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Harmony Simplified

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Harmony Simplified A PRAC T IC A L INT RO D UC T IO N TO C O MPO S IT IO N H A RM O NY S IMPL IFIED FRA NC IS L . Y O RK, M. A . RE VIS E D A ND E NL ARG ED E D IT IO N F O UR TH E D I TI ON BO S TO N O LIVER DITS O N C O MPANY NEW Y ORK C HIC AG O PHILA DELPHIA H . D 8: . LY 8: H E Y J . E . D O . C H AS . ITSON CO ON AL ITSON C Co r i h t M D cc cx vn b py g , c , y F . L . Y OR K o r i t M C M b C p y gh , , y O LIVE R D ITS ON COM P A NY o r i t C I b C p y gh , M M , y OLIVE R D ITS ON COM P A NY C o r i h t C X b p y g , M M I . y OLIVE R D ITS ON COMP A NY TO FR IE N D , FRE DE RI C H . P E A SE , I C G N C O G E M HI AN STATE ORMAL LLE , TH IS LITTLE B OOK I S R E S P E CTFULLY A TE D D E DIC . I D T R Y N T R O U O O . I N w n s s endeavor v in th e s m s the follo i g page I hall to gi e , i ple t ss b m an n of n s of m n . I shall po i le for , outli e the pri ciple H ar o y make no attempt to give details or to deal with the s ubject x us v b u t shall s n the n mb n ns nd e ha ti ely, I pre e t all to e co i atio fou in m s and v s n x n ns of u se n b u ic , gi e ufficie t e pla atio their to e a le the s tudent to recognize them in the works of others and u s e them i n e en d ri d n correctly n his ow . The rul s giv are e ve e tirely from n s s of w s of m s s and the a aly i the ork the great co p o er , are ed b m in e m of s s m s b e follow y the the gr at ajority ca e . It u t m mb d n ns no t m ws bu t s m re e ere that the ca o of art are oral la , i ply i x d n in n V ns of state what s e pe ie t ge eral . iolatio the rules which occur frequently in the be st compositions do not concern u s and x ns do not m w n s s . Irregularitie e ceptio co e ithi the cope w b n ss to n of this work . I t ill therefore e ece ary leave u touched m n n s n and ns v n s b u t is d b a y i tere ti g i tructi e poi t , it hope that y omitting all detail the s tudent will gain a clearer insight into the n n s n n d es se tials of musical compositio . A ufficie t k owle ge of piano playing to enable the s tudent to play an ordinary hym n n i d tu e s pres upp os e . s w in its n n ed in 1 895 in s m in Thi ork, i cep tio , appear erial for one m si di s . d m nd for was so of the u cal perio cal The e a it great, b m n e ss s n b m that it eca e ec ary to gather the chapter i to a ook for , and s ss of e w d s b the great ucce the latt r, together ith the e ira ility of m i n m d cl ear b its u se in nds of s a pl ficatio a e y the ha teacher , l n nd n n ed to the pre s e t revised a e larged editio . F RA N S L . Y RK CI O . D A u ust 1 9 00 . ETROIT , g , T E N T S O O N . C HAPTER PA G E f r m n 1 . D efin on o a o hor d Tr a d Ton and D om nan iti H y , C , i ; ic i t Ch or ds ; Char acter of th e Tones o f the Scal e Fou r -voiced C o m positi on D ou bling Open a nd Cl o se Pos ition ar mon a nd od n II . H y Mel y Vo ic e Pr ogr essi o ; Par a ll el Fifths and Octaves ; Lea di ng Tone ; The S ub - D o minant ; Nor m al P r ogr es sion n r va s r m a r m n sh d I 2 . e . o a o nor A u men ed and e III I t l N l M j , Mi , g t , Di i i A u hen ad en es a r a e on r ar and b ue o on I n IV . t tic C c ; P ll l , C t y , O liq M ti ; ver s ions ; I c D ssonan e Reso u on r e ar a on D om nan even h e od V . i c l ti P p ti i t S t M th o f W r iting E xer ci ses Use o f h or ds in ar o us os ons nver s ons VI . C V i P iti (I i ) w V I I . R evi e . a or and nor h o r ds u er -Ton VIII . M j Mi C ; S p ic R e a on o f nor h or ds ed an and S ub d n I X . l ti Mi C ; M i t Me i a t m r n r r d n n X . a e e a a a d u se a e es o ea ed hs H lf , I p f ct , Pl g l , S p i C c C c l Fift a nd Octaves he D m n s hed 1 1a d h nd s ns of n r hor XI . T i i i T T e b a 0 Po iti o Mi o C d s nor a nd m n s hed h or d s w h nor even h XII. Mi Di i i C it Mi S t . a or hor ds w h a or even h hor ds of the n h even h XIII M j C it M j S t C Ni t , El t , and Th ir teenth r r e u r nd a v o r s o ns B — one s XIV . I g l a a P ss i e Pr g e s i y T R ev ew XV . i nor ode 1 W and V XVI . Mi M , , V, 7 n n n d . r h r d X VII . M i or Mod e C o ti ue Seconda y C o s no r ode on uded . even h h0 1 ds XVIII . Mi M C cl S t C m r . Tr a ns on or odu a on a ss n o e e . r d e ho d XIX iti M l ti P i g, C pl t B i g C f n r n t h K A er ed h or ds XX . Use o To es Fo eig o t e ey lt C hr m r d s n n b e ween r ans ona A er ed and . T XXI C o a tic C ho s ; D i ti cti o t iti l , lt , Ch r om atic Chor ds m n h r f h . xed h or ds The F r en h a an a nd Ger a o ds o t e XXII Mi C ; c , It li , C Sixth For ms of th e D iminished Seventh Th x n on of o me rr e u ar XXIII . e Fl a tted VI a nd Fl atted II ; E pl a a ti S I g l - m n h n n o a ur as I . Non ar o Tones a ss n a A XX V H ic P i g, C gi g, pp ggi t XXV . A nticipa t ory Tones Peda l Point . n r r d n u n XXVI Suspens io s o R eta ati ons . C o cl s io X X VII Figur ed or Thor o ugh B a s s A X A h a r a er s e of E a h Tone PPENDI .
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