RECITATIVE STYLE and the FIGURFD BASS THESIS Presented

Home , Accompaniment, Figured bass, Recitative, Second inversion

/O i0

A COURSE IN KEYBOAIO AIMOBy BASED ON THE RECITATIVE STYLE AND THE FIGURFD BASS

THESIS

Presented to the Graduate Council of the North

Texas State Teachers College in Partial Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

George S. Thompson, B. M. 158610 Garland, Texas

August, 1948 158610

TABLE OF CONTENTS

LIST OF ILLUSTFAJTIO.S., Page . . 9 , 9 0 v Chapter I. INTRODUCTION . . . . * , " 4 4 . , Statement of the Problem Need for the Study Sources and Validity of Data Method of Presentation

II. YIGUREDBASS . * 0 g , * ." 4

III. RECITATIVE . .

IV. TRIADS ...... * 0 0* * , I * 13 Root Position of Triads First Inversion of Triads Second Inversion of Triads Modulation

V. NON-IARMONIC TONES * * , 9 a 9 , 0 , . The Passing Tone The Suspension The Neighboring Tone The Anticipation The Escape Tone The Appoggiatura The Pedal Point

VI. SEVENTH CHORDS . . * . . . * * * . , 43 The Dominant Seventh Chord The Supertonic Seventh Chord The Leading Tone Seventh Chord in Minor The Subdominant Seventh Chord The Tonic Seventh Chord in Major

VII* ALTERED CHORDS...... Altered Chords in Minor Altered Chords in Major

6ii Chapter Page

VIII. THE CHORD OF TIE AUGEEIN SIXTH . . . . . 58

IX. MODULATIONTO FOREIGNaYS ...... 61

x. REVIEW ...... 64

BIBLIOGRAPHY ...... 67

iv LIST OF ILLUSTRATIONS

Figure Page 1. Example of the Figurations for the Triad in Root Position ...... 14 2. Example of the Figurations for the First Inversion of Triads . . . . . 21 3. Example of the Figurations for the Second Inversion of Triads ...... 24 4. Example of the Figurations for the Passing Tone ...... 29 5. Example of the Figurations for the Suspension . . . , ...... 32 6. Example of the Figurations for the Neighboring Tone ...... 35 7. Example of the Figurations for the Anticipation ...... ,. .#.*, , . . 37 8. Example of the Figurations for the Escape Tone ...... 38

9. Example of the Figurations ffor the . . . . Appoggiatura ...... 39

10. Example of the Figurations for the . 0 . , Pedal Point . . * . . . . 40 I1. Example of the Figurations for the Dominant Seventh Chord ...... 44 12. Example of the Figurations for the Supertonic Seventh Chord . . . . . 0 47 13. Example of the Figurations for the Leading Tone Seventh Chord in Minor . . . . . 14. example of the Figurations for the Subdominant Seventh Chord ...... Figure Page 15. Example of the Figuration for an Altered Chord iniMinor...... 52 16. Example of the Figurations for the Altered Chords in Major ...... 54 17. Example of the Figurations for the Augmented Sixth Chord ...... 58 18. Example of the Figurations for Modulation to a Foreign Key ...... 61

19. Piano Realization of Figure 18 ...... 61

vi CHAPTER I

INTRO]UCTION

Statement of the Problem

The problem of ,this study is to present a course in keyboard harmony based on the recitative style and figured

bass of great works of music which can be used in the teach. ing of beginning and advanced college music theory, and may be correlated with the text The Contrapuntal Harmonic Tech- nioue of the;Eighteenth Century by A. I. McHose,

Purpose of the Study The reason for making the present study is to establish a course in keyboard harmony, organized on a progressive plan, that may be included in the curriculum of music theory at college level. Through the use of this study with the regular theory course, the student should gain an insight into the harmonic principles of music by actual performance at the keyboard. In working out the contents of this problem, the figured bass-.recitative combination was selected because the exercises could be musical as well as theoret-. ical. Also there is an abundance of material to choose from in this field.

1 Need for the Study

This study is especially needed in connection with theory training at North Texas State Teachers College as there is no accepted text used for the teaching of keyboard harmony based on the principles of chord progres-

sions. Through the principle of chord progression the student establishes the concept of key feeling or key center.

Sources and Validity of Data The data for this study were obtained from standard editions of great works of music, standard music encyclo- pedias and reference books, monumental sets of music, microfilm of historical collections, and microfilm of monumental sets of music. The music used is considered by the investigator to be standard and authoritative because of its wide acceptance and use by college music schools and libraries in the United States.

method of Presentation

The organization of the keyboard harmony exercises is based upon the theory that a melody constantly implies and needs a vertical harmonic background. The melody is given in this course by means of the recitative with the figured bass giving the harmonic content. The recitatives used are taken largely from operas, cantatas, and oratorios of eighteenth century composers. As a result of these exercises it is thought that the student will gain a feeling for a vertical harmonic background against a given melody. The various sections of this text proceed chord by chord much in the same manner as the text with the rules presented in the text carrying over into the performance of the exercises. CHAPTER II

PIGURID BASS

"Figured bass is a method of indicating an accompany- ing part by the bass notes only, together with figures designating the chief intervals and chords to be played above the bass notes."1 This system of notation is known as "Generalbass" in Germany, "Thorough-Bass" in England, "Basso Continuo" in Italy, and "Basse chiffre" in France.

This musical shorthand was used about 1600 by the early writers of opera in Italy - Peri, Caccini, and Cav alieri - to indicate the harmonic background for the recitative. 2 This type of bass was not invented by the early operatic composers but was adapted by them from a device which had been used by organists to simplify / the accompaniment of polyphonic choral works. Masses, motets and madrigals were seldom written or printed in score, and it was a practical impossibility for organists to construct an accompaniment by trying to read from four or five separately printed parts. The first alternative was to make a tablature. The second was furnished by the general bass, or basso general. It indicated two things; the bottom limit of the music, and the basic harmony.3

1D. . Grout and W. Apel, "Thorough-bass," Harvard dictionary of edited by Willi Apel, (1947iJ 2"Figured Bass," The International Cllojedia of Music and Musicians, edited EfOscar Thompson, (1946). 3 Theodore N. Finney, A jjisr of. is, p. 235-236.

4 5

At the outset of figured bass the basso continue was

usually performed by at least two instruments - a string bass or wind instrument and a keyboard instrument. The bass melody was played as written by a string bass or a group of string basses while a keyboard instrumentusually

an organ or harpsichord, played the same melody with the left hand and with the right hand filled in the implied harmonies. The playing or realization of the given bass melody was left to the improvisation of the keyboard artist with the result being a chordal accompaniment.4 According to Agazzari, one of the early users of the figured bass, the realization called for diminutions of the ornamental instruments. He said that the main reason that the continue was adopted was that it was very suitable for the recitative in modern style. The predominant use of this device was to simplify the accompanist's reading at the keyboard and not as a theoretical device. 5 The figures used ranged from 2 up to 9 and occasionally up to 12 and 13. These numbers refer to the intervals above the given bass note in the key indicated by the signature.

Later the figures above 9 were dropped and indicated as

3rds, 4ths, etc. The 9th remained in because of the common use of the 9-8 suspension.

4F. T. Arnold, The Art of Accompaniment from A Thorough.- Bass, p. 236-2399 5M. F. Bukofzer, Music in the Baroque Bra, p. 26-27. 6

The figured bass was chosen to further the study of vertical harmony because it in itself works in a vertical manner and is one of the best sources for this theoretical problem. Since the figured bass was first used the means of notation has changed many times; however, the present accepted figurations and notations vary only slightly from the original markings. The present day accepted notations are presented in the remaining paragraphs of this chapter. The common triad in root position does not necessarily

8 need figuration. "A triad may be figured 5, 5, 8, 8, 5, 3, 3 3 3 or not at all, Every unfigured bass note, other than a passing note, is understood to bear a triad."6 The figures are written in numerical order with the largest number on

8 3 the top such as 5, not 5. Some exceptions where a triad in 3 8 root position would need figurations are: (1) when the 3rd of the chord is altered not in accordance with the key signature; (2) where the 5th of the chord is altered not in accordance with the key signature; and (3) when the bass note begins in an inversion and proceeds to root position before the duration of the given note. 7

6 Arnold, . it., p. 500. 7 Oid.,p. 500-501. 7

When there is an alteration, it is notated by a sharp, flat, or natural sign placed in front of the figure. An alteration without a figure refers to the third above the bass note. When a note is to be sharped, it is often indicated by a diagonal stroke through the figure. The hori- zontal dash following a figure indicates that the note or notes of the previous chord are held over. If there is a small diagonal stroke following a figure, this indicates repetition of that particular figure which may be a single voice or a chord according to the notation.8 Quite often two successive figures will not signify chords but will refer to only one chord with. non-harmonic tones such as the passing tone, appogiatura, anticipation, organ point, suspension, etc. Suspensions are marked 9-8, 6-5, 4-3, 9-8, 4-3 and 7-6. The most used figurings today are; for the common triad

8 in root position, 5 or 5 or no figures; common chord in first inversion, 6 or 6; common chord in second inversion, 6; 3 4 7 chord of the seventh, 5, 7, or 7; chord of the seventh in 3 3 6 first inversion, 5,or 6; chord of the seventh in second 3 5

8 lbid., p. 780-795. 8

6 inversion, 4 or 4; and chord of the seventh in second 3 3

6 inversion, 4, 4, or 2. 2 2 CHAPTER III

RECITATIVE

"Recitative is a vocal style designed to imitate and to emphasize the natural inflections of speech." 1 This style is quite often used in connection with prose texts of a more or less narrative character, particularly in operas and oratorios, where it serves to continue the action from one number to the other. In keeping with its declama. tory character, the use of a strict rbythm, phrase endings, and a flowing melody are largely ignored. The melodic line and accompaniment are of secondary importance. The recitative is sung either to a figured-bass accompaniment. or to a fuller and more developed orchestral accompaniment. The figured-bass accompanied recitative is known as recitativo secco with the more fully developed accompanied recitative being known as recitativo accompagnato or stromentato. The recitative arose in the revolt against polyphony in the early seventeenth century as probably the most out.. standing innovation of the new music period. One of the first writers to use this vocal style in musical composition was Peri in his opera Euridice which was written in 1600,

1D. J'. Grout and W. Apel, "Recitative," iarvard DictionarX of Music, edited by Willi Apel, (1947).

9 10

It began with distinct phrases, definite melodic content and form; however, it assumed a less melodic role with the rise of the aria in the latter part of the seventeenth century. The recitative had its beginning and growth in serious opera but it had been effectively used in other mediums with only slight alterations. "Recitative in the oratorio was, with only such changes as would be dictated by the religious character of the text, similar to their operatic prototypes."2

"Recitativo secco (literally, dry recitative) was so called because it was accompanied only by the continuo instruments."3 It is this type of recitative where the rhythm is free to follow the verbal accentuation, the in-

treat thus lying in the vocal part, and the accompaniment

being reduced to the smallest amount of chordal figures.4

Its primary purpose was to continue the action by means of syllable treatment of the text. This form of recitative was well adapted for rapid speech. Usually there was little organization as to form in the recitativo secco which would show the unimportance placed on it by the composer. Regard-

less of the fact that this was a very uninteresting form of musical expression, it remained in use throughout the

2 Theodore M. Finney, A History of Music, p. 358.

J. Grout, A Short Histor of Opera, p. 199. 4 Sir George Grove, "Recitative," Grove's Dictionary of Music and Musicians, edited by H. C. Colles, (1938). 11

Ieapolitan opera period.

The recitative accomagnato or stromentato (accompanied recitative) is that form of recitative which is accompanied by the regular continuo keyboard instrument plus either the string section or full orchestra. "Monteverdi was one of the first to use this method in the closing measures of the famous 'Possenti spirit' in his grfeo (1607) and Schutz used it consistently for the part of the Evangelist in his

Auferstehungs Historie (1623)."5 These recitatives were reserved for two or three of the most dramatic points in the opera, for monologues expressing strong emotion at the climaxes of the action. The voice, declaiming in flexible, varied, and expres- sive phrases, alternated with orchestral outbursts of chords, tremolando figures, or rhythmic motifs. Sudden changes of mood, abrupt modulations were featured. The essential function of the orchestra, indeed, was not so much to accompany the singer as to express, during the pauses of his song, the emotions which words were in- sufficient to convey - to suggest, in combination with the attitudes and gestures of the actor, tiose further depths of feeling which only music and movement, tran- scending the too definite ideas'and images of a text, could adequately render. This type of recitative reached its height in the opera of the eighteenth century where it was used to precede the tuneful arias in a work. Bach, Handel and Mozart were outstanding in their use of recitative accompagnato in their cantatas, oratorios and operas.

The recitative secco is used predominately in the

% Grout and Apel, .cit.,. p. 630.

)Grout, a,. cit., p. 199. 12

compilation of this study because it better illustrates the purpose, and there is an abundance of material to choose from in this field. 'The accompaniment is so sparsely placed that even the weakest student in piano can perform the ex* ercises with a certain degree of accuracy. Also rhythm de- viation from the designated signature is permitted and does not affect the musical continuity for the recitativo secco is not bound by strict markings. CHAPTER IV

TRIADS

The exercises presented in this chapter may be correlated with Chapters I through IX of the specified text. In performing the figured bass of these exercises at the keyboard, the student will find that playing three tones in the right hand and one tone in the left will make the playing much easier. For the present it is recommended that the exercises be plqed in closed position. Parallel octaves and fifths may be avoided by changing the position of the' upper voices.' The recitative may be realized with the figured bass in several different ways - depending upon the need of the student. It may be followed mentally or sung by the person playing the figured bass; it may be played on the same piano one octave higher than written by another person; it may be played on another instrument or sung; or it may be played as written on a second piano. The recitative is the top staff in each exercise with the figured bass applying only to the bottom staff.

Root Position of Triads

These exercises require no figures as they are all in root position except when a member of the triad is to be altered. When a note is to be altered, the interval above

13 14

the bass note is given prefixed by the proper sign - flat, sharp, or natural. When an alteration appears with no figures suffixed, it applies to the third above the given bass note. For a triaa in root position, double the root of the chord.

II V In

a, C -1-

~li 8~ V DA I

{s 5 b 'S 5 tl f3 bk3

Fig. 1.--Example of the figurations for the triad in root position.

Tonic triads.--

Exercise I, "Cantata I"1 Zachow

ow-

I saw$= % Alk A id id It Ask I Moe

16 iL al 4OW lw 0111 11111 l ow I F- r0 r r 15

Exercise 2, "Magnificant" Kri eger

AmM oot

Exercise 3, Alceste Luck

**F 4. ~ +

Exercise 4, Il Trovatore verdi

I V K I',

I 16

Tonic, dominant and subdominant triads.--

Exercise 5, "Cantata 1" Zachow

-4 :4

-AIL-

Exercise 6, Le Nozze Diigaro i rt

1" A, F;'AA

w -W

0 17

Exercise 7, "Zwingt, die Saiten in Cithara" Ahle

An" W, 4pp, let, AIM dw qww 110 a:

Exercise 8, "Cantata 1" Zacbow

ime--7-0 - f - - -~1-77'--- -~"'r~ ~-" ~~- Aw4

IP,

ap-...o ssnou --A - -, A 18

Exercise 9, "Zwingt, die Saiten in Cithara"- Ahle

,.d&l A a da ##, -A& 4 A AOL T BFAV~ A A

Triads with roots a second .

Exercise 10$ Le Nozze Di Figaro Mozart

. . - . -j-- - --

Exercise 11, "Gegrusset sexist Du, Holdselige" Weckmann

- --e.e 1 7 1 A - 0,r--- 19

.xerciSe 12, "Iisericordias Domini" Ahle

A A AP

AIM Am 'ift

-F w#

Triads w h roots a third apart.-- Exercise 13, "Magnificant" Krieger

jt-7 AIl

LS4 *r~7. - On==

Alk AWN 7-V [V , , !!;p , W.!, JL 20

Exercise 14, Le Nozze Di Figaro Mozart

I' '' I I m v AL A A

RIM r ......

Exercise 15, "Xxulet a casto pectore vanus Amor'"1 Albert

p 10 Mira A& Ak WF Ah AL u AR ilW- It MI

lite

Airst Inversion of Triads In notating othe figured bass of a chord in first inversion 6 or 6 is used with the proper accidental if the inter- 3

al is to be altered. The soprano note is doubled in the tonic, dominant and iubdominant triade, and the third is doubled in the leading tone, mediant, supertonic and sub- mediant triads. 21

Io Ii k :4 _____

92 _41

I 6 r V b U 4 43 ! '7 Sb3 a

44 Fig. 2.--KExample of the figurations for the first inversion of triads

Tonic, dominant and subdominant triads.--

Exercise 16, St. John's Passion Bach

A-77"7

ExerciLse 17t The Messiah Handel

lof 22

Exercise 18, tMirella Gounod

r ~" ~pr

Exercise 19, St. atthew's Passion Bach

liftJ ~* esesI tme - - - ur I

-l-

__ 23

Other triads.--

Exercise 20, Don Pasquale Donizetti

lh k

Exercise 21, Dinorah Meyerbeer

r""" 3 """" -

A& .

['I 24

Exercise 22, St. John's Passion Bach

& a

4w l&

1 1rAft ~ 1 1

lite,

on Ib

Second Inversion of Triads

The second inversion of a triad is notated, 6, plus the 4

prefixed accidental if the interval is to be altered. The

fifth of the chord is the best note to double.

ji~ f

______I ______

, I 4 ______

1 P

______(L ______

______pg. 4 + 4'~

Fig. 3.--Example of the figurations for the second inversion of triads. 25

Exercise 23, S. hn Passion Bach

Exercise 24, St. Matthew aPsso Bc P.a--i-n-B--c-h

-led

_Ee--s e 25- - -T--.. - V er -

t -- -T

-Lab -- --

4 3 26

Modulation Iodulation is the process of progressing from one key to another. There are three types of modulation: (1) mod* ulation by phrase, (2) chromatic modulation, and (3) modulation by means of a common chord.

Exercise 26, Cantata 95 Bach

a~ ______~ _i~ Jfl6

IL 27

Exercise 27, Don Giovanni Mozart

-- -1-1 - -A-, -- 1: -, ',- , I I - -- ", Alk I i -1s IC - I I

iI .L

4.* - C - T -- r -- ,. 1I_

su~~oa oil' ir--

OVA0 1 d-

L I p -- t 4 ,I -- a sh Ft r -t- Dp

k 4iol

...... 'WIN!

Ir -f- 'C

k-, r*

lei 28

Exercise 28, Cantata 95 Bach

- _ _ _ - -aeu .e CHAPTER V

NON-HARMONIC TOES

A non-harmonic tone is a tone which is outside the vertical harmony of the momentary chord and which appears as an ornament to the melodic content of one of the voice parts. Therefore, a non-harmonic tone may be defined as a tone com- bined with a harmony to which it does not belong. A non- harmonic tone is classified according to the manner in which it is approached and resolved. This chapter may be correlated with Chapters X through XIV of the specified text.

The Passing Tone A passing tone is that non-harmonic tone inserted step- wise between two harmonic tones of different pitch. The passing tone may be accented, unaccented, single, double, triple or quadruple.

A a t I

Fig. 4.--Example of the figurations for the passing tone,

29 30

Exercise 29, L'orfeo Monteverdi

3 91 3 * 3

Exercise 30, 'Orfeo Monteverdi

-WMWIML

I Exercise 31, L'Orfeo Month everdi

-A-

F-T-

- 31

Exercise 32, Orheus Gluck - 2wA,

______A, F

The Suspension

A suspension is a tone which is held over from one chord into the next in such a manner that it becomes non- harmonic with the second chord then it resolves to a harmonic interval of the second chord. It is a result therefore of delaying downward progression of any voice during a change of chords. The suspension may be single or double; however, the greater majority are single. This non-harmonic tone may occur in any part, but it is most common in the soprano, It requires a preparation note, the suspension note and the resolution note. The preparation note and the suspension note are the same tones with the preparation being harmonic and the latter dissonant. The resolution tone is harmonic. The suspension note moves either a half-step or a whole step to its resolution note. The suspension is figured from the bass note and named according to the interval formed between the bass and suspension note. 32

I 4

F-T - ' - m A-, I F' I I 9 V4i -.

I- I I qs

igo 5.--*a le of the f igurat ions- for the suspension.

Exercise 33, "Salve uoelestis Peter" Under

1: a I ~Ak

V q. 3 33

'Exercise 34, "Consiglijo (Schering Collection) Cavalieri

exercise 35, "Dafne" (Schering Colection) Gagliano

F- A-

I T T taw I

Exercise 36, LOrfeo Iontevrdi

I1 6 (0 ( 1 6 3 a,

6 34

Exercise 37, Cantata 108 Bach

~k Ak r r:.M -1w- i

6 3 1

b 5

mercise 38, L'Orfeo Monteverdi

6t log 'L- 'A I W 4, lp

%000

I q7 7' 0 '7 ' '

The Neighboring Tone A neighboring tone is that non-harmonic tone inserted diatonically between two harmonic tones of the same pitch.

Each harmonic tone has four neighbors consisting of the next higher and lower letters - either as a whole step or 35

half step. This non-harmonic tone may be single, double or triple in content with the single neighboritone being the most frequent in occurrence.

IVI_

A A A F In V A 1 7 . 3 7 r 34'

Fig. 6o.--Example of the figurations for the neighboring tone.

Exercise 39, tAuf2rehungs-iistorie Schutz

p - I~~~ &- I r, m I -. 01 7 . t I I ftWi1 - 'ii A I I"n TOPI I -II IIII I ~I- bow

unanewe- r3 4L 3

It a T-T wis -IF nu All

AOL

id4 36

Exercise 40, "L'Orfeo" (Schering Collection) Monteverdi

1Elk-

______its-

*L--I 66 4

Exercise 41, Orfeo Monteverdi

fv II

______.-# -A

AOL-~-

4-04

A: Le~-$~ ir.000% 37

Passingstonesin combination with neighboring tonesa.- Exercise 42, Cantata 149 Bach

A-.d Mnh AM, --t I VI,- E ir

______V_

ff #1 J 10 IV' b A7

The Anticipation An anticipation is that tone which moves step-wise from

any member of a given chord to anticipate the next chord. To the first chord this note is a dissonant tone, but to the second it is a chord member. The anticipation may be single or double in content and is usually found in the cadence.

L7x

OF Rmmw ;o I 4L

Fig. 7 .-- Example of the figurations for the anticipation. 4 38

Exercise 43, Constanza e Fortezza Fux

f PF*

The Escape Tone

An escape tone is that non-harmonic tone which is de- rived diatonically ascending from an harmonic tone and leaps down to an harmonic tone for resolution. The upward inter* val ia either a step or half-step, and the downward leap is the interval of a third.

lip 1 .1 ______"lit_ ~ _

An pI

...... I A m, I Ii

~ Jflow t r r

F*ig. 8.--Example of the figurations for the escape tone. Exercise 44, L'Orfeo konteverdli

Is AL

Aft 90 T "I l6if -Mow It

The Appoggiatura

An appoggiatura is that non-harmonic tone which is approached from below by the leap of a third and resolved downward by step. This non-harmonic tone may be single or double in content with the single appoggiatura being the most frequent. The single appoggiatura may be found in any voice.,

Aft, I iJ

110______47

Fig. 9.m-Example of the figurations for the appoggiatura, 40

Exercise 45, Cantata7 Bach

a, 5

t'. TY~ aII

viw

The Pedal Point

A pedal point is a tone that is sustained or repeated against a series of chord progressions. This sustained tone is usually in the bass; however, it may appear in an upper part. When it does appear in an upper part, it is called an inverted pedal point.

S 9 4- 3.

Fig. 10.--cExample of the figurations for the pedal point, 41

Exercise 46, Judas Maccabeus Handel

______~'p4r' I

~ ______I 3PM wwm3

~~~~ ______o__ __ I'~~ _ ,_

.-00

I _F

I I~I~

Exercise 47, Cantata 194 Bach

A97___ wo

Oct

As:

I1Lil

AWL a 100

--w"m 42

xercise 48, The- Messiah Handel a"WW

IF A-

Exercise 49, Cantata 152ac

- I---7 A -AM

~t1 3 I,' CHAPTER VI

SEVENTH CHORDS

A seventh chord is a chord consisting of the third,

fifth and seventh above a given note. It is a triad plus the interval of a third added above the fifth. This addi-

tional third may be either major or minor. The type of chord is reckoned by the interval made between the root and the fifth and by the interval made between the root and seventh. A seventh chord, therefore, may be built on any scale degree above any given triad. Figurations for the

seventh chord are explained in detail in Chapter II. This chapter may be used in conjunction with Chapters XV through X of the specified text.

The Dominant Seventh Chord

A dominant seventh chord is that seventh chord built on the fifth degree of a scale. In a major key this chord is a major-minor seventh chord'' and in a minor key is the same provided the seventh degree of the scale is raised. In playing this chord from a figured base, the seventh of the chord descends one-half step to its resolution tone in a major key and a whole step in a minor key. 44

0 IIf ~v I7 v Y' I rb

Fig. ll.-Mxample of the figurations for the dominant seventh chord.

exercise 50, ...... Le Nozze DiNol~ Fig2 ar. Mozart

__la

~ ~ r ______o"

Ill lit

4h '7i

______d _LA ~ _ _ be__ INV ~ ~, I b

* V iAA 45

Exercise 51, Iinorah Meyerbeer

1 71-

Exercise 52, Cantata 11 Bach

s * i&a A & as&

-6. b

b * p 6' '3 4 46

:Exercise 53, Dinorah keyerbeer

__L: 'fin

Exercise 54, Cantata 94 lach

W.V + nlT r I I I ii ' I . J D . I7- iT - rI *Ike

I hodUj j ~ 7iiZ2

IL OF Wr 1-- T

The Supertonic Seventh Chord

A supertonic seventh chord is that seventh chord built on the second degree of the scale. In a major key this chord

is a minor-minor seventh chord, and in minor it is a half-

diminished seventh chord. The seventh of this chord resolves

in the same manner as the seventh of the dominant seventh chord. 47

Pig. 12.--Example .of the figurations for the supertonic seventh chord.

~xercise 55, St.. John's Passion Bach

p tG "Pi 443

-ercise 56, Th6 Yfessiah Randcl

R~ A

-r

top-- No TE1

.1j

A1 I L ALP -1 -J 48

Exercise 57, St. John's Passion Bach

WON,F r

Exercise 58, Cantata 194 Bach

6p *AIM

hWJA

t IP 3

The Leading Tone Seventh Chord in Minor

A leading tone seventh chord is that seventh chord built on the seventh degree of a scale. In a minor key with the seventh scale step raised, this chord is a dimin-. ished-diminished seventh chord. 49

il-

.19 I ______IS1 ~v~~fiIJI

r u L ~ ur I 6

Fig. 13.--nExample of the figurations for the leading tone seventh chord in minor.

Exercise 59, Cantata 91 Bach

~afr Aa As

UNIT

I ~r~ir rNOW AL, W 1

-- A- __r

ox ______50

Exercise 60, Judas kaccabeus HIandel

A&__I______,_IIft# I t M 1.*ILI

w 1wJ -Wi-

The Subdominant Seventh Chord

The subdominant seventh chord is built on the fourth

degree of a scale. In major this chord is a major-major seventh chord; in pure minor it is a minor-minor seventh

chord; and, in melodic minor it is a major-minor seventh chord,

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Fig. 14.--Example of the figurations for the subdominant seventh chord. 51

Exercise 61, St. Johns Passion Bach

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The Tonic seventh Chord in Major

A tonic seventh chord is that seventh chord built on the first degree of a scale. It is a major-major seventh chord and rarely used. The figurations for this chord are the same as for other seventh chords.

Exercise 62, Cantata 96 Bach

_ I______w IW Ile4 CHAPTER VII

ALTER D CHORDS

An altered chord is that chord which contains an altered note- of thie given scale yet maintains the basic function of the original chord. The exercises presented in this chapter may be correlated with Chapters XXII through XXIV of the designated text,

Altered Chords in Minor

In minor, other than the raised sixth and seventh scale steps which are found as a part of the minor scale system, there are only the lowered second degree and the raised fourth degree of the scale.

for an altered chord in minor,

52 53

Exercise 63, Cantata 95 Bach

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Exercise 65, St. John's Passion Bach

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Altered Chords in Yajor

In major there are more tones that can be altered; the following single scale alterations are permitted: raised first, fourth, and fifth degrees; lowered third, sixth, and seventh degrees. The following double alterations are per- m itted: raised first and lowered seventh degrees; lowered third and raised fourth degrees; and, lowered third and sixth degrees.

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Fig. 16.--Exarnple of the figurations for the altered chords in major. 55

.iwercise 66, Cantata 94 Bach

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Exercise 67, The Christmas Oratorio Bach

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THE CHORD OF TIIhE AUGI1=fT D sixTH

The augmented sixth chord is an altered- chord which, in the normal spelling of the triad, contains the interval of a diminished third. When this interval is inverted, it becomes the interval of the augmented sixth. In using a chord of this type, the diminished third interval should be avoided. This chapter may be used with Chapter XV of the designated text.

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Fig. l7..ax--ample of the figurations for the augmented sixth chord. 59

Exercise 71, St. John's Passion 3ach

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orxercis 72, "Cantata 114" Bach

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Exercise 73, Iphigenie inA u Gluck

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6u CHAPTER II

MODULATION TO FOREIGN KIS

In Chapter IV modulation to closely related keys was discussed and illustrated, and it was found that each key had five closely related keys - each not more than one accidental away. Modulation to foreign keys, therefore, is going to a key two or more accidental from the original or given key. This movement from one key to a foreign key is usually accomplished through an altered chord. This chapter may be used with Chapter XXVI of the designated text.

Fig. I.uufaple of the figurations for modulat ion to a foreign key.

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Fig. 1 9 .-- Piano realization of Figure 18.

61 62 exercise 74, St. Matthew's Passion bach

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4 CHAPTER X

REVIEW

This chapter does not present any new problem in keyboard harmony; however, many of the previously presented problems are contained in the exercise.

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W-- _ BIBLIOGRAPHY

Books Apel, Willi, editor, Harvard Dictiona of Music, Cambridge, Massachusetts, Harvard University Press, 1944.

Arnold, F. T., Tkie Art of Accomjpaniment from a Thor .as, London, Oxford University Pres,1931. Bukofzer, Manfred F., Music in the Baroque Ara, New York, W. W. Norton Company17.

Finney, Theodore M., A Histo ofx Music, New York, lar- court, Brace ana Company, 1147T. Gray, Cecil, The j jstoryof Music, New York, Alfred A. Knopf Company, 1928.

Grout, Donald J., A Short f jto~r of NOpera,ew York, Columbia University Press,A947. Grove, Sir George, Grove's Dictionar of Music and Musicians, edited by H. CCollis, New Yor ,"Maciilandompany, 1938.

UcHose, Allen I., 'The Contrapuntal Harmonic Technigue of the 18th Century, New York, F. S. oCrofts and Company,

Music Sources

Ahle, Johann R., Agsewalte gesangswerke mit und ohne ifleitung von inrumenten, edited by Johannes Wolf, Leipzig, Breitkopf and Hartel, 1901. (microfilm) Albert, Heinrich, Arien, edited by Edward Bernoulli, Leipzig, BreiiE i and Hartel, 1903-4. (microfilm) Bach, J. S., Cantata 7, Leipzig, Breitkopf and Hartel, no date.

Bach,G 5. .,Cantata 1, edited by Ifor Jones, New York, G. SchiriFr#i9o9,

67 68

Bach, J. S., Cantata 91, Leipzig, Breitkopf and Hartel, no date.

Bach, J. S., Cantata 93, Leipzig, Breitkopf and Hartel, no date.

Bach, J. 5., Cantata 94, Leipzig, Breitkopf and Hartel, no date.

Bach, J. S., Cantata 95, Leipzig, Breitkopf and Hartel, no date. Bach, J. S., Cantata 96, Leipzig, Breitkopf and Hartel, no date.

Bach, J. S., Cantata 108, Leipzig, Breitkopf and Hartel, no date.

Bach, J. S., "Cantata 114," Werke., Bach-Gesellschaft edition, Leipzig, Breitkopf and Hartel, 1899, reprint, Ann Arbor, Michigan, J. W. Edwards Comnpany, 1947-48. Bach, 5. S Cantata 149, Leipzig, Breitkopf and Hartel, no date.

Bach, J. S, Cantata 152, Leipzig, Breitkopf and Hartel, no date.

Bach, J. S., Cantata 194, Leipzig, Breitkopf and Hartel, no date.

Bach, J. S., "Passionsmusik nach dem Evanglisten Johannes t' Were, Bach-Gesellschaft edition, Leipzig, Breitkopf and Hartel, 1899, reprint, Ann Arbor, Michigan, J. W. Edwards Company, 1947-48.

Bach, J. S., tThe Christmas Oratorio, edited by Max Spicker, hew York, G. Schirmer, 1909.

Bach, J. S., The Passion According to St. John, London, Novello and i5Companyt, 19 4

Bach, J. S., The Passion According to St. Matthew, edited by H. W.~lciiholITew or, 0.~sliirmer, 1894. Donizetti, G., Don Pasquale, edited by Sullivan and Pittman, New York, Boosey and Hawkes, no date. Fux, Johann Joseph, Constanza e Fortezza, edited by Gertrude P. Smith, Northampton, Massacusetts, 1936. Smith College, 69

Gluck, C. W., Aleste, edited by Gustav Kogel, New York, Broude Brothers, no date. Gluck, C. W., jphigenie in Aulis, Leipzig, C. F. Peters, no date.

Gluck, 0. W,Orpheus, edited by B. Tours, New York, H. W. Gray and Company, no date. Gounod, Charles F., Paris,Pirella, Choudens, no date. Graun, C. H., The Passion of our Lord, London, Novello and Company, 1 r28 Handel, G. F., th.e Messiah, edited by F. Volbach, Leipzig, 2rnst Eulenburg, no date.

Handel, G. F., Judcs abeus, edited by Frank van der Stucken, New York, 0G. Schirmer, 1941.

Haydn, Joseph, The Agsons, New York, G. Schirmer, no date. Krieger, Johann P., 21 ro mpositionen,Mhlte edited by Max Seiffert, Leipzig, Breitkopf and Iatel, 1916. (microfilm)

Meyerbeer, G., Dinorah, edited by Sullivan and Pittman, Lon- don, Boosey and Company, no date. Monteverdi, Claudio, L'Orfeo, London, J. and W. Chester, Limited, 1923.

Mozart, W. A., Don Giovanni, edited by N. MacFarren, New York, G. SE Trmer, 1900.

Mozart, W. A., Le Nozze Di g , New York, Boosey and Hawkes, no date. Schering, Arnold, editor, Geschichte Der Musik in j3iflelen, Leipzig, Breitkopf and Hartel, 1931. Schutz, Heinrich, Auferstehngs.-Historie, edited by Fritz Stein, Leipzig, Bulen urg P4blislrs, no date. Tunder, Franz, Gesangswerke, edited by Max Seiffert, Leipzig, Breitkopf and Hartel, 1931. Verdi, G., Il Trovatore, New York, G. Ricordi and Company, no date. 70

Weckmanni, Jiatthiasa, ocantaten und choerke fmitinstru mental-begleitung, edited by Max Seiffert, Leipzig, Breitkopf and Hartel, 1901, (microfilm)

Zachow, Friedrich W., Gesammelte were, edited by Max Seiffert, Leipzig,Breitkopf and Hartel, 1916. (microfilm)