debatable subjects and cannot be considered in this paper.

The next lesson is thirty harmonic progressions in a major key. These are derived from combinations of the six concords previously employed. The principle is this: Five progressions are made from c, each one beginning with the C chord; five from the D minor chord; five from the E minor chord; five from the F chord; five from the G chord, and five from the chord of A minor. The fundamental progressions are indicated by the base in this form, four staves being used for the rearrangements.

The student is at this point already familiar with the connected progressions, such as 2, 3, 4 and 5. But the first progression, from C to D, is what I call a disconnected one, and some special directions must be given to meet this emergency. To be brief, whenever the base moves fundamentally up or down a second, the other parts proceed in an opposite direction. Of course, there are various ways of imparting this information, and it is possible that the student may discover the secret without much assistance. This leads me to remark to the young teachers

efforts. For instance,

What is wrong about EXAMPLE 10. this progression? How does the false movement result?

Therefore, the parallel motion is, in this instance, to be avoided how? Since the base is fundamental and cannot here be altered, it follows that the movement of the other parts must be reversed. This will naturally lead to the discovery of contrary motion, which must apply to all such disconnected progressions. Let us return to No. 1. Since the base ascends a second, the soprano must descend to that note of the D chord which is next below g of the C chord. This fixes the position of the D chord, which is to appear with f at the top. [Fill in the first progression, Ex. 9, a.] The rearrangements of this are made in the same manner at b and at c. We will complete these. The chordsuccession at b has been forbidden, but I allow it, and do not at this point say anything about "hidden fifth" nor "voice leading." The progression has been made hundreds. of times by our best composers, and in modern harmony it is frequently unavoidable.

The second progression is simple. The two connecting notes (e and g) are to be written first and tied. Then it is readily seen that c descends to b. The connecting notes appear first in the soprano and mezzo-soprano; at they are in the mezzo-soprano and contralto; at the soprano and contralto have the connecting notes. Progressions 3, 4 and 5 are easily managed. No. 6 is similar to No 1. No. 10 is a reversal of No. 1. The base descends a second and the other parts must ascend. After completing the thirty progressions with their

rearrangements, as indicated, the same are to be written in D, E, F, G2, A2 and B2.

After this task is accomplished, the pupil will have a good working knowledge of the theory of harmonic progression, as far as it relates to the management of concords in their close positions. When the base moves fundamentally up or down a third, there are two connecting notes. Progressions of a fourth and a fifth have one connecting note. When the base progresses a major or a minor second up or down, there is no connecting link, and in all such instances contrary movement is imperative. Progressions by fourths and by fifths have one connecting note each, but they are directly opposite in the æsthetic effect. third relation (especially descending) is the most natural and the most closely connected. The progressions by seconds are disjointed and inclined to be rough on account of their lack of euphony.

The

As a preliminary step to the harmonizing of themes with and without connecting notes, I give a descending scale-passage of one octave, and require the pupil to write two entirely different arrangements without violating the principles of strict chordprogression. This is somewhat troublesome, but as no conditions have yet been imposed as to harmonic cadences, the pupil has the privilege of beginning and ending with any chord that forms a correct progression. Themes are then introduced for harmonizing purposes, and also in order to relieve the study of harmony as much as possible of its usually dry, uninviting tendency. The melodies move alphabetically, and in skips of a third and a fourth, thus making practical all the theories thus far developed.

After introducing another method. for harmonizing skips of a third, the harmonic minor scale is considered.

The concords are selected and themes are harmonized exclusively in the the minor mode. Then the major and its relative minor are combined. The chart for this dual mode contains, in addition to the familiar six concords, the major dominant to the relative minor. The theme is designed to pass temporarily from tonic major to relative minor and back to the major key. In the natural key, for example, the E major chord would indicate a passage to A minor, and this impression naturally remains until some chord containing g natural appears. This latter would indicate a return to the tonality of C major. One theme begins and ends in C, with an intermediate digression to A minor. Another theme starts in A minor, digresses to the relative. major, and returns to A minor. This prepares the way for natural modulation, which immediately follows.

Primary modulations are made to the related keys by means of the dominant chord to the new keyprovided the dominant chord contains a tone foreign to the original key. The related keys in major are selected first. Then the related keys in minor are established in very nearly the same manner. The modulatory chords are treated according to the theory of harmonic progression, and, therefore, the only additional feature for the student to consider at this point is the act of quitting one key and establishing in its place some other key whose signature does not differ from that of the original by more than one sharp or one flat. The first twenty chapters in my "Analytical Harmony" are thus confined to concords in their close positions. The result is that students acquire a thorough mastery over the management of chords in various situations without being hampered and embarrassed by rules of resolution, inversion, "leading of the voices," and other subjects which do not, in

my opinion, belong to the elementary part of harmony.

In modulating to the related keys, the subdominant was omitted, because it could not be established with a concord. The dominant to F is C; but if the tonality is recognized as that of C, the tonic chord certainly cannot be a dominant at the same time. All of the other dominant chords to related keys contain a transition tone, which mainly is instrumental in performing the modulations. But in order to express harmonically the difference between C and F, it will be necessary to introduce b flat. This tone, added to the the major chord of C, gives us the familiar dominant seventh, which, in this instance, belongs essentially to F.

It will be observed that even the most euphonious of so-called discords is not introduced until it is absolutely essential. In other words, no further progress could have been made with concords alone. The dominant seventh chord is at first written in three fundamental positions and resolved to tonic major according to formula, Ex. II.

is then explained that while these resolutions are correct in a final cadence, the result is not always satisfactory in an intermediate cadence, because the half-opened position at b, Ex. 11, is frequently unfavorable to farther progression. In all intermediate passages it is better for the inexperienced harmonist to have the resulting concord in a complete form, that is, with the fifth included. From previous examples, it is seen that two tones of the dominant seventh chord resolve to the tonic. Therefore, by omitting the

The third at a is superfluous, because b flat performs the modulation to F. The F chord appears in a complete form, and this is more easily managed than such an awkward arrangement as this:

EXAMPLE 14.

At b, Ex. 13, the fifth is omitted in order to avoid parallel fifths; also be

cause the third (b natural) is here necessary in restoring the tonality of C. This example (12) serves to illustrate the theory of omitting the third or the fifth from a dominant seventh chord. I give no rules in regard to this or any other branch of musical composition, because I am. not a believer in the application of arbitrary rules to a plastic art. I try to illustrate the principle involved in each subject, and this it is which the student must apprehend and comprehend.

Following this is a theme containing modulations to the subdominant, the dominant, and back to the tonic by means of the dominant seventh chords which represent those keys. These modulations to major keys illustrate the first resolution of the dominant seventh, or "essential discord," as Marx termed it. The next theme introduces modulations to the three related minor keys. This illustrates the second resolution of the dominant seventh chord, which is to tonic minor a fourth above or a fifth below the root of the discord. Numbers 1 and 2 are principal or regular resolutions, and form authentic cadences in tonic major or tonic minor. Four resolutions of the dominant seventh chord come next. These are to be written in all the major keys. They are, of course, well known, but they need to be analyzed and classified.

Having previously illustrated the direct resolutions (1 and 2), we now proceed to construct a chart, showing all the avoided cadences in a given key. For this purpose, employ the six dominant seventh chords which represent the six related chords. I usually begin with. the dominant seventh to the tonic, Ex. 20.

EXAMPLE 16.

to discover that each fifth must resolve contrarily, Ex. 17; or

thus

from Beethoven, which is the same:

The classification,

though new to harmo

a dominant seventh chord to any related key, we have the privilege of resolving it directly or indirectly, thus effecting an authentic or an avoided cadence.

A theme intended to illustrate all the avoided cadences is then given for harmonization. The indirect resolutions are indicated by dashes, and in such instances the melodynote is to be third or fifth of the discord. These positions are more easily managed. If the pupil has learned that great lesson, how to apply mental force, the teacher may omit the indicating dashes, and the pupil must then discover the places where avoided cadences take place, as well as the particular discord. which is intended at a given point. In the fourth resolution I do not try to avoid the progression of an aug

THE

HE REV. E. E. HALE says of the teaching of elocution in earlier days: "I remember perfectly the first time I spoke. It must have been in September, 1831. At my mother's instigation I spoke a little poem by Tom Moore, long since forgotten by everybody else, which I had learned and spoken at the other school. It is a sort of ode, in which Moore abuses some poor Neapolitan wretches because they had made nothing of a rebellion against the Austrians. As Tom Moore was himself an Irish patriot who had never exposed a finger-nail to be hurt for the Irish cause, I have since thought that his passion was all blatherskite. However that may be, I stepped on the stage, frightened; but, willing to do as I had been told, made my bow, and began:

"If there linger one spark of their fire, tread

it out!'

and here I had to stamp again, as much to the boys' amusement as before.

“I did not get a 'good mark' for speaking then, and I never did afterward. But the exercise did what it was meant to do; that is, it taught me not to be afraid of the audience. And this, so far as I know, is all of elocution that can be taught, or need to be tried for.

"In college it was often very droll when the time came for one of the Southern braggarts to speak at an exhibition. For we saw, then, the same young man who had always blown his own trumpet loudly, and been cock-ofthe-walk in his own estimation-we saw him with his knees shaking under him on the college platform, because he had to speak in the presence of two hundred people. I owe to the public school, and to this now despised exercise of declamation, that ease before an audience which I share with most New Englanders. This is to say that I owe to it the great pleasure of public speaking when there is anything to say. I think most public men will agree with me that this is one of the most exquisite pleasures of life."-Northwestern Christian Advocate.