Se id Ct death Suds om wT Stotement phrose Response Ext 2 wo oo a a a @ @ a Statement Response sponge a a cr a g 7 18 note of ¥ Final incomplete 2nd phrase bar maken with 1" bar ane complete arr 3 LD Response ; a a a Des scythe Y se one complete bar . Harmonization of Exx. 1-3. Passing notes are used freely to réduce the number of cherds.will often find it convenient to take-three notes sed, the playet Although four-part harmony is u player lee cow. with the right hand and one with the left, as in Exe _—_ (0) Play the given phrases, melody only, and add responsive phr exactly the same rhythm, finishing on the to! : (b) Repeat, hi he phrases at the keyboard. ic) As soon as facility is obtained, the fisst stage (melody.caly) should be omitted. (@) Where a phrase is indicated as a two-bar phrase, the response should be-of thatlength. (#Ge~ (e) In each case, phrase the music as if reading from a copy bearing appropriate phrase-marks, Students finding difficulty in working these exercises at the keyboard should begin by making preliminary sketches on paper, discarding this step as soon as possible, ( ( ( EXERCISES ON CHAPTER I : ¢ ¢ q é o a a a 2°¢phrase é é e @ ¢ ¢ ¢ ¢ }g Change the @ chord on the tled note Siciliano : an (Harmonized) ye CHAPTER II ‘Adding 2 Modulating Responsive Phrase to a Given Phrase BL neha ticg, hem, ree ‘To save space the examples are shown as already harmonized, unessentia! notes being fteely ¢ in each case repeats the rhythmic pattern of the frst. While employed. The second phras e ’ tee grct phrase in Ex. 4 remains in the tonic key of A minor, the second modulates to C, the relative major. The first phrase in Ex. 5 is in F major and the second ends‘in' the dominant, SiOr gest in Ex. 6 is entirely in A, while the second modulates to’, the dominant, Ex. 7 has its first phrase in E flat, the first A natural being an auxiliary note; the second phrase - modulates to the dominant, B fiat. 4