108 Exercises in Harmonisation

OWNERS AND SOLE SELLING AGENTS WILLIAM ELKIN MUSIC SERVICES DEACON HOUSE, BRUNDALL, NORWICH ENGLAND

HAROLD B. LEE LIBRARY BRIGHAM YOUNG UNIVERSITY PROVO. UTAH

^ too

108

EXERCISES IN

HARMONISATION Melodies & Basses]

(

WILLIAM LOVELOCK D.

MUS.(LONDJ

WILLIAM ELKIN MUSIC SERVICES, DEACON HOUSE, BRUNDALL, NORWICH ENGLAND

}

Ik/ l

FOREWORD

This booklet has been designed especially for candidates

The entering for the diplomas of L.R. A. M. and A.T. C.L. paper work of both these examinations includes a certain amount of harmonisation of melodies and basses and it is hoped that the present publication will provide useful material of the correct standard.

A knowledge of Harmony up to and including

the dominant

and simple suspensions (as needed for the examinations) is assumed. The notes appended to some of the exercises may draw attention to important points which, in 7th, passing notes

the experience of examiners, are frequently overlooked.

The

exercises should also be found useful as extra material

Harmony, apart from examination work. If the student can work them satisfactorily with the comparatively elementary chord bases needed, more advanced at various stages in the study of

methods of harmonization should present writer feels that

it is

little difficulty.

The

impossible to lay too strong a foundation

in the earlier stages, and the

more material there

is

available

for this, the better.

&& W& PROVO, UTAH

I.

Melodies without modulation r»<

o

For four voices

(S.A.T.B.)

TTir?'' L >' J

i

(a)

(b)

r

i

J

''rKrrrT

ir

Note the sequence, which must be harmonised entirely sequentially. Avoid a direct perfect cadeuce here _ use Vllb - lb.

2

4'i'tir fa)

(a)

(a)

(b)

r

r to

r

r

1c/ilrr

r

^^

r

#

fi 1

r 1

cfTr

i

j

fl i

r r

i

r

r

f9^

Avoid a direct perfect cadence «. use either inverted perfect, or interrupted. Half close, strong to weak; use J 3 on the dominant.

Passing notes. N. B. It is never advisable to harmonise isolated quavers, approached and quitted by step, with separate chords. Treat them as unessential notes. Note use of melodic minor scale descending. The final note of the bracket must be har-

monised

(a)

i [jtt^-i

Avoid a direct perfect cadence here.

^r

fffo (b)

i

to contain

a

Cjf.

Keep up movement by means of a suspension. N.B. For movement at a cadence always prefer a suspension (if possible) to anything else. It gives greater strength, and a better feeling of progression onwards.

Copyright

(a)

Accented auxiliary no te_ the following E? is the harmony note. N. B. The bracket ted is of common appearance, two leading notes with a lower auxiliary between.

The best harmonisation

mm ?

1

fie

re

is:-

i 4

V (b)

Sr

V?d

lb

This'stock" treatment should be memorised for use in all such cases. Accented passing note, the following B is the harmony note. In a descending scalic pasi as uaessential. The bracketted figure

(a) (4 J

m

13 |i

i

fli

^iQ^

fiT ftiiiLU

i

iiirui p

f i

nti

in i

is

common enough in a

4

\,

'i-rcr|£,' p trTr

I

i

Let this F become a suspension on the dot.

(a)

14

pi Use

(a)

III

i g

r

i

rrr^T

U here as a substitute for

rrJi

i

|

^njjfi [ij> i

18

H (o)

19

r

i

j

r

'

r

i

r r r

f

j-OjT

i

j,

i

n

n

1

1

(S.A.B)

a

1

1

iiyi i

gj

Note of anticipation— unessential.

a

4 (a)

i

mm^^

For three voices

i

'rr

V.

16

^iiti

,i i

See

Co)

i

cjr rit|

No. 6.

i^icrr

r

i

^^nrrfc/Tf

»

'

21

I'hf

J

J

J

I

J

IJ.

,j

JJ

(Tf

I

f-

j

I

,

r

l

,i

I

l

,

(a) (a)

Treat as a retardation,

i.e.

an upward

resolving: suspension.

22

j^'art;

Cu>

icw^

^

grir pt/tftficr rf 'gf Lr

Accented passing' note.

24 1

Ji

,ii

^ (a)

rii

'I,

a

i

^

i

rnn' TrrfrcfiJ^i'HJJijJ i

nyj n 1 1^^ i

irppi

1

i

i

Suspension over tonic harmony.

27

fr^rrr 1 1 1

2H ^'i'iI;.

i

flJnrjJ

SP I

J'l^jjlf

i

ni^i

flJ

Cj"

I

1

i

h

i.

Ljf

i

'

k£jj4^^?

I

J '

r

(a) (b)

Suspension. Passing note.

(a)

Treat this G as a passing note

(a)

II.

(b)

Basses without modulation For four voices

(S.A.T. b.)

32

aH'MM Use a J

(a)

*

flu T)

i

here, to keep up the

rr

l

^J

J

J

I

p

p

movement

34

SB 35

r»r if'Pf

^^

(a)

Use suspensions

(a)

This

is

g

pi J-

to

J

jp

r

i

J

r

j

ifjfp^

irTf?,'

(a)

in No. 6.

The chord basis

is:-

m *rW i

Vb

Memorise as a stock harmonisation.

F

—

3CE

keep movement. Note also the sequence bars 3 and

the inversion of

If-

'

4.

ll

r

38

si

i

LC fj-iUf -

e

r

g

irj^

lcj^-f

8

r

p

r

39

y'lrr

rjic/J T|

if

n

ii

i

n

ij

'i

j

i

Passing note. Let an upper fart move in parallel 3rds with bass.

(a)

Note chord basis:-

i

&f m I 41

Mr

'*

r r

b

Cr r r J i

Suspension.

(a)

P*f

or

A-

?»

I

gg

: F*ff i .i

r;i r

1

j"3J

J

i g

rijr

cjt

I

r-

i

42

* tttC]7 JJ

|

JjJJ

i't

^c/r

i

r

i

r

j

Tj

,

e

43

2

S^ ^

'm^j^"j^

J

nr'prr

>p

J J

uflj'

iifTTTnTj lill n

ir

i

M^TTp

For three voices

(a)

See

(a)

in No.

(S.A.B.)

40

48

"hnfTi^rTi^r^'Lrrr'r*

wJl^r7

"y tf

i

J r~~

ii

^-f iTiTi fi n i>rr Ti

53

'-"iM

N C jCf

Lrp .n

i

0-*-

ur^MJj

i

gg p u

r

^

rcj

i

rj

u.

i

^

tf f

r r

ip

54

yVv'Prr

J J

i

»r

J

'

-^

'

r

J

-

si nr

55

^Efirtrir-pf

j

ji i

i

j,

i

ji

r

i

J J

-

J 1

'

J

g

^

M -

|

|

8 56

wr'frQjU "itffLrn^

J)*

tritfTfTi

58

m

59

i

ij

pi

1

1

—^

^-

\(jj

J>J

>

JT1 ^jjf r

tjiP^r cji^H} i i

CLfV

r-

pi

^

^_

'

r

^

^

i

i

'[Hi a

Melodies with modulation

III.

For four voices

rr rrJfl 11 i

Jl

ii

JnJ^Trrf J

r rf'-l

U

(S. A.T. B.)

(a)

(b)

U

i

J^

r

J

m

-TJ J

i,l

ii

I

$ 3 on dominant for the strong to weak half-close. The Aft shows B minor. Use an inverted perfect cadence here, to avoid finality. N.B A direct perfect cadence in a new key should only be used at a central modulation. Any other modulation should be made by means of an inverted or (less frequently) interrupted (a) (b)

cadence. Note also the sequence, which must be carried out in all parts.

62

tm

r

' j i

m

j

mw

(a)

Accented auxiliary note.

(a)

A.T. B. enter here. Direct cadence in B flat major. Inverted cadence in A flat major. The same, sequentially in P minor.

(b) (c)

(d)

m=W jj

r

r j

|

gp fa)

j

i

j.

ii

(a)

B minor.

(b)

A.T. B. enter on

2nd beat of the bar.

65

n n iri'iu

l

shows

minor. It is in sequence with Co) which major. Use inverted cadences in both cases.

(a)

The

(b)

is

(a)

Accented auxiliary note.

F|)

therefore in

^i'iricrf^rcf^^"

this to be in E\>

67

4i n ^

(a)

j

i

^

JrJ.JrlJJJfnrfrrfJT.l.r (a)

. .

M

\

(h)

A.T. B. enter here. (a) No. 6.

(o)

See

(c)

Suspensions.

(rf)

(e)

(cT^T W (rf )

iii

r

rJ.J iPr '

r

is

the

a 3rd higher.

^Jr?fJJ U

'

Accented passing note. Appoggiatura; the following B

is

(c)(e)

harmony note

68

gBpj

" i

i

r

cj cj

r'

j

e

-

j

i

i

j

jE minor,

j

69

m;u (a)

J i

f

i

J)

J

Use &§ on E bass- the "Neapolitan Note also the suspensions.

i

u

6th',

i

mm

j J

i

-'

u

-&-*

'i

I

For three voices 7S

it'»f HT1 |

J J

tr

l

(S. A.B.)

p

iftjf>

*Ef.ft?i

nJ

l

1

1

1

1

j

I

I

f

76

44*1

r

h

fl

i

)

i

if

fjfl

i

n.rj

J] i

|

1

1

iff)

1

j

1

1

pip

77

n,nn n irn Lijiij ,

j

ii

i

i

m niujT

y^^rttr^ (a) (b)

Use the Neapolitan 6th (see Accented passing note.

0)

79

jiVii (o)

i

l3 ^7'ri

i

c

jri[

Accented passing note

80

Wivi Mfuu

i

f

i

J.

ECf

p

i

^^

(a)

(a) No. 70). 70)

j

r

i

f

i

pniUPJ

pi

J'j

j

i

mn

g u-U

i

# 11

82 jj'^T

I

j'lu

QrJUl,

1'iil

iiJ'lJ^^

I

D major (a) (b)

jcj

i

LCfLr

l

r

. j

B enter on 2nd quaver. Accented passing note.

A

8c

IV Basses with modulation For four voices

86

N

(S.

A.T. B.)

^

„

ft) (a)

A leap of a diminished 5th upwards

is

best taken as from 3rd to 7th of

The chord basis

is

same

chord.

thus:-

v^UM-^ V

87

ntfJJj

i

J.

nr r

if

rrrrJ

Vb V?d

lb

a^^ p

88

^

^IiJi,j34

ju

rr

i

»-#

r^JHr IN

-*—

&

12

89

f) iTJj

i

i

np

r-i

,

l

"

'

iTP

i'

i

f

ji7

i

»

,

LcJj'LLJ 9

h^^M-^:^~^'

Or

^rlxfT^-^^nf

1

»J

J''

mtTTT.i

^

il/^jInl/ljTiTJ

a

93

Fjj

^rt'f

'

i

r J J

gTPi

HjUTTir

i ,

rr

i

pp

'fTTflf

tjifJJ

J

(a)

i

^

j i-^ tTTj

r

A leap of a minor 7th upwards

r

1

M nTnTr

For three voices

"sjOXr

mia j

1

n J TT;

tjifTrTJ

(S.A.B.)

rfipP(ill|

is best treated

i

as from root to 7th of same chord.

3

i

13

100

nitfri

r r

r?r ncltrrr

i

v^j

ffij^

102

*iHh±r

p

i

r

r

r J-

i

cin/J

-'.",,'innJ

i

rr

«

f

f

r

^

wHtHi Lr

^

Hi

cfC f?f

i |

fl

cJiJ

r

i

r

g

i

'

^

iJ

i

f]

r

r

in all parts.

|JHJ] J7ji] I

f

r

Lj^Pi j^hSbpp=

106

**tf Mr

r'

j

*

'

i

^

T JhUt^J

Note the cross rhythm sequence, to be carried out

104

(a)

P

^

10a

(a)

r

-i^—t"r

r f

Mr

"

n gn

r

*r

Tr

Use the Neapolitan 6th.

107

^i^mrj

ThjmjtT}

rr

i

LJ/r y

a^Tj

i

d^Ltf^

fjlf^crugf Printed

in

Great Britain by Galliard (Printers) Ltd Great Yarmouth

SUPPLEMENTARY EXERCISES FIRST

.

YEAR HARMONY BY

WILLIAM D

This

work

LOVELOCK

Hut. (Lond.)

has been written In response to

further material for

use

In

many requests

for

connection with First Year Harmony

Additional exercises have been provided to most of the chapters,

and have been original

carefully

adapted

to

fit

In

with

those

work.

WILLIAM ELKIN MUSIC SERVICES, DEACON HOUSE, BRUNDALL, NORWICH ENGLAND

In

the

BRIGHAM YOUNG UNIVERSITY

3 1197 22684 3123

Date Due All library items are subject to recall at

JAN 2

3

ffi

Brigham Young University

any time.

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