Withh'"'· lnd u hc-fO'tt •H hiM
(r.fflu..,rJ<tu (.l,...p�•l·
tt Do mi
... l.1)
U • • • UU
.IIJ -
-

T�xt: juscu.t germinabu .sicut lilium:

3. JuSlus gtnn1nabit cc flore.bic in aettrnum ante Dominum.
AUo.T-..: a..•
\lod�r•tt u•

..otJ!JF£tr! r r rCrr
• Tr..,t.l•o.t
T'hc j�o�:JC e.an Pall biQ6aom u rhr lily;
, alld be tllall llou"'b 1ft <I<Tlll!f b<Oo« Cod.
J• • •tat .. a
,., l. aa. •
(Hose•, xi•. G)

(6tJ
 Fine Mo•<mmc ol a s->u Ior Cluilld and Pioao

For th� lollo,.ins thrtt ptcea no •pec•6c cn>toocuon• ·� ���.

Bd.,.., bqtnnwc to ""'� thno out. !M otucknt ""'" undnu�t all !M
pnhmon�'l cntnllrttorv that ha� aav<d .. a twlo lor t.chncal
proc<dura cn !M prc.udli>S p•«a.
Arcn, u en all !M '""�'»"� CltttO>ft, he m.-t loot wtth w:om
on mere paper "orl.. Notlunc c:ounu but the naliution ol che com·

pltt<d wor� en 101md lt may not alwap be poootblc to �lllt the

�tn-ica ol • dmnet, 1 hom, or 1 ottins quartet, but with 1 ltuk
insenuhy h 1hould not be dtJfiClllt to 6nd •ubotuuta and perfonn
the pieca.
The lollowinc dannct aonata movement u concel•<d lor a dannet P llnO

tn Bb The l�ttch, hCI"·e•er. ll wrlutn In C. ao that In worlinc out

the ptttt the clarinet part wtll ha� to be rewriucn In 1111-
IiJJ�JI

M odtrat o , , .. I
,

4•FPr·rr r
,

i
r
-

11
(6i
) @
(6S)
�t[Bftlild�j£�
Pint Movement o£ a Sonata for Horn and Piano

The horn put ts here notated in F.

-
All<gro ��>o�UIO>O CJ oo)
�re ia p
.•

A ...---..,

li4�1ritjv%�J-4jl
.. � ..

f�
..

-
f" .. .. .

�r A

l r<� PI••/
.. .
�·
V Vf
7·
.�
f I
IIJ .J.J.
l
j

,£:::'t:;r 'r'PpOT'Jn@i
if�!d�Rtrfrt ...-
� -- ��ll

l!!J11!?»J31114·Jt'--

[66)
.,
ph}? ·p'E1r r1tr§ 3
r
to
) •ifl1J�Jf;- I I••Ul
l f I I I•Jrrf#·:nt I
•

(68] [�)
 Theme and Variations for String Quarltt

Andante gruloso(J.,.)

��Jffif?lnVrBj(t¥fiWIGrJJI
nwo.

&diDrerFIfrrlfC•®IF'rrtgl
'4-J±fJ!U 1;4_){fln•QiWIdfi9J 11

Po>t(J .• ,..)

Fial•
n 'a.,ll�tJf!lfflf \ffi,fitdfl·•··
add a Coda or about 8 to 12 measures
THE HINDEMITH TEXTBOOU
OritliMD> publishedm lhc 19401, Paul Hilidaailb's ·-·'4
tatboob arc Rill lhc OUUWDdinl WOib .. dlcir Iliad. la
conu.c to lll8IY I mi!IAI lcatboob W1'II1CII by wn •
m� thne •-m: p-oduccdby IIIIID who CIDIIId play C'aJ
instrument ollhcordJcstn,rouJdcompoec I Alia{yinapiectt
c
llmosl 1111 llind .. enxrnl*. lftd who - CIIIC � lbc ,.. '
stimuiiW!f: tochcn .. his dav. la • tbacbc - - ..
-.
that nrar�y my ,an later thcK boab lbould -
esscnUII rcldanl � lhc 11udcnt md lhc p
n s NI PM

lt'nl flf'�MnYI')' tr1inins fw mll5icilaw Al't>l

Thf' Cult of mu�ac•l composition

ll'l32 k
l ..l l lhror. Ar 159
1131' lk>�•l ll b<'fU"'-"' m awt�p.ut "nllng ArtJ7
12211] lk"ltlk Ill I\<'m""' an ahn,.�para "nlln� AI' SlilY

lr•dttiotul hlrmony
m� o....
!l.. 1 Ar lb
1 1 1'� a..._� 2 �h.m -..d •"'t'fO"'<;
.. Ar Hl