THE

HARP PRELUDIST;

COMPRISING,

SIXTEEN LESSONS,

EXPLANATIONS OF THE CHORDS. AND ALL THE RULES OF HARMONY,
INDISPENSABLE TO THE ART OP

EXTEMPORANEOUS PRELUDING,

IN SO NEW, CLEAR, AND CONCISE A MANNER, AS, IN

A SHORT TIME,

TO QUALIFY THE DILIGENT PUPIL TO

PRELUDE ON THE HARP

WITH ABILITY AND EFFECT;

THE WHOI.E ILLUSTRATED BY

NUMEROUS EXAMPLES,

TO WHICH

(FOR THE USE OF PROFESSORS, AND AS A GUIDE FOR SELF-INSTRUCTORS)

IS ATTACHED AN

EXPLANATORY APPENDAGE,

N. CH. B O C H s A.

LONDON:

PUBLISHED BY GOULDING AND D\'ALMAINE, 20, SOHO-SQUARE,

MUSIC SELLERS, PUBLISHERS, AND MANUFACTURERS OF EVERY
DESCRIPTION OF MUSICAL INSTRUMENTS.

PRICE EIGHTEEN SHILLINGS.

LONDON !
PRIN-J\'KI) HY WIT.LIAM Cf,OWKS,
Starafoitl Street.

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PREFACE.

The Harp being an instrument which, like the Organ and Piano-Forte,
has the power of combining its sounds at the pleasure of the performer,
and producing harmony, it has long been regretted, that hitherto no
work has appeared by which Harp-players might qualify themselves as
Preludists.

This has induced the Author to present them with a book designed to
supply that desideratum, which, as involving a knowledge of the Chords
and Modulation, may be said to possess a twofold value.

Perpetually reminded, by experience, of the diffidence and backwardness

of many Amateurs, especially Ladies, to encounter the dryness of the study

of Harmony, he has been careful to avoid whatever might border on

pedantry, or any abstruseness or profundity not actually necessary to the
0

limited object of the work, and the Preludist\'s proficiency.

By a new, clear, and comprehensive system, he has endeavoured to
combine the advantages of an easy mode of Tuition, and, in case of emer-
gency, of enabling the Pupil to profit even by self-instruction.

PREFACE.

Divided into periodical Lessons, and bringing into closer contact
the minds of Master and Pupil (in the manner of the Author\'s First
Six Weehs, which has been so favourably received), this Work^ aided,
too, as it is by its accompanying Appendage, will prove sufficient to
ensure a sound and certain progress, and to place the Pupil in the shortest
road to excellence.

It ought to be noticed, that this Work is intended for Practitioners who
have made some progress on the Harp.

THE

HARP PRELUDIST.

FIRST LESSON.

The Master will begin, by explaining to his Pupil the Seven Primitive Intervals, which
may be said to form the materials of harmony. These intervals consist of the distances
between any two notes, or sounds, of the Diatonic Scale, (that is, the natural scale of any
key,) reckoning from the lowest of those sounds ; as in the following Example

The Seven Primitive Intervals.

Interval of the Interval of the Interval of the Interval of the Interval of the

Second. Third. Fourth. Fifth. Sixth. Seventh. Octave, or Eighth.

-Ö-

By this, the Pupil will understand, that the first of these intervals, formed by C, (the first
note of the scale,) followed by D, is called the interval of the second; that the next
interval, formed by C, followed by E, is called the interval of the third; that the
succeeding interval, formed by C, followed by F, is called the interval of the fourth ; and
so of the remaining primitive intervals.

To familiarize these intervals to the mind of the Scholar, the Tutor will direct him to
write them in a separate book, in the same order, and in all the different major keys ; that

&c. &c., to that with seven sharps;

and from the key with one flat, (F)

The Master, by comparing No. 1 of the Examplary Appendage to this work, (which
he should always have at hand,) with what the Pupil has written, will ascertain how far it is
correct. He will afterwards teach him to invert the seven primitive intervals ; that is to
say, will show him how to change the position of the reckoning notes; and to count
downward from that note, instead of upward, as in the former case.

Example of Inverted Intervals.

Interval of the
Seventh.

Interval of the Interval of the Interval of the Interval of Ike
Sixth. Fifth. Fourth. Third.

Interval of the
Second.

B

THE HA.RP PRELUDIST. 2

Here it will be obvious that C, D, the interval of the seventh, is the inversion of the
former C, D, or interval of the second, (see first Example) ; that C, E, the interval of
the sixth, is the inversion of the former C, E, or interval of the third; that C, F, the
interval of the Jifth, is the inversion of the former C, F, or interval of the fourth ; that
C, G, the Interval of the fourth, is the inversion of the former C, G, or interval of the
Jifth ; that C, A, the interval of the third, is the inversion of the former C, A, or interval
of the sixth; and that C, B, the interval of the second, is the inversion of the former
C, B, or interval of the seventh. The following Example will still more clearly show what
has been described.

Example of Intervals, with their respective Inversions.

2nd. Srd. 4th. 5th. 6th. 7th. Sth.

7th.

6th.

5th.

4th.

3rd.

2nd.

Unison.

The Pupil, having written down the inverted intervals, in all the different major keys,
under the seven original intervals, as above, the Master, after seeing that they are correct,
by consulting No. 2, in the Eocamplary Appendage, will put his memory to the test, by
questioning him respecting the several inversions; that is, by asking him. What is the
inversion of a second ? of a third ? of a fourth ? &c. &c.

It is proper here to observe, that the epithet primitive, applied to the first seven
intervals, has been employed to distinguish them as the original sounds ; serving to form
the only proper unions, or harmonic combinations or chords. The intervals above this
primitive octave are only replicates of the former, and are called the ninth, the tenth, the
eleventh, &c. &c. &c., as shown by the next Example.

SECOND LESSON.

The Pupil having recapitulated the above instructions to his Master, he will apprize him,
that the seven primitive intervals may be divided into Concords and Discoi-ds; that the
first of these consist of those intervals which are harmonious and agreeable to the ear,
and that they may be given without any preparation or resolution—that is, without being
preceded or followed by other combinations ; while discords, which are unharmonious
unions, require to be prepared and resolved; that is, to be preceded and followed by other
combinations. The intervals which form concords, are the third, the fourth, the fifth,
the siscth, and the eighth, or octave.

3id.

4th.

5th.

6th.

Octave.

Example.

THE HA.RP PRELUDIST. 3

The mtervals which form discords, are the second and the seventh.

2nd, 7tL.

Here the Master, the more strongly to impress the ear of his Pupil with the beauties
of concords, and the comparative harshness of discords, will cause him to repeat on the
harp the following combinations :—

Concords.

Discords.

1

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Discords, which are prepared and resolved by Concords.

-w-•--m-s-1—r--r—--a--T--T-

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After this exercise, it will be proper to explain to the Practitioner, that the consonant
intervals, or concords, may be divided into perfect and imperfect.

The perfect concords are those which are not subject to any change or alteration,
either in the major or minor mode. For Example :

— and the octave

The following Example shows, that in both the major and the minor modes these two
intervals are the same.

Major Mode.

Minor Mode.

The interval of the fourth also, though less perfect than that of the fifth, is the same
in both the modes, being the inversion of 2i fifth; and may be called a semi-perfect concord.

The imperfect concords are intervals which are subject to changes or mutations in
the different modes, as,

Major Mode. Minor Mode.

and the sixth

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The discords, by their very nature, are always imperfect.

The Master will conclude this second lesson by directing the Pupil to write, from
memory, the above explanatory Examples of perfect and imperfect concords, and also of
the discords.

THE HA.RP PRELUDIST. 4

THIRD LESSON

The better to prepare his Pupil for the more intricate particulars to which he is now
advancing, the Tutor will commence this Lesson, by examining him on the principal points
which have already engaged his attention. He will then proceed to inform him, that the
various primitive intervals are necessarily subject to other changes or alterations (both by
extensions and contractions) in order to furnish the means of modulating from one key to
another; without which means, there would only be the power of producing abrupt
and arbitrary transitions.

Examples.

Modulated Transition.

as«

I

Modulated Transition.

-C3--n-—

-0-

By the annexed table, it will be perceived, that each of the seven primitive intervals
takes three different forms.

1st. As a minor second, C and D flat; being half a tone.

2d. As a major second, C and D natural; forming a whole tone.

3d. As an augmented second, C and D # ; constituting a tone and a half.

1st. As a diminished third, C jj: and E b ; being two half tones.

2d. As a minor third, . . . being one tone and a half.

3d. As a major third, . . . being two tones.

1st. As a diminished fourth ; being a tone and two half tones.

2d. As a regular fourth ; being two tones and a half tone.

3d, As an augmented fourth ; being three tones.

1st. As a diminished fifth; being two tones and two half tones.

2d. As a regular or perfect fifth ; being three tones and half a tone.

3d. As an augmented fifth ; being three tones and two halftones.

1st. As a minor sixth ; being three tones and two half tones.

2d, As a major sixth ; being four tones and one half tone.

3d. As an augmented sixth ; being four tones and two half tones.

1st. As a diminished seventh ; being three tones and three half tones.

2d. As a minor seventh ; being four tones and two half tones.

3d. As a major seventh ; being five tones and one half tone.

Table of varied Intervals, with their Inversions.

Diminished 3rd.

Minor 3rd.

Major 3rd.

THE HARP PRELUDIST.

Diminished Atih. Regular Axh. Augmented ith.

Regular 5th. Diminished 5th.

Diminished 5th. Regular 5th. Augmented 5th.

Major 7th.

It is particularly necessary that the Pupil should commit to paper the above Table, in
all the different major keys; and that the Master should satisfy himself that it accords
with No. 3 of the Eooamplary Appendage.

It is also to be observed, and kept in mind, that regularly, as the intervals are
diminished between the lower or reckoning note, and the note above it, so in the inversions
the intervals are augmented between the upper or reckoning note, and the notes below
it; that is to say, as in the one order of intervals half a tone is lost, so in the other order
half a tone is gained.

Primitive
Diminished Interval,

Inverted
Augmented Interval.

Here it is obvious, that as in No. 1 the note E is brought half a tone nearer to the C
by the flat, it is, by consequence, carried half a note further from the C above it. So as in
No. 2, the note C is brought half a note nearer to the l^flat, by the sharp, it is of course
carried half a tone further from the E below it. The same rules apply to all the other
intervals.

FOURTH LESSON.

Now that the Scholar is acquainted with the order and properties of the intervals of the
scale, and their relations and bearings, the Master will proceed to connect them, and to
exhibit the various chords they contribute to form. A chord, like the intervals of which
it consists, is consonant or dissonant ; that is to say, if the chord consist of the consonant
intervals of the third, fifth, and eighth, it is a consonant chord ; and when the intervals
include the dissonances of the second and the seventh, it is a dissonant chord.

Dissonant Chord.
--e>—---

C

THE HA.RP PRELUDIST. 6

There is only one species of consonant chords, which is called the common or
perfect chord; it is originally founded on a key note, and will be major or minor,
according to the mode. When the mode is major, it is composed of a major third and

C Major.

z when minor, it consists of a minor
third and regular fifth.

The chords, like the intervals of which they consist, may be inverted ; and the Pupil
will be apprized that the common, or perfect major chord, may assume three different
forms or positions, thus :—

2nd Form, or Position.

$
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The second form or position is composed of a minor third and minor sixth; and the
third form or position, of a regular fourth and major sixth. The names generally given
to these different positions are—for the first, that of common chord; for its second position
(or first inversion), that of the chord of the third and sixth; and for the third position
(or second inversion), that of the chord of the fourth and sixth: always observing the
rule of reckoning from the lowest note—all good harmony being derived from the bass.

The Master will here direct his Pupil to write down the common major chord on the
key note, with its different positions, in every major key, with duplicates of which, in the
Examplary Appendage, No. 4, he will compare them ; and afterwards, he will inform
the Pupil, that, besides the key-note, there are other notes in a major scale, upon which,
without changing the key—that is to say, without introducing any accidental sharp or flat
—the common major chord may be constructed.

Example.

By this Example the Pupil will perceive, that major common chords may be also
constructed upon the fourth and the fifth note of the diatonic scale, because they both
contain the interval of a major third; whereas, were the chord taken on the note D or E,
or A or B, the third would be minor, and, consequently, not form a major common chord.

Minor 3rd.

P

The attentive Pupil is now acquainted with three major common chords in one key,
which, together with their three respective positions (be it understood, that the common
chords on the fourth and the fifth notes have also their three inversions), make nine
different combinations. These will enable him" to make his first essays in Preluding;
further instructions in which will be given in the next Lesson.

THE HARP PRELUDIST.

Example of the Three Common Major Chords formed in a Major Diatonic

Scale, with their different Inversions.

Major Common Chord.

3

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Major CommoTi Chord.

3

1

2

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4th Note
of the Key,

Major Common Chord.
. 2 "

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5th Note
of the Key.

This last Example the Pupil will copy in every major key ; which, when done, the
Master, of course, will compare with No. 5, in the Appendage.

FIFTH LESSON.

This Lesson, one of the most important in the work, will begin by the Master apprizing
the Pupil, that, to prevent the ambiguity and confusion that might arise from employing
the letters C, D, E, F, or any other of the scale of C, in speaking of intervals or chords,
when, in future, the subject concerns the generality of keys, and not any one in particular,
he must call the seven notes of a scale, whatever the key may be, by the following
appellations :—

Tonic—the key-note, or first note of a scale.

Super-Tonic—second note of a scale.

Mediant—third note of a scale.

Suh-Dominant—fourth note of a scale.

Dominant—fifth note of à scale.

Super-Dominant—sixth note of a scale.

Leading or sensible iVo^e—seventh note of a scale—(so called, because it leads to, and
makes the ear sensible of, the key, as will hereafter be seen).

The Tutor will now explain what is called the Fundamental Bass, or Generating
Sound of a Chord. It is the notes upon which the three common chords which are to
be found in a scale are constructed, namely, the tonic, the sub-dominant, the dominant ;
and it remains the same, whatever may be the chord\'s position. That importance is given
to those three bass notes, as these are really the root of all harmony.

Examples.

1st.

2nd.

3rd.

Fundamental Bass, or Generating Sound. Fundamental Bass, or Generating Sound. Fundamental Bass, or Generating Sound.

It is to be remarked, that though these chords are in themselves fundamentals, yet,
as relating to the scale of C, the chord of F is called " the chord of the sub-dominant,"
and the chord of G, " the chord of the dominant.\'\'

It is of consequence that the Pupil should pay attention to this, since, without the
thorough understanding of the Fundamental Bass, he will not easily find his way among

THE HA.RP PRELUDIST. 1846

8

the intricacies of the various inversions of chords, to which, in the course of this work,
he will have to attend.

The Pupil, having sufficiently studied these particulars, his Instructor will proceed to
prepare him for practically employing the chords which have been already explained ;
and thus to qualify him to enter upon some short diatonic Preludes.

He will first direct him to construct and write harmonies, or upper parts, upon the
following fundamental bass notes, viz., a Tonic, a Sub-dominant, a Tonic and Domi-
nant, finishing with a Tonic.

Fundamentat.
Bass Notbs.

Tonic.

Tonic,

Tonic.

The Pupil will perceive that these fundamental bass notes are the generating sounds of
the major common chords, to be found in the diatonic scale of C, and which have been
lately explained.

Probably the Pupil, in his endeavour to supply the harmonies of these fundamentals,
might think it right to fill them up in the following manner :—

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But this would be wrong, for the following very important reasons :—First, because the
situations of the upper parts, which ought to have melody and connexion, should follow
each other as evenly, closely, and smoothly to the ear as possible; retaining in each
harmony such note or notes of the former chord as constitute any part of it, and the
upper note of the first chord should be the key-note. Secondly, because it involves
the gross error of a continuity of perfect or regular fifths, between the bass notes and
the upper note of each chord: as between C and G in the first bar; F and C in the second
bar; C and G in the third bar; G and D in the fourth bar; and C and G in the fifth
bar; which succession of fifths is absolutely forbidden, as also a continuity of fifths
between any two parts in harmony; because, in almost all cases, they are inadmissibly
olfensive to the ear, presenting to it unconnected combinations.

Thirdly, because continuities of eighths, or octaves, are also out of rule, as being only
duplicates of each other; while, in compositions of two, three, or four parts, each part
should be a distinct, or what musicians call a real part. But if any one of them is an
octave, or the mere doubling of some other parts, it, as it were, makes one part of two ;

THE HA.RP PRELUDIST. 9

and the number of parts may thus be said to be reduced. Therefore the Pupil will
perceive, that the foregoing Example is wrong, as containing continuities of octaves
between the bass notes and the lowest notes of the upper parts : as between C and C, in
the first bar; F and F, in the second bar; C and C in the third bar ; G and G, in the
fourth bar; and C and C in the fifth bar: on account of which, though the Example is
apparently in four parts, it is really only in three. However, notwithstanding this, to
produce certain effects, continuity of octaves are not unfi-equently employed and allowed.
These are cases which will be hereafter explained.

Fourthly, because, when the sensible, or leading, note is followed by the chord of
the tonic, it should invariably pass to the tonic; whereas, in the fourth bar of the
Example, the B, that is, the leading note, falls to the G.

Leading
Note.

Tonic.

The four above reasons are to be considered by the Pupil as fixed and invariable rules
in the formation of harmony. The following Example, as a correction of the above, will
show how its faults may be avoided.

The Tutor will now direct the Pupil" to try this series of chords on his harp ; and if,
in playing them, he adds to the single bass notes their full and sonorous octaves below,
he will obtain a superior effect.

This succession of octaves does not violate any rule of harmony; the notes, thus
added to the simple bass, being considered only as the corroboration of the harmony,
in the same manner as the double bass, in an orchestra, strengthens the part of the violon-
cello, and improves the general effect, without having any particular share as a constituent
portion of the harmony. On the same principle of giving additional force to any parti-
cular part, the upper notes of the melody may be doubled, without infringing the laws
of harmony.

Allowed.

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10

THE HARP PRELUDIST.

But the pupil is to be cautioned against attempting to double the notes of the melody
in any of the following exercises. It is better that he should wait till his taste has been
tolerably formed by the knowledge he is proceeding to acquire; especially as, in completing
a chord, four parts, inclusive of the bass, supply the most perfect harmony.

The Tutor will here place on the Pupil\'s desk the following bass subject, which he
will consider as the ground-work of an exercise; and which he may also regard as one of
the first steps towards extemporary Preluding :—

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This consists of a tonic, a suh-dominant, two successive dominants, and a final tonic.

The Master will require him to perform spontaneously, with the right hand, three
distinct or real parts, while the left hand strikes the above ground-work, or bass.

It is now time to give the upper parts, which are constructed upon the bass, and
form the super-incumbent harmony, their appropriate and distinguishing names. The
highest of these is called Melody ; the second, the upper intermediate part; the third, the
under intermediate part ; and if there be a fourth, it is the lowest intermediate part.

The Pupil, in this new and arduous stage of his progress, will, for the two first bars,
be guided by the late examples, they being similar, and, consequently, calculated to
facilitate his efforts. In the third bar (G) he will play the chord of the fourth and sixth.

or third position of the common chord of C ;

-Ö-

sub-dominant F with this G, than if he passed abruptly from the chord of F to the chord
of G, which would be the consequence of giving that last chord to the first G; and by
this, the advantage will be acquired of retaining one of the notes of the former chord (C),
and thereby smoothing the way to the chord of the dominant, and abiding by a rule
already laid down, (see page 8.) This must be well imprinted on the PupiFs mind.

It will not fail to be useful to the Pupil, if the Master questions him upon the nature
and properties of every chord as he strikes it. By referring to No. 6 of the Appendage,
the latter will readily ascertain how far the Scholar has succeeded in his task; and will
conclude this Lesson, by requiring him to be prepared to repeat in the next his little
Prelude, in all the different major keys.

SIXTH LESSON.

Hearing his Pupil play his Prelude, in all the different major keys, the Master, having at
the same time No. 7 of the Appendage before him, will instantly perceive whether he is
correct. After this, he will proceed to instruct him how to throw more variety into his
Preluding performances, by the aid of new combinations, derived from the chords he
already knows. He will explain to him, that every note of a chord may be used as the
bass of that chord, whatever may be its position or inversion: as E or G may be the
bass of the chord of C a ; or C the bass of the chord of F; B and D as the bass of the

THE HA.RP PRELUDIST. U

chord of G; of course the fundamental hass still remains in principle. (See the last
Lesson, page 7.)

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Fundamental Bass.

In employing these inverted basses, care must be taken not to double them in the
upper parts ; such doubling being allowed only when the bass is fundamental. (See the
above Example.)

Before giving^ the Pupil new basses to harmonize, in which both inverted and
fundamental basses are introduced, the Tutor will earnestly recommend him to refer to
and further consider the whole of what has been said in the Fifth Lesson and in this;
as it requires the full possession of the rules there given, to qualify him for clearly
comprehending and executing the approaching Exercises. The following table, con-
sisting of what is good and what is to be avoided, will, if properly studied, render the
Practitioner still better acquainted with those rules :—

Good.

iq:

Ö—"—

Bad.

Good.

Bad.

Good. or

Bad.

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CD

Good.

Bad.

Good.

Bad.

Good.

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- —C3— U—Ö

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THE HA.RP PRELUDIST. 12

The following Exercises are basses upon which the Pupil will construct the proper
chords, in three parts ; that is to say, a Melody with two intermediate parts.

(The Master will find these Exercises harmonized, in Nos. 8, 9, 10, 11, and 12, of
the Appendage.\')

No.l.

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No. 3.

ES

No. 5.

No. 6.

--ör-t—öh^

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The Master having corrected the above Lessons, will perhaps think it necessary to
furnish the Scholar with others of the same description; but in writing them, will be
careful to confine them to the three common chords, and not to introduce any new princi-
ples or difficulties.

SEVENTH LESSON.

The Practitioner has now passed through all that can be done with common or perfect
ma.jor chords and their inversions ; but the harmonies he has produced, although pleasing
to the ear, being composed of consonant intervals, want that light and shade which can
only be obtained by the relieving intermixture of discords—without which, even the
beauty of the best-arranged concords would be f^int and deficient.

The first and principal discord is the chord of the dominant seventh; so called,
because it is constructed .upon the dominant or fifth note of the key. Its formation is

THE HARP PRELUDIST.

deduced from the common chord of the dominant; for the two first intervals from which
it is partly constructed are found in the combination of that concord.

Chord of the Dominant.

Chord of the Dominant Seventh.

The chord of the dominant seventh comprises a major third, a perfect or regular fifth,
and a minor seventh; and the generator, or fundamental sound, is the lowest of the notes
of which it is composed. This generator, in the diatonic scale of C, is consequently G,

8

lor

This chord, being a pure discord, cannot satisfy the ear alone ; but must be followed
hy some complete and evident harmony, such as will terminate the feeling of incomplete-
ness by which it is attended. By the effect of this chord, the true musical sense is put
into suspension ; and the consonance or common chord, heard after it, forms what is
called a perfect cadence or close, on account of its harmonic repose.

The chord of the dominant seventh is then resolved into the common chord, and its
first position passes in the following manner :—

or

Fundamental Note.

The F which forms the discord, that is, the seventh, descends a semitone, and resolves
into E, the D also descends into C, and the B leads to the tonic C. In the second
Example, the G is continued, and becomes the dominant, in the resolved chord, which
would otherwise be lost as in Example First.

The first inversion of the chord of the dominant seventh, comprises a minor third, a
diminished fifth, and a minor sixth.

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THE HA.RP PRELUDIST. 14

It is resolved in the following manner :—

The second inversion comprises a minor third, a fourth, and a major sixth.

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Fundamental Note.

Its resolutions are these

or

[In the second of these resolutions, in which the bass proceeds from the super-tonic to the sub-mediant, it is allowed
to double the bass.]

The third inversion is formed of a major second, an augmented fourth, and a major
sixth:—

Fundamental Note.

And it is thus resolved :-

THE HARP PRELUDIST.

Examples of the various manners of employing the Chord of the Dominant Seventh.

C>--

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The Pupil will do well by writing down the above Examples in all the major keys,
and playing them afterwards on the Harp.

It will have been observed, that the chord of dominant seventh seems to have been
originally introduced into the system of harmony, to enforce the effect of the common
chord, by the variety it furnishes ; and this, too, will appear the more probable, if it be
considered how similar that chord is to the dominant common chord, and with what facility
it is thrown into any harmonic combination, originally designed to consist of concords
only. This will be produced, by taking one of the basses of the past Lessons.

Bass No. 1, harmonized with the dominant seventh. (Taken from the fifth Lesson.
See page 7).

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-Ö-

Two principal rules to be observed, in employing the chord of the dominant seventh,
are, first, that of always making the seventh fall on the note next beneath it;

lö.

and secondly, that of raising the leading or sensible note, as usual, to the tonic.

iq:

The annexed Table illustrates what has been said. "

Bad. Good. Bad. Good.

-Ö-

-io-

THE HA.RP PRELUDIST. 16

Good. Bad.

j^Z

-Ö-

-.0-

:—c>

The Master will now direct his Pupil to play the next prelude :
Right hand

lö

Left hand

-O

After which he will diversify it, by introducing different kinds of Arpeggios. But since, if
unassisted, he would want the means of giving free play to his imagination, he is here
supplied with the commencement of varied matter, which he will carry on and finish.

The Master will be careful that, in these extemporary performances, no strange or
extraneous notes, no successive fifths or octaves, nor doublings of the Bass (excepting the
tonic suhdominant or dominant, and also the mediant, when it forms the resolution of the
supertonic, carrying with it the chord of the seventh), in what he performs, in both modes,
have place.

To be finished by
the Pupil.

ZIZ£

d---

-W.---h-i—

m

THE HA.RP PRELUDIST. 17

^ \'eb Ö

3

The following are intended as hints of the different manners in which the last bar of
the prelude may be varied.

Basses to be harmonized by the Pupil; in which the consonant chords and that of the
dominant seventh will be intermixed.

(The Master will see Nos. 14, 15, 16, 17, 18, of the Appendage?)

No. 1,

Ö—Ö

No. 2.

-Or

No.3.

-©I-

-Ö-

No. 4.

No. 5.

y-n—c

m

F

THE HA.RP PRELUDIST. 18

When the Scholar has superadded, to these bass notes, their proper harmony, he will
proceed to exercise his fancy upon them, in the same manner as he has done in the pre-
ceding page.

EIGHTH LESSON.

Having given full explanation of the major common chords, and the dominant seventh,
with their inversions, and instructed the Pupil how to employ them, it is now time to
proceed to change the Mode, by introducing the Minor Common Chords, which will further
variegate and enrich the harmony. For this purpose, the Master will select the key of
A, as the relative minor at C; and apprise his pupil, that the minor common chord, like
the major, is founded on the tonic ; and has the same number of inversions, or positions.

Example.

2nd Position, or Srd Position, or
Ist Inversion. Ind Inversion.

Minor Common Chord.

-m-

Its fundamental is of course the tonic of the minor key A. Its first position is
formed of a minor third, and a perfect or regular fifth ; its second, of a major third and
major sixth; and its third, of a regular fourth and minor sixth.

The Master will next demonstrate upon what notes besides the tonic, in the minor
scale, the common minor chords may be constructed.

Minor Scale of A.

-0-

It will be seen that it is only on the fourth note of the scale. For though the note
B has its minor third in the note D, F would not be its perfect or regular fifth; and
though E would have its minor third in G natural, that note cannot be so employed,
because it would exclude G sharp, the proper seventh or leading and sensible note of
the key.

The minor key, like the major, \'has its dominant consonant chord; but it is remark-

able that it has a major third, and is consequently a major chord ;

because, the third of the dominant constitutes the proper seventh of the key, which is
necessarily sharp

Hence, in a minor diatonic key, the Pupil will, as in the major, have to employ three
minor consonant chords and their inversions.

Example of the Three Common Chords belonging to a Minor Diatonic Scale, with

their different Inversions.

Common Minor Chord. Sub-dominant Chord. Dominant Chord.

i

Fundamental
Basses.

■

THE HARP PRELUDIST.

The Scholar havmg transposed the above chords and inversions into all the different
minor keys, the Master, by comparing them with No. 19 in the Appendage, will deter-
mine how far they are accurate ; after which, he will direct that the following bass subject
be harmonized on the harp. (See No. 20 in the Appendage.)

The practitioner will perceive, that these bass notes are arranged in the manner of
those that have already been given him in the major key, and must be similarly treated;
but, on being further advanced, he will immediately throw the chord of the dominant
seventh of the minor key into the fourth bar, which chord has the same properties, and
will be resolved in the same manner, as the corresponding chord in the major chord of the
dominant seventh in the minor mode.

Zrd Position.

Example :

-O-

Fundamental
Notes.

It is recommended to the Pupil to play what he has now been harmonizing in all the
different minor keys; and, at the same time, to add any little arpeggios, or diversities,
that his imagination may suggest; carefully observing all the rules which have been
explained in the 5th, 6th, and 7th Lessons.

Since the minor mode would be very restricted without the relief of the major, it is
necessary to blend the two; which union may be considered as the first step to modula-
tion, in effecting this junction. The introduction of two common chords, one major and
the other minor, in direct succession, must be avoided, on account of the consecutive fifths
they would occasion.

Bad.

a?

-ÖI

THE HA.RP PRELUDIST. 20

^EËEËj

"0"

Basses blending the two modes, to be harmonized. (See Appendage, Nos. 21, 22,23,
and 24.)

2nd

iT-r-^

eïe:

Guide.

I

3rd

c>

-Q-

-C5-

4th

THE HA.RP PRELUDIST. 21

The first of these chords is the sensible seventh; so called, because it is constructed in
the major scale, on the sensible or leading note.

I

This chord being resolved in the tonic, as is the dominant seventh, of which it may
be said to be a refinement, its fundamental note is the dominant.

-ei:-

-Ö-

Fundamental Notes.

Here the D, instead of descending into the tonic, rises to the E, for the purpose of
preventing the two consecutive fifths that would otherwise occur in the melody and
second intermediate part.

e::

Bad.

The forbidden fifths may also be avoided in this manner:—

The three inversions of the chord of the sensible seventh are these :-

1st Inversion. Id Inversion. 3a! Inversion.
------c>-

-Ö

.8

-Ö-

The first comprises a minor third, a perfect or regular fifth, and a major sixth. The
second, a major third, an augmented fourth, and a major sixth. The last a major
second, a regular fourth, and a minor sixth.

The use of these inversions in the major mode requires particular caution, on account

of the major second being peculiarly harsh, and of the difiiculty of harmo-

niously resolving the fifth, or its inversion the fourth; and the truth is, that these three
mversions, and even the first position, belong more properly to the minor mode than to
the major, as will presently appear.

G

THE HA.RP PRELUDIST. 22

Examples of the manner of employing the Chord of the Sensible Seventh and its

Inversions in the Major Mode.

No. 1. No. 2. No. 3. No. 4.

—Ol-

-Ö-

-t3-

Ö—

Bad.
t:>

-fc:^-

Examples of the manner of employing the Third of the Sensible Seventh and its

Inversions in the Minor Mode.

_No. 1. No. 2. No. 3.

Q;

-Ö-

No. 4.

No. 5.

No. 6.

No. 7.

No. 8.

No. 9.

No. 10.
-O-

No. 11.

c>-

i^Q:

-Ö-

Sometimes, in the second position or first inversion, the fifth is omitted in the inter-
mediate parts, as in the following Examples:—

Ï

-Ö-

e?

It has been said, in the beginning of this lesson, that the chord of the sensible seventh

23 THE HA.RP PRELUDIST. 24

is introduced for the purpose of varying and enriching the fundamental harmonies. This
is demonstrated in the following diagram, which the Pupil will copy in all the various
keys :—

c:>

o

Same Harmonies,
with the introduc-
tion of the Chord
of Sensible Seventh.

o

-o-

zm

IQ-

t>

"O

-O-

Si;

Basses to be Harmonized. (See Nos. 25, 26, and 27, in Appendage.)

No. 1.

No. 2.

SE

1=1:

—

No. 3.

24 THE HA.RP PRELUDIST. 24

TENTH LESSON.

The chord of the diminished seventh, like that of the sensible seventh, is used in both the
modes; but, on account of its plaintive cast, more generally in the minor, which latter
employment of it will be next considered.

The Master will explain to the Pupil, that the chord of the diminished seventh, in
the minor mode, is constructed on the leading or sensible note of the key.

And that, being resolved on the tonic, it has for its fundamental note the dominant of
the key, E

i

Fundamental Bass

Its first inversion comprises a minor third, a diminished fifth, and a major sixth:—

Its second inversion contains a minor third, an augmented fourth, and a major
sixth:—

ê

And its last inversion is formed of an augmented second, an augmented fourth, and
a major sixth :—

The different preparations and resolutions of this chord may be made thus

2

THE HARP PRELUDIST. 25

EESE

-<s>-

-Ö-

3

.----

z^zzo:

-Q-

It will be remarked in No. 7, that two successive fifths are admissible, when one is
perfect, and the other diminished; and also in Nos. 5 and 6, that the chord of the
diminished seventh, in the resolution of its third or last inversion, instead of immediately-
leading to the chord of the tonic, first falls to the dominant, by way of preparing the ear
for the tonic, which afterwards naturally follows.

Bass to be harmonized. (See Appendage Nos. 28, 29.)

3

-Ö1

lOZIIOZ

Prelude to be varied extemporarily by the Pupil. (See Appendage, Nos. 30,31.)

lö:

-öi-

oziTïzzir

The Master will now proceed to demonstrate how the Chord of the diminished seventh
is treated in the major mode. And as C is the key, in which the past Examples in that
mode have been given, that key will be resumed, and the Example beneath shows upon
what note of that Scale that chord is constructed.

$

H

26 THE HA.RP PRELUDIST. 24

Its resolution is thus

i

at

at

Fundamental Note.

Its different inversions are, of course, the same as in the minor mode, save the change
of keys ; and, by way of exercise, the Pupil is left to write them in their regular order.
The Master, by turning his eye to No. 32 of the Appendage, will be assisted in examining
them.

The following are given as Examples of the manner in which the chord of the dimi-
nished seventh, in the major mode, may be employed. But some care is necessary, in
order to its judicious use ; and to avoid that abrupt effect, which is sometimes repugnant
to the character of the Melody.

Stbgnz

iiio:

Lento con espress.

Basses to be harmonized by the Pupil, in which the diminished Seventh is to be used.

( See Appendage, Nos. 33, 34.)

a.

27 THE HA.RP PRELUDIST. 24

ELEVENTH LESSON.
»

The chord of the Augmented Sixth (the last chord of which it will be necessary to treat),
by its affinity with the third inversion of the chord of the Sensible Seventh, in the minor
mode, would have been explained in the ninth Lesson, but that it might have perplexed
the Pupil, his mind being then otherwise engaged. It appertains to that mode, and is
constructed upon the sixth note of the scale; and is formed of a major third, a perfect or
regular fifth, and an augmented sixth.

Example

Its resolution being on the dominant, the fundamental note is the Tonic.

r—jr-^-

H-

Fundamental Notes.

When the resolution is on the chord of the dominant, instead of the chord of the
fourth and sixth, or third position of the common chord, it is to be effected as follows, to
avoid having the two consecutive fifths.

Good. Bad.

te^

a:

This chord cannot be inverted with a good effect, on account of the augmented second
which would consequently occur :—

Examples of the manner in which the Chord of the Augmented Sixth is to be used

-B-

28 THE HA.RP PRELUDIST. 24

When the augmented sixth is prepared by the dominant chord, it is employed thus

-c>

Q.

€3-

Bass to be harmonized, in which the Chord of the Augmented Sixth is to be used.

(See Appendage, No. 35.)

Lli

-Ö-

Arrived at this stage of his progress, and preparatory to entering upon modulation
(that life and spirit of music), the following Diagram is given, to place before the Preludist,
in one view, all the different chords that may be constructed upon each note of a diatonic
scale, in flat major and minor modes; that having, in a single assemblage, all this acquired
knowledge, he may turn to it at pleasure, and find the ready means of variegating, en-
riching, and animating his prelusive efforts.

Major Mode.

Fourth.

-Ö-

-Ö-

C5-

Minor Mode.

-o-

lEEBaiE

-V

The Pupil will copy this Diagram, placing under each chord its proper denomination.
The Master will then direct him to write a Prelude; furnishing for himself the bass as well
as the upper parts, and including all the harmonics at present known to him.

29 THE HA.RP PRELUDIST. 24

TWELFTH LESSON.

Modulation is the art of passing from one mode or key to another, by means of
connected harmonies. This very interesting province of music (so indispensable to the
Preludist) not only opens a field for, but will require the exercise of the pupil\'s imagina-
tion, and his strict attention to all the past and following rules, without an intimate
knowledge of which he would find it impossible to modulate. No modulation can be per-
fectly agreeable, unless some note of the chord about to be relinquished is retained in the
chord it is intended to adopt. This note, by forming a part of both harmonies, will
promote their junction, and bind them more firmly together.

The Scholar is not now wholly unacquainted with modulation, since, in his exercises,
he has repeatedly passed from the major mode to the minor, and from the minor to the
major, which are the simplest of all the modulations.

The next easiest and most obvious modulations are from a major key to its fifth major,
and from a ma.]or key to its fourth major. The first of these is effected by sharpening the
fourth of the original key, which fourth, when sharpened, becomes the proper seventh
of the new key.

Example.

The second modulation is performed by flattening the seventh of the original key,
which seventh, when flattened, will become the proper fourth of the new key.

It is to be carefully observed, that in both caseS, the modulation is carried on
by the introduction of the chord of the dominant seventh of the key into which the
harmony is passing: this is a general and absolute rule, always to be attended
to in Modulation.

Of course, the Pupil will comprehend that the first way of proceeding is to be pre-
served in passing through the sharp major keys; and the second, on going through the
flat major keys; as shown in the next Examples.

30

THE HARP PRELUDIST.
Modulations through the Major Sharp Keys.

From C to G,

i

-Ö-

-Q-I-Ö

The Pupil will himself carry on this process to seven sharps, which the Master will
find in No. 36 of the Appendage.

Modulations through the Major Flat Keys.

From C to

e=S:

-o-

-Ö-

S

The Pupil will carry on this process to seven flats. (See the Appendage, No. 37.)
These modulations may also be effected by the different inversions of the dominant
sevenths; to render himself familiar with which, the Pupil will, on the Harp, harmonize
the underwritten basses, corresponding with the Appendage, No. 38.

It is here important to remark, that if, in the sharp keys, the Pupil chooses to

-|--1-[tt ■ o r

modulate by the first position of the dominant seventh —— 8-the fifth

of that dominant seventh chord must be omitted, to avoid the two fifths.

Good.

i

Example.

3

Modulated Basses to be harmonized. (See No. 38 of the Appendage.)

The modulations having been conducted to the seven sharpened keys, and the seven
flattened keys, the Practitioner will retrace his steps, modulating contrariwise; that is.

31 THE HA.RP PRELUDIST. 24

by successively dropping the sharps and flats, till he has returned to the key he first
quitted, always employing the chord of the dominant seventh of the key into which the
harmony is passing.

"C3"

To be carried on by
^ the Pupil.

-OL.

?-Ö-

Modulations, with the different Inversions op theJDominant Seventh.

(To be harmonized by the Scholar.)

In the minor keys the same course is to be taken, with the exception, that the chord
of the diminished seventh may be used instead of the dominant seventh, as more forcibly
announcing the approaching minor key.

Examples.

From a Minor to e Minor.

-Ö

ri

Modulations through the Minor Sharp Keys.

A Minor. E Minor. B tj Minor.

fc

-Q-

-&--

l^EÉE^I

-O»

32 THE HA.RP PRELUDIST. 24

Returning by a similar process :

ftf Minor. b t| Minor. e Minor.

t>--c>-

-Or

I

Modulations through the Minor Flat Keys.

D Minor.

rBE^Efe

--Ö

zfe-^:

---Ö-oi-

Returning by a similar process :

B b Minor.

a

tfr

THIRTEENTH LESSON.

Although it may be said, that the modulation is completed as soon as the new sharp
or flat is introduced, yet the new key is not settled in the ear, till the harmony is brought
to a close in that key; as the next Prelude will serve to demonstrate.

Major Mode.

From C to F,

KJ

©1-
Bt:

OIZ^

Sub. dom. dom.

33 THE HA.RP PRELUDIST. 24

Minor Mode.

A Minor.

& "ol"

-o-

These kind of perfect closes, are, in general, used at the end of a Prelude, and the Pupil
will do right, by carrying these modulations, with their perfect closes, through the different
keys, both major and minor.

Modulation is sometimes abrupt and unexpected, and when judiciously employed, is
powerfully effective. Of this species of modulation there are two kinds ; the first consisting
of two or more successive common chords passing through various but connected keys, and
delaying the dominant seventh till the last modulation, when there is a final close :—

Final close.

The second avoiding the perfect close, by means of a false, or interrupted close : that is
to say, after taking the dominant seventh of the new key it resolves itself on the common
chord of the sixth, instead of that of the tonic.

iOi

Example.

"O

0-

This interrupted close, by reserving the tonic chord till the final close, gives it more
strength and novelty.

-Ö

-Ö-

-Ö-

THE HARP PRELUDIST.

A similar effect is,produced by a series of sevenths; that is, of sevenths successively
resolved into sevenths till they reach a final close.

Sev\'? Sev® Sev^? Sev\'^