. Harmony for ear, eye, and keyboard (first year). unefit these cadences, the choice of everything else is in yourhands. Your vocabulary already includes repeated chords,passing tones, and all the harmony which is needed. It isnot profitable, however, to try to make up a tune at thepiano and write what you cannot analyze. 128 HARMONY FOR EAR, EYE, AND KEYBOARD 129 Framework of a Hymn Tune Adapted from Handel Ex.57 [^ 1 =3 A bound-less love He bore man - kind: ^p U may at least a part m Im Of that strong love des - cend, and find —&— heart. pla ce in ev ry Si pm SIGHT-SINGING AND EAR-TRAINING S
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. Harmony for ear, eye, and keyboard (first year). unefit these cadences, the choice of everything else is in yourhands. Your vocabulary already includes repeated chords, passing tones, and all the harmony which is needed. It isnot profitable, however, to try to make up a tune at thepiano and write what you cannot analyze. 128 HARMONY FOR EAR, EYE, AND KEYBOARD 129 Framework of a Hymn Tune Adapted from Handel Ex.57 [^ 1 =3 A bound-less love He bore man - kind: ^p U may at least a part m Im Of that strong love des - cend, and find —&— heart. pla ce in ev ry Si pm SIGHT-SINGING AND EAR-TRAINING Sight-Singing: Melodies involving J- J . For the first fewtimes that this rhythmic figure is sung, the teacher should play an accompaniment of 0*0 J so that the class may learn to sing thefirst tone (J)) exactly three times as long as the second (j7Carelessness leads to a substitution of J J for J j . Anystudent having trouble with this rhythm should learn to skip ! 130 HARMONY FOR EAR, EYE, AND KEYBOARD Melodic:— j~3 Mendelssohn, Elijah. y 1 ? 1 J mi i 0 m 0 * J. J J. J. p« J bJ- ?* I J I i ASSIGNMENT Keyboard Work: Review modulation by the dominantseventh chord. Written Work: Compose a hymn tune by completing Ex.57. LESSON 45 ^ . , _.r . In planning a piece of original compositionOriginal Work . * „ ° K1M . , b r n in a small form like the hymn tune or folk-song, you should lay out a tentative framework much likethe one you completed in the last lesson. Write the stanzayou have selected, scan each verse, and place the bars ofyour measures where the accent of words and measure willcoincide. This is highly important. Then you are readyto consider the kind of melody and harmony which you willuse and to sketch in your plan of modulation, if you use anymodulation. As to the kind of tune you will write, the field is so vastthat you may feel lost at first. It will help you here toconsider three types and concentrate your effort on one ofthem. ^ The first type is well illust