Exercise:—
9. The augmented sixth is analogous to the minor seventh. This interval is found in the augmented sixth chord. Origin of the augmented sixth chord:—
The diminished sixth, which is the inversion of the augmented third and analogous to the perfect fifth, is not used melodically. The diminished third, which is the inversion of the augmented sixth and analogous to the major second, is but seldom used melodically.
If the singing of the harmonic minor scale has been postponed, it should now be practiced. Exercises containing the major seventh may now be given.
GROUP IV.
ARPEGGIO CHORDS.
If the fundamental is not yet fixed in the student's mind exercises pertaining to groups I and II should be given before proceeding. The intervals already given should be expanded, the major second to a major ninth, the major third to a major tenth, etc., etc.
In practicing the following exercises, the student should name the intervals between consecutive notes and between each note of the chord and the fundamental.
1. The major triad:—
2. The minor triad:—
3. The diminished triad:—
4. The augmented triad:—
5. The dominant seventh chord:—
The teacher should explain the dominant seventh chord and its resolution. Also give exercises on the skip of a minor seventh.
6. The supertonic seventh chord:—
7. The subtonic seventh chord:—
8. The diminished seventh chord:—
A great many exercises on these chords should be given together with the natural resolution of the dependent chords. Exercises on the inversions of these chords may be given when the student has obtained proficiency on the fundamental position. The inversions may be found in Chapter III.
GROUP V.
TWO VOICED CHORDS.
The student should name the interval that one voice forms with the other. The upper melody should then be sung as the exercise is played. Repeat the exercise, the student singing the lower melody this time. If the student experiences difficulty in naming the intervals, the chords should be played in arpeggio style.
1. Thirds:—
2. Sixths:—
3. Mixed intervals and rhythm (contrapuntal):—
GROUP VI.
THE FOUR VOICED CHORD.
It becomes necessary to use organ or piano for this group. The student should name the kind of chord and sing the upper voice.
1. The primary triads:—
2. The primary and secondary triads:—
3. Introducing the dominant seventh chord:—
4. Introducing the dominant and secondary seventh chords:—
The chorals that were chosen for analysis in Chapter III should now be played for ear training. The teacher's judgment is very necessary in deciding the limitations of each individual student. At the proper time modulations may be made. Before the student may be called proficient, he must be capable of instantly recognizing and properly intonating any and all chords sounded.
Can You Compose Music?
In this, the latest of methods for the study of Harmony, the author, Carl E. Gardner, presents a system of training which, both in purpose and plan, provides, what up to the present has frequently been hinted at, but never practically accomplished—a "direct" method for the teaching of music composition.
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BY
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BOSTON NEW YORK CHICAGO
FOOTNOTES
[A] All references to scales, intervals and enharmonic changes treat of the tempered scale.
[B] Theoretical keys appear in many compositions during transitions, but they are not obvious (except by analysis) because of the fact that their signatures do not appear.
[C] Capital letters are used to designate major keys and small letters to designate minor keys.
[D] Composers of the present day often use these intervals as chord factors.
[E] Many young children find difficulty in intonating small intervals and it is necessary in such cases to commence with large intervals and work toward the smaller intervals.