Basic Keyboard Skills

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(3) BASIC KEYBOARD SKILLS.

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(5) m. BASIC. it. § 9*. P SP. KEYBOARD SKILLS. AN INTRODUCTION TO ACCOMPANIMENT IMPROVISATION, TRANSPOSITION AND MODULATION, WITH AN APPENDIX ON SIGHT READING. WILLIAM PELZ Butler University. ALLYN AND BACON, INC Boston, 1963.

(6) îS.>. TO ROWENA. MUSIC LIBRARY. MT" P3k. © Copyright, 1963, by ALLYN AND BACON, INC., Tremont Street, Boston. All rights reserved. No book may be reproduced in any form, by mimeograph or any other means, without permission 150. part of this. in writing. from the. publishers. Printed in the. United Card. States of America. Library of Congress Catalog. Number: 63-18658.

(7) INTRODUCTION Basic. Keyboard. Skills is. a book for those. who. desire to develop. the ability to improvise accompaniments, transpose, modulate and sightread. It assumes that the reader has. completed. study and has done (and will continue to do use of this book). work. in basic theory. a. so,. year or. two of piano. concurrently with the. and harmony.. It is. concerned with. the application of fundamental ideas in music theory to the following practical ends:. The teaching of rote songs at the piano; The playing of accompaniments for singing games and folk dancing; The accompanying of instrumental and vocal soloists and ensembles studio, rehearsal room and concert hall; The accompanying of group singing on social occasions, and Church. in the. service playing.. The. concepts and problems involved in these disciplines are pre-. sented briefly and directly.. Each concept. is. illustrated. by means of musical. examples. Exercise materials at the end of each chapter embrace. commonly-used. keys, meters and tempi, and appear in. all. the. problem forms. directly applicable to the practical situations listed above.. While accompaniment. improvisation, transposition, modulation and. sight reading are indispensable skills for the ticular, there are in addition. many. keyboard performer. instances in. in par-. which they can be of. valuable assistance to the conductor, the critic and the music history student.. William Pelz.

(8) ——. ~~~—. CONTENTS. PART ONE: ACCOMPANIMENT IMPROVISATION ONE: ACCOMPANIMENTS USING THE PRINCIPAL CHORDS OF. I. MAJOR. KEYS IN BLOCK STYLE. 3. ASSIGNMENT NO.. 8. 1. TWO: ACCOMPANIMENTS USING SIMPLE FIGURATIONS OF THE PRINCIPAL CHORDS IN. MAJOR KEYS. ASSIGNMENT NO.. 2. I. 3. 16. THREE: ACCOMPANIMENTS USING BLOCK CHORDS AND SIMPLE FIGURATIONS IN MINOR KEYS. ASSIGNMENT NO. FOUR: THE. 3. 19. 23. ASSIGNMENT NO. 4. 25. THE V7 OF IV IN BLOCK CHORD AND FIGURED. FIVE:. ACCOMPANIMENTS. 29. ASSIGNMENT NO.. 5. 31. INTRODUCTIONS. 35. ASSIGNMENT NO. 6. 38. SEVEN:. HYMN-STYLE ACCOMPANIMENTS. ASSIGNMENT NO. EIGHT:. 7. 41. 42. ACCOMPANIMENTS WITH MORE SONORITY AND STRONGER. RHYTHMIC MOVEMENT ASSIGNMENT NO. NINE: DEVELOPED. 47 8. ACCOMPANIMENTS. ASSIGNMENT NO. 9 VI. 7. W OF V IN BLOCK CHORD AND FIGURED. ACCOMPANIMENTS. SIX:. !. 49 53. 58.

(9) 1. PART TWO: TRANSPOSITION. 67. TEN: TRANSPOSITION UP A HALF STEP TO A KEY. LETTER. WITH THE SAME. NAME. 69. ASSIGNMENT NO. 10 ELEVEN: TRANSPOSITION. 72. DOWN A HALF. STEP TO A KEY WITH. THE SAME LETTER NAME ASSIGNMENT NO.. 77. 11. 79. TWELVE: TRANSPOSITION UP A WHOLE STEP. ASSIGNMENT NO.. 12. THIRTEEN: TRANSPOSITION. ASSIGNMENT NO.. 83. 86. DOWN A WHOLE. STEP. ASSIGNMENT NO. 14. PART THREE: MODULATION DOMINANT MODULATION. ASSIGNMENT NO. SIXTEEN: PIVOT. 15. MODULATION. ASSIGNMENT NO. 16 SEVENTEEN: CHROMATIC MODULATION. ASSIGNMENT NO.. 97. 13. FOURTEEN: TRANSPOSITION TO OTHER INTERVALS. FIFTEEN:. 91. 17. EIGHTEEN: ENHARMONIC MODULATION. ASSIGNMENT NO. 18 NINETEEN: MODULATIONS INVOLVING MINOR KEYS. ASSIGNMENT NO. 19. APPENDIX: SIGHT READING graded list of sight-reading materials. 103. 104. 1. 1. I. I. 3. 119 127 131 I. 35. 138 143. 146 149 159. 165 i. 66. additional collections of pieces for sight reading. (more advanced) easy. hymns for. INDEX. CONTENTS. sight reading. 169 i. 69. 171. vii.

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(11) BASIC KEYBOARD SKILLS.

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(13) PART ONE. ACCOMPANIMENT IMPROVISATION.

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(15) CHAPTER ONE. Accompaniments Using the Principal Chords. Major Keys. of. in Block Style. Keyboard accompaniments to children's simple dance music should provide. port and rhythmic movement.. melody. is. most. useful.. The. songs, folk songs. two musical elements. An. accompaniment. and. —harmonic sup-. that also carries the. playing of accompaniments, in. common. with. other types of instrumental performance, requires the ability to play accurately, musically and in tempo.. performance of accompaniments. is. Competence. in the contriving. and. thus a complex resolving into three. constituents:. (a) the determination of the harmony appropriate to a given melody; (b) the selection of a suitable rhythmic background; (c) drill in the performance of selected accompaniment patterns in all the. practical keys..

(16) Many. simple melodies strongly suggest the harmonies appropriate. from the. for their accompaniments. This results. fact that such tunes are. constructed almost exclusively from notes belonging to the principal. chords of a key. IV,. (I,. folkish tune, they are. EXAMPLE. few and can be. tones are present in a. easily recognized.. ENGLISH FOLK SONG IN THE KEY OF G MAJOR.. 1.. J. j. W). When non-harmonic. Option 1-G Option 2- G Option 3-G. j. J. i. n. r. i. r. I. ^m. r. 1. I. rv. I. 1. I. A comparison. r. r. i. principal chords of the. V7. r. V7. I. IV. I. v7 v7. I. v7. I. ir. IV IV IV. of the English Folk. ^. r. V7. IV IV IV. IV. V?. r. i. I. Traditional. i. r. v7 v7. Melody. in. r. I. v7 v7. I. IV. I. I. I. v7. Example. 1. I. with the. G major:. key of. ^ G:. IV. I. reveals that considerable variety in harmonization. limited. framework of the three. member. of one or. instances. where. more of. a note. is. principal chords.. is. Every melody note. the principal chords in the a. member. of. possible within the. key of. more than one of. factors in (a). chord choice. Example. 1.. The two. a. G major. In. the principal. chords, alternate harmonizations of that note are possible, as the three optional harmonizations in. is. shown by. determining. are:. strong tonal progression. The progressions among the three key feeling. principal chords of a. key that reinforce. are as follows:. I-V7. I-IV V7-I IV-I. IV-V7. ACCOMPANIMENT IMPROVISATION.

(17) .. W-IV is not a strong tonal. .. progression, and should not be used in music. D. of the type being treated here. For example, the note. member of be harmonized with V7 since the. Example. 1,. although a. harmonized with IV, and the. the. W chord. in measure. 4 of. key of G, cannot. in the. following melody note (E) must be. would be the weak. result. tonal progression. Vz-IV.. (b) traditional cadence structure. Folk music, popular songs, dance music and children's music are usually constructed in four-measure or eight-measure phrases, and each phrase. ends with a cadence.. The. final. may. (V7-I). Intermediate cadences. On. cadences (I-V7; IV-V7).. cadence. is. almost invariably authentic. be authentic, but also. may. be half-. rare occasions the plagal cadence (IV-I). will be used either as an intermediate cadence or as a final cadence.. English Folk Song of Example phrases; there. is. 1. is. constructed of. tionship holds for. For the. all. Note. keyboard, the. I,. and an. that this cadence rela-. three optional harmonizations given in. practical purpose of keeping the. from which. positions. two eight-measure. a half -cadence at the close of the first phrase. authentic cadence closing the final phrase.. it is. easy to progress. IV and V7. The. Example. accompaniment chords. from one. chords are played. as. to another. 1. in. on the. follows in the key of. G major: EXAMPLE. 2.. THE PRINCIPAL CHORDS OF G MAJOR. IN PRACTICAL PLAYING POSITIONS.. Left hand. G:. Note. I. IV (6). v ? (6). that in the practical playing position of the. V7 chord shown. above, the fifth of the chord (the second degree of the scale) has been. omitted in order to maintain consistently three parts in the accompani-. ment.. It. should be remembered, however, that the. V7 chord. and appropriate for harmonizing the second degree of the. is. scale. available. when. it. appears as a note in a melody. (See the penultimate melody note of Ex-. ample. 3. below, and note. its. harmonization with V7). ACCOMPANIMENT IMPROVISATION. 5.

(18) EXAMPLE. 3.. ENGLISH FOLK TUNE HARMONIZED WITH BLOCK CHORD ACCOMPANIMENT,. USING PRACTICAL PLAYING POSITIONS OF THE CHORDS. U*i. J. j. J. I. m^ G:. J I. SHOWN. IN OPTION. I. I. 1.. m V. IV. I. OF EXAMPLE. ^^. "WPg. i 1. I. 1. 7. .'. half-cadence. m. a. j. j. I. I. nrr ^p. j i. Mi. Si N. I. i. i rv. i. I. -sP. authentic cadence. (Note that. in measures. (D) of the left-hand chord. and 9 of the above example, the top note. 1 is. omitted, since. it. playing of the melody, which includes the note. EXAMPLE. 4.. $m. J. J. I. r. I. r. I. r. yq# I. interfere with the. D in both these measures.). ENGLISH FOLK TUNE HARMONIZED WITH BLOCK CHORD ACCOMPANIMENT,. USING PRACTICAL PLAYING POSITIONS OF THE CHORDS. G:. would. m. SHOWN. IN OPTION. 3. OF EXAMPLE. 1.. (1). ^P PP. I V,. I. I. I. IV half-cadence. ^m. P^N. ^p. mm. g^ I. IV. IV. l_. authentic cadence. In this harmonization, the note. harmonic tone (in. On. B. in measure 7. this instance a passing tone). the second beats of measures. 1. is. and. considered a non-. is. not harmonized.. and 9 of the above example, the. ACCOMPANIMENT IMPROVISATION.

(19) top note of the left-hand. V7 chord. the playing of the melody,. When. melody on an accented. would. it. which includes the note. V7. the third of. omitted since. is. interfere with. D in both these places.. (the leading tone of the key) appears in the. melody. beat, or precedes the tonic note in the. a cadence, the following. form of. W. is. used in the. acoustically undesirable doubled third in the. V7. left. hand. at. to avoid the. chord, and to avoid a. progression in parallel octaves between the melody and the bass:. m V. 4). 7V (. EXAMPLE 4(a). THE USE OF V7 WITH THE LEADING TONE (ACCENTED) MELODY. God Give Ye Merry. IN. THE. Christmastide. Old English Carol (l). J.. ELU m Mr Lc inl ini §=m. s G:. (1). |. IV. I. Third of. V. I. r. r. (l). IV. (leading tone of key) in. 7. melody. at cadence.. EXAMPLE 4(b). THE USE OF V7 WITH THE LEADING TONE (UNACCENTED). IN. THE. *. MELODY.. Carry. Me Back. to. Old Virginny. James A. Bland. r r. ?>lG:. (1). u n r. f. f. tnni. J. J. '. J r. li. £m£. IV. I. Third of. the leading tone. :. i=g±Tri. is. V. n. j j j. M^= v. 7. V?. (leading tone of key) progressing to tonic note in cadence. (In 7 preceded by an accented passing note or appoggiatura by step.). ACCOMPANIMENT IMPROVISATION. I. this case,.

(20) — ASSIGNMENT NO.. 1. Harmonize the following tunes with block chords in the style illustrated in Examples 3 and 4. Use only I, IV and W. Non-harmonic tones (passing notes, neighboring or auxiliary tones, suspensions, appoggiaturas,. echappees) and up-beats are marked (*) and should not be harmonized.. Use only the strong. tonal progressions listed in Chapter. melody descends low enough. 1.. When. to double a tone in the left-hand. the. accom-. paniment, omit that tone from the accompaniment.. Note: The melodies. in this assignment are suitable for use. accompaniment chords given. in the registers. with the. shown immediately preced-. ing each tune. In later chapters, and elsewhere, the student will occa-. —. sionally encounter melodies. whose low range. A. particularly in the keys of Bf>, A\) and. will necessitate playing the. accompaniment chords an. octave lower than given in the exercise section of this chapter, to avoid interference with the right-hand melody.. C. Principal chords of. y. fl. f. =. P VV. IV. 1.. VV. 7. 7. Brightly. Austrian Folk. G. Principal chords of. r. Tune. major:. r v7. IV. 2.. major:. v7. Humpty Dumpty. Gaily. Nursery Tune. ii. J. G:. I. I. J r. I. t. mm f. IV. 8. IV. r. l. ). [_r_J V. r. Lf !. 7. ^. t. g fci V. J. 7. ACCOMPANIMENT IMPROVISATION.

(21) F major:. Principal chords of. <». W.. ^. 1. f. IV. 3.. Ding Dong Bell Nursery Tune. Moderato. g. j. F:. I. J r. i. is. ^. J. i. I. n. J. r. cr. i. ^. J. i. cj. r. ^j=i. I. Principal chords of. ^m. D. major:. *k. % IV. 4.. German Folk Tune. Allegretto. Principal chords of. Bfc>. i ^^. i. i. major:. IV. 5.. Away. Tenderly. in a. Manger. Martin Luther. m. r. i. r'gr. i. r-p. *. *. \. u. i. J. i. j. r. r. *. r'nr. i. f. i. .. i. j. i. imu *. rnn mr. p. ju. *. i. r. r. j r. (i). r. I IV. W Added 6th to the IV chord. The (2nd degree of the scale). is. ^. J. J i. interval of the 6th above the root of the often harmonized with IV.. ACCOMPANIMENT IMPROVISATION. j. v.,. IV chord.

(22) Principal chords of. ^. 4. major:. If. v7. IV. I. 6.. A. 7. Moderato. f y=. Lavender's Blue Old English. J. u. n. rnr /îJ r. r. n. ru rnr. Principal chords of. Cow. cjîr. v. v7. 7. Hickory Dickory Dock Nursery Tune. spirito. H>H. J. J. ±. ft. j. ^. j. Eb major:. iv. 7.. v. j>. *. ^. J._.M. ^. I. J. p. -t^ttt r. Principal chords of. '):. J'. l. ip. 4 f?. E. J. j»l. ^J. J>^. J-. J. l. j.. II. major:. rt. jlf. IV. 8.. Moderato. Miss Muffet Nursery Tune. Little. ACCOMPANIMENT IMPROVISATION.

(23) r. Principal chords of. §. 9.. ^. $. Ab. major:. ^ P Mary Had. Allegretto. a Little. Lamb. Nursery Tune *. fW. *. [j^. i. L/r. i. c_r. i. irr. \. uûis un. ACCOMPANIMENT IMPROVISATION. \.

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(25) CHAPTER TWO. Accompaniments Using Simple Figurations of the Principal. Chords in Major Keys The block chord accompaniments hibit adequate. two. ment. many. possibilities for. in each of the four. The. following figurations show. achieving a degree of rhythmic move-. common. meters. ( |,. applied to the principal chords in the key of. EXAMPLE. Ex-. textural interest can be imparted to the accompani-. figuring the left-hand chords.. of the. 1. harmonic support and a modicum of rhythmic movement.. Added rhythmic and ment by. presented in Chapter. 5(a). LEFT-HAND FIGURATION FOR. *. |,. f,. |). .. Each. figuration. is. C major.. METER.. 13.

(26) EXAMPLE. 5(B). LEFT-HAND FIGURATION FOR. \. METER.. 4. EXAMPLE. 6(A). LEFT-HAND FIGURATION FOR. \. METER.. EXAMPLE. 6(b). LEFT-HAND FIGURATION FOR. \. METER.. EXAMPLE. 7(A). LEFT-HAND FIGURATION FOR. |. METER.. m. *r~i. i. r. '. I. EXAMPLE. *r~i. *o. i. r. r. IV. V.. 7(b). LEFT-HAND FIGURATION FOR. \. i. r~±. METER.. ^m iv. EXAMPLE. v.,. 8(A). LEFT-HAND FIGURATION FOR. i±J ijJ iSJ i. iJ. *. i. |>. METER.. iSJ. oJ uU '. l^. iv. EXAMPLE. 8(b). LEFT-HAND FIGURATION FOR. ngj. 14. m. <>. METER.. OJ OJ. i. H-J. l^. IV. ACCOMPANIMENT IMPROVISATION.

(27) Note: adapted to. The |. \. figurations. meter. shown. in. Examples 6(a) and 6(b) can be. as follows:. ^m. s. When. final. =S-. using a figured accompaniment, do not continue the figura-. tion through the last measure of the song.. movement. ¥=. The. relaxation of rhythmic. typical of the closing cadence requires a block chord. on the. I.. EXAMPLE 9. THE LAST FOUR MEASURES OF EXAMPLE 1, USING THE FIGURATION GIVEN IN EXAMPLE 7(A), AND CLOSING WITH A BLOCK CHORD ON THE FINAL I.. ppm. J.. I. W^f G:. im. i. m >. s. j.. IV. EXAMPLE 10. THE LAST FOUR MEASURES OF EXAMPLE 1, USING THE FIGURATION GIVEN IN EXAMPLE 7(b), AND CLOSING WITH A BLOCK CHORD ON THE FINAL I.. mm PQ^ G:. I'. r. i. w^m. m. IV. In places within a phrase where the harmonic rhythm does not. permit a. full. measure of the figuration pattern, employ either block. chords or a modified (shortened) version of the figuration.. ACCOMPANIMENT IMPROVISATION. 15.

(28) EXAMPLE 11. FIGURED ACCOMPANIMENT USING BLOCK CHORDS IN MEASURES WHERE THE HARMONIC RHYTHM DOES NOT PERMIT A FULL MEASURE OF THE FIGURATION PATTERN. Hickory Dickory Dock Nursery Tune. ifo-J— fr. *=£ 3=£. Pî. s. T. u. BE. IV. IV. ^ ». J 1. EXAMPLE 12. FIGURED ACCOMPANIMENT USING MODIFIED (SHORTENED) VERSION OF THE FIGURATION WHERE THE HARMONIC RHYTHM DOES NOT PERMIT A FULL MEASURE OF THE FIGURATION PATTERN.. j^l. ^P. ??. 1. _Z l»" l. .. J. J. J'. *. SI. ~s. Ek. J-. J>. ?^£. I. J. n. LU. J. ^£ IV. ^. J-. ti-> I. ^^ ^ wm «. d. IV. ASSIGNMENT NO. Harmonize again the melodies. in. 2. Assignment No.. using the left-hand figuration patterns given in Examples. 16. l. I. WiFr. Chapter. Ji. 1,. 5, 6,. Chapter. 1,. 7 and 8 of. 2.. ACCOMPANIMENT IMPROVISATION.

(29) CHAPTER THREE. Accompaniments Using Block Chords and. Simple Figurations in. Minor Keys. A PARTICULAR KEY SIGNATURE MAY INDICATE EITHER A MAJOR OR A minor key. In final. children's music, simple dance music and folk music the. melody note. key of Eb major. is. will. almost invariably the keynote. Thus, a tune in the. end on the note. Efj,. A major minor keys. A. and one in the key of. will close. on the note A. The same. melody. D minor will end on the note D; one in C minor, on the note C.. The. in. is. true of melodies in. following table shows the key signatures and closing notes of the. major and minor keys in which simple song and dance music are most often written.. 17.

(30) .. EXAMPLE 13. TABLE OF KEY SIGNATURES AND CLOSING NOTES OF THE COMMONLYUSED MAJOR AND MINOR KEYS. Key Signature. If. Closing Note. Key. Is. Is. C major. f. *£=k. If. Closing Note. gnn. G major. *=4. D major. fe^. Is. Key. Is. A minor. E minor. B minor (rare). f. m. t^. *£. #. t=j=. Meê. E major. «. minor. Cjt. minor. (rare). f D minor. F major. .fe^. i. Bl>. major. PlU. G minor. f. P. BE. Eb major. f^. fefeE ^5. 14.. V. 7. iBteEE±f. ^. ^g. Ab major. C minor. F minor. THE PRINCIPAL CHORDS OF THE COMMONLY-USED MINOR KEYS (NOTE CHORD IS THE SAME AS FOR MAJOR KEYS WITH THE SAME LETTER NAME). A. minor. i. J rv. 18. F)t. (rare). 4m. EXAMPLE THAT THE. *£. A major. E. minor. D. minor. I. ?. [». j. A v7. »f. ^ v7. jj. ACCOMPANIMENT IMPROVISATION.

(31) G. minor. i. T. >. t. %. it. IV. C. =j^. minor. 1. 1IV. I. I. F minor. i. V,. J^ft. dl. \U b. j. T. y. r. f. IV. ASSIGNMENT NO.. 3. Harmonize the following melodies, using. procedure:. this. Referring to Example 13, determine the major or minor key in which the tune is written; (b) Using the principal chords of the determined key, harmonize in both block style and figured style. Chords for minor keys are given in Example 14; major key chords are given in the exercise section of Chapter 1. (a). 1.. Spanish Folk Song. Andante *. feE '. JH. j. j. j. 2.. *. r. i. f. ,]. rr. '. -. J i. rrrr. J. J. J. r. AH. ). J. |. J'Jj J iJ. v. i. *. m. t'iUi. r. rl. pr. '. r. >i. 2). The added The added. Rollicking. r. i. npfir. r. r. i. (2). >Vrrrir»rTr'r. '. J. U. (i). •. *. (1). ^. Traditional Russian *. J.' i. J. '. Moderato *. 3.. ^fe^ i. ". J J. |. J. -. IJ. J,J. J. V7. 6th is frequently used as melody note with the 6th to the IV chord (also quite frequent).. We. I. '. '. r-. ir. (. ^. F. chord.. Won't Go. Home until Morning College Song. ACCOMPANIMENT IMPROVISATION. 19.

(32) 1. Go Down, Moses. Andante. 4.. Negro 0)0). m >'~. j. (1)U). jj. jirr. |. i. J. rr. r'. ii. r. i. ". ". j-. Spiritual. i. j j. m. r. ». J. J-. J. j-. r. j. i. g. i. JJ. rr. i. -Hj-. |. ^j-. \. J. rr. 'j Vv. V. V. 7. j»j. j. i. p 7. V. 7. 7. "> Added 6th to the IV chord.. 5.. Tempo. m *. 6.. Cow. My. di valse. Nellie's Blue Eyes American Folk Song. j. j. j. i. u. j. j. j. .i. i. i. J. r. i. r. r. i. r. r. i. i. r. iL. J. i. J. \. i. ^. j. i. J. -LU. i. j. '. '. ». Hungarian Dance Johannes Brahms. wzoto. &\. i. r. r. r. f. lfM. r i. r. '. '. "f. r". f. rr. r i I. C_r r r. '< I. ^^. 1. j^> f 7.. n~n. i. r^T[jjj. i. j. r. i. J. r. Allegretto. $\\. 8.. i. Italian. J. With. pLcr spirit. i. r. pr'. i. r. pr'ir. J p. J. 1. pLq. i. r. pHr. fj. Folk Dance. jU>/-/. Polly. ii. Wolly Doodle Traditional. 20. ACCOMPANIMENT IMPROVISATION.

(33) 9.. Russian Folk Song. Slowly. *=. rr-j. n n i. j. i. r. r. g. -n. m. ACCOMPANIMENT IMPROVISATION. 21.

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(35) .. CHAPTER FOUR. The X. V. of. in Block. Chord and Figured. Accompaniments It. is. often possible and musically desirable to precede the. dominant chord. V. V7 of. at either the half. (the dominant of the dominant).. injects a degree of. mony. The. characteristic of simple music, adding a. commonly used. keys.. Note. EXAMPLE MINOR). 15.. may. follow either. V7. cadence with the. use of this progression. I. chord name.. letter. or. IV. welcome touch of. V chords. of. that this. and minor keys bearing the same the key, and. final. chromaticism into the predominantly diatonic har-. Following, in Example 15, are the the. cadence or the. is. (symbolized. It. always precedes. C. of. W. of. of the key.. THE V7/V CHORDS OF THE COMMONLY USED KEYS (MAJOR AND. |f:. HO. V7/V). the same for both major. —\—T^. vi Eg. color.. 1. G. F. D. A. Bl>. E. Eb. u. Ab. In practical playing positions:. -Iw£. ,. left. __e. ,. Aa. ,-fct. V? /V(V4/V). 23.

(36) V7. of. V. chords are subject to the same figurations shown for the. principal chords in Chapter. V7/V. is. Note. 2.. that, as in. V7. of the key, the fifth of. omitted in practical playing position. Remember, however, that. the fifth of this chord (the sixth degree of the scale). is. frequently har-. monized with V7/V.. EXAMPLE. THE. 16.. V. 7. OF. V. PRECEDING. V. 7. OF THE KEY AT THE HALF CADENCE.. My. Bonnie. Traditional. iA. W. ,. ,. ,__. mnnM. 9f^. rr. F:. 1. i. sa ££ £ mnrr # rri^ m*. '. IV. I. /fir*. £ if. f. etc. r. i. V./V. I. (2). (1). The added. 6th to the. IV. chord.. (2). Note modification of the accompaniment melody into the accompaniment range.. EXAMPLE. THE. 17.. V. 7. OF. V PRECEDING V. 7. figuration necessitated. by the descent of. the. OF THE KEY AT THE FINAL CADENCE.. Melody from The Viceroy Victor Herbert (i). fo. J. nm C:. uL. N. J iJ. (2).. rj. r. IV. J. |. (2). ,. J. J. I. J. J. J. J. |. J. I. J. p. (3). #. mm mm. ^m. W^W. ^m mm. IV. ____^ J. s:. m mm mm mm m •. r. I. J. JM. J. v /v. m. ?. (i). 24. Added. 6th to. IV. chord.. <. 2>. Added. 6th to. I. chord.. «) Added 9th. to. V. 7. of V.. ACCOMPANIMENT IMPROVISATION.

(37) ASSIGNMENT NO. Harmonize the following melodies using. 4. this. procedure:. Determine the modality (major or minor) of the melody (see Example 13). (2) Select the chords appropriate to the determined key. See Assignment No. 1, Chapter 1, for major key chords; see Example 14 for minor key. (1). W/V. chords. Example 15 for harmonize with an appropriate figuration in the the meter and (3) accompaniment. See Examples 5, 6,1 and 8 for figurations of the prin-. chords; see. Note. cipal chords (also applicable to. W/V chords).. (4) Beginning with this assignment, the identification of upbeats, nonharmonic tones, added 6ths and alternate positions of V7 will be the responsibility of the student.. (5). As. in preceding exercises, the. harmonic rhythm of particular tunes will. occasionally necessitate the modification of the figuration patterns given in. 1.. Examples. 8.. Slumber Song Franz Schubert. iJ-nr. r. rr-W. l. V. V. J. r. f. I. I. J-. V7. wm ^N-' nr. i. rr. jjg. j.j.j. i. i. j. J. j. I. T7II. J. J r. u.JJ -uj i. i. r. r. j,. jj j. jj^^w-^-rtJ. jjijjj jjj i. j. i. v7. v_/v. i. j. 1. 1. Russian Folk Song. Con moto. g. i. Cowboy's Lament American Folk Song. Moderato. m. 3.. and. Molto moderato. U 2.. 5, 6, 7. r. i. i. r. g. I. ,.i i. /. i. r. r. r. rf^. ACCOMPANIMENT IMPROVISATION. 25.

(38) Home. on the Range American Folk Song. Moderato. 4.. a. j. j. j. j. \. j. j. j. i. §. j-j. J. j. 5.. j. j. i. r. jj. -. i. j. if. r. ,Lbl. I. m. rMf. r. 1. 55 i. r. -. 1. nj-. J. J. c/. r. |. J. I. m. u-. J. -r'j. 1. j. 1. J.. 1. j-jij. -i i. J. j. î. -. j. j. j. j-_lj. 1. ,. J. I. j. g^. -J,. J. j. J. J. Slumber Song Robert Schumann. Andante. P. H,fi. r'. I. r*. 1. rby r T r r Iby. J. #•. J.. 1. J.. I. J.. I. I. .. I. r-d-m. 1. v /v 7. v 7 /v. 6.. v. 7. v7. Swanee River Stephen Collins Foster. Con moto. (1). 6 i i ft. HK. =j=i-:=j=. J. ff. r. -. J. f. J. =^==3=^ = =^ =. v7 /v 4. ft. — —fr=^==f=j=-^— —— —^"T" ^-^ (2). M it. (3). F. J. 1. 2. ~f. V?. Mjt *. ,. r. <i>. <3>V7. 26. =. P. 1. \. I. I. 1. 1. 1. I. S. j. 11. d J * d. \. 1. J. r I. , il. f B1 1. I. .. n. » J J. 1. 1. J. e I. o. V. The. «'V7. 1. *. I. v,. of V. 9th of 7 of (block chord). (block chord).. V. ACCOMPANIMENT IMPROVISATION.

(39) —. r. 7.. —. ]. Old French Song. Allegretto. Peter Ilyitch Tschaikowsky. f. J'i. ?. l>. 1,. 'ft'. *. —-H. J. J. &feEi b''|>. —tr Mf. 4-^3 J. m. it. w. v. v,/v. r [. nr ». f [. r-. 8.. Allegretto. 9.. Moderato. i. ff. i. ———. *. r. T. i. r. r. r. f. 7. r. r. r. r. i. ^m mm. m. P. j. n g. r~-. ^. HM^. r. r. Melody from. I. ^. Zta//e£ Egyptienne Alexandre Luigini. Gavotte Ethelbert Nevin. \£\)'&. f. if. r. r. r r r r. t. r. —. JTJll. ,. Td. FTT^r—f—g—. 1. 1. 1. v ? /v. (i). 10.. Added. 6th to. V7. .. Chiapanecas. Allegretto. Mexican Folk Song. f»jjJj V-jjjJj i. |. j,. j. l. <. JIJj,ju.j^j. j. Uj. v /v. v. 7. «. j^jjij. '. ju-,j>iu. j. i. hj. j-. J'j. '. r^. ACCOMPANIMENT IMPROVISATION. i. i. jJJ. 7. j. B 27.

(40) #. a. La Zingara. Scherzando. 11.. Carl. J J. iiJ-. j. jyt. pg. J.. I. ^r. m. [y. i. c-f. J, J J. J. jj. i. CiTi'. J.. I. j. cjj. r. i. i. J i. Lrr. rj-r. r. i. r. J-. I. njû. r. i. —|—*P" —p» *. —. •J. 14.. *. jfj-. ™. j. ^. TT. ._. va~a. —. 1. *. -1. Duchess. Waltz from. d. ». 15.. j. i >. i. .j. r. hf. I. f'^.j. a. j,. i. -i. j. i. f,u. rTf r. -J. ,. i. r. jj. <. r. *. i. f. r. r. j. iiJ f. r. r. 28. i. n. ». J.. Gounod. j. -. .J i. r. y. i. J. J. ;. r. p. g. 1. i. p. r. Italian. r. j.. >. s. »b. i. Fatt. jîi. II. Fdrwrt (fragment). f. -. p. J. «. Charles. j. II. , |. -J. J.. Allegro. >V!i. a. De Koven. T;. —•— —a. —. J. Little. Reginald. =fcza=3=™ " —»* * J (JP J. l. J'. J. 'c^. Fragment from The. Moderato. 13.. a j.. j.. I. u ^Jj. J i. i. i. c. Bohm. B. J. J. JT3i. Folk Melody. j^^. ACCOMPANIMENT IMPROVISATION.

(41) —. —. —. CHAPTER FIVE. The X. IV in Block. of. Chord and Figured. Accompaniments Another chromatic chord useful for adding color to the harmonization of simple music is the V? of IV (dominant of the subdominant) This chord usually follows .. IV. of the key, and always precedes. I. of the key. Occasionally within a phrase (but not at the beginning or. end) the V? of key.. As. IV may. in the case of. substitute for I of the key, following. V? of V, the V?. of. IV. tions used for the principal chords of a key,. and minor keys bearing the same example. 18.. the. v. 7. of. letter. is. V?. of the. subject to the same figura-. and. is. name.. the same for both major. symbolized V7/IV.. It is. iv chords of the commonly used keys (major and. minor).. ri—d 'ft. — — — w— — —nfl. i. i. '. s r. 1—. 1. i. ". '. 'd. '. r-ri. M. '. ntt. >i. ' 1. '. — «—r^ i. i. '-i. '. '. Ek. Ak. In practical playing positions (block style). _k-. 1. b ,. ». f. ,. d. ir. !. ^b3. in ff. ^. a.. â. t. ^bi. 29.

(42) EXAMPLE 19. THE V7 OF IV FOLLOWING I OF THE KEY AND PRECEDING IV (THE FOLLOWING MELODY IS #1 OF ASSIGNMENT #1, WHICH HAS BEEN HARMONIZED PREVIOUSLY USING ONLY THE COMMON CHORDS [I, IV, V 7 ]. NOTE HOW THE USE OF V 7 OF IV ADDS TO THE HARMONIC INTEREST OF THE ACCOMPANIMENT).. Austrian Folk. Tune. EXAMPLE 20. THE V7 OF IV SUBSTITUTING FOR I OF THE KEY, FOLLOWING V7 OF THE KEY AND PRECEDING IV. NOTE AGAIN HOW THE USE OF V7 OF IV ADDS TO THE HARMONIC INTEREST.. Humpty Dumpty Traditional. ^m t=$ n^ y«ii G:. 30. uS. rJ-f. m. r. p. r. t. ^. mm /$k. v7. v7 /iv. ACCOMPANIMENT IMPROVISATION.

(43) ASSIGNMENT NO.. 5. Harmonize the following melodies, using the procedure prescribed in. Assignment No.. shown. are in. in. 4. Practical. Example 18 of. playing positions of the. The. this chapter.. V7. of. IV. chords. melodies given below are. both major and minor keys. Each melody offers opportunities for using. either. V7. of. V or V? of IV. (in. most. cases,. common. both), as well as the. chords of the key.. Yankee Doodle. Lively. 1.. Traditional. ^•in^Prun'^n jur^ ^.Qmjj i. *. Accented passing note.. My. Andante. 2.. j>. J i. Old Kentucky. Home. Stephen Collins Foster. 1. J'. 1. J. J. j-J. j. jjjn. i. i. -H^t. n Lfr. i. \. [:. Hi. 1. 1<. niJjj:ni!>i Theme from Mazurka. Andantino. 3.. p\i.. jij. Frederic Francois Chopin. ^\). r. tf. 4.. Allegro. r. ... p. 1—a. ===. J~.. f v t. -}. —. J. j. bJT^-—. ==r}==^= '. ^-*. )t*. Oh, Susannah Stephen Collins Foster. ACCOMPANIMENT IMPROVISATION. 31.

(44) Dixie. Lively. 5.. Emmett. Daniel D.. *. Added. 9th to. r. ff. V7. chord.. j. i. m. jut. j. -ii /. i>. \. \.. w. Theme from Romance. Cantabile. 6.. j. Peter Ilyitch Tschaikowsky. 7.. Carry. Espressive. Me. Back. Old Virginny. to. James A. Bland. "'"i-. ur. tr. J p. n. 44 r. 8.. c/r. i. i. j ;. '. J. 1. ^M. r. ^. -. j. lt. i. cj -1. ^. ^rmir^ 1 m. j. i. c_r. Jingle Bells. G^'/y. J.. P j». 32. ^j. r. r. '. ^. i. u n. r. '. r?. u i. y. J. 1. ". '. Pierpont. r. ^. 5 1. ,i. '[. r. cj-. ACCOMPANIMENT IMPROVISATION.

(45) .. For He's a. Briskly. 9.. Good. Jolly. Fellow. Traditional. p. ^11. ^ 10.. j'. j. i. 1>. j. j. J. J. J. j. J.. I. J-. i. JHJ. J. f. '. F. r. J J-T3. r. J.. I. W. ). E^g?. J. J. r. Good Night, Ladies Traditional College Song. Slowly. ^m 11.. \. nt. ft]. i. r. i. r. '. cfp. f. i. îrprr. irrr. f. God Give Ye Merry. Moderato. i. r. \. i. Christmastide. Old English Carol. j'm. '. 12.. j. j. j'. j. j. J. i. I. J. J. j. j. j. j. J p. 1. r. i. ". '. r. n. j. '. N ir. !^. i. jJ. r. r. i. r~. /£ /a. J. j. \. \. J. 1. J^. J. J.. 1. _p^. F. p. I. 1. P'. 1. Expectation. w/*e. Traditional Russian. qJv\. te 14.. Cow. j. i. Rio Grande Sea Chanty. WVrfe spirit. \. 13.. j'. j. i. ~'J^~~ L~. ~~j~ r. r. r. r. r. r. rrj~. r. === —f—f—. ^. *=--f-r--= ==^=±=^=. r. f. ^. =*. j-. j_j. ji'^p-'ji'i. P. Lj [J. '. ACCOMPANIMENT IMPROVISATION. U". mi. rp. Israeli. £n'o. j. Waltz. U. Folk Song. I. g. 33.

(46) ». 15.. Co?i. moto. I. 1. 16.. Israeli. f. j. r. j. j. r. r. r. r. j. r. I. i. r. j. i. r. ^ t. J. J. i. I. rrr,. p. j. i*. r. r. I. J. n. r. Allegro. :. J. J. Jl. J. 34. ''. i. r. ?. r g. §^ r. ^^. Israeli. r. g. r. r. i. p. r. i. p. n. r. i. f. p. r. s. r. t. r. •>. r. r. r. r. '. i. Folk Song. r. Folk Song. '. f. r. i. ACCOMPANIMENT IMPROVISATION.

(47) CHAPTER SIX. Introductions A there. SINGING GROUP WILL. is. agreement on tempo. on the. attack. first. note.. The. MAKE A GOOD at the. INITIAL IMPRESSION. ONLY. IF. beginning of the song, and a confident. accompanist,. by providing the proper kind. of introduction, holds a major responsibility for a good beginning, for he. must adequately indicate to the singers both the tempo and the beginning note.. A. common. practice. singing of hymns,. is. accompanying the. hymn through once before Not only does this acquaint. first stanza.. with what might possibly be an unfamiliar tune;. both the tempo of the its. organists, in. to play the entire. congregation begins the singers. among church. hymn. it. the the. also establishes. and, through the context of the tonality,. beginning note. In situations involving the singing of familiar tunes. to indicate the tempo, since this. is. known through. it is. not necessary. tradition.. Thus, for. songs such as America the Beautiful and Silent Night, the only require-. ment. is. to indicate the beginning note. This can be. with a single chord whose top note. is. done. satisfactorily. the beginning note for the singers.. 35.

(48) — EXAMPLE 21 (A). A SINGLE CHORD USED AS AN INTRODUCTION, WITH THE FIRST MELODY NOTE IN THE TOP PART.. America the Beautiful Samuel A. Ward. Katherine Lee Bates. EXAMPLE 21(b). A SINGLE CHORD, WITH THE USED AS AN INTRODUCTION.. Joseph. FIRST. MELODY NOTE. Silent Night Franz Gruber. *. -Jtlj-j. E^ ^^s^==^^ 1. i. 1 1. lx^. cIj. 1. lX-*. ^. -'. ff-n^ p r. i. accompanist (unless a song leader or conductor. J. ft. p. it is. 1. -. '. U-'. 1. necessary for the. directing) to indicate. is. nod or some other gesture the exact point. If ;. uj\'LtJ. 'eJj. After an introduction of the single chord type. a. THE TOP PART,. Mohr. 1d flHa TO H. by. IN. at. which singing. is. to. begin.. In the singing of a. new song. (in. which. case the single chord intro-. duction would not suffice) or in a program situation where the playing ,. of the complete song as an introduction would unduly retard the pace of the performance, the most useful type of introduction consists of a. phrase or passage. two taken from. may. the song to be performed.. consist of the first. one or two, or the. first. and. Such an introductory. one or two phrases of the song, the. last phrases,. last. depending on which arrangement. most effectively indicates the beginning note.. 36. ACCOMPANIMENT IMPROVISATION.

(49) EXAMPLE. 22.. THE FIRST PHRASE USED AS AN INTRODUCTION. Careless. Plaintively. Love. Southern Mountain Song. ^. ^. Introduction. >c. J.. J. J. J. I. j. mm. /7N. pi. „z. 1. f. r. n. f. r. ^. 5§. ^^. EXAMPLE Con. FN^. ;. '. 23.. S p^. r. r. j. jij. THE LAST PHRASE USED AS AN INTRODUCTION. Turkey in the Straw American Square Dance Tune. ^S f5 ^N^. m n ts^ i. 395e». rf. ^. ^. r. ,. i* J. Hnifp f. Introduction. ||Ju. rW. iî H^f ^ M§ es. g^s. brio. y>. f###. ^. J. f. f. iCv. Hii. Hit. ^P. i^g P§^ ft ^NE M=z gi£. f f f. J. f. 1M. ff. £«. xE^^P. —F. — —F. X. ^. f f r. ACCOMPANIMENT IMPROVISATION. l '. '. 37.

(50) J. EXAMPLE. THE FIRST AND LAST PHRASES USED AS AN INTRODUCTION.. 24.. M oder at o. Red River. Valley. Western Folk Song Introduction jL.. ^h-f3. im. j. M. r. q-. f=H^ Vi/. ffepg fe^. JJ,. yg^ £=M=. £. ff"". m J. f=M=£. >. ^. i. Pg 3=g. u. r. !. yi^^. The. E-M. ;3. Mn. u. J. -J. p. -. r~r. $±. f. [jr. u ^. r. f. f. j. f. s. ii=i. m ^^. J. f. f. r. f. phrase-type introductions illustrated in Examples 22, 23 and 24. are usually the. most. suitable for. music used in dancing and other types of. action.. ASSIGNMENT NO.. 6. Play, with varied figured accompaniments, the exercises of Assign-. ment No.. Chapter. 5,. 5.. Precede each exercise with the type(s) of intro-. duction indicated below: (1) (2) (3) (4). Yankee Doodle: (a) single chord; (b) last phrase. Old Kentucky Home: (a) single chord; (b) first and Theme from Mazurka: last two phrases. Oh, Susannah: last phrase.. My. last phrase.. (5) Dixie: last phrase. (6). Theme from Romance:. (7). Carry. Me. Back. to. first two phrases (entire excerpt). Old Virginny: (a) single chord; (b) first and. last. phrases.. 38. ACCOMPANIMENT IMPROVISATION.

(51) (8) Jingle Bells: (a) single chord; (b) last (9). (10) (11). For He's. a Jolly. Good Fellow:. Good Night, Ladies: God Give Ye Merry. (12) Rio Grande:. first. last. two. two. phrases.. phrases.. (a) single chord; (b) last. Christmastide:. first. and. two. phrases.. last phrases.. phrase.. ACCOMPANIMENT IMPROVISATION. 39.

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(53) CHAPTER SEVEN. Hymn. Style. Accompaniments Hymns, most. patriotic songs and some folk songs are of such. a musical nature that they are not. presented in Chapter. companiments. is. 2.. The. amenable to the types of figuration. strongly rhythmic character of figured ac-. too frivolous for the serious content of the texts; and. the harmonic rhythm, frequently requiring a change of chord for almost. every melody note, does not lend. itself. to figuration.. Tunes of. this. numer-. constitute a significant part of our musical heritage, and there are. ous occasions are. many. parts. —. ground. when. the accompanist. collections of such songs. available for the accompanist. in piano technique.. is. called. on. —arranged who. type. to play them.. There. in the traditional four. has had a considerable back-. For the musician whose background. in piano. study has been limited, the following three-part arrangements of some of the most familiar songs of the type under discussion will prove useful.. 41.

(54) ASSIGNMENT NO. Play the following songs (preferably from in a. tempo and manner. suitable for the. 7. memory). accurately and. accompaniment of group. singing.. Precede each song with an appropriate introduction in three-part chordal style.. Old Hundredth. Louis Bourgeois. Arranged by William Pelz. m. ^r. I. III'. m. x 2.. f. J. J. J. j. j. J. rt j. J.. J.. 42. Night. i. ^ Franz Gruber Arranged by William Pelz. ^^ F=i. iab. ±e£. P^F. ^^ ^^. ^ T=^. ^H î. ^P^P. pp. ^. Silent. ^^. as|. ^^ mM. Mohr. Joseph. a. mm m. «f ^^. f^f. ^^ ^^. ^. ^^ i. r. ^^ h P. r^ ¥y. ACCOMPANIMENT IMPROVISATION.

(55) ^^ f m I?. m. r. J. r. 4.. g. *-t. $. ^^. S ^ am s^. *~T~1. Samuel A. Ward Arranged by William Pelz. America the Beautiful. I. mm wm. -?—*. r. J .-. rr. m. ii. 3. im^ ^m. W* #p m mim ^^ ^S ^. U r^ f*r^ nJ. *M=?=. v:. ^m ?m ^^. ^m$ pn^ j. i:. m. ^s £. r. Katherine Lee Bates. isî. if iff. W. #1*1 »> r. Henry Carey Arranged by William Pelz. America. Samuel Francis Smith. 3.. j. .. J-. temi ^*rt. Imm. PM. ACCOMPANIMENT IMPROVISATION. 43.

(56) 5.. Key. Francis Scott. The Star-Spangled Banner. fam ¥. =£1. mju ^m m. John Stafford Smith Arranged by William Pelz. w. ^ ^. ^m. ZM. E. 3=^. i.. :n". i. g. r. r. ^. 4^-#. *§ 3g. 44. ^. m=£. (P^pi Pi^. !. ^^. j. \. û ^ J. I. r. F=». ^fp. W^^HH ^ ^ in&# n m f\. j. j.. ^. ^n. p^ m. §,. j=^=. ' i. f. j. ACCOMPANIMENT IMPROVISATION.

(57) Home. &m ¥*f^. on the Range. pm. n j— m r~r. m. t.. f. ti. ^^. r. §§^. w. j. n-j-. r~r-. 9 mm X2TUJ. m. American Folk Song Arranged by William Pelz. T"3. r^. £. r^. mm. m. £ê. rrn n. j. n. m. ww m r. r. ACCOMPANIMENT IMPROVISATION. ^. 45.

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(59) CHAPTER EIGHT. Accompaniments with More Sonority. and Stronger Rhythmic Movement The accompanist will sometimes encounter problems for which the. close-position, tightly-figured. keyboard patterns of the preced-. ing chapters are not the best solution. In. ums of. vast dimensions,. accompaniments with are indicated. is as. One. halls,. auditoriums and gymnasi-. and when large groups of singers are performing,. a higher degree of resonance. of the most effective. and rhythmic. ways of providing. vitality. these elements. follows:. The. left hand plays the chord root in octaves in the lower register of the keyboard, on the first beat of the measure. (b) The left hand then continues with the full chord, close position, on each of the subsidiary beats of the measure. These afterbeat chords may be in the practical playing positions used before, or in either of the other two close positions possible for each chord. The afterbeat chords should fall within the octave immediately below middle C on the keyboard (occa-. (a). 47.

(60) may fall somewhat above above the melody being played by. sionally the top note[s] of afterbeat chords. middle C, but not so high the right hand), (c). I. as to cross. The right hand plays the melody in octaves, which may be filled in with one or two notes of the prevailing chord on strong beats, and wherever else it is practical to do so.. The above practice is most useful in j, and t the movement is often too rapid to. I. and slow. \. meters. In fast. be practical from the stand-. point of the technical demands. on the accompanist.. EXAMPLE 25(A). ORIGINAL MELODY. IN. METER.. |. Molto moderato. Viennese Refrain Traditional. b. '. i. •. * '. '. '. =*t=. j-. i. .. mi. mi. r »r. j.. jr. r. i. ». i $j. ^m. r. EXAMPLE 25(b). OPEN STYLE ACCOMPANIMENT TO EXAMPLE 25(a).. Molto moderato. ^. ££. m. :. ^"J. \,l. i. i (i). A. $. £A. <-;. g. Jf. f ,^. j. i. **-^*. kft;. *. i *-*. X. jg •. —r. mm. v /v 7. (1). 48. For deeper sonority, play the. first-beat octaves occasionally. an octave lower.. ACCOMPANIMENT IMPROVISATION.

(61) EXAMPLE 26(a). ORIGINAL MELODY. IN. |. METER.. La Golondrina N. Serradell Slowly. ——. ra— r— ii^JT^JlU-. r^P. 'y. J.. „. J J. y. J. J). i. i[. — "T— — ,. i. jj jjij. i. —r«^njijjn. fr^-T. ^-tfJ. *». ;m. nJ-. EXAMPLE 26(b). OPEN STYLE ACCOMPANIMENT TO EXAMPLE 26(a). SZozoZy. -4. ^ji. i. nr^ naipN i. 7. <•. *. 7. f. si. w. plpf ii f. Note. jj. l. '. l. f. j. f. f. 1. fii. uln. that, as in the. when more. — f*. m m sm h. fg. Uf. f. f. mLt. 1. ^. *=^*. penultimate measure of Example 26(b) above,. than one chord to a measure. is. indicated, the figuring. is. shortened.. ASSIGNMENT NO.. 8. Play the following melodies with accompaniments in the style of. Examples 25(b) and 26(b). Precede each example with an introduction in the. same. style.. Opportunities for the use of Vz of. numerous. Exercises are given in. all. the. V and V7 of IV are. commonly used major and minor. keys.. ACCOMPANIMENT IMPROVISATION. 49.

(62) j 1.. A. la. Waltz. valse. Victor Herbert. m jUj ju. ^nijjju-iJ N b. J. J. J i. 2.. r. r. r. i. r. r. r. 1. f. 1. i. <. j. r. j. Slowly. j. i. j. j. J. 1. i-si. i. <mj. 1. j. '. Ground. Massa's in de Cold, Cold. Stephen Collins Foster. fi'^r. «gE 3.. -nm. g. s J. r. i. J. ^ ^^ ^^. M. r. 1 1. Jl. i. a. r. Molto moderato. Old Song Peter Ilyitch Tschaikowsky. î. h. i. JTTJir- »ir. p jm pnn J.. 4.. j. nrr. hi-. r. n. j. i. r. r. i. i. f. r. ir Lf. p. r. j.. i. r. fj j>. ^. s. Will of the Wisp Waltz. S/oiu waltz. Johann Strauss. f'ii. 5.. ^. j.. p. i. Hj. j.. c. p. -j.n. j. i. j.. J p. i. i. r. S. j. Cowboy Song. Moderato. Traditional. fWjU ffe 50. j. j. j. JUJ. j. ji „. i. j. J. J. jj. j. i. r. r. r. u. i. .. i. j. ji. I. r. jjj. J. i. j. Jij. J. j. Ji. r. i. j. rt+^ J. J. â. ACCOMPANIMENT IMPROVISATION.

(63) —. —. Brightly (Play. 6.. Q. ,. u. „. two chords. ~P. 7.. Country Gardens Old English Folk Song. to each measure). p. V7. IV. Eb:. ^. —J. 1. d. |. jt. 3—. I. "m. —. _. » |. etc. i. Con moto. Afy Bonnie Traditional. i£ #** a. 8.. Jj|. J j. i. r-. UJj. i. p. r. Moderato (Play two chords. j. te. i. j. j. •'. Hfi. J. i '. Romance. to each measure). Robert Schumann. iv. J. 9.. v?. i. I. Moderato. Carry. Me. Back. to. Old Virginny. James A. Bland. jl^r. p 10.. j r. r. r. I. J. '. -. f. gg n. -". ?<. j:j.hJ.. i. r. j-^ j u. l. *. e. '. i. n. i ,. r. ci j-. '. i. lj rj. ,i. Dolores Waltz Emil Waldteufel. Waltz tempo. |3. ^^. 1^=3 -*. ^. '. H*. £. ACCOMPANIMENT IMPROVISATION. ^P¥^.

(64) '. 11.. Andante. *». Cradle Song Johannes Brahms. n. J. -I 1. ri. r. I. ——. *. *. ». 12.. m. r. 1. t*ti. .1. i. —. •. Slowly. H. Gambler's Blues. American Folk Song. rur. J" 3. '. r. r. r. j. j. p. j. f. f. ^. i. tt. \. n. jj. j. \. }. pj. ,. jjirj r; -^. Waves. J. jûn-i. i. I. Andante. f. r. r. r~rr» J. i. [" I. I. T. r. r. J. I. i. r. of the Danube Ivan Ivanovici. J 'r. i. "t'j. r. r. >. 1. J.. I. ".. Auld Lang Syne Scotch. 52. j. Old Black Joe Stephen Collins Foster. Moderato. j. i. j. Slowly. j'i. 15.. Tj. J. (. j^ 14.. j. i. r. fi TI. j. <' f 13.. J g. Tune. ACCOMPANIMENT IMPROVISATION.

(65) CHAPTER NINE. Developed. Accompaniments Simplicity. many. is. the earmark of all folk music,. of the famous melodies. as. well. as of. composed for singing and dancing. The. simplicity of the block chord and figured accompaniments studied in the. preceding chapters. is. appropriate, and their modest textures are entirely. adequate for the playing of backgrounds to melodies of the folk type.. Lyric appeal. is. so regnant in folk melodies that. we. are satisfied to hear in. the accompaniment merely an unpretentious statement of the harmonic. and rhythmic aspects of the music. Then,. too, the limited instrumental. technique of the folk performer has made simplicity of accompaniment a historic necessity.. For the professional and the accomplished amateur, however, there are. many. opportunities for achieving a higher degree of musical interest. in both the texture ligent use of. bass lines. secondary triads III,. V7. and more varied. (II, III,. sonorities.. Employment. of the. VI), of their respective dominants (V7 of. II,. of VI), and of occasional altered notes in the principal triads. (raised 5th in. More. intel-. non-harmonic tones and chord inversions will make possible. more melodic. W of. and the sonority of the accompaniment. The. I. and V; lowered 3rd. in. IV). will. add color to the harmony.. elaborate figurations in the left hand and figurations divided be-. tween the hands. offer almost limitless possibilities for diversity of rhyth-. 53.

(66) mic character. in the. accompaniment. The introduction of occasional. imitative motives in the lower voices of the. integrate the. melody with. its. accompaniment. will serve to. background. These devices, in tasteful com-. binations and used with musical discretion, will add to an accompani-. ment's effectiveness without distorting the essential character of the music.. EXAMPLE. 27.. MELODY NOTES OCCURRING ON THE BEAT; ACCOMPANIMENT CHORDS ON BETWEEN THE HANDS; USE OF INVERSIONS (16 AND V*).. AFTERBEATS, DIVIDED. Andante con mow Felix Mendelssohn. Moderate. pwi. i ? f. mf. V. EXAMPLE. 28.. v.. i. C:. IV. v n i. i. f. 1. i6. i6. V. 1. n i. [h. ppp^ f. 1. f. y r i. Jh. 1. f. 1. J. 1. f. f^. ^?=ff=f?. n. REPEATED ACCOMPANIMENT CHORDS, DIVIDED BETWEEN THE HANDS, ON (V7 OF II, 7. V. AFTERBEATS; USE OF INVERSION (Us); USE OF SECONDARY DOMINANTS OF III, 7 OF IV); CHROMATIC PASSING NOTE.. V. Sostenuto. Serenade. Hugo Reinhold. i^ ^. m.. ^. r=r=r. »zp. —. l^bg. ^_. F:. (1). 54. ^ II. LE-Ff V7 /II. Chromatic passing note. m. in. &. j, i. r. r. -T^rr-rr r. liii. m*. V7 /III. accompaniment.. ACCOMPANIMENT IMPROVISATION.

(67) EXAMPLE 29. EXTENDED LEFT-HAND ARPEGGIO FIGURATION; MELODY IN BOTH SINGLE NOTES AND OCTAVES," USE OF INVERSIONS (IV J AND V*); USE OF SECONDARY TRIADS (III AND VI) USE OF SECONDARY DOMINANT (V 7 OF III) USE OF PEDAL TO SUSTAIN ;. ;. EXTENDED LEFT-HAND CHORDS.. Allegretto. Nocturne Leybach. J.. ACCOMPANIMENT IMPROVISATION. 55.

(68) EXAMPLE. 30. OPEN LEFT-HAND ARPEGGIO FIGURATION; USE OF INVERSIONS (V 4 V 8 USE OF SECONDARY DOMINANT (V 7 OF IV); USE OF II 7 -A SUBDOMINANT CLASS ,. II. 4. );. ,. CHORD SUBSTITUTING FOR IV; USE OF NON-HARMONIC TONES (SUSPENSION, NEIGHBORING [AUXILIARY] TONE); USE OF PEDAL TO SUSTAIN EXTENDED LEFT-HAND CHORDS.. Lento. Nocturne Frederic Francois Chopin. IS simile I. V? /IV. I. (1). Suspension.. (2). Neighboring (auxiliary) tone.. Ily. EXAMPLE 31. DESCENDING ARPEGGIO FIGURATION DIVIDED BETWEEN THE HANDS; USE OF PEDAL TO SUSTAIN ACCOMPANIMENT CHORDS. NOTE IN THIS EXAMPLE, AND OTHERS GIVEN, THE USUAL AVOIDANCE OF SMALL INTERVALS (3RDS AND 4THS) AT THE BOTTOM OF LEFT-HAND ARPEGGIOS, FOR REASONS OF GOOD SONORITY.. Andantino. Lullaby Friedrich Burgmuller. P*. r. g^. *. F:. 56. ^=r E^r. I. ^. *. ^h. w *. J). ^r. ?. I. J. *. simile. ^. V,. I. wm i. #. sfe. ^^ ^J j. r I. b^. 1. J>. ?. k£aj. I. j». ?. la. 4^f. I. ^r. p. ^. *. ^P. ACCOMPANIMENT IMPROVISATION. l.

(69) —. |. EXAMPLE. REPEATED AFTERBEAT ACCOMPANIMENT CHORDS DIVIDED BETWEEN THE. 32.. HANDS; USE OF SECONDARY TRIAD (II); USE OF INVERSIONS OF SECONDARY DOMINANTS (V* OF II, V| OF IV); USE OF INVERSIONS (Ilg, IJ). NOTE HOW THE USE OF INVERSIONS ACHIEVES A SMOOTHLY ASCENDING STEPWISE BASS LINE IN THE ACCOMPANIMENT.. Delirium. Presto. Felix Mendelssohn. Bk:. V6/II. I. V6/IV. II. IV. 33. MOTIVIC IMITATION IN THE ACCOMPANIMENT. NOTE THAT MOTIVE A IS IMITATED AN OCTAVE BELOW IN THE TENOR, AND MOTIVE B IS IMITATED AN OCTAVE AND A FIFTH BELOW IN THE BASS. IMITATION MAY OCCUR AT ANY INTERVAL BELOW THE MELODY, PROVIDED IT FITS THE PREVAILING HARMONY. IT MAY OCCUR IN ANY PART. EXAMPLE. BELOW THE MELODY LINE. IN THE EXAMPLES OF IMITATION GIVEN BELOW, MOTIVE A IMMEDIATELY FOLLOWED BY ITS IMITATION; THE IMITATION OF MOTIVE B OVERLAPS THE ORIGINAL STATEMENT OF THE MOTIVE ONE NOTE (stretto). IS. Joseph. Mohr. Silent. Franz Gruber Arranged by William Pelz. Night. B. A. A i. 9. -f-. mp. r. ...A.... 9-' r. \. -i. ". -i". ...A...-. -i-i,- 1.. — I. F. i. C:. ". +-H-n —. I. I. *H. f.. jj. 1. 1. etc.. k.. —. Ji. i. J. 6. ACCOMPANIMENT IMPROVISATION. !. 57.

(70) EXAMPLE. 34. MOTIVIC IMITATION IN THE ACCOMPANIMENT. NOTE THAT MOTIVE A IS IMITATED AN OCTAVE BELOW; MOTIVE B AN OCTAVE AND A FOURTH BELOW; MOTIVE C AN OCTAVE AND A SECOND BELOW. THE PREVAILING CHORD DETERMINES THE INTERVAL^) AT WHICH IMITATION IS POSSIBLE.. Old French Song Peter Ilyitch Tschaikowsky Arranged by William Pelz. iS. ^. 1. J. j. f-rrTTr. F minor:. l. (1). Passing note in accompaniment.. (2). Suspension in accompaniment.. h. ASSIGNMENT NO.. 9. Play the following melodies with accompaniments in the styles indicated. Precede each. accompaniment. used.. example with an introduction in the. Suggested harmonies are indicated below each. melody. Preceding each exercise position. on the. style of the. is. a. list. of chords used, given in root. treble staff, in order of appearance. All. commonly used. major and minor keys are included.. 58. ACCOMPANIMENT IMPROVISATION.

(71) Accompaniment in. 1.. Example. the style of. mm. 1. G:. j. ii. IV. v7 /n. I. »ii i. V7. II. 27:. v. 7. V. v7 /v. /vi. Con moto Victor Herbert. ill ^. j-ir7. I G:. t. iQ. r. J. J. J. U. ^. J. J. J. i. IV. I. J. J. V? /V. V?. i'. i. f. Hj. i. V. r /VI. jjjjjj. r. r^JTJ. ' j V /II ?. i. j. j,. j>. i=j=a. v 7 /v. Accompaniment. 2.. '. r. r. II. J~]JJn. II. Tr. V-/II. F:. in the style of. V7. I. Example. 28:. V? /V. VI. Melody from Martha. Cantabile. Friedrich von Flotow. m. J. F:. I. ». J. \g. e TTr V. tIT\' V. U. \. i. cj rj. \Uf. r. I. V?. I. i. r. i. r. \. gr\O Q. V?. I. m^nû-i. VI. ACCOMPANIMENT IMPROVISATION. 59.

(72) Accompaniment. 3.. C:. Example. in the style of. V. IV. I. 29:. V. III. ?. V /V. /III. ?. 7. Melody from Mignon Ambroise Thomas. Cantando. j» C:. »'. !£. I. |J « '. I. y. m. J. '. J. Y J. '. I. *. «.'. I. m. v7 /m. hi. I. 4.. -*. J. 7. *. *;. I. I. «TJ **. J. J. ». '. J. J.. J. Example. l. nl. m. J V?. I. V, V 7. V-/V. in the style of. F minor. -. IV. III. Accompaniment. —. -. I. v.. I. 4. I X. 31:. l. IV. Air Alessandro Scarlatti. Moderato. i.V;j. r. F minor:. I. I. 60. Jd. J. I. IV. I. jj'. i. ,. jj. i,. V?. V-. jjn I. I. lcj-. i. cxj. I. 1. '. i. iIV. IV. IV. rT^. '. t-. ilLn i. -. i. I. IV. I<?. V,. I. ACCOMPANIMENT IMPROVISATION.

(73) Accompaniment. 5.. 4. i*l Eb:. h!. VI. I. in the style of. ^. a| V?. II. Example. I. 30:. JV. "il. TS. (lowered 3rd). V /V ?. * | R Vy /II. V. Andante. Adoration Felix Borowski. Eb:. I. I. j. ^ J^TtfTr JCTlTr. 6.. Accompaniment using. 34):. i. r. r'tnT^frj^y. occasional imitation (see Examples. m F:. r-'p. I. V. F:. and. V,. Moderato. fri. 3 3. Gavotte G. B. Martini. j i. i. r i. fr. n71. 1|-. rrr. i. r. ^. J. nij. I. ACCOMPANIMENT IMPROVISATION. V. j. J f (. |. 61.

(74) y. —. Accompaniment. 7.. in the style of. =*i C minor: I. r. f. Example. V /V. IV. V. ?. 29:. V /IV ?. ?. Moderato. Waltz. Hugo Reinhold. a. -n. P-'. a. r. *. i. i. C minor:. P f. —f. ~T~. i. r. r. i. IV. I. r*. i-C. r. r. if r. p. n—. "T. r. F. i. *. ,J. i. IV. I. I ryirrrir. r. ,. ^r. -'. -.. 7. ir. i. rnT rj. p. in the style of. "ll. j. /. I. "j. il. 7. ?. n ,. I. 27:. ^. ill. V. v /v. ?. v. i. i. r. Example. 1-. v7 /v. v7. Accompaniment. Bb:. f. 1. I. rrr r. ^ ,. ,. IV. I. 8.. —F. P'. V /VI. VI. IV. ?. Andante. Melody from Rigoletto Giuseppe Verdi. rv. I. Accompaniment in the. 9.. style of. ^ C:. 31 V?. V ? /V. IV. I. Example. h. V 7 /II. V? /IV. ?. ?. i. 30:. B. V /VI. v. 1°. Con amor. IV (lowered 3rd). Gypsy Love Song Victor Herbert. i. r. C:. I. J-. r. j. ^. i. j. ^J Jj-. IV. I. jtj-jjj, i. IV. I. j V V,/V /V. j. v 7 /v. 62. ?. i. I. V. i. pp ^m I. I. ?. rnT. H[Jri. V„/VI V /VI. I. ?. m. j. V. r. m. r^j. j Vy /V. ». j V, V. ?. 4 rj. 1. I. r mJr -j. V,/II. ?. 3.. V /IV ?. J>|. JT^jh IV. I. I. i. pjf. IV. (lowered 3rd). V. ?. r I. ACCOMPANIMENT IMPROVISATION.

(75) :. Accompaniment. 10.. $. ^. G minor. :. In. 27:. 1. P^P^. >!. T. V?. I. Example. in the style of. T. V ? /VI. VI. IV. III. V /V ?. Vtyraised root). ?. Cantando. Chanson Triste Peter Ilyitch Tschaikowsky. ^. r. r. r. G minor:. r. i. u. r. I. J r. r. i. r. Jjj. f. r. r. i. r. r. Vy /VI. ». J. J. ^. r. r. i. VI. J. J|. J. '. v^. Q. v 7 /v. v7. J. ». I. (raised root). Accompaniment. 11.. D:. Con. V. I. 7. in the style of. /II. Example. V?. II. 28:. V? /V. V. XL]. Sweet Dreams. espressione. Peter Ilyitch Tschaikowsky. <8rrr Cj r i. D:. V. I. rrr. '*. I. 1. 2. .. i. 7. i. V?. /II. Q. r. rrr. i. jri. r. II*. -rTTnQr. v? /u. r. n^r. V. V. r 6. Ab:. in the style of. "'i* I. li'il. IV. V /V ?. i. !. 5. Example. d. rnflr. J. r t?r V. Accompaniment. ^. 6. ,. u. t. V*/V. rr. ir. i. V. r. U. y. ^ pa. 6. V. 7. X. 3 1. ^ V. Con moto. ACCOMPANIMENT IMPROVISATION. German Folk Song. 63.

(76) .. Hymn. 13.. :. Style (4 parts). Morning Prayer. Lento. Peter Ilyitch Tschaikowsky. a. fcfc. ''. J. r. V5. V. i. .. H. r. 1. v/m. IV. J. J. !. IV. 6. 1. v|/vi. V/VI. 6. 1. i. r. i. v. v*/v. 6. in the style of. V. I. r. T. I. iv. iv. I. 6. lj. i. V*/IV. Example. V?. V. VI. iv. V. IV. 1°. 6. J. i. r. IV. 6. ^. i. p. i 1. I. V /V ?. V°/II. 1. 1. V. V? /V. V( raised 5th). I. w.. i. -. i. '. 7. 27:. pp. a. m G:. II. 1 i. g. V^/II. VI. 1. 5. —. t. r. V. r. 1. r. V /V. Accompaniment. 14.. i. I. 6. a. J. r. i. V3. X. r. i. p. II. A:. p. r. r. V? /IV. V ? /II. IV. II. Andante. Berceuse. Moritz Moszkowski. n G:. I. .j~]' '' V. '. u. J. v7 /v. I. (raised 5th). ^ I. m v7 /v. 64. r'r. r i. IV. V*. ^ r. i. r. V7 /V. UJUJ v7 /iv. J. i. i,J~J v. i. i. 7. J~3 iJ~J v. i. (raised 5th). ^»n I. I |. V. i. CJ, r. r flLf lt. r r. V7 /II. I. (raised 5th). tj IV. ni j. jl i. j. ]. 7~mm r. II. ACCOMPANIMENT IMPROVISATION.

(77) :. Accompaniment. 15.. I. p. I. IV. E minor:. Example. in the style of. i. i'. m. '. l l. V? /V. 32:. V. V/III. V(lowered 3rd). III. Requiem. Moderato. Stephen Heller. wm E minor:. I. J. J. J. i. v. i. i. m. v/in. i. jJi I. r. v /v 7. v^. 6. (lowered 3rd). (lowered 3rd). Hymn Style. 16.. j_j. V. iiq r. r. i. r. r. J. j.. i. V°/V. J. J. I. -... IV. I. J.. jm. j.. (4 parts). Child's Prayer. Andante. Theodore Kullak. m. *k. J. E:. %. J. J. r~ m. V 2 /IV. I. um. r. r. P^. IV. 6. pV. V /V. V&. V^/II. I. IV. l&j Lr. i. J. j. i. y. !. 6. Jj] }. j. t\. i. n. 6. i. j_j. i. i. V /V. 4. rj. j. i. i. r". ir. IV. iv. IV. U. J~3 I*. 6. v7. i£. ii. 6. 6. ^>. r. r. v7 /iv. X. h. "J. ^. V4/IV. I. J. =3=z=\. j. U6. 5. =S. ^. Vf/V. jt. J. (raised 5th). Accompaniment using. 17.. occasional imitation (see Examples 33. and 34):. ». W. I'. A minor: V ?. ^. V? /V. I. V. Moderato. Hugo S. A minor. :. *. I. Vy. I. I. I. I. 1. if. 7. ^*—. v. I. s.. v /v. V,. '!)!. ii. V. V. 7. |. i. i. v /v. 'iii'i'. pi. i'ii. ii. .. j. v /v 7. Scherzo Reinhold. p. 1. 1 |. I. ?. ACCOMPANIMENT IMPROVISATION. nTTTrmi V. in I. ?. 65.

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(79) PART. TWO. TRANSPOSITION.

(80)

(81) CHAPTER TEN. Up. Transposition. a Half Step. to. a Key with the. Same. Letter. Name. In the course of his duties in the classroom, the studio, the. church and the rehearsal. A. pose.. may. vocal soloist. originally. composed. conductor. may. hall the. is. often required to trans-. song. as. too low for the most effective use of his voice.. A. wish to exploit the increased brilliance resulting from. indicate transposition. letter. is. feel that the tessitura of a particular. raising the pitch of a choral. When. accompanist. up. transposition. work. Situations such. as these. frequently. a half step. is. made up. a half step to a. name, the following key changes are. key with the same. possible:. MAJOR KEYS From From From From From From From. C. up. Db up. a half step to a half step to. Qf. D. Eb up a half step to E F up a half step to F# Gb up a half step to G. Ab up. a half step to. A. Bb up. a half step to. B. 69.

(82) MINOR KEYS From From From From From. C. minor up a half step to Qf Eb minor up a half step to E F minor up a half step to F# Ab minor up a half step to A Bb minor up a half step to B. minor minor minor minor minor. Transposition up a half step to a key with the same letter. name. is. a. simple matter of reading. Three steps are required:. Mental substitution of the new key signature; Reading the notes as originally written; (3) Mental substitution of accidentals a half step higher than originally ( 1 ). (2). written:. becomes x; becomes #; (c) becomes ti; (d) \)\) becomes \>. (a). %. (b). t]. \). (A double. sharp in the original will rarely occur in the context of a key. to be transposed. up. a half step to a. EXAMPLE 35(A). EXCERPT. IN. key with the same. THE ORIGINAL KEY OF. Bb. letter. name.). MAJOR.. Andante Grazioso Franz Joseph Haydn. EXAMPLE. 35(b). TRANSPOSITION. ps. 70. UP A HALF STEP TO B MAJOR.. £Tlt. TRANSPOSITION.

(83) ;. ;. Compare Examples 35(a) and 35(b) above, and ( 1). (2). (3). The change in key signature; The absence of change in the The changes in accidentals:. written notes;. F# has become F x Ft] and Bt| have become respectively F# and B#; A\) has become At).. (a). (b) (c). EXAMPLE. note:. 36(a). EXCERPT IN. THE ORIGINAL KEY OF C MINOR.. Sonatina. Muzio Clementi. A llegro. '*i>. ,. i.. EXAMPLE. [ytfti-. f. f. f. f. 36(b). TRANSPOSITION. f rf r i. r f. Mj%£. =jeJ=E. I. j i. f. i. TrTrtrTr. UP A HALF STEP TO C# MINOR.. =mm. f. rrrr>frfr I. Compare Examples 36(a) and 36(b) above, and (1) (2) (3). The change in key signature; The absence of change in the The changes in accidentals: (a) Fjf has become F x (b) Bt) and At) have (c). A\) has. become. TRANSPOSITION. k. note:. written notes;. become. respectively. B# and. Aft;. At).. 71.

(84) ASSIGNMENT NO.. 10. Transpose each of the following musical examples up a half step to a. key with the same. letter. name.. Sonatina Carl Reinecke Allegretto. H. ^m ^. pm. *. pm Minuet. Georg Friedrich Handel Con moto. 'Pm. B. ' '. r. i. \. m ?. r. r. r. r. r. >r. UJu. r. j. j. r. |. r. r. J. r. cXf-r. r. g. fe=e. £ P. (N. r. i. ^. ^*r. .'h. LLCj. f. =& r. r. ,i. '. r. ^^. ^m p^^p. 'r. i. Minuet Johann Vanhall Moderate. §m f VM 72. t. m ^ W tt m ^ m ^m pm m=m IS. iffhi. ife£. W £. TRANSPOSITION. i.

(85) Allegro. 4.. Wolfgang Amadeus Mozart Allegro if'.P. l». [—l. o. ^^^. IT. a. f. J'. J. y. y. r. *. '. •. r. "f". •. IT. f. fT. *\. m. *^. r. ^^. r. fc^. fe. Minuet Johann Sebastian Bach. Larghetto. %M ?M.a. -i. >. s S^ W. l. >J. Ij. J,. ^^. ^ Counterpoint. Andante. 6.. i. rT. r. *. ffe^. 'W. X. ISw-. >. £. zr. w. Samuel Scheidt. J. znj. I. -. £. TRANSPOSITION. .1. fr. ^,rr"r. tr. r. r. r. r. 73.

(86) *. —. Allegro. 7.. Sonatina Friedrich Kuhlau. mM. npn. uj. r. %. mg 'fff. ^m rfffr l mi£. Andante con moto. 8.. Allemande Carl Maria von. —j. mm ^. £. vm. T 9.. Tempo. ^. -j. .. r. mm. £M. ^. ^1. J:. Christmas Peter Ilyitch Tschaikowsky. ffeL. J-rJ S—t-. j. i. J. {. i. .. ,l'.. rit.. V^ 74. ^3 *. —. jl. .'. -J. .1. i. p i* uli ? ti. coZ peddle. Sk*. ^. Im. di valse. Xy*>«. Webei. P. *. i. g=j=. ^ ##. a tempo. rr. P^. 1. feE=5. f=F=. ^. *=*. T^rr. f^F. P. t>E. F. P. TRANSPOSITION.

(87) i. 10.. —. |. Nocturne John Field. Lento. te. j. j. j. JT3. J-. VM. i. J. ••. ff ^. I. P^ff ^. **. 3. i. ^. fi^nt 11.. fc i. 1. *. J. J. J. =3=fo. e. J. r. i,rj i. nI. j. j. j. j. Hymn. j. ^^ i. I. Holley. George Hews,. i^rk. —. 1—r-n—. j -re—. .^-m,. —— P. d. •. i. f-f- -p. ^*-. ¥4=. [. TRANSPOSITION. 5. p. M—. :. 8. 3. 3. -i-4-. 1— 1— -J. r-. 1835. —o. — Li ^M—. H—. 75.

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(89) CHAPTER ELEVEN. Transposition. Down. a Half Step. to. a Key with the. Same. Letter. We have noted in Chapter. 10. Name. that individual differences in. vocal range and problems of tessitura sometimes indicate transposition of a solo or choral. down. a half step. accompaniment up is. the same problems. a half step. Similarly, transposition. frequently indicated as a solution to one or both of. —range and. tessitura.. When transposition is made down a letter. half step to a. name, the following key changes are. key with the same. possible:. MAJOR KEYS From From From From From From From From. B down a half step to Bb down a half step to Ab down a half step to Gb FJ down a half step to F E down a half step to Eb D down a half step to Db C# down a half step to C C down a half step to Q?. A G. 77.

(90) — MINOR KEYS From From From From From. Transposition like. The. B minor down a half step to Bb minor down a half step to Ab F# minor down a half step to F E minor down a half step to Eb C# minor down a half step to C. A. down. first. two. key with the same. a half step to a. such transposition up a half step,. same. steps are the. is. as before:. Mental substitution of the new key signature; Reading the notes as originally written.. The. third step. —. name,. letter. again a simple matter of reading.. (2). (1). minor minor minor minor minor. accidental substitution. —. different;. is. now. required. is. the. mental substitution of accidentals a half step lower than originally written:. becomes becomes (c) b becomes (d) x becomes. (A double. flat. be transposed. EXAMPLE. (a). #. (b). t). t);. |j;. b(j;. #.. in the original will rarely occur in the context of a. down a half step. 37(a). EXCERPT IN. to a. key with the same. letter. key to. name.). THE ORIGINAL KEY OF G MAJOR.. Little Study Robert Schumann. EXAMPLE. 37(b). TRANSPOSITION. DOWN A HALF. STEP TO Gb MAJOR.. i. rt^bl,,, t7. f •. _. •. JbCTtK=^. 1. IJ. —MlkJ*. K. r>^. F*^1. i. yx —. -. IjJJ. 78. •_. p|. ^T. fft -UJsr. frf JM. TRANSPOSITION.

(91) Compare Examples ( 1 ). (2) (3). 37 (a) and 37 (b) above, and note:. The change in key signature; The absence of change in the The changes in accidentals: (a). written notes;. F# and C# have become respectively Ftj and C\\; become respectively F[? and C|j; E|? and B|? have become respectively E|j|j and Bfc>b.. (b) Ft| and Ct| have (c). EXAMPLE 38(a). EXCERPT. IN. THE ORIGINAL KEY OF A MINOR.. The Ghost. in the Fireplace. Theodore Kullak. %. H. I. EXAMPLE. fJ. j. u n. r. $%i.tl. iffT. j. p. i. I *± * I. DOWN A HALF. 38(b). TRANSPOSITION. r. J>hJ. STEP TO Ab MINOR.. i~Tl. i. i. (1) (3). The change in key signature; The absence of change in the The changes in accidentals: (a). G# Bb. has has. become become become. note:. Gtj; B[?; B\)\).. ASSIGNMENT NO.. 11. Transpose each of the following musical examples to a. key with the same. letter. TRANSPOSITION. j. written notes;. (b) Bt) has (c). .. rnfr. Compare Examples 38(a) and 38(b) above, and. (2). JTi. i. j. p^p. » J|. down. a half step. name.. 79.

(92) —. — Allegro. 1.. from Sonata No.. 5 in. C. Franz Joseph. major. Haydn. FF^ Moderato. 2.. March. of the Dwarfs. Edvard Grieg etc. lulfi-Jji. •T". ^. ;. r. 7 F. v. -J-. ••. #^. —. i. —. »-« i. ^N. 3.. Andante. 7. :. —. p. r. ^T^. T. •-=. n. i. »•. Chorale. Georg Bohm. *t. 4.. Tranquillo. ^ ^ ^ â. Variation. Ludwig van Beethoven. TRANSPOSITION.

(93) 5.. Andante grazioso. Sonata. Wolfgang Amadeus Mozart. etc.. F. f->. 6.. Vivace. 7.. Andante. 8.. i. r j>. fe# I. Allegretto semplice. r. r. r. 9. r. n. «. I** "T. i>>. Bourree Johann Sebastian Bach. Morning Prayer Peter Ilyitch Tschaikowsky. Elegie. Edvard Grieg. TRANSPOSITION. 81.

(94) Hymn. 9.. Wentworth Frederick C. Maker, 1876. pVUhf b«iS. M. i. a. *3. rt 10.. «** ^P. y^ *i*. *=9^?. &. s£. i i:. d=5i. r »=£=i=I. gj. f. &. Study Stephen Heller. ^. |. J~J=ÎN ZllfUlf. Off -J.. 82. ^ *». «? T i. Andantino. jfc. fmi. » ^. ^. TRANSPOSITION.

(95) CHAPTER TWELVE. Up. Transposition. a Whole Step Unlike transposition up or down a half step to a key with the same letter name, transposition to other intervals as. is. a matter of analysis. well as one of reading. While more complex procedures are involved,. these procedures apply to. from. this point.. transposition. up. The a. all. the intervals of transposition to be studied. present chapter will limit. whole step. —another. itself to a. discussion of. useful transposition in the. accom-. paniment of solo and ensemble vocal music.. The two. essentials for transposition. by. analysis are:. (1) Complete and accurate analysis of the original music; (2) Transference to the new key of the elements of musical structure revealed by the analysis.. A large body of two-part and three-part keyboard music. is. amenable. to analysis almost entirely in terms of three structural concepts: (1) Scale complexes; (2). Broken chord complexes;. (3) Interval complexes.. 83.

(96) # EXAMPLE 39(A). ANALYSIS THE KEY OF C MAJOR.. TERMS OF SCALE AND BROKEN CHORD COMPLEXES. IN. IN. Sonatina. Jacob Schmitt Scale. Scale. (5th omitted). The. analysis in this. (5th omitted) (5th omitted). example does not involve the upper. staff.. EXAMPLE. 39(b). TRANSPOSITION UP A WHOLE STEP TO FERENCE OF ALL COMPLEXES TO THE NEW KEY. Scale "1. «Z. r. *»i-. Lrr. r. 1. -I. I. C;r. r. -J. I. 2. f. i. l^=g. I. I. r. -i. r. ^s. pte g^=A D:. r. i. ^m. r. Scale. I. 3. 2. 2. NOTE THE STRICT TRANS-. D.. 3. 2. 1. s. ftsi. I. I. I. I. I. I. (5th omitted) (5th omitted). (5th omitted). EXAMPLE 40(a). ANALYSIS IN TERMS OF INTERVAL, SCALE AND BROKEN CHORD COMPLEXES IN THE KEY OF D MINOR. Minuet Johann Sebastian Bach. minor: 3. 2. ^. Broken chord. Scale. Scale. D. T. 17. m in. 6th. 1. V. perf.4th. (VII°_. ). 6. 5. S. r. dim.7th. 4. 2. 3. 3. 1,. Scale. :n>i. r. ^. D. minor:. ,. I. r. r. f. l. r. --. - j.. Perf.8ve Perf.Sve. I. r. Perf.4ml Pe rf.4th. ^=f . .... Pert4tn. 1. £j. ~""—. pert5m. Scale. Note can. also. that the last. two measures of. be analyzed as scale tones. ?. r 5. 84. the lower part of. Example 40(a). as follows:. j -5. i. r. j. 15. w 1. TRANSPOSITION.

(97) EXAMPLE 40(b). TRANSPOSITION UP A WHOLE STEP TO E MINOR. NOTE THE STRICT TRANSFERENCE OF ALL COMPLEXES TO THE NEW KEY. E minor. 1. E minor:. Perf.Sve. Perf.4th Pert4th. Scale. ^^. OR 1. _5. 5. 1. Scale. new. All accidentals in the original are transferred to the. below how the example in. raised second. F major. fourth degrees of the. (41 -a). and fourth. become. new key. of. EXAMPLE 41(a). ORIGINAL EXAMPLE. Note. scale degrees in the original. respectively the raised second and. G major. IN. key.. (41-b).. THE KEY OF F MAJOR, WITH ACCIDENTALS.. Sonatina. Johann Ladislaus Dussek Scale (Chromatic). Broken chords. 1(4. (I). (raised 4). #2 (raised 2). EXAMPLE 41(b). TRANSPOSITION UP A WHOLE STEP TO G MAJOR, SHOWING TRANSFERENCE OF ACCIDENTALS TO THE NEW KEY. Scale (Chromatic). Broken chords. (I). 1 4 (raised 4) j). TRANSPOSITION. 2. (raised 2). 85.

(98) ASSIGNMENT NO.. 12. Transpose each of the following musical examples up a whole. The performance. of each transposition should be preceded. mental (not written) analysis in terms of. scale,. by. step.. a detailed. broken chord and interval. complexes.. 1.. L'istesso. tempo. Intermezzo. Georg Friedrich Handel. P^. 5P 2.. Andante con moto. Sonatina. Jacob Schmitt. m^f±. ^nrlfrlS Eji £ff 3.. Minuet Johann Sebastian Bach. Andante. pm ? mm m. a 86. r r. r. <p. f. TO. s* - • p. l. r. r. j. ^ ^ ^s ^ «i tf=r. TRANSPOSITION.

(99) Allegro moderato. 4.. Sonatina Carl Reinecke. pupn. IPli. rr. f. a. ^3. Sonatina. Allegro. 5.. Muzio Clementi. ?> t. 6.. c£rf cXrf. Allegro moderato. Franz Joseph. P'i rTTTT^ i£^ y*m r. 7.. r. r. £. P^PP. Moderato. 1^ p^p. HHP. &. Haydn. Pf^¥ i. m. 1. Trio. Johann Sebastian Bach. TRANSPOSITION. 87.

(100) Minuet. Grazioso. 8.. Wolfgang Amadeus Mozart. %i. r. r. |npi. s 9.. fe. m. nn. ^ pi ^ fe^. ps. r=. s mss m ?m. ??S3. £in Allegro. Leggiero. Domenico. ?ff^ f==l i^ eÊ 10.. Vivace. 11.. Allegretto. 88. Scarlatti. ^^ in E minor Franz Joseph Haydn. from Finale from Sonata. from Sonata in F major Wolfgang Amadeus Mozart. TRANSPOSITION.

(101) 12.. j. Allegretto. feji. ^ p^|. ^. ^ ^^. Variation. Ludwig van Beethoven. P^P. j^l5. '^\. ^S. Pf¥^. W~m ±rm. ;>* r. "p. ^s. #g^#. JuJ^. iJ. ^m ^ ^^ as ^^. ^. |S 13.. Allegretto con. moto. Study Stephen Heller. ^m. 'pm. v>a {Tit yâ CJ. *^F^ i. ^. LL-LLT. ^ hî^ il ^^. ^= CJ. '. CJ. ^. ?^=p. TRANSPOSITION. C^H. f. ^. g. 3. -^. C^gJif. fc*. DJ. ^. CJ. s. 89.

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(103) CHAPTER THIRTEEN. Transposition. a. Down. Whole. Step. When a soloist on a B\) instrument plays from the same piano score as the accompanist, the accompanist must transpose the keyboard part. down a whole. step.. The B\). instruments involved in this transposition. are: B\) clarinet. Bass clarinet. Transposition. down. a. B\). trumpet or cornet. B\). tenor saxophone. whole. step, like the intervals of transposition dis-. cussed in preceding chapters,. is. also frequently indicated for solo or. ensemble vocal music. Four-part music, analysis in terms of. as well as. much. three-part music, often requires. chord structure and harmonic progression,. to analysis in terms of the interval, scale. discussed in Chapter 12. line, is. Note. in addition. and broken-chord complexes. in the following. example. how. the. melody. while analyzable exclusively in terms of scale and interval complexes,. also. —. at the. points of rhythmic stress. —included. in. the. harmonic. analysis.. 91.

(104) EXAMPLE 42(A). ANALYSIS IN TERMS OF CHORD STRUCTURE AND HARMONIC PROGRESSION, AS WELL AS SCALE AND INTERVAL COMPLEXES; F MAJOR.. Song Without Words Mendelssohn. Felix Scale. Scale. Scale. (doubled 3rd). half -cade nee. In Example 42 (a) above the analysis recognizes:. The The. unusual doubling in the first chord; appoggiatura in the second chord;. Other non-harmonic tones;. The. The more. traditional half-cadence formula.. more accurate. detailed the analysis of the original example, the. the transposition. which. will result.. EXAMPLE 42(b). TRANSPOSITION DOWN A WHOLE STEP TO. MAJOR. Scale. Scale. Scale. 1. I. ffe^. 5.. 4. >) r. 3. 2. I. 7. T. J'. J. j. J. j. -B-. y^Ff. ¥ iv6. I. (doubled 3rd). 4. J. i. Maj.3rd. Perf 5th. Ek:. Eb. vi/v. ±=£ r J*.. J. half -cadence. Doubling, spacing, chord position and chord inversion are important elements for giving insight into the harmonic nature of In Example 43 (a) following. we. length built entirely on the. I. many. passages.. find a musical statement of considerable. chord in the key of B^ major. Note the. following: (1). The melody, beginning on up. (2). to the fifth, octave,. The. bass line. the third of the chord, ascends. and higher. shows root. by skipping. third;. position, first inversion, root position again. and. finally the second inversion;. 92. TRANSPOSITION.

(105) (3). Movement from measure one. to measure. two. is. effected. by. the outside. voices (bass and soprano) ascending in skips of thirds, while the inside voices (alto and tenor) hold the same notes;. end of the excerpt the bass skips down the contwo upper voices (soprano and alto) skip up in the same manner; (5) The tenor holds the same note (the fifth of the key) throughout the. (4). From. this point to the. secutive notes of the B\y chord, and the. entire passage;. (6) All doublings are (a). commonly used. Root. ones:. position chords double the root;. (b) First inversion chord doubles the fifth; (c). Second inversion chord doubles the. fifth.. EXAMPLE 43(a). EXCERPT SUSCEPTIBLE TO ANALYSIS IN TERMS OF DOUBLING, CHORD POSITION AND CHORD INVERSION; Bb MAJOR.. SPAC-. ING,. Larghetto Franz Kuhlau Soprano. EXAMPLE 43(b). TRANSPOSITION DOWN A WHOLE STEP TO Soprano. pm. Alto. Tenor holds. >. 3. i. w,>H. Bass. Ab. MAJOR.. uu P^ J. P^P in!. At:. A. two-part texture will often imply three-part harmony. Quicker. and more accurate reading and transposition are possible when such a passage. is. read "harmonically" rather than as. TRANSPOSITION. two. lines of single notes.. 93.

(106) EXAMPLE 44(a). ORIGINAL EXCERPT WRITTEN. TWO MELODIC. AS. PARTS.. Melody Robert Schumann. v r. r. r. r. 3^ ^m EXAMPLE 44(B). EXAMPLE 44(a) CONVERTED TO THE IMPLIED THREE-PART HARMONY.. r. „. ^. r. ^ IV. C:. I. v. 6. 3. (chord 3rd omitted). EXAMPLE 44(c). EXAMPLE 44(b) TRANSPOSED DOWN A WHOLE STEP TO. m IV. mm I. 6. EXAMPLE 44(d). EXAMPLE 44(c) FIGURED. U. 94. '. 1 1. MAJOR.. ^m. V=e=i. b'v. Bb. r. r. "3 (chord 3rd omitted). IN. THE. NEW. r. m. KEY.. PTJ'J TRANSPOSITION.

(107) In a similar manner, a two-part texture often implies four-part. harmony,. as in. Example 45 (a) following.. EXAMPLE 45(a). ORIGINAL EXCERPT WRITTEN. TWO MELODIC. AS. PARTS.. Invention. Johann Sebastian Bach. 9<-. ji. ^. r. EXAMPLE 45(b). EXAMPLE 45(a) CONVERTED TO THE IMPLIED FOUR-PART HARMONY.. jui. 'I. m A. minor:. .. r. Suspension. m .. I. EXAMPLE 45(c). EXAMPLE 45(b) TRANSPOSED DOWN A WHOLE STEP TO G MINOR.. G minor:. I. EXAMPLE 45(d). EXAMPLE 45(c) FIGURED. ftv. 7. IN. THE. NEW. KEY.. jTi fjTl. » y*-ft^ EEE^. TRANSPOSITION. 95.

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